Based on a novel
Looks fuckin' cold out there.
EXT. VESUVIO'S RESTAURANT – MIAMI DAY
It is cold. People walk by hugging themselves, pulling up
their collars, etc.
INT. VESUVIO'S RESTAURANT – SAME TIME
CHILI PALMER, late thirties, sits in a booth with TOMMY CARLO,
a low level mob type. Chili smokes a cigarette, stares out
the window at the people on the street.
Guy on the radio said it's gonna get
down to thirty-four.
Chili watches a woman on the sidewalk pause to tighten the
scarf around her neck. She looks in the window, sees Chili
Thirty-four -– that's freezing, for
Yo, Chili, you're spacin'.
Chili turns and studies Tommy a moment, then...
They're closing the Granview. You
know, theater down on Biscayne?
Yeah, the guy owes Momo a few G's.
What I'm thinkin' is maybe Momo could
Tommy looks at him.
Momo could buy it, I could run it
for him. Show some Cagney films.
What's Momo gonna want with an old
place, shows old movies people don't
care about no more. Outside of maybe
turnin' it into a porno house, I
don't think he's gonna give much of
a fuck. And you already got a job.
Chili looks back out the window again.
We hear LAUGHTER OFF SCREEN and then FOCUS on the window so
that Chili can now see a GROUP OF MEN reflected there, sitting
at a table nearby. We hear MORE LAUGHTER and now Chili turns
and looks over at...
RAY "BONES" BARBONI
Mob guy: tall, loud suit with lots of jewelry. As he gets up
from the table, the other men around the table follow his
lead as he finishes up some jokes.
...so the guy says, I'm not the
tailor, I'm the undertaker.
The men laugh again, more out of respect than appreciation.
Ray Bones turns, sees...
Chili and Tommy sitting in their booth. Tommy, sucking on a
Ray. How you doing?
Okay, Tommy. You?
Bones focuses on Chili, waits for acknowledgement. But Chili
turns back to the window. Always the peacemaker, Tommy smiles
at Bones again...
You believe this weather, Ray? Miami
Beach, for Christ's sake.
Chilly outside. Chili inside. It's a
regular fuckin' chili-fest. Hey,
waiter -– give Mr. Chili Pepper a
big fuckin' bowl of chili!
Again the men all laugh respectfully at Ray Bone's stupid
Chili smiles the best he can at the idiot...
Good to see you, Ray.
He turns back to the window, watches Ray Bones in the
reflection, still cracking up as he and his men head for the
front of the restaurant. Tommy looks at Chili for a moment,
then stands up...
You done starin' out the window,
I'll see you back at the office.
Chili nods, but still doesn't turn from the window. He merely
watches in the glass as Tommy turns up his collar and steps
out into the cold Miami day.
Jesus. It's freezin'!
Chili then puts out the cigarette, nods to the waiter who
comes over with the check.
INT. RESTAURANT COATROOM – A FEW MINUTES LATER
From inside the tiny room. A couple of ratty rain coats and
an old flight jacket hang to one side in immediate foreground
as Chili steps into the doorway and freezes. He looks o.s.
A moment later the MANAGER, an old Italian guy in a black
suit, joins him in the doorway.
What happened to my coat?
The Manager peers into the room...
It's not one of these?
You see a black leather jacket,
fingertip length, like the one Pacino
wore in Serpico? You don't, you owe
me three seventy-nine.
Maybe you don't see my sign?
The manager points to a sign on the wall: "WE CANNOT BE
RESPONSIBLE FOR LOST ARTICLES"
Look, I didn't come down to sunny
Florida to freeze my ass. You follow
me? You get the coat back or you
give me the three seventy-nine my ex-
wife paid for it at Alexander's.
The Manager looks OFF SCREEN, and begins speaking in Italian.
Chili reacts as we hear the name RAY BARBONI mentioned a
couple of times.
Explain to him how Mr. Barboni borrow
A WAITER joins Chili and the Manager in the doorway.
Ray Bones took my coat? Just now?
He didn't take it. He borrow it.
See, someone took his coat, you
...leave this old one. So Mr. Barboni,
he put on this other coat that fit
him pretty good.
You mean my coat.
He was wearing it, you know, to go
home. He wasn't gonna keep it.
My car keys were in that coat.
We call you a taxi.
Lemme get this straight. You aren't
responsible for any lost articles
like an expensive coat of mine, but
you're gonna find Ray Bones' coat or
get him a new one? Is that what you're
Mr. Barboni is a good customer.
(making sure to add)
Works for Jimmy Capp.
I know who he works for. Where's
INT. TOMMY CARLO'S CAR – DAY
Tommy drives. Chili stares straight ahead, rubs his hands
together, tries to stay warm...
You sure it was Ray Bones took the
That's what the guy said.
Tomorrow, I see on the TV weather,
it's gonna be nice and warm. You
won't need the coat.
Chili points out the window.
This is it.
EXT. VICTOR HOTEL – DAY
As Tommy pulls up out front.
INT. CAR – SAME TIME
Tommy looks up at the hotel as Chili takes a pair of leather
gloves from top of the dash, opens the door.
Tommy looks over at him.
Get your coat, but don't piss the
guy off, okay? It could get
complicated and we'd have to call
Momo to straighten it out. Then Momo
gets pissed for wasting his time and
we don't need that.
Don't worry about it. I won't say
any more than I have to, if that.
EXT. STAIRS – DAY
Chili pulls on the gloves as he goes up the stairs to the
EXT. DOOR – DAY
As Chili knocks on the door three times. He waits, pulls the
right-hand glove on tight, so that when RAY BONES opens the
door, Chili nails him. One punch. No need to throw the left.
Jesus... Oh, God...
Chili then steps over him into the room and grabs his coat
from a chair. He looks over at Ray Bones bent over, blood
running from his nose and mouth, blood all over his hands,
Chili walks out. Doesn't say one word to Ray Bones.
EXT. BARBER SHOP – DAY
A warmer day. The sun is shining. All is quiet.
INT. BARBER SHOP – SAME TIME
The place is empty except for FRED and ED, the two old barbers
sitting in the chairs, reading newspapers.
You been there, haven't you?
INT. BARBER SHOP BACKROOM – SAME TIME
A room Tommy and Chili use as an office. Chili sits at the
desk making entries in the collection book. We can hear the
two old barbers talking OFF SCREEN...
Paris? Yeah, I been there plenty
times. It's right offa Seventy-nine.
Hell it is. It's on Sixty-eight.
Seventeen miles from Lexington.
What're you talking about, Paris,
Kentucky, or Paris, Tennessee?
Silence. No answer to the question. Chili look up from the
collection book, listens a moment to nothing.
He opens the desk drawer and pulls out a .38. He aims the
gun at the open doorway...
OVER CHILI'S SHOULDER
As Ray Bones, a bandage on his nose, appears in the back
hall, then the doorway to the office, his face showing
surprise to see a gun aimed at him...
Ray Bones begins firing the big Colt auto in his hand, maybe
before he's ready, the gun making an awful racket, when Chili
pulls the trigger, shooting Ray Bones along the top of his
head, creasing him from hairline to crown.
Chili calmly gets to his feet. Aims once more -– probably
lower this time -– but doesn't fire as Ray Bones grabs his
head and stumbles out of there.
RAY BONES (O.S.)
Somebody call 9 fucking 11.
EXT. MIAMI HARBOR – DAY
Ray Bones, a bandage on his head now as well as his nose,
sits on a cigarette boat with his boss, JIMMY CAP and two
bikini clad BABES, both of whom rub lotion on Jimmy.
Whatta you want me to do Ray? Go to
war over a fuckin coat? You're lucky
the guy didn't kill you. The coat
was a Christmas present for Christ's
You gotta do somethin', Jimmy. This
man's got no respect for us.
He's got no respect for you, and I
don't gotta do shit. Chili Palmer
don't work for me, he works for Momo
up in Brooklyn. So as long as Momo's
around, nothing happens to Chili
Palmer. You understand?
As an angry Ray Bones sits back, we...
FADE TO BLACK:
EXT. BROOKLYN STREET – NIGHT
We TILT DOWN to REVEAL a dark Brooklyn street as a black
Cadillac pulls to a stop in front of an older building.
Momo. We're here.
Two big guys, BODYGUARDS, get out of the car. One of them
opens the back door for a huge man, MOMO, who gets out of
the car and looks up at the dark building...
You check this place out good? If
I'm going up alone, I don't want no
I checked it out, boss.
INT. BROOKLYN TENEMENT BUILDING – NIGHT
Momo eyes the bodyguards -– both nervous -– then starts up
the steps. We follow Momo as he enters the building, goes up
the dark stairwell... up one flight... we're behind him the
When he gets to the top floor, Momo pauses to catch his
breath, before moving on down the hall to a door. Momo knocks.
Momo slowly opens the door... when, suddenly, the apartment
is FLOODED WITH LIGHT so that we see a room full of PEOPLE,
a banner on the back wall reading "HAPPY SIXTY-FIFTH, MOMO!"
Silence as Momo drops to his knees, gurgles something we
can't understand and falls over. Suddenly a dozen faces are
looking down on us as we then...
EXT. BARBER SHOP – DAY
A beautiful day in Miami.
So what're you tellin' me, you're
never gonna go to sleep again?
INT. BARBER SHOP – DAY
Chili and Tommy each sit in a barber chair, reading the
newspaper while Fred and Ed sit nearby playing checkers.
No, I said I'm never goin' to bed.
There's a difference. See, the article
says most people die in their beds.
I figure long as I stay outta bed,
That's the dumbest thing I ever heard.
Where do you sleep?
In an armchair. Or I go to a coffee
shop, sleep there. Sit in a booth,
pull my hat down.
A car pulls up. Chili's no longer listening to Tommy, but
now watching as Ray Bones and a BLACK GUY get out of the
How many people you hear ever die in
a coffee shop?
Tommy looks over as Ray Bones -– smaller bandage on the top
of his head -– and his man enter the shop.
You cut straight hair in this place,
or just fags?
Hey, Bones, looks like you're gonna
have a nice scar up there. Maybe
these guys can fit you with a rug,
cover it up for ya.
Ray Bones eyes Chili, then nods to Fred and Ed.
Why don't you geezers take your game
over to the park.
The two guys leave as the Black Guy steps up to Chili...
This man is the man, you understand
what I'm saying? He's Mr. Bones, you
speak to him from now on.
Chili exchanges a look with Tommy, watches as 'Mr. Bones'
goes down the hall into the back office, then turns to the
You can do better'n him.
Not these days. Not less you can
Ray Bones comes out with the collection book open, looking
at all of the names of who owes what.
You got a miss. Leo Devoe. Guy's six
How'd you know he died, he tell you?
Ray Bones checks his man to get some appreciation, but the
guy's too busy looking at the hair rinses and shit on the
Yeah, he told me.
Yeah, Ray, he personally told me he
got killed in that Get Away Airlines'
jet went down last month.
What Get Away jet?
It was in the Herald.
Yeah, well, maybe the guy took out
flight insurance. Check with the
Hey, it's your book now. You want to
check it out, go ahead. He's got a
dry cleaning business out on Federal
Tommy gives Chili a look as the Black Guy comes over to Chili,
stands next to him. Ray Bones steps over to Chili...
Momo's dead. Which means anything
was his now belongs to Jimmy Capp,
Tommy watches as the Black Guy picks up a pair of scissors,
runs his hand along the edge...
Which also means when I speak, I'm
speakin' for Jimmy. So e.g. as of
now, you start affording me the proper
'E.g.' means 'for example', Ray. I
think what you wanna say is 'i.e.'
Bullshit. E.g. is short for 'ergo'.
Ask your man here.
Ray Bones looks at the Black Guy.
Best a my knowledge, e.g. means 'for
E.g., i.e., fuck you. The point is,
I say jump, you say okay. Okay?
Yeah, Ray. Okay.
Ray Bones then nods to his man who grabs Chili, holds the
point of the scissors to Chili's throat...
You owe me the dry cleaner's fifteen
grand plus the juice which is what
Twenty seven hundred.
Exactly. You either get it from the
wife or out of your own pocket, I
don't give a fuck. You don't ever
hand me a book with a miss in it.
Ray throws the book at Chili and walks out, his man right
behind him. Chili looks over at Tommy.
I told you not to -–
Don't say a fuckin' word.
EXT. FAY DEVOE'S BACKYARD – DUSK
Where Chili sits with FAY DEVOE -– thirties, attractive, in
a sundress -– on her patio. They each have a drink...
I hate the dry cleaning business. I
hate being inside all day, around
all those machines.
Must be hot.
You have no idea how hot it is.
She looks at him. Touches her drink to the side of her face.
Chili finishes his drink, sets it down.
I was wondering, Fay, if Leo had any
I don't know of any.
They sit there in silence a moment. Fay reaches over, puts a
hand on his leg...
I trust you, Chili. I think you're a
decent type of man, even if you are
Thank you Fay.
She finally looks at Chili...
I wish he really was dead, the son
of a bitch.
EXT. LAS VEGAS – NIGHT
The strip. Mesas Casino.
CLOSE UP OF PHOTOGRAPH
Leo Devoe. Standing with Fay at Epcot Center.
That's him all right.
PULL BACK TO REVEAL...
INT. DICK ALLEN'S OFFICE – NIGHT
A sign on the door reads "DICK ALLEN, CUSTOMER RELATIONS." A
bank of video monitors show the floor of the casino. Chili
sits across the desk from DICK ALLEN – lots of jewelry, a
giant NEON COWGIRL out the window behind him.
Called himself Larry DeMille. Hit on
every showgirl in town. Would tell
'em he was the 'Martinizing King of
Miami'. What a moron.
He returns the snapshot to Chili.
Anyway, you want this guy, he's in
L.A. We put him on a flight after he
spanked one a my cocktail girls in
the Keno room.
Leo spanked a waitress?
Apparently, way it went, he invited
her to come to Santa Anita to play
the ponies with him. She told him
what to do with that and he gave her
one on the tush. My guess, he's by
his lonesome at the track right now.
Hey, Chil? Since you're goin' out to
What've you got?
Guy owes us a hundred and fifty grand,
sixty days over; a movie producer.
Movie producer? Yeah, why not.
As Dick Allen reaches for a pad of paper, we hear THE SOUND
OF AN AIRPLANE OVER...
EXT. LAX RENTAL CAR LOT – NIGHT
It's raining as we TILT DOWN from a LANDING AIRPLANE to a
National Car Rental BUS arriving next to a tan MINIVAN. Chili
eyes the car a moment, then turns to the driver.
What is this?
An Oldsmobile Silhouette.
I reserved a Cadillac.
Yeah, well, this one's the Cadillac
You're kidding me, right?
Hey, you want La Tierra Rent-A-Car
just over there, but I think all
they got are Rabbit convertibles.
Chili gives the driver a look then gets out of the bus,
standing there in the rain, his seat getting wet, nowhere to
go. He turns and stares at the minivan...
EXT. KAREN FLORES' HOUSE – NIGHT
All the lights are out, save the BLUE GLOW of a television
coming from one of the downstairs rooms...
INT. KAREN FLORES' BEDROOM – NIGHT
As KAREN FLORES, pretty, endowed, sits up in bed wearing a
Lakers T-shirt, nothing else. She looks at the big shape
lying under the covers beside her.
The shape doesn't move. She shakes it.
Harry, God damn it, somebody's
The shape stirs, rolls over, and we see HARRY ZIMM, balding,
overweight; a movie producer. He sits up.
Be quiet and listen.
I don't hear anything.
We hear VOICES downstairs.
Shhh -– there.
And now LAUGHTER...
Sounds like the television.
She looks at him...
When I came upstairs, you stayed to
finish your drink. I told you to
turn off the TV when you were through.
Come to think of it, I also told you
you could sleep in the maid's room.
Yeah, well I turned off the set. I
used the remote control thing and
laid it on the floor. You know what
could've happened? The dog came in
and stepped on it, turned the TV
I don't have a dog.
