"PAYBACK

"
.!

"PARKER"
screenplay an~~1geland bv

basE?'t.~ the novel "The Hu~~' by Richard Stark

~\.)

.

July ~4, :997

FOR EDUCAT'ONAL
PURPOSES ONLY

o

FADE IN: EXT. CITYGA7E BRIDGE - :JAY
:all day

A cool,

C-G-B. Cars rumble and roar in pummeling, uninterrupted streams. The wind howls, but :~e bridge defies it all.

i~ the ci=y t~anslates to :reezing

on the

So does the lone ma,~walking across. PARKER. His own soli?-ity and ~ension rrratch'in;; ehat~of tli~bridge. One tougn sonofabJ.t.ch. Angry; too.' His worn, unpressed gray suit coat flutters behind him. Arms swing easy as he walks. Headed to the city. A bridge away from completing a journey back from the dead. CUT TO: EXT. lINT. SUBWAY HOLE - DAY

MOVE WITH Parker as he enters and starts down the steps. The sunlight disappears, replaced by fluorescents ...

·"1 e

':'URNST::"ES Parker moves forward. Without breaki~g stride, he swings himself up and over a turnstile, continues toward the platform and boards a waiting subway car. It's doors slide shu: and i: :~~~hes away.
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<..)

0,) .

CUT

':'0:

EXT.

DOWNTOWN SUBWAY S7A~

'~~

- ':JAY

Downtown. Parker exa t s .. ~ station, blinking against the harsh light. He looks\iz his :eft, starts to his right.
A

PANHA.!\TOLER
f~:, he si~s on ~~e sidewalk, his ucturned hat

set. at. his :eet. The ?EDES7R:ANS are forced around him in a wide arc. Occasionally, one pauses to drop some change, a dollar bill into the hat. Parker walks i~ this direction. He pauses alongside the panhandler, reaches intc the hat, takes out $1. $2.

Seemingly

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2.

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Parker =asua::y pokes ~i~ ~= t~e ~~roa~ wit~ his middle and forefi~ger. ~he ?anhandler s~=s back =own, gaspi~g. Parker takes c~e !ast dollar, =onti~ues
C~

his way. CO'!' TO:

INT.

GRIMY STOREFRONT DINER - DAY

At the counter, Parker :inishes all but the crust of a piece of apple pie, then downs the last of a cup of black coffee. The COUNTER GIRL steps forward to refill it. Parker covers the cup with a hand. No thanks. She can see he's a bastard, but maybe that's what she likes about him. COUNTER GIRL Can I get you anything else? Parker looks to an open pack of Marlboros by the register. PARKER Bum me a cigarette. She gets one, gives it to him. Parker twists off the filter, pats himself down for matches. COUNTER GIRL You can't smoke in here. PARKER Got a light? She :OOKS at ~irna beat, ~hen :~icks a ~ighter. across the counter :0 get the cigarette fired. What do I owe you? COUN':'ER GIRL Two ~inety-eight.
.. h Parker stanas, :::.rops e t th±f~~ -..,1,' s on t.e counter and starts out. At the regi~~ .s a tray with PENNIES in it. Parker stopS long enoug~\d take two - his change. She watches him go, =urSi~~m ~nder .her breath. PARKER

She leans

~ EXT. F!NANC:~ ::STR:CT - DAY

COT TO:

Packed with :~e :~nch crowd. Parker stands out of the way. Watching faces. Men's faces. One after the next, he studies and :~en dismisses them. Then he spots ...

(_oj

/ 0\

3. he puts on a tie. The big di!ference be1:ween ?a~r and Edward Johnson is the open grin on Johnson s licert~~~hoto . Stunned. remembers it.2. ~he DRIVER'S LICENSE. Reaching into his pocket. ~e t=ies :0 =ub a stain from his shirt. generally speaking. As Edward Johnson continues. smoothes his hair by running wet fingers through it.J looks like it hur~. ~ast.DAY The BARMAN and his ONE CJSTOMER look up from the bar as Parker strides ~n. Parker studies it.n': :ook :ike a bu~-either.is ~acket till i: a~saDDears. deftly sliding Johnson's WALLET into his pocket.is fingers again. He r'. Wetting a paper :owel. Nothing =ernarkable about him.CHNSON Strollina a:ona ea~i~a a p=e~zel. like ?arke=. closes his eyes. gas card. but again. but Parker continues. No go. social sec~r~ty card and. but not least. slaps on an electric the hand dryer. INT. CUT :'0: INT. CENTER S7REE7 BAR . he strokes down his pants leg.\:. Ignoring them. He hold6\~e :icense under the blower._ (~:t ~ . he pushes through the door into the men's room. Wetting :-. VISA CARD. CENTER STREET BAR . barman throws a dirtv look his way. MEN'S ROOM Parker washes his face.. i. Johnson mumbles an apology. excepc he-:=oks. He gets out.a picture of the wife and kids. ~sed t= smiling.. :orcing i~ t~e approximation of a crease. smile-s. Thir:y-five bucks. -~n general. It slams shut behind him. Better dressed.lns :icense unciev:he faucet. PARKER (sharply) Watch it. Parker walks straight into him almost knocking him down. \. . He's no Rockefeller. quite a bit like Parker. but he doe. Parker reads the SS# to himsel:. ~e outtons r.. I turns to the mirror. n '0 EDWARD '.h~bathroom and heads for the door.JAY The Parker exits t. :~e wallet.

... that'll do fine. 7he momen~ is broken as the :e11er smiles up a: him. backs agai~st the bar. . slaps t~s TWO PENN:ES ci~wn on the bar.. star~s ~ver.!rity cameras. Anyhow. TEL:'E? . S~~ides back the credit card. the guard half-dozing by the We can see him think about it for a second.'. FIRST BANK BRANCH . It checks out.~ r -~ without hesitation. Parker looks about the The sec'.! This isn': a p~b:~= :~ile~. :'11 need the last four digits of your social secur:ty number. Your cash aavance :i~it is three hundred dollars. hepnswers 6 . height cioor.DAY Parker slides his license and VISA card in to a TELLER. PARKER l.'..~ Fuck you. ...cense. CUT TO: INT. As she bank. the of the Plexiglas wall. she only compares the two cards together. but not ridiculously so.. :ohnson.DOWNTOWN . The barman grabs a nightstick from ~nder :~e bar.uhf that'll do fine..r: TELLER Letting his thoughts die. Urn. Mr. not to Parker. The license is beat-up.. BARMAN BARMAN BAR!vtt. . PATRON (mocking) Uh. pal! Parker looks back.2 . ?arker reaches i~to his pocket. Parker looks at him a beat longer. For the first :i~~e see ?arker wears a WEDDING RING.l. che door to the vault.. then strides out gone.------------------- --- o .3 . The barman breaches a sigh of relief.. The barman registers :he look on Parker's face. punches a computer keyboard. As she begi~s =~u~ti~q cut the cash .. f .6 .

DAY PAWN SHOP Parker exits without the VCR.~~ ~ ) Cj A BUS wipes us to: Wi~~~CR. He looks sharp. .':JAY Parker points out the watch he wants. EXT. carrying his old clothes and shoes in a clear plastic garment bag. INT . He drops this in a trash barrel and continues on his way. EXT. PAWN SHOP #2 .~ =ront c= a mirror in a new suit.~AY A CLERK :ooks on as Parker s~ancis . MEN'S CLOTH:NG STORE . EXT. JEWELER'S . CLOSE ON A CREDIT CARD MAGNET:C STRIP READER A hand swipes Edward Johnson's card through. #1 . EXT. b~t ~ot obvious. Parker EXT. you be paying? And how will PARKER (straighten~ his tie) Credit card.DAY Parker's pulling the watch otf his wrist as he enters. PAWN SHOP enters ~: . PARKER I'll take ~CLERK Excellent.DAY Parker exi~s carrying a VCR. STEREO STORE . but counting out $100 cash. sir.DAY Parker exits in his new duds. INT.5. MEN'S :~OTHING STORE .

G EX':'. PAWN SHOP =3 . he shakes his head. ':OMPC':'ER S:-ORE . BROKER (afte~ a beae) Deal. feels the weight in his hand./:'::. PARKER Five hundred and the Magnum. Parker looks through the glass couneer at a row of handguns. As • ! ehe broker puts i~ away. STEAK HOUSE . This one he likes beeter. The broker unlocldii 'th'e"'case. Finally. Guy definieely knows his guns.44 Magnum REVOLVERS both 'marked $500. ?ar~~its behind the remains of a big steak dinner. :':: ~ave to see some -~ though.. Parker tries the other.:c a neat stack. As he sees down the :ast:~ ~he $20's .o. slaps the cylinder open and shut. No good.. i: wieh his thu~. In a dark booth. He cc~s his money on the taple.NIGH-:t: ~ ~ INT. The WAITER steps ever with his credit card.g case.:AY Parke~ exi~s wi~~ a pe~~able ce~pu~e~ INT. As Parker :ishes oue Johnson's wallet and :icense. BROKER I'll give you eighe hundred =or it .DAY a ca~r. ~ipples through then stows ~: inside his sui~ jackee. There are cwo beefy looking . s Parker picks up ehefirse. He taps his finger on the glass. . Parker waits ac~ess ~he ceuneer as the BROKER :eoks the compueer over.ets the'guns en the counter. ?arke~ gathers the cash ~::. Then he checks the action. ~ PARKER Two thousand ~weney. PARKER Let me see ehese.

She unlocks it. ~RONT :JOR . Parker comes off the stairs after her. As the door starts to close. Lynn clicks the door shut. a puff of smoke rise from the shadowed entrance to a walk-down apartment. Parker wipes his mouth with his napkin. stands and then strolls right out of the restaurant..EXT. The aoor SLAMS cpen.NIGHT WA::::-ER The street deserted. Then she realizes he's back. but :ynn's about to go for the door. A taxi pulls up and a girl gets out. He's got ~he gun ~n his hand. CUT TO: . _) . She takes hold of the safety chain.. t:hiscard' 5 been canceled. steps inside. her and disappears inside. Then a burning coal. lands on her ass. She knows ~im. PARKER Try it agai::. st~'Past MOVE . ~ WITH P AFftl"~ vtJ~ stumbles back. He heads off to run it again. The Waiter starts to say he won't. As he quickly searches the apartment :or anyone else. but the look Parker gives him shuts him up. INT. LYNN It takes a moment-to get her bearings. po~sed to set ~t ~n place when . BROWNSTONE . He's watching the building across the way. Parker is here. HALLWAY - BROWNSTONE - NIGHT Lynn comes off the stairs walks down to the door to her _apartment. INT. In no hurry. she's scared :0 death.:YNN'S APARTMEN7 . ~ Parker shuts ~:.-----~~~~~~~~~~~~~-~------------ ---_------------ 7. LYNN. sir. Looks a little drunk as she heads toward the building Parker watches.NIGHT Oblivious. watching her. o (ann::::yedl I'm sor:::l'.

__ . ~. he grabs her wrist. _) . Where? I don I ~oved cut ~wo months ago. PARKER PARKE? Make some cof:ee. He lets her go..~-~~~~ w . KITCHEN LYNN'S APARTMENT NIGHT Parker sits at the table. PARKER LYNN t know. \:J\j LYNN PARKER 0::. Lynn's at the stove plunging the coffee grounds... He looks at her. =hen shoves =~e gun ~~ his belt. She sets it down. : LYNN guess. keeps her back to him as he sips his coffee. turns it to show needle ~rack marks.. CUT TO: INT.._______ . Where s Val? I PARKER Gone. She pours ~t black. (regis~s=s ~~e gun) Are you going =~ x~ll me? Parker considers a moment. She just blinks at him. ~. Get up. LYNN Parke~ "akes anothe~ 5i~~t5 Who pays~~rent? Val.... she looks away.. LYNN Parker . ~ • --------- o 8. She goes to the stove.. but as she steps back. Why? A pay a cigarette.~ . brings it to him.

As ~ynn :oc~on ~ PAR¥~ Anger r:"sing.. starts to c:::-y. baby.PARKER Think As Lynn real:"=es. hands just beneath her throat. He finally slams her up agai~st t~e wa:l. o LYNN You guess? PARKER ~on': you know? She gets a good ~~ghc gr~p o~ :~e coffee pot. . the second shot glances off the side of his head. The ::":::-st catches Parker in a blocking shot forearm. Before we met.9.. he ties her up. ~ynn f!ings the pot at Parker. but it's him and a semi-focused G:RL :"na compromised position. Lynn grabs a steel knife sharpening rod and continues the Parker staaaers. ~llt we ::aveno :"deahow ~ig. She comes after him. -Finally. that: stupid? LYNN LYNN !sn'~ Parker reac~es :"n~oa pocket. . KITCHEN Turning. As she struggles: You got a lot of nerve coming here high and mighty! Did you bri~g your whore with you? Did you? ! She gets an arm free. goes slack. He holds :"t :"n~ynn's face. As he catches hold of her. She set~~es a b:"~. . Look at the d~~~ The photo has erie ~c: ~~ corner. Look at it! :"mprinted dates in the ~-camera ~t . I'~ glad you're not ~ead. He just ducks under it as·hot coffee and glass explode against the wall. she spits at it. pul:s out a dog-eared PHOTOGRAPH. about :"':. whacks him across the back. Some big mistake has been made here. attack. We can't get a good :ook. starts slapping him.

od. Parker? the wall.o :C.~ Whae are you going Parker f!ings ~~e c~air againsc PARKER i.ge:::. '''...~s back. Whae :ime? Arcund noon. I'm going to gee my money back! (realizes) You mean whae am I going to do to you? (afcer a beat) It depends on you._~. :'he ::.YNN a co do. Yot:. Did How do you get your pay of!? Messe!"'. _ was ~eve:::a whore. . :"YNN Oh god .~:R was ner .. wheels ~o her. :sar ~ow replaci~g anger. ~e :eans aaainse chair. She waec~es him. Where's Val? I told you I don't know.rst of every moc:~.. He b:::ingsan envelope Wl.. ::asr:.. 0C'\. t . _. . (re: pho:e. Oh ~y god . PARKER LYNN What about :he syndicate? Val buy his way back in? She looks away. LYNN ~!lat.. I don': even know if he's in the city. . k::10W Parker..... :OU PARKER sold ~ body inscead. ~ods.J Who' was she a~~? I cz ove~~ LYNN .\. PARKER :"YNN - 0 __ • ?ARKER Firs~ is :omo::::::ow... ~ur~i~g r.. minder. No.. Parker releases ~er.

