notorious - pilot

7/29/2019 Notorious - Pilot

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NOTORIOUS

Pilot

“Devil Inside”

By David Polk



2.

TEASER

EXT. CORTEZ COMPOUND – DAY

Surrounded by dense jungle on three sides and the Gulf ofMexico to the east. A lavish VILLA sits at the center.

Luxury sedans, SUVs, and oh yeah, a candy apple redLamborghini sit out front. A half dozen LATINA HONEYS sunthemselves at two swimming pools out back.

Our first sign that this isn’t Paradise is the NARCO-TANKparked near the entrance gate. Then the tough-lookingHOMBRES with assault rifles slung on their shoulders.

SUPER: VERACRUZ, MEXICO

A shitty Ford rental passes through the gate and stops atthe villa entrance. A man in a tan suit, no tie, gets out.Forty, clean-cut, wayfarer shades. He could be anaccountant. Or a surfer. For now, call him THE AMERICAN.

He’s met by TWO BODYGUARDS. One eyes him coldly. Two patshim down, ignoring a BALLPOINT PEN in his shirt pocket.

INT. CORTEZ VILLA – CORRIDOR – CONTINUOUS

As the bodyguards escort the American he discreetly casesthe joint, decorated with the best that drug money can buy.

EXT. CORTEZ VILLA – PATIO – CONTINUOUS

CORTEZ, 45, a stone cold killer beneath his Latin goodlooks and charm, is wrapping up a cell phone call.

Note: < Spanish with English subtitles.>

CORTEZ

<...The governor has three sons.Perhaps this will help him toappreciate the other two more...That Iexpect payment on schedule, dammit!>

He ends the call. Turns to find the American flanked bybodyguards #1 and #2. Cortez’s top man, TRILLO, 45, cold asa snake, stands in front of them, facing Cortez.

TRILLO<Santini’s new man.>



3.

Cortez gives the American a once over. He’s not impressed.

CORTEZ(to Trillo)

<Where’s Baez?>

THE AMERICAN<Best guess? A landfill in Bayonne...

(off Cortez’s look)<A South Florida swamp and under a gym in Detroit.> But I’m just guessing.

CORTEZWho the hell are you?!

The bodyguards pull their guns, ready to end this guy.

THE AMERICANNo disrespect, but you did ask.

Cortez gets in his face.

CORTEZSo without so much as a word Santinisends you instead of a man I’ve donebusiness with for three years? That’snot disrespect?!

THE AMERICANWell, we are talking about a man who

whacked a guy just because he pouredskim milk on his cereal.

Bodyguard #1 presses his gun to the American’s head.

CORTEZWell, amigo, how do you think he’sgoing to react when he finds what’sleft of your head in a milk crate?

THE AMERICANConsidering I’m not here because youand Baez were stealing from him, I’dsay very disappointed.

We hear AUTOMATIC WEAPONS FIRE, then an EXPLOSION.BODYGUARD #3 rushes out of the house.

BODYGUARD #3<Federales and DEA! They came from nowhere! They’re everywhere!>



4.

CORTEZ(re: the American)

<Get rid of him!>

Bodyguard #1 is about to squeeze the trigger when –

TRILLO<Wait! He may be useful.>

EXT. CORTEZ COMPOUND – DAY

QUICK CUTS of a fierce shootout, ending when a chopperfires a rocket and the narco-tank goes up in a fireball.

INT. SAFE ROOM – LATER

The American sits quietly, no shades. The three bodyguardskeep an eye on him but nervously watch the door. Cortez

watches Trillo, who’s on a cell phone negotiating.

TRILLO(into phone)

No you listen! Your man’s unharmed nowbut we will deliver him in pieces, livevia the Internet, if you are notprepared to make concessions. I’m sureyour bosses in Washington would love tosee that on their evening news.

DEA AGENT (V.O.)Our man? What man?

BODYGUARD #1Name, pendejo?!

Bodyguard #1 presses his gun to the American’s forehead.

THE AMERICAN

Porter.

TRILLO(into phone)

Porter. Your undercover agent.

DEA AGENT (V.O.)(beat)

Porter? What the hell are you talkingabout? We don’t have anybody namedPorter.



5.

All eyes turn in stunned amazement to the American(PORTER). There’s GUNFIRE and SHOUTING outside the room.

THE AMERICAN (PORTER)No-go with the DEA, huh? I’ll make youa deal. Put your guns down now andnobody dies.

The Mexicans look at him with disbelief and disdain.

CORTEZYou dare make idle threats?! To me?!

PORTERMr. Cortez, the most important thingfor you to know about me: what mostpeople call a threat I call a promise.

Cortez shoots a look at Bodyguard #1. But before the mancan squeeze the trigger, Porter breaks his wrist with alightening-fast Krav Maga move. Then it’s like watchingJason Bourne go to work –

He uses Bodyguard #1 as a human shield against shots from #2 and #3 – the ballpoint pen jammed into #2’s jugular endshim – #3 finds himself going hand-to-hand with Porter andgets a broken neck for his trouble – Trillo catches twobullets with his chest after Porter takes #3’s gun.

A stunned Cortez scrambles on the floor. Opens the topdrawer of his desk, reaches in, presumably for a gun. Butthe drawer SLAMS shut on his hand. Cortez SCREAMS in agony.Feels something on top of his head. Looks up fearfully.

Porter has Bodyguard #3’s gun pressed to his head.

PORTERIn the safe is a flash drive. The onlything that stops me from putting abullet in your brain in the next thirty

seconds is that drive in my hand.

CORTEZThat’s what this is about?! That boylover Santini wants those damn videos?!

More GUNFIRE outside. The good guys are closing in.

CORTEZ Amigo, there’s a five million dollarbounty on my head. Take the money –



6.

PORTERTwenty seconds.

Cortez looks at the four dead men. Then at Porter. Herises, goes to a bookcase, taps a hidden button. Thebookcase slides, revealing a safe. He opens it. Removes aSTRONG BOX. Inside the box: the FLASH DRIVE.

Porter takes the drive and plugs it into his SMARTPHONE.Hits play. We don’t see the video but we hear enough toknow it’s of a repugnant nature. Porter turns it off.

CORTEZWho says there aren’t copies?

PORTER A lot of people died so you and Santini

could make sure there’s only one.

SPANISH-SPEAKING VOICES are right outside the room now.Sounds like the Federales are setting explosive charges.

CORTEZWhat makes you think he won’t kill you?

PORTERMy problem. Not yours.

CORTEZ(contemptuous smile)

Good luck with that, amigo.

PORTERYour problem is they pay the five

million for you dead or alive.(re: Federales outside)

Dead works best for those guys. Amigo.

Porter is moving backwards as he talks. Cortez is caughtoff guard but catches the gun when Porter tosses it –

An EXPLOSION rocks the room, blowing the door off itshinges and knocking Cortez off his feet. He looks aroundfor Porter – nowhere to be seen in the smoke and chaos.

Cortez throws the gun aside and raises his hands. ButPorter was right: dead works best for these guys.

FEDERALES rush in and start shooting as we...

SMASH TO TITLES.



7.

ACT ONE

FADE IN:

EXT. PACIFIC COAST HIGHWAY – DAY

Midday traffic snakes along the iconic oceanfront highway.We FAVOR a rusted pickup with surfboards in back –

INT. ’74 FORD COURIER PICKUP – MOVING – CONTINUOUS

Porter’s driving. Wayfarers and two day’s stubble. Jeansand t-shirt. This is how he rolls. He turns up news radio.

RADIO ANNOUNCER (V.O.)...in a surprise development, reputed

mob boss Victor Santini turned himselfin to the FBI and, according tosources, will testify against Frankie“Figs” Figueroa. Figueroa was arrestedlast month, accused of heading thebiggest drug trafficking ring on theeast coast –

Porter switches to a Rock station. Cranks up INXS’s “DevilInside”.