You don't? What happened to Muff?
Harry, are you going down, or you
want me to?
He grunts, gets out of bed. Starts looking around the room
for his clothes. Harry looks out the window...
Anyone skim the pool? It needs it.
INT. HALLWAY – SAME TIME
The MONOTONE VOICES become louder and more distinct as Harry
moves down the curved staircase in his shirt and boxer shorts.
One of the voices is familiar...
We can see this is a nice place as Harry crosses the entry
hall to a doorway, the FLICKERING LIGHT of the television
emitting from inside the room.
Harry listens at the door. Yeah, it's David Letterman.
INT. KAREN'S STUDY – SAME TIME
Harry moves into the glow of the big Sony, the rest of the
room dark. On the tube, Dave is interviewing actor Martin
Weir when suddenly the screen goes black and the desk lamp
comes on. Harry jumps...
Chili leans into the light, keeps his tone quiet, controlled.
Harry Zimm, how you doing? I'm Chili
Harry presses a hand against his chest.
Jesus, if I have a heart attack, I
hope you know what to do.
Where you been, Harry?
Harry lets his hand slide down over his belly, taking his
time, wanting to show that he has it together now.
Have we met? I don't recall.
We just did. I told you my name's
Harry stares back, trying to figure out who this guy is.
You're in pictures, right?
Chili smiles. Doesn't say anything.
Did you stop to think what if I had
a heart attack?
You look okay to me, Harry. Come
over here and sit down. Tell me what
you been up to.
Harry takes one of the canvas director's chairs by the desk.
He looks at a bottle of Dewars sitting there, runs a hand
through his hair, thinks about a drink...
Harry, look at me.
Harry brings his hand down.
I'm looking at you.
I want you to keep looking right
That's what I'm doing.
You know Dick Allen, Mesa's Casino?
Dick Allen's a very dear friend of
mine. How far you want to go with
We're there, Harry. You signed markers
for a hundred and a half, you're
over sixty days past due and you
haven't told anybody what the problem
Harry looks at Chili.
Jesus Christ, what're you, a collector
for a fucking casino? You come in
here, walk in the house in the middle
of the fucking night? I thought you
were an actor, auditioning, for
Chili nods, almost smiles...
Is that right? That's interesting.
You thought I was acting, huh?
Harry pushes out of the chair, looks down at Chili.
We'll see about this...
Harry grabs the phone, punches the '0'.
Operator, how do I get Las Vegas
Harry, lemme give you some advice.
Chili leans forward, hangs up the phone with his index finger,
casually reaches for the receiver...
You don't want to act like a hard-
on, you're standing there in your
undies. You know what I'm saying?
What you want to do is sit down and
talk to me.
Harry sits down. Chili hangs up the phone.
A marker's like a check, Harry.
I know what a marker is.
They don't want to deposit yours and
have it bounce. That annoys them. So
your dear friend Dick Allen's been
calling, leaving messages on your
machine, but you never get back to
him. I happen to be in Vegas on
another matter, and Dick asks me as
a favor would I look you up. I follow
you over here, see you in the window
with this woman, looks a lot like
that actress Karen Flores, was in
Grotesque, except she's not blond
Harry's gaze moves to the bottle of scotch on the desk...
You're not looking at me, Harry.
Why do I have to keep looking at
I want you to.
You gonna get rough now, threaten
me? I make good by tomorrow or get
my legs broken?
Come on, Harry -– Mesas? The worst
they might do is get a judgment
against you, uttering a bad check. I
can't imagine you want that to happen,
man in your position.
Fuckin' basketball game.
Harry reaches for the bottle of scotch and pours himself
Tell Dick Allen I'll cover the markers
in the next sixty days at the most.
He doesn't like it, that's his
problem. The prick.
Harry starts to take another drink, looks at Chili, not
So, you want me to call you a cab?
Chili shakes his head, keeps staring at Harry, but with a
different expression now, more thoughtful, curious.
You make movies, huh?
I produce feature motion pictures,
no TV. You mentioned Grotesque, that
happened to be Grotesque Part II
that Karen Flores was in. She starred
in all three of my Slime Creatures
releases you might have seen.
Chili nods, leans forward on the desk.
I think I got an idea for a movie.
INT. KAREN FLORES' BEDROOM – NIGHT
Karen is sitting up in bed, listening. We hear the muffled
sounds of Chili and Harry talking downstairs. She gets out
INT. HALLWAY – SAME TIME
Chili and Harry's conversation gets louder as Karen descends
the stairs. She peers into the study, but they're not in
INT. KITCHEN – SAME TIME
Chili sits with Harry at a butcher block table, a bottle of
Dewars and a couple of glasses now between them.
Yeah, Leo wore these little plaid
hats -– Miami, middle of the summer,
this guy thinks no one's gonna notice
he's balding, he wears a fuckin'
Harry looks up past Chili, smiles.
Chili turns aronud and sees her standing in the doorway now,
her arms folded across that chest, the Lakers T-shirt coming
down just past her crotch.
Karen, say hello to Chili Palmer.
Chili, this is Karen Flores.
Karen, it's a pleasure. How you doing?
How did you get in the house?
He's telling me an idea for a movie.
It's not bad so far.
(motions with his
Sit down, have a drink.
Tell Karen, let's see what she thinks.
Maybe you didn't hear me.
The door from the patio, in back.
You broke in?
No, it was open. It wasn't locked.
What if it was?
Chili doesn't say anything, just watches her, likes the way
she's handling it.
You want to hear this idea? It's
about a dry cleaner who scams an
airline out of three hundred grand.
Go on, tell her.
You just did.
I mean, the way you told it to me.
Start at the beginning, we see how
the story line develops.
Chili looks at Karen. She leans in the doorway.
Well, basically, this guy owes a
shylock fifteen thousand, plus he's
a few weeks behind on the vig, the
interest you have to pay.
I know what a vig is.
It's the kind of situation, you don't
pay, you get your legs broken.
Or the guy thinks he could get 'em
broken. You have to understand the
loan shark's in business the same as
anybody else. He isn't in it to hurt
people. He's in it to make money.
EXT. LEO DEVOE'S HOUSE – DAY
As we see Chili talking to Fay on the front porch.
But the dry cleaner, we'll call him
Leo, he's scared, doesn't know any
better, so he takes off –-
INT. KAREN'S KITCHEN – NIGHT
As Harry jumps in...
That's Miami. He's going to Vegas.
He's got a few bucks and he's thinking
it's his only chance.
INT. AIRPLANE – DAY
We see a fidgety LEO DEVOE, a little guy in a crummy suit
and a little green hat sitting there in coach, looking around.
Leo gets on a plane, ready to go,
but the plane sits there at the gate,
Behind Leo sits a BRAT with his MOM and DAD. The parents are
trying to entertain the kid with the G.I. Joes, other stuff
they've brought along, but the kid spots Leo's hat as Leo
looks up to listen to an announcement...
They announce over the PA there's
some kind of mechanical problem,
they'll be there maybe an hour, but
keep your seats in case they get it
Leo gets really uncomfortable now...
The guy's nervous, in no shape to
just sit there, sweat it out. So he
gets off the plane...
As Leo gets up from his seat, the kid knocks off Leo's little
green hat, and we...
INT. MIAMI AIRPORT COCKTAIL LOUNGE – DAY
As Leo downs a drink, looks around for the waitress...
Goes in the cocktail lounge and starts
throwing 'em down, one after the
He's motioning to her for another, when we see a PLANE taxi
past the window in the b.g...
When the plane pulls away from the
INT. KAREN'S KITCHEN – NIGHT
As Harry interrupts.
Without him. The guy's so out of it
he doesn't even know it's gone.
That's right. As a matter of fact...
INT. COCKTAIL LOUNGE – DAY
A shit-faced Leo struggles to keep his head up as he watches
the waitress look out the window and gasp...
He's still in the lounge when a plane
blows up on the runway...
We see a BIG FIREBALL in the b.g. as Leo's head hits the
INT. KAREN'S KITCHEN – NIGHT
As Chili lights a cigarette.
So when the guy finds out it was his
flight, he can't believe it. If he'd
stayed on that plane, he'd be dead.
Right then he knows his luck has
changed. If everybody thinks he's
dead he won't have to pay back the
fifteen or what he owes on the vig,
four and a half a week.
Chili offers the pack to Karen. Karen doesn't move.
The interest is four hundred and
fifty dollars a week on fifteen
That's right. Three percent.
But a week. That's a hundred and
fifty percent a year.
A hundred and fifty-six. Some'll
charge you more'n that, go as high
as six for five on a short-term loan.
So three a week's not too bad.
A real bargain.
She shakes her head, keeps her arms folded. Chili watches
her, likes the way she's giving it to him.
Well, since Leo's name was on the
INT. AIRPORT HANGER – DAY
As an FFA OFFICIAL leads Fay, a black veil over her face,
amongst tables full of charred items...
They bring his wife out to the airport
where they're going through personal
effects, whatever wasn't burned up.
Leo's bags were on the plane, so the
wife tells 'em what to look for,
things only she would know about.
FAY REACTS as the FFA guy points to a LITTLE GREEN HAT on
one of the tables. She grabs it, clutches it to her chest,
pretends to faint.
INT. KAREN'S KITCHEN – NIGHT
As Karen finds herself listening, despite herself.
A couple days ago by, people from
the airliner come to see his wife,
tell her how sorry they are and all
that their plane exploded and offer
her a settlement, the amount based
on what he would've earned operating
the dry cleaner's the rest of his
life. Leo had some kind of trouble
with his kidneys, so they were giving
him about ten years.
How much is the wife offered?
Chili starts to speak, but Harry cuts him off.
Three hundred grand, and they take
it, money in hand, babe. The guy has
his wife cash the check and he takes
off for Las Vegas with the dough.
Gets there, he's supposed to call
her, tell her when to come out. But
she never hears from him again.
Meanwhile, the guy's hot, runs the three hundred up to half
He comes to L.A...
Harry raises his hand to stop Chili. He's rolling, turns to
It drives the guy nuts, he's winning
but can't tell anybody who he is.
You show in a back story his
motivation, his desire to be famous,
you know, pal around with celebrities,
the headliners doing the big rooms.
Now he's got the dough to buy his
way in, mix with celebs and he can't
Harry then turns back to Chili.
So he comes to L.A...
I don't know about his wanting to
meet celebrities, that's something
new. But, yeah, he comes to L.A.
Then after that, I don't know what
Chili looks at Karen. Patient. Not moving.
That's it? That's your movie?
I said I had an idea, that's all.
That's half a movie, with holes in
it. Maybe forty minutes of screen
time. You don't even have a girl, a
female lead, and on top of that,
there's no one to sympathize with,
you don't have a good guy.
The shylock's the good guy.
The shylock? He's barely mentioned.
And it's not believable the wife
would get a settlement that fast.
Harry doesn't realize it's a true
They both look at her now.
That Miami flight that went down, it
was on the news every day for about
a week. Harry must've been busy.
That's where you got the idea?
Part of it, yeah.
Wait a minute, you're not the guy,
are you? The dry cleaner?
You mean, Leo?
You wouldn't be talking to me if you
I'm not the guy, Harry.
But you work for the casino?
I'm out here looking for Leo. I just
looked you up as a favor to your
dear friend, Dick Allen.
So you don't work for the casino?
Harry, for God's sake...
They both look at her.
He's the shylock.
She's staring at Chili again. Harry turns to him.
Is that right, that's what you do
for a living?
What I did till recently.
(looking at Karen)
After I get done here I'll think
about what I'm gonna do next.
With your experience, you could always
become an agent. Right, Harry?
Yeah, that's what we need. More
Well. I got an audition tomorrow.
No problem. You go on off to bed.
Karen looks at the two of them sitting there. Not about to
What I'm saying, Harry, is I want
you and your new buddy to get out of
Oh, yeah, sure.
Nice meeting you, Karen.
She just looks at him, turns and walks out. Chili watches
Harry watches Chili, pours the last of the scotch into Chili's
I imagine in your line of work, there
were times you had to get rough, you
know, say one of your customers
They always paid.
Harry nods, thinks a moment, then...
You pack a gun?
What does that mean?
Maybe a few times I have.
Ever shot anybody.
Really? You ever been arrested?
I've been picked up a couple times.
Loan sharking. Racketeering. But I
was never convicted. I'm clean.
Racketeering, that covers a lot of
ground, doesn't it?
Chili looks at him.
Why don't you get to the point, Harry?
You want me to do something for you.
EXT. FAY DEVOE'S HOUSE – MORNING
As a Cadillac Eldorado pulls up out front and Ray Bones and
his man get out, check out the neighborhood...
Hi, I'm Ray, a friend of Chili
INT. FAY DEVOE'S HOUSE – MORNING
Fay watches as Ray Bones and his man go through her things.
Have you spoken to Mr. Palmer since
your husband... you know, blew up?
Maybe once or twice.
What was it you talked about?
Oh, nothing really? This and that.
Ray Bones hits Fay Devoe in the face. She drops to her knees
and cries out. Ray Bones crouches down in front of her, puts
a hand in her hair.
(pulls her head up)
She looks at him. Afraid now, her nose is bleeding. Ray Bones
smiles at her, strokes her hair.
Fay, I want us to be friends. And
friends don't hit each other, 'less
they have to.
So whatta you say we start all over
and you tell me exactly what the
fuck is goin' on?
EXT. SUNSET BOULEVARD – MORNING
As we BOOM DOWN from a massive billboard for the movie
Bonaparte starring Martin Weir as Napoleon and begin tracking
with Harry's eight-year-old, battered Mercedes...
INT. HARRY'S CAR – SAME TIME
Harry drives, all the while gesturing with a lit cigarette.
These guys, my investors, they run a
limo service, came to me originally,
put money in a few of my pictures
and did okay, they're happy. So they
come in on another deal -– this was
back a few months ago when I was
planning what would be my next
picture, about this band of killer
circus freaks that travel around the
country leaving bodies in their wake.
The characters, there's this seven-
hundred-pound fat lady who has a way
of seducing guys, gets them in her
Harry, look at me.
Harry looks at him. Chili takes away his cigarette.
You're trying to tell me how you
fucked up without sounding stupid,
and that's hard to do. Let's just
get to where you're at, okay? You
blew the two hundred grand the limo
guys gave you in Vegas on a basketball
game and you haven't told 'em about
it. Why not?
Because they're not the type of guys
would take it with any degree of
understanding or restraint. The first
thing they'd do is break my legs.
You got that on the brain, Harry. If
you're so scared of 'em why'd you
take their money to Vegas to begin
Because I need half a million to buy
For a movie?
A blockbuster. But quality. No mutants
or maniacs. This one's gonna be my
"Driving Miss Daisy".
What's it called?
"Mr. Lovejoy"? That's the title?
It's not bad when you know what it's
Harry pulls to the curb, faces Chili...
Murray Saffrin, guy who wrote it,
did all my Grotesque pictures, had
it in a drawer for twenty years. He
shows it to me one day, tells me
he's got a star interested, would I
Who's the star?
Harry points across the street to the Cafe Med where we see
a RED FERRARI convertible parked out the front. We see MARTIN
WEIR and a WOMAN with jet-black hair sitting at a table...
Two time academy award nominee, Martin
Martin Weir. He played the mob guy
that turned snitch in "The Cyclone".
One of his best parts.
No, his best part was the cripple
gay guy that climbed Mt. Whitney.
"Ride the Clouds". Good picture.
They watch Martin and the girl a moment...
She looks familiar.
She's a rock star. Every day, same
time, they come down here and have
breakfast. He has the egg white
omelet; she has the banana pancakes.
He sits facing west so he can see
his billboard. She faces east so she
has an excuse to wear the shades.
Harry pulls out, starts driving again...
