Killing Zoe Page #6

Synopsis: Zed has only just arrived in the beautiful Paris and already he's up to no good. Having just slept with a call girl, he spends a night on the town with his dangerous friends. They all decide to rob a bank the following day. There's only one problem: Zed's call-girl, Zoe, just happens to work at the bank which is to be robbed!
Genre: Crime, Thriller
Director(s): Roger Avary
Production: Live Entertainment
  2 wins & 1 nomination.
 
IMDB:
6.5
Rotten Tomatoes:
36%
R
Year:
1993
96 min
462 Views


Some Brazilian Gilberto/Getz music is playing.

Sitting at the table playing cards are three men: FRANCOIS,

RICARDO, and JEAN.

Sitting on the couch rolling a cigarette with hash is CLAUDE

and OLIVER.

They all turn as Zed and Eric walk in.

ERIC:

Hello.

They all return the greeting.

ERIC:

(to Zed)

Okay. This is Francois, Ricardo, Jean,

Oliver, and Claude. Got it?

ZED:

I will.

ERIC:

They all know who you are.

(to the rest of them)

Ne soyez pa salauds. Offrez une biere au

plus grand perceur de coffres.

Oliver stands up and walks to the kitchen.

OLIVER:

(with an English accent)

Zed, would you like a beer?

ZED:

Thanks.

OLIVER:

Don't think of it.

CLAUDE:

(to Zed)

Come. Sit down.

INT. ERIC'S FLAT - KITCHEN - NIGHT

The kitchen is an absolute pig stye. Dishes are piled up in

the sink and on the counter.

Oliver grabs a glass that has some old beer in it and empties

it. He scratches some filth off of it and pours some beer

into the glass.

INT. ERIC'S FLAT - LIVING ROOM - NIGHT

Zed takes a seat on the couch next to Claude.

Suddenly, a SPIDER MONKEY dressed in a little Uncle Sam

costume comes screeching up onto Zed's lap and then up onto

his head, the whole time clawing at his eyes.

Eric, amused, turns from the men playing cards and smiles.

CLAUDE:

(to Zed)

Easy. Don't scare him. He just wants to

claim you.

Zed is frozen as the monkey climbs around him and then onto

Claude's shoulder.

CLAUDE:

Let me introduce you properly. This is

Enrique.

The monkey screeches.

CLAUDE:

He likes to be called Chim Chim, but we

don't always get what we like...do we?

Again, the hideous creature screeches.

CLAUDE:

(to Enrique)

Tais-toi!

(then to Zed)

Do you like hash?

Then Eric interrupts.

ERIC:

(jokingly)

Don't sit next to that junkie.

CLAUDE:

Ahhhhhh!

Claude throws a lit cigarette at him which explodes into a

mass of sparks. They laugh.

ERIC:

(to Claude)

That little sh*t monkey of yours pissed

on my Billy Holiday albums. Next time

he's out the door.

(to Zed)

Zed, come here.

Zed gets up and goes with Eric to the bedroom. On the way

Oliver hands him the glass of beer.

OLIVER:

Here you go mate.

ZED:

Thanks.

Oliver sits down next to Claude.

INT. ERIC'S FLAT - BEDROOM - NIGHT

Eric's bed has probably never been made. In fact, this room

looks a lot like Quentin Tarantino's old apartment. But,

there is a certain order to all this chaos. Eric pulls out a

blueprint and spreads it out over the bed.

ERIC:

Don't ask me where we got this.

ZED:

Okay.

ERIC:

On Bastille Day, all the banks are

closed.

He places his hand on the blueprint.

ERIC:

But this one. BIP. The Banque

Internationale de Paris. And for being

greedy capitalists perhaps they will

remain closed next Bastille day. Yes?

Zed smiles.

ERIC:

We will go in and shut the bank down.

Now, look at this.

Eric pulls out a complex electronic schematic.

ERIC:

As you can see, only one person can start

the alarm.

(he hands it to Zed)

The concierge, at this desk.

(he points it out on the

blueprint)

We will take care of him. Then we can

close the bank. No one will know the

difference since every other bank will be

closed.

ZED:

(turning the schematic around)

Are you sure he won't push the alarm?

ERIC:

Ahhh! He's right next to the door. We'd

have to be totally incompetent not to

stop him. Don't worry about that.

He points to the main floor vault.