INT. ’74 FORD COURIER PICKUP – LATER

SUPER: SANTA MONICA, CALIFORNIA

Porter pulls into a “Reserved” parking spot behind a shopat a typical SoCal strip mall and kills the engine, cuttingoff Michael Hutchence. Grabs a plastic-wrapped WEDGE OFCHEESE on the passenger seat and gets out –

EXT. EXOTIC IMPORTS - CONTINUOUS

He pauses to regard the car in the space next to his – abrand new VOLVO COUPE CONVERTIBLE – then heads into theback entrance of –

INT. EXOTIC IMPORTS – DAY

Exotic artifacts, rare collectibles and cute trinketstastefully arranged in this quaint, impeccable shop.



8.

WOMAN (O.S.)Of two thousand made, only four hundredare known to exist today. We haveexclusive rights to forty of them.

MAN (O.S.)They certainly are beautiful.Magnificent really.

We find the MAN, whose name is BRAD, 36, chiseled goodlooks to match his playboy charm, looking down through aglass display case with the WOMAN, 36, cool, classy, uptownall the way. Call her INGRID. She’s showing him two antiqueJEWELED DAGGERS. And a little bit of cleavage.

INGRIDWould you like to hold them?

BRAD(rakish smile)

Yes I would.(then)

The daggers? Yes, please.

She smiles, opens the case and hands him the daggers.

INGRIDI love shopping online – my ex canattest to that – but when it comes totruly exquisite things, well, there’snothing like holding them in your owntwo hands. Don’t you agree?

Their eyes meet. Brad’s a goner.

BRADHow soon can you ship them?

INGRIDHow many would you like?

BRAD(smiles)

All forty.

INT. PORTER’S OFFICE – LATER

Small. Cluttered. The antithesis of the shop proper.Ingrid leans against the door, arms crossed, looking atPorter on his hands and knees, reaching under a bookcase.



9.

INGRIDTom and Jerry?

SNAP! Porter curses as he turns to her. A MOUSE TRAPclamped to the fingers of his left hand.

INGRIDTry peanut butter.

PORTERWhat?

INGRID(re: cheese on his desk)

Mice love peanut butter. Cheese only works in cartoons.

PORTERYou’ve researched the taste preferencesof vermin?

INGRIDI have, and my chief finding: you needto clean your office more often.

His look says, “Not happening”. They sit at his desk.

PORTERNice Volvo. Like the color.

INGRIDGreat gas mileage too.

PORTERSafe and efficient. Wow.

INGRID Ah, but she’s a freak under the hood.

He’s stumped. She puts a file on his desk. As he reads –

INGRIDI should tell you, I have reservations.

PORTERLike maybe she’s already dead?

INGRIDShe was alive two days ago. No, my mainconcern is Suzuki. Yakuza rarely lookto outsiders for help. Why now?



10.

PORTERWe are talking Canadian Yakuza.

INGRIDSame rules apply, even in the GreatWhite North by Northwest.

PORTER(re: file, breaking it down)

Okay...Suzuki orders a hit on Nagato’sson. The Oyabuns back in Japan force atruce to avoid all out war. MaybeNagato figures six years is long enoughto wait to take his revenge.

INGRIDIf it was just about revenge why not

kill Suzuki’s daughter? Kidnapping heris much riskier for Nagato.

PORTERUnless he wants to send a message.

INGRID And that would be?

(Porter shrugs, at a loss)Which brings me to my second concern.If Suzuki doesn’t give up any Yakuza,

what’s he really have to offer us?

PORTEROther than a half million dollars?

(off her look)Okay. It’s not about the money, I know.

(thoughtful)Look, I say we do it. Suzuki will coughup something worthwhile.

INGRID(beat, considering)

Alright. I’ll put things in motion.

She takes the file and stands to go.

PORTERSo if Nagato didn’t take the girl, whodid? And more importantly, why?

INGRIDGood questions. I suggest you start byasking them nicely.



11.

INT. VANCOUVER INTERNATIONAL AIRPORT TERMINAL – NIGHT

SUPER: VANCOUVER, BRITISH COLUMBIA

Porter walks through the terminal with a cabin bag. Wetrack with him as SOMEONE follows him until he exits.

EXT. TAXI STAND – CONTINUOUS

Porter goes to the curb. A taxi pulls up. He allows anothertraveler to take it. When the next taxi stops in front ofhim, he gets in.

INT. RAVI’S TAXI – CONTINUOUS

The hip Indian driver meets his eyes in the rearview. TheID on the dash says he’s RAVI RAGHAVENDRA, 26.

RAVIWhere to, boss?

EXT. TAXI STAND – CONTINUOUS

A serious-looking JAPANESE MAN, 30, comes out of theterminal and watches the taxi drive away.

INT. SUSHI BAR – NIGHT

Small. Traditional. Just a handful of DINERS at this latehour. Porter sits off by himself, eating with chopsticks.

An uneasy quiet falls over the room. Porter looks up from his bowl at SUZUKI, much older looking than his 62 years.

Two JAPANESE BODYGUARDS stand watch at the door. We realizethe four men are now the only people in the restaurant.

Note: <<Japanese with English subtitles.>>

PORTER<<Excellent sashimi.>>

SUZUKI<<I’m glad you like it, Mr. Porter.This was my first business here after Ileft Okinawa.>>



12.

PORTER<<Mr. Suzuki. You honor me by meeting

with me directly and so soon.>>

Suzuki sits. Now he speaks in accented English.

SUZUKII have lost two sons to business, Mr.Porter. If my daughter is alive, I wanther returned to me soon so that I maydote on her as a proud father should.

PORTERWhat makes you so certain Nagato isbehind your daughter’s abduction?

SUZUKI

He is the only one who would daredisrupt the peace that has been socarefully maintained over the years.

PORTERYou mean since you ordered theexecution of his only son?

Suzuki buries his spite. Takes a thoughtful beat.

SUZUKIYuki was a rabid dog that had to be putdown. He killed because he could, withno regard for business or our rules.

PORTERWith respect, Suzuki-san, Nagato hasgrown much stronger than you. Ifavenging Yuki’s death were his motive,he would not have allowed your daughterto live.

SUZUKI

(irritation growing)You say my daughter is alive and thatyou can return her to me if I agree toyour terms. Well, I do agree to yourterms. This is the only motive thatshould concern you, Mr. Porter.

OFF Porter...



13.

INT. RAVI’S TAXI – DAY

Parked on a Vancouver street with a view of Topa Bar &Restaurant. Ravi turns to talk to Porter in back.

RAVIIf Suzuki or anybody else for that

matter wanted to take him out, this would be the best place to try. He’sthere day and night like clockwork.

PORTERI’ve told you, I’m not here to takeNagato out.

RAVIRight, I know. I’m just saying. Anyway,

getting a meeting with the guy is likegetting the Pope to pray in Mecca. Ifyou’re not Yakuza, it’s not happening.

Anything important goes through Abe.

PORTERWhat about security?

RAVIHard core. With or without weapons,these guys kill first and to hell withquestions later.

(then)Which reminds me, how –

PORTERHalf up front, half when the job’sdone, Ravi.

RAVIPorter, come on man, you insult me. I

was going to ask how you managed to getout of that bunker in Veracruz.

PORTER(beat, a small smile)

The same way I got in. The front door.

INT. RAVI’S TAXI – MOVING – NIGHT

Porter, in dark suit and shirt, no tie, looks out the window as they cruise the red-light district.



14.

EXT. MAX’S CABARET – CONTINUOUS

Porter gets out of the taxi, pays Ravi and looks at thedive that is “Max’s Cabaret”. He pauses, sensing he’s being

watched, then goes inside.

INT. MAX’S CABARET – CONTINUOUS

Not as bad as the outside suggests. A REDHEAD sings a jazzstandard to the well dressed and powerful.

When Porter enters, a menacing, black, former NFL-typeBOUNCER steps in front of him.

BOUNCERPrivate function. Invitation only.

PORTERWouldn’t you be more effective outside?Just a thought.

The bouncer glowers. Porter flicks up an INVITATION betweenhis fingers. The bouncer reluctantly steps aside. WatchesPorter go to a table. A sexy WAITRESS goes to him.

WAITRESSSomething to drink?

PORTERElit-rocks.

