Stripdown

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Status: Finished  |  Genre: Action and Adventure  |  House: Booksie Classic
Wendy and Lisa are sisters who have not spoken since their fist fight three years ago. Lisa shows up to patch things up and they end up breaking up a mob hit. When the hit fails, the up and coming Nickel brothers are angry and target the two women.

Unfortunately the Nickel brothers have picked the wrong targets. Wendy is a former burglar with a long rap sheet and Lisa is a former operative for the CIA who had license to kill. With her boss on her tail for interrupting his money scheme, Lisa teams up with Wendy to take down the mob and her rogue boss while the cops try to figure out who is taking out hit men.

Submitted: December 17, 2015

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Submitted: December 17, 2015

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INT.  A ROOM IN A HOUSE - OPEN DOOR

CLOSEUP OF A TATTOO - an American Eagle, its talons spread in full attack on a very muscular arm.  Underneath the eagle are the words “REV 8:13" etched in dark brooding blue.

We MOVE down the arm to a black gloved hand, then both gloved hands, nervously clutching TWO guns, cocked and ready.

Above is an attic door, ajar, as if the gun holder had just climbed down from there.

Voices frantically exchange instructions in the hallway.

MAN #1 (V.O.)
Fleming!  No one’s here.  Let’s get out
of here!

Sirens wail in the distance.

MAN #2 (V.O.)
I told you Danny wouldn’t talk.
Look at this!  Look at this!

MAN #3 (V.O.)
Fleming, we've got to go!

Another voice pipes up from a hidden room - a very threatening voice:  FLEMING.

FLEMING (V.O.)
We are not leaving.

Peering around a corner, we see three men talking and standing over the body of another man.

MAN #1
I checked everywhere, there’s nothing
here.  

FLEMING (V.O.)
A guy tells his partner everything.

The hidden voice is moving about, searching for someone.

MAN #2
Maybe he didn't say anything.


The man whose voice we heard enters - it is FLEMING, a frightening-looking man, forever wearing sunglasses.

FLEMING
She’s here. We are not leaving.  

Fleming continues to search as the sirens grow closer.

MAN #2
Cops.

FLEMING
I'll deal with the cops!

Fleming flips open a badge, which identifies him as someone much more powerful than some police officer.  He storms out the front door, leaving the men alone.

MAN #1 peers into a room.  Immediately the gun at the end of the tattooed arm is stuck to his head.

CUT TO:

ANOTHER PART OF THE HOUSE

The rest of the gang is searching through the house.

MAN #1 (V.O.)
(yelling)
Guys!  In here!  

The remaining two race in with their guns drawn.

We CANNOT see who the men are pointing their guns at, but that PERSON is obviously holding Man #1 hostage.

MAN #2
Drop it!  Now!

MAN #3
You're fucking dead!  Either way, you
are dead!  You really-

Both guns of the cornered person empty rapidly, striking their targets.

Each man drops to the floor, including the hostage.
INT.  FRONT OF HOUSE - SECONDS LATER

Fleming enters the house again.

FLEMING
You did it!  You found-

Fleming’s words freeze in his mouth as a gun jams to his head.

He looks up in horror.

The eagle tattoo on the arm deceives the gender of the violent person they are after: A WOMAN - who is now very upset and trying to keep her temper and her tears in check.

FLEMING
Lisa.  I can explain it.  I can-

Lisa administers one good kick to his stomach.

Fleming drops to the floor in agony.  She stands over him and cocks the trigger.

FLEMING
Lisa, don’t do this.  The cops are
outside.  

LISA
You killed him!  You killed Danny!

FLEMING
We had no choice!  He turned!

Lisa pushes the gun into his head and starts to pull the trigger.

More sirens are heard approaching.

FLEMING
Lisa, I brought you into this.  I
trained you.  Don’t blow it!  No
one saw you.  We can clear it up!

Lisa waits a second trying to gather her wits.  She reaches into her pocket, pulls out another weapon and jabs it into his side.

Fleming screams and flops around like he had an epileptic seizure - she has just tasered his ass big time.

LISA
I trusted you!  I trusted you!

We CLOSE IN ON Fleming, writhing in electrified pain.  

We ZOOM closer and closer until only the whites of his eyes show in total agony.

CUT TO BLACK

IN YOUR FACE CREDITS  ("RUN TO YOU" by RAGE)

We see Pop Art pictures, but with a "riot grrl" attitude.  

Like Roy Lichtenstein paintings with female fists flying into white collar male faces.  Fighting “riot grrls” with dangerous ghost eyes.  

The final painting is a portrait shot of Lisa - our wild escapee which could be an employment picture or a mug shot.

The painting slowly turns into Lisa...


INT.  BACK STAGE DRESSING ROOM OF A STRIP JOINT - DAY LATER

Lisa sits in front of a mirror in a black leather jacket and jeans.

This is one of the new upscale strip clubs - a gentleman's club.

We can hear the crowd cheering as a dancer finishes her routine.

ANNOUNCER (V.O.)
And that was Christy folks!  Christy is
now available for table dancing.  Don’t
be shy.  She’s a nice Southern girl you
can bring home to Mama.

A dancer walks in - CHRISTY:  A definite chesty Southern Belle.

CHRISTY
Well damned if my brooch isn’t missing
again.  And I’m on in two minutes.  
That girl will steal anything that
isn't nailed down.  I don’t think we’ve
met.  I’m Christy.

LISA
I’m...just stopping by.

CHRISTY
Well, they’re always hiring.  I make
more money than I made on the Houston
circuit and a heck of a lot more than
I did in Huntsville.

LISA
(to herself)
Alabama.

CHRISTY
Yeah, near the bases.  You dance there?

LISA
No.

CHRISTY
Military men tip a lot better than
California gentlemen.  These boys give
all their money to one girl.  I mean,
I got bigger breasts, longer legs and
more charm than Wendy.

At the mention of that name, Lisa looks up at her.

CHRISTY
I dance as close as she does, yet she
comes back with loads of twenties.  

LISA
She’s pick-pocketing them.

CHRISTY
Oh no, you can’t do that here.  I got
fired for putting my hands in pockets.
No, I think I figured it out.  She’s
got a killer Eagle Tattoo.  I kept
studying it and went and got one.

Christy unfolds her sleeve revealing a tattoo of an Eagle sitting on a branch.

CHRISTY
It ain’t attacking like hers does.  
Gotta go.  It’s showtime.
Christy heads out the door as Wendy enters.  

Wendy is shorter than Lisa, with wild hair... and the same attacking eagle tattoo on her arm.  

She spots Lisa and her eyes widen.  From sight you know: these two are sisters.

WENDY
What the hell are you doing here?

LISA
I’m in trouble.

WENDY
Yeah, well last time I saw you I was
holding my own bloody nose, thank you.

LISA
Wendy, you ruined my apartment.  Tire
tracks on the ceiling.  My landlord
telling me to get out.  

WENDY
I'm not having this conversation again.  

Wendy starts to leave.

LISA
Wait!  I need to talk to you.

WENDY
Yeah, well I've got a life now.

There is a knock on the door.  

VOICE (V.O.)
Wendy!  Table dances!  Come on!

WENDY
Shut up Vince!
(to herself)
Where the hell is Marty, he was
supposed to be here an hour ago.

LISA
Dancing is still your ticket?

WENDY
It beats breaking into stores.

LISA
We never got caught.

WENDY
You never got caught.  

LISA
Are you making good money?

WENDY
Yeah, I don’t throw them 15 feet when
they touch me.

LISA
I didn’t like them touching.

WENDY
That’s what guys do when you dance
naked next to them!  They kept firing
me just cause I was your sister!

There is a loud knock at the door.  This time an angry face sticks itself inside.  A slick weasely-looking guy with more power than he should have: VINCE.

VINCE (V.O.)
Dance you stupid bitch!  Now!

WENDY
All right!

Vince leaves slamming the door.

LISA
Wendy, something happened.

WENDY
Yeah, you hit me, that’s what
happened.  Thanks for stopping by.  
Stop by again in another three years.
I’m working here.  

Wendy storms out.  

Lisa sits for a few seconds, slowly gets up and walks out.
INT.  STAGE - SECONDS LATER

Lisa walks down the hallway past a few dancers.

A LARGE BURLY GOON passes Lisa, bumping into her as he enters the strip joint.  

The goon keeps walking while trying to look at the arm of every girl, he passes.

Lisa looks at his face and then keeps walking.


INT.  MONTAGE OF SCENES in Lisa and Wendy’s memories while LISA continues walking past the dancers.

Past Scenes Of:

Lisa and Wendy - at first what looks like they are fighting each other but it becomes apparent they are struggling with someone else.

Wendy is struggling to leave, crying with her nose bloody.

Lisa is grabbing a shot gun and entering a room.

Wendy is hiding in a corner and covering her ears, crying.

Lisa aiming.


A large angry-looking man, standing over a woman’s body with a smoking shot gun in his hand.

Lisa fires her weapon twice, emptying it into him.


EXT.  BACK OF STRIP JOINT - SAME TIME

Wendy is smoking a cigarette and trying to calm down.

She looks out over the parking lot at a car idling with someone sitting inside.


EXT.  FRONT OF STRIP JOINT - SAME TIME

Lisa leaves the club and exits into the mist of the streets.
INT.  FLEMING'S OFFICE - NIGHT

Lisa's picture is now an employee photo ID clipped to a very confidential folder open on a desk.

A frustrated Fleming is fiddling with darts while pouring over various records.  His office is sprinkled with art objects - a definite interest of his.

FLEMING
Nick, she disappeared.  Incredible.

Standing against the wall is a young man with an ever-cool new wave look and butch haircut.  He seems wary of anybody:  NICK

NICK
She ripped off the lab.  All she took
was explosives, guns and spray cans
that need CO2 to work anyway.

FLEMING
Where the hell would she go?

NICK
Where did you go?

FLEMING
Need to know basis.  Danny was up
to something.  I needed to find out.

NICK
You were with him more than anyone.

FLEMING
He kept a tight ship.  He took some things
and was trying to disappear.  I’ve still
got to find his accounts.

Fleming pulls out a phone and looks at it.

NICK
You enter the wrong password and it’s
gone forever.

FLEMING
He already did something to it.  He went
for his phone before he went for his gun.

NICK
I can take it to the lab.

FLEMING
I’ll do that, but it’ll be empty.  All
garbage.  She’s our only hope.  She had
to know what he was up to.  Where the
hell would she be?  

Fleming turns, faces a map of the United States and fires a dart scoring a direct hit on Los Angeles.

NICK
I can be there by morning.

Fleming fires a second dart - hitting Los Angeles again.

FLEMING
If she’s there, we’ll find out.

Fleming looks back down at her picture.

FLEMING
She’s an animal.  She’ll make noise.


INT.  DRESSING ROOM - SAME TIME

Christy enters and starts to towel off the sweat from dancing.
 
She pulls out a stack of money and looks at it.

CHRISTY
Damn, it was the tattoo.

Christy starts rubbing her tattoo as if there is a smudge on it.

SUDDENLY, A HAND GRABS HER BY THE NECK.

She attempts to scream, but is choked off by the goon's vice-like hand squeezing her throat shut.  The struggle for her life is on with the hulking thug quickly winning.


INT.  STRIP JOINT HALLWAY - MINUTES LATER

Wendy comes walking down the hallway to her dressing room.

She tries to open the door, but it is locked.  Surprised, she pulls a pin out of her hair, picks the lock and whips open the door.

CUT TO:

IN THE DRESSING ROOM

Christy is on the floor, covered in blood.  The thug rears around with a small crow bar in his hand.  He looks at the tattoo on Wendy’s arm and realizes he has attacked the wrong girl.

He pounces on Wendy.  She fights furiously, but is unable to free herself.  All the kicking and scratching doesn't faze him.  He raises his now-bloody crowbar and is about to deliver one quick, fatal blow when...

LISA (V.O.)
Hey!  Fat Fuck!  

The Fat Fuck turns at the call of his name to see yet another girl with an eagle tattoo.  He drops the semi-conscious Wendy and heads toward Lisa.

Lisa runs forward, leaping on him as if greeting a long lost lover and smashes her forehead into his face in a move even the dirtiest hockey player would envy.  The thug's nose quickly spouts red.

Before he can move, Lisa administers a series of well-timed shots to the knee, neck and groin that even the thug cannot ignore.  

He drops to his knees and quick as a wink, the crowbar is in her hand.

The thug's eyes shift from anger to fear, like a mongoose that's captured a snake way too big for him.  

He backs up to the table to catch his breath, but it is cut short by Wendy's hard kick with both feet, shoving him back into the machine he was trying to keep away from.  

Lisa and crowbar cut him down like a buzz saw.  

WHOMP!

