Die Fighting Page #3

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Turn left.

- Now what?

- Okay, wait.

Okay, go now.

- Go.

Turn right.

Don't move.

One man's gonna enter.

Get ready to fight.

- Freeze! Get up slow.

I said, "get up."

Get up.

Slowly.

- Hey, it's alright.

Just calm down.

We can go.

Get the phone.

- Turn right.

- Come on.

Wait!

They're coming from

over there too.

Hide.

- F***. They're coming. Hide.

- Freeze! Let him go.

Let him go now.

Come on. Come on.

- They're right behind you.

Run faster.

- Faster.

Take the tunnel

on your right.

- There's a tunnel

on the right.

- Right here, come here,

come here, let's go.

Almost out.

They're coming from upstairs.

Hide until they leave.

- They're coming from upstairs.

- Freeze! Don't move.

Put your hands in the air.

Good. Very good.

So go upstairs, take the door

and you're out.

- The exit's upstairs.

- Here, take these.

- I am not gonna use this.

- Look, we don't know how

this is gonna end up.

But I prefer to be the one

with the guns this time.

- Yeah, you're right.

- Come on, let's go.

- Come on.

Bravo.

Brilliant escape

without a single shot.

You know, you're much better

than I expected.

- What?

- What's he saying,

what's he saying?

As I explained to fabien,

the four of you are

the stars of my new movie.

Fame and fortune

are at your fingertips, boys.

- Oh, yeah? How is that?

You heard me.

Smile, movie stars.

The police are still after you.

There's a gray car

right in front of you.

Take it.

The key is in the ignition.

- How'd he tape everything?

Of course I did.

It's a film.

You have eight minutes

to bring the money

to the old paper factory

at the 25th street.

- What? Hey, wait.

Wait!

It's like we are rats

in his maze.

- C'mon, hurry, let's go.

- Sh*t!

- Come on, come on.

- Hello.

- There is no phones in here.

Remember,

"enter the dragon"?

All good martial arts films

have their heroes

fight multiple black belts.

- You sick f***. This is real.

The film is choreographed.

Reality tv?

This is a reality film.

Succeed in your role and

all your dreams will come true.

- You better not hurt her.

- Worry less about meilu

and concern yourself more

with my film.

Now I want to see

lots of action.

- And how do I do that?

Improvise.

You're an actor.

- Great.

Are you sure of the address?

I don't know. I think I am.

Let me ask them.

- Where the hell

do you think you are?

- I'm looking for a dojo.

Am I in the wrong place?

This looks like a dance studio.

- Get out of here.

- But I didn't get

my dance lesson yet.

- Are you crazy?

Get the hell out of here

before I break your face.

- Take your best shot, a**hole.

- You want a lesson?

I'll give you a lesson alright.

What are you waiting for?

Bravo.

Impressive.

- I'm done. Where's meilu?

Dojo

compton avenue and central.

- He gave you everything?

- Yes.

- Very nice.

Yes?

They'll be here any

minute with the rest

of your money.

- Alright.

But let me ask you something.

What did these men do to you?

Why do you want them dead

so badly?

It's in the script.

- Script?

The script.

What f***ing script?

- I think it's here.

- What is this place?

- So what now?

- It's not open.

- Great.

- Scene 74, interior

paper factory.

Like all the other scenes,

the place is full of

hd surveillance cameras.

This scene is like

"gunfight at the ok corral."

- A gunfight?

- Inside there, are several men

expecting my money.

Don't give it to them.

- What? We can't keep fighting

guys for your amusement, okay?

Just take the money

and let fabien and meilu go.

If you lose the

money,

you lose them.

It's a simple scene.

Kill or be killed.

- Hey, we're actors,

not professional killers.

- So act like a killer.

And action.

- We are dead.

- Don't worry.

We'll find another way out.

- No, no, no. Wait.

- What?

- You were in the army before

so tell me how to use this.

- Here.

- Right. Safety's off.

Cock it back.

And then you point and shoot.

You got it?

- Yeah, I guess.

- Alright.

C'mon, follow me.

- There is no one here.

- Look out!

- Sh*t, stop!

Don't shoot.

- We don't need to

kill each other.

- Okay.

Then why don't you go ahead

and hand over that money

you got there?

- I'm sorry, we can't do that.

- T.

Well, then.

It looks like

you're going to f***ing die.

- Hey, we're armed too.

This is gonna end real bad

for all of us.

- There are only three of you

and there are many more of us.

- So what do we do?

- We have no choice.

We have to fight for fabien.

- Sh*t.

- Stay here with

your brother. Go!

- Damn it.

- Stay here and cover me.

- You wanted a show?

Here you go.

- Hey! You listen up.

You hand over that money

right now

and I let you walk out of here.

I don't care about the guy.

I just want my money.

- You want it?

Come and get it.

- Hey, you're already injured.

Yeah, I got you once,

motherf***er.

You will die here

if you don't give me my money.

- If I give you the money,

another friend of mine

and his wife will die.

And I can't let that happen.

- I'm going to give you

one more chance and that's it.

Do you surrender?

I guess that means no.

- Go.

I said go.

Cut his f***ing head off.

- Drop it.

That's it, nice and slow.

Alright, stand up.

Turn around.

Stupid b*tch.

C'mon, I'm gonna crush you

like a bug.

C'mon!

Yeah.

- Didier, get down!

No!

Jess! Jess, jess.

- Jess, no!

Jess, jess, jess.

You'll be okay, jess.

- No.

- Are you okay?

- Jess.

- I've been better.

- You'll be okay.

We go to hospital.

- No, no, I'm gonna stay here.

He'll kill fabien and meilu

if we leave.

It's gonna be too late,

by the time...

- Jess.

- Jess.

- No, just save

fabien and meilu.

- We can't let you

die like this.

Jess.

No, no, not yet.

Jess.

You're not dead yet.

Jess.

Wake up, jess.

- You piece of sh*t.

I'm gonna f***ing kill you.

Forever through his

performance in my film.

- I'm gonna find you...

And I promise you.

Chase me or save your friends,

it's your choice.

Corner of ninth street

and belmont, number 455,

you have eight minutes.

Ask for chan.

Hello?

Just to your right

between the two dumpsters,

there's a bag.

Open it.

Strap the camera to your head.

Drink the bottle.

- You know everything

so you know I don't drink.

I'm not asking.

Now drink.

- Aghh!

Now you're gonna go

across compton avenue

down to 100 street.

- You're crazy.

That's one of the most

dangerous areas of los angeles.

Our film can't be any good

if there isn't

a sense of danger.

- You just want me dead,

you sick f***.

Stop talking or she dies.

Now finish that bottle.

- What the hell?

Hey, man check this sh*t out.

- You looking for a cave,

white boy?

- Yo, he must be lost

or something

- yo, where you goin',

snow white?

- 'Scuse me, motherf***er,

I'm talkin' to you.

- Oh, p*ssy-ass white boy.

- Oh hell no, motherf***er.

Oh sh*t.

Get the car,

motherf***er, get the car!

Where do you

think you going, man?

Where do you think you going?

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