Anyway, Murray has this shrink, who
also happens to be Martin's personal
trainer's shrink. Murray gives the
shrink the script and the shrink
gives it to Martin's trainer who
reads it to Martin while they work
out, and Martin flips. Loves it.
So what's the problem?
The problem is Murray. He and a few
other blocked screenwriters went
river rafting down the Kern a few
weeks ago. Murray never made it back.
Heart attack. Apparently they brought
a couple hookers along.
Chili nods, looks up at an ANGELYNE billboard...
Doris, Murray's widow, finds out
about this Martin Weir thing and
says since Murray and I never had
any written contract, she wants five
hundred grand for the script.
So you're thinking what if I was to
put you next to my dry cleaner. Ask
him if he wants to invest his money
in a movie.
That, or I'm thinking what if some
tragic accident were to befall the
widow Saffrin -–
I'm not gonna pop her, Harry.
Just a thought.
But I could talk to the limo guys.
Tell 'em to leave you alone for a
while. Make the point in a way they'd
You don't even know these guys.
Harry, I probably know 'em better
than you do.
What do you get out of this?
Let's see how we get along.
EXT. PARKING LOT – DAY
BO CATLETT, black, tall, put together in a tan outfit: suit,
shirt, tie, lies on the hood of a BLACK STRETCH LIMO, his
back against the windshield, reading Daily Variety, a headline
proclaiming "BONAPARTE STANDS TALL AT THE B.O." We hear the
sound of an AIRPLANE and he checks his watch.
He casually folds the newspaper as a 747 screams past directly
overhead and we...
PULL BACK TO REVEAL...
LAX – DAY
As Bo Catlett pounds twice on the fender...
INT. SOVEREIGN TERMINAL – DAY
Bo Catlett walks through the terminal. We hear the arrival
of the Miami flight announced over the PA as Catlett stops
at one of the gates.
We see a plane pulling into the gate through the glass as Bo
Catlett checks out the other people waiting to greet the
Like, for example, the YOUNG DUDE in jeans and a wool shirt
Bo Catlett studies him a moment, then sits down in one of
the chairs. He looks over at...
A BIG MAN, bearded, wearing a loud Hawaiian shirt, and
carrying a three-year-old GIRL in his arms. The girl licks
an ice-cream, spilling some on Daddy's shirt...
Bo Catlett looks over as disembarking PASSENGERS start coming
through the gate.
As a LATINO MAN gets off the plane and glances around. He
looks uncomfortable in the loose-fitting suit, like a migrant
dressed for Saturday night.
The Latino Man lays his TICKET ENVELOPE on top of the trash
container near the gateway...
INSERT – TICKET ENVELOPE
The name "Y. PORTILLO" printed on the outside. The big man
with the little girl picks up the ticket and walks away.
As the Latino Man heads straight for Bo Catlett.
Don't say nothing to me. Sit down
and act like you're waiting for
somebody supposed to meet you.
The fock you taking about...
Hitting the word hard, like Tony Montana in "Scarface".
They nobody know me here, man. Give
me the focking money.
Sit down. Now be looking. Man over
to your right in the blue wool shirt
hanging out... the other way,
Bo Catlett hunches over to rest his arms on his thighs, so
that the Latino Man is now between him and the dude in the
That's a federal officer, most likely
DEA. He moves his leg look for the
bulge. You savvy bulge? That's his
backup piece... Hey. Try it without
looking right at him if you can.
The Latino Man, trying to be cool about it, checks out the
dude in the wool shirt. Sure enough, there's a bulge down
near the guy's ankle.
What's your name?
Alright, Yayo, you know he's there,
now forget about him. Now I'm gonna
get up. Soon as I'm gone, you sit
down in this same seat I'm in. You
feel something under your ass it's
the key to a locker where your half
a million is. Along with some product
Nervous now, Yayo is staring at the guy with the wool shirt.
You suppose to give me the focking
Bo Catlett gets up, adjusts his suit jacket, smoothing the
long roll lapel.
Try to be cool Yahoo. I told you
where it is. Do it how I told you
and have a safe trip home. Or as you
all say, vaya con Dios, motherfucker.
Bo Catlett walks off, leaving Yayo sitting there, confused
now, not quite sure what to do.
CLOSE ON HAND HOLDING TICKET ENVELOPE
The name "Y. PORTILLO" written on the jacket.
PULL BACK TO REVEAL...
BAGGAGE CLAIM – DAY
Where the Big Man in the Hawaiian shirt waits by the carousel.
His LITTLE GIRL HOLDS THE TICKET ENVELOPE. The man grabs a
case from the carousel and walks to the door. He tears the
baggage claim stub from the envelope and hands it to the
EXT. BAGGAGE CLAIM – DAY
As the Big Man and the little girl walk to the black stretch
parked at the curb, RONNIE WINGATE, an aging surfer in a
suede jacket and running shoes, holds the door open for them.
Like fucking clockwork, eh Bear?
BEAR / BIG MAN
Don't cuss in front of Farrah.
The Bear hands the case to Bo Catlett who sits in the back
of the limo...
How you doing, sweetie?
As Ronnie gets in back with Bo Catlett, The Bear puts his
daughter in a toddler seat up front, then gets behind the
Here we go!
EXT. HARRY'S OFFICE – DAY
Two stories, part of a block of white store fronts on Sunset
near La Cienega.
INT. HARRY'S OFFICE – DAY
Light filters through venetian blinds, illuminating a desk
stacked with folders, magazines, scripts, papers, unopened
mail, hotel ashtrays, a brass lamp, a clock and two
I once asked this literary agent
what type of writing brought the
most money and the agent says, 'Ransom
Chili stands looking over some of the old photographs as
Harry goes through the mess on the desk. There are some of
Karen, Harry with a much younger, blonde Karen. Harry with
giant bugs, Harry shaking hands with mutants and maniacs,
and so on.
Here it is... "Mr. Lovejoy".
Harry hands a script to Chili. Chili examines the cover, the
first time he's ever held a movie script. He opens it to the
Lovejoy sits behind the wheel,
watching the bar across the street,
getting his video camera ready for
What's he doing? Following a guy?
Read it. It's a grabber.
Chili looks out the window as we see a long black stretch
limo pull up to the curb down on the street...
Hey, Harry? I think your investors
EXT. HARRY'S OFFICE – SAME TIME
As the Bear opens the door for Bo Catlett and Ronnie...
INT. HARRY'S OFFICE – SAME TIME
As Harry moves away from the window.
Chili tosses the script on the desk, moves between a pair of
fat red leather chairs.
All right, Harry, make sure the limo
guys sit here, not over on the sofa.
Harry is tugging the string to lower the blinds behind the
No leave 'em up, we want the light
in their eyes. I'll be at the desk...
but don't introduce me, let it go,
just start talking. You're gonna be
here, behind 'em when they sit down.
They'll be looking at you. They don't
know who you are.
That's right, they're wondering,
who's this guy? You don't tell 'em.
Understand, Harry? Do not tell 'em
who I am.
Harry glances off as we hear RONNIE SINGING down the hall.
In the year 2525... if man is still
So what do I say to them?
You don't say any more'n you have
to. You say, 'Well, I'm glad you
assholes stopped by, so I can set
You're kidding, right?
If woman can survive...
You tell 'em the movie's been
postponed. Say, till next year, if
you want. But don't tell 'em why or
what you're doing. Understand, Harry?
You don't tell 'em anything about
And the door opens. Chili sits behind the desk, watching the
two of them come into the office. Ronnie singing...
They may find...
He looks about the office... at the old photographs...
Harry, what year is it, man? We enter
a time warp? I feel like I'm back in
Hollywood of yesteryear.
Harry waves them right into the two cracked red leather chairs
facing the desk. Chili watches as Catlett comes first. Sitting
down, he nods to Chili who ignores him.
Have a seat... right over here...
Ronnie sits down in the chair and hooks one leg over the
arm, swings it up and down, his motor running on some
chemical. He too stares at Chili.
This is my associate, Chili Palmer,
who'll be working with me.
Harry already forgetting his instructions. Chili can't believe
The limo guys nod to Chili and Chili nods back, trying to
catch Harry's eye.
I want to make sure there's no
misunderstanding here. Despite rumors
you might have heard, your investment
in Freaks is as sound as the day you
signed your participation agreement.
Ronnie has his face raised to the ceiling.
I can hear you, but where the fuck
are you, man?
(looking at Chili)
What I been wondering is where's he
Yeah, where've you been? We haven't
heard from you lately.
Harry comes around to stand at one side of the desk, his
back to the window...
I've been off scouting locations.
Interviewing actors in New York.
Chili's gaze moves from Ronnie the fool to Bo Catlett the
dude, the man composed, elbows on the chair arms, his hands
steepled in front of him.
The main thing I want to tell you,
the start date for Freaks is being
pushed back a little, a few months.
Ronnie stops bouncing his leg.
A few months?
Maybe longer. We need prep time.
Hey, Harry? Bullshit. We have an
agreement with you, man.
We're gonna make the picture. I've
just got another project to do first,
that's all. One I promised this guy
Chili shakes his head, he can't believe he's hearing this.
Ronnie sits up straight.
I want to see your books, Harry.
Show me where it is, a two with five
zeroes after it in black and white,
man. I want to see your books and
your bank statements.
Hey, Ronnie? Look at me.
BOOM. Ronnie looks over. So does Bo Catlett for that matter.
You have a piece of a movie, that's
all. You don't have a piece of Harry.
He told you we're doing another movie
first. And that's the way it's gonna
Excuse me. But who the fuck are you?
I'm the one telling you how it is.
That's not too hard to figure out,
Ronnie turns to Bo Catlett, the man not having moved or
changed his expression the last few minutes.
Bo Catlett takes his time, gives it some thought. He looks
What's this movie you're doing first?
Harry, let me answer that.
Catlett looks at Chili again.
But first I want to know who I'm
talking to. Am I talking to you, or
am I talking to him?
You can talk to me.
That's what I thought. So let me put
it this way...
Now it's between them. The guy studies Chili, thinks about
whether or not to make a move, when Harry steps in, reaches
over the desk and picks up a script...
This is the project, "Mr. Lovejoy".
I'm not trying to pull anything on
you guys. This is it, right here.
Chili looks at Harry, wonders if there's a way to shut him
up without punching him in the mouth.
"Mr. Loveboy"? What is it, Harry, a
He reaches for the script. Harry backs away, holds the script
to his chest. Bo Catlett notices this.
It's nothing. It's fluff. Nothing
you'd be interested in.
Bo Catlett eyes him a beat, then pushes out of his chair...
Harry, you think we go to see your
movies? I've seen better film on
teeth. Makes no difference to me
which one our money's in. So how
'bout you take our twenty points out
of "Freaks" and put 'em in this other
one, "Mr. Loverboy".
I can't do it.
You positive about that?
It's a different kind of deal.
Bo Catlett nods, gets up.
Okay. Then be good enough to hand us
our money back, or you think about
us coming in on this new one.
By Friday, man, or you're fuckin'
dead as disco.
Ronnie opens his coat so that Harry can see a gun tucked in
You hear me?
Bo Catlett gives Ronnie a look.
Take your time, Harry.
(closes Ronnie's jacket)
We're not animals. Are we, Ronnie?
Bo Catlett glances once more at Chili then follows Ronnie
out the door. Harry stares at the door a moment, senses Chili
staring at him...
I don't know, maybe I wasn't clear.
But I thought... I told you to keep
your mouth shut.
I had to tell 'em something.
Never say anything unless you have
Chili shakes his head as Harry sits down in one of the chairs,
fumbles for his cigarettes.
You tell me you want these guys off
your back. Next thing I know, you're
saying yeah, maybe they can have a
piece of Mr. Lovejoy. I couldn't
believe my fuckin' ears.
I said I'd think about it. What does
that mean? In this town, nothing.
That's the difference between you
and me, Harry. I say what I mean. I
want something from someone, I ask
'em straight out. I want Martin Weir,
I go get Martin Weir. I don't fuck
around with his trainer's shrink.
His shrink's trainer.
Chili looks at Harry.
Take me back to my car.
EXT. LAX – DAY
As a plane touches down on the runway...
INT. SOVEREIGN TERMINAL – SAME TIME
Yayo, now soaked with sweat, is still here. He stands watching
a row of lockers. He stares at one of them...
CLOSE ON LOCKER
The number C-18. We PUSH IN...
Starts to move for it... then looks off at...
MAN IN A SUIT
As we quickly TILT DOWN to the guy's ankle, looks like a
bulge there. We then...
WHIP PAN TO...
Dressed casually in slacks and a blouse. We TILT DOWN to her
ankle, hmmm, is that a bulge? We...
WHIP PAN TO...
A TENNIS SHOE
Tapping to some unheard rhythm and what looks like a bulge
near the ankle. We TILT UP this time to reveal a LITTLE KID,
listening to a walkman.
Obviously losing it now, rubs his eyes and quickly walks off
to a row of payphones...
EXT. KAREN FLORES' HOUSE – DAY
Chili's minivan is parked outfront.
Where you been? I been callin' all
over for you...
INT. KAREN'S HOUSE – THE STUDY – SAME TIME
Chili sits at the desk on the phone.
Ray Bones is looking for you. He's
got some kinda bug up his ass, can't
INT. BARBER SHOP – DAY
Tommy on the phone.
I hate to say I told you, but I did.
I told you don't start nothing with
him that time.
INTERCUTTING TOMMY & CHILI
You said don't say nothing and I
No, you just broke his fuckin' nose
You gonna start that again? You're
just like him, all you got room for
in your brain is one fuckin' thing.
All I know is he came by the barber
shop, all fuckin' undone, wanting to
know where you were staying in Vegas.
I told him I don't know. I still
How'd he know I was in Vegas? You
He already knew it.
Yeah, well, I'm in L.A. now.
Whatta you doing out there?
I'm going into the movie business.
What're you talking about? You wanna
be a movie star?
I'm thinking about producing.
How you gonna do that? You don't
know shit about making movies.
I don't think the producer has to do
much, outside of maybe knowing a
Hey, Chil? I think you're fulla shit.
INT. KAREN'S ENTRY WAY – SAME TIME
As Karen, dressed as a B-movie queen, press kit under one
arm, steps inside, freezes as she hears...
...call me soon as you know when
Ray's coming out.
INT. STUDY – SAME TIME
Chili is scribbling something on a piece of paper as Karen
comes into the room. Chili looks up at her as he hangs up,
smiles at her.
Hey... Karen. How ya' doin'?
What're you doing here?
I wanted to come by, apologize for
coming into your house like I did
Lemme get this straight, you broke
in again to apologize for breaking
No, no... you left the patio door
open. You gotta stop doin' that, all
the nice things you got around here.
Yeah, well make sure you lock it on
the way out.
Rough day on the set?
I spent all day crawling out of a
grave. The costumer kept bitching
'cause I was ripping my nylons –-
Ripped nylons work. Makes the shot
...That's what we finally decided.
Like in "Bride of the Mutant", when
you played the whole end with that
She looks at him.
You saw that one?
Yeah. When you turn to the camera to
tell the alien mother that her time
on earth is finished... when you
give us all that look, Joan Crawford
wishes on her best day she had that
much presence. Not even in "Mildred
Pierce" -– which by the way was a
better book than a movie -– did
Crawford even touch the intensity
you had in that look.
Yeah... that was a good scene. I
mean, for a horror movie.
For any movie.
I know I'm better than what I've
been doing the last ten years, walking
around in a tank top and fuck-me
pumps, waiting till it's time to
Man, can you scream.
Yeah. It's a real gift.
I'm just saying it'd be nice, one
time in my career to get the chance
to say one great line. You know,
like in that Bette Davis picture,
"Cabin in the..."
Yeah, you know when Bette comes up
to the guy on the porch, gives him a
flirty look and says, 'I'd kiss you,
CHILI / KAREN
'I just washed my hair.'
That is a great line.
Chili looks at her.