~'WJ . locking her in . candle and HEROIN. CUT TO: INT. Finally.NIGHT Scaldinc. She watches as ~e tears the phone cord from the wall. cleaning up. Lynn. Parker reaches under the mattress. Then he starts going through drawers. SHOWER . .. There's something PARKER A year down in Costa Rica. Said with disgust in her and himself. spoon. syringe. ~ipping over a bookcase. ~~ ~ynn slides off the bed t~ the herself.~::G~':' Lynn encers in :~ont == Parker. quietly cryi~. but i~ suits Parker j~st fine. He goes to the dresser where a cell phone rests. back to him. significant about this gun. She just watches. HALLWAY Parker closes the door. save me the trouble of tearing the room apart. ~YNN' S EEDROOM . He p~=ks ~~ up. She knows exactly what he means. the wel~s :rom ~ynn. :eans :orward and :ets the stream pound the back of his head and ~eck.~YNN'S APARTMENT . Parker s~rides out. smashes'it to pieces. points back where she was just sitting.38. the closet. her back on the bed. . Opens ~t to reveal a tourniquet. That's what: figured that money was g~ing to buy us. pulls out a CHROME . BEDROOM Listening to the SOl~~ floor. He cl~ses his eyes. PARKER Now. tries t~ take it away. he wedges it be cweeri the coer and the waA. You're Parker shoves She leaps forward.INT. She stands. he goes back to a WOODEN BOX on the dresser. PARKER Cold turkey. She looks at the gun.

Lynn? No answer. ·LIVING ROOM . wakes with a start.~IGF. baby. voices.LYNN' S APARTME~"'T.MORNING The sounds cf traffic outside. ~angy. knocks once.~ .. i: starts with a ~hone ringing. PARKER LYNN'S BEDROOM Lynn in bed wearing a pretty nightgown..7 Lynn's got the shakes as she finds a pair of steep platforms in the c:oset.12. Then he moves around the bed. He stirs.S. On his :c£: ~?per back. He enters. Her eyes are open in death. INT. \ . Parker slowly twists 0:: ~is wedding ring. Hands behind his head. Want ~e to tell him :~ call back? _ . :~rns her head toward ~im. ~ies down beside her..C:.~::. Parker stares from the doorway. A tourniquet and syringe hang :rom her left arm. LYNN'S BEDROOM .38 on the coffee table beside him. INT. She twists back a heel ~~ reveal a second syringe & smack kit.. L~~O!CE Val wants ~~!lk :0 you. He wipes them shut with his hand. =~e ~~:ky scars two EUL~ET WOUNDS.:. h~s righ: bicep: =. p:. His b~dy ~s hard.MORNING Parker pulls away ~he bookshelf.M. HAL.oug::. As he remembers. =n == INT. . remembers where he is. Final!y he steps over. Parker's aslee~ on the sofa. he stares at the ceiling. ~ LYNN'S VOICE Sor~. He pulls the syringe :rom her arm. The Magnum and .LWAY . knows she's dead. Lynn's body leaves ~~as the camera moves in on Parker. DISSOLVE TO: ! .ns :~e ring to the wall with it. :::.

stands there thinking. A BRIEFCASE... Parker hangs up the phone. Stop t~inki~g about Val..::: seaan w~~. ". :eels sudden desire like a worm twisting low in his belly. Needs to be around other cowards. Back in the old days. He can't hack it as an independent. HanFi~ed ~o a ponytai~ed Chinese COURIER who ~xits a ba~~~h a.~~ DRAGON TATTOO on h:._ . they :all back on the bed ... ctrr TO: DARKE~ED 5EDROOM .. He stops t::'inki:lg about Val. G INT. . a : As ~hey pull ~~o WHIP PAN TO: .s neck. doesn't see the come on. Come over here and t::':":lK abou.:me. BANK - SAN ::-~'?9 . CUT TO: LYNN PARKER As EXT.. ~~V get :.. looks to Parker's back.~IGHT It's Lynn's bedroom. sleepy but gorgeous.------ 13.yet. You're thinking about it or you woul~~'t have gotten out of bed. PARKER'S VOICE Give me t~e ~~one. She rises to meet him. but ~he way it used to look._-_ _-_.Chines~ BOD~G~ARD. when she cared how it looked. He looks at her. when she wasn't on the junk..-_.a C•• . moonli.t in bed.nese DRIVER. So? What did Val want? PARKER LYNN He's got a line ona LYNN job. Wearing just jockey shorts._--------_. He wants to buy his way back into the syndicate. Val's a coward. ---------------- ----------_. Lynn.'JAY traf:i= . Parker moves toward the bed. No bullet scars there .. .

?arke~ doesn't say anything for too long. Tuesday and Friday.. ne'S been watch~ng the With him. How much do you need to buy you~ way back in? What do you mean? You mean the syndicate? :. A hundred anc ::-.:. (back to selling) Beauty of the Chows is they won't 00 to the c~. ?a~ke~ stares ac~oss at :he bank ... PARKER PARKER VAL How ~uch do you need. VAL Same crew." Twice a week. He wolfs Chinese :ood.o . How much in the case? Anywhere f~om three hundred to half a mil. ACROSS THE STREET Parke~ s~ts at a lunch c~~nte~. Val? We split it VAL so-so No. V~'\J V'AL abOUt those They looked ~a5ty.. "The Chows. all nerves and s~ick good looks. Val chews his bottom lip. ~hey keep things-in hOUS~~ey V'PJ. PARKER VAL You ~oti~~ing guys. worried. ~s VAL RESNICK. Chinese ~hrough ~he glass.. Always the same route back to Chinatown.. (a beat) Why? ~id: ~iss something? .~~y.A _'2. Always between 11 and 12. uh. Probably all kung :u motherfuckers.

STREET . (a beaT:) We ~it 'em o~ Friday.DAY As Val hastily The sedan with t~e Chinese is coming down the street in the opposite direction.' We hear a radio voice talking "a beautiful Friday morning... moaning messes.__as i cn loS b r'ut . yanks on his seatbelt . RJ <:» They did~'~ wear ~heir seatbe~ts. starts away... BOLT CJTTE~l. He grabs the bodyguard by the back of ~is tattooed neck. e ~ ~.J. Parker turns. Parker leans i~ where the rear passenger side door has popped up and ~early off..s . Neither says a word. DISSOLVE ':'0: EXT.. As he sets the boltcutters on the courier's handc~ff chain. 01 L' into the sedan's path. CRAS"r. As they near each other .DAY ?ARr~? '. Val beside him. Val looks after him.n hand. Parker's eyes narrow at something ahead. I "'h .. EXT. '!'HE SEDAN The driver's dead.SAN FRANC!SCO . Parker swerves the c~evy~ectly H· eaa-on." A primer gray '74 Chevy Nova rolls down the street. 3S mph. the bodyguard begins fumbling for his shoulder holster.. Then Val is the~e.. begins violently and excessively slamming his head i~to the front dash. smiles. The i~side of the Chevy has been caged with WELDED STEEL BARS. climbing out of the Chevy. The Chinese are bloody. STREET .:.r a. I Only a moment passe~fore Parker s. . he heads for . The Chevy maybe 40. . Like the i~side of a stock car. ) . CHEVY Parker behind :~e wheel. Parker c~ts the chain.

DAY ~ynn's car is parked inside.. GARAGE . Fuck. :'~a six months Of~~ Lynn -R~Oj ing the next . enough. ~nnecessary from-t~e secian with the br~efcase. Fucki~g slants. Val :icks his lips in anticipation as Lynn counts out the take. Val hurries over laughing. share into a bag.1 :6. pulls alongside Val who still slams the guy's head. va l . Sixty short. Parker gets in the driver's side. obviously As Val paces . STREE:' Val crets ~~ a =ew :ast. Parker gives him a look then tears away.o . Finally. PARKER VAL An independent Ru Le numbe r vcne .. We should've hit them 7uesday. takes and takes gets what he what ~e gets.. like the way st:ar'. CUT TO: IN'!' .:s scoop up ~ker's to Parker keeps he's acting. doesn't :'~ up short.. an eye on~.:yqrand. Parker smokes a cigarette. . A third car pul:s up wit~ ~ynn shots as Parker str~des driving.. As she finishes .:. The rubber-neckers are only just arriving. . Lynn slides to the middle. VAL LYNN Seven'. forty grand. VAL 7hat's not :s for me. Val blinks at ~ynn in disbelief. PARK. LYNN One hundred and Apiece? Total. . Parker reverses hard back.

Val? cool. As she crosses back behind him with their share.38 at: Parker's back. Lynn. (eyes on Val) Open the garage door. PARKER It never ~s. of ~then t shrugs. It just VAL No.:'7. Val's feet step up to him. eyes ?arker. Everything's isn't enough. Parker wall. :n as t~e garage ~s opened.. . Sunlight streams :"ynn's feet step deor past him. A beat. ?arker. PARKER Put ~t in the car.NEW ANGLE for Lynn points a chrome . is enough. LYNN Sor~. Yeah. I k'an da :. BOOM! BOOM! ~ynn ~s firing. slam t~ PARKER His back already crimson. Surprised the first time i~ years. Parker isn't shy about resting his hand on the revolver shoved into his belt.'"l' be. Lynn. VAL Rule ~umber one. Parker glances back. . Val. Parker keeps his eyes on Val who's looking twitchier than ever. Good luck. . GARAGE Parker ~ears a revolver cock back behind him. () Val stops pac~~~. Something PARKER wrong. ~ea But ~one smiles. goes down. shots miss.. The next two Hit twice in the ~. Parker st:ares back at Val ~ ~~.: l' WOU_:L.

A little before noon. (We see it better this time. PEEPHOLE POV On a PUNK MESSENGER. parker's But eyes slowly follow. kicks ~ises. pUNK MESSENGER got all day. Parker looks at a clock on the dresser.. asleep in bed with a half-naked unidentified WOMAN. they neVer do. down. do they? Val :licks Val smiles BLACKNESS Over it. rsr .:"YNN'S APARTMENT in his belt. Shoving t~e Magnum peephole. FRONT :. Miss Parker. holds i~ in front of Parker's face. Bet you got a lot of crues~ions ratt~ing in ybur head: A car door VAL opens.) VAL Lynn did not understand. The Punk Messenger's :urns ~o an ~~s~~e ==own. He knocks again.. half-dressed.18. GOLD BAND ~lipped I don': ~J·-·rs a dangling EARRING. parker looks through the TO: it at him. CUT BACK PARKER Sits up in bed. ~~e photo Parker showed Lynn. \ ~j . slam. ENTRYWAY . o Parker j~sc ~anages to look ~p as Val knee:s beside ~im. BOOM . It's him. (Lynn) .. Val pulls a creased PHOTO from a pocket.. Still alongside Lynn's dead body. has a his nostril.:"YNN' S APARTMENT surly smile Parker opens the door. The booming is someone knocking on the front door.80R . ~he engine turns over. him in the head intc . we hear a dull BOOM.

flings him inside. No.' ~is :ree hand. Not whatever. Whatever. he pats down his pockets to find an envelcpe c: cash and two bal:oons of heroin. Parker slaps . ENTRYWAY Mouth ocen wide. slams Parker checks to make sure tb. Parker. ~hen ~e steps back in the apart~ent. the Punk Messen~ OJ <Q draws a holst:. Parker. PUNK MESSENGER Is she here? Come on in. Parker waves the envelope in his :ace. : -- PARKER PUNK MESSENGER Parker grabs a handful of shirt.: out 0: h~~nd. jams him :ace-first against the wal~. ENTRYWAY Recovering. PUNK MESSENGER PARKER No.19. How mucri? ?ARKER ----------------- --. Wit:. hands splayed. PARKER The Punk Messenger tries to peer around Parker.----------~ . Parker spins-the Punk ~enger.ered G:UOCK. ~s M~ss ~arker ~ere? Mrs. the Punk Messenger face first into the wall. I'm her husband.ere's no cneelse out here riding shotgun. clOSing the door behi~d him. ~rs. PUNK MESS~NGER Uh.

. He's ~~~ng nos:~ str~ight7ns the Punk to rea~~ze h~s pl~ght. PARKER Wrong words.:osses the pickings on a side table. a lighter and a wallet. PUNK MESSENGER PARKER I know what it is. Parker . PARKER (looming) Val Resnick. PUNK MESSENGER They'll kill me.. Parke::.Messenger writhes . $20's. Parker reaches up.. finds cigarettes. right ':~rough the nostril.20.. Parker grabs holdcf ~~lOOdY Messenger up. he turns the Punk around. :ears :he ~ose ring out. worth? What's it PUNK MESSENGER (surlier still> Five grand.. ~..y) Two g::anc. He lights up. Maybe six... ... PUNK MESSENGER is . '"-' PARKER Then w~ gave you the envelope? Please.. checks the Punk's wallet. --I c:: . P~~ES~ENGER I never hea~f h~m. Pocketing a few • PARKER Tell me where Val Resnick Fuck y~u. ~ . PARKER (re: balloons) And :'n here? Heroin.. PUNK :·1ESSENGER (su::2. As t~e ?unk. goes through more pockets.

The radioman looks up as Parker enters. clapboarded shack with a big plate-glass window in front. I'm looking for Arthur Stegman. heads for ~he front door.DAY ~) a.~nK :'m go~:. A SOUTH END ':'AXI DAY - white. ':'ake guess. There's a ratty couch on one wall and a closed door leading to a room in . PUNK MESSENGER . DISPATCH DESK .> A railing around a RADIOMAN at the two-way.SOUTH END INT.a do? Wor:-:. a . Where do I find him? PUNK MESSENGER South End Taxi. Farragut Road. abou~ ::'le. You can't. It's slow because he's reading the paper. PARKER PARK:::?. Half-a-dozen cabs parked around.~thur Stegman.21.. RADIOMAN He ain't here.the back. Maybe you. (step~~~oserl ':'ake gue~ a What? ~IOMAN PARKER About where he is. TAXI .. CUT TO: EXT. <:i . Stegman. Parker steps up. PARKER I PARKER can help Where do I f~nd him? RADIO~ l'm not sure. ° Whac do you ~:. Let go of my nose.

The radioman ~s :~sc scar~~~g ~o t~ink he may be looking at real t~ouble. pal. o Parker scops ac~~s5 ~:.DAY SIX MEN sitting around a table playing poker. Det.e ~ail ==om ~~e =adio~an. Blood runs down the side of his we can only guess what happened. Referring to radioman: HICKS Yeah? Well. making the COT TO: INT. PARKER Is he home? RADIOMAN Go fuck yourself. Hicks =~ses. Chastened. You're The radioman They go nose PARKER making a mistake.. to nose as the radioman leans in.SOUTH END TAXI . Parker reaches pulls down the paper till they make eye contact. HICKS).22. RADIOMAN You're the one who's mistake. looms above Parker. One of them is a big cop (DET. Radioman clutches head. :~ke assau:: to me. They look over as the door opens and radioman step~ in. pal. his ear. PARKER 1'm looking Who :or s~~n. A BADGE and G~~ on h~s belc. Parker. that looks . RADIOMAN (to :lorid-facel There's someone here to see you. n FLORI~~E the hell a~~ou? P~R My ~ame's ~er. suit. out. stands. Parker's behind him. the other a FLORID-FACED MAN who sits in the best chair. He goes back to reading his paper. BACK ROOM . gut spi::ing over a Brooks Bros. He's a big man.