He hits the floor like a sack of potatoes with his eyes now wide open and lifeless.
Lisa reaches down and checks Christy’s neck while Wendy tries to recover from what just happened.

LISA
He snapped her neck.  Not even a pulse.

Lisa runs back to the thug, checks his pulse and begins to search his pants for any identification, but there is none.

LISA
He's dead and he’s empty.

They look at each other, realizing why his pockets are empty.

Lisa grabs the crowbar and both of them quickly run out of the room and down the hallway.


EXT.  ALLEY - SAME TIME

The same idling car Wendy was looking at is waiting quietly as sirens approach.  The driver looks around and starts up his car.  

He is about to take off when a crowbar caves in the driver's  windshield and continues into his face.  He falls forward onto his steering wheel, setting off the horn.

Lisa pulls his head off the steering wheel.  She gets into the car and rummages through the driver's pants and glove compartment while Wendy jumps in and searches under the seats.

Lisa finds some papers and a wallet.  Wendy finds a second wallet.  They go through his car in seconds, like pros who have gone through many a car.

The police sirens get closer and they scramble out of the car.


INT.  DRESSING ROOM - LATER

Wendy and Lisa are being interviewed by a detective - a gentlemen in his late thirties: Detective MESNER.  Mesner definitely looks like he does not want to be here.

The detective looks over at the huge body being carted out on a stretcher by five guys.


MESNER
You two were lucky he didn't kill you.

LISA
Yeah, well his bad luck, Detective.

MESNER
He was probably looking for any jewelry
he could get.

LISA
He wasn’t looking for jewelry.  It was
a hit.  He didn’t have any identification
on him.

MESNER
Yeah, I forget, what precinct do you
work for?  Let the cop ask the questions.

Another detective runs in - Mesner’s partner:  AL

AL
(in shock)
The driver's in the alley out like a
light.

MESNER
He waited?

Al is now distracted by all the busty women walking around him.

AL
Someone cold-cocked him.  His bad luck.

Mesner looks over at Lisa, who eyes him right back.

AL
You'll recognized the driver.  One
of Nickel's men.  This was a hit.

Mesner again looks at Lisa, somewhat embarrassed.

LISA
Which Nickel?

AL
Both.  Steve and Vince Nickel.

WENDY
(to Lisa)
Vince is the one who was bitching at
me in there.

MESNER
You know Vince?

WENDY
Yeah, he’s an idiot.  He thinks he’s a
big shot because of his brother.

AL
I think I’ve seen you dance here.

WENDY
You have?

AL
Yeah.  You did that salute to Mexico
with the big sombrero...

MESNER
Al, why don’t you go check out the
room again.

Al sheepishly walks away.

WENDY
Vince owns the place.  Why would he
go after Christy?

MESNER
I'm asking the questions.How long
have you both worked here?

LISA
She works here, I don’t.

MESNER
Then what are you doing here?

WENDY
She was applying for a job.

Mesner looks at Lisa’s body and immediately buys it.


MESNER
Do you two know each other?

LISA & WENDY
No.

Suddenly there is a commotion.  Al sticks his head out and calls Mesner over.

Lisa and Wendy look at each other, wondering whether to call a truce to their war after all this.

Al gives Mesner some information quietly.  Mesner looks at Al in disbelief and then looks at his watch.  He talks quietly with Al.

LISA
(to Wendy)
There was a second hit.  A bigger one.

WENDY
How do you know?

LISA
Watch. He’ll come running over and
wrap this up quickly.

Mesner quickly walks over to Lisa and Wendy again.

MESNER
How do you know this was a hit?

LISA
Lucky guess.

MESNER
Did you ever see Christy's boyfriend
hanging around the joint?

WENDY
Christy had a million boyfriends.

AL
Her biggest boyfriend got it tonight.  
Marty Robero.

The name hits Wendy like a ton of bricks.

She covers her mouth and runs for her dressing room.  
Mesner starts to follow, but Al knocks over a large glass bowl while staring at a very busty stripper.  It lands with a large crash sending glass everywhere.  


INT.  DRESSING ROOM - SECONDS LATER

Lisa follows a crying Wendy into the room.

WENDY
Oh my God!

LISA
Keep cool.  

WENDY
Lisa, they're going to come after me.
I helped Marty break into a warehouse.

LISA
What?  They were after you?

WENDY
Marty couldn’t get into Vince’s
warehouse so I showed him how.
Oh, man.  I’m dead.  I’m dead.

LISA
Wendy, you’re still my sister.  And
no one messes you.

WENDY
Yeah, except you.

The sleazy man angrily pounding at the door earlier (VINCE) reappears.

VINCE
You!  You’re fired!  Your attitude
turns off the customers.  Get out,
you stupid bitches.  Both of you.

Vince moves toward her and shoves her.  Wendy shoves back.

VINCE
Hey, I don't need that from a piece
of meat.

Vince shoves Wendy hard.  Lisa reaches in and grabs Vince’s hand as he starts to shove a second time.  

From the looks on Vince's face, his hand has just been caught in a giant vise and squeezed tight.  Lisa shoves him backwards.

LISA
Touch her again and I'll shove your
own fist up your ass.

Vince thinks a minute and judges from her grip that this could become a possibility.  He backs away.

VINCE
You’ve got five minutes.  Get your
stuff and get out.

He walks away holding his hand.


INT.  DIFFERENT ROOM - SAME TIME

Mesner is talking to Al.

AL
Good looking girls.  Did you see they
both had Eagle tattoos?

MESNER
Yeah, they must brand them here.

AL
The dead girl had one, but her Eagle
was just sitting on a branch, those
two have an attacking Eagle with bible
numbers on them.

Al opens a small notebook and reads as Mesner looks at him, wondering why he is bothering with this crap.

AL
One has Revelations 8:13 and the other
has Revelations 12:14.

MESNER
Bible Quotations on both their arms?


AL
In fact, no one else even had an Eagle
tattoo on them in the whole club.  The
rest had birds and hearts either on
their ankle or on their...
(trying to read his own notes)
...ass.

MESNER
How did she know it was a hit?

AL
Who?

MESNER
The blonde with the eagle tattoo.

AL
(reads his notes)
That would be... Lisa or Wendy.

MESNER
Did you get their last names?

Al looks over his notebook again.

AL
(reading his notes)
Lisa...  Wendy...  Blond hair...
Big boo...

Al swallows that last thought and continues reading.

AL
...No.

MESNER
Get their names and addresses.

Mesner feels for his wallet and wonders where it is.

AL
With a screw up like this, the
Nickel brothers can't be too happy.




INT.  STEVE NICKEL OFFICE - THAT NIGHT

A very angry executive in his thirties is pacing in his office: STEVE NICKEL, while a nervous Vince sits in a chair, listening.

STEVE
I can't believe this. One guy
gets beaten up by strippers, the
other gets mugged in an alley.
What did you pay these guys, five
bucks?  Did they get the girl?

VINCE
No.  He kind of killed the wrong
stripper.

STEVE
Oh for Christ’s sake!  It was one
stripper!  One!

VINCE
How was I to know there would
suddenly be two?

STEVE
Who cares if there were twenty?  They
were strippers!

VINCE
One was scarey.

STEVE
Do you know what this makes us look
like?  Take her out!

VINCE
The cops were there.  They have our
guys.  It's an unnecessary risk.

STEVE
Oh, please.  I'm not axing some nuns
here.  We're talking girls with one
skill - maybe two.  It's like offing
partridge. If there’s two, then kill
both of them.

VINCE
Okay, I'll take care of it.
STEVE
Dating strippers.  Why the hell
didn't Robero use an escort service
like everyone else?


INT.  FLEMING’S OFFICE - SAME TIME

Fleming is on the phone.

FLEMING
Did Robero talk?...  Complications?

Fleming peels off his glasses while listening.  He walks over to the map on his wall and looks closely at Los Angeles.

FLEMING
Really...  Crowbar...


INT.  POLICE PRECINCT - NIGHT

Mesner is looking through his desk drawers for his wallet.

AL
No sign of it?

MESNER
No.  Any leads on Nickel?

AL
The second hit man is still out.  
There’s no ID on either of them.

Mesner slams the drawer in frustration.

MESNER
God dammit.  I think those strippers
took my wallet.  The little one
bumped into me while I was there.

AL
The little one was all over me, too.
I think she wanted me.

MESNER
(looks and frowns)
She wanted your badge, goofus.
The detective feels his pockets - no badge.

AL
How the hell did she do that?

MESNER
Evidently you were too busy knocking
over glass bowls.  Go pick them up.

AL
Too late.  They were fired.

MESNER
A two-bit hit on a two-bit stripper
by two-bit hoods.  And what little
money I have on me is picked off
while I'm there.  There's got to be
something better than this.  There
really does.

AL
You need to get laid.

MESNER
What are you talking about?  The last
time you got laid, bell-bottoms were in.

AL
I get laid.

MESNER
Right, and I’m the Pope.

AL
(looks through his notebook)
Okay!  Okay!  Three Saturdays ago.
Amber...
(trying to read his notes)
...something.

MESNER
Where the hell are those two strippers?

AL
Probably fleeing to Mexico.  You don’t
witness a hit like this and stay in town.
You run and hide.

EXT.  OUTSIDE THE JOINT - NIGHT

Wendy and Lisa are walking.  Lisa is trying to calm Wendy down while they walk.

LISA
What name are you going by?

WENDY
Wendy Thompson.  What about you?

LISA
Lisa Tolbert.

WENDY
You stuck with Dad's name?

LISA
They do a complete search on you.

Wendy starts to cry again and rummages through her purse.

WENDY
I feel so bad.  I can’t believe
they killed Christy.  I can’t
believe this is happening.

As she cries, Wendy pulls out three wallets and starts looking through them.

LISA
Who's the third wallet?

WENDY
That cop.

Lisa looks away sputtering.

WENDY
We can use the ID.

LISA
Why not just steal his badge?

Still sniffling, Wendy pulls that out.

LISA
See?  You were always doing that.  
WENDY
Oh and you throwing guys didn’t cause
us problems.  You got into so many damn
fights when you weren’t fighting with me.

LISA
You were stealing from them!  You got us
in trouble.  You did that back in school.
We break into the mall.  I go for the
money.  You take a knife and slash a giant
stuffed bunny to pieces so the shit is
floating all over the store!  

WENDY
Oh, for God’s sake.  That was so long ago.
Just go.

LISA
Give me the cops’s ID.  We may need that.

WENDY
We?  You!  You go your way.  I’ll go my way.
I’ve now got people after me!  You take off
one way and I’ll go the other.  It’s what
we’re good at.

LISA
I’m sick of that.  

WENDY
I’m sick of not hearing from you for years
and then you show up and stir up shit and
I’m looking for work.  I only found this
place because they called.

LISA
You found it because I put in a call.  

WENDY
What?

LISA
You were working in that ratty-ass
restaurant with the manager hitting on you.
I pretended to be a modeling agency and
recommended you to the place.


WENDY
How do you know that?  How?  You were
never around!  

LISA
I passed by a few times.

WENDY
Why didn’t you stop?

LISA
I remembered how we left.  

WENDY
Well, now we part the same way.  Both
of us in trouble.

LISA
It’s a little bit worse than that.

WENDY
Oh, great.  What the hell did you do?

LISA
I’ve got some people after me.  A
friend left me some things.  I just
have to get to them.  

WENDY
Now you have Steve and Vince after you.

LISA
I can handle a mob bimbo.

WENDY
You’ll find there’s a lot more mob
bimbos once you take out one.

LISA
We'll stay at your place.

WENDY
Are you crazy?  They’ll show up there
tonight.

LISA
I know.  Let’s go get my stuff.
Are we a team again?

WENDY
A team?  Until you disappear?

LISA
I’m here.  Are we a team?

WENDY
(reluctantly)
Do I have a choice?


INT.  EMPTY BUS TERMINAL - LOCKERS

Lisa opens up a locker and pulls out two green duffle bags.

WENDY
Cute jungle colors.

Wendy tries to pick one up, but it is very heavy.

WENDY
What have you got in here?  Lead?

LISA
And lots of it.

WENDY
Packing.  You're always packing.

Two weasel-looking guys start following them.

WENDY
We're being followed.

LISA
I saw them.

They keep on walking as the hoods catch up to them and pull out knives.

PUNK #1
Sorry, girls!  End of the line for the
luggage!

Lisa and Wendy stop and look at the punks.

Wendy pulls out her freshly stolen detective badge.
WENDY
We’re cops.

PUNK #1
Yeah, and I’m Justin Bieber.  Hand
over the luggage.

PUNK #2
Hand it over.

Both girls refuse to budge.

PUNK #1
Girls, you got two choices.

Lisa deftly pulls a .44 magnum out of one duffel bag.

