1 INT/EXT VARIOUS LOCATIONS.
PHNOM PENH. DAY/NIGHT
Montage,
with music over.
Home
movie footage. A little wobbly. Shot from a low angle. A child’s point of view.
Amateurishly filmed street life images flow - as might be seen through the eyes
of a child who has never been in Phnom Penh or used a camera before: First
impressions:
- A
BEGGAR WOMAN, sits on a sidewalk, hand outstretched. The shot, seen through the
legs of passers by, is wobbly, ‘out of focus’; badly framed. Beside the BEGGAR
WOMAN, a 10 YEAR OLD GIRL, a BABY asleep in her lap, looks at the camera.
- An
‘almost-in-focus’ wobbly and tilted shot of the magnificent Royal Palace in
downtown Phnom Penh.
- A
crowded market. Live fish squirm in a large plastic tray.
- A
YOUNG GIRL leads a BLIND MUSICIAN by a rope as he plays a one stringed
instrument.
The
images are mostly of poor, beggar and disabled people, but there are some of
TOURISTS sitting in swish roadside restaurants drinking coloured cocktails and
eating from plates piled high with food.
The
‘child’ filming discovers the zoom function; plays with it - zooming in and
out.
- A shot
tightens on an EXTREMELY FAT CAUCASIAN MAN, eating alone, trying to wrap his
mouth around a huge hamburger. The shot wobbles a little as the child’s giggling
is heard.
It is
night now. A hot night. Sweat, sleaze and sex inform the images.
- A club
and bar district in Phnom Penh. The streets are crowded. Flashing neon signs-
“Pussy Galore”, “69” “Dream Girls” etc - adorn most establishments. It is a hot
night.
Scantily
clad young Khmer women wearing impossibly high heels and too much make-up strut
their stuff in the street; try to attract the attention of predatory men - most
of them on the wrong side of 50.
- A
YOUNG WOMAN in a micro-miniskirt and boob tube looks directly into the lens,
smiles to the camera-child; flashes a double V sign with her hands. A
MIDDLE-AGED MAN turns away from the camera. He does not want to be filmed.
The
camera tilts down to two scrawny street dogs scrounging the gutter looking for
food.
From the
child’s perspective A TEENAGE KHMER WOMAN in red high heeled shoes walks by,
holding the hand of a balding POT-BELLIED MAN - old enough to be her
grand-father. He is drunk. She is flirtatious; snuggling up to him.
2 INT. LIVING ROOM. NICK’S
APARTMENT. NIGHT
NICK,
wearing a sarong only, his face sporting a weeks growth of beard, sits in front
of his laptop computer. On the screen there is a digital replica of the Nest of
Vipers collage on the wall in front of him. The computer version is more
detailed, with more connecting coloured lines. Close on:
An icon
containing a small photo of Terry Swinton. The cursor arrow moves to the icon.
A double click is heard. The icon opens to reveal a folder filled with photos,
newspaper articles, a letter requesting documents under Freedom of Information
legislation. The headline of one of the newspaper clippings, above a photo of
Terry Swinton, reads:
CORRUPT COP JAILED FOR DRUG STING
NICK
shifts documents around, writes notes, drops Angela’s photo of Lindsay
Henderson’s severed head into the folder.
3 INT. STUDY. PALATIAL HOME.
NIGHT
ANGELA,
in a sarong, is sitting at a large desk, in front of her computer, editing her
recent photos.
In the
background, through a door, a figure can be seen asleep in a double bed.
Moving
fast she moves photos into ‘Yes’, ‘No’ and ‘Maybe’ folders. Some that she
lingers on are familiar to us:
Nick hands a $20 bills to a child leading a blind beggar by a rope.
Vichet holds his hand up, like a gun, close to Nick’s
head.
The Khmer Man, in the morgue, in tears, wrapped in Nick’s
arms.
4 EXT. PHNOM PENH CLUB DISTRICT.
NIGHT
The
TEENAGE KHMER WOMAN and POT BELLIED MAN turn from the main road, down a dimly
lit and rubbish filled alley-way.