The waitress leaves. Porter scans the room. His seasonedeyes find politicians, foreign businessmen and assorted

mobsters, all with young “dates”.

MAX (O.S.)Elit-rocks.

The woman’s voice is like silk on the ears. Porter looks up

at MAX, Korean, 37, gorgeous. She’s just put the vodka downin front of him.

PORTERI heard the service here was only so-so. Looks like that’s changing.

MAXContinuous improvement. May I?

She sits. They gaze at each other for a beat. History here.



15.

PORTERGood to see you again, Max.

MAXSorry I can’t say the same.

INT. MAX’S OFFICE – NIGHT

Porter and Max walk into her office. He shuts the door.

MAXDo you remember saying the words “I’llnever darken your doorstep again”?

PORTERMax –

MAXYet here you are, coming through thefront door no less.

PORTERIt’s very important, Max.

MAXIsn’t it always with you?

PORTERMax, I’m here for Suzuki’s daughter.

MAX(beat, saddened)

After what Suzuki did to Ben’s son...I’m afraid you’re too late, Porter.

Porter puts his smartphone on the desk and hits play.

ON DISPLAY SCREEN

A satellite VIDEO CLIP of a pubescent JAPANESE GIRL beinghustled into a black SUV by two ASIAN MEN.

RESUME

PORTERCheck the time stamp. Yesterday. A

mutual acquaintance in Pyongyang“intercepted” it for me.

Fear registers in Max’s eyes. Then she glares at him.



16.

MAXI thought you cared about me.

PORTERI do, Max.

MAXYou’ve got an F’d up way of showing it.

PORTERLook, I need to meet with Ben Nagato.

MAXBen and I have been over for years. I

wanted a clean break. He gave it to me.He signed the club over to me as agoodbye present...I earned it.

PORTERThe fact that he allowed you to havethat clean break says you weren’t justanother piece of –

MAX As I said, I haven’t seen or spoken tohim in years. Six to be exact.

PORTERWhich is why if you did now he’d bevery interested in what you have tosay.

She regards him. Knows she’s involved now, like it or not.

MAX And what about our mutual acquaintancein Pyongyang?

PORTERHe won’t be a problem. I promise.

MAX(harsh laugh)

Like you promised you’d never darken mydoorstep again?

FADE OUT.

END OF ACT ONE



17.

ACT TWO

FADE IN:

INT. GEOFFREY’S MALIBU – SUNSET

Ingrid and Brad dine at a table with a spectacular view ofthe Pacific Ocean.

INGRIDSo when you’re not running a biotechcompany, what do you do for fun?

BRADRunning a company is my idea of fun.

INGRID

That’s why you’re so good at it. Butyou know what they say, “All work andno play makes Brad a dull boy”.

BRADOh, I certainly don’t want you to thinkI’m dull.

INGRID(come hither smile)

If I thought that, I wouldn’t be here.

Their WAITER comes to the table.

WAITERCan I interest either of you indessert?

INGRIDPlease excuse me. Brad honey, would you

mind ordering for me? I’m sure you’llchoose something simply delicious.

Brad stands with Ingrid. He and the waiter admire her asshe walks away.

She stops in front of the ladies room. Looks back at Bradordering dessert. Then she continues out a rear exit.

INT. GEOFFREY’S MALIBU – INGRID AND BRAD’S TABLE – LATER

Ingrid and Brad gaze into each other’s eyes. He signals forthe check. We know where this is going –



18.

INT. INGRID’S BEDROOM – MORNING

Ingrid wakes and looks down. She slips out from underBrad’s arm and quietly slides out of bed naked.

INT. INGRID’S KITCHEN – MORNING

Ingrid enters in a sleep shirt, heads straight for thecoffee maker, pours water and beans in, presses GRIND.

ALEXEI (O.S.)(Russian accent)

You are up early.

Startled, Ingrid turns to find ALEXEI, 42, pale skin,chilling eyes, SCAR on his right cheek, at the table.

INGRID Alexei! You frightened me.

ALEXEIThere was a time it would have beenimpossible for anyone to frighten you.Perhaps you’ve lost your edge. Olga.

Ingrid tosses a nervous glance toward her bedroom.

ALEXEIRelax, agent Kournikova. Your newfriend Brad is also my friend Brad. Itrust he performed satisfactorily.

She glares at him, her anxiety turning to icy resentment.

INGRIDI’ve had better.

(off his smile)Don’t flatter yourself. Why are youhere, Alexei?

ALEXEIWe have a problem in Sarajevo. His nameis Dusan Tadic. Drugs, arms, extortion.You’ve heard of him?

(she just stares)It’s a job for which your specialtalents are ideally suited.

INGRIDWe don’t do government work.



19.

Brad comes in fully dressed. Ingrid stares daggers.

INGRIDCoffee?

BRADNo. Thanks...I’m just going to go.

He looks to Alexei who nods permission. After Brad exits.

ALEXEIThat is Porter’s rule, is it not?

INGRIDWe’re partners. We have the same rules.

ALEXEI

I question the scruples of a man who will work for notorious criminals andterrorists but who refuses to cooperate

with legitimate governments.

INGRIDPerhaps you’ve forgotten how familiar Iam with your scruples.

He eyes her as she crosses to another countertop.

ALEXEIWhat is that old saying? “When you lie

with dogs, you get up with fleas.”

INGRIDPrecisely why we don’t work for peoplelike you.

INT. BRAD’S BMW – SAME

Brad starts the engine. Pulls away from the curb.

INT. INGRID’S KITCHEN – SAME

Alexei shakes a cigarette from a pack, puts it to his lips.

ALEXEIYou think you and Porter are making adifference, trying to recreate thefolly of Grozny over and over? Have youforgotten why you were sent there?



20.

INGRIDI remember. And despite that the rightpeople lived. Don’t smoke in here.

ALEXEI(beat, removes cigarette)

The CIA begs to differ. As do we.

INGRIDTomato, to-mah-toe.

ALEXEIThe past is the past. What matters now,agent Kournikova, is that yourgovernment requires your service.

(then)Belyaev asked for you specifically.

She reaches into her purse. Alexei tenses his finger on thetrigger of a PISTOL hidden beneath the table. Beat. Ingridpulls a SMARTPHONE from her purse. Taps in a code.

ALEXEIWho are you calling?

INGRIDNo one, Alexei. Just sending a messagethat I haven’t lost my edge. Sometimesa girl simply wants to get laid.

INT./EXT. BRAD’S BMW – SAME

The BMW sputters and rolls to a stop. Brad pushes theignition button. Beat. The engine EXPLODES –

INT. INGRID’S KITCHEN – SAME

We hear the EXPLOSION outside. As Alexei realizes –

INGRIDIf you want to see my partner or me,

make an appointment. And don’t evercome into my home again.

EXT. BRAD’S BMW – CONTINUOUS

A scared shitless Brad stares out the spider-webbed windshield, watching the engine burn.



21.

EXT. VANCOUVER STREET – DUSK

Porter talks to Ingrid via Face Time on his smartphone.

PORTERI wouldn’t be meeting with Nagato ifshe didn’t buy it. Ravi’s good.

INT. EXOTIC IMPORTS – INGRID’S OFFICE – DUSK

Porter is on Ingrid’s laptop.

INGRIDThat he is. But it still sounds tooeasy. Max didn’t survive Kim Jung Il bybuying threats at face value.

INTERCUT BETWEEN INGRID AND PORTER:

PORTER(smiles)

Maybe it’s this face she values.

INGRIDI know you’ve got a soft spot for her,but be careful Romeo. Neither of us canafford for you to lose your edge onthis one. I paid cash for that Volvo.

PORTERConsider me sternly warned. Now whereare we on the top players?

As she talks, DOSSIERS and PHOTOS of each man appear on herlaptop and his smartphone.

INGRID Abe, Nagato’s younger brother and hisnumber two. Gatekeeper and chief of

operations. Shrewd. Smart. Ruthless.

PORTER A trifecta. Always nice.

