Black Rain


BLACK RAIN






                         BLACK RAIN


                             by

                       Craig Bolotin

                             &

                        Warren Lewis




                                             November 1987






 A BLACK SCREEN:

    Various voices:   "Big six"... "That's six the hard way"...
              "Seven or eleven"... "Play two"...

 FADE IN:

 EXT.  UPPER EAST SIDE - NEW YORK CITY - NIGHT

    One of the pristine blocks of brownstones where even the
    garbage seems gift wrapped.  The VOICES continue over as
    we move in on a particular building where a DOORMAN is
    holding open the door for a dowager and her poodle.

    The voices continue:  "Hit me"... "Double down"... "Let it
    ride"... "Hit me"... "Anymore for the come out"...
    "Card"...

    In contrast to the outside of this sedate, quiet
    brownstone, we go inside to find...


 INT.  BROWNSTONE APARTMENT

    ... a miniature Las Vegas, complete with music, drinks,
    tuxedoed dealers and croupiers:  roulette, craps, Black
    Jack.  Wall to wall people.  The fact that casino gambling
    happens to be illegal in New York doesn't stop these
    Connecticut slummers, hollow-cheek nightlifers, and junior
    wiseguys from having a good time.

 AT THE CARD TABLE

    NICK CONKLIN, holding a dollar cigar, is trying to pull a
    winning hand.  In his late thirties, Nick has the sort of
    quiet good looks that takes an extra glance to appreciate.
    His Moe Ginsburg rent-a-tux is too tight, his ruffled
    shirt, out of date; Nick could care less.

    Two other players are still in the game.  One of them is a
    lithe DEBUTANTE surrounded by an entourage of giggling
    friends and tuxedoed men.  The pot is huge.

    Nick flips two one hundred dollar chips onto the pot.

                 NICK
            One, and one on top.

                 DEALER
            House sees.

                 PLAYER ONE
                (hesitates)
            I'm out.

    Disgusted, he throws down his cards.

    It's down to Nick and the debutante.  The cocky deb gives
    Nick a long look, confident she can win.

                 DEBUTANTE
                (her eyes still on
                 Nick)
            I see the deuce, and one to chase
            them home.

    She throws her chips on the pot.  Nick hesitates, then
    decides to match it.

                 NICK
            Call.

                 DEBUTANTE
                (showing her hand)
            Ladies, aces wired.  Sorry sport.

    Nick turns over his cards, Jacks and tens, not good enough
    to win.  Elated, the deb gets up from the table and joins
    her giggling friends.  Nick walks over to her.

                 NICK
            Very nice, Barbie.
                (pointing toward her
                 boyfriend)
            Now, I'd take Ken over there and go
            home.

                 DEBUTANTE
            Why's that?

                 NICK
            It's time.  That's all.

                 BOYFRIEND
            The lady wants to play.  Someone
            should teach you to be a better
            loser, loser.

                 NICK
            Listen, Ken --

                 BOYFRIEND
            My name is not Ken --

                 NICK
            -- I'm offering you the benefit of
            my experience.

                 DEBUTANTE
            Looks like you have a lot of
            experience in places like this.  It
            was nice of them to relax the dress
            code for you.

    That draws a laugh from her friends.  The entourage heads
    for the bar.

    CHARLIE SKLOARIS, twenty-three, steps in front of the
    debutante, blocking her path.

    She steps to the side.  Charlie steps with her.  Charlie's
    pushing it, he's always pushing it.  She's not amused.
    Finally, Charlie lets her pass.  He comes up to Nick.

                 CHARLIE
            Typical New York woman, big
            attitude, small apartment, no tits.

    Only two things count to Charlie:  his job and his women,
    but not necessarily in that order.

                 CHARLIE
            I think she got to you, pappy.

                 NICK
                (checking his watch)
            You want a popsicle, go to Good
            Humor.  And don't call me 'pappy.'

                 CHARLIE
                (glancing at the
                 door)
            Still, you gotta wonder how she'd
            look in handcuffs.

    Nick, wary, eyes this kid.  Charlie shrugs, spreads his
    arms defensively.  The SOUND of pounding on the front
    door.

 THE DOOR

    splinters.  The bouncer steps back as four helmeted
    emergency service officers -- the first members of the
    raiding party -- rush in.

    Pandemonium.  People rush for the exit -- any exit.

 AT THE BAR

    Nick and Charlie hold up their glasses.

                 NICK
                (calmly)
            Alley oop.

    They down their drinks, then set them down.

    Charlie pulls out the Binaca, offering Nick a spritz, but
    Nick is already pulling out his POLICE BADGE and hanging
    it around his neck.  Charlie quickly follows suit.

 A HALF DOZEN COPS

    line the patrons up against the wall.  The Asst. D.A.,
    PATTY ZACHARA, climbs onto the crap table.  A petite,
    nervous woman, Patty has dressed in a Channel suit for the
    occasion.

                 ZACHARA
            Settle down.  Hey, quiet... Please.

    Not a prayer.

                 NICK
         SHUT THE HELL UP, GODDAMNIT!

    That quiets them.

                 NICK
            My name is Conklin.  Let's do this
            fast so I can go home.

    Zachara, annoyed, looks at Nick.

                 NICK
                (softer)
            It's all yours.

                 ZACHARA
                (reads)
            Under section 216 of the New York
            State Penal code, I serve notice
            that this premise and it's
            occupants...

 NICK

    catches the Debutante's eye across the room.  She smiles
    at him, he was right.  He shrugs, spreads his hands.
    That's life.

    A well groomed middle aged man, who we'll come to know as
    CAVELLO, suddenly bolts from the crowd lined up against
    the wall.

    Charlie spins around to stop him --

                 CHARLIE
            Whoa -- where do you think you're
            going, hotdog.

    Cavello butts him with his head, sending Charlie to the
    floor.  Then, crosses his arms in front of his face and
    plunges through the WINDOW.

    Nick, not missing a beat, gives a small sigh as he
    follows.

                 NICK
                (sighs)
            Fabulous...

    He takes off after him.


 EXT.  STREET UPPER EAST SIDE - NIGHT

    Nick, short of breath, chases Cavello down the residential
    street, past the dog-walkers, past the doormen, past the
    fur-coated women climbing out of taxies... Unfortunately,
    Cavello has a good half block on him.

    From nowhere, Charlie blasts past leaving Nick a half
    block behind, silently cursing his age.

 AT THE CORNER

    a limo jerks to a halt, and Cavello jumps in.  The limo
    streaks away.

 CHARLIE

    turns to see Nick, hands on knees, gasping for air.

                              CUT TO:

 INT.  LOCKER ROOM - TWO EIGHT PRECINCT - NIGHT

    Now in their street clothes, Charlie and Nick stand in
    front of the mirrors.  Charlie is working his brush and
    hair dryer as if his life depended on it.  Nick, in
    contrast, shoves his hair back with his fingers and
    glowers at himself in the mirror.

                 CHARLIE
                (over the dryer)
            ... It's not like you were slow or
            anything... I think you did just
            fine.  I think you did great.

                 NICK
            Thanks.

    Nick turns to leave.

                 CHARLIE
            Hey, hey, where you goin'?

                 NICK
            Home.


 EXT.  POLICE PARKING LOT - NIGHT

    Nick strides out the door.  Charlie hurries after him.

                 CHARLIE
            Wait up.  You know the guy who did
            the Weismuller through the window --

                 NICK
            -- Cavello.  Ronnie Cavello.

    Charlie trails Nick to his motorcycle:  a Harley hog
    complete with wide gleaming fenders and twin tanks.  The
    bike is held together with tape and baling wire.

                 CHARLIE
            You know him?

    Nick tries to kick-start this behemoth, but it's not easy.

                 NICK
            He works for Frank Abolofia.
            Atlantic City.  Casinos.

                 CHARLIE
            So why dive through the glass for a
            nickel and dime bust?

    Charlie puts his foot up on Nick's fender to tie his shoe.
    Nick, spotting an ankle holster peeking from Charlie's
    sock, grabs Charlie's foot.  Charlie teeters.

                 NICK
            What's this?

                 CHARLIE
            Let go...

    Nick pulls out a Beretta 32.

                 CHARLIE
            Back-up.

                 NICK
            Get rid of it.

                 CHARLIE
            Why?

                 NICK
            It's not regulation.  And the only
            way you're gonna stop anybody with
            it is to show it to him, and while
            he's laughing, you can shove it down
            his throat.

                 CHARLIE
                (looking at Nick's
                 bike)
            I'll get rid of it when you get rid
            of the egg-beater.

    The Harley comes to life spitting a cloud of blue smoke.
    Nick puts on his paint-flecked helmet, slides down some
    ski goggles.

                 CHARLIE
            Nick, let's go hunting.  Bag
            Cavello.

                 NICK
            Charlie...

    Nick pops the bike into gear.

                 NICK
            ... You still got shaving cream on
            your ear.

    Nick rolls out and disappears in a haze of blue smoke.


 EXT.  BELT PARKWAY - VERRAZANO BRIDGE - NIGHT

    WE FIND Nick, a lonely, solitary figure bobbing in and out
    of the lights and shadows.  The SOUND of wind whips
    through his helmet; cold air stings his cheeks... The tail
    lights of Nick's bike disappear into the night.


 EXT.  SUBURBAN STREET - STATEN ISLAND - NIGHT

    Civil service heaven.  Nick hits the cut switch and glides
    past the manicured lawns and well kept houses of this
    development.  A basketball net in every driveway, a Buick
    or Chrysler in every garage.

    One house sticks out.  The lawn is brown, paint is peeling
    off the garage door and newspapers are scattered on the
    driveway.  Nick glides once around the cul de sac looking
    at the house.  His house.  It's as inviting as an open
    grave.  He shoots away.


 INT.  EL GRECO DINER - STATEN ISLAND - NIGHT

    A hanger sized roadhouse, wall to wall red velvet.

    Nick's the sole figure at the counter, coffee and the
    Daily News in front of him.  A NURSE walks in and sits
    down a half dozen seats away.  Nick look up.

                 NICK
            Short shift?

                 CONNIE
            Yeah... I came to save you.  If
            you're hopeless, I'll pull the plug.

                              CUT TO:

 INT.  CONNIE'S APARTMENT - BEDROOM - NIGHT

    Nick and Connie are in bed.  They're both looking up at
    the ceiling.  They've just made love.

                 CONNIE
            It's getting too cold even for me,
            Nick.

                 NICK
            Connie...

                 CONNIE
            All right, how's the new partner?

                 NICK
            High spirits, desire, commitment.

                 CONNIE
            You'll take care of that.

                 NICK
            Give me a break, would you?

                 CONNIE
            If you give me one.

    Nick kisses her.  The first suggestion of real affection.
    The SOUND of someone KNOCKING on the door.  Reluctantly,
    they stop.  Connie gets up and puts on her robe.

                 NICK
            Are you expecting anyone?

                 CONNIE
            I wasn't expecting you.

    She disappears down the hallway.  We HEAR the door open,
    then telling someone to wait.

                 CONNIE
                (poking her head in
                 the room)
            Imagine a small, greasy Boy Scout.

                              CUT TO:

 INT.  CONNIE'S APARTMENT

    Nick, wearing only his pants, is doing a slow burn.
    Charlie is holding his hands up defensively.

                 CHARLIE
            ... I found the goombah... Cavello.
            He's --

                 NICK
            -- I should tear your head off.

                 CHARLIE
            Whoa, I knew you were going to say
            that.  I absolutely anticipated
            that, Nick.  But I said to myself,
            Charlie, Charlie, we can move up on
            this, so go find Nicklaus... He'll
            be pissed for a moment, but then
            it'll dawn on him --

                 NICK
            -- Hey, I got a better chance of
            being hit by a bus then moving up.

    Charlie looks away momentarily, letting it slide.  He
    knows he's on sensitive ground.

                 CHARLIE
            ... Look... they told me at the
            Greek's you were here.  I'm sorry, I
            never imagined...

                 CHARLIE
                (buddy buddy)
            I like her.  She's nice.
                (lowering his voice)
            For her age.

    The bedroom door opens.  Connie enters, dumps Nick's
    clothes on the couch, tosses his gun on top of the pile.
    Without a word, she goes back inside and slams the door
    behind her.

    Nick, pissed, slowly turns to face Charlie.  Charlie
    shrugs.  Nick's got nothing better to do than go.

                              CUT TO:

 INT.  LIME HOUSE - CHINATOWN - NIGHT

    The Lime House is a little piece of Italy in the heart of
    Chinatown, and tonight, it's packed.  Any selection on the
    jukebox that isn't Frank Sinatra is Jerry Vale.  Behind
    the bar are two fat BROTHERS.  One pours drinks, the other
    dishes out Scungilli.  It's three a.m.  It's always three
    a.m. at the Lime House.

 AT THE BACK TABLE

    Our man CAVELLO is unloading steaming Scungilli onto an
    already heaping plate in front of an imperious looking
    JAPANESE MAN.  The Japanese Man, in his mid-fifties, wears
    a gray suit, and not a strand of his jet black hair is out
    of place.

    A Japanese TRANSLATOR, doing his best to translate
    Cavello's heavily accented English, sits between them.

 AT THE BAR

    Charlie is looking straight ahead, afraid Cavello might
    peg him.  Nick is at ease.

                 CHARLIE
            What are they doing now?

                 NICK
            Eating Scungilli, just like the last
            time you asked.

                 CHARLIE
            Who do you think the Jap is?

                 NICK
            Maybe Cavello's buying a Subaru.
            How would I know?

                 CHARLIE
            I don't blame you for being sore.
            It'll pass when we bag him.

    Charlie, trying to relax, gestures toward his foot.

                 CHARLIE
            Whatdaya think?  'Bostonians'.
            Eighty-five bucks.
                (lowering his voice)
            Girls go for shoes.  Second place
            they look.
                (off Nick's
                 reaction)
            Hey, I read it in a magazine.

    Nick's attention is drawn to a trio walking in the door.

                 NICK
                (dead serious)
            Charlie, don't do anything.  Promise
            me?

                 CHARLIE
            What?

    WHAT THEY SEE:  TWO BODYGUARDS are making a quick sweep of
    the bar.  FRANK ABOLOFIA, s stocky man with silver grey
    hair, sweeps in behind them.  Abolofia has mitts like a
    meat packer and a fifty dollar manicure.  A heavyweight
    Mafioso.

                 NICK
            Frank Abolofia.

                 CHARLIE
            The Wolf?

    Abolofia walks to Cavello's table.  All rise and shake
    hands.  The two hitters take seats at the bar.  The two
    brothers scramble to serve their distinguished guests.

                 NICK
                (in a whisper)
            Some party.

                 CHARLIE
            Maybe we should do something?

                 NICK
            Charlie, take your gum, stick it
            under your ass and keep it warm.

    Nick turns away, resumes his drink.

    NICK'S POV IN THE MIRROR BEHIND THE BAR:  two new Japanese
    men step in the door.  Early twenties, spiky hair, dark
    Versace suits.

 NUMBER ONE

    wears tortoise shell shades.  He coolly checks out the
    room then nods to --

 NUMBER TWO

    who pulls a Spas 12, automatic shotgun from under his
    coat, and spits out three rounds.  A window shatters.
    Everyone hits the floor.

 NUMBER ONE

    slowly walks toward Cavello's table.

 NUMBER TWO

    covers the floor.  Abolofia's bodyguards show their empty
    hands.

 NICK AND CHARLIE

    on the floor.  They don't have the artillery for this guy
    either.

 AT THE TABLE

    Our Japanese businessman knows these people.  He eyes them
    contemptuously.

    Abolofia has put enough people in this situation to be
    philosophical about it.  He stops chewing.  A tiny
    hand motion to his bodyguards is enough to stop any
    precipitous action.

                 NUMBER ONE
                (in Japanese)
            Give it to me.

    The Japanese businessman looking straight ahead.  A long,
    silent pause... Then, still not facing him:

                 BUSINESSMAN
                (in Japanese)
            Go to hell.

    Number One slips his fingers beneath his shades, massaging
    his eyes.  IN A FLASH, he pulls a shuto from under his
    coat.  The 18 inch blade gleams like a neon tube.

    He presses the tip of the blade against the businessman's
    throat.

 CHARLIE

    his hand close around the grip of the Beretta.  He unsnaps
    the ankle holster.  The SNAP can be heard across the room.
    Nick's hand closes around Charlie's and squeezes till the
    knuckles turn white.

                 CHARLIE
                (in a whisper)
            What are you doing?

                 NICK
            Saving your life.

 NUMBER TWO

    levels the scattergun at Nick and Charlie.

 AT THE TABLE - NUMBER ONE

    calmly holds the blade at the man's throat as he reaches
    into the man's jacket and removes a small, rectangular,
    plastic-wrapped parcel.

    He feels its weight, then flips it to NUMBER TWO.

    Abolofia, realizing that whatever is going on doesn't
    affect him or his, resumes eating.

                 ABOLOFIA
            You people are wild... Wild.

    NUMBER ONE backs the blade off.  The man raises his napkin
    to the small wound.  A droplet of blood has stained his
    shirt collar.  NUMBER ONE turns around as if to leave.

    What happens next could be a whim, an after thought.
    Number One spins around and THRUSTS the blade deep into
    the man's chest.  He withdraws it with a half twist, and
    in the same motion fatally slashes the translator's throat
    before the old man's body hits the floor.

    Blood pours from the businessman's mouth onto his
    Scungilli, spreading across the white cloth and onto the
    floor.

 CAVELLO

    reaches for a gun under his coat.  But NUMBER TWO pumps
    two rounds into his face.  At this range, there's not much
    left.