The camera-child
watches them for a moment, then swings the camera away from the alley-way to
reveal a wider shot of the crowded street, then back again to the alley-way.
The
TEENAGE KHMER WOMAN and POT-BELLIED MAN, further down the alley, walk into the
back entrance of a building.
The
camera-child follows them down the alley-way towards the back entrance. The
sound of a woman’s scream pierces the night; shocks the child. The shot
wobbles. A dark figure emerges from the back entrance, running away from the camera.
The camera-child ducks down behind a pile of rubbish; films the pavement for a
moment before recovering. The TEENAGE KHMER WOMAN, distressed, runs by;
bare-footed. She does not notice the camera-child. The POT-BELLIED MAN is close
behind her; moving as fast as his bulk will allow; fear in his eyes.
The
camera-child moves to the back entrance, up steps; into:
5 INT. CORRIDOR. BROTHEL. NIGHT
A
corridor dimly lit with red lights. Through an open door to a small room s/he
sees a double bed with a full length mirror alongside it. A little further
along s/he sees a pair of red high-heeled shoes on the floor of the corridor.
Through
a partially open door a dog can be seen lapping at a dark puddle of liquid on
the floor. The camera-child holds on the dog for a moment before beginning to
tilt up. The sound of the camera child’s scream is heard.
6 INT. LIVING ROOM. NICK’S
APARTMENT. NIGHT
On his
computer NICK draws black lines from the photo of Lindsay Henderson to others
in the collage. His yellow smart phone rings. He looks at the screen:
BALIN MEAS
He looks
at his watch:
3 am
NICK
picks up his phone.
NICK
Meas.
He
listens for a moment; raises his eyebrows in surprise.
7 INT. STUDY. PALATIAL HOME.
NIGHT
ANGELA
edits her photos. The thin sound of Beethoven’s 5th Symphony is heard. She
picks up her mobile, looks at ‘caller’, smiles.
8 EXT. NICK’S APARTMENT. NIGHT
NICK,
moving fast, walks from his apartment to his 4 WD parked in the street, gets
into it.
9 INT. BEDROOM. NIGHT
ANGELA,
dressed now, props a note on the table beside the bed in which a MAN, his face
turned away, sleeps.
The note
has been signed with a ‘heart’ and xox.
ANGELA (voice off)
This
better be good! (A BEAT) ‘Riliable sauce’?
10 EXT. CITY STREETS. PHNOM PENH.
NIGHT
ANGELA,
on the back of a fast-moving moto dop, has her mobile phone to her ear. The
streets are close-to-deserted.
NICK (telephone)
Meas.
Pull over.
ANGELA
Why?
NICK (telephone)
Look
behind you.
She
looks behind her. NICK’s 4 WD, 50 or so meters back, is moving up fast behind
her.
ANGELA (laughs)
Are you
stalking me?
11 INT. NICK’S 4WD. NIGHT
ANGELA
settles into the passenger seat, closes the door, looks at NICK as he drives
off.
ANGELA
You
growing a beard? Or just forgot to shave?
NICK (smiles)
Does it
suit me?
ANGELA
If being
a derelict down on his luck is the look you are going for?
(Nick
laughs.)
So
what’s this all about?
NICK
A body.
That’s all Meas said, but one that he said I might be interested in.
(He
looks at her; grins) Other than yours, that is!
ANGELA (smiles)
Whose
body?
NICK
Didn’t
say. ‘Murdered’, is all...
ANGELA
You
going to make a habit of this? Only calling me when someone’s been murdered.
NICK
Well...if
I called you just to ask you to...meet me for a drink or something, you’d think
I was just trying to get into your knickers, right? Whereas...if I invite you
to a murder scene...
ANGELA
You are,
aren’t you? Trying to get into my knickers?
NICK
Yes, but
this way we can keep the relationship strictly professional.
ANGELA
Cretin.
(A BEAT) Its OK to make a murder...body-free call...if you want.
NICK
The
jealous boyfriend won’t mind? (A BEAT) Won’t know?
ANGELA
You
doing research for your novel?
NICK
Just
curious.
ANGELA
‘Curious’
is one of the more polite words I could use to describe you?