INGRIDBut wait, there’s more. Johnny Takeda,certified sociopath. Beheaded a man

with a samurai sword for sleeping withhis girlfriend. He just shot thegirlfriend in the head. Five times.



22.

PORTERLucky girl. Sounds like the Nagatobrothers should watch their backs.

INGRIDThe only back I’m interested in isyours. Speaking of, when’s the meeting?

We hear an ENGINE REV. Porter looks up just as a black SUVscreeches to a halt next to him. Two JAPANESE MOBSTERS popout and shove him into the back.

INGRIDPorter? PORTER!

Porter’s phone is tossed out of the SUV as it speeds away.

INT. UNDERGROUND GARAGE – NIGHT

OVER BLACK we hear the sounds of someone taking a BEATING.

FADE UP to the groggy-eyed POV of the victim just asanother vicious blow lands. Delivered by an exceptionallyhard Japanese man who we’ll know later as SATO, 36.

REVERSE ANGLE to reveal that Porter is the punching bag.Bound to a chair, face beaten. He spits out blood.

The face of the man we recognize as JOHNNY TAKEDA entersframe. He’s 35, scary eyes. Dresses well though.

JOHNNYNow that I have your attention...whyare you poking around in our business?

PORTERKidnapping innocent girls is yourbusiness? You’re one sick fu –

Sato steps up and lands a crusher to Porter’s face.

JOHNNY Allow me to rephrase. What has Suzukiagreed to give you on Ben Nagata?

PORTEROh...Why didn’t you just say that inthe first place? Bite me.

Sato hits him again.



23.

JOHNNYFunny man. I got jokes too. Here’s one.That slut Max, she told us your story – Ex-CIA black ops, selling your servicesin exchange for dirt on us “bad boys”.

(off Porter’s surprise)Rule number one, shit for brains: nevertrust a whore to keep a secret.

Johnny blurts out a crazy laugh. Then stops abruptly –

JOHNNYStop wasting my time, asshole! What’syour deal with Suzuki? What’s that weakold bastard selling to you about us?

PORTER

You know so much about me. You knowyou’ll kill me before I tell you.

Beat. Then the Psycho Laugh again.

JOHNNYOkay, why the hell not!

He gestures impatiently to a MOBSTER, who goes into an SUVand brings back a SAMURAI SWORD. The blade glistens whenJohnny unsheathes it.

He puts the point under Porter’s chin. Their eyes meet.Satanic delight in Johnny’s, Porter’s unreadable.

Johnny grips the sword with both hands.

PORTER<<It’s not my deal with Suzuki thatNagato should be worried about. It’syours with the RCMP.>>

Alarm flashes in Johnny’s eyes. He raises the sword to

strike –

ABE (O.S.)<<WAIT!>>

Johnny stops at his master’s command. ABE NAGATO, 49, coolas the other side of the pillow, steps out of the shadows.

ABE<<What’s he talking about, Johnny?>>



24.

JOHNNY<< He’s just trying to save his ass.>>

PORTERSo the blonde you’re banging, she’s notan undercover Mountie?

Johnny seems as surprised by this bombshell as Abe is.

ABEHow do you know this?

PORTERI guess Max didn’t tell you I have acontact inside the RCMP.

JOHNNY

Bullshit! Abe, he’s lying!

PORTERYeah, Abe, I’m lying. Like when I saythat your next shipment of counterfeitcurrency is due on the twentieth.

Abe silences Johnny’s protest with a withering glare.

PORTER(to Johnny)

Hey, maybe she had you fooled too. Ithappens to the best of us. At leastthat’s what I’ve heard.

Johnny seethes.

ABEMr. Porter, you will tell me what shehas passed on to the RCMP about ouroperations. Now please.

PORTER

I told Max I wanted a meeting with BenNagato. If you want to know what theMounties know, you can be there when Itell him.

OFF Porter, knowing he’s won this round...

FADE OUT.

END OF ACT TWO



25.

ACT THREE

FADE IN:

EXT. ALLEY BEHIND TOPA BAR & RESTAURANT – NIGHT

A Mercedes pulls to a stop in the dead end alley. Johnny,Porter and Abe get out and enter –

INT. TOPA BAR & RESTAURANT – KITCHEN – CONTINUOUS

As they walk through, busy KITCHEN WORKERS barelyacknowledge their presence. Porter cases the area, planninghis exit strategy as always.

INT. – TOPA BAR & RESTAURANT – CONTINUOUS

A happening, upscale place with a late night crowd.

BEN NAGATO, 51, drinks sake at a private table. In blacksuit, tie and sunglasses, he looks a lot like a JapaneseRoy Orbeson, only more sinister.

Abe and Johnny arrive with Porter.

BENMr. Porter. You look like you could usea drink.

PORTERNagato-san. Thank you.

Porter, Abe and Johnny sit. Sato stands off to the side.

A beautiful COCKTAIL WAITRESS appears, pours sake thenquickly disappears. As Porter takes a drink, he uses thereflection in Ben’s glasses to check his surroundings. SIXHARD MEN discreetly guard Ben from around the room.

BENWhat does the RCMP know of ourcounterfeiting operations?

PORTERFirst Suzuki-san’s daughter. I know youdidn’t take her – a man of honor wouldnever go against the Oyabuns – but youknow who did. I’d prefer a name, butI’ll settle for a general direction.



26.

BEN(humored)

Look around, Mr. Porter. This is not anegotiation.

Porter glances around. But he already knew. Beat.

PORTER Alright. In her last report, Johnny’sgirlfriend – Sergeant Kate Deloitte – says your next shipment will arrive inbeef containers from Argentina.

Abe shoots Johnny a look. The information is correct.

PORTERI’m gonna go out on a limb and guess

Johnny’s not a snuggler. After shootinghis wad he falls asleep, Miss Mountieclones his cell. Texts, e-mails, phonenumbers. Sound about right, John?

Johnny’s reaction tells us this is probably what happened.

PORTER(to Ben)

RCMP’s been tapping Johnny since he’sbeen tapping Kate. Just assume they’vehacked all your online assets by now.Offshore accounts, bookie records, copsand politicians on the take –

WHAM! Ben slams his fist on the table. He’s heard enough. And that’s enough for Porter. He SHOVES the table into Ben,grabs Johnny’s gun from his shoulder holster.

Abe and Sato go for their guns but it’s too late – Porterhas Johnny’s gun trained between Ben’s eyes. All of Ben’s

men are frozen. Panicky PATRONS are on the floor.

Porter moves to Ben, pulls him to his feet, pressing thegun to his temple.

BENYou are a dead man, Mr. Porter.

PORTER After you, Nagato-san.

After a beat to enjoy the double-entendre, he moves Ben theHuman Shield across the room toward the kitchen.



27.

BENWhere do you think you can hide that we

won’t find you?

PORTERTo tell you the truth, I hadn’t givenit much thought.

BENI strongly suggest you start. Not thatit will do you any good.

INT. TOPA BAR & RESTAURANT – KITCHEN – CONTINUOUS

Ben and Porter enter. Now all eyes anxiously follow them.

One of Ben’s men follows them through the door. He shoots.Porter turns and takes him out with a shot to the chest.

EXT. ALLEY BEHIND TOPA BAR & RESTAURANT – CONTINUOUS

Porter and Ben emerge to find Ben’s men poised behinddumpsters and cars. There’s only one way out of the alley.

ABE(loudly)

What were you thinking, Porter? I’d letyou walk out of here with my brother?

PORTER(loudly)

Who said anything about walking?(awkward beat, then)

I said, WHO SAID ANYTHING ABOUTWALKING?!

VROOM! A powerful engine. Lights pop on. An AUDI A7 smashesinto the alley. Ben’s men shoot but the bullets bounce off.

The windows, body and tires are bullet proof.

The Audi screeches to a halt. Porter shoves Ben into theback then he gets in –

INT. AUDI – CONTINUOUS

The instant Porter’s door shuts Ravi throws the car intoreverse and floors it!



28.

RAVIHold on!

Bullets ricochet off the windows as the Audi speeds backthrough a barrage of small arms and automatic weapons fire.When they reach the street, Ravi spins the car and peelsout. He’s no ordinary taxi driver.

