Wednesday, August 27, 2014

Sins Of The Father


Hey there, crime kids. Happy Hump Day. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 33 of NOWHERE GIRL, the shit hits the fan when long-lost twin sisters April Street and Cherry Nation arrive at black ops spook Sledge Crafton's secret lair ... and walk right into a trap ...


INT. INTELLIGENCE OFFICE - LOBBY - NIGHT
They walk into the lobby.
We now see that Donner’s desk is in
a bullet-proof glass cubicle
in a corner of the room.

CHERRY
What is this, Austin Powers?

APRIL
He always had a flair
for the dramatic.

Donner’s voice comes over
hidden speakers.

DONNER
Ladies, glad you could join us.
Mr. Crafton has been expecting you.

April walks over the cubicle.
Stares down Donner.

APRIL
Well, isn’t that a coincidence.

A steel door SLIDES OPENS in the wall.

DONNER
Right through that door, please.
He’ll be right with you.

The girls look at the
open doorway suspiciously.

APRIL
How do we know this isn’t a trap?

CHERRY
Cover me, and I’ll go take a look.

APRIL
Okay.

Cherry walks over to the doorway.
Stops. Looks in.

INT. INTERROGATION ROOM - CONTINUOUS
Steel walls. A table with chairs.
Glass window. Shades drawn.

CHERRY
Turns her head.

CHERRY
Looks fine to me.

April marches over, and they walk in.

INT. INTERROGATION ROOM - CONTINUOUS
The door behind them SLAMS shut with a BANG.

APRIL
I KNEW it.
(looks around)
CRAFTON. Show yourself!

The window shade SLIDES UP.
Behind it stands Crafton.

SLEDGE
Ladies.

APRIL
What’s the big idea?
You can’t keep us locked up in here.
People know where we are.

SLEDGE
I’m afraid not.
They’re all dead.

APRIL
Then what do you want from us?

SLEDGE
That, my dear, is the
question of the hour.
Please have a seat.
I’ve got a story to tell you.

The girls sit.

SLEDGE
In the early eighties,
I was missing in action in Nicaragua --
and during this period of time my
CRAZY BITCH of a wife put our
lovely two daughters up for adoption --
after she ran off to the UK
with a rock star.
(beat)
Those were heady times.
It was pre-AIDS, ecstacy was legal --

APRIL
What’s with the life story?
Get to the fucking POINT.

SLEDGE
The point?
You want me to GET TO THE POINT?
(beat)
Well, like I SAID --
my wife put our lovely
young daughters up for adoption.
Such a sad fate for
two little four-year-old girls.
How tragic would it be
if they were separated?

April and Cherry exchange glances.
What the fuck?

SLEDGE
You know the rest of the story --
because you’ve LIVED it.
(beat)
That’s right -- I’m your FATHER.
I scoured the globe for
years tracking you down.
Of course I was incredibly happy
to discover that my little April
had become an agent for Interpol.
That little apple didn’t
fall too far from the tree.
But, however, I was dismayed to discover
that my little Abby
had changed her name to CHERRY,
and had become a PORN STAR
and then a STRIPPER.
To say I was disappointed
would be an understatement.
(beat)
Then I decided to find a way
in which I could get
you two back together --
in my loving arms.
(beat)
This whole thing has been A TEST.
A MILITARY EXERCISE.
And you both passed --
with FLYING COLORS.
(to April)
I had a hunch -- and I was right --
that if you took Abby under your wing,
she’d grow some balls.

CHERRY
My name is CHERRY, not Abby.

APRIL
You fucking SLEPT with me, you -- MONSTER.

SLEDGE
A momentary lapse, I’m afraid.
(beat)
You ARE the spitting image of your mother.

April LEAPS up.
SLAPS the window.

APRIL
What THE FUCK do you want from us?

SLEDGE
(strange smile)
What any father wants from
his darling daughters.
I’ve created a nice
little empire, you know.
I’d like you to come work with me --
and live with me.
(beat)
Imagine the possibilities.
(low)
Come to Poppa.

April POUNDS on the window.
Cherry watches, in shock.

APRIL
You’re the most depraved
human being I’ve ever MET.
We wouldn’t work for you if
you were the last person ON EARTH.
(beat)
Daddy.

CHERRY
YEAH. So why don’t you
go FUCK YOURSELF and DIE.