NICK
You
don’t need to be polite.
ANGELA
laughs out loud; shakes her head.
NICK
How
jealous?
ANGELA
You
don’t want to know.
NICK
Is he
bigger than me?
ANGELA
I’ve
never seen you without your knickers on so how would I know?
NICK (laughs)
You’re a
wicked woman, Miss Angela Partridge.
ANGELA
But not
wicked enough for your liking!
He looks
at her - his eyes flitting between her lips and the road ahead. He moves his
head closer to hers. ANGELA smiles - nervous and excited at the one time.
12 EXT. CITY STREET. NIGHT
NICK
slows his yellow 4WD to a stop at the side of the deserted city street; turns
off the ignition. He and ANGELA can be seen, in the front seats, looking at
each other.
13 INT. NICK’S 4WD. NIGHT
They
look at other for a long moment before NICK leans forward; kisses her. ANGELA
shakes her head; smiles. They kiss.
ANGELA
We
shouldn’t do this.
NICK (grins)
OK.
He
kisses her again. ANGELA laughs; reciprocates. They kiss deeply; passionately.
The kiss finishes.
NICK
Does he
have a name, this jealous boyfriend?
ANGELA
I’m
pleading the 5th on that one.
She
‘zips’ her lips with a finger. NICK reaches out; runs a finger across her lips.
NICK
These
lips are definitely not sealed. As for the other pair, hidden where the sun
don’t...
ANGELA (laughs)
Don’t
even go there, buddy! Drive.
NICK
Clearly
you don’t want me to.
NICK
starts his 4 WD.
ANGELA
I didn’t
say I didn’t want you to go there, I said you can’t go there. Not now.
NICK
drives off - heading towards a brightly bar/club district up ahead.
NICK
So, I
can live in hope?
ANGELA
We have
to, don’t we? Live in hope. Without hope...
A cloud
passes over her face. NICK watches her for a moment as she thinks; worries
about something.
NICK
‘Love is
fucking complicated eh?’
ANGELA
smiles, points to the road ahead.
ANGELA
Drive.
NICK
starts the 4WD moves off.
A LITTLE
LATER
As they
drive, NICK and ANGELA’S attention being caught by what they see 50 or so
meters up the road:
A crowd
of late night workers has gathered around the entrance to the alleyway; held
back by UNIFORMED POLICE.
14 EXT. PHNOM PENH CLUB DISTRICT.
NIGHT
NICK and
ANGELA make their way towards the entrance to the alley. A throng of curious
onlookers lingers there: BAR GIRLS, STREET VENDORS, DRUNKEN CAUCASIAN MEN and
others. They are held back by UNIFORMED POLICEMEN.
ANGELA
lifts her camera; takes shots of the crowd as she walks backwards; pointing and
shooting fairly randomly - without looking in the viewfinder. Guerilla
photography.
BALIN
MEAS, talking on his mobile, waits for them at the back entrance to the
brothel. He gestures to NICK and ANGELA to follow him.
15 INT. CORRIDOR. BROTHEL. NIGHT
NICK,
ANGELA and BALIN MEAS make their way down a corridor dimly lit with red lights.
Through an open door to a small room can be seen a double bed with a full
length mirror alongside it.
ANGELA
takes rapid-fire ‘guerilla’ photos as they walk. One of which (’click’) is of:
A pair
of red high-heeled shoes on the floor of the corridor.
Seen
through a partially open door a dog laps at a dark puddle of liquid on the
floor.
BALIN
MEAS kicks to dog. It yelps, skulks out of the room.
16 INT. ROOM IN BROTHEL. NIGHT
Close on
NICK and ANGELA as they take in the scene. ANGELA is in shock, fears she may
vomit; hesitates a moment before raising her camera.
Two bare
bleeding male legs appear, each one strapped to the bottom half of a wooden X;
above the dark puddle of blood.
Tilt up
to reveal the naked torso of a man. Where his genitals should be there is only
a bloody gaping red wound.
The
man’s arms, outstretched, are tied, with black leather S & M straps to the
upper half of the wooden X. Strapped across his face is a mouth gag.