    The killers slowly back out the door, covering the room
    with the scattergun.  The minute the door shuts, Nick
    leaps up, pulling his shield and revolver.

                 NICK
                (shouting)
            Police officers.  Everybody stay
            put.
                (to Charlie)
            Get back up.

    Abolofia's eyebrows rise at this development.

    Nick bolts out the door leaving Charlie in charge.  He's
    never been in charge before.

                 CHARLIE
                (nervously showing
                 shield)
            Police.


 EXT.  THE LIME HOUSE - NIGHT

    A Lincoln tears around the corner to pick the killers up.

    Nick flies out the Lime House door and hits the ground.

    Number Two pumps out shells as fast as he can squeeze the
    trigger.  He's wild.  The front windows of the Lime House
    shatter.

    The LIMO DRIVER jerks to a halt.  Number Two tosses the
    package to him.

    Nick empties his revolver.  Number Two goes down.

    The driver floors the accelerator, leaving Number One to
    take off on foot.  Nick follows, reloading as he runs.


 INT.  THE LIME HOUSE

    Everyone's frozen on the floor.

                 CHARLIE
            Call 911.  Tell them an officer
            needs assistance.  Say ten thirteen.

    Nothing from the owner who looks at Abolofia.  Charlie
    grabs the owner by his collar and shoves him toward the
    phone.

                 CHARLIE
            Do it, you dumb bastard!

    Suddenly Charlie feels something wet at his feet.  He
    looks down to see that he's standing in a pool of blood
    from the massacre.  So much for his new shoes.

    He wheels around, then quickly backs out the door.


 EXT.  STREET - DOWN THE BLOCK FROM THE LIME HOUSE

    Deserted.  The wail of police sirens in the distance.
    Charlie has his gun out.  He's drenched in sweat.  Where
    is his partner?

                 CHARLIE
            NICK...!  Shit... SHIT!!

                              CUT TO:

 ANOTHER STREET - ALLEY - NIGHT

    Nick, gun drawn, slowly rounds the corner to the alley:
    it's the ad hoc drugstore for the night.  Drugs going up
    and down in pails, two dozen junkies buying, shooting,
    slumped on the ground.  Everyone scatters -- the one's
    that can.

 AN ABANDONED PAIL

    swings slowly back and forth from three stories up.  Nick
    cautiously moves down the alley, holding the gun in both
    hands.  A Junkie steps out of a doorway, Nick swings his
    gun and nearly blows him away.

 NUMBER ONE

    We see his eyes first as he steps out of the darkness at
    the back of the alley.  From now on we'll call him KOBO.
    His sunglasses are on his forehead; his hands dropped
    casually at his side.  A very cool character.

    Kobo slowly raises his hand, and making a gun with his
    finger, slowly points and "shoots" at Nick... He lowers
    his hand.

                 NICK
            On the ground, man.  NOW!!

    Kobo cups his hands around his ear.  He doesn't understand
    English.  Nick, keeping his gun fixed, comes up to him and
    kicks out his legs.

    Kobo falls flat on his chest.

    Nick pulls out his cuffs.  But Kobo lunges for Nick's
    ankle and yanks it toward him.  Nick stumbles backward;
    Kobo's on his feet.  Before Nick can stand, Kobo lands a
    brutal kick to the side of Nick's head.

    Nick gets up, barrels into him.  Kobo knees Nick in the
    solar plexus, then lands two more well placed kicks in
    Nick's back.  It's not that Nick's a bad fighter, it's
    that this kid is so damn fast.

    Nick slowly gets to his feet.  KOBO lands two more brutal
    shots to the side of Nick's head.  He's a bloody mess.

 TWO POLICE CARS

    stop at the end of the alley.  FOUR OFFICERS climb out.

 CHARLIE

    joins the cops as they run down the alley to find Nick
    getting pummeled.

    Charlie shoots at Kobo.  Misses.  Kobo turns to see the
    five cops, guns drawn.

    Nick, on one knee, spits out blood and a few teeth.

    Kobo calmly slips the shuto out of his coat pocket and
    drops it next to Nick.  The blade gleams in the light.
    That was next.  Nick got lucky.

    Kobo towers imperiously above Nick.  Their eyes lock.  We
    hold then...

                              FADE TO BLACK.

 FADE IN:

 NICK'S LIVING ROOM - STATEN ISLAND - MORNING

    There isn't a stick of furniture, but that's not the half
    of it.  In the middle of the room is a motorcycle on a
    centerstand.  A drop cloth is spread around it, tools
    neatly aligned.  It's a Harley -- but this one is in
    perfect condition.

    A phone RINGS insistently from off screen, then stops.

                 NICK (O.S.)
            Yeah... sure, sure I'll be down.

    Nick walks in, naked.  Every muscle aches.  One side of
    his face is completely swollen.  He has a band-aid over
    his right eye; some blood caked on his earlobe.  He stops
    to twist a spark plug in with a ratchet, but it snaps.

                              CUT TO:

 INT.  EIGHT - THREE PRECINCT - DAY

    CAPT. OLIVER, early forties, walks between Charlie and
    Nick as they head toward the Medical Examiner's room.
    Oliver doesn't face Nick as he speaks; no love lost
    between these two.

                 OLIVER
            How big a package we talking about?

                 NICK
                (holding up his
                 hands)
            This by this...

                 OLIVER
            Dope?

                 NICK
            Not in that company.

                 OLIVER
            The old man was a Japanese paper
            manufacturer.  Hotel room and rental
            car were full of it.

                 CHARLIE
            Full of what?

                 OLIVER
                (annoyed)
            Art and stationary paper.  Cavello
            had five hundred thousand in his
            attache case.

    Nick rubs the back of his neck in obvious pain.

                 OLIVER
            One guy do all the damage?

                 NICK
            Yeah.

                 OLIVER
            Thought you knew your way around
            dark alleys, detective.

    Oliver goes through the swinging doors into the Examiner's
    room.  Charlie shoots Nick a look.  Nick let's it slide.


 INT.  MEDICAL EXAMINATION ROOM

    A TECHIE is showing the night's harvest to Charlie, Nick
    and Oliver.  They're standing over the body of the middle-
    aged Japanese man.

                 TECHIE
            ... The old man's suit was Japanese.
            The hitter's was Saville row.  No
            I.D.  We're doing a peel now.

 AT ANOTHER TABLE

    Another techie is carefully removing the skin from Number
    Two's fingertips.

    Charlie shuts his eyes and turns away, trying not to throw
    up.

                 TECHIE
            There's something you got to see.

    He whips back the sheet, the body is nude.  A towel covers
    the genitals.  Except for the feet, hands, neck, and face,
    the body is covered with elaborate tattoos:  flowers and
    blood, dragons and snakes.

                 TECHIE
            What's wrong with this picture?

                 CHARLIE
                (nervously)
            I got a tattoo.  Birdie on the ball.
            We all got them when we finished
            basic at Camp Lejune.

                 NICK
            Charlie.

                 TECHIE
            I thought you guys were trained
            observers?

    They look up surprised.  The techie picks up a hand.  The
    third and forth fingers have been neatly amputated.

                 TECHIE
            Eight fingers.
                (ironically)
            Hey, it was a trick question.

                              CUT TO:

 INT.  INTERROGATION ROOM

    ABOLOFIA is seated in chair next to his LAWYER.  Nick,
    Oliver, and a third detective are grilling him.

                 ABOLOFIA
            He was with a friend, sure.  I shake
            hands with the guy and a minute
            later he's bleeding all over my
            socks.

                 ATTORNEY
            Will that do officers?  My client
            has had a terrible shock.

                 NICK
            Yeah, he's not used to seeing other
            people do the killing.

                 ATTORNEY
            I won't tolerate harassment!

                 OLIVER
            What about the package?

                 ATTORNEY
            We know nothing about it.

    Silence.  Abolofia looks at Nick, then at Oliver.

                 ABOLOFIA
            Hard to believe a trained police
            officer could let this kind of thing
            happen right in front of his face.

                 NICK
            I did make a mistake.  I let the
            wrong guy get hit.

    Abolofia doesn't blink an eye, goes for the jugular.

                 ABOLOFIA
            Cheer up, Nick.  I'm sure it's
            easier to pick a dead man's pocket.

    Nick springs from his feet.  Oliver grabs Nick before he
    can get close to Abolofia.

                 ATTORNEY
            That's it, we're through!

                              CUT TO:

 KOBO

    the Japanese killer who smashed in Nick's face last night.
    He's sitting in an interrogation room an hour later with a
    DETECTIVE and a JAPANESE TRANSLATOR.  He won't talk.

 OBSERVATION ROOM

    Nick and Oliver watching through the glass.

                 OLIVER
            Doesn't speak a word of English.
            And he won't speak Japanese either.
            No papers.  The Japanese embassy is
            very interested.

                 NICK
            Why?

                 OLIVER
            He's wanted in Japan.  They want him
            first.  Then we can have him.

                 NICK
            What?

    Oliver nods.  That's the way it is.

 ON KOBO

    he turns and looks at Nick.  He can't possibly see him
    through the one way glass but he knows Nick's there.

 ON NICK

    looking at him.

 ON KOBO

    making a cutting mark across his forehead, right where
    Nick's bandage is.  It's uncanny.

                              CUT TO:

 INT.  OLIVER'S OFFICE - LATER

    Nick is sitting in front of Oliver's desk.  The sunlight
    makes him wince; wincing makes his face hurt.

                 OLIVER
            Japanese embassy talks to state
            department.  State talks to police
            plaza.  They to me and me to you.
            Shit rolls down hill.

    Oliver drops a file folder on the desk.  Nick opens it:
    petty cash, vouchers and plane tickets.

                 OLIVER
            You and Charlie are taking the Jap
            home, tonight.

                 NICK
            What...?  What if I say no?

                 OLIVER
            Check your gun before you leave.
            They're not allowed in Japan.  It's
            a nice, safe country.

                 NICK
            Why me?

                 OLIVER
            They said send a detective if I
            could spare one.
                (then)
            I can always spare you.

    Nick bridles at the insult.  Oliver's had a hard-on for
    Nick for years, and Nick's tired of it.

                 NICK
                (soft)
            You got something to say to me,
            Captain?

    Oliver doesn't want to get into it.

                 OLIVER
            Yeah.  Have a wonderful flight.

                              CUT TO:

 THE ORANGE SUN

    on the tail of a Japan Airlines 747.  A driving rain
    storm.  The plane taxies down the runway and disappears
    into the black rain.


 INT.  AIRLINER

    Kobo, handcuffed and shackled, is in the center seat.
    Nick and Charlie sit on either side.  Charlie is holding
    "Bachelors Japan" in one hand.  Nick's in a sour mood.

                 CHARLIE
            ... Nick, you're the one that's
            always saying you never go anywhere.

                 NICK
            I was thinking the Poconos, Charlie.
            Maybe Vegas.

                 CHARLIE
            What are you missing?  Riding your
            motorcycle to the nurse's house.
            That shit is sadder than Ethiopia.

                 NICK
            Beats forty hours on a plane.

                 CHARLIE
            They say we got to turn around and
            come right back.  That's what they
            say.  I got a plan.

    The last thing Nick wants to hear -- too late.

                 CHARLIE
            I call, right?  I say I got the
            dreaded thirty six-hour Asian shits
            from some raw clam and we stretch it
            into three days.  You and I become a
            driving force on the local Geisha
            scene.

                 NICK
            Not a prayer.

                 CHARLIE
                (grinning)
            Hey, come on, big guy like you, cop
            from New York.  You're gonna be the
            biggest thing to hit town since
            Godzilla.

    Nick can't help but smile at this kid.  Charlie looks down
    at the guide book.

                 CHARLIE
            Says here, it's very impolite to
            touch someone while you're talking
            to them...
                (nudges Kobo)
            Guess that means you can't talk and
            screw at the same time, huh, hotdog?
            What's the matter, no -- speaky-the-
            language?  Understand this:  You
            will never ever fuck with my partner
            again.

    Nothing from Kobo who is looking straight ahead.  He
    doesn't understand.

                 NICK
            Shut-up, Charlie.

    A beat, then Charlie reads a Japanese phrase from the
    book.  A slight facial response from Kobo.  Charlie tries
    it again.  This time Kobo laughs openly.

                 NICK
            What'd you say?

                 CHARLIE
            Where is the subway station, please.

    Kobo keeps laughing; it's obviously not what Charlie said.

                 NICK
            Get a new book.

                              CUT TO:

 INT.  AIRLINER - LATER

    The cabin is now darkened.  Kobo and Nick are asleep.  Not
    Charlie, he's still at his book, and listening to U2 on
    his Walkman.  Nick rolls over and opens his eyes to see
    Charlie watching him.  He shuts them hoping to avoid talk.
    Too late.

                 CHARLIE
            Nick... You up?

                 NICK
            No.

    Charlie removes his headphones.

                 CHARLIE
            Nick, have I been a good partner?

                 NICK
            Number five with a bullet.

    Nick shuts his eyes.

                 CHARLIE
            I just want you to know... I mean
            anybody who says you ever took has
            got to deal with me.

                 NICK
            Go to sleep, Charlie.

                 CHARLIE
            You didn't take, did you...?  You
            hear things.

    Nick opens his eyes.

                 NICK
            I worked the three nine in Queens,
            Charlie.

                 CHARLIE
                (surprised)
            I didn't know.

                 NICK
            The lieutenant was on the pad along
            with the rest of the squad.  I was
            new, didn't know shit.  When the
            feathers flew, I got called in front
            of the special prosecutor.  It's on
            the top of my personnel file.  They
            think I'm dirty or I cut a deal.
            Doesn't leave you with a lot of
            friends either way.

    Nick shuts his eyes.

                 NICK
            I might as well have done something.
            I've been paying for it every
            goddamn day since I got
            transferred...

    HOLD on Nick then...

                              CUT TO:

 INT.  NARITA AIRPORT - JAPAN - DAY

    Nick and Charlie, with Kobo between them, are a strange
    sight in a sea of Japanese faces.  Kobo's hands are cuffed
    behind his back.  Nick also has Kobo cuffed to his wrist.
    The cops are rumpled, exhausted, showing two days of
    stubble.  Kobo looks sharp and wide awake.

    A pair of attractive teenage girls walks past them.

                 CHARLIE
            Whoa.  Nick, we're in paradise.

 A PAIR

    of white gloved hands belonging to a Tokyo police officer
    holds up a small, hand letter sign that says:
    CONKLIN/SKLOARIS.  The man holding the sign is NAGASHIMA.
    Two other police officers in spotless tan uniforms stand
    at his side.

    Nick, holding Kobo by his arm, steps up to the police and
    show his I.D.  Nagashima bows.

                 NAGASHIMA
            Officers Conklin and -- and...
                (he can't say
                 Charlie's name)
            ... gentlemen, welcome.  I am
            assistant inspector Nagashima.

    They show their I.D.

                 NICK
            You going to take this crap off our
            hands?

                 NAGASHIMA
                (confused)
            Crap...?  Oh, the prisoner.  Yes.

    He barks some orders to the officers who immediately take
    Kobo by the arms and put cuffs on him.  Nick unfastens
    his cuff when they're through.

    In contrast to Nagashima's gentility, the cops are rough
    with the prisoner.

                 CHARLIE
                (extends his hand)
            Charlie.  Kon-ich-iwa.

    Nagashima shakes his hand.  Bows.  Charlie bows back.
    Nick wouldn't bow if his life depended on it.  Nagashima
    hands Nick an official looking document.

                 NAGASHIMA
            If you will please give this to the
            customs inspector he will expidate
            -- expedite you.  We have a car and
            a driver outside.

                 NICK
            Right.

                 CHARLIE
                (bows)
            Arigato.

    Nick grabs Charlie by the arm and starts for the customs
    line.

                 NICK
            Givin' you a book is like givin' a
            baby a gun.

                 CHARLIE
            Hey, when in Rome --

                 NICK
            In Rome, I'll bow.

                              CUT TO:

 INT.  CUSTOMS BOOTH - DAY

    NICK and CHARLIE make their way through the crowd toward
    the head of a long line.  They dump their bags on the
    counter.  The INSPECTOR, furious that they have taken cuts
    in line, barks at them in Japanese.

                 NICK
            Inspector Nagashima told me to give
            you this.

    He hands the Inspector the official looking document.  The
    Inspector scans the paper.  Hands it back to them.

                 INSPECTOR
                (broken English)
            You must get in line behind the
            rest.

                 NICK
            We're cops.  Pol-ice-men.

    The Inspector signals a nearby POLICEMAN.  The Inspector
    says something in Japanese.  Hands the policeman the
    document.  The policeman shakes his head, amused, points
    to the end of the line.

                 NICK
            Fellas, get serious.

    From off screen someone CALLS OUT:

                 MAN (O.S.)
            Nick!

    Nick and Charlie turn to see KOBO, their prisoner,
    standing on the other side of the thick plastic divider.
    The handcuffs are off.  The three alleged 'policemen' are
    heading out the door behind him.  It was a set-up:  Nick
    and Charlie have been had.

                 KOBO
                (perfect English)
            Thanks for the ride, detective.

    He slowly backs away from the glass as if he had all the
    time in the world, finally disappearing in the crowd.

                              CUT TO:

 NICK AND CHARLIE

    trying to shove past the customs inspectors who are
    wrestling them aside.

                 NICK
            Cops!  He's our prisoner!

    Two more policemen arrive.  Nick and Charlie are thrown up
    against the wall.  Out come the cuffs.  SNAP!