Crafton shakes his head slowly.

SLEDGE
I was hopping you wouldn’t say that.
Can’t blame a guy for trying.

He takes out his cell.
Mumbles something. Hangs up.

SLEDGE
My heart -- is broken.

The window shade CLOSES.
Water starts GUSHING down
from a row of pipes in the ceiling.

CHERRY
What the fuck?

APRIL
Stand back!

Tuesday, August 26, 2014

Give Violence A Chance


Happy Tuesday, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 32 of NOWHERE GIRL, long-lost twin sisters April Street and Cherry Nation arrive at black ops spook Sledge Crafton's secret lair ... inside the Capitol Records building in Hollywood. But first, they have to get through security ...


EXT. CAPITOL RECORDS BUILDING - MORNING
The famous cylindrical landmark
gleams in the morning light.

April and Cherry pull up
in a red Mini Cooper convertible.

INT. MINI COOPER - CONTINUOUS
April shuts off the engine.
They jump out of the car.

EXT. VINE STREET - CAPITOL RECORDS BUILDING - CONTINUOUS
April looks down at John Lennon’s
plaque on the Walk of Fame.

APRIL
Look.
Lennon’s star.

CHERRY
Hey.
Give Violence A Chance.

They walk to the front door.
It’s LOCKED.

Cherry peers in the window.
Sees a GUARD sitting at a desk.

CHERRY
I’ve got an idea.

She KNOCK-KNOCK-KNOCKS
on the glass.

THE GUARD
Looks up.
Shakes his head.
Mouths WE’RE NOT OPEN.

CHERRY
STOMPS her foot.
Shouts --

CHERRY
We’re here for the
RECORDING SESSION.

THE GUARD
Looks puzzled.
What recording session?

CHERRY
POUNDS on the glass.

CHERRY
MICHAEL JACKSON!
Hurry up and LET US IN.

THE GUARD
Walks over to the door.
Unlocks it.
Opens it a crack.

GUARD
Did you say MICHAEL JACKSON?

CHERRY
Yeah.
We’re background singers.
And we’re late.

GUARD
You’re full-a-shit.
There’s no recording here anymore.
And he’s DEAD.

CHERRY
EXACTLY.
Quincy Jones is mixing
some new tracks that
were just discovered.
That’s why he’s using
the basement studio.
You know how he is
about secrecy.

April KICKS the door
into the guard’s face, THWUNK.

He goes down.
She pushes it open.
Walks in. Cherry follows.

INT. CAPITOL RECORDS BUILDING - LOBBY - CONTINUOUS
April and Cherry drag the guard
over to his desk.

Prop him up in his chair.
Dash over to the elevator banks.
Push UP.

A SECURITY CAMERA
On the ceiling moves
in their direction.

INT. INTELLIGENCE OFFICE - LOBBY - AT THAT MOMENT
A FEMALE OPERATIVE (20’s) sits at a desk
in the lobby of Crafton’s suite
of offices watching video monitors.

She dials a number. Listens.

FEMALE OPERATIVE
Chief?
We’ve got company.

INTERCUT WITH:

INT. CRAFTON’S OFFICE - CONTINUOUS
Crafton WHIRLS his chair around.
Leans into his speakerphone.

SLEDGE
Who is it Donner, Street?

DONNER
Yeah.
And she’s got someone with her.
Some chick dressed like
a go-go girl.

SLEDGE
I had a feeling.
Put them in the interrogation room.
Tell them I’ll be right there.

DONNER
Yes, sir.

Sledge WHIRLS around
in his chair.

Faces a table behind his desk.
He leans over.

SNORTS a line of coke.
Then ANOTHER.

SLEDGE
(rubs his nose)
Alright, ladies -- it’s SHOWTIME.

INT. ELEVATOR - CONTINUOUS
April and Cherry arrive
at the top floor.

The doors OPEN.
They walk out into the corridor.

A LARGE METAL DOOR faces them.
No name. No number.

Just a small lit button
on a silver panel.

April pulls out her Sig Sauer.
Raises it.

APRIL
Ready?

Cherry pulls out her Glock.

CHERRY
Let’s do it.