How come you stopped making movies
I married Martin. That was a full-
You read Harry's new one? He says
it's the best thing he's ever read.
He must mean after "Slime Creature
That why Harry came over last night?
See if you could help him get Martin
in his movie?
Harry's dreaming of a forty-million-
dollar production he'll never get
off the ground with a star he'll
never sign. With or without my help.
Harry told me Martin loves it, he
Yeah, well Martin is known for his
flipping. He flips over a script,
and when the time comes to make a
deal, he flips out.
Tell you what, I'll stop by Harry's
office and pick up a copy for you.
Don't go out of your way.
They consider each other a moment... until Chili finally
checks his watch.
Well, I gotta have a talk with Leo,
my runaway dry cleaner.
Right. See how your story ends.
Listen, "Touch of Evil"'s playing
near my hotel. You wanna go check it
out? Watch Charlton Heston play a
Karen looks caught, doesn't answer right away.
Maybe some other time.
He turns to go, then turns back to her...
'He tried to make love to me and I
Another great Bette Davis line.
Karen looks at him. Surprised. He smiles at her.
See you around.
EXT. BEVERLY HILLS HOTEL – NIGHT
Leo Devoe, dressed in a sporty plaid ensemble, complete with
little matching hat gets out of a cab, and walks to the front
entrance. He tips the doorman, gives him a grin.
And a good evening to you, too, sir.
INT. HOTEL HALLWAY – NIGHT
As Leo the high-rolling dry cleaner bounces down the hall,
unlocks his door...
INT. LEO'S HOTEL ROOM – NIGHT
Dark. Leo enters, heads for the bottle of Chivas on the desk.
Has one straight out of the bottle, ahhh, before pulling a
fat wad of cash out of his jacket, tossing it on the desk
like it's change from the cab fare.
He then takes off the jacket, unbuttons the shirt, reaches
for the Chivas again, when we hear...
CHILI (O. S.)
Look at me, Leo.
Crash. Something glass hits the floor. Probably the Chivas
bottle as Leo nearly has a fucking coronary...
Leo looks over as Chili turns on the light behind him. But
what catches Leo's eye is the BRIEFCASE sitting on the couch
I wouldn't think you're that dumb,
leave over three hundred grand in
the closet, underneath the extra
blanket, but I guess you are.
I didn't know where else to keep it.
Where would you?
You're here a while, what's wrong
with a bank?
They report it to the IRS.
You don't open an account, Leo, you
put it in a safe deposit box. Dip in
whenever you want.
Leo nods in his sporty hat and undershirt, thinking it over,
what to do the next time he scams an airline.
You've been losing.
I'm up twelve grand today.
From when? You left Vegas with four-
Who told you that?
Now you're down to three-ten in the
case. You must've cooled off quite a
bit since you got here.
How'd you know I was here?
Here's another tip...
Leo looks away, raises his preshaped plaid hat and recocks
It was Fay, wasn't it, told you about
the money. She tell you my whole
life history, for Christ's sake?
I wouldn't let her if she tried. Why
I'm here, Leo, basically, is to save
How? By taking my money?
You can keep what you won today.
It's all mine.
Sit down, Leo.
Leo sits down in the arm chair, stares sadly at the briefcase.
I don't know how you got this far,
you're so fuckin' dumb. But now you're
through. I'm gonna explain to you
why and I hope you're not too dumb
to understand what I'm saying. Okay?
Ray Bones is now the man you're
dealing with. Ray Bones finds out
what you did, he's gonna want
everything you have. And when I say
everything, I mean even that sporty
little hat if he wants it. Then after
he takes all you got, he'll most
likely hit you with some kind of
heavy object if he doesn't shoot
you, just so you won't tell on him.
Chili lets that sink in a minute.
I won't do that. Take your stuff or
hurt you. You have three-ten in the
case, right? I'm gonna take the three
hundred you scammed off the airline,
but the rest of it, the ten grand?
I'm gonna borrow that and pay you
Leo's squinting at him now...
You take all my money, but you're
borrowing part of it?
At eighteen percent, okay? And don't
ask me no more fuckin' questions.
He picks up the briefrase as he rises from the sofa and Leo
gets out of his chair.
But you won't know where I am. I
don't even know where I'll be.
I'll find you, Leo...
Chili reaches for the door, opens it and looks back at Leo...
You leave a trail like a fuckin'
INT. HALLWAY – SAME TIME
As Chili starts for the elevator. Leo steps into his
Wait a minute. What's this eighteen-
percent-a-year shit? You want to
borrow ten, the vig's three bills a
week. Fifteen for the vig plus the
ten, that's twenty-five big ones you
go a whole year, buddy! You hear me?
Chili stops, turns around. As he starts back, he sees Leo's
scared look just before he slams the door shut.
Chili shakes his head, starts back for the elevator.
EXT. GRIFFITH PARK – NIGHT
Chili drives a dark road up into the park. He rounds a corner,
and we see an explosion of light up ahead as we come upon...
A MOVIE SET
Chili pulls in behind a row of trailers. He gets out of the
car and heads for the set where Harry is now looking up at
the sky and yelling at someone...
How's anyone gonna see anything from
way up there?
Yeah, Chili. Hi.
You're fifty feet in the air!
The DIRECTOR -– early twenties, dressed like a frat boy -–
sits on a crane about fifty feet above the set...
Harry. I'm gonna boom down real fast,
get a subjective p-o-v.
Listen, I talked to Karen. She's
gonna think about helping you out.
Yeah, but whose point of view?
Whatta you mean, whose point of view;
The audience's point of view.
Get down here. I wanna talk to you.
Come on... right now...
She's gonna talk to Martin?
She's thinking about it. I just need
the key to your office. I just told
her I'd pick up a script.
Harry tosses Chili a key-ring.
It's the red one. Take it off the
Chili sits down in one of the director's chairs that sits
off to one side. He starts to take the key off the ring...
Your name Vicky Vespa?
Chili looks up at a bored-looking ACTRESS standing there in
a blood-soaked nightie.
I asked you, is your name Vicky Vespa?
Then get the fuck outta my chair.
Chili sits forward, sees her name printed on the back. He
As she sits down, we see an ICE PICK sticking out the other
side of her head. Chili sits back down next to her in the
chair with HARRY ZIMM on the back.
(to the director)
What're you doing? I thought I told
you to get down here?
The kid nods to the camera operator who lowers the crane as
we BOOM WAY UP...
All these camera moves and weird
angles and shit are gonna distance
us from the emotion of the scene.
What 'emotion'? Girl just got stabbed
in the ear with an ice pick.
She's scared! Fear is an emotion!
Look, kid, if you remember anything
from your time working with Harry
Zimm, let it be the three key words
The kid fiddles with the crane controls.
Yeah? What three words, Harry?
Pick 'n' Save.
You heard me, Pick 'n' Save.
Harry turns so the rest of the crew can hear him...
Now I'm gonna tell you a little story,
happened to me years ago when I was
so broke I had to go to the Pick 'n'
Save over on Vine to buy a lousy
candybar for my dinner.
Chili watches the crew stop what they're doing and listen.
I'm standing in line waiting to pay
my two bits when I overhear this
lady, call her Mildred, talking to
the cashier about a movie.
The Director gives a look to his assistant like 'Jesus, you
believe this shit?'
So Mildred says to the cashier, 'I
saw the new Streisand picture.'
(gets into it the way
'God, I just love it at the end when
she brushed Robert Redford's hair
off his forehead the way she did
when they were together, and the way
they gave each other this look that
said they still loved each other,
but knew they couldn't be together.
That look was so... romantic.'
That's great, Harry. So what's the --
What she did not say was, 'I just
loved the way the director moved the
camera so much it made me fuckin'
seasick.' All she cared about was
that look. All she remembered was
that look. And why do we remember
things in movies? Because we can see
Harry's right in the guy's face now...
So... keep this fuckin' camera down
here on the ground and shoot this
scene, so we can see what the fuck
is goin' on, before I get someone
over sixteen to fuckin' shoot it for
Harry walks over to Chili, sees Chili sitting there. Chili
tosses Harry his key ring.
Here's your keys, Harry.
Get the fuck outta my chair.
EXT. HARRY ZIMM'S OFFICE – NIGHT
As Chili pulls out front, gets out of the minivan, he looks
up, sees a light on in Harry's office.
INT. CORRIDOR – NIGHT
Chili walks down the hallway, dark except for a light on at
the end of the hall...
INT. HARRY'S OFFICE – NIGHT
Bo Catlett, reading glasses, script open in front of him,
looks up from Harry's desk as Chili steps into the office.
This ain't bad, you know it? This
Mr. Lovejoy. Needs a better ending
but yeah, I can see why Harry wants
to do it.
Chili says nothing, sits down in one of the red leather
You understand I knew Harry was lying,
saying this wasn't any good, but
holding on to it, man, like you have
to break his fingers to get it from
That's funny, I was just wondering
what I was gonna break of yours to
get it away from you.
Bo Catlett smiles at him, doesn't give up the script.
I'm just explaining to you what I'm
doing here. Case you think I come to
rob the place, rip off any of this
dusty old shit the man has.
I'd never make you as a burglar, not
in that outfit.
Bo Catlett sits back in the chair a moment, watches Chili
light a cigarette...
Harry called you his associate, but
what does that mean? I never heard
your name or read it in Variety or
The Reporter or anyplace.
It's what he said, I'm his associate.
You must bring something heavy to
That's right, me.
Bo Catlett picks up a piece of paper off the desk...
Says here you're getting Martin Weir
for the part of Lovejoy.
Yeah, we're getting Martin.
No shit, come on. How you gonna do
I put a gun right here...
(touches the side of
...and I tell him, 'Sign the paper
Marty or your fuckin' dead.' Like
I wonder, would that work?
You know who I see for Al Roxy? Harvey
Keitel. The man could do it in his
Harvey Keitel. Yeah. Maybe. He was
pretty good in the movie "Fingers".
I missed that one. Or, hey, you know
who else? Morgan Freeman. You know
Yeah, Morgan Freeman. But he's a
So what? Where's it say in this script
he's white? Color is what the part
needs, man, somebody to do it has
some style. The way it is now, Ronnie
could do it, play himself, some
cracked out asshole.
So whatta you think of the script?
Bo watches as Chili picks up a copy of the script, begins
flipping through it.
Title's the first thing's got to go.
And the guy's name. I mean, even
this writer's name, Murray Saffrin
is better than "Lovejoy".
I'm with you on that. And don't you
think it needs a good female part?
Increase the romance angle.
Chili flips through the script, sees a name...
What about her?
Get something going there.
With Ilona? You know how old Ilona
Young? She's fuckin' nine-years-old,
same age as Lovejoy's kid. Bernie.
One she calls Bernard. Have you read
Yeah, I read it. I was just thinking
you could make her older. We might
even be able to get Karen Flores.
She's been out of movies a few years,
but she's good. Real good.
Bo Catlett studies Chili a moment, smiles...
You know what I'm thinkin'?
You wanna make the girl older. I
don't like the ending. We could do
that, you and me, sit down and write
the script over where it needs it.
Chili flips through the script a moment...
You know how to write one of these?
There's nothin' to know. You have an
idea, you write down what you wanna
say. Then you get somebody to add in
the commas and shit where they belong,
if you aren't positive yourself.
Maybe fix up the spelling where you
have some tricky words... although
I've seen scripts where I know words
weren't spelled right and there was
hardly any commas in it at all. So I
don't think it's too important.
Anyway, you come to the last page
you write in 'Fade out' and that's
the end, you're done.
That's all there is to it, huh?
Chili sits forward, stabs out his cigarette, exhales into Bo
Then what do I need you for?
Bo Catlett starts for the door.
I really think I can be of service
on this one.
Yeah, well, we need a ride somewhere,
we'll let you know.
EXT. NUART THEATER – NIGHT
As Karen walks up to the box office. A Touch of Evil on the
INT. MOVIE THEATER – NIGHT
Not so full. Chili sits in the middle, watching the final
scene as Orson Welles gets blown away, falls into the oily
river. He can't take his eyes off the screen...
Karen comes in, starts up the aisle, looking for Chili. She
spots him, just as he mouths the dialogue along with Marlene
MARLENE DIETRICH (O.S.)
He was some kind of man.
Karen smiles, decides to wait a moment. Chili, lost in the
movie... keeps mouthing the dialogue.
MARLENE DIETRICH (O.S.)
What does it matter what you say
MORT MILLS (O.S.)
As Tanya/Marlene Dietrich resumes her slow walk away, Karen
sits down at the end of the row. People start getting up to
Chili turns to a GUY a few seats away from him...
The guy gives Chili a look, puts his arm around his DATE,
and quickly starts up the aisle so that Chili can now see
Karen sitting there at the end of the row...
You been here the whole time?
I just caught the end.
She gets up, they start up the aisle together...
You know, Welles didn't even wanna
do that one. Some studio made him do
it. He owed 'em one and all his own
movies lost money.
(walking out now)
But, hey, sometimes that's when you
do your best work, you got a gun to
EXT. NUART – NIGHT
As Karen and Chili exit the theater, stand there a moment.
I got you a copy of the script.
I already read it. Harry left a copy
at the house.
What do you think?
She starts walking.
I think it's not horrible.
I don't like the title. Or the main
Then you've read it?
You and Harry'll make a great team.
I'm gonna make a deal with him.
There a part in it for you?
I don't want to act in it, I want to
produce it with Harry. Especially if
I help him get Martin.
What do you get out of it?
He stops, looks at her.
That why you came over here, to ask
I want to know.
Why does anyone want to be in movies?
Yesterday, you were a loan shark.
He starts walking again...
I was never much into it. All that
bullshit having to do with respect.
It's bad enough having to treat those
guys like they're your heroes, having
to smile when they make some stupid
remark they think's real funny.
And you think the movie business is
Yeah well... I like movies. I figure
if I help Harry make one, I'll find
out what you have to do outside of
have an idea and raise the money.
That doesn't sound too hard. I was
in the money business and I get ideas
all the time.
They stop at her car.
I'm talking to Martin tomorrow
morning. I told Harry I'd meet you
and him at Abiquiu afterward.
(opens her door)
This might work, you never know.
He stands there, watching her drive away.
EXT. HARRY'S APARTMENT BUILDING – NIGHT
Just above Franklin in the Hollywood Hills. A realtor might
call it Chandleresque. We call it old and cheap.
INT. HARRY'S APARTMENT – NIGHT
Continuing on the old and cheap theme. Harry stands behind
the wet bar pouring himself a strong one. He looks at himself
in the smoke-tinted mirror squares, downs the drink in one
and pours himself another.
A KNOCK AT THE DOOR.
Harry looks at the door.
Who is it?
I heard that.
Harry moves to the door and opens it to reveal DORIS SAFFRIN --
fiftyish, fur coat, hair up so that we can see the nifty
She leans in the doorway...
Harry Zimm. You look like a wet kiss.
And she plants one on him. Walks into the apartment. Looking
good for her age. Hell, for any age.
Well, aren't you gonna offer me
whatever it is you taste like?
Come on in.
Doris goes to the window. Harry goes to the bar, pours them
each a drink...
What a spectacular view.
Yeah, lovely. Last night I watched
two guys carjack a Camaro down on
the corner of Argyle there.
(hands her the drink)
What do you want, Doris?
She drinks, never taking her eyes off him.
I miss Murray, Harry.
Yeah, me too. He was a helluva good
writer. And I would know. I discovered
him. Made him what he was.
What he was, was a hack, couldn't
get a job writing for anybody but
I'm being honest. He was a lousy
writer, but he was a good husband. I
just didn't know it until too late.
Harry finishes his drink, pours himself another...
Yeah, well, twenty-twenty hindsight
and all that.
Harry takes a big, noisy pull off his drink as she moves to
I hate being alone. The house is so
quiet. So lonely. It needs...
A man's touch.
And with that, she opens up the fur coat to reveal that she's
wearing nothing but a garter belt and high heels.