                 NICK
            What's going on?  We're the good
            guys!

                              CUT TO:

 INT.  TOKYO POLICE HEADQUARTERS - DAY

    Fifty identical desks.  Fifty identical phones.  Fifty
    identically dressed men in white shirts and ties working
    under the fluorescent lights of this large open room.

    We GLIDE PAST the rows of desk to find INSPECTOR OHASHI,
    mid forties, sitting behind a perfectly arranged desk.
    Ohashi prides himself on order.

    Nick and Charlie are standing in front of him.

                 NICK
            Get me something like an Identi-Kit
            and I'll give you a description.

    Ohashi remains poker faced.  He continues to arrange
    papers and apply his hanko (personal seal) to the bottom
    of a stack of official papers.

                 CHARLIE
            There must be some witnesses from
            the airport?

    Still nothing from the good inspector.

                 NICK
            What is it, tea time?

    Still nothing from Ohashi.  Finally:

                 OHASHI
                (quiet rage)
            You lost a man we wanted for some
            time.  It was very incompetent on
            your part, officer.

                 NICK
            Incompetent is letting people waltz
            through a secure area wearing your
            uniforms, carrying official
            documents.

    Ohashi bows slightly, we're not sure why.

                 NICK
            I want a gun.

                 OHASHI
            It is not allowed.

                 NICK
            We're police officers.

                 OHASHI
            You're foreigners.

                 NICK
            Work with me.  I want your best
            detective.

    Pause.  Ohashi returns to his papers.  Nick can't believe
    it.

                 NICK
            Hey, inspector, I don't intend to
            take the rap for this.

                 OHASHI
                (not looking up)
            Do you know what this is?

    Ohashi holds up the document that was handed to Nick at
    the airport.

                 OHASHI
            It's a laundry list.  Go home,
            detective.

    Nick studies him for a beat, then turns away.  To Charlie:

                 NICK
            Let's go.

                 CHARLIE
            Nick, we can't just --

                 NICK
            I said let's go, Charlie.

    Reluctantly they head towards the door, passing long rows
    of bureaucrats, telephones ringing off the hook.  Nick
    stops at the door, spots a fuse box nearby.  He glances
    back to make sure no one is looking.

    Nick pulls out his handcuffs.  Charlie can't figure out
    what the hell he's doing.  Nick attaches one cuff to the
    main lever then yanks it down.

    The lights go out.  The fan's stop; so do the typewriters;
    so does the air conditioning.  Dead silence.

    Nick attaches the other cuff to a pipe, snaps it shut.
    Now it's impossible to left the main lever.

    From the far end of the room:

                 OHASHI
            What are you doing?!

    Nick drops the key down the water fountain drain.

                 NICK
            Your best detective, Ohashi.

                              CUT TO:

 EXT.  POLICE STATION - DAY

    Nick and Charlie cross the street.  Charlie's trying to
    read the name from the piece of paper Ohashi has given
    them.

                 CHARLIE
            ... Detective Ich-iro Matsu-moto.
            Hey, we're getting Mr. Moto on our
            side.

                 NICK
            Let's grab some food.

                 CHARLIE
            First decent idea you've had.

    Charlie pulls out his 'Footloose in Tokyo" book, flips
    through the pages.

                 CHARLIE
            Food... Food, here we go.  Tokyo
            offers a wide variety of food.  It's
            best to sample the local
            specialties, including sashaimi,
            soba, and world renown Kobe beef...

    Nick goes into a restaurant.  Charlie drops the book,
    disgusted with Nick's choice.  Charlie reluctantly follows
    him in.  REVEAL it's a Shakey's Pizza restaurant.

                              CUT TO:

 EXT.  HOUSING PROJECT - SHIN OKUBO - DAY

    Rows of post-modern buildings of odd shaped windows and
    brightly painted concrete walls.  Nick and Charlie are
    searching for the Japanese cop's building.  They can't
    speak the language; they can't read the signs; and half
    the buildings don't have numbers.  It's a nightmare.

                 CHARLIE
            This should be it...

                 NICK
            You said that in the last two
            places.

    Charlie holds out the paper to a passing man.

                 CHARLIE
            Kore?  Doku?  Kore doku?

    The man gestures toward the building Charlie was pointing
    to.

                 NICK
            Okay, you were right.

    Charlie grins, satisfied.


 INT.  HOUSING DEVELOPMENT - CORRIDOR - DAY

    The boys are knocking on a door.  Nick turns the handle.
    It's unlocked.

 THE APARTMENT

    A four tatami room.  An unholy mess:  Food packages, beer
    bottles, stacks of papers and file folders.  Framed
    pictures of long dead relatives hang on the wall.

                 CHARLIE
            This the right place?

                 NICK
            I hope not.

    A WOMAN now appears at the door.  Middle aged, wizened
    face, in a full traditional Kimono.

                 CHARLIE
            Konichiwa.  Ichiro Matsumoto?

    The woman babbles bird-like in rapid Japanese.  She bows.
    They're in the right place.

                              CUT TO:

 EXT.  SIDE STREET - MINIMAI MURAMATSU - NIGHT

    The jammed streets are barely wide enough to get a
    motorcycle down.  It's a bad neighborhood, one of the
    poorest in Tokyo.

    We spot the small kimono clad WOMAN, clip-clopping on
    wooden geta, leading Nick and Charlie through this
    labyrinth.

                 CHARLIE
                (looking around)
            Getting very weird.

                 NICK
            I'd feel better if we had some heat.

                 CHARLIE
            Maybe we should bail?

    Seeing they've stopped, the woman gestures for them to
    hurry up, then disappears around the corner.

                 NICK
                (looking at the maze
                 of streets)
            Think we could find our way back?

                              CUT TO:

 A GARISH PINK SIGN - PINK SARON BAR

    A poor man's idea of a bar.  The woman points inside,
    chirps away in Japanese, bows, then hurries off leaving
    Nick and Charlie on their own.

 INSIDE PINK SARON

    Nick and Charlie disappear into darkness as the woven
    flaps shut behind them.  A vintage wurlitzer juke box
    glows across the room.  An Enka plays.  (Haunting Japanese
    blues.)

                 MAN'S VOICE (FROM THE DARKNESS)
            Big shots from New York.  I like
            your style!

    ICHIRO MATSUMOTO steps into a pool of light just inches
    from them.  He is a short overweight man looking every
    minute of his fifty-five years.  His white short sleeve
    shirt is too tight; his narrow tie spotted in the middle;
    his collar soaked in sweat.  He's not drunk yet, but he's
    been at it a while.  Call him Ich.

                 ICH
                (bowing)
            Detective Ichiro Matsumoto.  I'm the
            man you're looking for.

    This is Ohashi's best man?  Well, at least he speaks
    English.

                 ICH
            The man you are looking for, Kobo,
            was a member of the Samaguchi-gummi.
            A Yakuza.

    Ich nods, offers them what's left of his Sapphoro beer.
    They shake their heads.  Ich finishes it.

                 NICK
            Where do we start looking for this
            guy?

                 ICH
            Where would you look for the mafia?

                 CHARLIE
            The back room at Lombardi's after
            the Columbus Day Parade.  Under the
            bed.  In the mayor's office.
            Everywhere.

    Ich heads for the door without saying a word.

                 NICK
            Where're you going, Ichiro?

                 ICH
                (stops, faces them)
            The mayor's office, under the bed,
            the back room at Lombardi's.
                (tucking in his
                 shirt tail)
            And call me Ich.

                              CUT TO:

 INT.  ICHIBANKAN BAR BUILDING - KABUKI CHO - NIGHT

    Imagine an ultra modern indoor shopping mall, except there
    aren't any stores.  The only product sold here is
    pleasure:  Bars, hostess clubs, Turkish baths.  A post-
    modern red light district with music piped in and
    automated doormen.


 INT.  LAS VEGAS WELCOME CLUB

    Hip, younger Japanese are wedged together at the long
    chrome bar.  The GUYS sport leather jackets and Raybans.
    The GIRLS are decked out in fifties American party dresses
    and short cropped hair.  Jerry Lee Lewis wails in the
    background.

    Nick, Ich and Charlie are at one end of the long bar.  Ich
    is drinking them both under the table.

                 ICH
                (singing)
            "Goodness, gracious, great balls of
            fire."
                (raising glass for
                 toast)
            To the killer.  Jerry Lee Lewis.

                 NICK
                (checking his watch)
            Jerry Lee Lewis, Elvis, Dinky Doo
            And The Don't's.  Let's book,
            Charlie.  If he starts on Motown,
            we'll be here all night.

                 ICH
            No, this is the place for the young
            Yakuza.

                 NICK
            That's what you said in the last
            three piss pots.

    Ich sets down his drink, pours more sake for Nick and
    Charlie then for himself.  He's having a great time.

                 ICH
            I love you people.  The music, the
            clothes, the movies... Japanese
            respect only what is Japanese.

    Nick glances at Charlie.

                 NICK
            It's incredible.  Hit him or
            something.

                 CHARLIE
            I don't think he'd feel it.

                 ICH
                (beginning to slur
                 his words)
            Americans change everything.  When I
            was young the city was wood and
            paper... I was ten when the bombers
            came.  I lived underground for three
            days.  When I came up, the city was
            gone... A ball of fire.

    Nick gets to his feet.  Ich grabs him by the arm, stopping
    him.

                 ICH
            It began to rain, Nick.  You know
            what color the rain was?

    Ich doesn't give him a chance to answer.

                 ICH
            Black... It was black from the ash.
            Very impressive.  You Americans, you
            could make black rain.

    Ich polishes off his drink.  An awkward silence.  Charlie,
    wanting to lighten the mood --

                 CHARLIE
                (leaning close)
            Say Ich, between friends, where can
            I grab some squish around here?

    Nick sighs, digs in his pocket for some yen for the bill.

                 ICH
            Squid?

                 CHARLIE
            Pussy, ass, soft personnel.

    Ich looks up to see a picturesque, blood-haired American
    WOMEN in a tight silk blouse and skirt.  She works here
    and has obviously heard Charlie.

                 ICH
            Ah, Joyce...
                (in Japanese)
            How are you tonight?

                 JOYCE
                (in Japanese)
            Hello, Ich.  Johnny Walker?

    Ich nods.  Joyce's Japanese is impeccable.  She's a part-
    time bartender, translator, model.  One of Japan's western
    wanderers.  She's sliding past thirty, but only her weary
    eyes give it away.  She is about to pour Ich another
    drink.

                 NICK
            Don't give him any more.

                 JOYCE
            He gets as much as he wants.

    Charlie extends his hand to Joyce.  She ignores it.

                 CHARLIE
            Hello hello, Charlie Skloaris.  New
            York City.

    She refills Ich's glass.

                 CHARLIE
            My partner and I are cops.
                (lowering his voice)
            We're on a very big assignment here.
                (nothing from Joyce)
            When do you get off?

                 JOYCE
            Right when you're being tucked into
            bed.

    Cold.

                 ICH
            You should be nicer to my American
            friends, Joyce.

                 JOYCE
            They wouldn't appreciate it, Ich.
            Trust me.

    She says something in Japanese to Ich as she eyes the
    cops.  Then, she walks off.

                 ICH
            Joyce can be nice.

                 CHARLIE
                (brightening)
            What'd she say?

                 ICH
                (big smile)
            That I should let you pay for the
            drinks.
                (raising his glass)
            Kampai.

                              CUT TO:

 EXT.  ICHIBANKAN BAR BUILDING - NIGHT

    Charlie and Nick are trying to help a besotted Ich find a
    taxi, but no one will take him.  Ich is shouting half
    English, half Japanese phrases.

                 ICH
            ... We got to keep looking.  Track
            him down!  Great balls of fire!

                 NICK
                (frustrated, to a
                 cabbie)
            What's the problem here?

    The cabbie ignores them.

                 WOMAN (O.S.)
            You don't speak the language.  I'll
            drop him off.

    They turn to see Joyce standing behind them.

                 ICH
            Ah, Joyce...

    The rest is slurred Japanese.  Joyce speaks to a cabbie in
    Japanese.  The rear door swings open.  She helps Ich in.
    Joyce climbs in.

                 ICH
                (out the window)
            See you tomorrow!

    The taxi pulls away.  Nick and Charlie watch it go.

                 NICK
            Not a prayer.

                              CUT TO:

 EXT.  STREET - FOUR A.M.

    An early morning wind jostles the red paper lantern and
    plucks at the tails of dragon-like banners hanging outside
    the shops.  Nick and Charlie are walking down this narrow
    sidestreet on the way back to their hotel.

                 CHARLIE
            ... He's a sorry old guy, but I like
            him.

                 NICK
            He couldn't find his ass with both
            hands.

    A brand new Kawasaki 1000 motorcycle with windshield and
    full farings gleams under a street light.

                 CHARLIE
            Now that's the kind of motorcycle I
            want to see you on.

                 NICK
                (muttering)
            Sure, a rice burning crotch
            rocket...

                 CHARLIE
            Nick, how we gonna bag this guy
            without any help?  Maybe I should
            work on that girl Joyce, she speaks
            the language.

    Nick glances over at his partner, smiles.  But before he
    can respond --

    The DULL ROAR of a half dozen motorcycles in the distance
    breaks the pre-dawn stillness.

 TWENTY BOSOZOKU (BIKERS)

    on their multi-cylinder high tech street bombers, creep
    around the corner and slowly ride toward Nick and Charlie.

    We get a better look at them:  turbo punk Elvis-samurai
    hybrids -- some wearing a slipper under their headbands,
    courtesy of their girlfriends; some in leopard skin pants.
    And tattoos...

    They head straight for Nick and Charlie, then, at the last
    moment, split and float away IN SLOW MOTION, as if the
    cops didn't exist.

    Suddenly, the street is empty again.  Silent except for
    the SOUND of the wind beating against paper lanterns,
    rustling the wind chimes...

    Hold on Nick and Charlie standing in the middle of the
    street, realizing just how far away from home they are.

                              DISSOLVE TO:

 EXT.  HOTEL - THE NEXT MORNING

    A rocket shaped building:  a mixture of Dutch Gable and
    Japanese Minka roof.  The mid-day sun beats down on a
    particular room.


 INT.  HOTEL ROOM

    Nick and Charlie are sacked out.  They never bothered to
    pull the curtains.  THE SOUND OF KNOCKING at the door.

                 ICH (O.S.)
            Nick!

                 NICK
            Give us a break...

                 ICH (O.S.)
            It's Ichiro.  Ich.

                 NICK
            Leave the rice cake outside and go
            home!

    But Ich persists.

 AT THE DOOR

    As Nick opens up.  Ich bows.  He's now clean shaven and
    has put on a clean shirt.

                 ICH
            There's been a murder.  Yakuza.  You
            should come.

                              CUT TO:

 INT.  PRINTING PLANT - DAY

    The murder scene.  NO SOUND.

 A SERIES OF SHOTS:

    A BODY FROM THE WAIST DOWN in the claws of six foot
    working robotic.  The tattooed covered legs swing back and
    forth like a pendulum.

    THE TORSO is wedged in between two enormous printing
    rollers.

    THE HEAD is resting in the middle of a conveyer belt.
    It's been drenched in black printer's ink which has begun
    to congeal.

    WE SLOWLY TRACK PAST Ich, Charlie, and Nick, watching.
    Charlie has the dry heaves.

    REAL SOUND as we reveal the full crime scene.  Instead of
    the usual cigar smoke, camera flashes and radio chatter,
    there is order and quiet.  A slow underwater dance.

 INSPECTOR OHASHI

    quietly gives an order.  Someone turns off the robotic.
    The severed legs stop swinging.

    Nick, Charlie and Ich walk over to Ohashi.  Ich bows
    deeply.  Ohashi doesn't acknowledge any of them, talks to
    a man holding a tape measurer.

                 NICK
            Could you fill me in?

                 OHASHI
            Why don't you ask your chief
            detective?

    Ich looks down at the floor.

                 NICK
            Because I want you to tell me.

                 OHASHI
            The young are eating the old,
            something that usually doesn't
            happen here.

                 NICK
            Can we skip the poetry, inspector?

    Ohashi pauses.  Ich looks at Nick as if to warn him he
    can't speak to Ohashi that way.

                 OHASHI
            There's a war, detective, between
            two rival groups.  The man who
            escaped, Kobo, leads the younger
            group.  They did this.

                 ICH
            Kobo's a wild boy.  He was a
            lieutenant in the Sammaguchi-gummi.

                 OHASHI
                (in Japanese)
            Excellent, Officer Matsumoto.  How
            is your investigation going?

                 ICH
                (in Japanese)
            Well, sir.  Thank you for giving me
            the opportunity to work with these
            distinguished gentlemen.

    He bows.  It's pathetic.

                 POLICE LIEUTENANT
            Looking for clues in the bottom of a
            sake bottle, Matsumoto?

    Laughter all around.

                 OHASHI
            He's an officer of great
            distinction.

    Another sarcastic dig.  Ich stoically stands and takes it.

                 CHARLIE
            Hey, Ich has been helpful.

                 OHASHI
                (ignoring him, to
                 Nick)
            Have you changed your mind and
            decided to go home, detective?

                 NICK
            Not until one of us bags Kobo.
                (looking at the
                 corpse)
            And it doesn't look like you're
            doing so hot.

    Ohashi coolly flicks the ashes of his cigarette and we --

                              CUT TO:

 EXT.  PRINTING PLANT - DAY

    Ich, Nick, and Charlie are threading their way through the
    crowd toward the subway entrance.

    TWO BIKERS, their hair slicked back, watch the trio from
    the top of two different subway entrances.