EXT. VANCOUVER STREETS – CONTINUOUS

The Audi, an SUV and a Mercedes race through Vancouver in ahigh-speed chase worthy of “Bullit”.

INTERCUT BETWEEN MERCEDES, SUV AND AUDI

In the Mercedes, Sato drives, Johnny rides shotgun and Abe

shouts directions in Japanese from the back –

In the SUV, FU MANCHU GANGSTER leans out the window with anM-16, shooting at the Audi –

Ravi’s no Steve McQueen, but he’s one hell of a wheelman, weaving through traffic, fishtailing, cutting corners –

PORTERWhat happened to waiting out back?

RAVIUh, maybe you didn’t notice the goons

with guns who were already there?

PORTERLook out!

A TROLLEY crossing up ahead. Ravi downshifts, double-jerksthe wheel to swerve around it.

The SUV can’t make it. Skids sideways and slams into thetrolley! Fumanchu gangster is instantly crushed to death.

The Mercedes’ path is blocked. Police SIRENS rapidlyapproaching in the distance.

ABE<<Get us out of here!>>

The Mercedes speeds away from the scene. Abe looks out therear window, eyes full of cold rage.



29.

EXT. MIDDLE OF NOWHERE – NIGHT

The Audi parked on the side of the road. Lights out. Ravileaning on the hood smoking a cigarette.

INT. AUDI – NIGHT

Just Porter and Ben in back.

PORTERI’ve already given you something, nowit’s your turn. Suzuki’s daughter.

BENMax told me you were persistent. Shealso said you were pragmatic.

(reading him, then)Tell me what Suzuki has on me and I’llpay you double not to give it to him.

And I’ll tell you who has his daughter.

Porter puts the gun to Ben’s head.

PORTERLook around, Nagato-san. This is not anegotiation.

EXT. MIDDLE OF NOWHERE – MOMENTS LATER

The Audi peels out, spraying gravel on Ben, who watches itspeed away.

INT. KATE’S APARTMENT – BATHROOM – NIGHT

KATE DELOITTE, 27, a voluptuous blonde, flossing her teeth.

INT. APARTMENT BUILDING LOBBY – NIGHT

Johnny and Sato enter with ominous purpose, go to theelevator and push the call button.

INT. KATE’S APARTMENT – BATHROOM – NIGHT

Now Kate’s brushing her teeth.



30.

INT. ELEVATOR

The “4” button is lit. Johnny and Sato on the way up.Johnny impatient. Sato impassive.

INT. KATE’S APARTMENT – HALLWAY – NIGHT

Kate leaves the bathroom in a tank top and Hello Kittyshorts. Suddenly, she stops in the hallway. Listens. Isthere an intruder? She quickly crosses the hallway to her –

BEDROOM

Where she goes to the nightstand and pulls out a dainty .22 AUTOMATIC. She flicks off the safety. Chambers a round.

HALLWAY

Kate returns to the hallway, gun first, moving toward theliving room. Frightened but determined.

KATEWho’s there?!

(beat)Listen, I have a gun! I’m not afraid toshoo –

Someone GRABS her from behind and puts a cloth over hernose and mouth. She struggles but soon goes limp. The

ABDUCTOR, dressed head-to-toe in black, lifts herfirefighter style and exits the apartment with her –

INT. APARTMENT BUILDING HALLWAY – CONTINUOUS

Carries her down the hallway and out a stairwell door.DING! The elevator opens. Johnny and Sato get off, stridepast the just closed stairwell door –

EXT. ALLEY BEHIND APARTMENT BUILDING – NIGHT

Kate’s abductor dumps her in the back seat of a sedan thenslides in behind the wheel. The sedan drives off –

INT. KATE’S APARTMENT – SAME

Johnny and Sato’s search comes up empty. Johnny SCREAMS andshoots Kate’s bed full of holes. Sato watches, impassive.



31.

INT. SEDAN – NIGHT

Kate’s eyes flutter and she wakes with a start. Looks up ather abductor. Before she can scream a gloved hand coversher mouth.

REVERSE ANGLE to reveal Kate’s abductor is Ingrid.

INGRIDKate, listen. If I were going to killyou, you’d be dead. Do you understand?

(Kate nods “Yes”)I’m not going to hurt you. I promise.Now, I’m going to move my hand but onlyif you promise not to scream. Okay?

Kate, wide-eyed and more than a bit surprised that her

abductor is a woman, nods “Yes”. Ingrid moves her hand.

KATEWho are you? What do you want with me?

INGRIDI’m a friend, Kate, and I want to saveyour life.

OFF Kate...

INT. SEDAN – MOVING – LATER

Ingrid drives. Kate rides shotgun.

KATEI don’t understand. Johnny hired me tobartend at the Topa last month. Why

would he think I was in the Mounties? And why would he want to kill me?

INGRID

It’s a short – and trust me – veryconvoluted story. What’s important isyou have to disappear for a few days.

Kate looks at her, wary.

KATEDisappear?

MAX (O.S., PRELAP)Disappear?...



32.

INT. CHEAP MOTEL ROOM – NIGHT

Porter sits shirtless on the edge of the bed while Max,kneeling, expertly stitches a nasty cut under his left eye.

MAXI thought I had. Until you showed up.

PORTERJust for a few days.

She snips the thread none-to-delicately to make a point.

PORTEROW!

MAX

I knew one day I’d regret not killingyou. Now you’re going to get us bothkilled. For real this time.

PORTERLook, Max, I know it doesn’t look likeit but things really are goingaccording to plan.

MAX Ah! So your plan was to get beaten to within an inch of your life and ruin mine too? In that case bravo.

PORTERThe plan was to get Nagato to point meto Suzuki’s daughter. He’s done that.

MAXYou don’t really trust him do you?

PORTERYou did. For five years.

She stands up with the pan of water and first aid kit.

MAXYou of all people should know sex andtrust have very little in common.

He watches her go into the bathroom.

PORTERTrust him? No. But I do believe him.



33.

MAX (O.S.)(from bathroom)

Why would one of Suzuki’s own peoplekidnap his daughter? It’s suicide.

PORTERSuzuki’s young Turks are tired ofseeing Nagato rack up all the newbusiness, like the counterfeiting scam.So when the boss’ precious little girlgets copped, Nagato’s first on thesuspect list. If Suzuki breaks thetruce to get her back, the Oyabuns haveno choice but to remove him.


And Ben doesn’t have to lift a fingerto replace his most bitter rival withsomeone young and inexperienced.

PORTERWhich is why Suzuki hired us.


So you’re still with What’s-Her-Name?

PORTERWe’re not “with” each other, we’rebusiness partners...Do I detect a hintof jealousy?

Max returns wearing nothing but his shirt.

MAXWhat on earth would I have to bejealous about?

PORTER

(beat, admiring her)I have absolutely no idea.

(then, back to business)Matsuda’s had a tail on me since Iarrived at the airport. After tonight,he’ll assume I’m dead. If he’s smart,he’ll move on Suzuki soon.

MAXWell, if you’re dead you can afford afew hours to rest and lick your wounds.



34.

She gently kisses a small cut above his right eye.

PORTEROw!

Beat. She kisses a bruise on his cheek.

PORTEROw.

MAXWhere doesn’t it hurt?

PORTER(he touches his ear lobe)

Here.(she kisses his ear lobe)

Here.(she kisses his neck)

Here...

She kisses him on the lips. The kiss deepens and he pullsher onto the bed as we...

FADE OUT.

END OF ACT THREE



35.

ACT FOUR

FADE IN:

INT. HOTEL ROOM – NIGHT

Dark. Max’s soft breathing the only sound. She’s asleep inbed. Alone.

INT. HOTEL ROOM – BATHROOM – NIGHT

Porter stares at himself in the mirror. Somewhere else.

INT. GROZNY HOTEL ROOM – DAY (FLASHBACK)

Porter and Ingrid in a cheap hotel room. Packing hurriedly.

SUPER: GROZNY. THREE YEARS EARLIER

INGRIDWhat do we do now? There’s no placethey won’t find us.