April presses the button.
The door SLIDES OPEN --

Monday, August 25, 2014

There's No Place Like Hummer


Hey there, crime kids. Happy Monday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 31 of NOWHERE GIRL, Palestinian arms dealer Avi Abbas tries to flee the country, with disastrous results. Meanwhile, long-lost twin sisters April Street and Cherry Nation race to black ops spook Sledge Crafton's secret lair ...


INT./EXT. LIMOUSINE - MOVING - AT THAT MOMENT
Avi sits in the back as the limo
cruises south on the 405.

He pulls out his cell.
PUNCHES in a number.

AVI
Yeah, hi.
I’d like to reserve a ticket
on the next flight to Caracas --

A siren WHOOP-WHOOPS outside.

AVI (CONT’D)
What the fuck?

The driver’s window SLIDES DOWN.

DRIVER
I wasn’t speeding.

AVI
Goddammit.

EXT. 405 FREEWAY - LIMOUSINE - CONTINUOUS
The limo pulls over.
A MOTORCYCLE COP pulls up behind it.

Stops. Parks. The cop dismounts.
Walks over to the window.

DRIVER
What seems to be the problem, officer?

The cop pulls out his SERVICE REVOLVER
and SHOOTS him. BANG.

IN THE REAR
Avi hears the shot. JUMPS.

AVI
SHIT.

The cop appears in the divider.

AVI (CONT’D)
NO, WAIT!

And SHOOTS him. BANG.

EXT. HOLLYWOOD HILLS - DAWN
A beautiful sunrise.

FIRE TRUCKS and PATROL CARS
make their way up into the hills.
NEWS CHOPPERS fly overhead.

INT. BOMB SQUAD TRUCK - MOVING - CONTINUOUS
April punches in a number on her cell. Listens.

APRIL
Lark? You there?

INTERCUT WITH:

INT. CIA HEADQUARTERS - CUBICLE
Lark sits at her workstation,
blowing on her hundredth cup of coffee.
Dark circles under haunted eyes.

LARK
Barely.

APRIL
I need Crafton’s location.

LARK
I can’t --

APRIL
I thought this line was encrypted.

LARK
It is, but -- I can’t --

APRIL
Wait a minute.

LARK
What.

APRIL
You never sent back-up because
you’re working for him, AREN’T you.
You’re a fucking MOLE.
(beat)
My GOD am I STUPID.

A FIGURE IN BLACK SHADES
Appears at the end of the row of cubicles.

APRIL (CONT’D)
And you got Shag killed.

LARK
NO. That wasn’t -- my fault.

APRIL
Give me his location. NOW.

THE FIGURE
Starts walking toward Lark’s workstation.

APRIL (CONT’D)
You’re a disgrace to your flag.
You KNOW that? This is your chance
to prove that not ALL American agents
are corrupt.

LARK
Shag wasn’t corrupt!

APRIL
But you got him KILLED.

Lark GASPS. Her eyes fill with tears.

LARK
Crafton’s HQ is in the Capitol Records building.
He’s got the whole top floor.

The figure reaches Lark’s cubicle.
He raises a 9mm Baretta with a silencer,
and SHOOTS her in the head -- THWIP.

APRIL
Good girl, now you’re talking -- thanks.
(listens)
Lark?
(beat)
Lark?
(to Cherry)
She hung up.

She looks at Cherry, white as a ghost.

CHERRY
Shag’s DEAD?

APRIL
One of Crafton’s assassins.
I’m sorry, love.
I didn’t know how to tell you.
(beat)
I’m sorry.

CHERRY
Poor Shag. My god.
(beat)
He drove me crazy, you know?
But he meant well, he was --
such a great guy,
I don’t know what I’m gonna --
(beat)
SHIT, my KIDS.
Can I borrow your cell phone?

April hands it over.
Cherry PUNCHES in a number. Listens.

CHERRY (CONT’D)
Hello, Jamie? It’s mommy.
(listens)
I miss you, too.
I’m sorry I woke you --
(listens)
I’m so glad you’re having fun.
You love your Nanna, don’t you?
(listens)
I have good news.
I might be coming home
sooner than I thought.
(listens)
I love you, too.
Go back to sleep.

She clicks the phone shut. Relieved.

APRIL
Thank god for small miracles, huh?

CHERRY
Yeah.

The truck is RAMMED from behind.
They JERK in their seats.

CHERRY (CONT'D)
What the FUCK was that?

APRIL
(looks in rear view)
We’re being tailed --
(another BANG)
By a fucking HUMMER.