    As soon as Ich, Nick and Charlie go down the steps, they
    climb off their bikes and follow.


 INT.  SUBWAY STATION

    Nick, Ich and Charlie are riding the people mover that
    stretches the length of this endless tunnel.  They're
    sandwiched between the legions of SALARYMEN (white collar
    workers) who all wear identical blue suits and white
    shirts.

    Nick looks over at Ich, who is still suffering in silence
    from the recent humiliation.

                 NICK
            You know, Inspector, you take shit
            once, you take shit forever.

                 ICH
                (beat)
            I don't deserve Ohashi's respect.

                 NICK
            Why the hell not?

                 ICH
            I don't, that's all.

    Ich looks away, obviously uncomfortable.

                 CHARLIE
            You cool, Ich?

                 ICH
            Cool?

                 CHARLIE
            You all right?  You okay?

    Ich nods.

                 CHARLIE
            What does Ichiro mean, anyway?

                 ICH
                (smiling)
            What does Charlie mean?

                 CHARLIE
            Hey, all right.

    Charlie slaps Ich on the back.

    NICK smiles at Charlie's remark.  He can't help but like
    this wide-eyed goofy kid.

    Something makes Nick's smile fade.

 NICK'S POV

    KOBO, their escaped prisoner, hurrying in the opposite
    direction.  His Kamali suit looks like it just came from
    the cleaners.

                 NICK
            Charlie!

    Charlie spots him.  In a flash, the two men jump the
    railing and charge after him, leaving Ich in their wake.

    Ich can't possibly make it over the side.  He furiously
    shoves his way through the Salarymen, trying to get to the
    end of the walkway.

 CHASE SEQUENCE

    -- Nick barreling through the mass of faceless Salarymen.

    -- Kobo, hurrying ahead, occasionally glancing back.

    -- Charlie catching up to Nick.  They've lost him.  They
       spin around.  A half dozen tunnels spin out in all
       directions.

    -- Nick and Charlie spotting Kobo.  He's waiting for them
       near the turnstile.

    Nick suddenly realizes it's a set-up.  Before he can say
    anything, Charlie sprints ahead, recklessly shoving
    people out of the way.

                 NICK
                (calling after him)
            It's a set-up...!  Charlie!

    Charlie hasn't heard him.

 AT THE TURNSTILE

    Kobo hands a ticket to the turnstile guard and disappears
    onto the platform.  Charlie doesn't have a ticket.  The
    guard points to the automatic ticket machine.  Screw it.
    Charlie leaps over the turnstile.

    The GUARD blows his shrill whistle to signal the subway
    police.

 THE PLATFORM

    Charlie pushes through the crowd -- a wall of blank faces.
    Kobo is gone.

 NICK

    shoving through the crowd.  He spots Charlie.  Shouts at
    him to wait.  Charlie can't hear his partner.

 THE SUBWAY

    pulls in.  An immaculately uniformed CONDUCTOR blows his
    whistle and waves his white-gloved hands to keep the crowd
    back.

    A LEATHER JACKETED BOY shoves Charlie from behind; he
    stumbles forward toward the track.  Someone catches him at
    the last moment.  Charlie turns around to see it's Kobo.

    Kobo smiles, it's all a big joke.

    What follows happens in a flash:

 ON NICK

                 NICK
            Charlie!

    Nick is close enough to see, too far to do anything.  He's
    blocked by TWO MORE LEATHER BOYS.  He tries to shove past,
    but they grab him.

 KOBO

    holding Charlie by his coat lapels.  An express train
    tears into the station.  Kobo casually glances at

 NICK

    trying to struggle free.

 KOBO

    his eyes still on Nick, drops Charlie in front of the
    speeding express as if he were a sack of laundry.

 NICK

                 NICK
         NO!!

    A woman SCREAMS.

    The train barrels through the station.

    Kobo starts toward Nick.  He's next.

    A pair of SUBWAY POLICEMEN burst through the crowd
    searching for Charlie because he vaulted the turnstile.

 NICK

    manages to break free of the leatherboys holding him.
    They flee into the crowd as the police close in.

 ACROSS THE PLATFORM - KOBO

    slips into the wave of commuters being shoved into a
    train by white-gloved MEN.  It's their job to shove
    commuters into the already packed cars.

    Nick goes for Kobo, but the crowd closes in front of him.
    He can't get through.

 THE SUBWAY DOORS

    slam shut.  The train pulls out leaving Nick standing on
    the empty platform.

 THE LAST CAR

    streaks past him.  Kobo stands in the rear window, getting
    smaller and smaller until the train disappears down the
    tracks.

                 ICH
            Nick!

    Ich, out of breath, is standing on the platform.  Nick
    looks at him with disgust -- where the hell was he.

    STAY on Nick, his head bowed, being surrounded by the sea
    of blue-suited commuters.

                              FADE TO WHITE.

 FADE IN:

    NICK'S FACE against a white wall.  That's all we see.
    Ohashi's voice OFF SCREEN.

                 OHASHI (O.S.)
            ... You ignored me.  I don't care
            about what you want.  Get on a
            plane, detective Conklin.  Go home.

    We HEAR a door open and SLAM shut off screen.  Hold on
    Nick, frozen in place, then:

                              CUT TO:

 INT.  CENTRAL SECTION - TOKYO POLICE H.Q. - DAY

    Again, the fifty desks, fifty faceless men working.
    Typewriters CLACKING, phones RINGING.  We MOVE down the
    rows to find Nick sitting behind one of the desks.  He's
    on the phone to New York.

                 OLIVER (V.O.) (PHONE)
            It's not your job.

                 NICK
            He was my partner.

                 OLIVER (V.O.) (PHONE)
            They're blaming it on you.  Christ,
            Conklin, you didn't even tell me you
            lost the prisoner!

                 NICK
            I planned on catching him, Captain.

                 OLIVER (V.O.) (PHONE)
            How?  You don't know the place.  You
            don't know the language.  Get on the
            plane.

                 NICK
            He killed a police officer.

                 OLIVER (V.O.) (PHONE)
            Your plane's at nine a.m.  Be on it.
            That's orders.  Period.

    Oliver hangs up.  A moment of long distance hum cross
    talk.  Nick doesn't move.  Pull back through the rows of
    cops busily working... SOUND FADES.

    Charlie Parker's alto sax FADE UP as we --

                              CUT TO:

 EXT.  SHINJUKU - NIGHT

    The MUSIC continues.  The sax screams as the melody is
    abandoned.

    Nick is drunk.  Roaring angry drunk.  He doesn't know
    where he is.  He doesn't care.  He plows down the street,
    occasionally grabbing a passerby, then letting them go.

    Nick begins to laugh.  A couple is staring at him, Nick
    yells at them, but we DON'T HEAR HIM.  He stumbles on...
    drop back to find.

 ICH

    following in his wake.  He bows and apologizes to the
    offended.

                              CUT TO:

 EXT.  LAS VEGAS WELCOME BAR - NIGHT

    Nick is thrown onto the street.  He tries to reenter and
    is thrown out again.  We spot JOYCE inside watching; she
    turns back to her customers.


 EXT.  GINZA - NIGHT

    Nick is hassling a news vendor who pointedly ignores him
    and continues selling his papers.  Ich appears and
    apologizes to the news vendor.


 EXT.  STREET - TWO A.M.

    Nick's sitting on the curb, his head in his hands.  People
    step around him.

    Across the street, out of Nick's sight, Ich is watching
    his partner, feeling every barb of Nick's shame.

    Charlie Parker continues over the slow...

                              DISSOLVE TO:

 NICK --

    asleep, the futon tangled around him.  He opens his eyes.
    A woman is making tea in the kitchenette.  This is the
    kimonoed woman who led Nick and Charlie to Ich the other
    night.

    A RADIO is on softly in the background.  The Charlie
    Parker tune we've been listening to over the previous cuts
    ends, and the announcer comes on:

                 RADIO
            ... That was the Bird, from the Blue
            Note years.  1230 hours and 72
            degrees in central Osaka.  This is
            specialist Doug Dale, Tapestries in
            Jazz, on the Far East Network, armed
            forces radio...

    Nick slowly sits up to see

 ICH

    seated at a low table looking at him from across the room.

    Nick spots his clothes and luggage stacked in the corner.
    Nick now realizes he's in Ich's apartment.  It's spotless.
    Everything is now in its proper place.

                 NICK
            What happened?

                 ICH
            They made you leave your hotel...
                (looks away)
            ... you caused a disturbance.

    Nick's eyes fall on Charlie's things:  his sports clothes,
    his tour book, his shoes which Ich has stacked on the
    table.

                 ICH
            It may be too soon to talk about it.
            When someone we care for dies we...
                (beat)
            ... keep something of their's.  A
            tie, a pen.

                 NICK
            Why weren't you at the platform?

                 ICH
            I couldn't keep up.  My shame is
            complete.

    Nick slowly shuts his eyes, his head pounding.

                              CUT TO:

 INT.  PUBLIC BATH - DAY

    The neighborhood bathhouse.  Thick with steam and
    neighborhood kids.

    Nick walks toward the huge pool of water.  Ich is beside
    him.  Nick's about to climb in when Ich stops him, hands
    him a pail and a washcloth and points to the faucets along
    the wall where a dozen men squat on small stools as they
    wash themselves.

                              CUT TO:

 NICK

    as he pours a pail of water over his head, it runs down
    his face in slow motion.

                              CUT TO:

 THE POOL

    Nick soaking, on one side.  Ich is soaking nearby.

                 ICH
            You must leave?

                 NICK
            Yeah...

                 ICH
            I'll get him for you, Nick.

    Nick looks at this thick bellied, alcoholic cop.  Not a
    very reassuring thought.

    TWO MEN carrying plastic pails cross in front of the tub.
    Young, muscular Yakuza, their bodies covered with
    exquisite tattoos.  They stare openly at Nick.  One makes
    a joke.  Both laugh obscenely as they slip into the hot
    tub.

                 NICK
            Yakuza?

    Ich nods.  Nick eyes them for a long beat, then climbs out
    of the tub.

                              CUT TO:

 NICK

    Nick tossing two bags into a taxi in front of Ich's
    apartment building.

 ICH

    Ich watching Nick through the window from inside his
    apartment.  He glances back and sees Charlie's "Members
    Only" coat hanging on a hook.

    When he turns back, Nick's taxi has disappeared.


 EXT.  NARITA AIRPORT

    The brightest object in the frame is a yellow forklift
    carrying a jostling aluminum coffin toward the open belly
    of the cargo plane.  Nick watches it from the edge of the
    tarmac.

 AIRPORT CHECK IN GATE

    Nick hands the clerk his ticket.

                 NICK
            ... Smoking.

                 CLERK
            Aisle or window?

    Nick spots a folded newspaper someone has left on the
    counter.  He can't read it, of course, but there's a
    picture of the subway platform where Charlie was killed,
    swarming with police.  Nick continues to stare at the
    paper.

                 CLERK
            Aisle or window, sir?

                 NICK
                (looks up)
            I want to cash it in.  Yen.

                              CUT TO:

 ICH'S APARTMENT - DAY

    Nick steps in, drops the two suitcases.

                 NICK
            Ichiro?

    The woman steps out of the kitchen, babbles something in
    Japanese.  Nick doesn't have a clue.

                              CUT TO:

 INT.  LAS VEGAS WELCOME BAR - AFTERNOON

    Only a handful of patrons.  Joyce is straightening bottles
    behind the bar.

                 NICK (O.S.)
            What's tricks?

    She looks up, surprised to see Nick standing in front of
    her.

                 JOYCE
            Ich said you left.

                 NICK
            There was a change in plans.

    Beat.

                 JOYCE
            I'm sorry about your friend.

    Nick's surprised at how fast she heard.

                 JOYCE
            Dead gaiijin's are big news.

                 NICK
            Gaiijin?

                 JOYCE
            An outside person.  A foreigner.  A
            barbarian.  You, me.
                (beat)
            More you.

                 NICK
            I could use some help.  Show me
            around.  I'll pay you for your time.

                 JOYCE
            I don't give tours.

    Nick smiles.

                 NICK
            You can count on the truth from
            people who don't like you.

                 JOYCE
            You have a helluva way of asking for
            help.

                 NICK
            You have a helluva way of answering.

    Draw.

                 JOYCE
            Look, you need Ich.  I've been here
            five years and I still can't read
            all the street signs.

                 NICK
            Maybe I'm a quicker learner.

                 JOYCE
            I don't think so.

    From OFF SCREEN:

                 ICH (O.S.)
            Nicklaus-san.

    Nick turns to see Ich, leaning against the door frame.
    He's already had a few drinks too many.  He's delighted to
    see Nick.

                 ICH
            I've continued working on the case!

                 NICK
            I can see that.

    Ich ambles into the room, slips down into a chair.  He
    spills the contents of the large manila envelope he's been
    carrying onto the table:  a wallet, a set of keys, playing
    cards, etc.

                 ICH
                (signaling to Joyce)
            Joyce... A drink please.
                (to Nick)
            Kobo has disappeared.  My superiors
            don't trust me.

    Nick walks over to the table and looks at the items.

                 ICH
            Kobo's.  Taken off him when he was
            arrested in New York.

    Nick sits down.  Joyce gives Ich his scotch.

                 ICH
            I knew you'd come back.  You feel
            you have a debt you can never pay.
            But you will, even if it costs you
            your life.  Giri.  Honor.

    Nick picks up various items off the table.

                 NICK
            How'd you get this?

                 ICH
            I stole them.

    Ich drapes his arm over Nick's shoulder.

                 ICH
            Partners, Nicklaus-san?

    Ich reaches for his drink.  Nick gets there first.  He
    holds it up as if he were proposing a toast, then
    purposefully spills his drink out.

                 NICK
            Partners.

    Ich has just had his last drink on duty.

                              CUT TO:

 THE TABLE - LATER

    All the contents of the envelope are spread out on the
    table:  credit cards, matchbooks from New York City,
    choice clipping from Screw magazine, sugarless gum, cuff
    links...

    Nick's holding up a series of photos.

 CLOSE ON PHOTO

    of a naked women and Kobo screwing on a Tatami mat.
    Another photo.  Then another.  Each photo is more
    pornographic than the next.

    Joyce picks them up as Nick sets them down.

                 JOYCE
            Busy man.

    Nick holds out several of the same girl in various poses.

                 NICK
            Know her?

                 ICH
                (shaking his head)
            We can ask someone I used to work
            with.  A criminal.  Someone I pay
            money to...

                 NICK
            A snitch?

                              CUT TO:

 INT.  PACHINKO PARLOR - DAY

    The largest in Tokyo.  Endless rows of men sitting in
    front of the machines (horizontal pinball games) furiously
    punching the flippers.  The NOISE from the metal balls is
    deafening.

 A MAN

    in a Hawaiian shirt, his arms covered with tattoos, is
    starting a new game.

    Ich moves up to the vacant machine beside him, puts in his
    change.  Ich doesn't face the man as they speak in
    Japanese.  The man in the Hawaiian shirt walks off.

 ON NICK

    as the man in the Hawaiian shirt walks past him.  This is
    the snitch.  Nick glances back at Ich.  Ich nods --
    they're in business.

                              CUT TO:

 A CRAMPED ROOM - REAR OF PACHINKO PARLOR

    We HEAR the clattering of the machines outside.  The man
    in the Hawaiian shirt, mid-fifties and badly in need of a
    shower, is sitting on the floor studying the photos.  Ich
    and Nick tower above him.

    The man says something to Nick in Japanese, then continues
    to study the photos.

                 NICK
            What's he saying?

                 ICH
                (looking up)
            He says they're very nice.  He wants
            to know if you have anymore.

    Nick sighs.

                 ICH
            I'll ask him again.

    Ich asks in Japanese.  The man shrugs.

                 NICK
            My turn.

    He grabs the man by his shirt collar and shoves him
    against the wall.  The photos spill to the floor.

                 NICK
            Who is she?

    He bangs the man's head back against the wall.  The man
    starts babbling in Japanese.

    Ich, horrified, tries to pull Nick off him.

                 ICH
            Nick, stop.

    Nick bangs the snitches head against the wall again.  Ich
    gets Nick away.  The man is terrified.

                 ICH
            This man must be treated with
            respect.

    Ich bows to the man, apologizes in Japanese.

                 NICK
            Aw, for Christ's sake.

    They continue speaking in Japanese.  They bow to one
    another again.  Ich gives the man a glass of water, then
    motions for him to sit down.

    Nick, impatient, starts for the guy again.  Ich stops him.
    The snitch holds up one of the photos, and starts
    babbling.

                 NICK
                (to Ich)
            Now we're making progress.

                              CUT TO:

 INT.  SEIBU DEPARTMENT STORE - DAY

    CLOSE ON A SALESGIRL behind the cosmetic counter.  She is
    wearing the store uniform:  blue and white dress and white
    gloves.  A doll.  We shouldn't recognize her at first.
    Then --

 INSERT A PHOTO

    one of Kobo's porno pics.  It's the same face.

 REVEAL NICK

    holding the photo, standing in the crowded store.  Ich is
    beside him.

                 NICK
            That's Kobo's girl?  He's sure?

    Ich glances back at the man in the Hawaiian shirt standing
    by the door.  The man nods.

                 ICH
            He's sure.

    They watch the girl help a customer choose an eyeliner.

                 ICH
            Nick, no one's seen Kobo in three
            days.  He might not even be in
            Tokyo.

                 NICK
            Only one way to find out... Get her
            up in the morning and put her to bed
            at night.