~r::JS re ~Y a dealer. Art . STEGMAN Hicks and Leary laugh. This ~s ~~~. I'm a sore loser. You boys don't want to play with me. Parker tosses the he:-oin balloons on the table. Hicks~ par~~er.al2. Stegman starts :or the aoor. PARKER FLORID-FACED What do you want? PARKER FLORID FACE/STEGMAN You:.. are about to draw iron. J~ . Parker reaches into his jacket.. Forget about :'t.e.boy didn't make his delivery.. HICKS 0 STEGMAN (standing)o. obviously ~ot somet~~ng he wants to share with the c t hez s . As LEARY the other men (~ough-looking drivers) rise. He s~or~s a badae and gun as wel:.:. ~EARY.' and Lea:-y Hicks 0 Whoa. passing Parke:.who's still watchi~g the othe:-so . Stegman scoops them up..A smaller. guyS! He :ust wants to talk! (to Parke:-) Am I right? Did! call it? You Stegman? Maybe.0 (to ParkYV We'll talk ~side. Deal me out. ~arci-=aced ~an a:so r~ses. PARKER 0' Hicks and Leary exchange a look. 2spec:. I got a feel~~g he's the kind who ~~kes to resist arrest. Fuck no! Not ~~ here! Jesus. Arti.

Even if I knew. STEGMAN So what do you care? PARKER I'm he::husband. Where'd you meet up with my delivery boy? PARKER At his drop." Come EXT. STEGMAN Is he dead? PARKER No. Hicks stands watching them from the shack picture any time. You're going to tell me whe::-ehe is.·1A. the answe::would still be no. Stegman registers the 90~ ~Ok in Parker's k'll me. KIDS play ac::-ossthe street. around here.d 2ND ':'AXI DAY Stegman exits.. STEG. ~~~.24. They c::-ossto the sidewalk. eyes. !ollowed by Parke::-who's just st:uck the Magnum back i~ his jacket. STEGMAN You can start talking PARKER I'm looking for Val Resnick. ~ kids Parker's scary. window. STEGMAN No. you. ODed on that garbage you've been sending. Stegman doesn't PARKER Whert. - SOtJ'T. . _ucK~ng You're g~ '""" PARKER \:j Watc~~ur mouth. But she is.:'sVal? There's know what to say to that.

He's gone. . Three months ago he shows up and asks me to do him this favor. don'~ know.Pt: de's Ln the cz. too. of Val's r :mA. Look.'i 7hac's the truth. That much a buddy. I know Val from the old days. Said he s~red h~msel: w~th the synd~cate: Said he was back ~:l the big t~me. I don't know nothing about this.25.cy . He said he'd see me around. know. That' ~ &J?J . Stegman starts to unravel just a little. STEGMAN STEGMAN Now you come around and :~lk about. Parker jusc stares at him. : pick ~p an extra three C's a month. This scuff gecs delivered to me. PARKER STEGMAN He must've left you a way to get ~n touch with him. Stegman glances back to see ~f Hicks is still watching. STEGHA. Of Lynn. Back for good. No. PAR~-~ How do you k~~hat? He said s~ When he came around. killing me. That'S how it looks to me. I won't see anyone again till next month. a:most whispers: STGMAN . Why all the trouble? " STEGi"AN PARKER He's scared of the girl.l. What the nel:? Parker's answer to what the hell ~s io just stare at him. STEGMAN Parker continues staring at him. Parker takes a step :c~ard. Last night.

R'S There's a ~~ Sir. The MANAGER watches :rom the desk as she steps over. Tel: him Parker's back and he wanc s 1:is money. STEGMAN When would I tell him?! you listening to me?! continues walking. A CAB pulls chick named PEARL gets out. Understated wealth. Talk MAN to me.OAKWOOD ARMS . u~. o Parker starts Parker 1:. Send her ~D.1 PARKER You tell ~im ?arker's back. THE OAKWOOD ARMS . but reasonably respectable looking MEN sit reading the paper i~ the lobby. away leaving Stegman rattled. VAL . Stegman watches CUT TO: EXT. LOBBY . A blonde up and a stories Asian hooker. A big grin.26. Aren't after him. The phone rings.DAY TWO TOUGH. steps over ~o answer i~ a it. More than checking her out: it's their job. The S-inch steel stiletto heels give her away. INT. It's Val.-:JAY :NT. He~ame The man =urns O~=~~ile. his back Dean Mar:in on the stereo. She's got two bad habits. through the revolving doors and inside. They both look up as Pearl enters. "7:'H FLOOR A?ART:1ENT dragon kimono.DAY Respectable looking.OAKWOOD ARMS . Pearl's wears a conservative coat. ~oo. Follow her past the DOORMAN. A man ~~ us. but I'm only i~terested in one of the~. C DESK ~ady to see you. Eleven high with two L-w~ngs jutting back. . is Pearl.

I Just VOICE thought i: might be important. Miss. VAL Hold on a second.enough a. There's a knock at the door.OAKWOO~ ARMS . SLAP! Pearl back~ands him across the mouth.. Sorry to call you at home. What's the problem? VOICE Val. He her back. INT. =pens the door.DAY The phone rings again.OAKWOOD ARMS . heads for the elevator. don't call. . sweetie. MANAGER Apar~ment 7:8. () INT. ~he two tough men exchange a knowing look. Shit. knock her down.---------_ __ . you piece of dog shit. want satis~tion. go back to their papers. :ooks at Pearl. As she tugs on the black :eather glove she's just put on. but -VAL Don't be sorry. She turns on her heel. VAL Send her up. Val sets the phone down.DAY The Manager hangs ~p the ~hone. (Chinesl ~lection) On your knee~you bitch.. Val steps in to answer. _ . 27.r=. ~ PEARL . ?earl. it's Haskell. You call me Mistress Pearl. She slaps him again. 7TH FLOOR APARTMENT . PEAR~ I'm ~~~~one. ~OBBY ._ --_ .

.EARLY EVENING Under the cross~~inct ::NT. E\TENING A neighborhood place. President Clinton. I thought you ought to know. j " . I want to talk to the son of a bitch. That's all he said. picks the receiver back up.EARLY Bridge. Did he tell you what it was? VOICE He said to tell you Lynn was dead. He wants to get in touch with you.. He said some guy had come around talking mean and wanting you. EXT. You did right.JARRI::: ~ .. quick. ~e looks up as Val arrives. Twenty minutes. Pearl is there. Stegman? VOICE VAL VAL VAL VAL No. As he turns. by the bridge. Of course Stegman. '. Stegman sits nervous in a booth. VOICE I got a call from the cab guy out in Brooklyn.. with a pitcher of beer and two 'glasses. Concern creases his face. DEAN MART::N VAL Tha t (on the stereo) ' s amore . Make it. Val.28 o :'m on t~e :~cki~g phone! Val stomps over. Varrick's. Val hangs up the phone. VARR!=K'S BAR~~~ She knees him in the groin.

. No .'l' ~ was ::. Val.. Hey. say his name and he's a dead man! And this time he stays dead! Patrons all around start to look over. VAl. Val. slides STEGMAN I'll tell you something. a real C:o-Magnon looking bastard. he sits... VAL Parker . it over.xe. blue eyes. a nobody?! I got friends! All I have to do is point! I pick up the phone. dark hair. STEGMA. urn. Said his name was Parker. . ? STEGMAN Uh.:.. Stegman pours VAL It couldn't be. Huh? STEGMAN Keep ~: down. What did he say about me? STE~' He said YOu~~ him money.. What :lid he :'ook _:. tries to calm himsel:.. Christ . ! wouldn't want him after me. (a hard look) What d~d you :ell him? . Val a beer..29.. But: got the :eeling he'd ~~ke to kill you. Val tries to get a grip. Not W~~~hing else? STEGMAN Nothing.. Reeling.. VAL (looks over) What am I..st - VAL . The name hits Val like a bag of rocks.

STEGMAN On my mother! VAL (grabs him) Fuck your mother! STEGMAN ~ake ~: easy. STEm·tAN Whae could . Easy. him: delivered ie. Val stares at a MAN ~ooki~g over :rom the next table. I swear. Val doesn't quite believe him. VAL You gave him something. Val. Is there some trouble here? We'~e just leaving.tell ~im? VAL You ~ell him about the money? The herci::. Val. ~~AGER STEGMAN . ! just ~old VAL You didn't tell him nothing else? STEGMAN I don't know nothina else. Someone who knows where to find me. but Stegman gets between ~hem.30. A name maybe. o Not~~~g.? STEGMAN He had it with him. Val. holds Val back. VAL The :uck are you looking at?! Val goes af~er ~he man. 7he ~~ ~~~~! steps over a bit tentative. ~O! Val eases cff.

VAL STEGMAN He must've Wish I did. Give me a break. As he strugg:es.. You told him I was in town. 31. Stegman's head.. VARRICK'S BAR & GRILL . Val ~ests Stegman's ::~s :00: on the back pleas go garbled. believed me. sheeoishl I had to give him some:'hing. didn't you? (finallv.EARLY EVENING Val and Stegman exit. If you didn't give tim any names.hrows a few bil:'s on the :'able. 7hey grab Stegman :~om either him to the ground. smi:es nervously at Val..:. : -7hey know side. :orce VAL STEGMAN STEGMAN Ple~ ! Val! . his back. Stegman . STEGMAN • cf . They force him :lat by th~~~b. what he wants.. Val :ooks ~o his croons. They're met by TWO of VAL'S GOONS who wait by a car.o . why didn't Parker kill you? (shrugs) I don't know. they shove hi~~th ~erking an arm up behind over the curbstone.11s a wad c: cash :::-om :::. It's on me. :.ses tis eyebrows. Val. "lal.s wa1:'e:. ParK~ I w~~~~~ f~~ci "-im. STEGMAN You see me ~:actina fuckincr walle':? VAL :~~ mv EXT. Finci (eati~g curbstone) I wouldn't know how. ~a:.:1. Val eyes Stegman harder than ever.

He's folded ~~ over :0 take himself HOOKER A hus:':'er? = don': know them Besides. ~hen eases eff. PARKER I'm looking for a girl.--- --.. Parker and a woman. VAL There's one of him. What can he do? Nothing. ~o you crack one cf Stegman's STEGMAN I'll try. Nothing. but I'll try. I'll try. POPEYE'S BAR . Parker shows :he hooker ~he photo.g you a break. baby. m. . of focus. big boy.--~-- --_- - ----- 32. CUT TO: INT.NIGHT ~ooking HOOKER. I got the whole Outfit on my side. of them sound too sure.. Good boy. Stegman spits out a chipped tooth as Val looks up and down the street ~rying to reassure himself... Val applies just enough pressure teeth. a a wate:::mel~~. out of the shot. she's out all. But neither STEGMAN Val. o VAL I am givir. cocksucker. VAL Val nods to the goons who jerk Stegman to his feet.-- . ! don't know how the hell I'll do it. HOOKFA.rJ She ~~y ~KER the name Rosie.-------. Too much Parker sits across from a skanky make-up on toO many miles. What do you ~~ . I .

NIGHT Val enters ==ernthe stree:~ He heads ever to the two tough men sit:~ng i~ the :obby. I wouldn't know her. PARKER You might know people who do. I want to see her one last time. then his.33. Her eyes widen . She woul~~'~ be ==eelance.with his palm . LOBBY . . As they :ook ~p. You know how it is. . Parker covers . o . (a beat) Got a cigarette? Yeah. 1 . She watches after him. I got cancer... COT ':'0: INT. the night concierge at the Regal Hote~. She'd be connec~ed wic~ che syndicace. HOOKER One of Star's girls. takes the rest of his cash and splits. .. ':'ry And=e. She =eaches fer the dough. He leaves her S100. HOOKER Why are you looking for her? PARKER (flat) I'm her brother. hands her a butt. PARKER She'd work by celepnone. Parker counts $1000 onto the bar. name ~'m looking ~ And=e for. ._i '~ J HOOKER Right.OAKWOOD ARMS . The hooker unfolds the photo to reveal Parker. finishes her drink. '5 no~~' ~ It~ ~e ~\j HOOKER only one r got. Out of my league. HOOKER Your sister sounds expensive. Parker fishes out a pack..

Keep your eyes open. moving away. VOICE GIRL'S .VAL :'m expec~~~g ~=ouble. door opens an inch to reveal a girl's BLUE EYE. The door opens aaai~. Been upstairs all day. Val just the hall. ~~ catches a gl~~pse c~~eone ~ Come b~~~ ~ here. ~ough :~oki~g. VAL VAL Urn. VAL Either of you guys see Phil come through here tonight? 2ND TOUGH MAN He's upstairs. leaving fumbles :or a c~garette. INT. 1ST 7:JUGH MAN then stops and ~ooks back. The eye :ooks with disdai~: Val and :::own. Hi. strands BLONDE HAIR.OAKWOOD ARMS . We just GIRL'S VOICE catch =ed :~ps as. Tel: him Val Resnick. After a moment. Sure. for the elevators. a real c~e man son cf a bitch. time all the way. Val. Val starts Val.NIGHT the of Val pauses at the door to 312. knocks. : want to talk to Phil. Val waits. She doesn'~ answer. Dark hair. :'11 tell Phil you're The door closes. 3RD FLOOR HAL:LWAY .

delicately boned. Do you? Rosie disaooears into a bedroom. Sticking the cigarette in his mouth. Something wrong with t~e operation? . o INT. He looks ~p as PHI~ enters. APAR7ME!\"':':: :2 Val follows her ~~. Sut tougher than she looks. A lipstick smudge ~s clearly outlined a~nst the skin of his chest just under the left nippl~ ~. hands one :0 Val. Middle-aged. Without looking back: I GIRL/ROSIE don't know. How Sure.35. Her back to him. GIRL Close the door. Val follows Phil to the bar. obviously superior to Val in the organization. She may be the girl in Parker's photo. can't find one. Val pats himself down for a :ight. More upscale than Val's Pearl. =v: ya • ~~al? Want a VAL Thanks. amusing i~ a red ==a and pink toreador panes. Do REVERSE ANGLE As I know you? V'AL she crosses the ~ivina room. Barely :ive feet tall. mumbles grumpily tc himself: VAL Know !'ve seen :hat ass before. Val watches-her ass. Phil pours two glasses of scotch. She ~alks ahead across t~e living room. ROSIE. Phil wears nothing but a pair of gray slacks. PHI:" You l=ok nervous. watches as he gulps. Phil will be out in a minute. Val still watches after her as he cioses the door.