PORTERHide in plain sight.

INGRIDUh, not a good plan Porter.

PORTERLook, we did the right thing. We bothknow that. For the first time in yearsI felt like I made a real difference,that I wasn’t just someone’s pawn.

INGRIDI know. But the agency isn’t big onfailure. They’re even less big on

assets who try to walk away.

He turns to face her. Committed, almost religious.

PORTERIngrid, why shouldn’t we keep doing theright thing? On our terms.

INGRIDI’m sorry, but I have this thing about

making sense and right now you’re not.



36.

PORTERWho says we can’t do what we do for theright reasons instead of reasonsinvented by brain dead bureaucrats inWashington?

INGRIDBrain dead bureaucrats in Washington.Porter, rogues have exceedingly shortlife expectancies, you know this.

PORTERI’ll tell you what I know. Between us

we have enough red on our ledgers tofill a Tolstoy novel.

INGRID

And do you also know that everyone inhis novels ends up dead?

PORTER(ignoring sarcasm)

We make it clear that if they don’tleave us alone, our red starts spillingonto Pennsylvania Avenue and a dozencapitals around the globe.

INGRID(a big ass decision)

Porter, I don’t know.

PORTERWhat’s the alternative? You couldn’tpull the trigger here. Can you pull itnext time knowing it’s for the wrongreason? Or not knowing why at all?

INT. HOTEL ROOM – BATHROOM – NIGHT (RETURN TO PRESENT)

MAX (O.S.)Porter, you alright?

Porter looks in the mirror at Max, standing in the doorway.

PORTERYeah.

MAXCome back to bed. You need to rest.



37.

INT. HOTEL ROOM – DAWN

Max rolls over in bed expecting to find Porter but findinga warm spot instead. She opens her eyes. Looks around.

The only sign that anyone else was ever there is the U.S.PASSPORT on the pillow next to her.

She opens the passport. Her photo with the name “YunjinPark”. A handwritten NOTE inside.

INSERT NOTE

“For a rainy day.”

RESUME

OFF Max, truly touched...

EXT. ACCESS ROAD – DAWN

A lonely road outside an abandoned industrial complex.

An oil tanker truck comes down the road. Pulls off andstops behind two waiting Mercedes. Standing next to thecars are Abe and TWO GANSTERS.

INT. TANKER TRUCK – CONTINUOUS

A stiff Ben Nagato next to a jovial TRUCK DRIVER.

TRUCK DRIVERLooks like you’ve got yourself quitethe welcome wagon here.

BENThank you again for the ride and use ofyour phone. My men will reimburse you.

TRUCK DRIVERNo need. Glad I came along when I did.

Ben opens the door and steps down out of the cab as thegangsters approach, GANGSTER #1 on the passenger side.

TRUCK DRIVERListen, I was just telling your boss hedoesn’t owe me anything for the –



38.

The truck driver’s eyes go wide with terror when Gangster#1 pulls a gun. BAM! Gangster #2 opens the driver’s door,shoves the dead man aside, rolls down the window and putsthe truck in gear.

EXT. ACCESS ROAD – CONTINUOUS

The truck rumbles past as Ben meets up with Abe.

BEN<<I want him dead! Everyone close tohim. Dead!>>

ABE<<We squeezed Max hard. Looks like he’sgot an ex-wife.>>

BEN<<Start with her.>>

INT. MERCEDES – MOVING – MOMENTS LATER

Ben and Abe in the back seat.

BEN<<What about Johnny’s mess?>>

ABE<<All of our online files have beenswept. Most of our loose ends have beentied and I’ve spoken to Tokyo.>>

BEN(turns to him)

<<Most?>>

INT. SMALL CEREMONIAL ROOM – SUNSET

Ben, Abe and Sato sit at a round table. Sato puts his lefthand on a white cloth, fingers spread. In his right hand heholds a TANTO KNIFE. Without so much as a grimace, he cutsoff his left little finger below the first knuckle.

He wraps the severed finger in the cloth and respectfullyhands it to Ben. At the conclusion of the Yubitsume ritual,one of Ben’s men takes the “package” and leaves the room.



39.

BEN<<Yubitsume will not be sufficient forfuture failures.>>

SATO<<Yes, Godfather.>>

BEN<<You may redeem yourself. Kill Porter,those close to him, Suzuki’s daughterand the fools who took her.>>


BEN<<Fail and you will join Johnny.>>

The man who took away Sato’s finger returns and places acovered platter on the table. He removes the cover. Satoshows no reaction when he looks at Johnny’s SEVERED HEAD.


INT. ABANDONED WAREHOUSE – DAY

Porter, Ingrid and Ravi have set up shop, basically Ravi’sruggedized laptop and a few weapons cases.

RAVIWhy should she trust a strange woman

who drugged and kidnapped her over theguy she was sleeping with?

INGRIDOdds are the guy she was sleeping withis sleeping with the fishes by now.

PORTEREven if Johnny’s alive – which I doubt

– they won’t waste time on her oncethey realize Kate the Mountie really isjust Kate the bartender.

INGRIDIn the meantime, she’s in a safe place.

And she will keep quiet.

Ravi looks at Ingrid, unconvinced, then Porter.



40.

PORTERBelieve me, she has her ways.

RAVIIf you say so, boss.

(then, re: his laptop)Okay, using GPS from his cell, I’ve

mapped Matsuda’s movements since thekidnapping and narrowed the most likelyholding places to these two.

Porter and Ingrid come and look over his shoulder.

RAVIYou know, this may be a dumb question,but why not just tell Suzuki thatMatsuda has his daughter?

PORTERHe’d kill her before we got to her.

INGRIDWhich means all bets are off.

PORTERWhich means we don’t get paid.

RAVI(wanting to get paid)

So, like I was saying, she’s got to bein one of these two places.

INGRIDMy money’s on the beach house.Yesterday there was a run on tampons ata convenience store three miles away.

Beat. Porter and Ravi look at her. “Huh?!”

INGRID

She’s thirteen.(off blank stares)

She got her first period.

EXT. BEACH HOUSE – NIGHT

Establishing a modern, three-level glass and redwood beachhouse. No armed guards in sight. With the naked eye you’dhave a hard time spotting the phalanx of high-tech security

measures protecting the house, but...



41.

ON A COMPUTER MONITOR

With satellite surveillance “borrowed” from N.S.A.,infrared pinpoints security cameras and sensors, thermalimaging tracks guards inside and outside the house andsound equipment eavesdrops.

INT. SURVEILLANCE VAN – NIGHT

Ingrid in back monitoring the spy equipment trained on thebeach house. Our heroes speak via black ops com-links.

INGRIDSeven total. Three in, four out.

EXT. ROCK FORMATION ON BEACH – NIGHT

Porter hides among the rocks, surf splashing at his feet, with a view of the beach house 50 yards away.

PORTERWhat about the girl?

INT. BEACH HOUSE – ERIN’S BEDROOM – NIGHT

ERIN SUZUKI, 13, is curled up on the bed holding a heat padto her stomach. We hear HIP-HOP coming through the earbudsin her ears.

INGRID (V.O.)Patience...

PORTER (V.O.)The tide waits for no man.

The door of the room opens and JIRO, 22, pop star looks,enters with a tray of food.

JIRODinner.

She doesn’t hear. He puts the tray on the bed next to her.

JIROIt’s got that special salad dressingyou asked –

She reacts, FLINGING the tray at him.



42.

ERINGET OUT! LEAVE ME ALONE!

INGRID (V.O.)Got her. Third level, southwest corner.

EXT. ROCK FORMATION – CONTINUOUS

Porter moves off the rocks onto the beach.

INGRID (V.O.)Wheels, take position.

EXT. BEACH – CONTINUOUS

A mile away, Ravi fires up a DUNE BUGGY. No lights.

RAVIWheels moving.

INT. BEACH HOUSE – KITCHEN – NIGHT

ICHI 25, plump with a bad haircut, is playing cards withthe serious-looking man who followed Porter out of theairport. This is MATSUDA. They look at Jiro when he enters.