                              CUT TO:

 INT.  SOBA RESTAURANT - DAY

 NICK

    is struggling with his chopsticks and bowl of noodles.
    From O.S. A LOUD SLURPING SOUND.  The sound stops, then
    starts again.  Nick can't eat.  He sets his bowl down and
    looks over at

 ICH

    slurping his noodles.  It is considered polite to slurp
    soba noodles as loud as possible.

    Ich stops.  Looks at Nick, then resumes his slurping.

                 NICK
            Think you could keep it to a dull
            roar?

    They're sitting by the window across from the Seibu
    department store watching the entrance.

                 ICH
            It's good manners.

    Nick nods.  Picks up his bowl.  Again the LOUD slurping
    off screen.  Nick starts to eat the noodles.  He can't
    continue with Ich slurping.  He sets the bowl down.

    Ich grins, resumes slurping and we --

                              CUT TO:

 EXT.  DEPARTMENT STORE - SIX P.M.

    The SALESGIRLS are lined up at the door bowing and
    thanking the last customers for shopping in their store.
    Standard practice.

    The GIRL whom Nick and Ich have been watching comes out
    wearing her uniform and heads down the street.

 NICK AND ICH

    waiting in the restaurant, get up to follow.

                              CUT TO:

 THE GIRL

    stepping out of the laundry carrying her wash.  She walks
    past a doorway where...

    NICK is standing.

    ICH now walks past his partner picking up the tail.  No
    acknowledgement between them.


 EXT.  STREET CAR STATION

    There are dozens of street cars waiting to pull out.  The
    girl is on one of them.  Ich has lost her.  Nick and Ich
    hurry from car to car.

                 ICH
            You said you could keep up with her!
            'No problem, Nick-san.'

                 NICK
                (cutting Ich off)
            No.  Don't say anything.  Don't do
            anything, and for Christ's sake,
            don't apologize!

                 ICH
            Nick...

    Nick hurries toward another car to check it out.

                 NICK
            What'd I tell you?

                 ICH
            There she is!

    They spot the girl sitting in the window of one of the
    street cars, about to turn onto the main street.

    The two cops race for the car.  Nick leaps on.  Ich is a
    few steps behind.  Nick sticks out his hand, pulls Ich up.
    They stand looking at one another, both breathing hard,
    both out of shape.

                              CUT TO:

 NIGHTCLUB DISTRICT - NIGHT

    Narrow streets with exploding neon ideograph signs as far
    as the eye can see.

    We spot our girl hurrying down the street.  Nick, a half
    block behind, is bumping into people, trying not to lose
    her.

    She crosses the street and Ich picks her up.  Nick drops
    off.

 ON A SIDE STREET

    around the corner the girl disappears into a three story
    apartment building above an electronics store.

                              DISSOLVE TO:

 EXT.  GIRL'S APARTMENT BUILDING - NIGHT

    We're watching our girl inside her apartment.  She flips
    off the TV and climbs into bed.

                              CUT TO:

 A STOREROOM - NIGHT

    We've been watching the girl from a window across the
    street.  It's a storeroom full of shipping crates, not
    much else.  Ich is sitting on the floor, legs crossed,
    back erect, watching Nick.  Nick glances over.  Ich
    continues to watch him.  Nick returns to the window.

                 ICH
            You dislike me.

    Nick keeps looking out the window.

                 NICK
            Did I say that?

                 ICH
            You toler -- yes, tolerate me.   

                 NICK
            Are we getting married?

    Pause.

                 ICH
            I'm a joke.  They sent you to me to
            make a fool of you.

    Nick looks over at Ich.  Ich is looking away.  Nick looks
    out the window, then back at his partner.

                 NICK
            You're doing fine, Ich.  Now drop
            it, okay?

                 ICH
            Sure.

    The girl switches off her light across the street.

                              DISSOLVE TO:

 THE STOREROOM - MORNING

    Ich is sleeping on his back looking like a grounded whale.

    Nick, exhausted, is sitting by the window his head resting
    against the sill.

 NICK'S POV OF THE STREET

    as the girl, dressed in her store uniform, comes out of
    the apartment and heads for work.

 NICK

    nudges the sleeping Ich with his foot.  Ich opens his
    eyes.

                 NICK
            Let's book.

    Ich is groggy, nonplused.

                 NICK
            Let's go.

                              CUT TO:

 INT.  HALLWAY - GIRL'S APARTMENT BUILDING

    Ich, tucking in his shirt, comes down the hall to see --

    Nick, on his knees, examining the lock on the girl's
    apartment door.  He slides his NYPD card into the jam and
    lightly raps the knob plate.

                 ICH
            You can't do this.

    Nick uses his sleeve to wipe prints off the knob and jam.

                 NICK
            Call a cop.

    The door swings open.  Nick walks in.

                              CUT TO:

 INT.  GIRL'S APARTMENT

    A cheesebox with a few vintage pieces of American deco
    furniture.

    Ich, very uptight, stands at the door while Nick goes over
    the place.

    Nick opens the closet.  It's packed with expensive
    dresses, pants, sweaters...

                 ICH
            Nick...

                 NICK
                (facing him)
            If you're gonna give me a hard time,
            wait outside.

    Nick goes through her chest of drawers:  on the top, a lot
    of high quality lingerie.

    INSERT PHOTO:  The girl and Kobo posing in a vintage
    Corvette.

    Nick replaces the picture, and carefully rearranges the
    drawer so it appears untouched.  He pulls open another
    drawer.  Then another.  Under the jeans and Mickey Mouse
    T-shirts, he finds:

 A BANK STACK OF U.S. CURRENCY

    in hundreds.  The bottom of the drawer is lined with
    stacks.  Nick holds them up for Ich to see.

                 NICK
            Not too shabby for a perfume pusher.

    Ich, shocked, tries to play it cool.

                 ICH
            Too bad it's not in yen.

    Nick shoves the drawer shut.

                              CUT TO:

 THE GIRL - DUSK - TWO DAYS LATER

    The GIRL buys fruit from a stand as NICK watches from one
    end of the block; ICH, listening to his transistor radio,
    waits at the other.

 THE GIRL

    suddenly turns and finds herself facing

 NICK

    a few yards away.   Nick smiles, then walks into the
    store, hoping he hasn't been made.

                              DISSOLVE TO:

 EXT.  GIRL'S APARTMENT - NIGHT

    Rain pours down.


 INT.  STOREROOM - NIGHT

    Nick, leaning against the wall, watches the girl's
    apartment across the street.  The girl walks in, turns on
    her light, then disappears into the bathroom.

    Ich walks in, exhausted, soaked to the skin.  He tosses
    his cap in the corner.  Struck out again.

                 ICH
            Work, lunch, groceries, laundry...
            Fabulous...

                 NICK
                (looking back out
                 the window)
            Four goddamn days.  This is going
            nowhere...

    A KNOCK at the door.

                 JOYCE (O.S.)
            It's me.

    Ich opens the door.  Joyce, dressed for work, is carrying
    two odons (box dinners).  Joyce and Ich exchange greetings
    in Japanese.

                 JOYCE
            What's the latest?

    Nick shrugs.

                 ICH
            We'll get him, Joyce.

    Joyce peeks out the window.  The girl is getting
    undressed.

                 JOYCE
            She ever pull down her shades?

                 NICK
                (right back at her)
            Sure, but then I just pull out the
            photos.

    Ich opens one of the box dinners and sets it on the ledge
    in front of Nick.

                 ICH
                (enthusiastically)
            Chikuwa, Hampen, Kobu, Konnayaku,
            Ganmodoki --

                 NICK
            Ichiro --

                 ICH
                (realizing)
            Broiled fish paste cake, Kelp roll,
            soybean curd, devils tongue --

                 NICK
            Smells like Bayonne at low tide.

    Joyce hands Ich a flask of hot sake in tinfoil.

                 NICK
            Whoa whoa...

    Nick grabs the flask.  Dumps it out the window.

                 JOYCE
            Don't be an ass.

                 NICK
            He's on duty.

                 JOYCE
            I paid for that.

    Nick tosses a few thousand yen on the table.  Then,
    spotting something out the window.

                 NICK
            Alley oop!

    Nick grabs his coat and goes out the door.  Joyce slips
    Ich another flask of sake.

                              CUT TO:

 EXT.  STREET - GINZA DISTRICT - NIGHT

    It's our GIRL standing alone on the corner of the street
    but you wouldn't know it at first.  She's wearing tight
    leather pants, red leather jacket, earrings, bright red
    lipstick, and she's dumped the pony-tail, allowing her
    hair to fall to her waist.

 NICK AND ICH

    watching in a doorway down the block.  Nick's shivering,
    his hands thrust in his army surplus jacket.  Ich doesn't
    mind the cold.  He's had his sake.

 THREE BOSOZOKU

    riding their bikes come around the corner drive past her,
    then circle back.

    One of the RIDERS stops to talk to her, then drives off.
    She hurries off in the opposite direction.

                 ICH
            Yakuza.

                 NICK
            Good.  Very good...

                              CUT TO:

 A SUBWAY STATION

    The girl waits until the last minute, then after glancing
    back, steps in the car.  The train pulls out.  The cars
    race past until we see --

    Nick and Ich standing inside of the last car.  It
    disappears into the tunnel.

                              CUT TO:

 THE SHINZOA DISTRICT - NIGHT

    The girl, on the move, pushing through the crowd.  Drop
    back to find Ich twenty yards behind.  She crosses the
    street.  Nick, pretending to be looking in a store window,
    picks her up.

 AROUND THE CORNER

    Nick has lost her.  It's a cul de sac with a dozen
    buildings.  He's standing in the middle of the street.
    Ich catches up to him.

                 NICK
            She disappeared... shit!

                 ICH
            You were too far behind.

    Nick does a double-take.

                 ICH
                (recalling Nick's
                 words)
            Don't say anything more.  Don't do
            anything.  And, for Christ's sake,
            don't apologize!

                              DISSOLVE TO:

 EXT.  STREET - SHINZOA DISTRICT - NIGHT - LATER

 NICK

    dropping another cigarette butt to the ground.  There's a
    small pile at his feet.  He's leaning against the wall
    watching one end of the block.  TRACK over to reveal Ich,
    his back to Nick's, watching the other end.

    Ich glances back at Nick.  Nick ignores him.  Ich turns
    back.

                 ICH
            Nicklaus-san!

    Nick turns to see the GIRL walk out of a bath house.
    She's wearing her ponytail again, with a black dress.  She
    climbs into a taxi.

                              CUT TO:

 EXT.  PINK SARON HOSTESS CLUB - NIGHT

    The girl climbs out of the taxi and goes inside.

    Nick and Ich are watching from across the street.


 INT.  HOSTESS CLUB

    Packed with Salarymen from the nearby brewery and
    hostesses in silk dresses selling cheap champagne at
    expensive prices.

 NICK AND ICH

    Walk in.  Everything seems normal.

    The BOUNCER in a white tux, stops them.  This is not a
    place frequented by Gaiijin.

    Ich beseeches the Bouncer to let his good friend in,
    promising that his friend will spend lots of money.

    Nick, thinking he's in, takes a step forward.  The Bouncer
    shoves him back.

                 NICK
            Hey, no hands, huh?

    He bats his hands away.  Ich grabs Nick by the shoulders,
    preventing a fight.

                 ICH
            You can't come in.  They don't
            want --

                 NICK
            Gaiijin.

                 ICH
            I'll check it out.

    Nick, unsure, turns to go, but before he does:

                 NICK
            If I smell one drop of Scotch on
            your breath, my friend --

                 ICH
            You can trust me.

    Nick hesitates, he's not so sure, then shoves the door
    open.


 EXT.  HOSTESS CLUB

    Nick waiting under the pink neon sign.


 INT.  HOSTESS CLUB - LATER

    Ich is sitting at the crowded bar.  A HOSTESS has her arm
    around his neck.  He checks out the room, searching for
    the girl.  He notices two THUGS standing outside a sliding
    door.  Ich finishes his drink.

                 ICH
                (in Japanese)
            Let me up.

                 HOSTESS
                (shoving him down)
            Sit, sweetie.
                (to bartender)
            Another Seagrams!

    Ich relents.  Then, spotting something across the room:

    WHAT HE SEES:  A rice paper door slides open, momentarily
    revealing a DOZEN men with close cropped hair sitting on
    tatami mats, playing poker.  Some have their coats off,
    revealing arms covered with tattoos.  Yakuza.

    A hostess, serving drinks, steps but leaving the door
    partially open.

    The hostess slides the door open to the adjacent room, but
    Ich CANNOT see inside.  She slides it shut.

    Ich's hostess wants him to buy another drink, but Ich
    shakes his head, gets to his feet, and pretending to be
    drunk, stumbles toward the sliding doors.

    Ich bumps into a table; slaps a stranger on the shoulder;
    then starts singing along with Frank Sinatra on the
    stereo.  He's a little too loud, a little off key.

    The bodyguards eye Ich suspiciously.  He stumbles past
    them, then grabs the sliding door and yanks it open.

 INSIDE THE ROOM

    A low table.  Kobo is at one end.  An older,
    distinguished, sliver-haired man in his seventies whom we
    will come to know as SUGAI is at the other.  Ich can't
    believe his eyes:  Sugai is the head of the largest Yakuza
    syndicate in Japan.

    A half dozen LIEUTENANTS sit on either side of the table.
    Half are older, dressed in conservative suits; the other
    half are younger wearing $700 Issy Miyake jackets.

 SUGAI AND KOBO

    are having a heated discussion.  The GIRL Ich and Nick
    have been following walks over to Kobo and sits beside
    him.  This makes Sugai even more irate.  He's on his feet,
    red faced and screaming.

 FOUR GUARDS

    seeing Ich, pull out their Beretta's.  Two more grab him
    and fling him head first against the wall.

                 ICH
                (drunken, in Japanese)
            I have to piss, gentlemen... I'm so
            sorry but I have to --

    The bodyguards hurry him towards the door.


 EXT.  HOSTESS CLUB

    Nick checks his watch, it's been an hour - where the hell
    is Ich?

    Ich comes stumbling up the steps, still affecting his
    drunken, pigeon-toed walk.  Nick, of course, thinks Ich
    has gotten drunk again.  Two of the bodyguards are
    watching from inside.

                 NICK
            I don't believe it...
                (grabs him)
            Son-of-a-bitch --   

    Ich, knowing they're being watched, grabs Nick by the
    sleeve and drags him off still pretending to be drunk.

                 ICH
                (under his breath)
            I'm not drunk...

                 NICK
            We're through.  I mean it.  This is
            the end of the line, Matsumoto.

                 ICH
            Nick --

                 NICK
            Shut-up.

    No longer fearing he's being watched, Ich abruptly stops
    his affected walk, and sounding very sober --

                 ICH
            You shut-up!
                (then)
            Kobo is inside.  He's with Sugai,
            the head of the Summaguchi-clan.

 ACROSS THE STREET

    Ich is dialing on the police call box as he fills Nick in
    on Sugai.

                 ICH
            ... A Godfather.  His man was killed
            at the printing plant.

                 NICK
            I want to yank Kobo.

                 ICH
            Not without a small army, Nicklaus-
            san.

    Ich quickly speaks on the police phone, then hangs up,
    pleased with himself.

                 NICK
            Ich, my name is Nick.  Not Nicklaus,
            not Nicklaus-san, not Nick-san.
            Nick.

                 ICH
            San is an honorable title.

    Ich realizes it's better to drop it.

                              CUT TO:

 THE HOSTESS CLUB - MINUTES LATER

    Drunken Salarymen spill out the door.

 ICH AND NICK

    are standing across the street waiting for the cops to
    arrive.

    Nick freezes.

 THE GIRL

    they've been following steps out and lights a cigarette.
    TIME SLOWS.  She looks up and spots the two men through
    the traffic.  Nick turns away, afraid he's been made.
    When he looks back, she's gone back inside.

                 NICK
            Shit...

    Nick races across the street toward the club.  Horns
 BLARE.

                 ICH
                (doesn't understand)
            Nick?!

 IN FRONT OF THE CLUB

    Nick reaches the curb just as the front doors to the club
    BURST OPEN.  He's too late.  Three bodyguards burst out,
    checking the street.  A red and white Debonnaire pulls up.

    Sugai, surrounded by a half-dozen additional bodyguards,
    comes out and slips into the car.  It tears off down the
    street.

 SIRENS AND POLICE CARS

    from either end of the street peel around the corner.
    It's a madhouse.  The remaining lieutenants and bodyguards
    fan out, trying to elude arrest.

    Nick hurries down the steps.

 INSIDE THE CLUB

    The patrons are still in place, but the two side rooms are
    empty.

    Nick spots KOBO going out the rear entrance.  He starts
    after him but is confronted by the bouncer who stopped him
    earlier.  Nick connects to the guy's jaw before his
    adversary can raise his hands.  The bouncer staggers back.
    Nick flies out the rear door.

                              CUT TO:

 EXT.  FRONT OF CLUB - NIGHT

    Several lieutenants and bodyguards toss their guns --
    possession is a felony in Japan -- as the police close in.


 INT.  HOSTESS CLUB - NIGHT

    Ich hurries in, but Nick's long gone.


 EXT.  REAR OF HOSTESS CLUB - NEARBY STREETS - NIGHT

    SILENCE.  The narrow streets are deserted.  Nick slowly
    makes his way down the street.  The SOUND of a GUNSHOT.
    Nick ducks for cover -- it's a car BACKFIRING.  He
    continues on.

    Nick's POV of a woman giving a man a blow-job in a narrow
    alley.  The man's face is hidden by the shadow.