Eve~!~hing's smoc~~ as silk. There's this guy. Fairfax or Mr. Mr. no~h~~g :~ke ~ha~. VAL PHIL VAL PHIL VAL It isn't Outfit business. . Val drops his cigarette. ~s got i: out for me.o . ~O. Carter . And what~~~ you want? You can't handle this guy yourself? (smiles) Why not just beat ~~m up like one c: your whores? ! just need help f~nding him. VAL :'hat'sall. 30. Carter. He'~~king for me. VAL . Mr. picks it back up. I was wonderi~g if you could set me up an appointment with Mr. What then? PHIL VAL Val knows what he's aski~g is big.. huh. I t~~ he was dead and all ON ~dden he's around. Fairfax is down in Florida. No. Fairfax? Phil raises an eyebrow.. But I need to speak to Mr. Mr. then shakes his head. Val? Sure it isn't something I can handle? Not direc~ly.. Nothing but the best. But: have ~o know what it's about. Carter then. PHIL I'll see what r can do.

. He's got a string with him? ~ . In the meantime. Oh.. stick close to your room. you~ speaking Greek. PHI!.37. He's a heister. Phil looks at him a moment. sure. Val starts :or ~he door.. As Val finally exi~s . Okay? VAL Thanks. G Who ~s he? PHI:" An crganiza:i=~ boy? VAL No. CONC:ERGE ~ESK -':'HE~GAL HOTEL ./ PARKER got ~he Sultan of Oman in honeymoon suite. VAL Sure chi~g. He wants best =ro:essional lay money =uy. (re: bedroom) I've got a little something. decides. VAL He's a loner. And prost~~on is illegal. No string. Parker puts his $1000 down on the counter. a hijacker. I'12 talk to Carter. realizes he's cot ~he emntv class in his hand. ·Who do you call? .. He's an ~~dependent. You the the can . smiling-q~i~kly at Phil who stands ~here in the middle of ~he room wait~ng for him to go.NIGHT ANDRE ire. if you'll excuse me . PHIL An i~dependent. name tagl s~~across the desk from Parker. CUT ':'0: INT... phil. PHIL Now. huh? Tough boys some of them. ~e detours back ~o the ba~..

~ Turni~a his back. to you.38. Parker up for lent. .l and you on his tiptoes. holds the-phone out. ) \ PARKER Ros~e. speaks low. Andre rises Usually these matters are conducted with more discretion. And who should for her? Parker releases tim. ears.. grabs What (gasping) was the name again? PARKER ANDRE Rosie. Parker • .~ ANDRE to talk PARKER (takes phone) Hel:o? Who WOMAN'S VOICE :he hell is this? :. hold of Andre's nose. but looks like she's nineteen. Sh~ants . As Andre PARKER Use words like police might make me mad. he Andre picks u~ t~e c~~. Maybe thirty. Parker winces grabs one of Andre's in pain . PARKER ANDRE ! say is looking Parker. Finall~~ turns. starts to pull.ials. Just a small little thing. ANDRE (sno':':y) The po::'ce.:'s Parker. PARKER ANDRE : gave discretion With his :ree hand.. pulls harder ..

's va I CE ~oney.-'. 2ND FLOOR ~WAY . WOMA. . Plus : heard yet{ w~fe was back in town alone~ ~ She de . heads :nside... ROSIE Welcome back to :ife.. doesn't quite know how to react. Provide a safe work envi~onment.NIGHT and Rosie steps A 5-story brownstone. Remember that :!at we got on the Cross-Bronx Expressway? Parker? As WOMAN'S over VOICE to Andre . the door opens out. PARKER I used to drive =or you.... Two steps and she's thrown all of herself into She holds an open beer bottle in either hand. Where'd PARKE? you hear about ~t? an embrace. The girl !rom Phil's apartment. ?arker's dead.~ ROS:E I'm s~ry. INT.29B COYLE Before Parker can reach it. Parker.39. 29B·COYLE STREET ." ~~~R IS . you lovely bast:ard. STREET . PARKER Why? He takes a beer =rom her. 7ry agai~.NIGHT Parker heads up the steps. Parker ROSIE People who know were talking. CUT TO: Parker slides a $100 EXT.

We don't say syndi=ate anymore. INT. He's just as tough. she whistles. You're the same as ever. but he won't leave me. settles down on the floor. Parker steps over to a row of PORCELA:N FROGS on a credenza. A ROSI=: The Outf~t. ROSIE Took over your job after you left. clinks his beer bottle with hers. As he looks at :~em: PARKER I want to ask a favor. Rosie follows Parker in.. He looks like he's going to go for Parker's throat. Parker stops short at a FEROC!OUS GROWL.. As he deadpans.o 40. synd~t:e boy. . ROSIn A favc~? Ma~~u're same as ev~""'J not the \)ARKER I'm 1~~ng for someone. clucks her tongue. Standing across from him in the bedroom doorway ~s one ugly PIT B~.NIGH7 A funky. ROS:E'S APARTMENT . PARKER What's his name? ROSIE "Parker" . Rosie ·steps up. "Parker" ~: Rosie's eyes ~winkle at him as she takes a sip of beer. but enjoyable ~=uc~ ~~ ~~e deccra~~~g departmen~. ROSIE Meet the nastiest damn dog who ever lived. baby. Without bi~terness: ROSIE Surly Parker.

PARKER Wha': hotel? ROSIE The Outf~t hotel. ?arker. Whac's th~~SS? Rosie looks at him~~at. Look. What's his name? PARKER Val Resnick. . PARKER So you know him? ROSIE Saw him for a second yesterday. PARKE? I don't care whac you call . (a bad memory) He can't use Star's service anymore because he beats up the girls. Almost killed one. ROSIE Oh.ROSIE Don': get touchy. Parker ~ooks back over at her.41. that sonofabitcn . :00. there. . but : met up with him once a few years ago. =~cht? But :'m an employee.: .. : PARKER They'=e all Rosie starts :=war~ ~~~.The Outf~t wouldn't like me tell~ng you where the hotel was. " ROS:E We'~friends. PARKER You can f~nd OUt where he is? I ROSIE suppose he's at the hotel..

what if t:heyask you hard? I got: -. : 7th. You know that already." How serong are you. PARKER I wouldn't give you up. ROSIE~OJ "'.!. : think you're e~e serongese ~an : ever mee. PARKER PARKER PARKER PARKER ROS:::: ROSIE ROSIE ROSIE The Oakwood A~.:rom a cab dispat:c~er named S:. Enough for whac? If I know you. "Parker" takes .. •• . so why talk about it? But. you want :his Resnick for something he won': like. ROSIE Whae do you gOt against this Stegman? Not~ing... ! 'm Union and ~"5J:::' l.42. Buewonder !! i:'s enough. There. and you get grabbed.egman. J. I'm going :0 kill him.m into the bedroom. that's someching he won't ~ike. Parker. Parker? Personally. And what if it goes wrong. 50 (a w~~h:e) She disappears past up position :~ere. and they ask you where you found oue about: the hotel. But it's believable.leven call one of :he ~ls and find out:what suite he's in. o I.

~u're corning. That said. ~osie picks the frog back wings it against the clOSing door.rowls. Parker :eaves. Rosie reappears in the doorway crouches. boy. ':'wisc:':lg o::f '. SMASH! EXT.:. Parker eyes '..:. (looks co Parker) Would you have ever come back you didn't need something? Parkei doesn't answer. u "Parker" :. by the credenza. ~urls ROSIE Get yourself kil~. .:~e dog back. Parker steps ever to he~~t~ '. PARKER (irritated) All this time and you don't even pretend to ask how. He nudges a but: :~e c~rb W1:~ the edge c:: his shoe.gntsp. ROSIE PARKER You need any cash Insulted.43.! Careful. looks back. up. 718.NIGHT A DOORMAN ~n a blue ~ni:cr~ patrcls the sidewalk. eyes Parker. ROS!2 if • Finally . Parker ~akes a ciaare~~e =~orn a pack on the ~able. : ought to tell ~. You do~ ~~~~R wan: :0 do that. it.:he ~:'lcer. Parker pauses at the half open door. ::e .at ~irn. just waits.. prick. heads Thanks. Suite Parker memorizes ROS:::::: !or ~he door. ~p one ~: the :rogs. 7HE OAKWOOD ARMS .:he :rog on the credenza. === . She .. he'!l bite you back. ·pats the dog.I've been. she picks Parker ~at~~es '- or anything? .

An OLDER HOOD steps out looking prosperous. Parker EXT.g::': . swinging a 7IRE IRON. he checks his TO: rNT.. . we see Parker being seated. A window table. pretends to read the menu outside a restaurant. an upscale JEWELRY STORE in particular. Cautious scans the street as his boss gets into a l~mo. the wall.'~se for just a moment before a man looms forward of: t~ sidewalk. there are FOUR. Parker's nowhere down at the r~~ging alarm. Again. SIDEWALl-: . :t's ::45 AM.44 A cab d~soo~~es Pearl ~~e dom~~a~~/submissive hooker from earl~er. along. ris he looks back across at the Oakwood .. ~ear. then looks back at the menu: sirloin steak. eye-balling ~he Oakwood.NIGH~ OJ COT ':'0: We're inside t ae c:Esplay. As the glass explodes . The buildings on this side of the street. PARKER Stops. RESTAURAN'!' A beat. JEWELRY STORE . Parker. peers s:. ~hrough :he olass. eyes the Oakwood... -The doorman g~i~s at her as she ~eads ~nside.ing back agai~st watch. He's followed by a younger hood looking cautious. THE :JCORMAN Steps out :0 :he streeo..ACROSS :'HE S7REE:' Parker walks POV out front.. PARKER'S The doorman The tough guys sitting in the lobby. Now Val's two thugs have joined the party. DISSOLVE THE DOORMAN Yawning.

45.

(J

A momen~ passes and he's joined by the :our Ou~:~~ Lobby boys and the N:GHT DESK !~AGER. We hear a siren approach.
As a cop car s~reaks by, :he Ou~:i~ guys shake t~eir head,

smirk a~ such a petty crime.

INT.

LOBBY - OAKWOOD ARMS - NIGHT

As the tough guys return to their seats, one of them looks

about on a coffee table, by an ashtray.

.!

TOUGH ONE Alright, which one of you guys took my goddamn Kools?
As all deny it, the elevator numbers start up b.g ..

INT.

ELEVATOR

- OAKWOOD ARMS - NIGHT

Parker lights a Kool. The elevator button glows at 7. Suddenly, the elevator stops at 3. Parker Just stands there, cool, as the doors open and a HOOD steps in. He presses 9. The doors close. The elevator starts up. A beat before the Hood glances at Parker. Parker glances at him. As the Hood realizes that something is wrong ... INT. 7TH FLOOR HALLWAY - OAKWOOD ARMS - NIGHT

~he doors open. Parker exits. We don't see the Hood. As Parker heads off, the doors start :~ close, then jerk open. WI~EN TO show t~e Hood u~consc~ous en the elevator floor. As the doors close again, bang open against his head ...
CUT TO:

VAL RESNICK
Sleeps fitfully. The girl Pearl snores in bed beside him, one of her eyes black. su~€)y, Val wakes with a start. He lays there a moment, wi. .~ hand across his sweaty face. The last 24 hours~~n't been easy for him. Val sits up on his e~~, Then he sees somet~~else, looks over at Pearl, sighs. squints into the darkness.

Across the room, a coal b'..!r~s red, disappears. Val squints. A bea~ and then :he coal burns again. Someone's sitti~g there snoking a cigarette!

46.

()

PARKER'S VO::=E Seventy ~~ousand dollars. ~al. That's wha~ you owe ~e. Val's hand darts to t~e night table. frantically casts about on top. He accidentally switches on a tabletop stereo. More Dean Marcin. PARKER'S VOICE Your gun's not there.
I. •!

Parker switches on a light. Val blinks, cringes like he's been hit. Parker .has Val's 9mm and his own Magnum. Parker stands, starts over. He shoves the 9 milli ~n his belt, aims the Magnum. val nearly jumps out of his skin. Oh, Jesus.

i,

VAL

Oh, Parker.

Pearl stirs, wakes up. As she gasps, Parker registers her black leather corset, a set of handcu:fs and a cat-a-nine tails on her dresser. PARKER You're a pro. Keep your mouth shut, you'll walk out of here. Pearl nods, actually seems excited by the situation. Parker looks to Val who's pushed back against the headboard. PARKER My seventy grand.
I

want .-

don't have ~t right now, Parker. _ PARKER Where is it?
V'AJ...
I had to pay the OU~f' hundr~d an~ ~hirty gave ~: al. :0 th~

VAL

. .

I

Pear2.'s eyes register the d~r
.

PARKER It's the same C~tf~t here as i: is in Chicago, right?

':.;...'

amounts discussed.

47.

()

Sure. Coast to coast, it's all the same. Tell them you gave them money that wasn't yours. Tell them you want it back. Parker, I can't.
VAL
PARKER

VAL

I--

Parker sets the barrel of the gun, against Val's forehead, pins him back against the wall. You'll kill me whether I get the money or not. As Parker cocks back the hammer ... Okay, I'll get it. I'll get it. I just need a couple of days. Tomorrow.
PARKER VAL VAL

Noon.

Say it.

It sounds crazy, Parker, but no hard feelings. I did what I had to. You gotta appreciate that. Parker ra.ises the pistol ready to whack Val with it. No... Let me.
PEARL

VAL

Parker lowers the pistol, shrugs. Before Val can react, Pearl grabs, swings the handcuffs. One of the steel bracelets catches Val across the side of the head. He writhes in pain. Parker steps back out of the \~ Pearl slips the bracelets around her fist. S ~~rts hooking shots into him, viciously beating the ~ out of him. I.love y~~y,
t arne .

Love you big He finally

"

Val tries to cover-up, but to little avail. slides to the floor, lands in a heap.

