Thursday, April 28, 2011
Give Violence A Chance
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, Homeland Security agent April Street and exotic dancer Cherry Nation head over to evil criminal mastermind Sledge Crafton's secret lair, hidden above the Capitol Records building, right in the heart of Hollywood ...
INT. BOMB SQUAD TRUCK - NIGHT
The truck is RAMMED from behind.
They JERK in their seats.
What the FUCK was that?
(looks in rear view)
We’re being tailed --
By a fucking HUMMER.
But this truck’s bigger than a Hummer.
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.
Gets SPRAYED with bullets.
IN THE TRUCK
April hands Cherry her Sig Sauer.
Here ya go, love --
shoot his fucking nuts off.
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.
He’s shooting our TIRES. Get HIS!
Leans further out the window.
SPRAYS bullets on the Hummer’s front tires.
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.
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.
He’s gone. Story of my life.
Welcome to the world of espionage.
The Spy Who Left Me.
C’mon, we gotta get new wheels.
EXT. CAPITOL RECORDS BUILDING - MORNING
The famous circular 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 - NIGHT
April looks down at John Lennon’s plaque
on the Walk of Fame.
Look. Lennon’s star.
Hey. Give Violence A Chance.
They walk to the front door.
Cherry peers in the window.
Sees a GUARD sitting at a desk.
I’ve got an idea.
She KNOCK-KNOCK-KNOCKS on the glass.
Looks up. Shakes his head.
Mouths WE’RE NOT OPEN.
STOMPS her foot. Shouts --
We’re here for the RECORDING SESSION.
Looks puzzled. What recording session?
POUNDS on the glass.
MICHAEL JACKSON! Hurry up and LET US IN.
Walks over to the door.
Unlocks it. Opens it a crack.
Did you say MICHAEL JACKSON?
Yeah. We’re background singers.
And we’re late.
There’s no recording here anymore.
And he’s DEAD.
EXACTLY. Quincy Jones is
mixing Michael’s final tracks.
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.
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.
Chief? We’ve got company.
INT. CRAFTON’S OFFICE - CONTINUOUS
Crafton WHIRLS his chair around.
Leans into his speakerphone.
Who is it Donner, Street?
Yeah. And she’s got someone with her.
Some chick dressed like a go-go girl.
I had a feeling.
Put them in the interrogation room.
Tell them I’ll be right there.
Sledge WHIRLS around in his chair.
Faces a table behind his desk.
He leans over. SNORTS a line of coke.
(rubs his nose)
Alright, ladies -- it’s SHOWTIME.