    Nick continues on.

                 JAPANESE MAN (FROM THE DARKNESS)
            People like Charlie are a dime a
            dozen.

    Nick turns back to see Kobo as he steps into the light.

    Kobo tosses a handful of change at Nick.

                 KOBO
            Keep the change.

                 NICK
            I'm taking you back.

    The girl takes off down the block.

                 KOBO
            Here I am.

    From across the street, a dozen bodyguards appear from
    various doorways and alleys.

                 KOBO
            Charlie was a rookie...

    Kobo traces his finger across the spot where he cut Nick
    in New York.

                 KOBO
            ... But you can take care of
            yourself.  You're 'the biggest thing
            to hit this town since Godzilla.'

    Nick glances at the guards, then back at Kobo.  He is
    unarmed.  To make a move would be suicide.  More POLICE
    SIRENS in the b.g. closing in.

                 KOBO
            What's the matter.  I'm right in
            front of you, Nick.
                (takes a step closer)
            But I was right in front of you when
            you let Charlie die.

    Kobo takes a step forward.  His face is inches from
    Nick's.

                 KOBO
            Walk away again.  Maybe you'll get
            used to it.

    Nick doesn't budge.

    A LONG BEAT, then... Nick turns and slowly walk off.
    After a dozen yards Nick looks back.

    The street is empty, except for a street sweeper pushing
    his wet broom down the block.


 EXT.  HOSTESS CLUB - NIGHT

    A half dozen bodyguards are being frisked, then shoved
    into police cars.

    Ohashi is talking to the enraged nightclub owner.  Nick
    steps up to him.  Ich hurries over.

                 ICH
            Nick!

                 NICK
                (to Ohashi)
            A few minutes faster, we might've
            nailed him.

    Ohashi doesn't say a word, hands Nick a document.

                 NICK
            What's this?

                 OHASHI
            Your visa has expired.  Be on a
            plane in twenty-four hours or you
            will be deported.

                 NICK
            While you were hanging out at the
            visa office, we found the son-of-a-
            bitch.

                 OHASHI
            Look.

    Ohashi directs Nick's attention across the street where a
    SURVEILLANCE VAN is parked.  The rear doors are open
    revealing a van full of surveillance equipment and cops.

                 OHASHI
            You ruined an on-going investigation
            that could have gotten us more than
            one runner.
                (to Ich, in Japanese)
            I want a full report in the morning,
            officer.

    Ich bows as Ohashi walks off.

                 NICK
            Maybe if you'd work with us --

    Ohashi ignores him, continues walking toward his waiting
    car.

                 NICK
                (shouting)
            Hey...!
                (Ohashi keeps
                 walking)
         HEY, I'M TALKING TO YOU, INSPECTOR!

                 OHASHI
                (his back toward
                 Nick)
            Twenty-four hours, detective.

    Ohashi slips into his car.  Nick storms up to the car and
    slams his fist on the window.

                 NICK
            Ohashi!

    Ohashi faces straight ahead, ignoring Nick.  Nick takes
    the extradition paper and spikes it on the car antenna.

    Ich grabs Nick by his arm, pulling him back from the car.
    The car pulls away.

                 ICH
            Nick, stop!

    Nick whirls, and before he realizes what he's doing,
    punches Ich below his left eye.  Ich stumbles back over
    the curb and lands on his ass.

                 NICK
            Damnit, Ichiro, I'm tired of people
            telling me what I can and can't do.
            No one ever solved anything sitting
            on their ass.

    Nick, beside himself with frustration, watches Ohashi's
    car disappear down the block.

 ON ICH

    looking up at

 NICK

    who walks off without looking back at his partner.

                              CUT TO:

 INT.  ICH'S BATHROOM - SEVERAL HOURS LATER

    Nick, standing beside the tub, dumps a pail of hot water
    over his head, rinsing himself off.  He grabs a towel and
    walks out of the room.


 INT.  ICH'S APARTMENT

    Ich, holding an ice pack to his face, is lying on a tatami
    mat against the wall looking up at the ceiling.  An open
    bottle of Seagrams beside him.

    Nick stretches out on another tatami on the opposite side
    of the room and looks up at the ceiling, too.

                 NICK
            The ice help?

    Nothing from Ich.

                 NICK
            Where does this Sugai live?

                 ICH
                (cold)
            A resort city, Beppu.

                 NICK
            I want to go talk to him.

                 ICH
            What...?  Why?

                 NICK
            Because he knows how to get to our
            man.

                 ICH
            He'll never speak to a Gaiijin.

                 NICK
            I'll be a nice Gaiijin.

    Nick gets up and goes to the closet.  He slides open the
    door.  All of his and Charlie's clothes have been neatly
    hung up.

    He shoves Charlie's jacket aside.  Something's wrong with
    the way it hangs.  He pulls the jacket out, runs his hand
    over the coat, feeling something heavy in the lining.

    Nick rips the lining open.  Charlie's .32 Beretta and a
    spare clip tumble out.

                 NICK
            The little bastard.  God bless him.

    Ich takes a drink from his bottle.

                 ICH
            It's very small.

                 NICK
            Big enough.

                 ICH
            It's illegal, Nick.

                 NICK
            It's a new deal.
                (putting it in his
                 waist band)
            ... coming with me tomorrow?

                 ICH
            Sugai's not going to be impressed
            with your gun, Nick.
                (beat)
            No.  I won't put myself in danger
            for you anymore.

    Nick picks up the liquor cap which rolled across the
    floor.  He tosses it to Ich.  Ich reaches for it, but
    misses.

                 NICK
            Sure, pal.  You've got better things
            to do.

    Nick walks out shutting the door behind him.  Stay on Ich
    watching the door, then --

                              CUT TO:

 EXT.  LAS VEGAS BAR - CLOSING TIME

    The last customers find their way to the street, some with
    a little encouragement from a BOUNCER.

    Joyce steps out.  Nick comes up to her.

                 NICK
            You know where I can get a decent
            cup of coffee this time of night?
            I'm buying.

                 JOYCE
            Somebody must be suffering
            somewhere, you're being so nice.

    Joyce takes off down the street.  Nick watches her for a
    beat.

                 NICK
            I need your help, Joyce.

                 JOYCE
            Where's Ich?

                 NICK
            Unavailable.

                              CUT TO:

 INT.  KARAOKE BAR - NIGHT

    On the stage, a young professional looking man is singing
    along to "SUMMERTIME" blasting from the stereo.  The
    Japanese way of letting it all hang out.

    We find Joyce and Nick at a corner table having a drink.

                 JOYCE
            I've heard of Sugai.  I've also
            heard of the emperor.  They're both
            national treasures.  One's a hood.

                 NICK
            I need someone to translate for me.

                 JOYCE
            My Japanese isn't that hot...
            Besides, you'll never get in.

                 NICK
            It's my last shot.  I have to be on
            a plane home tomorrow night.

                 JOYCE
            And I'm supposed to care?

                 NICK
            You could fake it.

    Joyce finishes her drink, sets it down.

                              CUT TO:

 EXT.  STREET - NIGHT

    The neon flickers on the rain slicked pavement.  Nick and
    Joyce walk down the deserted street.  She's carrying an
    umbrella.

                 JOYCE
            You're wrong to sell Ich short.

                 NICK
            He drinks.

                 JOYCE
            He's got a reason.

    Nick shrugs, everyone's got a reason.

                 JOYCE
            His son hooked up with some bikers.
            Yakuza kids.  A cop shot him running
            from a robbery.

    Nick looks over for the first time.

                 JOYCE
            A father doesn't out live that kind
            of thing here, much less a police
            officer...

    Pause.

                 NICK
            Where's the wife?

                 JOYCE
            You met her.

    Nick looks surprised.

                 JOYCE
            The woman in the apartment.  She
            won't speak to him.  But she won't
            leave either.  Japan... Nice, huh?

    Before Nick can respond, something catches his eye:  What
    he sees --

 A MAN

    partially shadowed, standing in the alley.

    Nick grabs his gun.  The man steps out zipping up his
    trousers.  It's a drunken Salaryman.  Nick lowers his gun.
    The Salaryman staggers down the street singing to himself.

                 JOYCE
            Not wound too tight...

                              CUT TO:

 EXT.  JOYCE'S APARTMENT BUILDING - NIGHT

    A three story modern building on a quiet street.  She's
    searching for her keys.

                 JOYCE
            I'd invite you up but I know you'd
            hate the incense.
                (as if to explain)
            I chant.

                 NICK
            What do you chant?

                 JOYCE
            'Nam oyo ranged kyo.'  You think
            it's dumb of course.

                 NICK
            Not if it works.
                (holding the door
                 open for her)
            I'll meet you at the train?

                 JOYCE
            I don't remember saying yes.

                 NICK
            I don't remember you saying no.

    Joyce smiles, heads inside.

                              CUT TO:

 INT.  ICH'S APARTMENT - DAWN

    Ich is sleeping.

    Nick slips into his leather motorcycle jacket.  He drops
    Charlie's gun into his pocket.  He glances down at Ich,
    seeing if he's awake.  He's not.  Nick walks out.

    Ich opens his eyes.  He's been awake the whole time.

                              CUT TO:

 THE YANAKA CEMETERY - DAY

    Ich, wearing a blue suit, is pouring water over a simple
    stone with a wooden dipper.  Next, he places incense in a
    holder and folds his hands in prayer.

    The photo on the stone is of a young man wearing a school
    uniform.  Ich's son.

                              DISSOLVE TO:

 A BULLET TRAIN - DAY

    It's bull's-eye nose cone scuds across the endless rice
    paddies west of Tokyo.  Women in straw hats stand in the
    knee deep water pruning the rice by hand.  Old Japan
    rubbing shoulders with the new.


 INT.  TRAIN - DAY

    CLOSE ON NICK looking out the window as the countryside
    shoots past at 140 mph.  From O.S. several children
    chanting:  "Harrow, Harrow."

    Nick looks over to see three uniformed school children
    thrusting their notebooks and pens at him.

 JOYCE

    is sitting across from Nick.

                 JOYCE
            They want your autograph.

                 NICK
            Who am I supposed to be?

                 JOYCE
            This little guy thinks you're Robert
            Redford... the other one thinks
            you're Charles Bronson...

                 NICK
            Tell them I'm not.

    She does, but the kids insist.

                 JOYCE
            They'll never go away.

    Nick, reluctantly signs.  Joyce takes one of the kid's
    notebooks before passing it back.

                 JOYCE
            Mick Jagger?

    Joyce smiles, surprised at his choice.  Then, she looks up
    shocked to see --

 ICH

    carrying a gift wrapped package under his arm.  He's
    wearing his hat, blue suit and tie.

    Ich sits ACROSS the aisle from Nick and Joyce.  He doesn't
    say a word.  Faces straight ahead.

    Nick looks at Joyce, then back at Ich.

                 NICK
            I'm sorry, Ichiro.  I lost it last
            night.  I shouldn't have hit you.

    Still nothing from Ich.

                 NICK
            What's in the box?

                 ICH
                (still not facing
                 him)
            For Sugai.  Caviar, French cheese,
            ham... If you come to apologize for
            interrupting his meeting, Sugai may
            feel obligated to see you.

                 NICK
            So I bring some cheese?

                 JOYCE
            Gifts are expected here.

    Nick nods, looks back out the window.  He'll never
    understand this country.  He looks back to see --

    Joyce looking annoyed at him.  Nick gets the message.

                 NICK
            Hey, Ich... Thanks.  I'm glad you're
            here.  I mean it.

    Ich still won't acknowledge Nick.


 EXT.  BULLET TRAIN

    The Bullet Train disappearing into the foothills.


 EXT.  BEPPU - DAWN

    Plumes of white steam spindle skyward from every street
    corner.  If you didn't know it was steam, you'd think the
    city was on fire.  Beppu is a resort famous for it's
    geothermal baths.


 EXT.  SUGAI'S HOUSE

    The only traditional house we'll see in our story.  It's
    surrounded by a pool of blood red steaming water from the
    hot springs.

 AT THE GATE

    CLOSE ON A 1000 yen bill as it is dropped on the ground.
    A pair of dice rolls over it.  A handful of GUARDS wearing
    suits and ties are playing craps.

 OUTSIDE THE GATE

    Ich is sitting on the ground leaning against the wall,
    sound asleep.  Nick is standing nearby.  He checks his
    watch.  Tired of waiting, he walks over to --

 JOYCE

    reading the Manichi Daily.

                 NICK
                (impatiently)
            They took the gift an hour ago.

    The phone rings inside the gate.  A guard picks it up.

                 JOYCE
                (certain it's bad
                 news)
            All's not lost.  There's a famous
            temple here.  We could chant.

    The guard hangs up, calls out to Joyce.  Joyce responds in
    Japanese.  The guard opens the gate.

                 NICK
            We're in?

                 JOYCE
            The cheese...


 INT.  A ROOM IN SUGAI'S HOUSE

    A vast, austere, traditional room with sliding rice paper
    doors and tatami mats on the floor.

    Ich and Joyce, drinking tea, are sitting with their feet
    beneath them in the traditional manor.

    Nick, smoking, is in a semi-sprawl; using his tea cup as
    an ashtray.

    A LIEUTENANT enters.  He says something and beckons.  They
    all rise.  He says something else.

                 JOYCE
                (to Nick)
            Just you.


 INT.  ANOTHER ROOM - SUGAI'S HOUSE

    Nick enters, ducking his head in the low doorway.  the
    shoji slides shut behind him.

    The furnishings are minimal but elegant.  There's a
    butsudan, a tokonoma, and a low, long table in the middle
    of the room.  No chairs.  Nick sits on the floor.

    A door slides open at the far end of the room.  Sugai,
    wearing a kimono over western style suit, walks in.  Nick
    stands up to shake his hand.  Sugai ignores it, and sits
    in the traditional position:  feet tucked beneath him.

                 SUGAI
            I'll spare you the ritual.

    He tosses him a palm sized bundle.  Nick catches it.
    Inside, are brand new greenbacks:  hundreds.

                 NICK
            This supposed to impress me?

    He sets it down.

                 SUGAI
            Pick it up.  Look at it.

    Nick hesitates, then picks it up again.  He runs his
    fingers over the face of the bill and snaps the paper.

                 SUGAI
            Seven years work by the finest
            engraver.  Mass produced,
            sequentially numbered.  The best
            there has ever been, Mr. Conklin.

                 NICK
            I'm impressed.  But let's use the
            short form.  I'm looking for --

                 SUGAI
            -- Kobo... I know.  He killed two of
            my partners.  One in New York, one
            at the printing plant.

    Sugai fills a cup of tea for Nick and hands it to him.

                 NICK
            I don't drink tea.

    Sugai hands it to him anyway.

                 SUGAI
            I took Kobo from the street.  I gave
            him a home, a future... But my ways
            were too slow for him... I served
            seven years in prison for my boss
            when I was a young man.  Kobo
            wouldn't serve seven minutes for his
            Oyabun.
                (sipping his tea)
            He was supposed to take over this
            syndicate when I retired.

                 NICK
            I want him.

                 SUGAI
            He'll be dealt with.

    Sugai sets a plastic wrapped object on a table before
    Nick.  Nick recognizes it from the restaurant massacre in
    New York.

    CLOSE UP:  Nick's fingers tear at the plastic.  A block of
    black iridescent polymer.  The negative image of a $100.00
    bill.  A printing plate.

                 SUGAI
            Our associates in New York were
            close to closing a deal with us.

                 NICK
            The families who control the
            casinos?

                 SUGAI
            Yes.  Unlike our syndicates, your
            criminals don't understand the words
            'honor' and 'duty'... We can't
            afford not to deal with them.

    Sugai takes the plate back.

                 SUGAI
            Imagine if your families could pay
            their gambling and drug debts with
            perfect counterfeit bought for cents
            on the dollar.

                 NICK
            The Feds would be onto you in a
            month.

                 SUGAI
            Not with these bills.  And even if
            it only took them six months, do you
            know what our profit margin would
            be?

    Nick looks at a child playing near one of the hot pools in
    Sugai's garden.

                 NICK
            Why tell me this?

                 SUGAI
            The other plate is currently in New
            York, in the hands of Kobo's man.
            Find it for me.

                 NICK
            You trust me?

                 SUGAI
            I'll pay you.

    Nick laughs at Sugai's audaciousness.

                 NICK
                (indicating the
                 counterfeit bills)
            With these?

                 SUGAI
            Swiss bank deposit.  Gold bullion.
            Whatever you want.  You know the
            city and the police.

                 NICK
            If I say no?

                 SUGAI
            You're smarter than Kobo.  You know
            the price of deceit.  Think about
            it.

                 NICK
            I don't have to.

    Sugai cools.  Without a word he gets to his feet and
    starts toward the door.

                 NICK
            I have ten hours to grab my man.

 ON SUGAI

    still walking with his back to Nick.

                 NICK (O.S.)
            You won't get hurt.

    Sugai turns to see Nick, across the room, pointing the
    Beretta at his head.

                              CUT TO:

 INT.  ROOM - SUGAI'S HOUSE - MOMENTS LATER

    The room where Ich and Joyce are waiting.  Sugai enters.
    Their surprise turns to shock when they see Nick behind
    him holding a gun to the old man's head.

                 ICH
            No...

                 NICK
            Let's go.  Him first.

                 ICH
            Nick, you can't do this.

                 NICK
            It's done.
                (to Joyce)
            You don't have to come.

    She hasn't moved a muscle.


 INT SUGAI'S HOUSE - ENTRANCE WAY

    Sugai watches calmly as Nick, Ich, and Joyce put their
    shoes on.  Nick keeps the gun on him.