LISA
I'll take this one.

The two punks look at each other.  They start to back off.

LISA
The knives.

Now it's their turn to hesitate.

Lisa fires off a shot, blowing an earring off the second punk, who immediately screams and grabs his ear.  

She points the gun directly at the Punk's crotch.

The two punks toss their knives while the second one moans.

WENDY
And the wallets.

PUNK #1
(in disbelief)
What?

WENDY
We're in the same business.

PUNK #2
Get out of here!


PUNK #1
You said you were cops.

WENDY
By day.  By night we mug idiots.

Wendy quickly reaches into the duffle bag for a gun.  She pulls out a small ID card and looks at it.

WENDY
Hah!  We even have a permit for these!

LISA
I've got a permit for all my guns.

Wendy reaches into a duffle bag again and pulls out a gun - now hers - and points it at the two failed muggers.  Disgusted, they slowly pull out their wallets and toss them over.

WENDY
Start running boys.  And thank you
for your support!

The two turn and walk quickly towards the exit.

PUNK #2
They got our wallets, man.

PUNK #1
Shut up.

PUNK #2
Oh, God!  My ear!

They dash through the door.  Wendy opens the wallets, pulls out money and counts it.

WENDY
35 bucks!  They're terrible muggers.

She tosses the wallet in the trash.

WENDY
That's the problem with muggers -
they don't appreciate their craft
anymore.


Wendy reaches back into the duffle bag and pulls out another gun, but larger and with a giant metal arrow at the end.

WENDY
This will put a hole in someone.

LISA
It's for climbing.

Wendy looks over the thin wire attached to it.

WENDY
The wire looks thin.

Wendy pretends she is a gunslinger with this monster gun and does a quick draw only to find the trigger is just a bit sensitive.

To her gasping horror, the arrow takes off and punctures a thick metal locker burying itself snugly inside.

Lisa stops and glares at Wendy who quickly tries to start reeling in the wire.


INT.  FLEMING'S OFFICE - NIGHT

Fleming is on his laptop, typing away as several banking screens are popping up.

The following words pop up on his screen.

BANK ACCOUNT # 10345-J-KI-0072Balance 0.00

These words are just beginning to sink in when Fleming gets a beep signaling that he has email.

He quickly goes to his email and opens it.  

The message has an attached file that says DANNY.WAV

Fleming clicks on it.

Danny’s voice starts over his laptop.

DANNY (V.O.)
Fleming laddie.  If you are getting
this, you set me up and I’m gone.  I’m
(CONT’D)
DANNY (CONT’D)
betting everyone else is gone too, except
of course for the one we knew was a bit
quicker and faster than you.  You’re
probably wondering where the money is
and what you are going to tell the
Russians.  But then you wanted to make
sure none of us were around to share.
Quite a Revelation, huh?  Hehehe - ah
those Caman Island Accounts.  Just when
you think they’re untouchable.  I kept
Lisa in the dark so don’t bother trying
to get anything out of her.  It’s safe
and tucked away with all trails leading
to you.  Enjoy the ride laddie!  Someday
when all this is over and you’ve been shot
and tossed off some boat, we’ll get the
band back together.  Hahahaha.  Oh, this
message will disappear in three, two, one...

The message disappears from Fleming’s laptop altogether.


INT.  STEVE'S WAREHOUSE - NIGHT

It is a very large warehouse.  One small office connects to a wall very high up, overseeing the entire warehouse floor.

Steve and Vince look over boxes cluttered with art objects ranging from statues and sculptures to modern art made from garbage and mannequins dressed in various poses.

VINCE
What's with the modern stuff?

STEVE
It's what's in today.

VINCE
It looks like you got it from the dump.

STEVE
Oh, shut up.  You wouldn’t know good
art if it came up and bit you on the
ass.  What about the girl?

VINCE
I'm going to her apartment tonight.
STEVE
You actually think she'll be there?

VINCE
Steve, strippers are stupid.  I’ll
knock.  She’ll answering probably
thinking it’s the Avon lady.  Pop.  
It's over.


EXT.  POLICE PRECINCT - THAT NIGHT

The two freshly-robbed punks are talking to Al when Mesner shows up.

MESNER
You wanted me?

AL
They just picked these guys up trying to
steal an old lady’s handbag.  She held
them until the cops came.

MESNER
What do you want me to do about it?  
Just process them!

AL
It’s what they happened before that.  
They were robbed by two strippers.  
And they saw my badge.

PUNK #1
Two girls flashed a badge at us and
robbed us of our wallets.

PUNK #2
And our knives.

Punk #1 winces at that.

PUNK #2
One had a gun man.  She had tons of guns.

PUNK #1
It was a concealed weapon.  She even
had a permit for it.

MESNER
She was robbing you and you asked
her if she had a permit for her gun?

PUNK #1
I have a right to ask questions.

MESNER
So do I.

PUNK #2
Hey, these bitches are wacko man:  guns,
big eagle tattoos...

AL
Eagle tattoos?  On their arms?

Al starts to eagerly thumb through his little notebook, but Mesner stops him.

PUNK #1
They both had these tattoos of eagles
attacking you.  I mean, not you
personally, but you know.  Attacking.

PUNK #2
Defending!

PUNK #1
Attacking!  Their claws were out.


INT.  WENDY'S APARTMENT - THAT NIGHT

It is a large six-story building with Wendy's apartment on the ground floor.

Wendy is on her couch while Lisa sits in a chair by the window, aware of any traffic going by the place.

WENDY
I got so I could pick a guy clean.
I could pick anything clean.

LISA
What went wrong?


WENDY
What went wrong?  I met a guy, that's
what went wrong.  Dumb shit spent the
money I got and then bragged about how
I did it in a bar filled with cops.
He said he didn’t know they were cops
until he had forty pairs of handcuffs
on him.  

LISA
How much time?

WENDY
Three months probation for my first
offense.  Same thing for my second
and third.  What about you?  You were
doing well dating fat cats by the
hour.

LISA
I still do, just a bit higher up.

WENDY
What do you do?

LISA
I just keep my eyes open and let
people know what I see.

WENDY
I could do that stuff.

LISA
It's not just a bod, you need brains.
I had to remember everything.  Every
conversation and every place.

WENDY
You chat them, bop them and remember
what they said to you - hard work.

LISA
Try scrambling across the roof of a
foreign hotel with people shooting
at you.

WENDY
You shoot back.
LISA
I did.  That's why I'm here.

WENDY
You met a guy and it got screwed up.

LISA
Danny and I kept it secret.  He looked
out for me.  I looked out for him.  We
had each other’s back.  No one else did.
We had a lot of action together.

WENDY
I’m sick of working for guys like Vince.
I want some action.

Lisa suddenly stops, spotting something out the window.  

LISA
You got it.  Turn out the lights.

Wendy clicks off the lights as Lisa peers down the street.

CUT TO:

LISA'S POINT OF VIEW

Down the street, a figure makes his way toward their building.

CUT TO:

BACK IN WENDY'S APARTMENT

Lisa hands Wendy a gun.

LISA
Ever use one of these?

WENDY
Well, yeah.

LISA
Get behind the couch.

Lisa unlocks the door and opens it a crack.  She then opens a window and slips outside.


WENDY
Hey!

LISA
Don't worry.  I’ll be right here.

WENDY
Don’t leave.


EXT.  OUTSIDE THE APARTMENT - NIGHT

The guy comes creeping up to the door.  It is Vince.  He walks up and pushes on the door - it opens.

VINCE
(laughs to himself)
Stupid bitches.

He enters, only to be violently invited in to the apartment by Lisa, who has crept up behind him.  

In the darkness, there are the sounds of a one-sided struggle, then silence.


INT.  WENDY'S APARTMENT - MINUTES LATER

Vince is tied up as both girls stand over him.  He is in his underpants.  His trousers lay ten feet away.

VINCE
I ain't talking.  Both of you are dead.

Wendy holds up his wallet.

WENDY
(reading)
Vince Nickel.  1317 Sycamore Lane.
You live with your brother?

VINCE
How did you get that?

WENDY
And you carry your wallet during a hit.
No wonder Steve keeps you running
strip joints.

VINCE
You bitches have got the wrong man.

Wendy picks up a gun.

WENDY
Hey, I'm getting just a little tired
of this bitches talk.

Lisa pulls on one of the ropes, and the ropes tighten, making it harder for Vince to breath.

VINCE
I ain't scared of you.  I don’t know
a thing.

Wendy cocks her gun.

WENDY
Go ahead, Vince.  Deny everything, baby.

VINCE
Oh, yeah.  Right.  You're going to blow
my brains out in your apartment.  Give
me a break.I ain’t saying jack shit.

Lisa reaches into her duffle bag and pulls out a stick of dynamite.  Wendy's eyes grow big, but Vince's grow even bigger.

VINCE
What the hell is that?

WENDY
Jack Shit!

Lisa carefully places it in his underpants, sticking down into his crotch with a very long wick sticking out.

With a touch of the match, the fuse is off and running, moving along the lengthy wick towards Vince’s crotch.

VINCE
You wouldn't dare.

Lisa pulls out a second stick of dynamite with a very short fuse and lights it.

LISA
This is what you use to blow up tree
stumps when you're clearing land.

She tosses it out the window and a mere millisecond later it EXPLODES shaking the room.

LISA
See?  Stump’s gone!

Wendy looks out the window.

WENDY
What a hole!

Vince, now a true believer, frantically struggles to get untied.

LISA
It's no use.  They're pile hitch knots.
They get tighter as you struggle.

VINCE
(panicking)
Put it out!  Put it out!

The fuse winds down toward his pants.

LISA
(to Wendy)
Get lots of towels because he's going
to bleed like a son-of-a-bitch when it
explodes.

Wendy runs to a closet.

VINCE
Aaaugh!  Please, we were just sending
a message!

LISA
I'm just sending a message.

Wendy comes back with a stack of towels.

VINCE
Aaaugh!  Put the towels back!  Steve
doesn't tell me anything!

As the fuse winds down, Lisa leans down close next to Vince and calmly asks him a few questions.

LISA
What did Marty Robero steal from you?

VINCE
Money!  From my brother.  He was taking
money from my brother’s art sales.

LISA
What kind of art collection?

VINCE
Who cares what kind?  He was stealing.
Put it out now, please.

LISA
Well, there’s so many different kinds
of art.  There’s Modern.  There’s
Florentine.  There’s Impressionism.  My
personal favorite.

VINCE
The fuse!

LISA
There’s gothic horror.  You’d love
that.  Bosch and Munsch, so many
centuries apart, but both dealing
in terrible facial expressions of fear.

Lisa gets behind Vince as the wick disappears into his pants.

Vince screams and Wendy ducks for cover, but the dynamite doesn't blow.  Vince is crying, relieved it didn't blow.

LISA
Oops!  You put it out!

She looks down.  Vince has peed his pants and is still crying.

VINCE
You could have killed me!

LISA
I doubt it.  Sawdust doesn't explode
very well without the nitro.
Lisa pulls another stick out of her duffle bag.

LISA
This one has the nitro.

VINCE
You're crazy!  You two are crazy!

LISA
What a coincidence.  That was my
message:  We're crazy.

Lisa reaches down to one side and pulls on a piece of rope.

The whole series of ropes around him falls to the ground.

VINCE
That was it?  That was all I had to
do to get free?

LISA
That was it.  

WENDY
Now go tell Steve what happened.

Vince runs towards the door in his underwear and stops for a second at the mention of Steve, realizing this will be humiliating.

LISA
Go!

Vince runs out the door.

WENDY
Six wallets in four hours, this day
is getting better.  What's next?

LISA
You get us a motel room, I've got to
get the rest of my stuff.


INT.  LIBRARY - EVENING

Lisa is sitting in front of a microfilm machine, pulling up old articles on newspaper.

She is looking over articles on the Nickel brothers with their various art collections and social pictures at art openings.

She looks at articles on Fleming, including articles about him in high school starring in sports.  She stops and closely looks at a sentence near the bottom “currently works as a tour guide at an art museum to earn money for college.”

She is also looking over articles on Officer Mesner showing his promotion to detective and finally a bold article about his partner being killed with the headline: OFFICER HAUNTED BY LOSS

She looks closely at that article.


INT.  LIBRARY - A BIT LATER

Lisa is using a library computer.  She goes to a web page on telephones and clicks on an icon about rates.

Suddenly a small screen pops up asking for a password.  Lisa enters a password and up pops another screen saying to enter a phone number.  She enters a phone number with a Washington D.C. area code and waits.

Up pops another screen asking for her email address and she enters it.

“You have 2 messages”

The first one is from Fleming: “Lisa, come home - all can be fixed.  I know where you are after you log in anyway.”