She sets her drink down, moves in, wraps her arms around his
I'm not sure how I feel about this,
You seem to feel fine about it.
I mean morally. Murray was my friend.
She kisses him... Harry pulls back...
So this means you've reconsidered
our deal on Mr. Lovejoy?
No. But now that you mention it, I
did talk to a handsome executive at
Paramount the other day... who just
happened to get his hands on the
Yeah, what'd he have to say?
He said if Martin's interested, I
could get a half a million for it
easy. But don't worry, Harry, I'm
still giving you until Friday.
How honorable of you.
Now she backs away, gives him a hurt look.
Harry. If you want me to go, just
say the word.
Harry looks at her a moment, decides...
What the hell...
...And pulls her as close as we then...
EXT. HOLLYWOOD HILLS HOME – NIGHT
We hear laughter, rock and roll as a NUDE WOMAN dives into a
bluelit swimming pool and swims the length...
We then TILT UP to a HOUSE ON STILTS above this one and see
the lone figure of Bo Catlett standing on his deck.
EXT. BO CATLETT'S HOUSE – NIGHT
The shimmering yellow grid of the city in the background, Bo
Catlett, barefoot, bathrobe, leans on the rail of his deck,
watching the folks frolic twelve stories down.
Listen to me, man, I don't wan' no
focking key. I wan' the money.
EXT. BO CATLETT'S DECK – NIGHT
Bo Catlett looks inside where Yayo paces back and forth. The
Bear reclines on a chaise lounge.
Hey, Yayo? You gonna smoke, get the
hell off my seventy-bucks-a-yard
Yayo steps out on to the deck...
I told you where the money is. All
you gotta do is go get it.
No. I'll tell you something...
That's all you know, huh? Wait here
a minute, Yayo, I be back directly.
Yayo leans against the railing, cuts a 'now that's the way
you get things done' look at the Bear. He lights a cigarette,
looks OFF SCREEN and freezes...
The fock you doing with that?
Bo Catlett holds a big .45 out in front of him...
I'm taking you out, Yahoo.
...and shoots Yayo in the chest, the gun going off loud, the
round knocking the little Latin man back against the railing.
Dead focking center, man.
Yayo, a stupid look on his face, stumbles backwards, over
the railing. The Bear reaches for him, but it's too late...
EXT. HOUSE DOWN BELOW – SAME TIME
The group down here is too stoned to notice the little
Colombian who falls from the deck high above like a sack of
dirt, then slides partway down the slope.
EXT. BO CATLETT'S DECK – SAME TIME
The bear looks over at Bo Catlett... who now calmly stares
down at the motionless form of Yayo.
Shit, now someone's gotta climb down
there and get him.
You didn't have to shoot him, Bo. We
coulda just beat him up some.
You see that? The way the man just
went right over?
Bo Catlett takes a sip of his drink, looks at the railing.
Maybe we can get Chili Palmer up
here. You fix my railing to give way
like they do in the movies. Then I
invite the man out here, have a look
at my view. Get him to lean over the
railing, see all the naked people
down there... a tragic accident,
Bear looks at him.
Cat, that's the lamest idea I've
Yeah, well, I'm bored, Bear. I wanna
Bear looks at him.
I mean, what's the point of living
in L.A. if you're not in the movie
Bo Catlett leans on the railing, looks down at Yayo again.
And I mean high up in it.
(turns to Bear)
That's why Harry's gonna make Mr.
Lovejoy with me, not Chili Palmer.
Mr. Lovejoy? That's cute, Bo.
Doesn't matter what it's called,
Harry's got Martin Weir and it's
gonna be big.
They all sound big at the talking
EXT. MARTIN WEIR'S HOUSE – MORNING
Karen pulls into the driveway in a convertible BMW. As she
checks her make-up in the REARVIEW MIRROR, we see Chili pull
up behind her in his rented minivan. She turns around, frowns,
and quickly gets out of her car.
He gets out of the van... holds up a Star Map...
This thing's actually accurate. I
bought it for ten bucks from a kid
in a lawn chair on Sunset...
You were supposed to wait for me
with Harry at the restaurant.
Chili points to a star on the map...
See, here it is... Martin Weir's
house... right across the steet from
They both look to the front door where a tall, skinny WOMAN
with wild, jet black hair stands.
It is you...
She comes bounding down the steps, runs over and gives him a
hug... Karen can't believe what she sees.
It's Nicki now. I don't believe this.
We know each other.
Karen smiles: 'How 'bout that.' Then looks at Nicki.
Karen. Shit. I didn't see you there.
How are you?
Karen starts to answer, but Nicki's already hustling Chili
INT. MARTIN WEIR'S HOUSE – DAY
White everything. Way off in the background, a view on to
the huge backyard. A pool man cleans the pool. A gardener
blows the leaves.
Martin's extensive photography collection lines the walls.
Chili steps inside, checks some of them out: most of the
photographs are of Martin.
Martin will be out in a minute.
Chili was the only one at Momo's
didn't hit on me.
What a gentleman.
You like my hair?
(reaches up, touches
Black like this?
It's nice. Especially under your
Somehow this makes Karen feel better.
Martin won't let me shave. I guess I
fill some need. Brings him back to
the sixties or something.
Karen turns as we hear a TOILET FLUSH somewhere OFF SCREEN.
(looks OFF SCREEN)
Speak of the devil...
Chili follows her gaze and we see...
As he comes down the stairs, checking
the front of his trousers.
He and Karen spot each other. Both look uncomfortable for a
fraction of a second, then Martin hurries over to her...
Karen. Wow. Look at you...
He hugs her and hangs on, leaving Nicki and Chili standing
there like idiots.
Mmmmm. You smell terrific.
She always smelled so good.
Martin, this is Chili Palmer.
Chili is it?
Yesh, a pleasure, Martin.
Chili's a gangster. Ran a club I
used to play at for another gangster
back in Miami. How is Momo these
Karen fights a smile. Nicki nods solemnly...
Well, I'll let you all get to your
movie talk. Chili, make sure you say
good-bye before you leave.
PORTRAIT OF MARTIN WEIR
Done in cracked oils, the whole bit.
PULL BACK TO REVEAL...
MARTIN'S LIVING ROOM
Martin, Karen and Chili all sit on white couches. Martin is
checking out Karen, nodding...
I'm sitting here, I'm looking at you
and I'm having these flashes. You
know, flashbacks, of memories.
(touches her hair)
Yeah and I'm wondering, how did it
go wrong? How did it all... slip
'It' didn't slip away, Martin, you
did... when you went off to fuck
Nicki in the middle of my birthday
Martin brings his hand back, nods, lost in thought...
Yeah. That was a good party.
You know, Marty, you were good in
Martin. It was a beautiful role. All
I had to do was find the character's
center, the stem I'd used to wind
him up and he'd play, man, he'd play.
Karen looks like she wants to throw up.
Well, you had it down cold. Watching
you in the movie, if I didn't know
better I'd have to believe you were
a made guy and not acting. Even the
fink part. I never met a fink and I
hope to God I never do, but how you
did it must be the way finks act.
A few weeks before shooting, I went
back to Bensonhurst, just to listen
to you guys. See, I'm Italian, but I
grew up in Tarzana. So I wanted to
pick up your rhythms of speech.
We talk different?
It's more like your attitude. Your
tone, your speech patterns demonstrate
a certain confidence in yourselves,
in your opinions, your indifference
to conventional views.
You mean like we don't give a shit.
Yeah. Kinda. Anyway, once I have the
authentic sounds of speech, the
rhythms, man, the patois, I can
actually begin to think the way those
guys do, get inside their heads.
Chili exchanges a look with Karen who sits back now. Ready
to give up.
Okay, I'm one of those guys you
mentioned. I'm actually one of 'em.
What am I thinking?
Martin looks at Chili...
Don't get me wrong, I'm not saying
an actual metamorphosis takes place.
That wouldn't be acting.
Karen looks at Martin, shakes her head.
So you don't know what I'm thinking.
No, I don't. Though I have to say
So you want to know.
If you'd like to tell me, yeah.
I'm thinking of a movie.
One of mine?
One we're producing.
With what? Wiseguy money?
Martin cracks himself up. Karen and Chili crack up with him,
Karen leaning into Chili...
Maybe this was a bad idea.
But Chili keeps looking at Martin.
Martin, I'm not connected to those
people anymore. Not since I walked
out of a loanshark Operation in Miami.
What happened? The pressure got to
Pressure? I'm the one applied the
Chili sits back. Karen is starting to enjoy Chili's handling
You're an actor, you like to pretend.
Imagine you're the shylock. A guy
owes you fifteen grand and he skips,
leaves town. What do you do?
Chili watches as the movie star hunches over, narrows his
shoulders. For a few moments he holds his hands together in
front of him, getting a shifty look in his eyes. Karen shakes
Oh, for Christ's sake –-
I know. I'm doing Shylock instead of
a shylock. Okay, what's my motivation?
The acquisition of money. To collect.
Inflict pain if I have to.
Karen watches as Martin stares at Chili, his expression
gradually becoming deadpan, sleepy...
Guy owes me fifteen large and takes
off, I go after him. The fuck you
think I do?
Martin, look at me.
I'm looking at you.
So is Karen, for that matter.
No, I want you to look at me the way
I'm looking at you. Put it in your
eyes, 'You're mine, asshole,' without
What you're telling me, you're tired?
You wanna go to bed?
Wait. How about this?
Now you're squinting like you need
Karen looks away now, fighting a smile.
Look at me. I'm thinking, You're
mine. I fuckin' own you. What I'm
not doing is feeling anything about
it one way or the other. You
understand? You're not a person to
me, you're a name in my collection
book, a guy owes me money, that's
Martin nods, gives Chili a nice dead-eyed look. Karen is
thoroughly enjoying Chili's manipulation of Martin.
How about this?
That's not bad.
That's what I think of you, asshole.
I believe it.
I turn it on when I confront the
Yeah, but you haven't found him yet.
The guy took off for Las Vegas.
How do I know that?
Karen looks at Chili as he sits back...
The guy's wife tells you...
INT. ABIQUIU RESTAURANT – DAY
Two floors, the upstairs with a railing overlooking the bar.
Harry, a drink in front of him, sits in a big corner booth
upstairs. He checks his watch...
Harry, how you doing?
Harry looks up to see Bo Catlett, dressed up as usual,
standing there with the Bear, wearing a Hawaiian shirt.
Bo. I'm great. Listen, I'm expecting
some people –-
You must be makin' some big deals,
doin' lunch in a place like this?
I'm working on a few things.
Yeah, I hear you bagged Martin Weir
for Mr. Lovejoy.
Boy, this town. Word gets around,
Harry chuckles, takes a sip of his drink.
Chili Palmer told me.
Harry's smile goes away.
Last night. When he called me over
to your office to talk about it.
Chili Palmer showed you my script?
Yeah, I was wondering why he should
INT. MARTIN WEIR'S HOUSE – SAME TIME
Martin is leaning forward... Hooked...
The wife sues the airline.
This is a gutsy babe.
(turns to look at her)
Chili smiles at her. Martin leans forward.
So when do I meet up with the husband
and give him the look?
It's not that simple. You have to be
careful. There's another guy that
comes along, a hard-on you owe some
money to. A mob guy. Wants to take
you out anyway, on account of a past
Okay. I'm listening.
Chili stops; he doesn't know what else to say. Martin waits,
then looks at him a moment...
At that point, basically, that has
to be it.
You're not going to tell me the rest?
Well actually, Martin the movie we
came to talk about is Mr. Lovejoy.
Yeah. We understand you read the
script and like it... a lot.
Refresh my memory...
INT. ABIQUIU – SAME TIME
Harry drains his drink. Bo Catlett exchanges a look with the
Listen, Harry, how would you like to
get your hands on five hundred grand?
You pay me back at your convenience,
All I want in return is to work on
the movie with you. Fact I already
got some ideas on how to fix it up.
Bo Catlett signals the waiter...
How 'bout another one for Mr. Zimm.
You're gonna just give me five hundred
We'll talk about that, Harry. But
first I gotta know, how'd you hook
up with Chili Palmer.
EXT. MARTIN WEIR'S HOUSE – DAY
Karen, Martin, and Chili walk out to the driveway.
Lemme talk to Buddy, set up a meeting.
Lufkin. His... agent.
Yeah, Karen knows him.
But you are interested?
I'm intrigued, yeah. You know what
might help you, take a look at the
Cylone again, the way a visual fabric
is maintained even while the metaphor
plays on different levels. Hey –-
(nods to minivan)
This your ride, Chili?
Chili follows Martin over to the minivan, opens the door for
Yeah, I like it, I'm high up, I can
see everything, you know? It's the
Cadillac of minivans.
Mind if I take it for a spin?
INT. ABIQUIU RESTAURANT – DAY
Bo Catlett and Harry are laughing as Harry, very drunk now
finishes another drink...
He was watching Letterman, huh?
Sneaky, that Chili Palmer.
(signals the waiter,
So, he ever find this dry cleaner,
the one with all that money on him?
Leo, I don't know.
Bo Catlett and the Bear look at each other.
I bet he did and he ain't givin' you
a penny of it, help you out. Not the
way I am.
Harry looks at Bo, can't believe what's happening to his
life, thinks a moment, then...
Assuming I go along with this, when
can I have the five hundred?
Whenever you want it. The money's in
hundred dollar bills inside one of
those jock bags, you know? In a locker
at the airport, waiting to be picked
It was waiting out there on another
deal, one that didn't go through;
one you don't want to know about.
Harry shakes his head, looks around the restaurant. Bo and
the Bear exchange looks, then...
I don't know.
It's not the kind of thing you do.
Another glance at the Bear, then...
That's why I was thinking you could
send your boy Chili Palmer. He gets
busted or hit on the head you aren't
And with that, Bo Catlett calmly slides an ORANGE KEY across
the table to Harry. Harry stares at it. It has the number C-
18 printed on the flat orange part.
That's the magic number.
And they all look...
As Chili and Karen enter the restaurant. Chili checks out
the bar, sees they aren't there, then looks up at the
railing... keeps his eyes up there as he says...
Chili moves to the staircase, now sees the Bear in his
Hawaiian shirt standing a few steps from the top.
Chili gets within three steps of the guy and stops, but
doesn't look up, keeps his eyes fixed on the man's gut.
I'd like you to meet my associate,
the Bear. Movie stuntman and champion
weightlifter, as you might've noticed.
Picks up and throws out things I
Chili doesn't move, keeps his eyes on the man's crotch.
We think you ought to turn around
and go back to Miami.
Chili slowly moves his gaze up through hibiscus until he's
looking at the man's bearded face...
So you're a stuntman. Are you any
The Bear grins and turns his head to the side, as if too
modest to answer and will let Bo Catlett speak for him.
This makes the next move easier... the guy not even looking
as Chili grabs a handful of his crotch, steps aside and yanks
him off the fucking stairs.
The Bear yells out of pain and fear as the beefy guy rolls
all the way down the stairs to land on the main floor, a few
feet away from where Karen now stands.
Chili keeps watching until he sees the guy move, then looks
up at Bo Catlett who's now coming down...
Not bad for a guy his size.
Chili continues up the stairs to where Bo Catlett stands
beside the table. Chili unbuttons his coat...
I'll make you a deal. If you can get
out of here before I take my coat
off, I won't clean the floor with
you, get your little costume all
Karen watches now as Bo Catlett puts a hand in his coat
packet, steps right up to Chili...
You don't know me. You only think
Bo walks past Chili, goes down the stairs. Chili watches as
Bo Catlett helps the Bear get to his feet. They leave the
restaurant, the Bear looking over his shoulder at Chili.
Even Karen is looking at him differently now as they slide
into the booth with a now shocked, rapidly sobering Harry.
Rough business this movie business.
I may have to go back to loan sharking
for a rest.
Harry doesn't say anything. Karen looks at him.