The man,
his eyes bulging in terror as he registers his impending death, is recognizably
Bazza - the pot-bellied man Francoise had a run in with in the street recently.
NICK and
ANGELA both recognize him immediately.
ANGELA
That’s...
NICK
shakes his head: “Don’t say anything.”
BALIN
MEAS is preoccupied and seems not to have noticed this interchange.
17 INT. LIVING ROOM. NICK’S
APARTMENT. NIGHT
KATIE
and TODD sit on either side of the video camera.
TODD
Why?
ANGELA
Because...well,
I had photos of Francoise kicking Bazza in the... balls and Nick wanted to talk
to her first before...
TODD
Before?
ANGELA
Francoise
was....is...working here but only has a tourist visa...
TODD
Not
because she might become a suspect?
ANGELA
If Nick
thought she was a suspect he wouldn’t have tried to protect her.
TODD and
KATIE exchange looks. TODD looks at his note book.
TODD
So,
after you left the...murder scene...?
ANGELA
I went home. Alone. To sleep. I didn’t get much sleep, though.
My brain was...powering on all cylinders. In hyper-drive. I had a hunch about
the ‘gaffer murders’ I wanted to run it by Nick.
KATIE
Purely professional?
ANGELA (smiles)
Mmmmm...plead the fifth on that one.
18 INT. NICK’S
LIVING ROOM. DAY
NICK, wearing a sarong, looking as though he has just
woken up (which he has),opens the front door. ANGELA is standing there.
ANGELA
Sorry, I couldn’t sleep and...I woke you?
NICK
It’s OK.
In a mock chivalrous gesture, NICK invites her in.
A LITTLE LATER
ANGELA and NICK sit at his computer. Onscreen there are
four photos of male murder victims with gaffer tape across their mouths -
including Lindsay and Bazza.
ANGELA
What if all four of these guys were pedophiles?
NICK
Highly likely, Sherlock!
ANGELA
Don’t make fun of me.
NICK
OK
He kisses her on the cheek.
ANGELA
And someone has set themselves up as judge, jury and
executioner...
NICK
Like Francoise?
ANGELA
Will you let me finish!?
NICK
OK.
ANGELA
Well?
NICK
You finished?
ANGELA
It’s possible, right?
NICK
It’s not impossible.
ANGELA
Don’t patronize me, Nick.
NICK
Sorry. The problem is that there is no evidence that
these two guys...
He points to the other two murdered men with gaffer tape
over their mouths.
ANGELA
But the fact that there is no evidence doesn’t make me
wrong, right? It just means that you...we...need more evidence.
NICK
We!?
ANGELA
You need a partner.
NICK
To cuddle or to solve murders with?
She hits him playfully. They kiss. Passionately. ANGELA
reaches down, undoes NICK’S sarong. It
slides to the floor.
19 INT. NICK’S BEDROOM. NIGHT
NICK, naked, slides ANGELA’S shirt off; starts to undo
her shorts. The sound of Nick’s mobile phone intrudes. It catches his
attention; vibrating on the table beside his bed.
ANGELA
Don’t you dare answer that.
NICK smiles, nods; removes ANGELA’S shorts as his mobile
rings out. It starts to ring again almost immediately. ANGELA picks up the
yellow mobile phone.
ANGELA
Nick said to tell you he’s not here.
NICK laughs, grabs the phone from ANGELA.
NICK
He’s here! My secretary is...Nanda! (A BEAT) Great.
NICK smiles, gestures “Sorry” to ANGELA, leans forward,
kisses her; phone at his ear.
ANGELA shakes her head. NICK gestures: “I’ll just be a
moment.”
NICK walks into:
20 INT. LIVING
ROOM. NICK’S APARTMENT. NIGHT
NICK strides, naked, to his cluttered desk’ listening,
nodding as he looks in amongst the chaos of papers for:
An envelope. He turns it over. There is a phone number
written on it.
ANGELA appears in the bedroom doorway, wrapping a sarong
around herself. She watches NICK, nodding as he listens to Nanda on the phone.
He does not see her.
NICK
OK, see you soon.
