Give Violence A Chance

Happy Friday, crime scenesters. Are you a smooth criminal? Or are you more the down and dirty, scuzzball kinda thug that likes to smash a few skulls ... and kick some ass. Well, either way, you're in the right place ... when you hook up with NOWHERE GIRL ...

No movie last night. Big doings in the house of love. Gotta phone call from this A-list producer who wants me to work on something for him. Nice. Then had to call the manager to bring him up to speed. Can you say 'totally stoked?' Can't give you any details yet ... I'm sworn to secrecy ... but let's just say this is gonna big. And nasty. And more than a little violent. With a message, of course. Sign me up. Two Glocks WAY up ... my ass.

Onto today's joint from NOWHERE GIRL ... and we're leading up the final showdown, folks ... because Cherry Nation and April Street are about to go head-to-head with the evil, criminal mastermind ... known as Sledge Crafton ...

EXT. CAPITOL RECORDS BUILDING - DAWN
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 - 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 (CONT'D)
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 (CONT’D)
We’re here for the RECORDING SESSION.

THE GUARD
Looks puzzled.
What recording session?

CHERRY
POUNDS on the glass.

CHERRY (CONT’D)
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 his 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.
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.