MATSUDA (re: food on Jiro’s shirt)

Her highness threw up on you again?

JIROSpoiled little bitch!

ICHILosing your touch, lover boy? She usedto be crazy about you.

(chuckles)

Anyway, you remember what it was likegetting your first period don’t you?

Jiro joins them at the table. He’s not amused.

JIROThis is bullshit! The old man’s toochicken shit to make a move againstNagato, so what are we waiting for?Let’s just do her and get it over with.I’m tired of babysitting.



43.

MATSUDA We’re all tired of babysitting. But wedo her when I say we do her.

ICHIWhat’s your hurry, Jiro? Now that herplumbing’s up and running, you can havea little fun before we take her out ona one-way cruise.

Matsuda cuts Ichi a look of disgust. “You sick fuck!”

On the counter across from them, a laptop computer displaysa dashboard of security activity and quadrants of liveSECURITY CAMERA feeds. The men don’t notice when onequadrant blinks off then comes back on.


QUICK CUTS of Porter making brutal, bone-cracking, barehands kills of the FOUR GUARDS outside the house – two onthe beach side, one out back, one out front.

IN THE VAN before each kill, Ingrid overrides the securitycamera feed, replacing it with previous footage.

Porter stealthily approaches a first level patio door, hisentry point into the house.

PORTERIn position.

INGRID (V.O.)Overriding access code...now.

INT. BEACH HOUSE – CONTINUOUS

The security keypad on the wall flashes red then green. The

patio door slides open. Porter enters.

EXT. BEACH/DUNE BUGGY – NIGHT

A half-mile away, Ravi watches the house with night-sightbinoculars. Sees TWO SUV’s moving fast down the accessroad. Lights out.

RAVIHead’s up. We’ve got company.



44.

INT. TWO SUVS – MOVING – CONTINUOUS

Speeding down a dark beach access road, Sato and his SEVENGUNMEN lock and load an arsenal of AUTOMATIC WEAPONS –

EXT. BEACH HOUSE – CONTINUOUS

The two SUVs stop out front. Sato and the gunmen alighttheir vehicles and spread out to approach the house as

we...

FADE OUT.

END OF ACT FOUR



45.

ACT FIVE

FADE IN:

EXT. SURVEILLANCE VAN – NIGHT

Ingrid pulls a DIRT BIKE from a trailer hitched to the backof the van. Climbs on, fires it up and speeds off.


Sato’s in position but something’s wrong. No security. Isit a trap? He pushes doubt aside, opens the front door –

INT. BEACH HOUSE – NIGHT

Dealing cards, Matsuda glances over at the laptop on thecountertop. Something’s not right. He draws his gun.

ICHIWhat is it?

INT. BEACH HOUSE – ERIN’S BEDROOM – CONTINUOUS

Erin jumps, startled, frightened, when Porter enters.

ERINWHO ARE YOU?!

PORTERErin, don’t be afraid. Your father sent

me. I’m here to take you home.

ERINDaddy sent you?

PORTER

Yes, he did.

GUNFIRE downstairs. Porter pulls Erin off the bed –

INT. BEACH HOUSE – VARIOUS – CONTINUOUS

Matsuda, Jiro and Ichi exchange fire with Sato and three ofhis gunmen across an area connecting the kitchen and aspacious great room. Two other gunmen break off and headfor an expansive staircase.



46.

EXT. BEACH HOUSE – ROOF OUTSIDE BEDROOM – CONTINUOUS

Porter helps Erin out the window. Bullets ricochet allaround them. Porter shields the girl then pulls his SIG9mm, returns fire at two of Sato’s men on the ground.

PORTERBack inside!


Erin and Porter scramble back in. The door busts open andthe other two gunmen rush in, guns blazing. Porter pushesErin to the floor, dives the other direction and shoots –

EXT. BEACH HOUSE – CONTINUOUS

We hear the GROWL of the dirt bike engine. The two gunmenon the ground who fired on Porter and Erin turn just intime to see Ingrid leap from the bike and roll. They fire.She rises to one knee, a SIG in each hand, and smokes both

men with the cool efficiency of a trained assassin –

INT. BEACH HOUSE – VARIOUS – CONTINUOUS

Ichi withstands a hail of bullets then reaches over thekitchen counter and gives as good as he gets until – CLICK

– he runs out of ammo. He gets mowed down –

Jiro makes a break for it and takes two in the back –

Sato maneuvers behind Matsuda. Matsuda spins, takes a roundin the chest and goes down, mortally wounded. Sato goes tostand over him. Calmly finishes him with one to the head.


One gunman is dead. Porter trades fire with the other onefrom behind an overturned armoire. He looks over at Erinunder the bed, her eyes pleading, “Don’t let them kill me!”

Porter has no firing advantage. Can’t get one. Can’t reachthe girl. To Erin’s horror, he tosses his gun out.

PORTER(calling out)

Okay! Okay! I give up!



47.

GUNMANHands up! Up!

Porter stands, hands over his head. The gunman approachescautiously. Kicks Porter’s SIG away. Glances at Erin – andthat’s all Porter needs. He knocks the gun out of the man’shand. But this guy isn’t a paper tiger.

Erin watches as the two martial arts experts trade viciousblows around the room. Porter ends it with a larynx-crushing chop to the gunman’s throat. Breaks his neck forgood measure. Then he retrieves his SIG. Looks at Erin.

PORTERYou okay? Let’s go!

INT. BEACH HOUSE – SECOND LEVEL – CONTINUOUS

Porter and Erin go for a sliding glass door leading to anocean-side patio. Before they make it one of Sato’s menopens fire. Porter pushes Erin down, returns fire, thenshatters the glass with a few well-placed shots.

PORTERGo!

ERINWHAT?!

PORTER(re: patio)

NOW!

Erin dashes out the shattered window wall. The gunmanexposes himself to take a shot at her and Porter nails him

with two shots to the chest –

EXT. BEACH HOUSE – PATIO – CONTINUOUS

Erin runs down the stairs to the beach. Stops cold whenanother gunman appears at the bottom of the stairs. He aimsat her. BAM! He drops dead. Assassin Ingrid runs over.

INGRIDErin, come on sweetheart!

Erin pauses, unsure. Ingrid smiles a little and Erincontinues down the stairs. When she gets there Ingrid looks



48.

up at Porter, on his way down. We hear the REVVING dunebuggy engine. Ingrid hesitates, waiting for Porter.

PORTERGo!

Ingrid and Erin run to the waiting dune buggy.

Porter reaches the bottom of the stairs and starts tofollow them. Sato’s LAST GUNMAN cuts him off. Porter levelshis SIG, pulls the trigger and – CLICK – empty. Fuck!

The last gunman smiles malevolently. Levels his gun.

SATO (O.S.)PORTER!

Porter turns to face Sato, who has just reached the beachfrom the patio. Ingrid, Erin and Ravi can only watch from the dune buggy. Holy Shit! –

Porter’s stuck between two killers. No ammo. No cover. Nochance. Then...Sato SHOOTS HIS LAST GUNMAN IN THE HEAD!

Porter and Sato stand there in a stare down until the dunebuggy pulls up. Porter climbs in. Ravi makes a U-turn andthey tear out down the beach, Sato watching after them.

INT. VANCOUVER SIDESTREET – NIGHT

The surveillance van pulls to a stop behind a town car. A BODYGUARD gets out of the car and opens the door forSuzuki. Porter, Ingrid and Erin get out of the van. Erinruns to her father and they embrace.

After giving them a moment, Porter walks to Suzuki. Beat.Suzuki motions to his bodyguard, who reaches in the car andbrings out a large ENVELOPE. He gives it to Suzuki, whohands it to Porter.

Erin looks at Porter and finally allows herself to smile.

ERINThank you. For rescuing me.

Porter looks at her and we see a side of him we haven’tseen – almost vulnerable. He nods, turns and walks back toIngrid, who regards him with a knowing look. They get inthe van and drive away.



49.