CHERRY
But this truck’s bigger than a Hummer.

APRIL
Exactly. Hold onto your tits.

April JAMS on the breaks -- SCREEEEECH.

EXT. SUNSET BOULEVARD - CONTINUOUS
The Hummer SMASHES
into the back of the truck.

IN THE TRUCK
April JAMS it into reverse --
and HITS THE GAS.

ON THE STREET
The truck starts PUSHING the Hummer backwards.
Cars HONK. SWERVE to get out of the way.

IN THE HUMMER
The DRIVER curses.
Pulls out an AUTOMATIC WEAPON.
Sticks it out the window. PUMPS it.

THE TRUCK
Gets SPRAYED with bullets.

IN THE TRUCK
April hands Cherry her Sig Sauer.

APRIL
Here ya go, love --
shoot his fucking nuts off.

CHERRY
MOTHER-FUCKER.

Cherry takes the gun.
Opens her window. Leans out.

Starts FIRING at the Hummer.
SPRAYS it with bullets.

THE DRIVER OF THE HUMMER
Aims for the truck’s rear tires.

Gets the left. BANG.
Then the right. BANG.

IN THE TRUCK
April SWERVES the wheel.

APRIL
He’s shooting our TIRES. Get HIS!

CHERRY
Leans further out the window.
SPRAYS bullets on the Hummer’s front tires.

THE HUMMER
Swerves.

THE TRUCK AND THE HUMMER
Reach an intersection.

The truck’s wheels SCREECH on their rims,
PUSHING the Hummer into ONCOMING TRAFFIC.

A CITY BUS
SMASHES into the Hummer -- BANG. Bye-bye.

IN THE TRUCK
April pulls the truck over to the curb.
Looks at Cherry.

APRIL (CONT’D)
Nice shooting.

CHERRY
Nice driving.

APRIL
You okay?

CHERRY
Well, since you asked --
I feel like I’m gonna puke.
(realizes, turns her head)
Peeler? You back there? You okay?

Cherry swivels in her seat.
Looks in the rear.

THE BACK DOOR
Is open. The compartment is empty.

CHERRY (CONT’D)
He’s gone. Story of my life.

APRIL
Welcome to the world of espionage.
The Spy Who Left Me.
(beat)
C’mon, we gotta get new wheels --

Friday, August 22, 2014

Collateral Damage


Hey there, crime kids. Happy Friday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 30 of NOWHERE GIRL, after discovering that deep stealth Interpol agent April Street and exotic dancer Cherry Nation are long-lost twin sisters, they team up and escape the terrorist's lair ... just as the bomb explodes ...


EXT. HOLLYWOOD HILLS MANSION - NIGHT
Two Feds in protective gear
with helmets stand in front of
a bomb squad truck.

They start walking toward
Cherry and April.

APRIL
(whispers)
I don’t trust them.

CHERRY
Let’s kick their ass.

INT. CIA HEADQUARTERS - CUBICLE - NIGHT
Lark takes a sip
of her water bottle.

Touches her headset.

LARK
But I don’t understand.
You WANT it to go off?
But what about -- collateral damage?

INTERCUT WITH:

INT. INTELLIGENCE OFFICE - NIGHT
Sledge Crafton stands at the bar.
Mixing a cocktail.
Speaking on his hands-free.

SLEDGE
Too many people know.
It’s a big mess.
Better to start again
with a clean slate.
And it’s not a real nuke,
it’s an old Russian
piece of shit pipe bomb
with a timer, that’s all.
We’ll find some patsy
and nail it on them,
like we did in Oklahoma City.

He leans down over the bar.
SNORTS a line of coke.

LARK
But what about April Street --
and the other girl?

SLEDGE
They’re being evacuated.
I have special plans for THEM.
(beat)
Don’t tell me you're
getting soft on me.
You’re one of the
best moles I’ve ever had.
I’d hate to have to
retire you, too.

LARK
But what about the
agents on-site?

SLEDGE
They don’t know
the bomb is live.
(beat)
Like you said,
collateral damage.

INT. BOMB SQUAD TRUCK - NIGHT -
Cherry and April wear
bomb squad gear with helmets.

April GUNS the engine.
The vehicle starts moving.

CHERRY
Go, go, go --

APRIL
We’re OUTTA HERE.