I -.48 () Pearl moves ::0 fol':'ow. I recognized you. As tough one looks up. then returns the favor of the kick Val once gave him. face ::ruised. PARKER Lynn: I I. Swiped it case: could use it. EMPTY Ah"TEROOM .in his st=ide. High class. PARKER PEARL So go boil an egg. Elevator doors open and Parker strides oue. =~1: ::arker waves her 0::::. . As Val nods. Parker takes cut the photo Val showed Parker and Rosie. Val flops over unconscious. PARY. ?earl :ooks down at Val. two sofas. ~ ~UGH Who ~~hat? As the o:herS~~g~ ONE go back to reading . You and the money be at the payphone on 7th and Frankl':"::. sighs . DISSOLVE TO: INT. Ain't that a kick in the head! Pearl watches I DEAN MARTIN Parker in open admiration. . Had it on her shelf. Where'd you get it? VAL (bleary) Hooker. got a few minutes..NIGHT ~OBBY . Parker'S ~NT.~ Parker underscands.=:? (to Val: Noon tomorrow. gone. a table and a stack cf magazines.... walks right pase them.. yawn. he's alre~ out the doors.DAY There's Val enc er s . a hitc!:.CARTER INVESTMENTS .OAKWOOD ARMS The four guys read magazi::es. Parker shows Val.

The smallese secu=~:y camera above ~:. GRAY Can I help you? VAL I'm Val Resnick. asked. A broad shouldered steps oue. Val follows Gray. 9 AM. An unmarked doo~ across :~e ~oo~.. =hecks r. He holster. Wait ::ere. on either siqe..49. ~arter his visitors. a . -- VAL Let me just tell you Turn around. GRAY as the man frisks him. M~~er Val blinks. stop at a GRAY . please. Then the door cpens. bit Yes. raises his hands pulls a 9mm from a shoulder in the small of Val's back.38 from a holster a . GRAY VAL But :'m in a little of t~ouble. good. likes Val turns.32 from an ankle holster. He doesn': know whethe~ :0 sit == whac. 7he door :~inks so also. appointment with Yes. Tha~n't sound ~ GRAY This way. Val hesicaces. This isn't how Mr. is buzzed open. Carter. Val knows why this GRAY Turn around is being ! got an Mr.~s wacc~. guy ~~ a GRAY SUI7 . The door locks behi~d him. HALLWAY They door walk past ~nmarked doers at the end c: the hall. I know.

Gray closes the door. CARTER'S visions OFFICE . CARTER'S OFFIe::: Val :ooks at Carter. :=oms over ~im. CARTER When you go Out:~t. realizes in the room. you go Out!:'t al: ~he way.. ':'here'sa MAN 2. You do ::. of Wall Street and high finance. nods to him. but it's unnerving.ying ::ack i::. your work out :0 scavengers. Carte~ will see you now.50. is Stegman! The dentist steps aW~~he guy in the chair He looks in quite a b~_ of discomfort. WINDOW . The telescope poin~s at a distant building. Carter steps aside. Val smiles. the =hai~. A formidable sitting in t~e :ar corner. Found i: a wee~~.DAY he conjures '. The door opens. GRAY Mr. Val takes a peek. Gray disappea~s ~~~~ugh ~~e d~o~. Leaving chem. CARTER looks out a window with a celescope. Resnick. CARTER LOOK at this. INT.' MR. with a start there's another man looking man in a BLACK SUIT He doesn't ~oti=e Val at all. Val s~a~~s. ~es~s ~he cender~ess c: ~is swol:en :ip wic~ n~s :i~ge~~ips. Understood? . working on a t=oth. watching the~~of CART"='R ""'~ A DENTIST'S The DENTIST CE Can't stop a bitch. isn't sure how to react. Carter continues looking through ~he telescope. MR. Impressive. Val stands there. Phil smiles back. His back is to Val as he ente~s. Val steps to the window. He stands behind the bar in the corner. Phil from the Oakwood is also here.ot :arr. 3ray holds i: :or Val.TE:"'E.5COPE POV OFF!:E.

Resnick. you did make resti~ion :0 ~he organization. One. Mr. told me you have a problem you want help with. That's always good business policy. it's just that -Carter's not interested in what Val has to say. CARTER As Val moves fer a chair.! VAL VAL CAR~~ We have an ~~ttment i~ you. we could ~et you handle i~ yourself. sir. Carter. 7hree. ~wo. n .5l. Assisting you would be protecting our investment i~ you. Is it your problem who poked a man's eye out at the Oakwood last night? Yes. VAL . Thank you. ~~me and money and trainin~~d af~er your mistake in C~~. VlU. Sit down. . CARTER Phil. sir.J Yes. CARTER There's an old expression which has always served me well. CARTER There are three ways to handle this situation. you won't reg=et it. we could help you. I'm sorry. Val can't help. Not knocking it over. At Phil. Mr. He mumbles an apology. we could have you =eplaced. he kicks the tri~od stand. sir. Don't shit where you live. but certainly losing the-dentist's office. Carter. finally gets to his seat. but glance back at Black.

t~e edge c: the desk. Accordi~g ~o Phil. He does payroll banks. CARTER his :irst CARTER ~ame? VAL (thinks. sir. Perhapsshould know ~ore. Is t~at right? VAL Yes. '-J CARTER ~ V . chat ~e is a professional robber. Cartet'\. smart as they come. What's his name? VAL jobs. Carter. Mr. sir. You say ~hat he is alone. Why does he want Bad blood Carter sits C~ He CARTER to kill you? VAL over a job we pulled. What's Parker. isn't it? The one hundred and thirty thousand dollars you paid us back? VAL Yes.'~ V~\) -- That's why t~is man is here. ~ . never called himself anything but Parker. Where did you get CARTER the one ~~~~~~~?and =~~r~~ousand Mr. a man ~as come co cown ~o kill you. 3ut =~ly seventy thousand of it was his. things like that.CAR:-:::? I haven't deci~e~ yec.. realizes) ! don't know i~.

CARTER VAL sir. And this man Parker. You owed ~s a debt and you paid i~. CARTER CARTE~~ ~"'J presses a button. opens and Gray appea~~'_- Val looks ~o Gray. I thought he was dead. Val .a heist. VAL CARTER And you took ~is share. Resnick. Carter :inds his dentist. he was pa~t of the gang that performed the holdup? Yes. knows :he moment is here. Now it appears that i: is our business after all. !t wasn'~ our business.. :hen S:ack. Yes. and we gave you a second chance.53. CARTER And who was held up? A Chinese gang. sir. I know them. Carter steps over to the telescope. sir. • . sir. A holdup. :ocuses. Where did you get the money? VAL A -. I see. We never asked yeu ~here you got the money. Carter. begins scanning for the dentist's office. Mr. Mr. Mr. ~he door Mr. The Chows. Carter sits. thumbs a :ile marked: Eesnick. Carter steps to hi~:.. is that it? VAL Yes.

Carter walks Val to ~he door. CARTER !.00.. Do you knew yeur value to the organizaticn. VAL (eaoer) I want to handle it myself. CARTER CARTER . sir . •• . you'd leave little doubt you were the kind of man we want. don't think he'~ead. Know he's dead. (p~~~ door) 7hi~~~ Resnick.54. :arte!' . VAL Yes. Were you to handle ~his problem on your own. A man in our organization has to be tough. Mr. Until this matter is settled. That comes i~ handy. you will move out of the Oakwood Arms. Resnick? You'=~ a sadist. apart :rom money and manpower. But now you've allowed an area of your personal ~ife to become a possible danger ~o us. Carter. Carter. self-reliant.. ':. Mr. Mr. :ARTER Now. Yeu lack compunc~ion. VAL ( exi::'~g) I wil:. Gray and Black close in a step. Val does. Thank you. . ~s there anythi~g we can help you with? Black and Gray ~augh at ~he~boss' -·~R wit. I don't want anymore unpleasantness at the hotel.

C:':'Y It goes from 11:58 SQUARE ':':l: ~o 11:59. I'm his breath. Mistress Pearl.'\ EXT. reaches into away. THUG 1 Sorry. dials. : <:: . VAL :ellas. Cursing under steps over ~o a corner PAYPHONE. VAL (into phone) They cut me loose. I ROOSEVE~7 ::RC~E . The two of them start returns. CUT ELEC:'RONIC C:'OCK . Look. Did your friends make it to town? (listens. Remembering something Thug 2 the car"and removes the cell phone. have you been. Val. WEI:? DOWN TO: and Where the hell Stegman? Den~ist. message. Pearl. then:) Okay. I'm not in the mood to fuck around. him the car keys.JAY bu~:~ing and heads seen earlier wait. we're reassigned. STE·3MAN • ! just got your What're we dcing here? .55. Just like I thought they would. he VAL Go ahead! After last night safer without you! They leave Val quite alone. cv~r a BLACK As Val exits Carter's SEDAN. His two :hugs Let's Thug one hands go.

Val answers it. VAL Outfit cut STEGMAN You mean it's jusc you and me? Val doesn't answer... Waiting VAL ==r ?arke~ :~ call. ~he :ine goes dead. right~.. 56. :t was ~ever personal.• . Val starts away. I had t= protect ~he investment I had i~ mysel!. Be Hands Val looks to Stegman. Stegman • . go. _ .. The payphone on the end begins to ring._ . VAL Rubbing ~he side of his jaw. __ . __ . Let's 14th street:bus terminal. me loose._--_ _----_ . Stegman eyes ~he satchel..•. Click. looking for Parker.. STEGMAN Got the boys stationed out there? There ain't no boys. He keeos his eyes peeled on the surroundings..- . PARKER' Bus terminal on out :ronc in where z ca~t. Stegman looks about. (into phone} It's Val. PARKER'S VOICE You got the seventy grand? VAL : got your money ~ight here. You can appreciate that.. ?arker..._ _---.. VAL ~E street. STEGMAN That the money he wan~s? Val doesn': answer. -.. doesn't move .. The clock changes to 12:00.

but doesn't move STREET As Parker crosses.. Good luck...14TH STREET . Several sets of . Stegman! CUT VAL VAL TO: EXT. ::arsdoors open. but not thai:~)u~rised at. but all the same .the sight. Val gulps..0'~ VAL . BUS ':'ERMINAL .. . across the hood The car brakes hard.DAY A passing bus reveals Val waiting outside. Across the street :n a parking lot. Val. As 57.. spilling park~back and down:o the pavement.. ... Val steps forward. Stegma~ starts to back away . (watching) I need back-up! :'11 tuck you for this. Why you little . WHAM! Parker goes over ~~e grill. .. ~ . VAL STEGMAN (shakes his head) If the Outfit cut you loose... Magnum held to his side. . The car brakes just before 1: reaches him. PARKER . he sees Parker walking toward him.. ~ . slams the windshield.• . Come on. you don't scare me anymore.- Is pleased. • As he groans in a heap.. Stegman ~urns and bolts. a CAR comes cut cf nowhere. feet cross :cwarc \..':=:l . Parker twists back..

I worke~~~ They jack his a~~behind It's mine. . That shim. He Parker shit for brain.CHINESE COURIER The Courier spins. Ready to emasculate him en the Spot . Mouc~ at three C~inese faces. I PEARL The courier backhands Parker across the mouth .58. 8al:'s! CHINESE COURIER • As the ether tWO spread-eagle Parker.. Parke~'s head ~s je~keci=ack. enjoying every moment. PARKER . It hurts. rec~izes him.The other is Pearl. :HOWS. Val's Chinese hooker. kicks Parker across the mouth. the courier pops a WICKED-~OOKI~G 5WI7=~BLADE He starts pulling down Parker's pants. One courier from t~e heist with Val. Watches. PARKER ! don't have it. hiding behind the row of payphones. he scares up ~s t~e pony tailed looks back at an the group: One is the neck-tattooed Chinese bodyguard. STREET The other two C~inese ~erk Parker back up. his face permanently smashed in from Val . Money or balls?! Wha .. CH:NESE COURIER Money er balls?! Parker focuses on ~im. his back. He arriving :ourt~ and membe~s of :~=~~ clooay. .

/ VAL ) ( Smiling until he :-ealiz9s. forward.. The Chinese. As he takes a step As Parker twists and :urns. and sees ~~~CkS from :he card game at Stegman's. says you got a ?arker. THE TATTOOED BODYGUARD Has spotted him. ~ .59. Quar:er of a million.. there's an officer on either side of Parker. ending with Pearl. . Our bUd~~.. COP ONE'S VOICE Easy. each take a shot at Parker. ~eary. • ?ARKER ::'5 5even:y :housand . stares :-~ght at him. STREET Val disappears back into ~he crowd. Blood runs from his ears. sirens and cherrylignts.. Doors open and close. but has trouble even lifting his forehead off the tar... As Parker tries :0 :-~se. PARKER COP ':'WO'S VOICE Who were they? PARKER Don't want ~o p:-ess charges . W~t~ h~m ~s ~. An unmarked police car rolls from the far end of the street. then pile into their car and tear away.--_. miste:-. Parker looks ~p. Parker tries to stand. cop J~orces him back down. The unmarked pulls up. don't really see their faces.~an line on a load :"EARY 0: cash. Ilm okay . We Suddenly.

Whac do you ~ake ~s for. We found a dead girl. one-nostril. heroin.60. but still watching as .. HICKS LEARY Full of There were signs a struggle. ?arker? r . Don'~ wor~/. "EARY t~e law. idiots? No one would go t~~ough all this for seventy grana. . We can~~lP LEARY HICKS A get out of LEARY get the you though.' You understand. We cro~a witness. Leary pokes ~~m wich his ~~gh~s~i=k.. Parker.. :t WOU1~~~i~S~ '. HICKS 0: LEARY Guy with only Parker ~ooks tack and :or=h between them. LEARY VAL Further down the street. Coroner's not so sure it was an OD. All you crot :0 d~s money. We don't like t~ouble. And you ·look like ~~ouble. jail :ree card. Parker. Room to operate.. STREET The cops lean on Parker. we're going to give you ~~muni=y.

:imps painf~lly across to and up the steps of Rosie's building.t he second cab pulls up. HICKS No. He says something into a speaker. hails a cab of h~s own. leaving him. dark BRU:SES. falls back on his ass. . CUT TO: CLOSE ON A B~T':':"E RUBBING ALC~~OF Rosie grabs ~t.. he gets back up. Parker gets out. He looks down to his hand. ex~ts. The cops start away.61. Hicks pokes him with his nighcstick. pulling off his shirt. As she sees it . he holds Det. heads to the kitchen tab:e where Parker sits by a big vase of SUNFLOWERS. jeep. He scoops up his Magnum from the gutter. rolls out. ~I BATHROOM \j - IN'!' . We stay at the curb as . Parker tries to stand. Hicks' BADGE. They get back in the unmarked and pull away. VAL Dumps his satchel in the trash.ROSIE'S ~kTMENT DAY Rosie enters. his chest and back. Parker is left all alone. KITCHEN . (over his shoulder) We'll keep in touch. The top of his shoulder bears a BLOODY CREASE. Hailing a cab. pockets it.DAY ~he cab pulls up. it's ours. Finally. then gets buzzed in. LEARY ~'j CUT TO: EXT. he climbs in. 298 COYLE STREET . o r: PARKER It's my money.. Val watches (too far way to make out details or listen i~) as Parker presses a button on the buzzer board.