                              CUT TO:

 EXT.  SUGAI'S COURTYARD

    Nick steps out of the house.  He now has one end of a wire
    coat hanger loosely wrapped around Sugai's neck, the other
    end around his wrist.  His gun is pressed just beneath
    Sugai's ear.  If nick gets shot, so does Sugai.

    A handful of guards stand in the courtyard, one is
    polishing Sugai's Debonnaire car.  They spot Nick and
    Sugai coming, and immediately pull their guns.

                 NICK
            Explain to them.  They shoot me,
            they kill you.
                (Sugai hesitates)
         DO IT!

    Sugai explains to his lieutenants.  They stand helpless as
    Nick walks Sugai toward the car.

                 NICK
            Grab the keys, Ich, and get inside.

                 ICH
            No.

                 NICK
            Not now, man, okay, not now.  Work
            with me.

    Ich takes the keys from the man polishing the car.  He
    gets inside.  Joyce hurries in bedside him.

                 ICH
            You don't know what you're doing.

    Nick slides Sugai in the back seat, carefully reaches over
    and shuts the door.

                 NICK
            Start it.

                 ICH
                (terrified)
            I can't...

                 JOYCE
            Slide over.

    Joyce, furious at Nick, starts the car, gets behind the
    wheel.  Ich gets in on the other side.

    She spins the car around.  The gate opens.  They tear off.

                              CUT TO:

 EXT.  STREET - BEPPU - DAY

    The car bursts through the funnels of steam from the hot-
    springs beneath the street.  It tears down the narrow
    block dodging traffic.  Joyce is concentrating hard on the
    road.

                 NICK
                (to Ich)
            Where's somewhere safe?

    Nothing from Ich.  He's still apoplectic.

                 JOYCE
                (angrily)
            You came up with the first part.

                              CUT TO:

 EXT.  KUDAN LOVE HOTEL - BEPPU

    A four story concrete hotel, strictly for making love.
    "Love Hotels" exist all over Japan.  Each have various
    themes:  western, fifties drive in, Star Wars, etc., each
    complete with music and lighting effects.


 INT.  HOTEL ROOM

    Western style.  Plastic five foot cacti in front of the
    western vista on the walls.  A hitching post at the head
    of the bed.  Cowboy hats and boots at the other end.

    Sugai hangs up the phone and turns to Nick and Joyce who
    are sitting nearby.  Ich hangs up the extension.

                 SUGAI
            Kobo will meet me here tomorrow.
            Ten a.m.

    Ich nods, confirming that what Sugai says is true.

                 NICK
            Good.

                 SUGAI
            He'll find out you took me.  I'm
            unprotected.  He'll kill us.  All of
            us.  You don't stand a chance.

    Ich, knowing Sugai is right, looks at Nick.  Nick flips
    Ich the gun.

                 NICK
            Not if we're careful.

    Ich checks to make sure the gun is loaded, then watches as
    Nick escorts Joyce out of the room.

                              CUT TO:

 A HOTEL ROOM ACROSS THE HALL

    Fifties theme.  The front end of a pink chevy curves
    around the bed.  A "Drive-In" movie screen along one wall.

    Nick is dropping change into the vintage Wurlitzer.  Joyce
    steps in, leaving the door open.

                 JOYCE
            You're out of your mind.  I'm
            leaving.

    Nick doesn't respond.

                 JOYCE
            You'll get Ich killed.

                 NICK
            No one's keeping him here.

                 JOYCE
            Bullshit, Nick.  And don't tell me
            this is all just about Charlie.
            It's not.

                 NICK
            Why would you care?

    That pushes her over the line.

                 JOYCE
            Bastard...

    She moves toward him, enraged.  Nick grabs her arm.

                 JOYCE
            Let go.

    He won't.

                 JOYCE
            You're out of your mind.

    He grips her tighter.

                              CUT TO:

 THE ROOM - LATER

    Nick and Joyce, only partially undressed, are making love
    on the floor.  The Drifters singing "Under The Boardwalk"
    can be heard on the Wurlitzer.  The fifties decor, the
    music, it's all pretty incongruous.

                              CUT TO:

 EXT.  LOVE HOTEL - DAWN

    Nick is putting Joyce in a taxi.  He shuts the door.

                 JOYCE
            I still think you're a bastard.

                 NICK
            What if I chant?

                 JOYCE
            Wouldn't help.
                (beat)
            Watch out for Ich.

    He nods.  The cab drives off.  Nick watches her taxi until
    it is out of sight, around a corner, then heads inside.

                              CUT TO:

 NICK - LATER

    walking into Sugai's room.  Sugai's asleep on the bed.
    Ich is vigilantly sitting awake in the corner, the gun
    resting on the table in front of him.

                 NICK
            Better wake him up.

                              CUT TO:

 EXT.  LOVE HOTEL - LATER

    Quiet.  The wind twirls a discarded newspaper in the
    parking lot.

 INSIDE THE LOVE HOTEL - HALLWAY

    A YOUNG GIGGLING COUPLE step out of a door, arm in arm,
    and disappear down the hall.  STAR WARS MUSIC from one
    room.  HAWAIIAN MUSIC from another.

    THE CAMERA FINDS the closed elevator door.  It opens, Kobo
    steps out, followed by a half-dozen more men all carrying
    Sig-Saur assault rifles -- very heavy artillery.

                              CUT TO:

 SUGAI

    wearing his hat and coat is sitting on the couch, his back
    to us, facing out the window.

    Drop down to --

 THE ROOM BENEATH HIM

    A couple are making love in the Hawaiian theme room.

    The door burst open.  Two men, cradling Sig-Saur rifles in
    their arms, step in.  They aim at the ceiling, blasting
    into Sugai's room above.

 THE GIRL

    starts screaming.  The men ignore her and continue to pump
    bullets into the ceiling.

 KOBO AND HIS MEN

    stop in front of every door long enough to blast into the
    room.  They make their way down the hall.

    A naked man steps into the hallway and is matter-of-factly
    gunned down.

    Kobo and his men stop in front of Sugai's room.


 INT.  SUGAI'S ROOM

    Sugai, wearing his hat, is slumped down on the couch which
    has been splintered by the bullets from below.

 OUTSIDE THE ROOM

    Kobo signals the men.  All six open-up through the door.

 INSIDE THE ROOM

    The door, what's left of it, is kicked open.  The six men
    step in, shooting in all directions:  into the bathroom
    door, into the closet... Windows shatter, mirrors fall,
    total destruction.  They stop.  SILENCE.

    Kobo walks up to Sugai who is slumped on the couch.  He
    lifts up his hat.  It's a cowboy mannequin wearing Sugai's
    clothes.

 THE ELEVATOR DOOR

    opens.  A DOZEN of Sugai's men carrying machine pistols
    come out.

 THE OUTSIDE BALCONY

    Nick and Ich lie on their bellies, guns out.

 INSIDE THE ROOM

    Kobo's men turn.  Sugai's men open-up.  Three of Kobo's
    hitters go down.  The others try to flee into the
    adjoining room.

    Kobo goes for the balcony.

 THE BALCONY

    as Kobo steps out.  He steps right into --

 NICK

    who slams the side of Kobo's head with the butt of his
    gun.

 THE ROOM   

    Nick and Ich drag Kobo in by his jacket collar.  Sugai,
    very much alive, walks in from the hallway.  Nothing is
    said.  Sugai looks at Kobo for a long beat, then walks
    out.

                              CUT TO:

 INT.  SUGAI'S HOUSE - DAY

 KOBO

    standing alone in the middle of a tatami room.  His face
    is badly beaten.  His hands are bound.  Two guards stand
    near the wall.  Nick and Ich stand across the room.

 SUGAI

    wearing a western suit, is asking Kobo questions in
    Japanese.  Sugai barks at him again.  Kobo refuses to
    answer.  Sugai pulls up a shuto -- an 18 inch knife --
    from it's scabbard.

                 SUGAI
                (in Japanese)
            Contact your associate in New York
            and tell him to hand my plate over
            to Abolofia.

    Nothing from Kobo.

                 SUGAI
            You have betrayed the syndicate and
            personally dishonored me.  I would
            rather the deal fell through than...

    The guards walk over and turn Kobo around.  His back is to
    Sugai.  Sugai runs the sword across the nape of Kobo's
    neck drawing blood.  The guards tighten their grip on
    Kobo's arms.

 NICK

    can't believe Sugai's going to kill him.  Nick starts to
    get up, Ich stops him.

    Kobo realizes Sugai isn't just threatening him.

                 KOBO
            No... I'll arrange it.

                              DISSOLVE TO:

 THE ROOM - LATER

    Kobo is led back into the room by two guards.  The guards
    shove him down to the floor.  His hands are still bound.

    Nick walks over and stands above him.  He doesn't say a
    word.  Just stands above him.  Then, Nick pulls spare
    change from his pocket and slowly drops the coins, one by
    one, in front of Kobo's face, like Kobo did to him.  He
    walks away.

    Sugai steps in.

                 SUGAI
            Abolofia's person has received the
            plate.  It's done.

    A door opens at the far end of the room.  It's Kobo's
    girlfriend, the one Nick and Ich had been following.

    She starts toward Kobo; a lieutenant intercepts her.

                 SUGAI
                (in Japanese)
            I wanted you to see him like this.

                 GIRL
                (in Japanese)
            Let him go, father.

 ON ICH

    realizing she's Sugai's daughter.

                 GIRL
                (in Japanese)
            You're too old...

                 SUGAI
                (in Japanese)
            That's enough.

    Sugai turns away and picks up the sword.  The guards
    clutch Kobo.  Sugai's going to kill Kobo after all.

    The girl screams at him to stop.  Sugai's oblivious.

                 NICK (O.S.)
            That wasn't our deal.

                 SUGAI
            You want him dead too.

                 NICK
            After a court convicts him.  He
            belongs to me.

    There's a long pause.  Then, something unusual happens.
    Sugai tells the lieutenant to unfasten Kobo's wrist.  When
    he does, Sugai hands Kobo the sword and demands that he
    cut off his finger.

    This is Yubitsume:  the ritual act within the Yakuza of
    slicing the joint of the little finger to atone for a
    mistake.

    Kobo, not believing in this ancient tradition, refuses.
    Sugai nods to a guard who places Kobo's finger on the
    table.

 KOBO

    stares defiantly at Sugai.  He doesn't even wince as the
    blade slices off his finger.  The guard hands Sugai the
    finger in a handkerchief.

                 SUGAI
                (looking at Nick)
            If anything happens to Abolofia or
            my plate, detective...

    HOLD on Nick then --

                              CUT TO:

 EXT.  TRAIN - DAY

    as it bursts out of a tunnel on it's way to Tokyo.


 INT.  TRAIN - DAY

    Kobo is sitting by the window, his hands cuffed in front
    of him.  Another pair of cuffs chain him to the arm rest.

    Nick pours a drink from an airline-sized bottle of Scotch.
    He holds it out to... Ich.  It's his first drink in a
    week.

                 NICK
            Just one, compadre... Kampai.

                 ICH
            Kampai.

    They clink glasses.  Ich drinks it down.

                 NICK
            It took 12 years to make it, you
            could take five minutes to drink it.

    Ich slows down.

                 NICK
            You did great, Ichiro.

                 ICH
            I called Ohashi, he'll be waiting.
                (smiling)
            I like him waiting.

    Ich gets up.

                 ICH
            Needs ice.

    He heads for the bar car, leaving Kobo and Nick alone.

    Kobo looks out the window at the people working the rice
    paddies, then back down the aisle at the Salarymen in
    their identical suits, then at the women separated from
    them.

                 KOBO
            Ugly... A couple of thousand years
            they've been bound by these little
            rules.  Looking in.  Always afraid.
            Ugly little lives...

                 NICK
            Save it, I already took the tour.

                 KOBO
            You are a lucky man.  Where you come
            from a man can stand out.  It's
            expected.  Here a man is made to
            look a fool for standing out.

    Nick isn't paying much attention.

                 KOBO
            I like your friend, Joyce.  You're
            lucky.

                 NICK
            Guess I'm on a roll.

                 KOBO
            She's such a long way home for you.

                 NICK
            Time, I've got plenty of.

    A raucous SALARYMAN comes down the aisle, singing an Enka,
    swaying with the train, bumping into seats.  A common
    enough sight and ignored by the rest of the passengers.
    The Salaryman stumbles and falls across Nick's lap.

                 NICK
                (helping him up)
            Hey, hey, come on, blow...

    The Salaryman bows deep.  Nick ignores it.  The man moves
    on.  Kobo looks out the window, the train begins to SLOW
    as it approaches the next station.

                 KOBO
                (matter-of-factly)
            This is my stop.

                 NICK
            I'm amused.

                 KOBO
            Don't be.

    Nick looks up to see Kobo calmly fingering a lock of blond
    hair tied with black ribbon.  Joyce's ribbon.  Joyce's
    hair.

                 KOBO
            I have her.

    Nick looks down the car.  The drunk Salaryman who stumbled
    over Nick is quite sober.  He made the hand-off to Kobo.
    Kobo holds out his wrists.  Nick hesitates.

                 KOBO
                (matter-of-factly)
            I'll kill her.

    Nick, reluctantly, unlocks both sets of cuffs.  The train
    pulls into the station.

                 KOBO
            I want the plate from your pal,
            Sugai.  When you get it, you get
            her.

    Kobo gets up, starts down the aisle.

                 NICK
            Sugai won't give it to me, you know
            that.

                 KOBO
            Then take it from him.

    Kobo gets off the train.

 NICK

    follows him to the door.

 THE STATION

    Kobo get into a waiting Jaguar.  Four guards nearby.

 INSIDE THE TRAIN

    Nick runs down the length of the car trying to keep the
    Jaguar in sight as the train pulls out... the car is gone.

 NICK

    bursts into the packed bar car.

                 NICK
            Ichiro?!

    Everyone turns around.  No Ich.

                              CUT TO:

 EXT.  TRAIN - TRAIN STATION - TOKYO

    It slows into the station.


 INT.  TRAIN

    Nick shoves past the passengers lined up in the vestibule,
    ignoring a conductor's angry shouts.


 INT.  TERMINAL - MOMENTS LATER

    The train stops.  Nick flies out and starts running,
    dodging the crowd.

    Three uniformed policemen, including Ohashi's assistant,
    hurry toward him; they're dismayed to find that Kobo is
    gone.

                 NICK
            Where's Ohashi?

    Instead of offering him help, the policemen grab him and
    slap a pair of handcuffs on Nick's wrists.

                 NICK
            What the hell are you doing?!

                              CUT TO:

 HOLDING CELL - TOKYO POLICE STATION

    Nick, waiting alone in the cell.  It's been hours.  A door
    at the end of the hall opens.

    Ohashi stops in front of his cell.

                 OHASHI
            Your plane leaves at six.  Two
            officers will escort you.

                 NICK
            For God's sake, Ohashi, I need your
            help.  Let me out of here!

                 OHASHI
            You had my help, detective.

                 NICK
            If anything happens to her while I'm
            here --

                 OHASHI
            -- Do you know where she is,
            detective?  Do you know how to find
            her?  Even where to start?  We will
            find them.

                 NICK
            I have to get to Sugai.

                 OHASHI
            Goodbye, officer.

    Ohashi keeps walking.

                 NICK
         OHASHI!

    The LOUD clank of metal on metal.  Ohashi's gone.

                 NICK
                (yelling at the top
                 of his lungs)
         OHASHI!!

    HOLD on Nick, his fingers squeezing the bars in rage,
    then --

                              CUT TO:

 EXT.  ROAD - DAY

    Flood rice paddies stretch to the distance on either side
    of the road.  We PAN over to Kobo at a phone kiosk outside
    a gas station.

                 KOBO
                (in Japanese)
            Yes.  Do it.


 INT.  SUGAI'S HOUSE - AT THAT MOMENT

    Kobo's girl, Sugai's daughter, hangs up the phone.  She's
    been on the other end of the line.


 INT.  SUGAI'S ROOM

    The door swings open.  Sugai is sitting on the floor.  The
    girl is carrying a tray of tea.  Beneath the tray, we spot
    something else -- the butt of a short-bladed tanto.

                              CUT TO:

 EXT.  NARITA AIRPORT - TOKYO - DAY

    A police car rolls through the service gate.  We see Nick
    inside the car along with two police guards.


 INT.  HOLDING ROOM - NARITA AIRPORT

    A white room.  No chairs.  Jet engines can be HEARD
    through the walls.  Nick is sitting on the floor,
    defeated.  He doesn't look up when he hears someone enter.

                 ICH (O.S.)
            I'll tell you one thing.  You can't
            solve a thing sitting on your ass.

    Nick looks up.  Ich is in uniform.  A revolver and batton
    hang from his white web gear.  His undershirt bulges
    through his khaki shirt.  He looks ridiculous.  Nick has
    never seen a more beautiful sight.

                              CUT TO:

 INT.  POLICE CAR

    Ich is driving.  Nick is seated behind a cage in the back
    seat.  His hands are cuffed.  Ich is driving through the
    freight area towards a perimeter guard.

                 NICK
            I was ready to have your ass for
            taking off on me.

                 ICH
            I followed them.  An hour from the
            train station.

                 NICK
            How many men?

                 ICH
            I couldn't tell.

                 NICK
            Joyce?

                 ICH
            I don't know.

                 NICK
            We need the plate to negotiate with.

    Ich nods.