INT. MAX’S CABARET – DAY

Max is at a table going over the club’s finances on herlaptop. Makeup can’t hide the bruise under her eye. A shadow comes over her. After a beat, she looks up at –

PORTERBeen meaning to talk to you aboutsecurity at this place.

MAXYou looking for a job?

PORTERJoe Steroid over there isn’t exactly A-team material.

MAX(re: the bouncer in b.g.)

His name’s Kenneth and I trust him.Besides, with Ben and Abe out of thepicture, what do I have to worry about?

He sits. Hates that she was roughed up.

PORTERI’m sorry they hurt you, Max. You haveto believe I didn’t plan on that.

MAXHard to believe there’s anything youdon’t plan on.

(smiles; all’s forgiven) And it’s hard to believe Ben and Abebought the bartender as a plant.

PORTERThat was a long shot. But it got them to decrypt all of their files, whichgave RCMP access to every hit, bribe

and payoff in the last eight years.

MAXThe Oyabuns will ostracize Ben and Abe.If they ever do make it to prisonthey’ll be lucky to last a month behindbars.

(then)Porter, I have to ask. How’d you findout about the real RCMP mole?



50.

PORTERWhat’s-Her-Name’s pretty good at thatsort of thing. We threatened to blowhis cover if he didn’t play ball.

MAXWho is he?

PORTERLet’s just say now the Mounties haveone of their own near the top of theCanadian Yakuza.

MAX And now the Mounties owe you. Same oldPorter, always looking for leverage.

She closes the laptop. Puts the passport on the table.

MAXOnly three people living know my givenname and two of them are at this table.So what’s this, more leverage?

PORTEROnly two people.

MAX(surprised)

Our mutual acquaintance in Pyongyang?

PORTERDied unexpectedly last week.

Beat. Surprise turns to cold anger.

MAXYou lied to me?! Used me like a pawn inone of your spy games? You reallyhaven’t changed at all, have you?

PORTERMax, I –

The bouncer has rushed over.

BOUNCEREverything okay here, Max?

MAXKenneth, Mr. Porter was just leaving.



51.

Porter see’s it’s no use trying to explain. He stands.

PORTER(re: passport)

Don’t be a stranger.

MAX(dismissive)

Safe travels, Mr. Porter.

Beat. He walks away. Max watches him go. Only after heexits does her icy façade melt and we see her love for him.

INT. RAVI’S TAXI – MOVING – DAY

The envelope Suzuki gave Porter is on Ingrid’s lap. She’s

reading a MEDICAL REPORT.

INGRIDStage four liver cancer. He’s got three

months, six at most...He wanted tospend them with his daughter.

She looks at Porter, next to her in the back seat.

RAVISo another Yakuza boss takes his place.That makes everything we went through

worthwhile?!

INGRIDYou can return your share of the moneyany time, Ravi.

That shuts him up.

PORTERThe Oyabuns don’t want to loseterritory to the Italians or the

Russians. They’ll force Suzuki’s weakeroutfit to merge with Nagato’s.

INGRIDWhich is now run by Sato.

RAVI All part of the plan, right? I have togive it to you, you two really aresmarter than the average bears.



52.

INGRID(off Porter’s look)

Yogi and Boo Boo.

RAVIYou know, I’ve been thinking, you twocould definitely use another partner.

INGRIDReally?

RAVIYeah, you know, a junior partner.

PORTERThought you were strictly freelance.

RAVII don’t know. Working with you two

makes me think maybe there’s more tothis biz than the money, you know?

OFF Porter and Ingrid...

EXT. VANCOUVER INTERNATIONAL AIRPORT TERMINAL – DAY

The taxi arrives. Ingrid and Porter get out, walk into thebustling terminal and melt into the crowd.

INT. EXOTIC IMPORTS – PORTER’S OFFICE – DUSK

Porter is at his desk, lost in thought. Most of his bruiseshave healed but he still has stitches below his left eye.Ingrid leans against the door, arms crossed, watching him.

INGRIDShouldn’t you be gone already?

PORTER(snaps out of it)

I was just about to take off.

INGRIDWhat is it?

PORTER(beat)

You ever wonder if we’re different? Orare we the same people we were then?



53.

INGRIDWhat I think...is we do this for theErins, not their fathers. That’s madeus different from who we used to be.

OFF Porter, needing to hear her say it...

INT. EXOTIC IMPORTS – LATER

Ingrid locks the front door, turns the “Open” sign over to“Closed” and walks to the back of the shop, out of view.

We hear a CHIME indicating the front door has opened. Beat.

INGRID (O.S.)(calls from back)

Sorry, we’re closed!

After a moment, Ingrid returns, left hand behind her back.She covers, but we read her fear at who is she sees.

RUSSIAN MAN (O.S.)(in Russian, subtitled)

Agent Kournikova, I understand that I must make an appointment to see you.

OFF the SIG pistol Ingrid’s gripping behind her back...

EXT. LOFT BUILDING PARKING LOT – NIGHT

Porter bolts out of the Courier and dashes into thebuilding carrying a bouquet of FLOWERS –

INT. LOFT BUILDING – CONTINUOUS

He passes the elevator, goes straight to the stairs –

INT. LOFT BUILDING STAIRWELL – CONTINUOUS

Takes two at a time –

INT. PORTER’S LOFT – CONTINUOUS

Enters his loft. Stops dead in his tracks –



54.

PORTER(uh-oh)

Hi.

Standing there are REBEKAH, 38, black, pretty, in nurse’sscrubs, and her daughter GEMMA, 12 going on 20, jewelednose stud, HIP-HOP blaring from her earbuds.

GEMMA Hi, Dad!

She goes to him and puts her arms around his waist. He hugsher too.

PORTERHi, beautiful.

REBEKAHWe waited until after seven before Iused Gemma’s key. I thought you mightbe tidying up, but clearly...

She holds up a pair of BRIEFS with finger and thumb.

PORTER(re: flowers)

Sorry, I made a stop.

GEMMA (re: flowers)

Dad, male chauvinist expressions ofaffection are so gauche. But thanks.

She heads to the kitchen with the bouquet.

REBEKAH(re: flowers)

Nice...(he smiles)

Being here on time would’ve been nicer.

Cary, she needs to know you’rereliable. So do I.

PORTERWhat if I said they were for you?

REBEKAHI’d say thanks. For making me late for

my shift again.(notices stitches)

What happened to your face?



55.

PORTERGood date turned bad.

REBEKAHMaybe you should stop dating strippers

with mobster boyfriends.

PORTERI will if you will.

She ignores him and starts for the door. Lowers her voiceas if Gemma might possibly hear through Jay-Z’s base line.

REBEKAHLook, I know you were planning to takeGemma surfing this weekend, but save itfor next time, okay.

PORTERBut she loves to surf.

REBEKAHThis isn’t a good time.

PORTER‘Bekah, I checked the surf forecast.The waves off Zuma should be –

REBEKAH(a point, not a statement)

It’s not a good time.

PORTER(beat, getting it)

Oh.

REBEKAHYeah. I would’ve canceled this weekendbut she insisted. Heaven knows why, butshe thinks you’re interesting.

Porter looks over at Gemma arranging the flowers and we seethat rare side of him again.

REBEKAHGemma sweetheart, enjoy the weekend!Love!

GEMMA Bye, Mom! See you Sunday! Love!



56.

REBEKAH(to Porter, serious)

Take care of my child or I will killyou. That’s not a threat –

PORTER(smiles)

I know. It’s a promise.

He opens the door for her.

PORTERHey, maybe we can have dinner Sunday?Geoffrey’s?

(off her look)I meant the three of us. You, me,Gemma.

REBEKAHI have plans.

PORTERStripper?

She rolls her eyes. Then she checks out his stitches again,touching them gently, evaluating. “Nice job.”

REBEKAHYou really should give Vegas a rest.

(then re: cut)I’ll bring something to keep that clean

when I come for Gemma.

He watches her walk to the elevator and go inside. Theystare at each other until the doors close. Then Porterlooks over at Gemma, her head bobbing to the music. Hesmiles to himself and closes the door on us as we...

SMASH TO BLACK.

END OF SHOW

notorious - pilot

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