The second one is from Danny:  

DANNY
“Lisa, if you got this one it’s bad and
you’re wondering what the hell is going
on.  Sorry about this.  I didn’t know it
would get this wild.  I had this crazy
dream of you and I living on some foreign
island forever free with lots of dancing
and both birds finally in one nest –
quite a revelation, huh?  Maybe you can
still have it if Fleming hasn’t accessed
your account.  Follow his trail and you’ll
(CONT’D)
DANNY (CONT’D)
figure it out.  Ruin him.  Love forever,
Danny.  P.S. Own Gideon.  It’s safe.”

Lisa buries her face after reading this.


INT.  POLICE PRECINCT - THAT EVENING

Mesner is looking over files when Al enters.

AL
The coroner at the hospital said
that the guy was never hit from
behind.  All of the injuries are
from the front.  Here’s the big one:
the crowbar was his.

Mesner ponders that one for a minute.

MESNER
Who are these girls?

AL
They could be dancing anywhere.
under any name.  We might have to
visit every-

MESNER
Shut up.  They aren’t dancing.

AL
They sure didn’t run to Mexico.


INT.  DANNY’S APARTMENT - NIGHT

Fleming is going through Danny’s apartment, piece by piece - looking at every scrap of paper and picture he can find.

Fleming is sticking several pieces of paper and scraps on a wall and looking them over.

He pulls a few paper stubs the wall - they are old concert ticket stubs from the EAGLES rock group.

He pulls from a folder an old clipping that says “Will the Eagles ever reunite?”

FLEMING
Not a smart laddie there Danny.  This
one isn’t that hard.  Lisa doesn’t
know, but she has the answer.

Fleming then pulls out an article that impresses him.

It is a clipping with a picture of Lisa from high school with a headline attached:  

"STEPFATHER KILLS WIFE, KILLED BY DAUGHTER".

FLEMING
Violent from the beginning.  I love it.

The clipping is ripped so that only a few paragraphs can be read.  Fleming looks around for the rest of the clipping, but finds nothing else attached.


INT.  STEVE'S OFFICE - LATER

A shaking Vince returns to his brother's office in different pants.

STEVE
(on the phone)
Well then get some new girls.  I
only want new ones.  You know that!

He hangs up and looks at Vince and his outfit.

STEVE
I thought you had jeans on.

VINCE
We have a small problem.  That girl
and her friend from the club.  They
seem to work like some kind of team.  

STEVE
Fine, I’ll get some professionals on it.

VINCE
No, I can handle it.  I just need a
few people.  

STEVE
If you screw this up, you are back
to managing the night club and never
moving up again.  

VINCE
I understand.  No problem.

STEVE
Get some good people this time.


INT.  WENDY'S APARTMENT

Wendy is gathering a few of her belongings into a duffle bag when she opens a closet.  

A gun is immediately stuck to her head; attached to the hand of Fleming's aide, Nick.


INT.  WENDY’S APARTMENT - LATER

Wendy is sitting in a chair nervously watching Nick fiddle with his gun as he paces around her.

WENDY
Are you going to ask me anything?

NICK
You’re just a cub.  I’m waiting for
Mama bear.

Nick spots the eagle Tattoo on Wendy and realizes it is the same as Lisa’s.

NICK
Where did you get that?

WENDY
A tattoo parlor, where the hell did
you think I got it?

NICK
That’s not an everyday tattoo.

Nick puts his gun to Wendy's head.  Wendy nervously starts to laugh.

WENDY
That doesn't work.  I've tried it.
You have to use explosives.

NICK
What?

WENDY
You have to use...

Wendy’s living room window smashes in.

WENDY
...Explosives.

LISA enters, swinging on her cable.  Nick tries to aim his gun, but Wendy blocks him with her arm.  

Lisa slams into Nick, knocking him on to the floor.  

Nick scrambles to his feet and points his gun at Lisa, but looks down and sees a small taped cache of plastic explosives now attached to his crotch.  

A long chord rises up out of the explosives and splits in two.  

Lisa is holding one end. Wendy is holding the other.

LISA
Either one of us push the button and
boom.  We’re faster Nick.

Nick eyes the cord and explosives and realizes this could be a painful move.  

He drops his gun.  Wendy scrambles for it.

NICK
If I found you so easy, don't you
think Fleming will too?

Nick glares down at Wendy and her new weapon, now aimed at him.

NICK
I didn't come here to kill you.


LISA
If I thought you had, I would have
just fired through the window.  Where
were you?

NICK
In D.C.

LISA
No, where were you?

NICK
Oh, Fleming sent me to Richmond.

LISA
Something he always had Johnson do.
Fleming’s running something on the side.

NICK
Lisa, you killed three people there.

LISA
I watched those bastards kill Danny.
What did Danny ever do?

NICK
Stole from Fleming.

LISA
Bullshit.

NICK
Danny had to be taking from him.

LISA
You weren’t there from the beginning.

NICK
I was trying to figure out what Fleming
was doing.  He’s not reporting to anyone
anymore.  Whatever he was doing, Danny
was in on it.  I thought you were, too.

LISA
Danny would have told me if there was
anything going on.


NICK
He must have been protecting you...
Or using you.

LISA
I don’t buy it.

NICK
Danny and Marty were killed hours apart.
Fleming doesn’t know Wendy exists. Why the
hell did you put her there anyway?  That
was stupid.

LISA
When the chips are down, she’s the only
one I can count on.

NICK
You put your own sister in danger.  Fleming
will find out and she’ll be dead and you’ll
be on the run again.

WENDY
I can take care of myself.  

LISA
I’m not running and I’m not leaving Wendy.

NICK
The cop is snooping around and he's
bound to make waves.  If you come in
we can work something out.

LISA
I’m not coming in until this is
settled.

NICK
If you get caught, you’re on your own.

LISA
I was on my own in Mexico.  I was on
my own in Iraq, in China.  You want
a list?

Nick thinks about talking her out of it and then gives up.


NICK
You'll need help.

Lisa ponders his offer.

LISA
What do you know about Fleming?

NICK
He was going everywhere.  Paris,
Amsterdam, London, New York.  We
thought he was following a pipeline
from Mexico.

LISA
I’m betting it’s with the Nickels.

NICK
You could just wait it out.

LISA
Nick, you know I've never been good
at waiting.

Nick turns to leave and pauses.

LISA
I'll think about it.

NICK
It would be different.

LISA
You bet it would be.

Nick disappears out the door.

WENDY
That was too close.  He had a gun at
my head.  You cut it too close.

LISA
We may have to cut it even closer.

WENDY
Just warn me first.  Let me know when
it’s too dangerous

LISA
When I think it’s too dangerous, I’ll
say it’s safe.

WENDY
If we can get whatever money Danny left
for you, we can just get out of town.

LISA
Fleming will always be after me.  He never
forgets.  

WENDY
Let’s just lead them to that cop.

LISA
Mesner?  He’ll never figure it out.  
But he can help us.  

WENDY
He didn’t seem too friendly.

LISA
We didn’t meet on friendly turf.  We’ll
meet him on friendly turf.


INT.  MESNER'S HOME - LATER

Mesner enters the home, clicks on his light and jumps.  There on his couch sit Lisa and Wendy.  You can tell his couch has been serving as his bed.

WENDY
Lovely home.  

LISA
Where's the wife?

MESNER
Can I have my wallet?

Wendy tosses the wallet to him.

MESNER
And my partner’s badge.

Wendy tosses that to him as well.
WENDY
I gotta tell you, that badge is
useless.  You flash it at muggers
and they don’t even care.

LISA
The wife left?

WENDY
And you're still staying on the
couch?

MESNER
(ignores her question)
I understand you even have a permit.

Lisa and Wendy both slowly make their way around the apartment, getting ever closer to Mesner as he tries to keep cool.

LISA
Yes.

MESNER
You have a gun permit for L.A.?

LISA
It covers L.A.  What do you know about
Mr. Nickel and his brother?

MESNER
What's with not giving me your names?

WENDY
I'm Wendy and this is Lisa.

MESNER
How about your real names?

Wendy looks at Lisa, confused.

WENDY
Wendy and Lisa.  They've always
been our real names.

MESNER
How about some last names?


LISA
That would cause too many problems.
Tell us about Steve Nickel.

MESNER
Why should I tell you?

LISA
He’s an up and coming mob boy who
deals in art.

MESNER
Art, my eye.  He’s into drugs, we
just haven’t caught him.

LISA
You never will.

MESNER
I supposed you know all about
underworld figures.

LISA
I know all about you.

MESNER
Yeah right.

LISA
Fifteen years.  Withdrawn weapon 57
times, fired twice.  Six commendations,
but all within your first five years.
And your partner had a citation for
stopping a robbery in a gentleman’s club.

WENDY
(mocking)
What a shock!

MESNER
I couldn't find anything on you.

LISA
You won't.

MESNER
Why do you want the Nickel brothers?

LISA
We don't like being targeted.

MESNER
Getting him arrested will get you
even.  You don't need to get in
over your head.

WENDY
Over our head.  We’re twenty feet
under the water!

LISA
This isn’t about two girls on the run.

MESNER
I think it’s best if you let us handle
it.  You two need to just run and hide.

LISA
We don’t run anymore.

WENDY
And we don’t hide.  

They both head out a window.

WENDY
We'll stop by again some night.

MESNER
I keep the windows locked.

WENDY
Hey, and it did a good job of
keeping us out, too.

MESNER
Who are you working for?

WENDY
Free Agency, baby.

Wendy blows him a kiss as they exit into the night.




INT.  BAR - NIGHT

Vince is sitting in a booth, leaning forward and talking to two men we cannot see.

VINCE
Now I could have gone to anyone, but
I didn’t.  I mean, I know you guys need
the money, but I also picked you two
because it’s time you moved up.  I know
you want to move up.  It’s two bimbos.
Quick and easy.  Get in, get out.  They
won’t know what hit them.  The element
of surprise.  Can I count on you?

WE PAN AROUND to see the two Vince is talking to.

It is the two punks that got their comeuppance earlier.

PUNK #1
When do we get paid?

VINCE
Don’t worry about that.  In fact,
here.  Let me pick this up.

Vince picks up the bill and gallantly pays, overlooking the fact he has just finished what looks like a nice meal while the two muggers each have an EMPTY BOTTLE OF BEER in front of them and nothing else.

PUNK #2
Can we have another beer?

VINCE
No, you guys are driving.


INT.  FLEMING’S OFFICE - NIGHT

Fleming is looking through a folder of assorted clippings and papers from Danny’s apartment.

FLEMING
Revelations.  Good job Danny throwing
in little teases.  Lisa and that damn
Revelations tattoo.  Would Danny use
that as a password?
Fleming thinks on that one for a second.

FLEMING
I just want her with you Danny boy.  
Reunited at last.  


INT.  MOTEL - NIGHT

Wendy and Lisa are planning strategy.

LISA
I was able to get my email.  Danny
left me a message in case he died.
I’m not sure what he meant by it.
He mentioned a foreign island, both
birds in one nest and he ended it
with the words “own Gideon, it’s safe”.

WENDY
Both birds.  You and Danny.

LISA
I was only to get this email if Danny
was dead.

WENDY
Both birds.  You and Fleming.

LISA
If he knew he was going to die and
Marty was going to die...

WENDY
You and me.  He left a message for
you and me?  Gideons is a dance club
Vince and Steve use to go to.  He left
us money in some club?

LISA
No, he‘s got it hidden somewhere.

WENDY
How much money are we talking?

LISA
If Fleming hasn’t gone to his bosses,
then we are talking a lot.  

WENDY
Got any plans?

LISA
First, we do some recon on the Nickels.
We already know Mr. Nickel has three
weaknesses.

WENDY
His brother, his brother, and his brother.

LISA
A big one.  I'm betting Vince won't be
all that eager to tell Steve about
anything we mess up while he's on watch.

WENDY
He still think’s we’re idiots.

LISA
Two, he’s underestimating us and three,
Steve has no idea what we look like.

WENDY
He knows I have a tattoo.

LISA
Like every other dancer.

WENDY
He’s going to find us eventually.
The shit is going to hit the fan.

Lisa stops and remembers.

LISA
We’ve always managed to make it.
If we can mess their plans up, we can
put them on the run.  

WENDY
What if they get help?  It’s just us.

LISA
If worse comes to worse I can distract
them while you get away.

WENDY
Lisa, you said we’re a team.  What’s
next?

LISA
I don’t know.  Let me sleep on it.

WENDY
Like I'm going to sleep well knowing
all this is going down.

LISA
Who ever sleeps well?


INT.  VARIOUS BEDROOMS - NIGHT

Through a montage of shots we see each person in bed.

LISA sleeps fitfully, fighting demons in her dreams.