 EXT.  AT THE GATE - TOKYO AIRPORT

    The car slows.  Ich speaks rapidly to the guard showing
    him his papers.  The guard takes a good hard look at Nick.
    Time stands still... He waves them through.  Nick can
    breath again.

                 NICK
            You know, Ichiro, you just burned
            your bridges.

    Ich is silent for a moment.  He hands Nick's Beretta back
    through the partition.  So it goes.

                 ICH
            Rest.

    Nick looks for Ich's eyes in the rearview mirror.  The
    little cop keeps driving, his eyes on the road.

                              DISSOLVE TO:

 EXT.  STREET - BEPUKU - DAY

    Nick and Ich are standing outside their car.  The Police
    radio crackles from inside.

 WHAT THEY SEE:

    A large crowd gathered outside of Sugai's estate.  Police
    have cordoned off the area.  An empty ambulance is parked
    out front with various other cars:  Debonnaire's,
    Cadillac's... A boy in shorts is endlessly bouncing a ball
    against the compound wall.  Whatever happened is long
    over.

    Ich flips off the radio.

                 ICH
            Someone attacked him.

                 NICK
            Now we've got nothing to negotiate
            with.

                              CUT TO:

 EXT.  ROAD - DUSK

    The police car streaks across endless fields.

 INSIDE THE CAR

    Nick is at the wheel.  He rubs the sleep from his eyes.
    Ich is slumped down in the seat watching the road.

    Ich pulls out a cigarette.  Nick lights it for him.

                 NICK
            Joyce told me about your family.
            It's tough...

    Ich looks up surprised.

                 ICH
            Thank you.
                (beat)
            You have one?

                 NICK
            A wife.  She left.

                 ICH
            I'm sorry.

                 NICK
            Me too.

    Ich glances over at Nick, then back at the road.

    Nicks rubs out his cigarette and presses down on the
    accelerator.

                              DISSOLVE TO:

 EXT.  KOBO'S HIDEOUT - DAWN

    A small, contemporary house perched on a dry piece of
    land.  A paved road, lined with dense foliage runs on a
    berm between the flooded rice paddies.

 ON NICK AND ICH

    sitting in the car watching from a hillside turnoff.
    There's no easy way in.

                 NICK
            Let's go.

    Ich hands Charlie his shuto -- an 18 inch long knife.

                 NICK
            What's that for?

                 ICH
            Luck.

    Nick tucks the shuto inside his jacket.

                 NICK
            Thanks.

    Nick opens up his door and climbs out.

                 ICH
            You know, Nick, we can't lose.

                 NICK
                (stopping)
            Why's that?

                 ICH
            Because we're the biggest things to
            hit this town since Godzilla.

                              CUT TO:

 THE DIRT ROAD

    leading to the house lined with foliage.  The rice paddies
    on either side.

                              CUT TO:

 NICK AND ICH

    making their way through the waist high water.

 TWO WORKERS

    with their hoes make their way into the water.  They don't
    see our cops.

 OUR COPS

    making their way along the edge of the road.  The SOUND of
    a motorcycle coming.

 THE MOTORCYCLE RIDER

    slows and drops a gear as he turns off the main road and
    onto the dirt berm toward the house.  He's one of Kobo's
    Bosozoku -- a long way from the streets of Tokyo.

    The rider comes around the bend to see --

 A COP

    standing in a uniform.  Ich.  For a moment he doesn't know
    what to do.  Then, he draws a pistol from his belt and
    accelerates toward Ich.

 ICH

    stands his ground as the bike closes in.  The biker takes
    aim.

    Ich drops off to the side as --

 NICK

    rises from a ditch and swings a hoe at the rider as he
    passes, catching the man across the face.  The rider drops
    like a swatted fly.  The biker's momentum carries it a few
    yards before it falls and skids to a halt.

    Nick hurries to the bike.

    Ich drags the biker off the road, then catches up to his
    partner.

 NICK AND ICH

    raise the heavy bike.  Nick mounts.  He takes the riders
    helmet and goggles from Ich, and puts them on.

                 ICH
            What are you going to do?

    Nick doesn't know exactly.  He taps the bike into gear, it
    torques like a mule.  There's a lot more juice here
    than he's used to.

    Nick fishtails for a minute, then gets the hang of it.

    Ich heads off taking another route.


 INT.  HOUSE

 KOBO AND SUGAI'S DAUGHTER

    are putting the last of their belongings into a suitcase.
    She hands him the plate -- Sugai's plate.

    Kobo kisses her as he slips it into his breast pocket.
    The SOUND of a motorcycle approaching from outside.


 EXT.  THE HOUSE

    Kobo steps out, and not recognizing Nick, raises his hand
    to greet what he thinks is one of his men.

 ON NICK

    bearing down on Kobo.

 ON KOBO

    as Nick keeps coming.  He is unable to see clearly until
    Nick is almost on top of him.

 NICK

    dumps the bike at the foot of the stairs and leaps on
    Kobo.

    Nick and Kobo roll off the narrow porch.  Nick breaks
    free.  He isn't fighting fair this time.  He slams his
    foot into Kobo's face and ribs.  Kobo tries to get up, but
    Nick knees him in the chin.

    A woman cries out in Japanese.  Nick turns to see

 JOYCE

    standing at the top of the steps.  A biker is pressing the
    muzzle of a Sig-Saur assault rifle on her.  Kobo's girl is
    beside them holding a small pistol.

 KOBO

    gets to his feet.  The biker tosses Kobo the rifle.  Kobo
    works the charging lever and holds the weapon at his side.
    He has all the time in the world.

    Kobo whirls and kicks Nick in the groin.  Nick falls to
    his knees in agony.

    Kobo towers above Nick as he did in the alley in New York.

                 KOBO
            Still on your knees, Nick?

    Kobo walks off, his back to Nick.

                 KOBO
            There's nothing you can do for me
            anymore.  I have the plate.  Sugai's
            dead.  No there is something.

    He walks up to the steps to Joyce.

                 KOBO
            You can tell me who I should shoot
            first.

    Nick struggles to get to his feet.  Kobo turns and faces
    Nick at the foot of the steps.

 ICH

    appears behind Kobo and takes him down with an amazing
    display of baton work that shows a lifetime of training.

    He grabs the gun.  A biker bursts out of the door.  Ich
    fires, hitting him in the thigh.  He drops his gun.

 SUGAI'S DAUGHTER

    grabs the gun.

 NICK

    tackles her, and wrestles the gun away.  She grabs for it.
    Nick slugs her.

 A GUN BLAST

    Ich is hit in the back of his shoulder, falls onto the
    porch.

 KOBO

    the shooter, is holding a pistol -- a Glock 17 automatic.
    He fires at

 NICK AND JOYCE

    who scramble for cover.

 KOBO

    continues firing as he climbs onto a motorcycle.  He pops
    the clutch and flies off down the road.  Nick fires after
    him, but Kobo's gone.

                 NICK
                (to Ich)
            You all right?

                 ICH
            Yes...

                 NICK
                (to Joyce)
            Call for help.

    Nick mounts the other bike, and puts the turbo charged
    rocket into gear.

 THE ROAD

    Rain pours down as Kobo turns onto the main road.  He
    opens up the throttle, and in less than a second, he's a
    screaming dot in the distance.

 NICK

    comes around the same corner.  His bike fishtails and
    slides out from under him.

 FURTHER DOWN THE ROAD

    Kobo tears past a police car.  The police car takes off
    after him.

 THE FOOTHILLS

    A series of steep switchbacks traverse the steep, densely
    forested hills.

    Kobo's bike flies up the road.  The police car can't keep
    up, begins losing ground.

 THE POLICE CAR

    going flat out, falling further and further behind.
    Kobo's going to escape.

 SUDDENLY

    Nick, bent low, shoots past the cop car.  His left arm is
    scraped and bloody.

 ON KOBO

    glancing back, to see Nick gaining on him.  Kobo's
    pleased.  He gives it more gas.

 NICK

    pulling eight-five... ninety... one hundred.  The rain
    stings his face.  It's hard to keep his eye open.

 THE FOOTHILLS

    Kobo leaning into one of the steep turns, climbing higher
    and higher toward the clouds clinging to the top of the
    peak.

 NICK

    is gaining on him.  He HEARS something coming up behind
    him.

 A BOSOZOKU

    the one Ich shot in the leg, is closing fast on his tail.

 ON NICK

    as the biker draws even.

 THE BIKER

    pulls out his long knife and slashes at Nick's shoulder.

    Nick drops back causing him to miss.  The biker drops
    back.  Nick tries to speed up, but the biker sticks with
    him.  He's a good rider, this boy.  Very, very good.

    The biker moves in again, blade drawn.

 NICK SEES

    something the biker doesn't.

 A TRUCK

    coming around the corner.

 NICK

    swerves to avoid it at the last moment.  The biker reacts
    too late and runs --

 INTO THE GLEAMING

    radiator of the two ton truck, and disappears beneath its
    wheels.

 ON KOBO

    around the bend, glancing back.  Empty road.  He eases up
    on the throttle -- a free man... He circles back only to
    see

 NICK

    burst around the corner charging toward him at a hundred-
    and-twenty miles per hour, in the driving rain.

 KOBO

    waits and waits.  Nick draws closer.  Then, Kobo tears off
    back down the mountain, shooting past Nick.

    Nick brakes... He slows down, and starts to turn, but the
    wheels whirl on the gravel and the bike goes into a skid,
    heading right for the edge of the road.

                              CUT TO:

 NICK'S MOTORCYCLE

    flying over the edge of the road, and down the cliff.

                              CUT TO:

 THE EDGE OF THE ROAD

    Nick, lying on his stomach at the edge of the cliff, his
    arm is probably broken.

    He tries to get up with a one arm push up.  It's hopeless.
    His head falls into a puddle of water.

    The WHINE of an approaching motorcycle.  Kobo has come
    back for him.

    Nick, in excruciating pain, struggles for his gun.

 KOBO

    bearing down on Nick.

 NICK

    struggling to get his gun.  Finally he does.  But it's
    caked in mud.  If the barrel is stuffed it will explode.
    Nick has to take the chance.

 ON KOBO

    Closer and closer.

 NICK

    aims as best he can and fires.  The mud caked gun explodes
    in his hand.  Nick screams in agony.

 KOBO

    pulls his bike up inches in front of Nick's head.  Nick
    seems to be bleeding everywhere:  his hand, his nose, his
    mouth, the side of his head...

    Kobo's face and neck is caked in blood from when Nick beat
    him.

    The rain pours down.

    He picks up the gun.  Points it at Nick, squeezes the
    trigger.

                 KOBO
                (slowly)
            Bang... bang...

    He tosses the gun in front of Nick's face.

                 KOBO
            ... You're dead.

    The sound of approaching Police SIRENS.

    Kobo swings the bike around, goes a hundred yards down the
    road, then swings back.

    Kobo guns the engine.  He gain speed... thirty, thirty-
    five.

 NICK

    struggles to get up.  He can't.

 KOBO

    opening the throttle.

 NICK

    crawling a few inches, that's it.

 KOBO

    twenty yards away.

 NICK

    reaches into his coat and pulls Ich's 18 inch shuto out.

    He rolls away at the last moment, slashing Kobo's ankle as
    he races past.

 KOBO

    screams in pain.  He tries to stop too suddenly.  The bike
    flips over.  Kobo flies into the air then hits the
    pavement on his side and rolls a few yards down the road.
    He stops on his back.  It's lucky he's alive.

    The SOUND of fast approaching police SIRENS.

 THE PLATE

    has fallen out of Kobo's jacket.  It rests in the road,
    halfway between the two men.

 KOBO

    crawls toward it on his belly.

 NICK

    mustering all his strength, struggles across the road on
    all fours.

 KOBO

    crawling snake-like.

 NICK

    still moving, his arms and legs feel like lead.

 KOBO'S FINGERS

    as they reach for the plate.

 NICK

    grabs Kobo's wrist forcing him to drop the plate.  Nick
    picks up a rock.  It looks as if he's going to smash
    Kobo's head.  Instead, he brings it down on the plate,
    shattering it in a half-dozen pieces.

    Nick tosses the pieces in front of Kobo's face.

                 NICK
            Keep the change.

    Nick, exhausted, slowly falls onto his back.  He looks
    over at Kobo, their faces are inches apart.  Nick makes a
    slashing mark with his index finger above his eyebrows.
    The same gesture Kobo made to Nick through the two-way
    mirror in New York.

    Nick passes out.  His eyes shut... the screen...

                             FADES TO BLACK.

 BLACK SCREEN

    The SOUND of three police cars screeching to a halt.  The
    SOUNDS of the police SIRENS winding down.

    The SIRENS get softer mixing with the SOUND of RINGING
    phones, CLACKING typewriters, VOICES...


 FADE IN:

 INT.  TOKYO POLICE HEADQUARTERS

    Fifty identical desks.  Fifty identically dressed men in
    white shirts and ties work under fluorescent lights.

 OHASHI

    is at his desk studying a report.

    Suddenly, the lights go out.  The fan's stop, so do the
    electric typewriters.

    Ohashi looks up to see --

 ICH

    walking toward him down the long aisle, his left arm is
    bandaged, his right hand handcuffed to Kobo on crutches.

    Ich silently leads the captured man down the long aisle to
    Ohashi's desk.

 ICH

    stops in front of the desk and snaps to attention.

                 ICH
            Constable Ichiro Matsumoto presents
            captured prisoner Kobo, Chief
            Inspector Ohashi.

    Ich salutes.

                 OHASHI
            Inspector Ohashi will take charge of
            the prisoner.

    Ich uncuffs Kobo and steps aside to reveal --

 NICK

    standing at the far end of the room by the fuse box.  He's
    also bandaged and on crutches.

    Nick looks at Ohashi without saying a word, then flips the
    main switch up.  The lights and fans start working.

    He turns and walks out the door.

                              CUT TO:

 EXT.  POLICE COURTYARD - A FEW DAYS LATER

    A small decoration ceremony.

 ON ICHIRO

    getting two golden suns pinned to the lapel of his dress
    uniform.

    In the far corner

 NICK, JOYCE AND

    Ichiro's wife, dressed in a formal kimono, watch the
    ceremony.

                              CUT TO:

 INT.  JAPANESE RESTAURANT - TOKYO - DAY

    Joyce and Nick are sitting alone at a table.  Nick's left
    arm in in a sling.

                 NICK
            Can't make you change your mind?

                 JOYCE
            Last time you asked me to come along
            I nearly got a hole in my head.

                 NICK
            Might be different in New York.

                 JOYCE
            Maybe.  If I come visit, we can find
            out.

                 NICK
            I'd like that.

    Ich sits down with two fresh bowls of soba noodles.  Nick
    hesitates.

                 ICH
            You can do it.

    Nick picks up his chopsticks with his good hand.  He
    begins to slurp the noodles.

                 ICH
            Louder, pal, louder.

                 NICK
            Joyce, give the assistant Chief
            Inspector a drink, would you?

    As Joyce refills all their cups we...

                              SLOWLY DISSOLVE TO:

 EXT.  EIGHT THREE PRECINCT - NEW YORK CITY - DAY

    It's raining.  A sun shower.


 INT.  POLICE STATION

    Capt. Oliver is standing by the window watching the rain
    pour down.

                 OLIVER
            ... Remember, counterfeiting is the
            Feds.  They'll be all over
            Abolofia's place.  Stick tight.
            You I.D. the other plate, he does
            real time.

                 NICK
            Right.

    Reveal Nick sitting in front of Oliver's desk, his one arm
    is still in a sling.  Nick gets to his feet.

                 OLIVER
                (still not facing
                 him)
            You know, Nick, if you'd held on to
            that plate, you could've been a very
            rich man.

    Oliver turns to face Nick.  Nick just looks at him, then:

                 NICK
            Never crossed my mind.

    Oliver nods; he believes him.

                 OLIVER
            Be careful on the run.

                              CUT TO:

 INT.  SQUAD BAY - NIGHT

    In contrast to the Japanese police station -- it's chaos.
    Cops are in every imaginable kind of dress, trash cans
    over flow, a handcuffed prisoner screams abuse to anyone
    who will listen.

 THE RAIDING PARTY

    a dozen men in all, are donning flak jackets and
    windbreakers with POLICE and TREASURY stenciled on the
    back.

 NICK

    walks in with two heavy bullet proof vests slung over his
    shoulder.  He squeezes past the raiding party to find

 ICH

    sitting at a desk, thumbing through a Frommer's guide to
    New York City.  Nick drops one of the vests on the desk.
    It lands like a ton of bricks.  Ich continues to read.

    A Sergeant walks in.

                 SERGEANT
            Saddle up.  Hard team in the first
            unit.  Conklin, your RMP awaits.

    The cops and treasury men, grabbing their gear, head for
    the door.

    Nick is struggling to get into his vest using one arm.

                 NICK
            Sure you want to come?  Probably
            better than the Greyline Tour.

    Ich stands up, shoves the guidebook in his back pocket.
    He helps Nick fasten the strap in back.

                 ICH
            You wouldn't make it without me.

    Nick smiles, takes the Frommer's out of Ich's pocket and
    tosses it into the trash.

    Nick hands him a shotgun, takes another one off the rack
    for himself.

    We watch from behind as the two men head down the long
    hallway toward the exit.

                 ICH
            Think we'll get him, Nick?

                 NICK
            We can't lose.

                 ICH
            How can you be so sure?

    Nick opens the door at the far end of the hallway.  They
    step out into the sunlit rain.

                 NICK
            Cause you're the biggest thing to
            hit this town since...

    Before Nick can finish his line, the door SLAMS SHUT
    behind them.

                              FADE TO BLACK.

                 THE END







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