. ROS~~A?ARTMSNT Parker e:~er~. The name card is blank.62. (losing patience) Clean :: uo. Grabbing the alcohol bottle.1 ROSIE He likes you. He stares to licks ?arker's hand.. then presses i: down hard on his sho~:der. ROS:. "Parker" serides in... :'. ( concerned) This is going to sting. .. goes to'the buzzer board. can't quite bring the towel down on his shoulder. but the button for apartment 212 has a BLOO~ SMEAR on it.. ~ COT TO: INT. FRONT ENTRY . leans s~~::: ~osie ne watc .. ~\1fml: _0 oz .It':~~ against c ne c. CUT TO: PARKER Git. he heads ~p ehe steps.. backs oue..... but can': wait any longer.. ROS:E . ng I .. She sets the boetle on the table. You need ~o Don'~ believe in doc~ors.DAY Val's been waiti~g. ~ooking about. see a doc~::r. she SOAKS the towel. PARKER Jus~ Behind him she gets a clean napkin.298 C2YLE STREET . dabs on some alcohol. !::~ nen Follo~:-ng hl. clean it up. DAY Yo~'re welc:::-ne. K_ . He :ikes the blood.:E Oh my God. She ROSIE PARKER EXT. Parker ::inches.m. Meanwhile. Rosie stares daggeis at che back of his head.. "Parker" growls. ?arker. nails on linoleum. =ut does~': say a word... ~rV!NG ROOM . seeps up behind him.

. Parker waits. . the elevator arrives with an ominous DING! Before the doors open . I'm trying to tell you something. :ook~ng down waiting :or Parker to pass by.'~ respo~d -. ~ Relieved. Parker doesr. But there's a knock at the door instead. Rosie ROSIE Goddamn it. ROSIE Parker. Finally. Remember me? She doesn't answer. ~-. HALLWAY . ROS:E You still haven'~ asked me how I've been.. huh? INT. INT. ~ VAL .-. As PARKER he opens . As the door closes behind him. I'll see you around... intercepts him.DAY As Parker steps off a landing and disappears down the stairs. but she doesn't say anything. What? PARKER For the first time Rosie looks embarrassed.o ...ROSIE'S BUILDING . 63. He points a gun '::1 f!:J~ace" notions her to keep quiet. moves around.Jopens it to reveal Val. pu~s en his jacket .. he exits. As he shoves h~s Magnum ~n his belc. Rosie. (whis':lers) I'm Val Resnick.ROS:E'S APARTMENT . ROSIE (softly) Try and stay aliv~.DAY Rosie stands at a window. Parker heads for the fron~ door.her sarcasm.. LIVING ROOM . Rosie steps o~~.

The dog squeals. o Parker . VAL ==rward. He s~eps her face. He'd have to be dying before he'd call a doctor. _. holds her as a shield. As Val stumbles back.. He d~ck~ as she swings. Heartened. the bat ~igs i~tc the wall plaster. him. gently turns the doorknob with gun hand. takes Rosie "Parker" lunges for Val' s thro. VAL Bullshit. Val screams. As Val rolls to his :eet. She whispers back: Parker's ROSIE in the bedroom. come. . . No windows. s~ams ~er agai~st Just missing the wall. Va1 :~s~s ~er ===earm. All we see is teeth Val falls back. He hurt bad? VAL (nods) Doctor should ROSIE be here any minute. toward the Val holds a handful of Rosie's hair as they edge bedroom door. sonotabit::!"l. They quietly enter: INT. everything is whispered. Rosie doesn't answer..~~tches hold of a blocking forearm :nstead. you eff the bed. Val to the side to get a clear short. A~~~gs viciously for the bone. BEDROOM Val his DAY There's a shape on the bed. Here: ~arxer. taking cut a table lamp. Rosie comes at him with a bedside BASEBALL EAT. s~icks the gun in She doesn't answer. a half-step VAL ::l . Maybe he is dying. as "Parker" with lunges him. eases Rosie it's dark. fall~~Y -to the side. raises ~'IistOl and F!RES.64. she tomahawks down.

.65. huh? ROSIE You got a reputation. know him? How do you ROSIE He used to provide me with a safe work environment.her up by the throat . VAL Yeah? ~hen you must be the lucky girl.DAY Rosie sprawls onto the floor. VAL Let's try this one. you know. VAL Some good he's doing you now. He hauls . Where She doesn'~ answer. Val is right on her heels... . An ugly pig who beats uo women ROSIE on account of he can't get it up because he's terrified of his own shadow. Val backhands her . doorway. Rosie sprawls out on the f~~~fore the front door. : kne~~~~~~zed She looks back at him defiantly. =~at ass. :5 VAL he? Where's Parker? Val grabs ~er flings her t~rough the LIVING ROOM . o . Yeah? VAL What's that? All five feet two of her stands there defiantly. INT.

.-. he looks down at her.---.--.. PARKER You in one piece? Rosie nods.\_. all the same. PARKER Not . Carter. Fairfax and Mr. he opens fire. :he fron~ door spl~~ters inwards otf VAL its hinges. : am going co fuck you six ways =rom Sunday.-. " PARKER Forgot my c~garettes. As Val ~ooms over her. Parker crouches by her. ~. Parker reses n~s foot on Val~s throat. Parker sits her up. Val flies back bloody across the apartment. a bullet in his shoulder. Val quiets.. aims :he Magnum at his head.---- -- - -.. presses enough to give him a taste. Parker. PARKER And where do I find them. She·manages a smile. . Who's :he 0055 PARKER It's PARKER here in the city? They'~: kill me. Val? ._. Rosie looks up at him.- _-- .._ you're already dead. Reveal~~a ?arkeb. 66 Sweec!e. ?arker. There's :~o of 'em. Without waiting an extra instant. Parker walks to Val who writhes.~ '". right? VAL Coast :0 coast.. They run :he whole :own...-----. It's the same here as Chicago. She watches as . This syndicate. .. " VAL -- ~'lTAi. Parker looms.. Fairfax and Car:er..-------------.. Mr._---- -.

Parker. : VAL uh. takes a SLIP OF PAPER with the address from Val's pocket. Exiting the bedroom witr. \ on . ~he The Outfit pays :or eve~thing. VAL (gaspi:lg) Frederick Carter Investments. R... __ 1_ . Val knows his time is short. VAL Parker. VAL i~ t~wn ~ight ~ow. you gotta understand. PARKER ~ Is your name ~n ~\)ease this t:lace? '"" ~~ - No. VAL Please. I was just there t~is morning.. It was just -Parker sticks a cigarette in his mouth. PARKER '{ougot a light? I. a smal: bag. Finally. - Carter.are you? BANG! Parker shoots Val dead. Parker leans down.~ookS bo' over at her. He also takes a pack of smokes. Rosie stops short at the Sight. Parker stands. Where's he? PARKER. longer this time. '". It won't do you any good. Address is i~ my pocket. Just when it seems like·it might be too late. Val ~s dead. :l0. he releases him. Fair::ax -~ .67. PARKER Then ·what good. ub. :'le can work something out -Parker presses down agai~.OS'!E Out:i:.

Pa~r7 ~ t. Parker arrives. steps to a sidewalk PLANTER. no handles.68 () PARKE? Good. As she nods .. STEGMAN ... You goe someplace safe you can go? She looks down at Val's dead eyes. CUT TO: EXT. From here we see Stegman in the backseat cage.e:-ested?~ V PARKER .: Holding a newspaper under his arm.~ (re: build~~ Our money' s i*":~re. Parker slides his Magnum into the paper. he spots an unmarked pulling up across the street. :.TWIL!GHT . ?arker. Just the boat I'm gonna buy with it.. Just as he's going to stash the newspaper inside. Leary chuckles at his partner. wink They look a little more serious when he scarts toward them. UNMARKED They wave. up to Parker's live ones.il: HICKS Not ~~ the dough. and smile at Parker.nt. checks the address he took from Val. This is it.'J You st. ROOSEVELT CIRCLE . '. Hicks beside him. Leary behind the wheel. HICKS Whae are you up to.. PARKER You :ike being :~ a cage with no knobs. PARKER (re: Stegman) What's he doing here? It's a :-ide along.

at the sight bf the Magnum pointing through the window. keep you ou::. :::NT. He susses cut the ~oom. stares UD at the security camera ever the unmarked door across the way.' PARKER PARKER The detectives ANTEROOM ... ~hey're probably going to frisk me.. You guys do me a favor? HICKS We're here to help.:up) It isn't :0 keep ~e in. Parker. they all do.I -. : don': know what you'~e talking about. It's co LEARY What'~e you waiting for. buddy. ?arker? Go get it.CARTER :NVES'I'MEN':'S . (yukking :.help you? PARKER "'.TWIL:GHT Parker enters. A beat. Nice balance. Parker pulled it from the newspaper. Go get our money. then . He freezes. Leary really guffaws at that one. LEARY Sure.. STEG.. Gray steps out. breathe a sigh of relief.~ . GRAY I'm sorry. EMF'::. He has no idea who~~r .69.. Mind holding this for me? He plops the Magnum into Leary'S hand. (hefts it) Hey . Leary spins the cylinder. starts playing with it as Parker heads off. ~ is.W'.-/ Tell Mr. GRAY Can . . Carter the guy who kil:ed Val Resnick is here.

Gray pats Finishing. Parker ~~s his shoulder into Black's then brings his head~ sharply cracking his chin. gut. comes in low~~lack stands. As Black falls. CARTER as Parker sits. Parke~ tears a 9mm from his holster and wheels in time t~ draw down on Carter who's got a . ~TER'S OFFICE . he steps back. Close Carter lOOKS from it. Carter MR. pawing at his hiD for his aun. motions to one of two chairs across from the desk. the magazine. Parker looks genuinely interested in one he turns the page. :nstead . Black sits in his usual corner Carter looks up as Parker enters followed by Gray. Finally. . Gray and his c~~clatter face JUSt over backwards. 0: the articles. You're clean. Just go tell Parker sits down and star~s to leaf :hrouah a magazine.NIGHT sits at his desk. Gray disappears ~he way he came. Gray stares a~ him. your boss. stands. Parker surges. Parker rams the heel of h~s foot ~ray's above the ~ose..70 o As PARKER You don': have to. Carter Parker sets down G~Y will see you. but Parker doesn': look up. Turnaround GUY so I can f~isk you. him down. to Gray. PARKER closes it.32 halfway out of a desk drawer. Please. Wary. GAAY INT. Carter spot. ~aises his arms. Mr. He lets the Elack gun drop into the drawer.. Parker obliges. He starts to c~oss one leg over the other Gray bends to sit alongside of him. Gray comes back. a little surprised.

the best.er looks again at h~s men on the ::oor. Ahh. You people have seventy thousand dollars of my money. PARKER PARKER My wife shot CARTER that: can see. One part's a lie. n u My c=mpl~~e~:s. back CARTER You can't be serio~ PAR¥a~ :'0 PARKER Parker. Car:. It's my mone~" "~TER Any debt'Resnick owed you died with him. jIj\ e Paid us. CARTER It was a debt. me. CART=:R You people? 7he Outfit we pre:er is what . No. We don':' settle our employee's personal debts. He said he shot you and took your proceeds from a robbery. (sits down) We can·talk now. CARTER I think Resnick lied to me. There's something you want from me? PARKER Val gave you people one hundred and thirty thousand dollars.71. CARTER '!hey'~e two =: They :~ll teo easy. r want it back.· ~ want PARKER ic. Seventy thousand of it was mine.

He s:ops snor: at Parker's gun. door and sit down. PARKER CARTER ~) That's right. you':: pay me my money. tell ~~. :'ve forgotten your name. Phil sits down on his hands. but no corporation in the world would agree·towhac you're asking. but -Parker. A KNOCK on the door. "-00 CARTER CARTER bit.~d to -- Who ~S? w~makes the decisions? A committee wo~ld CARTER . Parker has had ~: with Carter. We'~. PARKER I'm sorry. o! ~= CARTER Close the (pointing) In that chair. On your hands. They both look over as i: opens and Phil steps ~~side. Carter looks to Parker. Resnick told me. I won't forgeti~ again. PARKER What about ?air!ax? Will he give me my money back? Carter is surprised at the mention of Fair!ax's name. Parker. It's alright. PARKE? I don': care you call you~selves :~e Red :~oss. Resnick told you qu~~ did~lt he? Fairfax~UJd you :he same :hin~~ave. Philip.o 72. The Outfit is not unreasonable.

call But if you'~e asking me to PARKER •J CARTER I'm telling you to call . A man is in my office with a gun. PARKER CARTER Carter CARTER Seventy. . Carte~ holds cut the pnone. you always come t= one man. After a moment. but the~e's a problem.f". He says he'll kill me unless the Outfi~ pays him one hund=ed and thir~y thousand dollars that one of our lieutenants stole ==om him. (into phone) It's Fred Carter. Carte~. .ng) One man.-~ . dials.'-J you. and this person refuses. Let me CARTER . (after a beat) I'm sor=y ~o bothe~ you. And what will you do if I refuse? PARKER CARTER Kill you and wait =or Fairfax to come back co town. I only want -talk to him. I want to talk to Bronson. And if I call. ?arke~ slides Carte~'s phone cve~ in f=ont of him. picks it up. Dut Parke~ isn't going to compromise his hanes.73. (correcting ?~~~ (into ohO~' He wants ~o ~~~ Her. Yes. 30 high enough. PARKER (standi. as I know they will? Parker gestu~es toward the phone with the 9mm.