WENDY tries to sleep, but is distracted by thoughts and Lisa's tossing and turning.

MESNER lays on his couch, looking at the window Wendy and Lisa had come through.

FLEMING is in bed, leaning against his wall and looking at his computer pensively.

STEVE is lying in bed, looking at his clock and then at an empty bed beside him.

VINCE is sleeping like a baby in his bed, a big smile on him.


EXT.  WENDY'S APARTMENT - MORNING

A car pulls up and three men jump out.  It is the two muggers with Vince leading them - they are armed, but trying to be inconspicuous.

Vince gets to the front door and picks the lock open.

As he does this, it triggers a small contraption that lights a stick of dynamite, which rolls down the steps toward him.  It rolls toward Vince as the two muggers back away.

Vince takes only a few steps back.

VINCE
Don't worry!  It's fake.  She did
this to me before.  It's fake!  She’s
not going to blow up a neighborhood.

The wick winds down to nothing.  Nothing happens.  

Vince nervously picks up the stick, only semi-sure this will work, but tries to appear confident.

VINCE
I don't fall for this twice you
stupid bit-

Before he can finish his sentence, the apartment door explodes open, knocking Vince backwards, while setting off every car alarm on the block.

Vince is out cold with a serene smile on his face.

The two punks get up and slam into each other in a panic, before racing off into the distance.


EXT.  LISA'S DREAMING - SAME MORNING

Lisa is replaying her betrayal:  the body, the shootout.  Mixed in with that is the body of her mother laying on the ground.  Her Stepfather, who looks a lot like Fleming, is standing over the body.

We can see Fleming yelling at her in some kind of rigorous training exercise.  He is slapping her around and screaming at her.

She blasts away at her stepfather to no effect.  He just laughs and aims his shot gun at her.  She screams and keeps firing.


INT.  WENDY AND LISA'S MOTEL - SAME MORNING

Lisa awakens with a jolt from keys jingling in the lock.  She reaches under her bed, grabs a gun and zeroes in on the door.

The door opens.  It is Wendy, coming in with coffee.  She gives Lisa a look of disdain.

WENDY
Fuck you, Shaft.  Drink your coffee.

Lisa sighs and puts the gun down.

LISA
You ever try entering quietly?

WENDY
If I had, you would have turned the
door into Swiss cheese.  Did you come
up with anything?

LISA
We need to learn more about the kind
of art Fleming is after.

WENDY
I can get us in to the Getty museum
at night.

LISA
We don’t need - why can you get us into
the Getty at night?

WENDY
I know a security guard there.  I did
him on the second floor near the Roman
statues.

LISA
They have security cameras there.

WENDY
I know.  His buddy watched from the
security desk and got off.

LISA
Tramp.

WENDY
Art tramp.  I got a one year pass to
the place and I used it.  I’m familiar
with art.

LISA
Tonight we go back to your place.
WENDY
Again?

LISA
Vince will be back.  We have to rattle
him and find out more about Gideon’s
nightclub and if my guy is in town.

WENDY
What about that cop?

LISA
I need to whisk him off to someplace
quiet.  He needs a little variety in
his day.  A drive up in the hills.

WENDY
You need a car for that.

LISA
A nice car.  Like a cool sports car.

WENDY
Vince has a cool sports car:  red.
I can get the keys.

LISA
I don’t need the keys.


EXT.  OUTSIDE POLICE STATION - DAY

Mesner and Al walk out of his office and start toward a fast food joint across the street.

AL
I can't find jack on those strippers.
They disappeared into a crack and
they'll never come out.  Did you find
anything?

MESNER
Not really.

The red sports car pulls up beside him.  The window rolls down.

LISA
Care for a ride stranger?
Al looks in shock.

MESNER
(embarrassed)
I'm just going across the street
for some food.

LISA
I've got something better.

Mesner looks at Al wondering what to do.

AL
What, are you nuts?  Get in!

Mesner starts to get in.

MESNER
I’ll be back in an hour or two.  
Have-

AL
(cutting him off)
Yeah, yeah, yeah.  

Al practically pushes him into the car.  The car speeds off leaving a dumb-founded Al in the street watching them.

AL
I don’t get it.  She picks the shorter
guy.


EXT.  PRETTY PARK AREA - DAY TIME

Lisa is sitting with Mesner under a tree by a fountain.  Mesner thinks it could be a romantic spot, but it also could be a great place to not be spotted.

Lisa cracks open a small picnic basket containing upscale picnic food - sandwiches, bread, cheese, red wine that all looks like it came from a very nice deli.

MESNER
Definitely not my usual lunch.

LISA
Why are you sleeping on your couch?

MESNER
My wife snores.

LISA
Your wife's not there.

Mesner looks away, not wanting to give an answer.

LISA
Do you want to know where she is?

MESNER
She’s been gone for four years.

LISA
It's a hard line of work.  Long hours,
on the go with very little reward.
I read about your partner.  

MESNER
Why are you doing searches on me?

LISA
It said he died in a domestic dispute
and that the guy who did it was killed.

MESNER
I should have fired quicker.

LISA
I can understand that.

MESNER
No you can't.  You don't know what
it's like to go through that.

Mesner stops because Lisa is laughing.

MESNER
What's so funny.

LISA
I've had guns in my face long before
any of those hit men.  I’ve shot and
I’ve been late.  I’ve lost people I
cared about.

MESNER
Not this close.  To lose a partner.

LISA
How about a Mom?

MESNER
You're going to have a hard time with
the Nickels.

LISA
The Nickel’s are easy prey.  I’m
quick enough.

MESNER
Quick enough for more hit men?

LISA
Pull a quarter out of your pocket.

Mesner pulls one out.

LISA
Hold it in the palm of your hand and
close your hand before I grab it.

As Lisa is saying this, she is relaxed and just sitting on the grass.

Mesner holds the coin in the palm of his hand.

LISA
I'm going to say one, two, three and
on three close your hand...

Lisa holds her hand a foot over his.  

LISA
One...  Two...  Three.

Mesner closes his hand as Lisa snatches for the quarter.  It seems he has beaten her.

LISA
Open your hand.

Mesner does - there is no quarter.  Lisa smiles and holds up the quarter.

MESNER
Not bad, but that's not a gun.

LISA
Oh, go for your gun.

Mesner looks at her.

LISA
Go ahead.

Mesner reaches for his gun - it is not there.  Lisa slides it across the grass to him.

MESNER
You don’t always get first draw.

LISA
I do.  

Mesner looks out over the park and then back at her.

MESNER
Could you really find out what happened
to my wife?

LISA
She's living with a guy who runs a
skating rink in Dallas.  He has a home
in Puerto Vallarta and they met on an
adult chat forum and had been talking for
about four months.  If it will make you
feel better, her credit cards are
maxed out.  All six of them.

MESNER
I guess that’s a break for me.

Lisa starts gathering up the picnic.

LISA
I’ll drop you off at your office.
Actually I should probably drop you
off a block away and have you walk.
Your lovely partner there has probably
told the entire precinct and they will
be lined up waiting for you.
Mesner thinks about it.

MESNER
You’re probably right.  Am I going to
see you again?

LISA
Yup.


INT.  BAR - AFTERNOON

A now-bandaged Vince is sitting with the two punks and a new guy looking very much the expert in taking out people: JOEY

VINCE
Okay, we’ve learned a little lesson
here.  They want to play hard ball.
We play hard ball.  Guys, this is Joey.

They wave at Joey, he doesn’t wave back.  Joey is not one for small talk.

VINCE
Joey, here has done everything.  He
has done 13 hits in just the past year.

JOEY
Your brother pays me $5,000.

PUNK #1
Wait a minute.  We only got $500!

PUNK #2
You told me $400.

VINCE
Guys, he’s a pro.  P - R - O!  He
gets the big bucks cause he is
going to take out the bigger one.
You guys get the easy one.  Let’s
plan this out.

JOEY
You said these were two bimbo’s.

VINCE
Yeah...  Kind of.
JOEY
Then let’s eat and get on with it.
I’ve done this a million times.

PUNK #2
You just said 13.

VINCE
Will you be quiet?  There’s just some
extra circumstances on this one.

JOEY
You said they’re dames right?

VINCE
Yeah, but...

JOEY
Dames are dames.  Easy pickings.
I’m hungry.

Vince gets the bartenders attention.

VINCE
Yeah, we’ll have two turkey sandwiches.

PUNK #1
What about us?

VINCE
And two more beers.


INT.  VINCE’S CAR - EARLY EVENING

Vince is watching Lisa and Wendy enter her building.  He is with the punks and Joey.

JOEY
Okay.  No guns.  No bombs.  Perfect.

VINCE
Watch out for them, they're crazy.

JOEY
Yeah, and they'll be dead crazy in
five minutes.

They all get out of the car.

VINCE
Don't make a scene.

They get out and follow the girls into the building.  The two punks follow behind, cautiously.  

Instead of going towards Wendy’s apartment, Lisa walks to the elevator while Wendy pops up the stairs.

VINCE
What the-?

JOEY
Get out of the way!

Joey shoves Vince aside and walks into the building, waiting for the elevator with Lisa.

The elevator door opens and both step inside.

Joey puts on his gloves, making sure they fit while Lisa innocently stands beside him... pulling out a piece of piano wire.

THE DOORS CLOSE

Vince watches and then notices that the two punks have not moved.

VINCE
What are you doing?  Go get Wendy!

Both reluctantly do as told.


INT.  THIRD FLOOR OF WENDY'S BUILDING - SECONDS LATER

The two enter the floor, looking for Wendy.  They spot her crawling out a window onto a ledge.  They look at each other and run to the window.

PUNK #1
This should be easy.  We push, she drops.

PUNK #2
(nervous about heights)
Yeah.  It’s kind of high up here.

Wendy is standing on a large window washing scaffolding pretending to be scared.  The two men start to crawl out onto the ledge and she pretends to start whimpering.

PUNK #1
Oh, shut up.  A little more even
now, darling!

One pulls out a knife.  Wendy waits until they are out on the long thin board.  

Then she pulls out a knife - much smaller than theirs.  

Both men look at each other and let out a roar of laughter.
Their laughter stops when Wendy starts to rock the scaffolding hard against the wall, shaking it violently.

PUNK #1
Hey, what?  Be careful there!

Wendy kicks hard against the building, pushing the board far out into the air as the men hang on for dear life.

She quickly reaches down with her knife and pushes a small button.

A small screwdriver on the knife starts spinning.  She leans down and undoes several screws - one, two and three...

With the last screw, one side of the scaffolding gives way.  The two men realize their hit is now taking an early detour to ground level while Wendy grabs one of the cables and holds on as it whips her up to the roof.


INT.  FRONT OF BUILDING - SAME TIME

Vince nervously paces and suddenly his fears are realized as the two punks crash to the bottom.  They are alive, but in very bad shape.

He races over to the elevator and presses the button and the elevator door opens to reveal the third hit man laying on the floor with a calm and armed Lisa standing over him.

LISA
We meet again.

VINCE
Oh, Jesus.  You are getting me in
so much trouble.

Wendy comes hopping down the stairs.

WENDY
Hey there, Jack Shit!

Lisa grabs Vince.

LISA
Gideon’s night club.  Marty was using
it to rob from you.

VINCE
Hah!  Impossible.  My brother owns
it.  Marty came in a few times.

WENDY
He robbed it.

VINCE
How the hell do you know?  What would
he rob?  One hour’s take and some
papers.  Big deal!

LISA
Did he ever show up with a guy with
Sunglasses on?

VINCE
This is LA.  Everyone wears
sunglasses.  

LISA
This guy never takes them off.

VINCE
Oh.

LISA
You do know him!

VINCE
No.  I don’t.  

LISA
That’s right.  He’d never talk
to you. You’re out of the loop.

VINCE
Why should I believe you?

LISA
Don’t.  Find out yourself.


INT.  MOTEL ROOM - LATER

Lisa and Wendy are plotting.

WENDY
How do we get more on Mesner?

LISA
Easy, I slip in and seduce him.

WENDY
How do we get more on Steve Nickel?

LISA
Harder, I slip in and seduce him.

WENDY
And you call me the tramp?

LISA
When you want to beat the dragon,
you have to be willing to walk right
up to its mouth and fight.

WENDY
You’re not in its mouth.  You’re in
its pants.


INT.  MESNER'S HOME - NIGHT

Mesner looks around his apartment.  He checks his windows and doors, lays down on his couch and closes his eyes for a second.

LISA (V.O.)
The bed is softer.

Mesner opens his eyes.  Lisa is right beside him, caressing him.

MESNER
I... don't know if I'm ready for that.

LISA
When's the last time you did anything
like this?

MESNER
(thinking)
... Four years ago.

LISA
Long time.

MESNER
You still won’t tell me anything.

