Paul Blart: Mall Cop 2 Page #15

EXT. ENCORE BEACH CLUB - NIGHT122122THREE MORE OF VINCENT’S MEN stand guard, when suddenly Blart

rides behind a row of PILLARS AND PLANTERS.

They OPEN FIRE on him, but as he flies by, the pillars and

planters take the bullets.

Meanwhile, every time Blart hits a gap, he takes a guy out

with a HEAD SHOT from the BEAN BAG GUN. Two of the men fall

into the pool and the last one lays in a heap.

OMIT123123INT. WYNN / VAN GOGH INSTALLATION - NIGHT124124Robinson finishes the cut and the Van Gogh case door finally

SWINGS OPEN.

Carlos arrives and Robinson hands the PAINTING to him. They

replace the Van Gogh and the plexi-coverwith a fake.

Carlos places the painting into the CART and takes off.

Robinson keys his radio.

ROBINSONVan Gogh’s travelling.

INT. ENCORE VILLAS - CONTINUOUS125125Vincent keys his radio.

VINCENTPerfect.

(to Scott)

I want the truck waiting in Juarez

in one hour.

EXT. BRAHMSTERRACE - NIGHT126126Blart sees Carlos running with the cart and gives chase.

On the run, Carlos looks back and fires his silenced pistol

at Blart, but the BULLETS RICOCHET off the carbon fiber of

the bad ass Gyro-Vehicle.

Carlos continues to fire as Blart actually speeds up! When

he is close enough, Blart BAILS OFF THE BACK of the bad ass

Gyro-Vehicle, LAUNCHING IT INTO CARLOS!!

Carlos takes the impact, which slams him back. Knocking the

cart over and spilling the painting across the floor.

NOW INJURED, Carlos limps toward Blart.

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Blart confidently holds up the BLACK TUBE GUN and then

scatters the MARBLES directly in his path!

BLARTEnjoy the ride!

The marbles SPREAD OUT onto the floor, parting like the Red

Sea, having ABSOLUTELY NO EFFECT. Undaunted, Carlos

continues his pursuit.

Changing gears, Blart SPRINTS FOR A LARGER CEMENT PLANTER.

As he approaches the PLANTER, Blart executes his SIGNATURE

SHORT SLIDE...

BUT... instead of grinding to a halt, this time he ZIPS ALONG

THE POLISHED MARBLE FLOORS INCREDIBLY FAST, DISAPPEARS behind

the planter, then REAPPEARS on the other side...

HE THEN HAS TO SCOOT BACKWARDS BEHIND THE PLANTER.127127Carlos gets up in pain, retrieves the painting, and moves to

the planter, gun drawn.

Carlos comes around the planter and aims his gun at BlartBut Blart is waiting! He shoots Carlos with the FIVE SECOND

TASERand Carlos drops in a heap, dropping the painting.

Blart then begins to scroll through Carlos’ CELL PHONE.

Carlos stirs. But, before he can get up, Blart zaps him,

which causes him to drop again.

After scrolling through Carlos’ RECENT CALLS, he comes upon

the name “Vincent.” Blart presses the call button.

BLART picks up the painting.

INTERCUT:
INT. ENCORE VILLAS - CONTINUOUSVINCENTPlease tell me Blart’s dead.

BLARTYeah. If by dead you mean taking

out your crew one by one and

holding your prized painting in his

hands.

Carlos STIRS AGAIN and... Blart ZAPS HIM AGAIN.

VINCENTWhich one?

Blart examines the painting.

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BLARTI’m gonnasay... sunflowers?

VINCENTIt’s a Van Gogh, you idiot!

BLARTWell, it’s Van Goneif you don’t

ramp down the hurtful words!

VINCENTWhat do you want?

BLARTTo make a deal. A swap.

Carlos stirs again, but this time Blart is pre-occupied and

doesn’t see him get to his feet.

BLART (CONT’D)

A trade.

(nothing from Vincent)

I’m suggesting we make an exchange.

(more silence)

See, I have the painting and you

have--

VINCENTI got it!

(a beat, then)

Meet me at the Grand Hall. Alone.

Vincent HANGS UP. Blart gets that determined look in his

eye.

BLARTTime to even the playing field.

Carlos begins to STAGGER AWAY. Blart finally notices that he

is up and CHASES HIM DOWN, pointing the taserBETWEEN CARLOS’

EYES.

CARLOSOh, come on, man!

BLARTSorry.

Blart zaps him one more time... DOWN HE GOES. Blart moves

off.

INT. ENCORE VILLAS / MASSAGE ROOM - MOMENTS LATER128128Vincent hustles to grab Maya, when he STOPS IN HIS TRACKS...

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MAYA (O.S.)

I can’t believe this is all

happening after I was so mean to my

dad.

INT. ENCORE VILLAS / MASSAGE ROOM - NIGHT129129Maya’s emotional...

MAYAI’ve made my decision. If we live,

I’m not going to UCLA.

LANEAre you sure?

MAYAYes. I can’t abandon my dad. He’s

never been alone. We’ve always

lived with grandma... until a milk

truck //an African rhino // sent

her to a better place. And there

were those six days of marriage...

(beat)

I mean, he still sleeps with a

night light.

LANEReally?

MAYAIs that bad?

LANE(lying)

No. A lot of people are like that.

The door bursts open, Vincent enters gun drawn.

VINCENTYeah -- a lot of six-year-olds.

(then)

C’mon, we’re going for a walk.

INT. WYNN HOTEL/ GRAND HALL - NIGHT130130Holding the Van Gogh painting, Blart waits. When, from the

shadows, Vincent emerges, holding his gun on Maya.

BLART(panicked)

Maya! Are you okay?

MAYAI’m okay.

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VINCENTWay to go Blart -- you’ve thinned

my manpower significantly. It must

be getting pretty lonely out there.

You scared?

BLARTNot following ya...

VINCENTYour fear of being alone. First,

your wife leaves you at the

altar...

BLARTMmm, wrong. She was with me six

days.

VINCENTGreat, so she got to sample the

merchandise and was glad she kept

the receipt. Then your mom kisses

a bus... // gets whacked by an

elephant.

BLARTIt was a milk truck // rhino. But

I’ll give you that one.

VINCENT... And now your daughter can’t

wait to get away from you.

MAYAThat’s not true, dad.

BLARTYeah, she’s following her destiny.

I support it fully.

VINCENTOoh-- flag on the play, sloppy.

She says you can’t be alone... that

you’re doing everything in your

pathetic power to keep her under

your thumb.

Wounded, Blart looks to Maya.

MAYAI didn’t say that... exactly.

BLART(reassuring)

S’okay.

(then)

(MORE)

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