~arker aoes t hzoueh t. I'm BRONSON'S VOICE (laughs softly) An audacious man. Carter clicks it over. PARKER ~ get paid. No . finds an address book . you. VOICE discerni~g woman. do y~? Carter slumps dead._Ba~O .. Who are you? My money.~ ~ . Opens l. Y VOICE Keeoinq one eve en Phil. Fair=ax and an uptown address.!1e desk. PARKER Yes or no? BRONSON'S VOICE . Indeed...74 C) Put her =~ PARKER speaker. But Parker shoots him in the heart. arker looks at Carter.~ chair to the floor.. / . PARKER I'm not threatening threatening Carter. BRONSON'S What do you mean? Either dead. Carter blinks from the hole in his chest up to Parker. CARTER You don't get it.. P Carter goes for the gun in the drawer.t-~o 'F'. Phil reac~s. Parker ~eans to the speaker. PARKER How much is this guy Car~er worth to you? Bronson responds. or Carter is BRONSON'S VOICE ~ don'e :ike to be threatened. an assured.. slides out~~he Carter? .

opens the cylinder and dumps out the shells. Leary wipes away a tear. he doesn't show it. Tell him his par~~er is dead. •! Do As Phil gulps . to see another guy. Stegman sits up. ?ar~. s~ar:s away_ -& they annoy him. PARKER Call Fairfax.75. BRONSON'S VOICE In 24 hours you'll be dead. LEARY Oh yeah . ~!c::s He takes the Magnum. . Don'~ give up. Heavy enough t o be A ~t: cracker.. (suppresses a laugh) Don't let ~he bastards get you down.. The trio lose i: again. sets the open newspaper on ~he open Window-by Leary.ROOSEVELT CIRCLE . Parker. LEARY I don't see any cash. .~ paper: Nice roscoe. Parker closes the paper around the gun. As he slides ~~~:o c~~n -. UNMARKED . ~ell him unless ~ get :ily oney. As they bust out laughing big time. you understand? Do you Par-ker hangs up. ?arker ~akes a look around. STEGMAN Now I have Damn shame. You're like a squirrel looK~ng for nuts to get you through the win~er..NIGHT Leary ~udges Hicks as Parker approaches. EXT.. HICKS They write you a check? PARKER Got the r~n-around. you two m are next.

opens the :. ~ocky! up ~~e good work. Steggie? of course.rin:. Parker hails a TAX!. flies buzz. waves someone up from behind. Your guy handle i:.cks ~aaae. Hold here as Parker steps out of a doorway. . of= after Parker's taxi.he " ~~(now w~t:h Leary's pr~nts) at va~:s :eet.. The three really lose it this time.~eary Rocky? lUCY-oS Keep :ooks to Hicks. A second TAXI pulls out and alongside the unmarked..NIGHT Parker'~ cab passes by. :..i6 () As We':":be t oucri. Wiping ~:. ::loses Val's :ingers around i:.:akes EXT. =are~~~ ~ ~~ to~ch ~:. :a~~~ ~.s.. Then he reaches :~to r.NEAR ~OOSEVE~7 C:RC~E . gets in. Parker coneinues o==. STREE7 . Parker ~~s. A beat and then Radioman follows.ews~aper dro~s. He.NIGHT A few Val is still on the :loor where we last saw him.. h_ places the badge in Val's hand. STEGMAN Leary reaches out ~he window. Radioman ~ods.spOCKet. CUT TO: INT. ROSIE'S APAR7~ENT . STEGMAN Where'd you gee Rocky? HICKS The sauirrel in thae cartoon. Driven by Radioman (his ear heavily bandaged) HICKS (gesturing ahead) Keep. .:abs on him. Rocky -and Bullwinkle. :hen continues o~ his private way. 7he door opens.clean == . Ahead. He deadpans the street. LEARY Time for a pizza and a six-pack.

Rosie stares off in :hought. Who is i.tanding in a hallway. up EXT.._.---. INT.".-. She looks UD as Parker comes around. After a bea~.. ..DOOR . PARKER <.. her back to the door :hat Parker en~ers through. his head . but Parker says it like he1s ge~ting tired of saying i~. wrapped in ga~ze. sits on the bed above her knees.NIGHT The woman !eads Parker down. I \. --------_ 77. . opens a bedroom doorway.-----------. "Parker" stands there. -He looks down a~ her.-. A growling a~ :he door..__ . ./ ! .-----------------_ . cover looks ou~ at . WOMAN Wary.. PEEPHOLE POV Parker. A name we never ge~ tired of hearing. ~\J~ ~KER . PEEP HOLE .:? WOMAN S.NIGHT She pulls back the A WOMAN'S PROFILE leans ~n~o =rame.. ROSIE~_~ ~"'-J~ Good. I'm fine. PARKER APARTMENT HALLWAY ..-. she answers the question he hasn': asked yet. Parker. As Parker ::::~cks Val's ..--. BEDROOM Rosie lies c~rled up on :~e bed. her face bruised and swollen.----~----~.- -------."-----.---.. she asks .45.

.hing else.=er-of-factl ~omorrow ~. I get PARKER It's moment. my money back. Parker =hinks a momen~ PARKER Ever since :ynn. but doesn'~ Rosalie slowly s:ides her h~d away. ~osie ~ooks vulnerable. than anyt. looking bea~-up. : don' t'~~n know you: :~rst ~ame~~~ven I cou~d ~ove you. Could I hold ROSIE onto you at least? pulls Parker nods.ay that. Everything ROSIE working out? PARKER (mat. ROSIE All these .hing's off. . She's trying not to cry. And ~t'~: st. answer.78.his more for the mean hell of it. ~~r. ROSIE the feeling you're doing t..'~ either have my money or I'll be dead. closes her eyes. She wraps an arm around his waist. ~ow abou~ Wane ~o :~e down a minuce? you? ~esides Parker shakes h~s head. Momentum balance. herself to his back. so. :=r the right words. It's quiet a beat. ROS:E He's :~ne. I think: She squeezes ROSIE understand .years. :or the £~rse t~me.le tighter. him a litt. I don't and ROSIE know what you mean. Parker also closes his eyes~~at.um. everyt. way until I get. :00. .

He cpens :~e tack doer :or ~R. Fit. gently touches her cheek. DISSOLVE TO: . Good girl. a pair of khakis.. n \0 I watc~ed ~ a:l day. They showed some c~d footage. I guess that's what happens. huh? Parker knows she's thinking about herself. He was gett~ng old and his team aot rid of him and no one else wanted him. PARKER If it turns out I get my money.. ROSIE ROSIE Parker reaches down. Whe~e are you going? PARKER Haven': dec~=ed yet. tan.79. Hit a home run your :ast at bat. C::TYV:EW APARTMENT~&=~DING A towncar disgorges EODYG~ARD O~ :rom the front passenger seat. Afte~ a long beat . As With that..DAY EXT. He used to be beautiful . .! PARKER Got to try and go out on top. maybe you'd want to drive me somewhere. Okay. ROS:::: . PARKER =rogs.. she ~\:' ~ . he holds cut =ne c: :h~~mic takes it . They stare at each other. Fairfax wears a :ro~~ca_ ~r~n: shirt. Me drive you? It depends. Then she nods 'yes'. (a beat) You still got the car. Rosie sits up a little. ~hey had this baseba:: playe~ on the news. looks at him. FAIRFAX... Rosie? Rosie looks at him a moment. Like Ted Williams. 50.

A door opens. . ten odd butts crushed out at his feet. Fairfax sees t. A big man.e~ fio~ring. \J~ par~~~· You':::-e . he's in shadows. He straightens at the scrape of a key in the lock. Mr. A FIGu~E sits at the end of the room half-slumped unconscious in a chair. Not paid to The bodyguards stand f:at~cot.DAY Breathtaking city views. . the gun in his hand. FAIRFAX Wish it.c~:l9'..c~~":. Parker sits against the wall by an open entry.s in the dark smoking cigarettes. Parker.:. FAIRFAX Who are you? I'm PARKER the reason you're home early.ohave you back in t..=unk revealing a ton of luggage .was good t. Another ::igure sit.80 () ...FAIRFAX'S PENTHOUSE .obe here. The bodyguards follow. LIVING ROOM . Walters! FAIRFAX Wake . Good t.hehood pops on the t.own. I was marlin fishing t. Al: t...p! Is he asleep? PARKER Don': :et gc c: :~e luggage.. boys. Fair::ax. Only Fairfax turns.. INT. BODYGUARD ':'WO .. look st.hebig man in the chair. Lights come on. Fairfax walks right in without seeing he's there. Across the room .. both carrying a couple of pieces of Fair=ax's luggage. Parker stanas...~reelook back over their shoulders at Parker.his morning. EODYG'-1ARD :-WO sceps over ::::om ::::'e :::::::mt. cf -::'e . As t.upid.

(~ \. dials.m. a handstand? Call Bronson. What do you want me to do.. She'll let She let Carter die. me die. :. (another beat. There's a man named Parker here. PARKER FAIRFAX With Carter she thought I was bluffing.p. 508. . their predicament is not yet showing. boys.8l. the bodyguards raise the luggage to shoulder level.:. Like gymnasts on the rings. He says you'll have to pay him sooner or later. Bronson. too. into ohone) Tell Ms. uggage '. Bronson i:~s Justin ~ _al. Fairfax is not: amused. Bronson was at 212 this morning. FAIRFAX - A pause. Drop below shoulder level and your dead.J PARKER (nods) Keep t:hat 1. You two are fired. Parker watches as Fairfax pi~ks up the phone. Fairfax pauses to look at his bodyguards.r:ax. Come on. :'m standing in my living room. He's . PARKER The strain of FAIRFAX She left town. he listens. (a beat. PARKER FAIRFAX Get my money. then) It's like this Ms.

FAIRFAX She wanes to talk to you. Parker. smile) Arid :udg:"~g by his cailor. just if you happen to see him. he doesn'c give a damn eicher. Fairfax and Parker exchange a look. Do you get what :'m talking about. one of the ~~~dS starts to lower a suitcase. you tell m~ His body tremPli~g. ~) The amount :s wrong again. Parker? PARKER You're. BRONSON'S VOICE You're an annoyance. ~he bodyguard raises it back up . clicks on the SPEAKER PHONE. then hire you to run the ciey for me. :f you see Parker. the one who left town. You people aren't listening BRONSON'S VOICE: (final:y angry) You listen. PARKER BRONSON'S VOICE: (amused) I should probably juse have you shoot Fair:ax. :'m spreading :he word. Parker waves him off. BRONSON'S VOICE Fairfax? PARKER . :hen exeends the phone := Parker.82 (gri:-:-. Fairfax! . I'll swae you with a hundred and thirty grand. 3ANGl Parker :ires~~'1ound through the Samsonite. Ms. Bronson. Fair!ax liscens again. To get rid of you. Don': go out of you're way. make him dead. You're markeO. It's Parker. A mosquito.

~eary si:s behind :he wheel.lggage the ground. Send more than one. One man with cash in a blue backpack. Parker? PARKER Subway stop in Lincoln Heights. Hicks is in the backseat. Wel:? FAIRFAX Go af:er him!~ yet. Is it the principle or something? PARKER No. :~'s :ust my money. BRONSON'S VOICE What's the ~ame of the stop? PARKER It's the end of the line. o FA:?. BRONSON'S VOICE Where do you wan: :0 pick 'up your money. ~ou:~ =pe~. ~) FAIRFAX You're signing your own death warrant :or a hundred and thir:y grand? ! don't get it. Parker. Eronson. ~ s:~p~d look on his :ace.. .83. I'll be on the platform. exits. :0 fall to their knees heav~ng :cr breath. CITYV:~W A?~~7~EN~~~~:NG ~ The unmarked is parked across from Fairfax's. :he mosauito will drain your blood. And ac:~ally. . Waiting for Parker.DAY . ~s. Exhausted. Five PM today. Parker starts out. Bronson hangs up.:AX Righ: here. Goodbye. He's jusc shoot~~g ho~es through ~y suits. t he bodyguards drop the l'. BRONSON'S VOICE For you too. But theY're not eoing anYWher~~t EXT. it's seventy grand.

~igh:. Stegman's nowhere :.. They got TWO UNIFORM COPS with them.DAY D Radicman ::"n =::::r. par=~er. Leary. Where exactly did you lose it? INT. pretend::"~. We're Holland and Van Owen. PARKER He steps :0 the c~rb to hail a cab. A beat before the :axi swinas o~AC~ Radioman's half-turned away. . They both look over as TWO RAZOR-CLEAN DETEC7:VES step up. Stegman :"n back. not only LEARY RAZOR. then nods. Razor-Clean Two holds a badge. RADIOMAN The hell's going on? Stegman's at a loss ~::"l: e sees: Parker watching from h across and up the street.. make a ~~~ :0 a cl~pboard. boys pass a look. The I. 7hus the stupid look on his face.. Watching as Hicks and Leary are escc=ted :'ntothe :. Hicks. detective? The one you reported missing? Hick eyes them.A. TAX! - RAZOR-CLEAN TWO RAZOR-CLEAN ONE . car and driven c::::.' . As parke~rts s to climb in back .8- () is this clown Parker not so tough. he's not so bright either.CLEAN ONE HICKS You guys want to back off? We're on stake-out.. ~ ~ . Internal Affairs. Is this your badge. At that ~he Hooker from Popeye's bar rises up into frame from Hick'S lap. .. I.t f . '~.~ FURT:-:EROWN THE STREET .1 I'll tell you.A.

" ~..' a?!!ti.85. -ar k er sees somet__ . As STEGMAN Set the roscoe on the floor. I.. but you're gonna get capped f~rst. Ranaoman RAD. ~he cab StOps short. Stegman's eyes barely have time to widen before Parker begins slamming his face into the Plexiglass parti~ion.en. Let him A shotgun noses through the money RADIOMAN neck.~ c• iamcez s a rON' "'h . . Stegman points the . they'll ask me to join. STEGMAN Sit down..wAY Stegman's crouched ~n the corner . Parker hesitates. ?arker grabs ~~ right out cf his hand. Radioman drives. Parker on the hoof. Parker. door. Like a snake. Dental.ng..38 for emphasis.Q.. : A BLACK BRONCO PUl:S~ right alongside the passenger side. ~AXI . Medical. slot at Parker. Unless you get rambunctious. STEGMAN (pleased wieh self) ! goeta get a tooth capped. I'll be on Easy Street. Parker sees the .45 down. I'm gonna walk you right in. ':l .. I'm gonna turn you in to the Outf~t for a reward.~ \J 1. Close the Stegman sits up as Parker slams the door shut. Maybe they'll be so impressed. ?arker.. 38 aimed at ?arker who's half way ~n. . Then I'll have to take care cf you myself. INT... Full of three Chows a~~ing grease-guns. gol Holding Stegman by the back of ~e Now.

C". Screams in Chinese as the Chow goes down. aiming The :ast Chow looks ~k'. Pops up. • " .~J _.. rolling under the Bronco. \ ._. Parker aims at a pair of COWBOY BOOTS stepping down. pulls himself out through the back .. EXT. ".38 and .:.86 () the door and kicks r. BRONCO . STREET . slumps back as Parker nails him. Finally the barrage stops. all the while looking :ranti=ally from left to right . PARKER ~hey blas~ away turning the cab to Scooting under the cab.~5. INT.. The other :wo fire down through their own car. 5 . As Parker :ires . up with the . he Hand over . As onlookers scur~ away. . ~~ ~.~AY Aiming The driver Chow is drilled in the groin as shots tear up through the floor panel.- .. With a fco~ Parker :ams S~egman ~p agai~st ~~e window as a He's :crn aoar~ as Parker scooos .~AY shield.st.38.:' . ~he .i:oo late.. PARKER Safe under the drive shaft. INT.45 he opens fire.lmsel= outside. the asphalt t~aring up on either side of him. He lands looking straight at :he barrel of the . PARKER . .. "'i:. opens The Chows are unaware. Parker rushes to the taxi. BRONCO . A car door opens. a big yellow sieve.DAY BOOM! ~he remaining C~ow fires back into the floor.. •-.