EXT. QUEENS ROAD - NIGHT - CONTINUOUS
The truck ROARS down the road.

INT. BOMB SQUAD TRUCK - CONTINUOUS
April shakes her head slowly.
Thinking.

APRIL
Something’s not right.
They were acting like they
WANTED the nuke to go off.
(beat)
Unless they weren’t told
it was live.

CHERRY
Why would the agency do that?

APRIL
I don’t know, unless --

An earth-shattering EXPLOSION
rocks the truck.
April stops.

She and Cherry poke their
heads out their windows, look.

A MASSIVE FIREBALL ERUPTS
in the sky.

THE TRUCK
Continues on down Queens Road.

APRIL
That was no nuke.
Crafton was ripping
off the terrorists.
Why am I not surprised?

CHERRY
So where are we going?

APRIL
We’re gonna pay him
a little visit.

CHERRY
(turns her head)
Hey.
You okay back there?

PEELER
Sticks his head out
from the rear.

PEELER
Well, let’s see.
I’ve lost a lot of blood,
I’m dizzy from hunger,
and I just shit my pants.
I’m having a ball.

Thursday, August 21, 2014

The Spy Who Fucked Me


Happy Thursday, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 29 of NOWHERE GIRL, former Special Forces op Renny Quick tries to diffuse the suitcase nuke, but the shit hits the fan when Interpol agent April Street and Federal marshals burst onto the scene ...


INT. HOLLYWOOD HILLS MANSION - LIVING ROOM - NIGHT
Hamad looks at Cherry. At Kamal. Then Renny.

HAMAD
And how am I supposed to believe you?

RENNY
Well, we can go back and forth
like this while the clock is ticking --
or you can take a chance on
saving your fucking lives.
Your choice, Bin Laden.

HAMAD
WHAT did you call me?

RENNY
You heard me, you fucking terrorist.
You think you can just waltz
into our country and buy a NUKE?

HAMAD
It was your CORRUPT GOVERNMENT
that SOLD it to us, IMBECILE.

CHERRY
SHUT UP, both of you.
While you’re playing
who’s dick is bigger --
we’re running out of TIME.

EXT. MANSION - FRONT YARD - NIGHT
Peeler sits on the ground.
April looks in the window.

APRIL
I’m going in. You stay put.

PEELER
Sure thing. I’ll just sit here
and watch my life flash before my eyes.

INT. MANSION - LIVING ROOM - AT THAT MOMENT
Renny opens the case.
Studies the bomb.
Scratches his chin.

CHERRY
Well, what are you waiting for?

RENNY
I haven’t done this in -- ten years.

CHERRY
What?

RENNY
Chill out.
It’s all about shutting off the power.
Wiring is wiring.
(beat)
I’m gonna need pliers,
or a pair of scissors,
something like that.

Hamad looks at the guards,
who are now conscious.

HAMAD
You. Go look in the kitchen.

They RACE OFF.

RENNY
(looking at the wiring)
The red and the blue -- or the yellow --

FEMALE VOICE (O.C.)
Homeland Security! Nobody MOVE.

APRIL
Walks into the room.
Automatic weapon trained on Renny.

APRIL
(to Renny)
Put your hands in the air
and step away from the device.

CHERRY
He’s DISARMING the device, bitch.

APRIL
Who you calling a bitch?

HAMAD
(looks at them)
Are you two -- sisters?

KAMAL
They look a lot alike.

RENNY
Will everyone please SHUT UP?
I’m trying to CONCENTRATE here.

Renny pulls out another pair of wires.
Wipes his forehead.

CLOSE ON:
The LCD reads 4:15.

APRIL
(to Cherry)
Where were you born?

CHERRY
In the UK. I was adopted.
My parents moved here I was four.

APRIL
I was adopted when I was four.
(beat)
I had a sister -- but they only took me.

CHERRY
I had a sister, too -- but --

APRIL CHERRY
Holy SHIT. Holy SHIT.

APRIL
That explains --

CHERRY
Why we --

APRIL CHERRY
Omigod. Omigod.

APRIL
THAT’S why I hate your guts.

CHERRY
And that’s why I hate YOURS.
(beat)
My sister, the spy.

APRIL
My sister, the --
(appraises her outfit)
Stripper?

CHERRY
Exotic dancer. Soon to be former.