Harry, what're you still doing with
He happens to be loaning me five
hundred grand, no strings, I write
any kind of agreement I want.
Is he giving you a check or cash?
Cash. It happens to be waiting right
at this moment in a locker at the
A locker at the airport? Jesus Christ,
Harry. Tell me you're not really
The guy's setting you up. You pulled
out of their Freaks deal so he's
paying you back.
Oh, is that right? I'm being set up?
Then how come Catlett said I should
send you out to get it, since you
haven't done a fucking thing for me
since you got into this... except
showing Bo Catlett my script?
Chili looks at Karen, smiles, shakes his head...
Okay, Harry, I'm wrong. You're not
the one he's setting up.
I mean, at least Bo's invested in
three of my movies.
Harry, we spoke with Martin.
Chili and me.
Harry looks at the two of them, differently now...
Yeah, he wants us to talk to Buddy,
set up a meeting.
A meeting with who? You and Karen?
Man's in town two days, thinks he's
David O. fucking Selznick.
Karen and Chili look at each other as Harry finishes his
So how 'bout it, Mr. Selznick, do I
make my deal with Bo? Or you gonna
finally help me out, have a word
with your dry cleaner when you find
I found him.
Harry looks at him.
Forget about Leo's money, Harry.
You have it?
Harry, if I gave you Leo's money
you'd have Ray Bones all over your
ass and then you'd be in a whole new
Ray Barboni. Guy from Miami, owns
Leo now that Momo died.
Who the fuck is Momo? Jesus, these
Tell you what, Harry, tomorrow
morning, when the airport's crowded,
I'll go check it out. If I don't see
a problem, I'll pick up the money...
I wouldn't get my hopes up, Harry.
Harry thinks a moment, lays the key on the table, but keeps
his hand on it.
Maybe I oughta talk to this Ray Bones
character myself. See if he wants to
invest in my movie.
Don't waste your time, Harry. The
guy's not much of a movie fan. Now
c'mon, gimme the key.
Harry finally lifts his hand.
EXT. HARRY'S OFFICE – NIGHT
A light on upstairs...
INT. HARRY'S OFFICE – SAME TIME
Harry sits at his desk, the phone cradled to his ear, a half-
empty bottle of scotch in front of him.
I show a 'Dem Bones Barbecue' in
Dade County, but that's all.
Oh. Wait a minute. That's not his
real name. It's uh... uh... yeah -–
try Barboni. B-a-r-b-o-n-i.
INT. RAY BONES' APARTMENT – NIGHT
We start CLOSE ON A TELEPHONE... The PHONE RINGS and we BOOM
UP to reveal a CLOSED DOOR across the room...
INT. BATHROOM – SAME TIME
Ray Bones nests on the can, humming off key, reading Weir'D
Tales, Martin Weir's autobiography. He looks up, listens to
the PHONE RING.
The phone KEEPS RINGING. Bones thinks about it a moment,
then tosses the book aside...
Fuck fuck fuck fuck...
INT. FRONT ROOM – SAME TIME
As Bones bursts out of the john and grabs the phone.
INTERCUTTING HARRY & RAY BONES
Phone to his ear, Harry downs another drink, sits up.
Who is this?
Are you the guy they called Ray Bones?
Depends. Who's this?
Who is this? I'm the one telling you
the way it is, okay, asshole? That's
who I am. Now you want your three
hundred grand or don't you?
What three hundred grand?
The three hundred grand a guy named
Leo Devoe scammed off an airline.
The three hundred grand Chili Palmer
now has in his possession.
Okay. This gets Bones' attention.
Hello? You there?
Yeah, I'm here. I just don't like
the anonymous crap. It means your
either chickenshit or not for real.
Yeah? Well, trust me. I'm very for
Okay. So who are you?
I work for Harry Zimm, alright?
Harry Zimm. The man happens to be a
major Hollywood player.
Never heard of him.
Maybe that's because you've never
been out've fuckin' Miami, dipshit.
Maybe it's time you got on a plane,
flew out to L.A. and took a meeting
with Mr. Zimm.
Bones sits down, trying to put this together...
So, what, this Zimm guy asking for
some kinda finders fee, that what
we're talking about here?
Hey, Zimm doesn't ask for dick. Zimm
tells you the way it is... or else.
Or else what?
Or else use your fucking imagination.
Harry hangs up at the other end. Bones stares at the phone.
INT. HARRY'S OFFICE – SAME TIME
He sits there a moment, also staring at the phone.
He then realizes his hands are shaking, grabs the bottle and
pours the rest of the scotch down his throat.
EXT. LAX – SOVEREIGN TERMINAL – MORNING
Busy. Travelers moving along the sidewalk. Here comes Chili...
he enters the terminal and we...
INT. SOVEREIGN TERMINAL – DAY
ROW OF LOCKERS
All with keys sticking out of them except one. We push in on
that one... C-18.
Stands between rows of lockers on either side of him. He
studies them a moment longer, then looks up at the ARRIVALS
MONITOR. He starts writing something on a CARD as we push
past him... pushing in on #83 from NEWARK...
INT. AIRPORT GIFT SHOP – DAY
As Chili buys an L.A. LAKERS T-SHIRT and a BLACK CANVAS
ATHLETIC BAG. He pauses to check out the magazine rack, Martin
Weir is on the cover of everything including his hardback
autobiography "WEIR'D TALES". He grabs a copy...
Chili puts the book and the T-shirt inside the athletic bag,
puts that inside the papergift shop bag, and then looks
SCRUFFY LOOKING KID
Eighteen or so, checking out the skin magazines as Chili
comes up behind him.
You want to make five bucks, take
you two minutes?
The kid looks at him, but doesn't answer.
You go over to those lockers over
there and put this in C-17.
The kid still doesn't say anything.
It's a surprise for my wife. But you
have to do it quick, okay? While
she's in the can.
That sounds like it makes sense, so the kid nods...
Chili gives him the paper bag with his purchases, a five
dollar bill and three quarters. He watches as...
The kid walks over to the row of lockers... puts the quarters
into C-17, opens it, puts the stuff inside, pulls the key
and then walks back over to Chili, and hands him the key...
EXT. AIRPORT – DAY
As a plane touches down...
INT. SOVEREIGN TERMINAL – DAY
As Chili watches the last few passengers come off the plane.
He watches them come through the gate until he's standing
there by himself.
Okay, he turns and walks down the aisle now to the bank of
lockers three high where C-18 is just about in the middle.
He looks both ways, takes his time until a group of people
pass behind, giving him a screen, giving him just time enough
to open C-17, grab the black athletic bag, and close the
Chili gets about ten yards down the aisle, heading for
daylight, when a BLACK GUY IN A SUIT comes towards him and
stops right in his path...
Excuse me, sir...
Now there's a BIG GUY IN A PLAID WOOL SHIRT next to him, the
same guy we saw when Bo Catlett was here. And Christ, ANOTHER
GUY now, this one down the aisle, talking on his hand radio.
The Black Guy has his I.D. folder open...
Curtis. Drug Enforcement. These are
Agents Dunbar and Morgan, would you
come with us, please?
What's wrong? What's this about?
Agent Curtis turns and starts off:
Let's follow him and behave ourselves.
What do you say?
As Chili walks off with the D.E.A. guys we see...
Coming out one of the gates. He looks at a GUY holding a
square piece of cardboard that reads "MR. BARBONE".
Mr. Barbone? Welcome to L.A. I'm
Bobby, your driver. You have a good
I hope you drive better than you
fucking spell, jackoff. My name's
Barboni, not Bar-bone.
As Ray Bones then walks off, we see coming out a different
All in dark suits. Two big guys in sunglasses flanking one
smaller, older guy...
You want to go to the hotel first,
I want to get my focking money.
INT. SMALL AIRPORT OFFICE – DAY
Chili stands there while Curtis opens Chili's wallet and
looks at the driver's license while Dunbar in the plaid shirt
pulls the Lakers T-shirt out of the athletic bag, feels around
inside. The agents glance at each other without giving any
kind of sign.
You live in Miami?
What're you doing in Los Angeles?
I'm in the movie business.
You're an investor, is that it?
I'm a producer.
You have a card in here?
Not yet. I just started.
Chili watches Curtis pick up the note with the Newark Flight
number and arrival time written on it.
I'd appreciate your telling me what
this is about.
I got a John Doe warrant here. I can
strip-search you if I want.
Pat him down.
Why don't I strip-search him.
Pat him down.
The big guy puts Chili against the wall.
Spread your legs.
What're you doing at the airport?
I was supposed to meet my wife, but
she wasn't on the flight.
Why, you live in Miami, was your
wife coming from Newark?
We had a fight and she left me, went
back to Brooklyn. I asked her to
come out here, you know, thinking
with a change of scenery maybe we
could get back together, and she
said okay, but evidently she changed
Your wife a Lakers fan?
I am. I'm a fan of everything that's
L.A. I love it out here.
He looks over his shoulder to the give the guy a smile. Curtis
doesn't return it.
You can go.
Chili moves to the table to collect his things. Curtis watches
By the way, you recall the number of
the locker you used?
It was C... I don't know, sixteen or
seventeen, one of those. Why? You
looking for anyway, a bomb or
Something shouldn't be there.
Why don't you get the attendant to
open all the lockers and take a look.
Maybe you'll find it.
That's the idea. I'll think about
That's what I'd do.
(looks right at Curtis)
Make sure I got the right guy next
Get him out've here.
EXT. FREEWAY – DAY
The usual L.A. traffic. A black caddy in the middle of it.
INT. CADDY – SAME TIME
As Ray Bones looks out a tinted window at the freeway.
You ever wanta go to the beach, here's
the freeway you take we're coming
I live in Miami and you want to show
me a fuckin' beach? The sun ever
come out here, or you have this smog
all the time?
They say the smog's the reason we
have such beautiful sunsets.
That's what they say, huh? What a
buncha fuckin' bullshit.
EXT. AIRPORT PARKING STRUCTURE – DAY
Chili glances about, makes sure no one's around, then pulls
the key for the 'right' locker out from a crack in the
pavement, near the stairwell. He then goes up the stairs to
EXT. AIRPORT PARKING STRUCTURE – DAY
Where the Bear, in his trademark Hawaiian shirt is standing
beside Chili's car. He straightens up as Chili exits the
stairwell and walks up to him.
I don't know how I could've missed
you with that shirt on. It's the
same as the other one you had only
the hibiscus are a different color.
So you didn't have the key with you.
You think I'd be standing here? You
set somebody up and you want it to
work, it has to be a surprise. Can
you remember that?
You spotted them, huh?
Chili looks at him, the guy's either dumb or making
What, did you see it work in some
movie you got beat up in?
I have to ask you for that key.
What, the setup didn't work so you
want the key back?
Catlett says if you don't open the
locker the deal's off.
You serious? This is how you guys do
business? I can't believe you aren't
The Bear keeps staring, but doesn't say anything.
Look, there's no fuckin' way I'm
gonna give you the key, outside of
you point a gun at my head. Then we
might have something to talk about.
Now step away from the car.
I don't need a gun. Where is it? If
it isn't on you, it's around here
Chili shakes his head, tired of this, but still feeling a
little sorry for the guy. He looks off in a kind of thoughtful
way, turns to the Bear again and kicks him in the left knee,
The Bear stumbles, hunching over. Chili grabs him by the
hair with both hands, pulls his head down and brings his own
knee up into the guy's face. This straightens him and now
Chili hits him high in the belly as hard as he can, right
under the rib cage.
The Bear sucks air with his mouth open trying to breathe,
helpless now and in pain. Chili takes him by the arm...
Lie down on your back. Come on, if
you want to breathe.
He gets the Bear down on the concrete, straddles his
midsection and reaches down to lift him up by the waist of
Take deep breaths through your mouth
and let it out slow... that's it,
The Bear starts to breathe okay again. He checks his teeth
now, feeling his nose...
Hey, Bear, look at me.
The Bear looks at him.
Tell your boss I don't ever want to
see him again. He made a deal with
Harry and a deal's a deal.
The Bear nods, closing and opening his eyes.
What're you hanging around with a
guy like that for? You were in the
movies, right? A stuntman? What's he
ever done he can talk about? You
Not too bad.
How 'bout when you went down the
The Bear touches his thigh...
I think I pulled my quadriceps.
So... how many movies you been in?
No shit? What're some of 'em?
INT. HARRY'S OFFICE – DAY
Harry is passed out with his head on the blotter when we
hear someone POUND ON THE DOOR. He jerks upright.
What -– who is it...?
Harry, his hair a mess from sleeping on it, looks up at the
door as it opens to reveal Ray Bones standing there.
The dipshit who's never been out've
Harry wakes up quick, nearly wets himself as Bones then
casually steps into the office.
Mr. Barboni. Well. This is surprise...
Scrambling now to play it the way Chili taught him, Harry
quickly gestures to the red leather chair arross the desk.
Please. Have a seat. Right here in
this chair right here...
As Ray Bones sits down, Harry moves to the blinds and opens
Problem is, the sun's setting, so there's no glare at all.
Ray indicates the nice red sunset...
They say the fuckin' smog's the reason
you have such beautiful sunsets.
Harry just smiles, sits down at the desk, things already not
going too well, about to get worse...
INT. WINGATE MOTORS OFFICE – SAME TIME
The walls are covered with posters of Porsches and Ferraris,
the kind you can buy at the carwash with severely titted
chicks sprawled on the hoods. Bo Catlett is behind a big
wooden desk on the phone.
Whatta you mean, he faked them out?
EXT. AIRPORT PAYPHONE – DAY
The Bear, sort of half doubled over...
He knew it was a set up. He was ready
INTERCUTTING BO CATLETT & THE BEAR
So where's the money?
I guess still in the locker.
You guess? You mean you don't know?
I mean I don't care.
Bo Catlett looks into the outer office as a car pulls into
the garage. Three dark-shaded gentlemen step out of the car.
Bear, I'm going to call you later.
INT. WINGATE MOTORS OFFICE – DAY
Bo Catlett hangs up, gets to his feet as the men all look
into the office now.
Mr. Escobar. What a surprise. Welcome
We can now see that one of the Latinos is older, the other
two, younger, are his bodyguards. MR. ESCOBAR, the older,
meaner one... steps into the office...
Where is my nephew?
Yayo. Where is he?
Bo Catlett stiffens... Uh oh.
INT. GARAGE – DAY
As the two back doors of a limo slam shut. There's half dozen
other limos wedged in here.
INT. LIMO – SAME TIME
Bo Catlett sits in the back, wedged in between the two
bodyguards, neither of whom has removed his shades. He faces
Escobar on the opposite seat.
He's my sister's kid. No papa. Not
too bright. Personally, I think he's
a retard. I only gave him the job as
a favor for my sister, you understand?
Sure. Family. I know how that goes.
He comes up here with our product.
He suppose to come home with five
hundred thousand dollars. He never
shows up. Meanwhile, my sister's
going crazy calling me all the time
worried about him. Me, I just wanna
know what happened to my focking
Well, I don't know. I gave the man
his money, sent him on his way.
You gave him the money?
I gave him a key to a locker that
had the money in it.
Now why would you do that? Put the
money in a locker?
Because there were a zillion DEA
guys hanging around the terminal.
A zillion, huh? That's a lot.
Escobar studies him a moment. Bo Catlett shrugs.
Maybe your nephew panicked, took
Where's your partner, the jumpy one?
Why isn't he here?
He's around someplace.
I hear he's around Palm Springs.
Dealing our product. Product we sold
to you for five hundred thousand
Why do you keep talking to me
bullshit? I think maybe I have Ramon
and Ceasar staple your tongue to
your chin. What do you think?
Bo Catlett barely glances at the bodyguards, smiles the gleamy
smile to the Latin guy in front of him...
You know, you speak very good English,
I went to UC San Diego.
We're gonna spend the weekend at the
Universal Sheraton. We're gonna take
the tour. See the shark. Check out
the Miami Vice Action Spectacular.