LISA
Like what?

MESNER
Like what you do.

LISA
They send me to places to learn things.

MESNER
Who is they?

LISA
Who is always “they”, “them”.  My first
foreign job, Colonel Furiez, an army
officer working for the cartel chased
me through Tijuana.  I had a coyote
smuggle me back across the border, but
but I got caught by immigration.

MESNER
And they wanted to know why a pretty,
busty blond with a passport was
smuggling herself into the U.S.

LISA
I think they were too busy looking
at my California Driver’s License,
which was in my breast pocket.
Lisa begins to slowly undress him.

MESNER
Let’s not go too fast on anything.

LISA
Oh, don't worry.  I'm going slow.
I'm going real slow.  Look how slow
I'm unbuttoning.  It's almost in slow
motion.  No rushing.  Nothing fast.
Just nice and soft and easy.  Just like
going over a nice soft waterfall...

Lisa slowly reaches up and kisses his neck.  Mesner is hesitant, but lets her continue.

She reaches up and kisses his ear.

LISA
(whispering)
into a big warm pool....  Splash.  
Splash.  Splash.


INT.  FLEMING’S OFFICE – NIGHT

He is on his phone.
FLEMING
I’m writing that off as my loss, not
yours.  It’s protected.  It’s very safe.

There is a knock at his door.

FLEMING
I’ve got to go.  I’ll have more
by the end of the week.

Fleming opens the door.  It is Nick.

NICK
Found her.  She’s in L.A.  She’s been
doing searches on you in libraries and
wherever she stops.  

FLEMING
She won’t find anything.


NICK
She also did searches on Paris, New
York and a bunch of what seem like
random ones.  

FLEMING
How random?

NICK
A guy who was some industrialist back
in the 1800s.

FLEMING
Who ran a sugar empire?

NICK
Yeah.

FLEMING
Motherfucker.

NICK
And a bunch of Russian names and a lot  
of Impressionist artists.  None of it
makes sense.  

Fleming looks ill.

FLEMING
Get to L.A.  I’ll follow.

NICK
She’s also got a cop on her tail, but
they seem to be talking.  He might be
able to bring her in.

FLEMING
Hah, we’ll be fishing his body out of
the riverbasin when she’s done with him.
Get to L.A.  Let me know what she tells
him.

Nick leaves.

FLEMING
Goddamn, Lisa, you should have been on
Jeopardy.  You would have won a million
dollars.  You always were good at puzzles.
Fleming’s phone rings again.

FLEMING
Yeah, Steve.  How many injured?...  
That’s impossible.  She never trusts
anyone.  

Fleming reacts to something in shock.  

He reaches over and opens a folder.  He looks closely at the words: “One sister, died at birth.”

FLEMING
Holy shit.


INT.  STEVE’S HOUSE - NIGHT

Steve is standing in a nice evening outfit, looking at his watch and waiting when his speaker buzzes.

SPEAKER (V.O.)
Girl named Debbie coming up the
driveway.


INT.  POOL HALL - NIGHT

Vince is trying to make some time on a pool hall girl in a tight t-shirt with a tooth pick in her mouth.  He is smiling like he is about to complete a great play.  There are only a few balls left on the table.

VINCE
Ok, I win this game, I get to
do with you what I want.  You win,
you get to with me what you want.

The girl nods, lines up a shot and fires - the half dozen remaining balls all drop in with the 8-ball being last.

Vince’s smile leaves his face like Velcro off a wall.

GIRL
Deal.  Now get the fuck out of here.  



INT.  MESNER'S BEDROOM - A WHILE LATER

Mesner is recovering and trying to catch his breath.

MESNER
I thought you said we were going to
go nice and slow.

LISA
We did for awhile.

Lisa gets up and starts getting dressed.

MESNER
Leaving?

LISA
You said Steve Nickel was into drugs.

MESNER
Yeah, but we can't catch him.  

LISA
You're barking up the wrong tree.

MESNER
We've checked everything.

LISA
A man walks through a check point with
a wheelbarrow full of corn.  You check
his corn - nothing in there.  The next
day he walks through with a wheelbarrow
full of grain.  You check it through and
through - nothing.  Next day he walks
by with a wheelbarrow full of dirt.  All
is clean.  You know he's smuggling
something, but you can't figure it out.
What's he smuggling?

MESNER
Wheelbarrows?

LISA
Bingo.

MESNER
So his art isn't a cover for drugs?

LISA
The drugs are a cover for art.

MESNER
If he's stealing expensive paintings
from big museums,  I would have heard
of that.

LISA
You don't have to steal Rembrandts.  
Native American art is real big in
Japan - three billion a year.

MESNER
And I was ripping it apart for drugs.
How did Nickel get into this?  He used
to be just into drugs.

LISA
Steve was working his way up to
my guy.  And now he’s about to steal
some Rembrandts.

MESNER
Your guy was an art thief?

LISA
He was supposed to be one of the good
guys.  

Lisa shuts off the light as she kisses him.

MESNER
Where are you going?

LISA
Clubbing.  Pleasant dreams.


INT.  DANCE CLUB - NIGHT

Dance music is blaring away with the floor crowded as Wendy and Lisa enter.

WENDY
What about the alarms?

LISA
I’ll take care of it.  But just in
case I don’t, run like hell.

Lisa heads off into the crowd.  Wendy grabs a beer and listens to the music.

As the song blasts on, Wendy begins to sway and move to the music - she dances like a cool Gene Kelly:  hoofing to herself and holding her beer bottle.  Guys begin to notice.


INT.  OFFICE IN THE BACK - SAME TIME

The office is elevated above the dance floor as Steve talks to the D.J. running the music.

Steve looks out on the dance floor and notices Lisa making her way through the crowd.  He is mesmerized and walks to the window.

Others dance on, but she is a woman on a mission, making her way right below the office where Steve gets a great look at her.

STEVE
Who is that woman down there?

D.J.
I've never seen her before.

STEVE
You always say that.

D.J.
Yeah, but this time it's true.


INT.  DANCE FLOOR - OTHER SIDE

Wendy is dancing with a load of guys, all enjoying her cool demeanor and hoofing to the song.

She suddenly spots Vince, ducks down and slinks into the crowd.  

The guys dancing with her duck too, as if part of the dance.

Wendy makes her way in one direction, with Vince going another, still upset over losing his pool game.


INT.  UPSTAIRS ALONG OFFICES - SECONDS LATER

Lisa quickly walks along the halls until she spots the manager's office.  She eyes the door and walls and then continues along the hallway, around several corners and stops, figuring she is behind the office.

She rips a fire extinguisher out of its holder and sprays it all over the wall.  She then pulls out a small can of what seems to be spray paint and sprays a large square along the lower portion of the wall.

As she sprays, the wall sizzles a bit.  She waits a few seconds and then slams her foot against the wall.  It gives way.  

She reaches in until she raps softly on a metal wall.

She sprays again, first with the fire extinguisher and then with the spray can, creating another sizzle.

After a few seconds, the smoke dies down and Lisa kicks hard against the metal until it gives way.  

She grabs several notebooks and wads of cash, stuffs them in her jacket and quickly exits.


INT.  MANAGER’S OFFICE - MINUTES LATER

The D.J. opens the second safe and finds it empty with a large hole in the back wall looking at him.

CUT TO:

The D.J. FROM THROUGH THE HOLE:  He is in complete shock, looking into the safe.

We PULL BACK from him and the forlorn hole to the cheerful dance floor below.


INT.  DANCE FLOOR - SAME TIME

Wendy meets up with Lisa, grabs her and leads her out a side door.  They both rush down an alley past an old van.  

Lisa stops, walks back to the van and lightly knocks on the door.  
It slowly opens a crack.

Sitting there is Nick.  He hands Lisa a poster-sized tube.

NICK
Just like you said - office, house,
warehouse.

LISA
Fleming here?

NICK
Not yet.  I told him you were talking
To a cop and that slowed him down.

LISA
He’ll be here.

NICK
One more thing.  Your boy goes to Angie.

Nick hands her a card that says "DREAM GIRLS ESCORT SERVICE".

NICK
He never has the same girl twice.

The door slams shut and the van takes off.


INT.  MOTEL ROOM - LATER

Lisa and Wendy are looking through the numerous envelopes and papers from the Gideon safe.  They are also counting money.

WENDY
Well, we now have $3,500 dollars.

LISALISA
I don’t care about that.

WENDY
Are you crazy?  That’s a very very
good night for a dancer.

LISA
If we find his account, we are
probably talking millions.

Wendy drops all the money she was counting.

WENDY
I’m all ears.

LISA
Something’s missing.  That safe was
big with hardly anything in it.

WENDY
All I want is the money.  He can keep
the art.

LISA
Either Robero found out what was in the
safe and stole it or Steve moved it.

Lisa keeps looking until she stops and thinks.

WENDY
Everything says home or office.

Wendy holds up a pamphlet.  It is an ad for a security system with “for your home or office” circled.

LISA
You take the house, I'll take the office.

WENDY
If you can get me the tools, I can
get through the security.
 
Lisa pulls a rolled up pack out of her duffle bag and tosses it to Wendy who rolls it open across the bed.  

It is burglar’s dream - tools to pick anything in the world.

LISA
It folds around you like a belt.

WENDY
We should have had this in high school.

LISA
I want him to be running scared when
he finds everything missing and done
right under his nose by two bimbos.

WENDY
(tightens the tool belt on her)
Bimbo number one is ready.

LISA
I'll case his home.  Courtesy of
Angie.  A different girl every night.

WENDY
You'll be different alright.


INT.  ANGIE'S OFFICE - DAYTIME

Angie, a much older and very dignified woman, is looking Lisa over with disdain.

ANGIE
I don't know what Nick was thinking.
You're not his type.  He likes them to
be real demure and feminine.

LISA
Got it.

ANGIE
And lots of emotion.  He loves the
pouty Marilyn Monroe type.  And no
matter what you do, he never wants
you again.


INT.  STEVE’S HOUSE - LATER

TO A SOFT SEXY JAZZ BEAT DURING A MONTAGE OF SHOTS:

In one smooth transition we see Steve letting a series of beautiful, pouty, Marilyn Monroe-type women, in his house.

He is smiling and chatting with them as he takes their coat and offers them a glass of wine.

During this, the GIRL CHANGES WITH EACH ANGLE, showing he does indeed use different girls.  As he turns, it is ANOTHER GIRL.  He hands a glass to ANOTHER GIRL and toasts ANOTHER GIRL.  She changes each time as he stays the same.


INT.  STEVE’S HOUSE - NIGHT

Steve is pouring drinks when the speaker box squawks.

VOICE (V.O.)
She’s coming up the driveway.

The door bell rings and he opens it.
 
It is Lisa in the same outfit she had at the dance.  His jaw nearly falls off.

LISA
I take it I'm not the usual.

STEVE
Well, no.

LISA
I can head back.

STEVE
No, this is fine.

He offers her a drink, but she shakes her head "No".  

Steve goes to the wall, opens a panel and pushes some buttons which move a large wall - hoping she'll be impressed with his changing rooms.

Lisa is looking around at ceilings and furniture.

STEVE
Anything specific you're looking for?

LISA
A stereo.

He hits a button on a wall and an entire entertainment counsel moves into the living room.

Lisa walks over, shoves in a cassette tape and clicks on the stereo.  Sexy music begins to play.  She sways back and forth to the music.

STEVE
Care to see the bedroom?

LISA
Nope.

Pushing him onto the couch, she begins to do a dance routine - slowly and sensually around him.  

She moves closer and closer doing a teasing strip until she simply climbs on top of him.  She pushes him against the couch and rips open his shirt while grinding on top of him.


INT.  STEVE’S HOUSE - NIGHT

Steve sleeps while Lisa quietly walks into the living room to explore.

She begins to press buttons while various walls move and lights turn on and off.

She looks over the system a second, then presses two different buttons at the same time.  

A small door silently opens, revealing a safe.  She smiles.


INT.  STEVE’S BEDROOM - LATER

Steve awakens and realizes Lisa is not there.He looks around, gets up and races out into the hallway.  


INT.  STEVE’S LIVING ROOM – SAME TIME

Spotting a light, he quickly walks into the room.  

There sits Lisa looking through an old high school yearbook.

LISA
Jesus, you were a geek in high school.
There's only three pictures of you.

STEVE
Yeah, well who's laughing now?

LISA
Look at all that tape on your glasses!

Steve gently takes the yearbook away.

STEVE
Why are you looking through that?

LISA
I saw you at the club and was curious.

STEVE
You saw me?

LISA
Yeah, you didn’t have the glasses and
tape like in that picture, but...

She grabs Steve and pulls him onto the couch, making sure she is in command.  He is taken aback for a second, but then gets into this.