NICK hangs up, starts to punch into his yellow mobile the
numbers from the back of the envelope; makes another phone call. He sees ANGELA
watching him; indicates that he’ll just be a moment. ANGELA turns, walks back
into the bedroom.
21 INT. BEDROOM.
NICK’S APARTMENT. NIGHT
ANGELA sits on the bed; worried. NICK can be heard
wrapping up his conversation. He walks into the room, sits alongside ANGELA,
pecks her on the cheek; boyishly excited.
ANGELA
You and Nanda are going to rescue Munny, right?
NICK
Try. That’s the good news. (A BEAT) It’ll be OK. Promise.
(A BEAT) The bad news is that I have to be in Trat...first thing in the
morning. (A BEAT) Have to leave...pretty much now.
NICK stands, starts to get dressed.
ANGELA
Who was that you were talking to, just now?
NICK
Nanda.
ANGELA
The second phone call.
NICK
Second? (A BEAT) Oh, an interpreter.
ANGELA
Which one? Kim? (A BEAT) Chea?
NICK
A guy who speaks Khmer and Thai.
ANGELA
Does he have a name?
NICK
Dith.
ANGELA doesn’t believe him. NICK can’t hold her gaze,
turns away; continues to dress.
22 EXT. NICK’S
APARTMENT. NIGHT
NICK, standing by the open door of Angela’s 4 WD. ANGELA
sits in the driver’s seat. She is not happy. NICK finds it difficult to meet
her gaze.
ANGELA
Why did you lie to me about the interpreter?
NICK
I’m sorry, but...there are some things its best you don’t
know. (A BEAT) About my work, that is.
ANGELA
And about you?
NICK (smiles)
An open book.
He leans forward, kisses her. ANGELA looks worried.
23 INT. LIVING
ROOM. NICK’S APARTMENT. DAY
ANGELA sits in front of the video camera on a tripod;
alongside which are KATIE and TODD.
ANGELA
More open than any other man I’ve known, but...he had his
secrets.
KATIE
Did that bother you?
ANGELA
No. Not too much. (SMILES)I had my secrets too. (A BEAT)
Have!
ANGELA registers that KATIE is keen to ask “What
secrets?”
ANGELA
Don’t even try! We’re all entitled to our secrets. Don’t
you think?
ANGELA looks enquiringly from KATIE to TODD and back to
KATIE. This is not a question either of them wants to answer!
ANGELA smiles, waves her question away; takes a sip of
wine.
KATIE
You didn’t go with him?
ANGELA
You know I didn’t!
KATIE
Yes, but...
ANGELA
Just teasing! .No, I had my own work...and...we never
wanted to live in each others pockets. Absence makes the heart grow fonder
etc...
KATIE
But he told you about his trip...?
ANGELA
In forensic detail. With...
24 INT. NICK’S
BEDROOM. NIGHT
ANGELA, in a sarong, glass of wine in hand, leans up
against the wall at the end of the bed as NICK finishes laying photos, maps,
USB sticks and other documents out on the bed.
ANGELA (V.O.)
...photos, maps, video...
NICK inserts a purple USB into his laptop computer. A
grainy image appears onscreen:
Taken from some distance, Munny and another man carry a
crate of fish from a boat in the fishing port of Trat, in Thailand.
NICK (V.O.)
Meet Munny.
ANGELA
Hello, Munny.
NICK, in a playful mood, hams it up for ANGELA.
NICK
Once upon a time, in a province far away, on a moonlit
night...
25 EXT. RICE
PADDIES. NIGHT
Nick’s yellow 4WD drives along a pot-holed road.
NICK (V.O.)
...our intrepid reporter sets off...
Rice paddies gleam silver in the moonlight.
NICK (V.O.)
...on a dangerous mission...
NICK’S voice and ANGELA’S laughter fade, to be replaced
by a chorus of crickets, frogs and other insects.
26 INT. NICK’S 4WD.
NIGHT
CHAKRA, a Khmer man in his mid 40s, drives; NICK sits in
the passenger seat flicking through photos on his smart phone:
Badly framed,
grainy photos of Munny on a fishing boat - removing fish from a net, lying in
his cramped bunk; a ‘selfie’ of Munny with a 16 year old boy on the boat.