The girls are GRABBED FROM BEHIND.
Saad has Cherry in a choke-hold.

Mohammed THROWS April to the floor.
Straddles her.

Both aims Uzis at their heads.

SAAD
Don’t move or I’LL SHOOT.

MOHAMMED
Go ahead. Give me REASON.

HAMAD
American women TALK TO MUCH.
Take them downstairs and shoot them.

MALE VOICE (O.C.)
Federal Marshall!
Put your HANDS IN THE AIR!

AN OPERATIVE
In bomb squad gear comes into the room,
assault rifle aloft.

CLOSE ON:
The LCD reads 3:45.

RENNY
Looks at the Fed.

RENNY
Don’t shoot! This is a nuclear device.

OPERATIVE
Step away from case. NOW.

SAAD
Put your gun down or I shoot THE WOMAN!

MOHAMMED
Put down or we SHOOT!

The Fed SHOOTS Renny.
BANG-BANG-BANG.
He HITS the floor.

CHERRY
Hey!

APRIL
What are you DOING?
He was DISARMING IT.

Two more FEDS in bomb squad gear
BURST IN from the kitchen
and start SHOOTING.

Saad’s and Mohammed’s heads EXPLODE.

LARGE FED
Ladies, outside, NOW.

April and Cherry exchange glances.

CHERRY
What’s going on here?

APRIL
They WANT the nuke to go off?

LARGE FED
I said NOW.

Cherry GRABS the case with the money,
and they start RUNNING.

CLOSE ON:
The LCD reads 2:25.

Wednesday, August 20, 2014

Cash And Carry


Hey there, crime kids. Happy Hump Day. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 28 of NOWHERE GIRL, the shit hits in the fan when exotic dancer Cherry Nation delivers the suitcase nuke to the terrorists in exchange for a million bucks, but when they discover the bomb has been activated, all hell breaks loose ...


INT. MANSION - LIVING ROOM - CONTINUOUS
Kamal leads Cherry into the room,
where Hamad, the guards and Renny
are watching a ball game
on the flat screen.

KAMAL
Hamad.
Our package has arrived.

Hamad looks. Smiles.
Gets up. Walks over to them.

HAMAD
Very good. Excellent.
(gestures at the case)
May I?

CHERRY
You have the money?

RENNY
Sits in his chair
watching the game.

Behind his back, we can see
him loosening his ropes.

HAMAD
Cocks an eyebrow.
Nods. Looks at Kamal.

HAMAD
Give her the money.

Kamal nods.
Walks over to a table.

Grabs an attache case.
Brings it over.

Sets it down on a chair
near Cherry and Hamad.

Flips open the lid to
reveal it’s STUFFED WITH CASH.

KAMAL
One million dollars.
As promised.

Cherry’s eyes BUG.
She’s never seen that much money.

In a daze, she hands
Hamad the briefcase.
He takes it.

Sets it down. Opens it.
Sees the LCD DISPLAY.

HAMAD
It’s been ACTIVATED.
WHAT HAVE YOU DONE?

The next few moments happen
in a BLUR OF SPEED --

RENNY’S
Ropes FLY OFF.
He GRABS the guards by their heads
and CRACKS them together.

SNATCHES their weapons.
SMACKS one on the head, THUMP --
then the other, THWACK.

They GO DOWN.

CHERRY
GRABS the money.

HAMAD
GRABS Cherry.
Points his gun at her head. CLICK.

KAMAL
Points his gun at Renny. CLICK.

HAMAD
(to Cherry)
What THE FUCK is going on here?
Is he with you?

CHERRY
Hell, no!
(to Renny)
Don’t shoot!
I’m with the government!

She WHIPS out her gun.
Points it at the case.

CHERRY
(to Hamad)
Let me the fuck go,
or else I’ll blow us all
to kingdom come.

Hamad releases her.
Looks around.
What THE FUCK.

RENNY
That’s really a -- n-nuke?

HAMAD
YES.
And it’s going to go off
in NINE MINUTES.

Renny’s eyes dart
back and forth.
He licks his lips.

RENNY
I used to be Special Forces.
I think I can disarm it.

CHERRY
You THINK you can disarm it?

RENNY
Well, it’s been a few years --

EXT. MANSION - FRONT YARD - NIGHT - AT THAT MOMENT
Peeler watches the action
through the window. Panicked.

PEELER
This doesn’t look good.