. two remain behind: the paper. ~au:s :~e dead Radioman out.. :hen cr'.:lat::o::-m bench reading a L~CH :uCKE7 ~eside ~i~. He drops it. An OUTF!':'TER stands turnstiles keeping watch. Except the tracks. tears away with...1 Twenty feet behind him A DOOR. the cigarette hanging from his mouth. TRAIN ENTRANCE ._-------_. : EXT.!ps his hands for a light . dumps him on the street.45 in his back.DAY Neither subway or el.------------_ . opens and Parker slips out.. . C'UT ':'0: EXT/INT. As he c'.!snes : under ~is hee~.. ~ sign reads: NEXT left. Back up. PLATFORM . one set on either side. They step back through PARKER the employee door. come only as far as the platform. Parker gets behind the whee~.LINCOL.DAY just ~nside Only.~~i~ TRAIN with an arrow pOinti~g~~he Two dozen people board. 7he t~acks are at ground level with the station platform like a railroad depot. ~t's the end of t~e line.-----------------------. ~ Two trains flank the Platform. The Outfitter freezes.~HEIGHTS .. Stegman d~ad ~~ t~e backseat._------------- 87. then Parker exits alone. strikes a match. ... PARKER One word . (]A u TAXI Parker opens the door. Parker is suddenly there. Its doors open.' puts a cigarette in his mouth. TRAlN STATr~N .ransit Emoloyees The Outfitter stares out. A HEAVY WORKMAN sits on a . the It Time to get the money. a puff A moment oasses.. . He takes of the cigarette. stays that way until the match in his hand bUrnS his ::naers.

) Parker nods.MAN You ?~~~\. Down he goes. BUS!NESS~~ - PLATFORM .:. B~Q'. -. MEN'S ROOM .45 against the partition wall. Guy two doesn't follow. ANGLE ON PARKER ':'0 RE'VEAL Fly up. ... Parker stands inside a succc~ ~~kn.~ v the . They·all face the wall. PARKER PUt . A low half-PARTITION between each. Parker steps back. INT. Sti:"l stands holding his coffee. ~e s~ares out at the ~~ains in the yards.DAY "Pssst.STATION . BOOM!.f_:. Parker takes the third spot.45 leveled.t ands holding a cup of s coffee. continues around a corner. 7hrough an archway. look over at Parker. gest~~es to the =usinessman's cup.:way. at the urinals.. The other guy starts to make a move.--.STA7:0N - ~AY Next to.. " He turns round. . MEN'S ROOM . maybe college students.1 MEN'S ROOM - DAY TWO GUYS. Then the two guys exchange a look. EXT.88 At the oz he r end.JAY Parker exi t s alone. As the guy closest goes for ~ waistband gun. a 8US:~1ESSi1A.. EXT. As he stares at Parker waiting to die. but is caught flatfooted. BIG RUMBLE as the train leaves. but out of sight of the platform. Parker shoots him through the partition. He dumps a couple of Glocks in the trash. you can see t~ain doors slide shut.4. EXT. he holds the barrel of the . a As we hear a Z:PPE~ closing . reaches the men's room door and enters.

All the while coffee sloshes up his nose. ~he workman knows enough to freeze. He holds one out. PARKER Where's the gun? BUSINESSMAN Shoulder holster. expecting ~~ts in the back. Parker leaves it. Parker watc~e~ t~em.z ai. The businessman looks at the cup in his hand. ~ake the coffee. HEAVY WORKMAN . put the briefcase on the ground. put the gun in the briefcase. they get on the t=ain. PARKER Take a sip once i~ awhi!e. . a cup of coffee in either hand.n ~ The other ~ra~n' s.hey start forward. opens the lunch bucket. back there. wouldn't look so obvious. " PARKER Hold the cup in your teeth. takes a half-step back.about to ~~~he exchanges _OOKS w~th the ~~essman. The businessman reaches to a shoulder holster. they watc~ ~~m. PARKER Better hurry. does as he's told. You two are going to miss your t.45 in the workman's back. You :t's full. The businessman hands it to him. wor~man stands. Parker reaches. J Cringing. .PLATFORM BENCH He looks over as the businessman approaches. What guy? WORKMAN Parker's The businessman's eves flicker past the workman. Sticking the . closes it. Only thing i:lside isa Luger. BUSINESSMAN Guy says you should drink this. BUSINESSMAN (as he was told) Right tand. left hand to right.89.

a baseball cap. . the doors c:!. PLATFORM .. a MAN with a ELu~ BACKPACK. So does Rosie with a backward glance. he finally steps across from Parker. carries the backpack at his side. spots Parker staring at him. People board.90. A few people follow. Parker tucks ~he . THE SNEAKER WOMAL. waits. cXpen it. passes Parke~ like Another train pulls in. It's all there. EXT/INT. she doesn't know him. .. Open i:.DAY Among others. The man steps out. she curses her bad luck. Parker reacts ~o MAN A hundred and the amoun-c.ose 'li-ch r:iss ~!le ::rai::. Wearing dark sunglasses. till a WOMAN rushes out TURNSTILES . He looks around. thirty grand. steps :orwarl~A~ he bends to the backpack.rain aiming a pistol at ~im. But he buries it and starts down.. He's a little surprised.DAY Rosie arrives. The man sets the backpack on the bench. A few :":"TE RRIVALS a:'so::oard.'i ~\j Who was :ate ==r the :. :ooks back. Parker's all alone en ~~e plat=orm. he starts away. ?ARKER The man tur:lS.TRAIN ENTRANCE . The man shrugs. 7urning. Dressed :or work. her profile is low. Parker sees som~~g beyond him. PARKER You dumb bastards. EXT. ada out.. Rosie ente~s. " a i he after the train. ~n walk~ng SNEAKERS. A Finally. then. As she settles down ~o wait . Passing the Sneaker Woman who finishes her make-up.45 i:lside his jacket.

Then Parker :al:s~ ~he doors close on his arm. t People scream. He's ripped i. As he tries to pry them He :alls back. ~he man draws a gun as well.CASH. Parker ~s hit ~n the side.91. the train pulls out. Rosie sees it. As the beam looms . Parker gets to his feet. ~ ~ C""'T '!'O: __ .. Sneaker Woman sprawls back dead. It's stuffed wich . PLATFORM From a sitting position. As the tra~n picks up speed. She does'Parker's arm ~~' loose. taking Rosie and the baCKpack ()~~:. but the doors slide shut blocking her. does everyt~ing she can to get the door open enough. C) PLATFORM Parker br~ngs ~p the . Parker skids along the deck. More screaming. ROSIE Starts ouc. opens the backpack.. open..:lae CROSS:::.. the train is passi:lg :ust inside a steel I-BEAM SUPPORT. Clutching h~s gut. Parker's going :0 get whacked hard. Parker :ires one last t~me. they get them apart enough to shove tSe backpack through.~5. Parker! ROSIE Ahead. reacting. As he tumbles to a stop j~st ~:lfron~ of thel·~·~' the train cont~nues. ROSIE On the train.~ between Parker and the Homan. PLATFORM Parker stumbles over to the door. ends up sitting on the plat:orm. Wit~ Rosie helci~cr :rom t~e other side.

Walking toward them.~INCO~~ HE!GHTS . ? QQ. nroGONE (sitting up) Hey.DAY Black and Gray :~rom Carter's office) :ook across. OUTF!T SEDAN . Gr~~~~~n pa~n. INT. Parker exits. facing away. A BUICK is parked. Standing as straight as his wound will allow. EXT. the Out=:': seda~s.DAY Parker climbs in.~AY Parker keys open a locker. EXT. Through. SIDE S7REET .DAY The passenger seat is covered with~tarp.JAY A few seccnds and it's followed by The Buick rears past.Outfit sedans slide the corner ~n pursu~:. Reac:::'ng :.. EXT. Parker takes off. ~ollow as Phil's sedan pulls out.. PHIL How'd he make it . leans on the horn.:.o . He turns down a side street.. Parker sets the backpack on the center console.e pulls out a h second BLUE BACKPACK. Thug One starts the car. STREE7 JNE . What's going on? He heads out.~AY Backpack in hand. ~~s the engine. Phil from the Outfit bored :'nback. he starts down the street like nothing happened. EXT.. SEDAN 7WO . sees what they see: Parker." 92.the rear w~ndo~. TRAIN ENTRANCE . ~OCKERS .~AY Val's thugs in front.TRAIN STAT::~ . BUICK . ~~~t~. INT. INT.STREET .ACROSS THE STREET . . Philo . Phil looks.

93.

EXT.

STREET 7WO - ~AY ~he C~ows.

A 4th CAR ~olls along.
CHOW

CAR

Ponytailed Courier, tattooed Bodyguard and Pearl. They al: whip a look ove~ as the Buick tears by the other way.
As
,I

the Courier hits the brakes ...
STREET

EXT . As

1"110 - DAY

the Chow car slides into a 180°, it crosses the median heading ass :~=st toward ...

The Out=~: sedans coming up hard. They split, just.miss i.ton either side.
As

the Chows follow in a cloud of tire smoke ...
STREET ':'HREE DAY

EXT.

The Outfit sedans are closing. Without warn~ng, the Buick brakes hard, turns into a PARKING GARAGE. !t snaps :he ent~ arm off as'i: disappears inside. ~he sedans brake hard,
:::NT.

PARK!!'l'G GARAGE - DAY

No:h~ng but squealing tires as t~e Buick corkscrews up through the levels .. 7he sedans follow. UPPER LEVEL The Buick streaks bY~~~~k-UP l~ghts. As the car backs out, the sedan\~~ke to keep from slamming it. Horns blare. A~~; in the pursuit. ~, ·~ar:::~l!s back :':::', a :ittle d~stance -

94

BUICK
. ,3,··.····,
! -',' '.

Driving wich one hand, ~arker pushes ir. che cigarecce lighter, chen ~nzips c~e second backpack. He p~lls out a heavy BLACK CORD. The :~ghter pops. Parker pulls it, sets the end to the cord. As a fuse begi~s to burn ... The light of the roof shows ahead. OUTFIT SEDANS
:..

Up to.speed again. BUICK Crossing the roof. Smoke pours from the backpack. Parker lets go of the wheel. One hand ooens the door as the other pulls the tarp covering the front-seat to reveal: Dead Stegman! EXT. PARKING GARAGE

The Buick crashes through the barrier, sails toward the ground below. EXT. ROOFTOP - DAY

As the sedans roar up. EXT. STREE~ BELOW - JAY

The Buick bursts snto :':amesan instant before it smasnes inco the ground. After a beat, the Chows pull up, aile out. They can just make out. a f':aming figure behind the wheel. They open fire just to make sure. EXT. ROOFTOP ~~GE - wAY :ook down.

Phil and t~e C~t:::'t bOy~~~iUp, THE CHOWS Look up. \)

\j

~'0

~ beat. then :~e C~ows pile in, take off.

95. EXT.

ROOF~OP 2DGE - =AY

The Outfi~ boys watc~ ~hem go. Think the money's gone? BLACK It's made of paper. guess. Take a wild
THUG ONE

PHIL You guys take one of the cars, leave me the other. I've got to make a call. They acquiesce, head for sedan one. Phil pulls a cellphone from his pocket, punches a number as they drive away. PHIL (into phone) Parker's dead, Ms. Bronson. BRONSON'S VOICE Did you see the body? PHIL Yes, Ma'am. (peeks over roof) I'm looking at it now. MS. BRONSON Good. You move i~to Carter's offi=e on Monday, ?hilip. PH!:' Yes, ~s. Bronson. Thank you.

.~

...

The line clicks off. But instead of getting in his car, he starts down a row of cars.

INT.

1974 ?LYMOU7F ROAD~:~~~ROOFTOP

- DAY

Parker sits low i~ the.~~eriger seat, watches as Phil heads i~ this direc~~ ?arker grips the .45 i~ his lap. ROOFTOP

As phil nears, ?arker watches out the window. You =et
PARK:::R
-""""-:--__ .u .:,.....? . ._ __ •••

:t becomes obvi~us that each man knows the other is here.

. but his hand whips back out aiming a little . ~e: phone) Just got :he wore.... Phil can't. •! PARKER PHIL I'd like the money. Phil 'pockets' his phone. Say a word and I'll drop a dime.~KER and 212 555-7754. I assured Ms. Parker .96 PH!:' (nods. 'It goes well with the promotion. see. If . they a~~~ you gO~\ggea. Understand? 508 555-4356 PARKER PHIL I understand. Rosie steps up. sets the barrel of a sawed-off against the back of Phil's neck. PA. PHIL Kill me and the Outfit'll know you're alive. but .32. too. 3ronson you were dead. It's mine.. :ell her how you IDed the body. PHIL (aiming) Is that so? Behind Phil. your f:-iends ~hat said. h~m ac:-oss the back of the head. PARKER I'm keeping it. the unmistakable sound of a shotgun shell being chambered. Nice doing business with you... As Phil sweats . Bronson's numbers. Let you go and :hey'll know the same :hing. Those are two of Ms. Rosi~~acks As Phil goes do~ . "Parker" growls beside her.

He ~ lJ he came to do. can't :igure it.97. He looks across at th~L:y'Skyline. Parker? Looking ahead. ROSIE You believe in doctors now? Parker looks :rom her. ROS:~ ~hae was my lase ac bac. As they continue across the bridge and away . He winces in pain. ROSIE You remind me of a frog. turns onto the street. ay~ng. CITYGATE BRIDGE . "Parker" growls as she leans across. And the Roadrunner rolls. :0 the beat-up "Parker. FADE TO rt(\ BLACK. The End . bloody bastard. EXT. driving Parker out of the c~ty. She echoes an earlier exchange. ROSIE No matter how many times I kiss you. gives Parker a kiss. you'll never be a prince.DAY It's a jam coming in. but clear sa~'ling rolling out. Somewhere a ho~ blares.PARKER Get us both to a vet.PARKING GARAGE - DAY Rosie drives out.. Rosie be~' he wheel. ROSIE Got your balance back. gray. She looks over at Parker: a beat-up. It looks dull. "Parker" sits in back straddling the backpack which spills cash. ROADRUNNER . He looks over :or an explanation. . Parker." A vet.. '!'hey pull onto the entrance for the Citygate Bridge. CUT '!'o: ::NT. he just nods that he does.

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