INT.  STEVE’S BEDROOM - MORNING

Steve awakens, Lisa is gone.  He looks around the room - no sign she was ever even there.  He pulls back the bed cover to reveal a black rose neatly placed on the pillow.


INT.  MESNER'S OFFICE - LATER

Mesner is sitting at his desk - when Al pokes his head in.

AL
(teasing him)
Are you Detective Mesner?

MESNER
What?

The Partner pulls his head back and then enters with a large bushel of flowers.

AL
A messenger just brought them in.
Funny, it was the same guy I busted
two years ago for selling dope at
the university.  He must have really
gone straight.

Mesner pulls a small envelope out and reads it.

AL
(reading from memory)
"Thanks for a wonderful night.  Here's
to more of the same soon.  Lisa."
It fell open.

MESNER
Yeah, right.

His partner tosses a folder on his desk.  

MESNER
What's this?

He opens it.  It is a rap sheet of Wendy's burglaries and a mug shot of her.

AL
Look at her rap sheet.  Burglary,
burglary, burglary.  A long list.

MESNER
Wendy Thompson.

AL
There's more.  I didn't get a line
on your girl, but I did a search on
concealed weapons permits on the east
coast.  She has one for Washington D.C.
You can’t get one for Washington D.C.


INT.  MESNER HOME - NIGHT

Mesner is waiting for Lisa to show up.  

He has his window open and a soft breeze is blowing.  There is a knock at the door.  Puzzled, he goes to the door and opens it.

FLEMING
Detective Mesner?

MESNER
You are?



FLEMING
(showing his badge)
I'm here about a girl.  Lisa Tolbert.  
A former agent for us before she
went rogue.

MESNER
I don’t know anything about her.

Fleming pulls out a folder and starts tossing pictures on the floor all around him of bodies.

FLEMING
This one she shot, this one used an ice
pick, this one piano wire on, this one
poison, this one she threw out a window.

Mesner looks at the picture - all males, all dead.

FLEMING
She had one trademark.  When she
needed information, she wasn't afraid
to do anything to get it.  She would
seduce you, sleep with you and then kill
you.  She did it well.  Very well.  

MESNER
I haven't seen her.

FLEMING
You probably think she cares about you.
Stopping by and giving you information.
She's bedded foreign leaders, tycoons,
rich and powerful, but she's going to
give her heart to a washed up cop who
hasn't done a thing in ten years.

MESNER
Thank you for your concern.

FLEMING
Her job is almost done here.  I'll
know when it's done when she leaves
the country.  You'll know it’s done
when she slits your throat.  Have a
wonderful evening.

Fleming turns and leaves.
INT.  STEVE’S HOME - NIGHT

Steve is standing over his phone.  He picks it up, thinks a minute and then dials.

STEVE
Hello?  Angie?  About that girl you
sent me last night...  No, no.  It
was fine...

Steve looks around to make sure no one is hearing what he is about to say.

STEVE
Could you send her again?...Well,
where does she operate out of?...  
Damn.  No, not tonight.

He hangs up the phone.


EXT.  OUTSIDE STEVE’S HOUSE - SAME TIME

Wendy watches Steve from the window as she pops open a small electrical box.  She keeps an eye on a security guard standing by a window and carefully clips a wire.

As soon as she clips it, the security guard puts his hand to his ear and listens - something has gone off.  

He quickly moves to another part of the house to investigate.  

Wendy quickly clips a handful of wires, reconnecting several after slipping connector caps between them.  

Another guard puts his hand to his ear, listens and races off.

Wendy stops and chuckles to herself.

WENDY
Like throwing a ball past a puppy.


INT.  STEVE’S OFFICE – NIGHT

We can see a pair of hands, clipping several wires in an electric box and slipping connecting caps between them.  

That done, Lisa silently walks into the office and begins picking the place apart.

She knocks lightly along a wall, stops, walks back over to some wires and reconnects a few.

A wall opens to reveal a very large safe.


INT.  STEVE’S HOUSE - NIGHT

Steve is in bed unaware of Wendy sneaking through his house.

MONTAGE OF BURGLARY SHOTS:

While Lisa makes her way through his office, exploring note books, address books and files.

Wendy swipes files at home, grabbing anything that looks important and putting them into their pouches.


INT.  STEVE’S HOUSE - NIGHT

Steve awakens wondering if he heard something.  He walks out into the room.  He is unaware of Wendy above him on an interior wall beam she has just scrambled up.  

As he walks through several rooms, Wendy keeps an eye on him in almost a sensual slow dance always keeping him in sight.  This is her game all the way.  

He finally goes back to bed.


INT.  STEVE’S HOUSE - MORNING

Steve wakes up, rises and walks into his kitchen for coffee when something trips him, sending him reeling into the hallway.  

He looks over at what tripped him up, wires sticking out of the wall.  

The wires are sticking out because his beloved stereo is gone.  

He looks around in horror and races for the security when something else trips him up, sending him reeling.  

Looking over, it is his stereo, moved to a corner and piled up with a long wire sticking out along the floor.

In a fury, he grabs the wires and pulls hard on them, attempting to rip them out of the wall.  They don’t budge as he pulls even harder.

Suddenly he hears a creaking sound.  A portion of the wall falls down revealing a huge hole leading to the safe, which is open.


INT.  STEVE’S OFFICE - MORNING

Steve and Vince are looking at their ransacked office.

STEVE
The safe is empty!

VINCE
Fleming?

STEVE
No, he’s on his way.  This is someone
big.  This is someone big time.  They
even left graffiti!

Vince looks up and notices written on the wall, the words "Jack Shit!"

He gets a very sick look on his face, remembering who uttered those words to him and why.

VINCE
(to himself)
Those bitches are really crazy.

STEVE
What?

VINCE
I mean whoever did this.

STEVE
You said bitches.  I distinctly heard
you say bitches.



VINCE
Well, I kind of think it might have been
those crazy dancers we were trying to kill.

STEVE
Vince, this was a professional job.  They
broke in past high security, not some
drunk waving cash at them.

VINCE
Steve, it was them.  These aren't two
bimbo strippers, these are...  I don't
know.  These are strippers from hell.

STEVE
There is no way those two idiots could
break into that safe.

Another voice intrudes.

FLEMING (V.O.)
But she did.

Steve and Vince wheel around to look at the man in their office.

FLEMING
Is there a reason you moved my package
from Gideons?  Your office is rather
high profile.

STEVE
Once Robero got in there, I figured someone
else would.  The place was broken into the
other night.  Probably the same person.

Fleming tosses her picture on his desk.  Steve does a double take.

It is his girl - Lisa.

STEVE
Lisa!

VINCE
The stripper from hell!

FLEMING
She was one of your girls recently.

STEVE
Vince, you didn't tell me she was
the one you were after!

VINCE
You didn't tell me you slept with her!

Steve holds his head in humiliation and shock.

FLEMING
She’s nailed better men than you and
they didn’t live to tell the story.


INT.  HOTEL ROOM - EVENING

Lisa and Wendy are going through the papers they have stolen.

WENDY
No passwords.  

LISA
No, but they emptied the safe at Gideons.
Which means Steve doesn’t trust Fleming.

WENDY
So there’s more money elsewhere?

LISA
In the warehouse.  It’s not money, but
it’s worth a lot.  Danny’s money is
not our insurance, what’s in the
warehouse is.  

WENDY
Fleming will negotiate?

LISA
No, he’ll try to kill us.

Lisa begins looking over blueprints of the warehouse.

LISA
Little Sister, are you ready for this?
You can still take off if you want.


WENDY
Fuck you.  I’m your sister.

LISA
I don’t know what’s going to go
down once we meet.  He may negotiate
for the art or he may not give a shit.
If he doesn’t give a shit, I want you
safe at least.

WENDY
If he doesn’t give a shit, then we
both fire away.  I’ll be there to
the end.  I remember what you did.

LISA
I’m sorry.

WENDY
No before that.  I remember everything.
To the end, we’re a team.  Like Butch
Cassidy and Sundance.

LISA
They both died.

WENDY
Together.  Not alone.  I ain’t leaving.

Lisa gets up, puts on her jacket and grabs a folder of paperwork.

LISA
I’ll deal with Mr. Detective one more
time.

WENDY
One last meal before the chair?


INT.  MESNER'S HOUSE - NIGHT

Mesner is laying in bed asleep with his window open, when he hears something small break.  He sits up.

He listens again.  Suddenly a hole appears in his window as a bullet whizzes by him.  

He hits the floor and crawls back into his bedroom.  
As he crawls past his bed, two more shots fire in from a silencer somewhere and the slugs stick into the wall.

Mesner grabs his gun and is shaking as he waits for the next shot.


INT.  MESNER'S HOUSE - MUCH LATER IN THE NIGHT

Mesner is still by the bed.  A lot of time has passed, but he isn't going anywhere.  Finally, he hears another noise.  He moves quietly into the hallway.  He points it at a shadow.

MESNER
Freeze!

The shadow moves quickly and disappears.  He moves toward an open window with his gun drawn.  Out of nowhere, he is knocked to the ground and his gun goes flying.  Lisa is on top of him and quickly has him pinned.

LISA
What the hell is wrong with you?
I said I'd be back.

It suddenly dawns on her.

LISA
Fleming's been here.

She gets off of Mesner and looks at him.  He is looking at her as if she could possibly be dangerous.

LISA
You listened to him.

MESNER
You killed a bunch of his people.

LISA
Self-defense.

MESNER
You killed others.

LISA
It was part of the job.

MESNER
You got them to fall for you and
then you killed them.

LISA
They were all trying to kill me
and they deserved it.  

MESNER
What were you going to do to me?

LISA
Bring you these!

She throws her paperwork at him.

MESNER
He showed me pictures of the bodies.

LISA
One was kidnapping small children and
Using them to smuggle drugs across the
border.  

MESNER
How can you give them your body?

LISA
It's a job.

MESNER
What do you want me to do here?  You
are keeping me in the dark!

Lisa gets up and walks toward the door.  She stops.

LISA
All right.  You want the whole story?
You got the whole story.  I was a dancer.
One day these two guys came backstage to
see me.  It seems they had heard of my
reputation for throwing guys who got too
frisky.  They paid me $500 to just show
up at this building and take some tests
for an hour.  It was all these strange
puzzles and word tests that didn’t seem
to make any sense.  The next day they
(CONT’D)
LISA (CONT’D)
showed up again and asked me if I wanted
to work for them and forked over ten grand.  
All I had to do was go in, spend the night
with this guy, notice what his place was
like and who came and went and then call
them and tell them about it.  Easy.
  The first six were easy.  Then one day LISA (CONT’D)
this guy gets a call and puts down the
phone and belts me one.  He pulls out a gun
and I got it away from him and shot him -
twice and jumped out a window.
I figured I was fired from whatever job
I had been doing, but instead I was promoted. (CONT’D)
That’s how they phrased it.  Sent me overseas
and I end up doing the same thing except in
more dangerous situations and a few times I
had to do some unpleasant things to get
out of there.
Next thing I knew I was doing unpleasant (CONT’D)
things to get in there anyway.  I liked it -
good money, excitement, doing something for
my country - I think.  I never asked.
If they cooperated they left smiling.  If
they didn’t, they left differently.  That’s
the life and times of Lisa Tolbert.

Lisa looks directly into Mesner’s eyes.

LISA
You'll have Nickel by tomorrow.  It'll
all be over by then.

Lisa leaves.


INT.  MOTEL ROOM - THAT NIGHT

Wendy enters the room.  She opens a closet door and a gun is immediately stuck to the back of her head.  She turns, thinking it is Nick, but it is Fleming.

Fleming looks down at her tattoo and notices the Revelations Quote on her arm.

FLEMING
Lovely tattoo!

Wendy does not answer.  She is mortified.  This is the evil she has been hearing about.

Wendy slowly proceeds toward the door as Fleming leaves a note on top of the TV.

As they leave, the window slides open and two boots can be seen entering the room.


INT.  MOTEL ROOM - LATER.

The hotel light clicks on.  Lisa is home.

LISA
Wendy!  Wendy?

She looks around and spots the note, picks it up and reads it.

LISA.  DADDY’S HOME.  SORRY - HAD TO TAKE SIS WITH ME. CALL ME AS SOON AS YOU GET IN.

She is looking over the note, when she hears footsteps in the other room.  She starts to draw her weapon and then stops.

LISA
Nick.

NICK
He’s in town.  He has her at Steve’s.

Lisa sits down and buries her face in her hands.  Nick watches her as she tries to keep control.

NICK
He’ll be bringing her to the
warehouse.  I have a place
nearby.


EXT.  NICKEL WAREHOUSE - WEE MORNING HOURS

Lisa is standing on top of a taller building looking across a large parking lot at the Nickel Warehouse.  It looks to be about four stories high.  