ERIC:

Here. This is where they keep the days

reserve cash. Okay f*** that.

He flips the page to the lower level blueprint.

ERIC:

There are many vaults downstairs, but

this is the vault we must get into. This

is where the real prize is.

ZED:

What kind of vault is that?

He checks the blueprint.

ERIC:

Ah...Swiss made. A Caliber.

ZED:

Caliber?

(he thinks about it)

It'll take three hours.

ERIC:

No, that's too long.

ZED:

That's how long it'll take.

ERIC:

Well sh*t. It's too long. We have to be

in and out.

(he snaps his fingers)

Like that. Or there will be suspicion.

A little time is okay...but too long

and...

He shrugs his shoulders in an "I don't know gesture."

ZED:

Well hold on a second.

(pointing to the blueprint)

What's this?

Eric looks down at the blueprint. There is a small passage

connecting the main vault to an adjacent vault.

ERIC:

Another vault.

ZED:

No this.

Eric looks closely at the blueprint.

ERIC:

I don't know...it connects the two

vaults.

ZED:

Well, what kind of vault is this other

one?

ERIC:

(reading the blueprint)

Also Swiss, but this one is a Poseidon.

ZED:

Why would those two vaults be connected?

ERIC:

I don't know.

ZED:

Because I can get into this vault in half

an hour. Maybe less.

ERIC:

But this entry way is too small to get

the platen out. We have a lot of

merchandise in there.

ZED:

No, don't you see? We get in through

this secondary vault and take this

passage to the other main vault. From

the inside I could open the Caliber vault

in five minutes.

ERIC:

You could open it in five minutes?

ZED:

From the inside it's easy.

ERIC:

(excited)

Hot damn. That is our answer.

ZED:

Okay. When is Bastille day?

ERIC:

Tomorrow.

ZED:

Tomorrow!? We're doing this tomorrow?

ERIC:

But of course.

ZED:

It's impossible.

ERIC:

It's not impossible. Everyone knows what

to do.

ZED:

I don't know what to do.

ERIC:

You don't need to know sh*t. Just get

into the vault and we'll do the rest.

ZED:

I haven't even seen the bank.

ERIC:

F*** the bank. Before we do a job we

live life. It's better that way. Okay?

ZED:

(unsure)

Okay.

ERIC:

Good. Now we do heroin!

CUT TO:

INT. ERIC'S FLAT - BATHROOM - NIGHT

EXTREME CLOSE ON: Eric making heroin.

The heroin powder is put into a spoon with some lemon

squeezed into it, then a little bit of tap water. Huddled

around Eric are Francois, Ricardo, and Oliver.

OLIVER:

(so high he's wobbling)

You have to look at the Starship

Enterprise as a metaphor for the human

brain.

No one is really listening to Oliver. Eric takes out a

lighter and cooks it to a boil.

OLIVER:

(continuing)

Spock is the right hemisphere of the

brain, all logic and intellect. Mc Coy is

the left hemisphere, stricktly emotional.

And Kirk is the unseen observer. He

drifts between the two. Back and forth,

as it might be, caught between the two

thought processes.

ERIC:

[Cotton.]

Ricardo hands him a cotton ball.

OLIVER:

(continuing)

It's really quite brilliant you know.

That's why Star Trek is and always will

be a hit show.

Eric places the cotton ball in the spoon with the mixture.

ERIC:

(to Oliver)

[Here, shut up and hold this.]

He hands Oliver the spoon and takes out a needle. Using the

cotton as a filter he draws the heroin into the syringe.

Then, he holds the syringe up and starts tapping it.

ERIC:

[Don't want to get air bubbles in my

veins.]

They all laugh at this.

INT. ERIC'S FLAT - LIVING ROOM - NIGHT

In the meantime, Zed is sitting on the couch with Claude and

Jean. Claude is rolling a hash and tobacco cigarette. Jean

is chopping up some powder heroin on the glass of a small

picture.

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Roger Avary

Roger Avary (born August 23, 1965) is a Canadian film and television producer, screenwriter and director in the American mass media industry. He worked on Reservoir Dogs and Pulp Fiction, for which he and Quentin Tarantino were awarded the Oscar for Best Original Screenplay at the 67th Academy Awards. He wrote the screenplays of Silent Hill and Beowulf. He also directed Killing Zoe and The Rules of Attraction. more…

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