After, we'll come here, get our money.
One of the bodyguards says 'Your nephew' in Spanish.
Oh, yeah, and Yayo, too.
INT. RONNIE WINGATE'S PORSCHE – DAY
As Ronnie zigzags in and out of traffic, giving people the
'look' as he passes... on the carphone.
His fucking nephew?
INT. WINGATE MOTORS – SAME TIME
Bo Catlett on the phone...
You get to town, you go straight to
the bank, raid the limo account.
INTERCUTTING RONNIE & BO CATLETT
I'm already in town, but it don't
matter. We got dick in the bank. We
dumped it all in Harry's movie.
What I'm sayin' is the man wants his
money and he wants it now.
INT. HARRY'S OFFICE – DAY
Ray Bones impatiently listening to Harry...
I'm talking about you, Ray Barboni,
owning a piece of a major motion
picture. How big a piece is up to
you. What I'm saying, you could invest
part of the three hundred Palmer
owes you or you could invest all of
it. It's entirely up to you...
Bones leans forward...
Where's Leo Devoe? Where's Chili
Palmer? Where's my fuckin' money?
Ray. Look at me.
Uh-oh... Ray's heard that one before...
Look at me, Ray.
You say look at you?
That's correct. Look at me.
Bones shakes his head, stands up...
I tell you what...
And in one fast move, Ray Bones grabs the phone off the desk
and slams it into Harry Zimm's surprised face...
Fuckin look at that, asshole...
Bones then yanks the phone out of the wall and throws it
down at Harry...
And have a peek at that...
Ray Bones pulls a pair of black leather gloves from his pocket
and steps around the desk... begins kicking the living shit
out of Harry Zimm...
You know, Harry, this is the exact
fucking thing I needed after the
fucking plane flight. My ass fell
...seven times. I need a little
Harry tries to push himself to his feet, but Ray Bones stomps
on Harry's hands... breaking them... and Harry falls back
Bones crouches down...
You got a big problem, Harry.
Bones grabs him by the hair, picks him up and throws him
across the room into the wall of pictures, many of them coming
off their hooks and falling on top of Harry.
Hey, Harry... Harry. Don't you pass
out on me. Look up here...
Harry, a crumpled heap, looks up and we see his bloody
pummeled face as Ray Bones quickly crosses the room. He steps
on Harry's neck with his shoe, pinning him to the floor...
Where's my money?
Harry can't speak; his jaw is broken. He looks sad lying
there pinned beneath Ray Bones' shoe, wondering how it all
went so wrong.
Bones pulls a 9mm from his coat pocket and aims it down at
Harry. I'm gonna ask you one more
time, then I'm gonna shoot you, you
don't tell me what I wanna know...
Harry just makes a noise. Bones aims the gun at him.
Where's my money?
Ray Bones looks over as Ronnie Wingate strolls into the
Harry actually looks glad to see him.
Who the fuck are you?
Ray Barboni. From Miami.
What, like that's supposed to mean
something to me?
Ronnie then puts a cigarette in his mouth, eyes Bones. Harry
tries to follow what's happening from the floor.
The man you're steppin' on belongs
to me and my partner.
He owes me money.
Get in line, bro.
I don't like waiting.
Tough shit, bro. This ain't Miami.
You want something, talk to me.
Hey, fuckball, I don't need your
permission. L.A.'s an open city.
Ronnie opens his jacket so that Ray Bones can see the .357
Ronnie's got tucked into his belt.
Yeah, well, I just closed it.
Bones looks at the gun, looks up at Ronnie standing there,
hands on his hips, holding his jacket open. Bones raises his
You a quick draw... 'bro?' You better
be, your piece stuck way down in
your belt like that.
Whatta you got there... some kinda
pop nine, the fuckin' Fiat of guns,
always jammin' at the wrong time.
Okay. Bones thinks about that. His confidence a little shaken.
They stand there a moment. Harry raises his hand, makes a
gurgling noise as...
Ronnie goes for his gun.
BOOM. BOOM. BOOM. Harry closes his eyes as Ray Bones shoots
Ronnie over and over, knocking the guy backwards until he
hits the door, and slumps to the floor.
Ray Bones stares at Ronnie a moment, then comes out of his
trance, looks down... quickly steps back...
Don't you puke on my shoes, Harry.
Harry rolls over on to his side. Ray Bones deep in thought
now, picks the telephone up off the floor, sets it back down
on the desk, then looks at Ronnie again.
Harry. I need you to do me a favor...
Harry rolls over and looks up at Ray Bones.
I need you to take this gun and put
a pill in the bro over there for me.
Harry looks at the dead Ronnie Wingate, slumped up against
the door, staring vacantly back at him.
I know what you're thinking, 'Why
the fuck would I shoot him? He's
Ray Bones crouches down beside him. Harry winces as Ray puts
the gun in Harry's broken hand.
But see, the cops got these tests,
tell them whether or not a person
fired a gun. And I was never here.
Harry looks pleadingly at Ray Bones.
You understand, Harry? I was never
here. You say I was, and I'm gonna
come back here throw you out that
Harry looks at the gun, feebly aims it at Bones. Bones frowns,
pushes the gun away...
C'mon, knock it off, Harry. We don't
have a lotta time here...
Harry looks up at Ronnie, raises the gun...
EXT. KAREN'S BACKYARD – DUSK
Beer in hand, Chili sits in a chaise longue by the pool.
Karen watches him a moment from the doorway...
Not a worry in the world.
He looks over...
Your pool needs skimming.
She comes over, sits down.
That was Martin. He wants to have
lunch tomorrow. That is, if you can
Depends, who pays?
Definitely not Martin. Movie stars
never pick up the check. They have
no idea what things cost. Most of
them don't know their zip code and a
lot don't even know their own phone
Chili looks at Karen a moment.
How'd you meet Martin anyway?
Not unlike the way Nicki met him.
Except it was a wrap party. Why?
I don't know, I'm just havin' some
trouble seeing you two together.
You don't like Martin much, do you?
Oh, I like him. I just think he's...
short. I mean, he's a good actor and
all, but I'm wondering what it was
exactly you saw in Marty.
For starters, Marty wasn't Martin
Feeling him staring, she keeps her eyes on the sunset, and
tries to change the subject...
So what about your story. You thought
of a title yet?
How 'bout Get Shorty? Except that
isn't a movie. That's real life.
How 'bout Chili's Hollywood Adventure.
That's a different story. I'm still
working on that one, you know, getting
the visual fabric just right.
Although I've added to it.
He looks at her, puts his drink down.
Yeah. There's a girl in it now.
And he leans over and kisses her.
INT. KAREN'S BEDROOM – NIGHT
Karen and Chili lie in bed together. She looks at him...
I think you could be an actor. I
know you're acting sometimes, but
you don't show it.
You thought I was faking?
No. I don't mean that. I just meant
The're both quiet a moment. Then...
You don't mean a movie star? More
like a character actor?
Whichever. Let's talk about it
But Chili can't stop thinking about this now...
I mean I could see myself in movies
Robert De Niro had been in. Or I
could maybe do an Al Pacino movie,
play a hard-on. But I couldn't see
myself in ones, like say the one
where the three guys get stuck with
a baby. They don't know how to take
care of it and you see these big
grown-up assholes acting cute -–
Hey, Chili? Look at me.
She leans over and kisses him. Is still kissing him when the
PHONE RINGS. They ignore it, let things heat up as we hear
the ANSWERING MACHINE pick up OFF SCREEN...
I'm not in right now. Leave a message
at the beep...
A BEEP, followed by...
Hi, Karen. It's Doris. Listen, doll,
you might wanna come by Cedars tonight
and visit Harry. He's in the emergency
Chili and Karen both jerk upright.
INT. EMERGENCY ROOM – SAME TIME
As Doris leads Karen and Chili towards the triage area.
I stopped by his office to see if he
wanted to take me to Le Dome for
dinner when I saw Harry and this
other man lying on the floor.
Doris smiles as two UNIFORMED COPS walk past.
Goodnight, Todd. Night, Louis.
Karen and Chili exchange a look as they follow her into...
THE TRIAGE AREA
Where Harry lies in bed in a pain-killer stupor. Both of his
eyes are black. His face is swollen and purple.
Harry... My God...
He raises a bandaged hand and waves feebly...
He can't talk. He's full of Demerol.
Harry tries to pull away as she runs a hand through his hair.
Who'd he shoot?
According to Todd -– Sergeant Randall --
a man named Ronnie came by Harry's
office to collect on a debt. He got
rough and Harry shot him.
You shot one of the limo guys?
Harry gives Chili a sad look. We then hear...
They all look over as a RESIDENT walks over trailed by several
Okay... here we go. Looks like Mr.
Zimm here's got a broken jaw and
some neck trauma to go with those
Doris winks at one of the young med students as the resident
then turns to her, Karen, Chili.
Excuse me, folks...
They step back as the Resident pulls the curtain shut,
blocking their view of Harry.
Hey, Harry, listen, Martin wanted to
meet us tomorrow at the Ivy for lunch.
I'd cancel, but Martin's going to
Cannes next week, so I think maybe
Chili and I should still go.
We hear HARRY GRUNT from behind the curtain, then...
Okay, who wants to take a crack at
wiring Mr. Zimm's jaw?
Chili and Karen look at each other as we then...
EXT. BO'S DECK – MORNING
PHOTOGRAPH OF HARRY ZIMM
Standing beside some giant mutant maggot or something. We
begin PULLING BACK... now we can read a headline above the
photograph, "PRODUCER INVOLVED IN SHOOTING".
BO CATLETT (V.O.)
As Bo Catlett sits on his deck reading the newspaper. From
inside, we hear the front door open and a moment later, the
Bear steps out on to the deck, with Farrah, his little girl.
Bo Catlett looks over as Bear CLEARS HIS THROAT, indicates
Hey, Bear. I been calling you, man.
Where you been?
Hey, Farrah. Hah you, little honey
bunny. You wipe your feet, for you
come in here? Keep Uncle Bo's carpet
nice and white.
You see the paper?
I seen it, but I don't believe it.
Says Harry shot Ronnie five times.
Four to the chest and one through
His foot. Jeez, poor Ronnie...
Yeah, I'm really gonna miss him.
Bo throws the paper aside.
Listen, tonight, later on, I got one
for you doesn't involve any heavy
work. I want you to go have a look
around Chili Palmer's hotel room.
I can't. I got to take Farrah to
Satan's place down in Costa Mesa.
Her mother. Not that it matters
because I don't work for you no more.
I quit. I just wanted to come by,
tell you to your face so there's no
Whoa... This is the man used to jump
offa high buildings?
Into air bags. There's no cushion
under what you're doing. I'm out of
it, Cat. I'm done.
Bear. The Colombians are in L.A.
Seems they all upset about their
money. That ain't enough, as a bonus,
it turns out the yoyo was Escobar's
That's your problem. You shouldn't've
smoked the guy.
Bo Catlett looks at the Bear, then smiles at Farrah...
Come here, honey bunny, come sit
with your Uncle Bo. He hates being
Bear watches uncomfortably as Farrah sits down with Bo. Bo
looks up at the Bear...
Fact, he hates it so much, if he
takes a fall, he ain't gonna fall by
Bo Catlett keeps his mouth close to her ear...
He's gonna plea-deal his way out.
Give up this ace stunt man now one
of the West Coast dope kings, if
they go easy on the Cat.
Come here, Farrah...
Bo Catlett holds on to her, looks up at the Bear.
I heard in the Federal joints they
let you spend an extra five minutes
at the glass with your Daddy on
Farrah. Come here.
Farrah slips off the couch, walks over to the Bear...
After this one, I'm out, Cat, you
understand? This is the last time we
talk to each other.
Remember Harry's story about the dry
cleaner Palmer was after? Guy who
stole the three hundred grand from
What about him?
I was thinking tonight you could go
have a look around Palmer's hotel
room while I go check out Karen
Flores' place. See if he hasn't
stashed it somewhere.
And if we don't happen to find it
under Palmer's mattress or inside
Karen Flores' undie drawer? What
Just do what I told you and meet me
back here at midnight.
And he winks at Farrah.
EXT. KAREN'S HOUSE – DAY
Chili's minivan is parked out front.
INT. KAREN'S HOUSE – SAME TIME
Chili, dressed in his suit, on the phone.
This is Mr. Palmer. I have any
A Tommy Carlo called. He said to
tell you that a Mr. Barboni was on
his way to Los Angeles and that you
...get the fuck out of there.
When was this?
Two nights ago.
Chili hangs up as Karen comes into the room wearing a black
suit, no blouse underneath, putting on an earring.
Wow. Nice earrings.
EXT. KAREN'S HOUSE – DAY
As Karen and Chili walk out to the minivan...
What kinda food they serve at this
Ivy place anyway?
Continental, but it doesn't matter.
Martin won't order from the menu.
He opens the door for her...
Because a movie star can never order
straight from the menu. They have to
think of something they have to have
that isn't on the menu.
EXT. THE IVY – DAY
As the valet drives off with Chili's minivan, a CAB pulls up
and Harry -– his hands bandaged, his neck in a massive brace
–- gets out...
Harry, what're you doing? You're
supposed to be in the hospital.
Yeah, Harry, you look like you belong
in one of your horror movies.
Harry waves them off points to himself as he mumbles through
his wired jaw...
He then pushes past them and limps up the steps. The hubub
on the patio quiets as the three of them then walk up to the
INT. THE IVY – DAY
Mr. Zimm. Nice to see you.
Harry looks at him, not used to being greeted like this.
Right this way.
All eyes are on Harry as they're led to a table. Karen sits
down, looks about at all of the gawking diners...
You're a celebrity, Harry. You shoulda
shot someone a long time ago.
Chili watches Harry try to shake a cigarette out of the pack.
Chili reaches over and helps him out.
Tell me, Harry, what'd you think of
Ray Bones as a person?
Harry goes stiff, looks at Chili as he lights one for
Only a guy like Bones would mess you
up like this, break your hands for
no reason. He shoot Ronnie, too?
Harry looks at Karen, quickly looks away.
Thing I don't get, Harry, is why'd
you go and do a thing like talking
to Ray Bones. You don't need guys
like him or Bo Catlett.
Harry looks at Chili now.
I been here a while now and far as I
can tell you're the only person in
town actually making a movie instead
of just talking about it.
Before Harry can answer, we hear a murmur and Chili and Karen
look across the patio to the street, where...
EXT. THE IVY – DAY
Martin Weir gets out of a NEW MINIVAN, exactly like Chili's
INT. THE IVY – DAY
WE PAN WITH Martin as he stops off to say hello to people
sticking their hands out at him to greet him, laugh at his
Chili nods as Martin smiles, leans down and kisses Karen.
Hi, sweetface. You look great. And
mmmmm, you smell good, too.
Martin sits down and fans the air in front of him.
Would you guys mind terribly not
Chili takes another drag, blows it out past Martin. Harry
stabs his out, doing the best he can with two broken hands.
So. Harry. I hear you had quite an
Well, I'm glad you're okay. And you
know what else?
Harry watches Karen and Chili a moment longer, turns to
I'm glad you rejected me ten years
ago when I auditioned for Eddie
Solomon, the pedophile clown in
Birthday Boy. Had I gotten the part.
I might've gotten typecast.
Martin smiles at his own joke, looks up as the Maitre D'
approaches. Harry turns back to Chili and Karen.
You all ready to order? I kind've
have another thing after this...
Chili watches anticipatingly as Martin studies the menu for
maybe a second, returns it to the waiter...
You know, I feel like an omelette.
You think I could have a cheese
omelette with shallots, but with the
shallots only slightly browned...
Karen and Chili exchange looks, pick up their menus.
INT. THE IVY – DAY
They've finished lunch. Chili shares a bowl of ice cream
with Karen. Harry sips cognac through one of those tiny
I think the romance angle in your
story is critically important, that
isn't simply a jump in the sack for
either of them. These two become
deeply in love.
