Get Shorty Page #8

CHILI:

That's the difference between you and me, Harry. I say what

I mean. I want something from someone, I ask 'em straight

out. I want Martin Weir, I go get Martin Weir. I don't f***

around with his trainer's shrink.

HARRY:

His shrink's trainer.

Chili looks at Harry.

CHILI:

Take me back to my car.

EXT. LAX -- DAY

As a plane touches down on the runway . . .

INT. SOVEREIGN TERMINAL -- SAME TIME

Yayo, now soaked with sweat, is still here. He stands

watching a row of lockers. He stares at one of them . . .

CLOSE ON LOCKER.

The number C-18. We PUSH IN . . .

YAYO:

starts to move for it . . . then looks off at . . .

A MAN IN A SUIT:

as we quickly TILT DOWN to the guy's ankle, looks like a

bulge there. We then . . .

WHIP PAN TO:

A WOMAN, dressed casually in slacks and a blouse. We TILT

DOWN to her ankle, hmmm, is that a bulge? We . . .

WHIP PAN TO:

A TENNIS SHOE, tapping to some unheard rhythm and what looks

like a bulge near the ankle. We TILT UP this time to reveal

A LITTLE KID, listening to a walkman.

YAYO:

obviously losing it now, rubs his eyes and quickly walks off

to a row of payphones . . .

EXT. KAREN FLORES' HOUSE -- DAY

Chili's minivan is parked outfront.

TOMMY (V.O.)

Where you been? I been callin' all over for you . . .

INT KAREN'S HOUSE -- THE STUDY -- SAME TIME

Chili sits at the desk on the phone.

TOMMY:

(PHONE)

Ray Bones is looking for you. He's got some kinda bug up his

ass, can't sit still.

INT. BARBER SHOP -- DAY

Tommy on the phone.

TOMMY:

I hate to say I told you, but I did. I told you don't start

nothing with him that time.

INTERCUTTING TOMMY & CHILI

CHILI:

You said don't say nothing and I didn't.

TOMMY:

No, you just broke his f***in' nose instead.

CHILI:

You gonna start that again? You're just like him, all you

got room for in your brain is one f***in' thing.

TOMMY:

All I know is he came by the barber shop, all f***in'

undone, wanting to know where you were staying in Vegas. I

told him I don't know. I still don't.

CHILI:

How'd he know I was in Vegas? You tell him?

TOMMY:

He already knew it.

CHILI:

Yeah, well, I'm in L.A. now.

TOMMY:

Whatta you doing out there?

CHILI:

I'm going into the movie business.

TOMMY:

What're you talking about? You wanna be a movie star?

CHILI:

I'm thinking about producing.

TOMMY:

How you gonna do that? You don't know sh*t about making

movies.

CHILI:

I don't think the producer has to do much, outside of maybe

knowing a writer.

TOMMY:

Hey, Chil? I think you're fulla sh*t.

INT. KAREN'S ENTRY WAY -- SAME TIME

As Karen, dressed as a B-movie queen, press kit under one

arm, steps inside, freezes as she hears . . .

CHILI (O.S.)

. . . call me soon as you know when Ray's coming out.

INT. STUDY -- SAME TIME

Chili is scribbling something on a piece of paper as Karen

comes into the room. Chili looks up at her as he hangs up,

smiles at her.

CHILI:

Hey . . . Karen. How ya' doin'?

KAREN:

What're you doing here?

CHILI:

I wanted to come by, apologize for coming into your house

like I did last night.

KAREN:

Lemme get this straight, you broke in again to apologize for

breaking in before?

CHILI:

No, no . . . you let the patio door open. You gotta stop

doin' that, all the nice things you got around here.

KAREN:

Yeah, well make sure you lock it on the way out.

CHILI:

Rough day on the set?

KAREN:

I spent all day crawling out of a grave. The costumer kept

bitching 'cause I was ripping my nylons --

CHILI:

Ripped nylons work. Makes the shot more real.

KAREN:

(regarding him)

. . . That's what we finally decided.

CHILI:

Like in Bride of the Mutant, when you played the whole end

with that torn top.

She looks at him.

KAREN:

You saw that one?

CHILI:

Yeah. When you turn to the camera to tell the alien mother

that her time on earth is finished . . . when you give us

all that look, Joan Crawford wishes on her best day she had

that much presence. Not even in Mildred Pierce -- which by

the way was a better book than a movie -- did Crawford even

touch the intensity you had in that look.

KAREN:

(beat)

Yeah . . . that was a good scene. I mean, for a horror

movie.

CHILI:

For any movie.

KAREN:

I know I'm better than what I've been doing the last ten

years, walking around in a tank top and f***-me pumps,

waiting till it's time to scream.

CHILI:

Man, can you scream.

KAREN:

Yeah. It's a real gift.

(beat)

I'm just saying it'd be nice, one time in my career to get

the chance to say one great line. You know, like in that

Bette Davis picture, Cabin in the . . .

CHILI:

Cotton.

KAREN:

Yeah, you know when Bette comes up to the guy on the porch,

gives him a flirty look and says, 'I'd kiss you, but . . .'

CHILI/KAREN

'I just washed my hair.'

KAREN:

Yeah.

CHILI:

That is a great line.

Chili looks at her.

CHILI:

How come you stopped making movies with Harry?

KAREN:

I married Martin. That was a full-time job.

CHILI:

You read Harry's new one? He says it's the best thing he's

ever read.

KAREN:

He must mean after Slime Creature 3.

CHILI:

That why Harry came over last night? See if you could help

him get Martin in his movie?

KAREN:

Harry's dreaming of a forty-million-dollar production he'll

never get off the ground with a star he'll never sign. With

or without my help.

CHILI:

Harry told me Martin loves it, he flipped.

KAREN:

Yeah, well Martin is known for his flipping. He flips over a

script, and when the time comes to make a deal, he flips

out.

CHILI:

Tell you what, I'll stop by Harry's office and pick up a

copy for you.

KAREN:

Don't go out of your way.

They consider each other a moment . . . until Chili finally

checks his watch.

CHILI:

Well, I gotta have a talk with Leo, my runaway dry cleaner.

KAREN:

Right. See how your story ends.

CHILI:

Yeah. Right.

(then)

Listen, Touch of Evil's phying near my hotel. You wanna go

check it out? Watch Charlton Heston play a Mexican?

Karen looks caught, doesn't answer right away.

CHILI:

Maybe some other time.

He turns to go, then turns back to her . . .

CHILI:

'He tried to make love to me and I shot him.'

(then)

Another great Bette Davis line.

Karen looks at him. Surprised. He smiles at her.

CHILI:

See you around.

EXT. BEVERLY HILLS HOTEL -- NIGHT

Leo Devoe, dressed in a sporty plaid ensemble, complete with

little matching hat gets out of a cab, and walks to the

front entrance. He tips the doorman, gives him a grin.

DOORMAN:

Evening, sir.

LEO:

And a good evening to you, too, sir.

INT. HOTEL HALLWAY -- NIGHT

As Leo the high-rolling dry cleaner bounces down the hall,

unlocks his door . . .

INT. LEO'S HOTEL ROOM -- NIGHT

Dark. Leo enters, heads for the bottle of Chivas on the

desk. Has one straight out of the bottle, ahhh, before

pulling a fat wad of cash out of his jacket, tossing it on

the desk like it's change from the cab fare.

He then takes off the jacket, unbuttons the shirt, reaches

for the Chivas again, when we hear . . .

CHILI O.S.

Look at me, Leo.

Crash. Something glass hits the floor. Probably the Chivas

bottle as Leo nearly has a f***ing coronary . . .

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