Below, in the well-lit parking lot are a few security cars driving around.  There is no way she can sneak up on it.


She pulls out the large gun with the metal arrow that Wendy had, braces herself against the ledge, aims it at the rooftop of the warehouse.

WHOMP - she fires it and the arrow hurtles through the air.  Just about the time the thin strand uncoiling comes to an end, the arrow buries itself in an air conditioning unit.  She pulls hard, pulls what looks like a coat hanger for suits and attaches it to the wire.  With a whir, the gadget takes off with her holding on.


EXT.  TOP OF WAREHOUSE - MORNING

Lisa dials the number from the note.

FLEMING (V.O.)
Delighted to hear from you.  

LISA
You won't let Wendy go free.  I know you.

FLEMING (V.O.)
If you don't show, you know she's dead.

LISA
Where?

FLEMING (V.O.)
The Nickel brothers warehouse.  Do you
think You can find it?

LISA
I think so.  

FLEMING (V.O.)
Deal.  And no cops.

LISA
You don't have to worry about that,
thank you.

FLEMING (V.O.)
You've got to get a better caliber of
men.  

Fleming hangs up.  

Lisa hangs up and opens her duffle bag.  She pulls out a large belt and starts lining it with plastic explosives.

LISA
Up close and personal.  Just how you
like it.


INT.  WARE HOUSE - MORNING

Fleming and the Nickel brothers are in their office looking down upon the main floor.  Wendy is between them, being held hostage.

Some sculptures and statues are gone, but the modern art remains scattered about, surrounded by boxes and packing material.

Fleming has a laptop computer plugged in and waiting.

Armed men stand on two long platforms besides their office awaiting Lisa.

VINCE
Jesus, you got enough guys.  She’s going
to be dead as soon as she walks in.

FLEMING
We need her alive long enough to get
some numbers.

STEVE
Even if Lisa gets a few shots off, the
front window here is bullet proof.


EXT.  OUTSIDE WAREHOUSE - MORNING

Lisa watches the warehouse from across the street.  She checks both her weapons - they are loaded and ready.
She climbs into a red sports car (Vince's car), reaches under the dashboard and connects a few wires.  The car alarm goes off.


She climbs inside, looks at her watch, steps on the gas facing the warehouse door and begins to race the car while it sits in park.  Her hand grips the gear ready to shift into drive.


INT.  WAREHOUSE  - SAME TIME

Fleming and the Nickels hear the alarm.  

VINCE
What the hell is that?

STEVE
Get ready!

The armed men, along with Steve and Vince aim their guns at the door.

FLEMING
Wait until I say fire!  Wait!

The giant doors explode, blowing them both inward.  As the smoke clears, the red sports car races through the smoke.  

Instantly, bullets are flying as everyone empties everything into the car, filling it with lead.  

The car runs over several large crates and boxes and finally overturns, its wheels still spinning.

FLEMING
Stop!  Stop!

The guns finally quiet as the smoke settles.  In the center of the floor sits the completely shot out red sports car upside down - there is no one in it.

Vince suddenly recognizes the vehicle.

VINCE
My car!  Oh my God, my car!

FLEMING
I told you to wait until I say fire.

Lisa slowly enters the building holding a large package.  The guards all aim their guns.

LISA
I don’t think you’re going to want
to shoot.


FLEMING
Lisa!  Long time no see!  I've got
my laptop ready to make things easier.

LISA
Then why don't I read something off to
you?  10345-L-KI-0055.

Fleming quickly enters the numbers and hits a button - the lap top begins to buzz and then beeps.

FLEMING
Wrong password.  I know he used each
of your bible quotes and put them in
here.  Damn.

LISA
You’re using the wrong bible.

FLEMING
What?  It’s the King James version.  
What other version is there?

LISA
From the Gideon Bible.  You find it
in hotels everywhere?  Change angel
to eagle in Revelations 8:13.

He thinks a minute and runs the laptop software again with a few alterations.  It goes with a tiny “Bing!”

FLEMING
Ah, perfect.

He types a bit on the keyboard and then frowns.

FLEMING
A second password.  Four letters.

LISA
Before I tell you that, I want to
show you something.  Say hello to
my little friends.

Lisa walks over to trunk that seems to be part of a modern junk-art display.  

She kicks it and the front falls open.

She pulls out two paintings and holds them up to Fleming.

LISA
Steve and Vince, you are probably
looking at a half-billion dollars
in two paintings.

FLEMING
How the hell?

LISA
Those Russian buyers would probably
pay a third their worth.  But then you’d
have to explain how you swiped them.

FLEMING
Nick didn’t even know.

LISA
No, but it was all there in your files.
I’ll make a deal.

FLEMING
You’re kind of surrounded.  You have
little bargaining power.

LISA
That’s because you don’t notice the
wiring around the paintings.  Just
enough explosives to take out two
paintings.  

VINCE
She’s serious!  She’s always blowing
Shit up!

Fleming grabs Wendy and puts a gun to her head.

FLEMING
I don’t bargain.

LISA
Your two dumb cohorts there left a
massive paper trail leading to you.
you.  Steve saved everything in case
you screwed him over like you did
Danny.

STEVE
No I didn’t.

WENDY
Yes, you did.  I saw it!

FLEMING
I’ve got twenty men aiming at you!
I’ll make you a deal.  You give me
the password.  I let Wendy go.

LISA
Tell everyone to hold their fire.

Lisa climbs up the stairs to the office.  She walks in.

The Nickel brothers and Fleming are on their guard.

FLEMING
If she tries anything take them out.

LISA
Don’t you want the last password?

Fleming moves to his computer.

LISA
Safe.

FLEMING
What?

LISA
Four letters:  Safe!

WENDY
(realizing)
Oh, shit.

Wendy grabs both Nickel brothers and hugs them close to her.

VINCE
Hey!  What the-

Lisa reaches over and presses a button.

An explosion behind the office, rips it off the wall.  
The whole office drops the three floors with the entire group inside yelling "SHIIIIIIIIIIIIIIIIT!"

It smashes to the bottom, collapsing in a heap.

All is silent.

Fleming’s armed men are confused and run to the remains of the office.

They begin pulling pieces off.  As they do, one uncovers a large piece covering Lisa.

She has been curled up in a ball.

She unwinds and with a quick punch and takes the guard out.

She quickly leaps up and races behind a piece of art.

The guards quickly fire where ever they can, but the floor is covered with various pieces of art.

One by one the guards are being taken out by sneak attacks from Lisa here and there.

GUARD LEADER
Get back up on the stairs!  Now!

The remaining dozen or so scramble up onto the stairs and take aim at any movement they see.

There is no sign of Lisa.

All of them are tense as they wait.

Lisa stays behind a pile and simply puts together two wires and presses another button.

As she does this, an explosion takes place inside the walls.  

The two walkways rock and rip off their walls.  

The walkways fall to the ground, taking the armed men with them.

Lisa walks over and pulls a piece of wreckage apart.  

Under it is an unconscious Wendy.  Lisa drags her over to a pile of packing material and tries to revive her.

LISA
Come on dammit!  Wendy!  

Wendy slowly comes to.

LISA
Wendy, it was only three stories.

WENDY
You'd have done it if it was ten
stories.
(still dizzy from the fall)
Oh, man.  They gotta fix that elevator.  

Lisa stands and leans forward to help Wendy up.

As she does, a bullet rips through the side of her neck.  Blood starts spurting as she falls backwards behind one of the art containers.  

Wendy looks over at FLEMING, who is holding his gun and has barely crawled out of the wreckage.

Wendy lunges toward a still dazed Fleming and knocks him over.

Both struggle.

Wendy and Fleming fight until Fleming swings and connects with Wendy’s jaw, sending her flying backwards.  

He concentrates on Lisa again.

FLEMING
Almost did it!  You almost did it.

Fleming slowly staggers toward Lisa.  Wendy painfully crawls away from him and towards the edge of the warehouse feeling for any weapon she can get her hands on.  

Fleming ignores Wendy and moves towards Lisa, barely visible behind the large container and its packaging material.

FLEMING
I taught you everything!  I taught you
guns!  I taught you bombs!  I taught
you how to live!  This is what I get!  

He aims his gun at the prone figure of Lisa laying on the floor.  

Sirens in the distance distract him and he looks away.
As he does, a METAL ARROW buries itself in his back, near his shoulder, sending him reeling.

From the other end of the room, Wendy has managed to fire the arrow gun.

It rips out of her hands as it connects.

He lets out a huge scream as he falls down besides Lisa’s body.

He clicks his gun and manages to put it to Lisa’s head.  

He yanks her close to him, only to find out...

HE IS NOW HOLDING A MANNEQUIN.  

It is one of Steve’s modern art pieces.

To make matters worse, it is wearing the belt of explosives with a timer attached and it is counting down...

Two...  One...

Fleming can only bow his head and close his eyes in defeat.  

He has lost...

BOOM!


EXT.  WAREHOUSE - SAME TIME

The explosion blows the warehouse doors back outside into the street.

Racing up to see it is Mesner along with several police cars, ambulances and fire trucks.  

Mesner races into the flames to look for Lisa.

MESNER
Lisa!  Lisa!



EXT.  BEHIND THE WAREHOUSE - SAME TIME

Lisa is stumbling down a back alley, holding her throat.  Blood is running down her shoulder and across her shirt.  

She is desperate for air as she collapses against the ground and curls up in a ball.  Wendy catches up to her and holds her.

Wendy sees she cannot breath and is trying to help staunch the flow of blood.  She is in a panic about what to do.

A yellow van races down the alley and screeches to a halt near them.  Nick hops out with two paramedics.  

Inside the van is a complete emergency ambulance setup.  

They push past Wendy and check out Lisa.

NICK
Get her inside.  Let's go!

Wendy races into the van with them.

NICK
End of the line for you, Babe!

WENDY
No!

Nick tries to pull her away, but she hangs on to Lisa and it becomes apparent Lisa is hanging on to her as well.

WENDY
Not this time!  No!

Nick looks down at Lisa.

NICK
Are you back in?

Lisa nods her head yes.  Nick looks at Wendy.

WENDY
I'm in!  I'm in!

Nick hops out of the van and yells at the driver.


NICK
Take them to point four.  Go!

The van speeds off down the alley as Nick heads back to the warehouse.


INT.  WAREHOUSE - MINUTES LATER

Mesner is frantically looking amidst the wreckage while Nick enters from a side door, reaches down and retrieves Fleming's badge.

NICK
She's gone.

MESNER
I wanted to be here.  I wanted to be
here for her.

NICK
Too late.

MESNER
Where?

NICK
Maybe France, England.  A couple of easy
ones to make up for this.

He looks around at the wreckage.

MESNER
Tell her I came looking for her.  
Tell her.

NICK
Maybe she'll send you a postcard.

Nick disappears around a corner, leaving Mesner to survey the wreckage.  

Vince and a very sad, ragged-looking Steve Nickel are put on the ambulance.  Steve Nickel gives one last look at the remains of his warehouse and closes his eyes in pain.



INT.  MESNER'S HOME - NIGHT

All is quiet as Mesner is asleep, finally on his bed.  Beside him, is a folder of Lisa with her picture on it.

LISA (V.O.)
(a hoarse whisper)
Hey there.

Mesner looks up startled.  He gets up and holds her.

MESNER
I thought you were gone for good.

Lisa sees her picture on the night stand beside him.

LISA
All those guys.  I had one rule.  I
never kissed them on the lips.  

She kisses him.


EXT.  SIDE STREET - EARLY MORNING

Lisa is walking down the street, having just left a sleeping Mesner.

A van pulls up beside her and the door opens.  She hops in.


INT.  INSIDE THE VAN

Nick and Wendy are waiting.

LISA
What's next?

NICK
An easy one before the tough one.

WENDY
What's the easy one?

NICK
Paris.  Working out of the embassy.


LISA
What’s the tough one?

NICK
Remember your friend in Mexico?

LISA
Colonel Furiez?

NICK
General Furiez.

Nick hands them passports and airline tickets.

WENDY
Hey, who cares?  We’re in!  We’re in!

Wendy high fives a reluctant Lisa and whoops.

Nick tries not to smile, but one creeps in.  He likes this girl.


EXT.  NEAR MESNER’S PLACE - MORNING

The van takes off down a city street.

Lisa looks out the van window, already pondering her new assignment - the tough one.

The van disappears into down the street, camouflaged by the city buildings and trees, off on its next adventure.

As it does we can hear a radio broadcast in the distance:  

RADIO (V.O.)
“Well the Getty Museum of Art got a
big surprise this week with the arrival
of previously unknown works by Cezanne
and Van Gogh said to be worth over 500
million dollars.”


THE END
 


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