Harry looks up... mumbles through his wired jaw...
Once their lives are in danger and
you have the mob guy coming after
them, it not only heightens the
tension, it adds a wistful element
to their love.
Harry touches his jaw. It hurts to speak.
I have to consider, I mean, as the
mob guy, this is another man's wife
I'm sleeping with.
And after all, you have such morals.
Harry looks to Karen for help here...
Martin looks at his watch.
I have to run. But what I hope to
see, they begin to have misgivings
about wanting the money. It becomes
their moral dilemma and they try to
rationalize keeping it, but in the
end they can't. Can they?
The three hundred large. What other
money is there?
I should keep quiet, I know, till
I've read the script, but I've got a
feeling about this one. I'm that
Harry winces in pain. Martin turns to him...
Look at me, Harry.
Harry's already looking at him.
Whatta you think, Chill?
That's not bad. I think you got it
Harry turns to Chili, and back to Martin again. Just now
Really, it scares me how well I know
him. I could do this one tomorrow,
no further preparation.
Bye darlin'... you really should
think about acting again. I mean,
maybe we could even do something
Now Harry looks at Karen who forces a smile at Martin.
I'll give it some heavy thought.
EXT. KAREN'S HOUSE – NIGHT
No lights on. Chili's minivan out front.
Chili. Wake up.
INT. KAREN'S BEDROOM – SAME TIME
Karen sits up in bed. Chili lies asleep beside her. She nudges
Wake up. Someone's downstairs.
Chili sits up on his elbows, listens. We can hear the TV.
It's Harry. Downstairs.
Chili sits up on his elbows, listens.
He's doing the same thing you did to
him, playing Letterman on TV.
It's not Dave. It's a movie.
Are you going down?
I don't know.
You're as bad as Harry...
I'll go. I'll go.
He gets up, pulls on his pants and the Lakers T-shirt he
bought at the airport.
Hey, Karen, you have a gun? Any kind
would be fine.
She shakes her head. He listens to the TV, then...
I think it's "Rio Bravo".
INT. KAREN'S STUDY – SAME TIME
The big-screen TV on loud, the big .45 in his lap. This time
it's a movie, a western, not David Letterman that's on. John
Wayne and Dean Martin shooting bad guys as Chili steps into
the doorway and looks around; the room is empty now. Chili
moves to the television and turns the volume down...
He's about to walk out when the dark shape of Bo Catlett
steps into the doorway and startles him...
I need the money.
The three hundred grand you got from
a little dry cleaner named Leo.
Lemme see if I got this right, you
break into Karen Flores' house, ask
me for three hundred grand, doesn't
even belong to you?
INT. KAREN'S HOUSE – HALLWAY
As Karen comes down the stairs, she can see Bo Catlett
standing in the doorway bathed in the flickering light.
BO CATLETT (O.S.)
Give it to me, I'll be on my way.
INT. KAREN'S STUDY – SAME TIME
As Chili shakes his head at Bo Catlett...
I can't believe the way you guys do
business out here. I can't believe
how fucked up your organization is.
Tell you what...
Bo Catlett raises the .45...
How 'bout I give you to three, then
I organize your fuckin' brains all
over the wall back there. One...
What, you gonna shoot me now, Bo?
In just a second. Two...
I don't believe this.
Bo Catlett is about to fire... when we hear a SCREAM. Not
just any scream, but a completely professional one that fills
the house and is all over Bo Catlett so that he starts firing
before he's ready, giving Chili time to dive out of the way
Bo Catlett begins firing all over the room... keeps on firing
until without thinking he blows out the TV and the room goes
dark and the scream stops. Then...
Karen? You okay?
BO CATLETT (V.O.)
She can't talk right now.
We hear movement, then the lamp goes on and we see Chili
standing beside the desk looking to the doorway where Bo
Catlett now has his hand over Karen's mouth. She struggles,
but Bo hangs on to her...
That's a nice scream, lady. You oughta
be in movies.
Alright, Bo. You can have the money...
but it's not here. I have to go get
Okay. Fine. The meantime, I'll just
hang on to her for safe keeping.
Chili and Karen are looking at each other now.
You know Laurel Canyon?
I'll find it.
I'm at 8150 Wonderland Avenue. It's
right off Laurel.
(looking at Karen)
Gimme an hour.
EXT. BO CATLETT'S HOUSE – NIGHT
As Bo Catlett pulls up, drags Karen out of the car.
INT. BO CATLETT'S HOUSE – SAME TIME
The Bear gets up off the couch as Bo Catlett shoves Karen
You get the money?
No. What's this?
Plan B. Here ya go, honey...
He shoves Karen into the bathroom and shuts the door...
Make yourself comfortable.
INT. BATHROOM – SAME TIME
As Karen shuts the door on him. She listens a moment.
We gonna make a little trade.
She spots a copy of Martin's hardback Weir'D Tales by the
For Christ sake...
INT. LIVING ROOM – SAME TIME
Bo Catlett goes over to the stereo.
Trade for what?
The money. Fuck. I gotta think...
We hear Marvin Gaye OVER...
Jesus, Bo, what're you doing?
Karen sticks her head out the door...
He doesn't know what the fuck he's
Bo Catlett points the gun at her face...
She closes the door.
So you kidnapped her?
Karen opens the door again...
That's a fucking federal offense,
BEAR / BO CATLETT
Again she shuts the door.
You get life for kidnapping.
Calm down, Bear...
Calm down? We're going away for life
and you tell me to calm down?
He taps Bo's gun...
Hell, why not just shoot her? Why
not shoot everybody. Fuckin' shoot
me. Shoot the fuckin' president?
Don't fade on me now, Bear. Not unless
you wanna hold Farrah on your lap in
a room fulla felons.
The two men stare at each as we hear...
INT. HOUSE – SAME TIME
So this's one of those houses you
see way up hanging over the cliff.
They both look over at Chili, standing in the doorway,
lighting a cigarette.
(nods to the closed
In the can. That the money?
Chili opens Leo's bag so that Bo can see the money.
Lemme see her.
Bo Catlett shrugs, walks over and opens the bathroom door.
Karen stands there with her arms folded across her chest.
Guy's got a fucking pink toilet, for
She's great. Gimme the money.
First you and me gotta get a couple
Chili walks to the doorway leading out to the deck and turns
around. He eyes Bo Catlett a moment, then...
I've been shot at before -– once by
accident, twice on purpose. I'm still
here and I'm gonna be here as long
as I want. That means you're gonna
have to be somewhere else, not
anywhere near me or Harry or Karen.
Chili sets the duffle bag down in front of him.
Here's your money. Take it and leave
the movie business to the rest of
us, know what we're doing. C'mon
They turn to leave, we hear a LOUD CLICK as Bo raises the
gun, takes a step towards them...
You broke in my house and I have a
witness to it.
Chili looks at the Bear. The Bear won't look at him.
Only this time, no John Wayne and
Dean Martin shooting the bad guys in
It was Rio Bravo. Robert Mitchum was
the drunk in El Dorado, Dean Martin
in Rio Bravo, practically the same
part. John Wayne, he also did the
same thing in both. He played John
Man, I can't wait for you to be dead.
Bear, you're not really gonna –-
The Bear hooks one to Chili's face. Chili drops to his knees.
That's for the stairs.
The Bear kicks him, sending Chili back into the living room
at Karen's feet.
Ever fallen down stairs before? It
Karen moves to help Chili. Bo raises the gun...
You wanna go first, honey? That's
fine with me.
Bear picks up Chili...
Get him off my carpet, you gonna
make him bleed like that.
The Bear knees Chili in the gut, then shoves him out on to
the balcony. Bo Catlett follows them out there...
Like I say, 'I warned him, officer,
but he kept coming at me...'
The Bear follows Chili out, hits him again.
And that's for the airport.
Hey, he should have a weapon, a knife
We'll get it later.
And the Bear hits Chili again...
Okay, Bear... that's enough.
But the Bear can't stop, keeps hitting Chili. Bo moves up to
Hey, Bear... enough!
The Bear looks at Bo Catlett...
You keep hittin' him like that, he
ain't gonna look like he broke in
anymore, he gonna look like someone
beat him up and then shot him.
And then the Bear, holding on to the back of Chili's shirt,
shoves him towards Bo Catlett, who takes a step back, and
grabs the rail behind behind him, and drops the gun as he
gets a funny look on his face as... THE RAIL BREAKS AWAY...
He flails a moment, grabbing at spare, but then quickly grabs
on to Chili...
The Bear tries to pull Chili back, but ends up holding a
handful of Chili's shirt as both Chili and Bo Catlett go
over the rail together and drop from sight...
EXT. FROM THE HOUSE BELOW – LOOKING UP AT BO CATLETT'S HOUSE
As a body falls... too dark to see who...
EXT. BO CATLETT'S DECK – SAME TIME
As Karen spots THE GUN on the deck as two hands appear on
the edge and the Bear rushes forward...
C'mon, man, gimme your hand... we
gotta get outta here...
Behind the Bear, Karen picks the gun up off the deck, points
it at the Bear...
Hey, Karen, don't -–
The Bear reaches down again and BOOM! Karen SHOOTS THE BEAR
IN THE LEG. He cries out, falls back and lets go of...
Who now barely hangs on to the deck.
Karen! What the fuck are you doing?!
Oh, shit... I'm sorry... I thought
that was... I'm so sorry...
She comes over to the edge... helps the now wounded Bear
pull Chili back up on to the deck. Then they all stand there
looking down at Bo Catlett lying in the weeds and scraggly
bushes, a hundred or so feet down, not moving.
Marvin Gaye singing 'Ain't No Mountain High Enongh' as Chili
then steps back, looks at the railing...
Jesus. How'd that happen?
The Bear starts taking bolts and nuts, old used ones, out of
his pants pockets. Wiping each one on his shirt before
dropping it over the side...
Beats the shit out of me.
BO CATLETT'S POV – CHILI, KAREN, & THE BEAR
The three of them looking down. Slowly the picture gets blurry
as we then...
WE THEN TILT DOWN TO REVEAL:
EXT. SUNSET MARQUIS HOTEL – NIGHT
As Chili and Karen pull to the curb out front. She looks at
Were you scared up there?
You don't act like it?
I was scared then, not now. How long
you want me to be scared?
She looks off, shakes her head...
I'll be right back.
(shakes her head)
Go get your stuff.
INT. CHILI'S ROOM – NIGHT
As Chili enters, takes off his suitcoat, drapes it over a
He takes his suitcase out of the closet, throws it on the
bed, and freezes as...
Extending the 9mm at Chili, comes out of the bathroom.
You don't need that. You want to sit
down and talk, it's fine with me.
Get this straightened out.
Bones steps further into the room as Chili turns his back on
Bones, walks to the sofa and sits down.
How'd you get in here?
I told them I was you. I acted stupid
and they believed me.
So what brings you to L.A., Bones?
Don't insult me. Get up and turn
Chili gets to his feet. Bones motions with the gun and he
turns to face the painting over the sofa. Bones comes over
and lifts his wallet from his back pocket.
You're the dumbest fucking guy I
ever met in my life. Let's see what's
in your pockets.
His face still to the wall, Chili shoves his hands in and
pulls the side pockets out. Bones turns away.
What you should've done was told me
about Leo Devoe as soon as you found
Chili looks over his shoulder to see Bones pulling his
suitcoat from the back of the chair...
Why would I do that?
'Cause the guy's a customer now,
stupid. His ass belongs to me.
Bones lays the pistol on the counter, holds the suitcoat
with one hand and feels through it with the other expression
changes, his eyes open wider.
What have we here?
His hand comes out of the suitcoat with the LOCKER KEY. Chili
sits down on the sofa again; he can't believe how easy this
is gonna be...
Give me my cigarettes. They're in
the inside pocket.
Bones throws him the coat.
Bones then holds up the key to look at it.
Frowning now. Putting on a show.
I wonder what this's for, a locker?
Yeah, but where is it?
Chili sits back to smoke his cigarette, lets it happen.
I checked the bag at the airport,
when I came.
Yeah? Which terminal?
You found Leo, didn't you? Took the
poor asshole's money and put it in a
locker, ready to go.
(looks at him)
Why haven't you left?
I like it here.
Chili shrugs. Bones eyes the key a moment, then...
Look, there's no reason you and I
shouldn't get along. Forget all the
bullshit from before -– I don't even
remember how it started. You took a
swing at me over some fuckin' thing,
whatever it was -– forget it. You
owe me some money, right? Forget
that too. But, you don't say a fuckin'
word about this to anybody. It's
strictly between you and me, right?
Whatever you want, Ray.
EXT. SUNSET MARQUIS HOTEL – NIGHT
As Ray Bones gets into a cab...
Drug Enforcement Agency.
INT. CHILI'S HOTEL ROOM – LATER
Chili is on the telephone.
I wanna speak to the agent in charge.
What is this in regard to?
A locker out at the airport, full of
Chili waits. Then...
Who's speaking please?
I can't tell you. It's an anonymous
Are you the same anonymous asshole
called the other day?
No, this is a different one. Have
you looked in that locker, C-one-
There's a pause on the line.
You're helping us out. I'd like to
know who this is.
I bet you would. You want to chat or
you want me to tell you who to look
for? The guy's on his way out there
You know there's a reward for
information that leads to a
conviction. That's why I have to
know who this is.
I'll get my reward in heaven. The
guy you want has a bullet scar in
his head and is wearing gray shoes.
You can't miss him.
EXT. SUNSET MARQUIS – NIGHT
As Chili follows the bellboy out of the hotel. He tips the
guy, then gets in the car with Karen.
What took you so long?
Couldn't find my toothbrush.
He kisses her, then starts the car.
EXT. SOVEREIGN TERMINAL – LAX – NIGHT
As Bones, seen only from the back now, gets out of the cab,
enters the terminal.
INT. SOVEREIGN TERMINAL – SAME TIME
As Ray Bones, still seen only from the back casually strolls
through the terminal, playing with the LOCKER KEY in his
Ray walks right up to C-18 and inserts the key, turns it,
and opens the locker to reveal a BLACK ATHLETIC BAG sitting
Chuckling, he then reaches inside...
...then stiffens as we hear a CLICK as a RED LASER DOT hits
him in the temple...
Look at me, Boots.
Bones turns his head and we see that it's not the Ray Bones
we know, but... an ACTOR, a tough-looking guy with a scary
WE PULL BACK FURTHER TO REVEAL...
Standing there with the biggest fucking gun with laser scope
we've ever seen. A BEAUTIFUL WOMAN with the biggest -– well,
you get the idea -– is standing next to him... She screams...
Watch it, Steve!
Bullets and blood fly as the tough guy pulls a gun from the
locker and begins firing wildly at Martin and the Woman and
Hare Khrishna's and anybody else who happens to be in the
Martin, the tough guy only two feet away, calmly aims his
gun and pulls the trigger, but nothing happens. He shakes
Dammit... not again...
PULL BACK FARTHER TO REVEAL...
Set up like the airport terminal. Martin throws a fit about
the malfunctioning prop as The Bear walks up to him.
Martin, maybe you should dive or
roll out of the way or something...
Alright, let's wrap! We'll pick it
As Karen crosses the soundstage, we track along the backs of
a row of director's chairs with the names... "MARTIN WEIR"...
"HARRY ZIMM"... "KAREN FLORES" and... "CHILI PALMER". Chili
stands chatting with BUDDY LAFKIN.
But Martin already told me he loves
Look, I don't know, Buddy, I don't
think Martin's right for this new
Why the hell not?
He's too short.
EXT. SOUNDSTAGE – DUSK
As Karen, Chili, Harry, Martin, and Buddy all exit the
Karen and Chili get into Chili's minivan.
As they pull out, we see the name "C. Palmer" painted in the
We then CRANE UP AND BACK as Harry, Martin, and Buddy each
get into their own minivans... and we then...
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