FEMALE VOICE (O.C.)
That’s the tricky part
about being a Peeping Tom.

APRIL
Steps into view.
Aiming her Sig Sauer.

PEELER
Oh, h-hi.
I’m with Cherry,
the girl with the nuke, remember?

APRIL
Of course -- you’re the guy
that fucking handcuffed me.

PEELER
Sorry about that.
Listen, some serious shit
is about to go down.
Cherry is in there
trying to do the deal --
and the nuke has been,
like -- ACTIVATED.
We’ve got, like -- I dunno,
nine, ten minutes?

APRIL
WHAT?

She touches her hands-free.
Speaks into it.

APRIL
You get all that?

INTERCUT WITH:

INT. CIA HEADQUARTERS - CUBICLE - CONTINUOUS
Lark sits at her desk.
CHOKES on her coffee.

LARK
Yeah.
Hold tight,
I’m going to send every
agent we have in the area --

Tuesday, August 19, 2014

Ground Hero


Happy Tuesday, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 27 of NOWHERE GIRL, Homeland Security agent April Street reveals to CIA handler Lark Sommers that she's really working for Interpol, and is trying to bring down the black ops rogue off-shoot C-6 that her boss Sledge Crafton works for. Meanwhile, stripper with a suitcase nuke Cherry Nation finally delivers 'the package' to the terrorists in the Hollywood Hills ...


EXT. HOLLYWOOD HILLS - QUEENS ROAD - NIGHT
April JOGS up the hill,
talking on her hands-free.

APRIL
You can send backup --
I’m not C-6!

INTERCUT WITH:

INT. CIA HEADQUARTERS - CUBICLE - CONTINUOUS
Lark watches April’s progress
on her monitor as it nears
the location of the nuke.

LARK
I know that.
Shag said you were Homeland Security.

APRIL
No, that was the cover C-6 gave me.
I’m a MOLE -- I’m Interpol --
I’m gonna bring down C-6,
the terrorist cell, AND Avi Abbas.
NOW, given how things have progressed,
I’d love a little help at this point.

LARK
Why didn’t Interpol ask for
our help in the first place?

APRIL
Don’t take this personally,
but The Company doesn’t have
the greatest reputation in
the global intelligence community
since nine-eleven.
I mean -- your BOSS told you
not to interfere with C-6.

LARK
I -- see what you mean.

APRIL
C-6 is totally rogue --
their ops are for profit.
They broker arms deals
around the world.
Remember the CONTRAS?
They’ll sell to anybody --
rebels in Darfur,
revolutionaries in Somalia,
the Tibetan Army --
state of the art weaponry,
sold to the highest bidder.
(beat)
Kinda like Ebay.

A MESSAGE BOX
Pops up on Lark’s monitor.

LARK’S
Fingers fly across the keyboard.

LARK
April, we’ve got a
situation in Israel.
I gotta call you back.

Lark hangs up.
April stops running.
Taps her headpiece.

APRIL
What? Hello? You there?
(beat)
What about my BACK-UP?

EXT. HOLLYWOOD HILLS MANSION - NIGHT - AT THAT MOMENT
Cherry and Peeler are at the front door.

CHERRY
Go hide in the bushes over there
by the window and watch.
If something goes wrong, call 911.

PEELER
Okay.
Better hide your gun.

CHERRY
Shit, yeah.

She tucks it in her skirt waistband
in the small of her back.

PEELER
So, uh -- in case anything -- happens,
I just want you to know that,
despite all this scary shit --
I’ve had the best time
I’ve ever had tonight.

Cherry’s touched.
She kisses him on the cheek.

CHERRY
Me, too.
Now go, scoot --
we gotta save the world.
(beat)
And then maybe grab some breakfast.

He nods, limps off into the bushes.
Cherry RINGS the bell.

CHERRY
Here goes nothing.

The door OPENS.
It’s Kamal.

He sees the case.
Big smile.

KAMAL
Greetings.
We’ve been expecting you.

CHERRY
Sorry for the delay.

KAMAL
Not to worry.
Please, come in.

INT. MANSION - FOYER - CONTINUOUS
Kamal leads Cherry
toward the living room.

CHERRY
(looking around)
This place is -- amazing.

KAMAL
Vulgar American conspicuous consumption.
(beat)
Can’t wait to blow it up --