CHAKRA
My wife’s brother, Phirun, was a slave. He was offered
him a job in Thailand working on a pineapple plantation but when he arrived he
found out that the captain of a fishing boat had paid the agency $350 for him.
Phirun would have to pay the money back before the captain would let him go.
NICK
And?
CHAKRA
We haven’t heard from him for two years, now. I think,
maybe, he is dead, but my wife...she keeps hope alive.
NICK
Yes, hope must be kept alive. (A BEAT) And your wife? She
is well?
CHAKRA
Yes. (A BEAT) Sivourn and I have separated.
NICK
I’m sorry.
CHAKRA
I am not so sorry.
NICK (laughs)
You are incorrigible, Chakra.
CHAKRA (laughs)
There are so many beautiful women in the world. It is
unfair.
NICK smiles, looks out the window. Munny’s voice is heard
off. He speaks in Khmer.
MUNNY (subtitled)
The rain came. Too much rain.
27 INT. NICK’S
BEDROOM. NIGHT
ANGELA leans against NICK, her back to his chest. They
look at the computer screen. Munny talks to camera in close up:
MUNNY (subtitled)
The rice died. We had no food.
Munny’s Khmer is blended with Chakra’s English
translation.
CHAKRA AND MUNNY
A man came to our village. Davuth.
28 EXT. RURAL
VILLAGE. DAY
An impoverished rural village. CHAKRA’S translation of
Munny continues over, as MUNNY’s voice trails off:
CHAKRA (voice over)
Davuth offered us a job - me and my son Vibrol, working
in a factory...
A group of villagers and their children listen to DAVUTH,
mid 20s, who talks fast, with enthusiasm.
CHAKRA (voice over)
...in Thailand. Two hundred dollars a month. Good money.
MUNNY, mid 30s, stands alongside his 16 year old son,
VIBROL.
CHAKRA
Vibol was 16, but strong. And healthy. He wanted to work
hard, send money back to his mother.
VIBROL hugs his MOTHER. She tries to hide her distress.
As MUNNY says goodbye to his wife, VIBROL instructs them to pose so that he can
take a photo with his cheap mobile phone.
MUNNY says goodbye to his FOUR OTHER CHILDREN, as does
VIBROL. A close loving family.
29 EXT. JUNGLE.
NIGHT
VIBROL holds firmly onto MUNNY’S hand as they stumble
through the jungle in the darkness with DAVUTH and OTHERS.
CHAKRA (voice over)
They smuggled us across the border into Thailand, through
the jungle.
30 EXT. WHARF.
FISHING PORT. DAY
MUNNY, VIBROL and TWO OTHER MEN argue with DAVUTH and the
CAPTAIN of a fishing boat at the berth closely.
CHAKRA (subtitled)
When we arrived at the port we found that the captain of
the boat had bought us both from Davuth. $200 for me, $100 for Vibrol. I said
‘no’...
MUNNY takes VIBROL’S arm, walks off. The CAPTAIN follows,
taking out a pistol and hitting MUNNY hard on the back of his head. MUNNY falls
to the ground.
VIBROL runs to his aid. MUNNY’S head bleeds.
31 EXT. FISHING
BOAT. DAY
MUNNY and VIBROL, both glistening with sweat, separate
fish for the market from the ‘trash fish’.
CHAKRA (voice over)
We worked for 20 hour each day, separating the good fish
- to be sold in the markets - from the ‘trash fish’ that they crush to make
food for prawns and pigs and chickens.
Chakra’s voice continues over a montage of photos taken
aboard the fishing boat with Vibrol’s mobile phone - of Munny and Vibrol at
work - some of which we have seen earlier.
CHAKRA (voice over)
The captain beat us if we worked too slow, if we made a
mistake...if he had drunk too much the night before and was in a bad mood.
The ‘selfie’ of Munny and Vibrol that Nick saw earlier.
32 EXT. WHARF. DAY
A busy wharf. There are lots of fishing boats. MUNNY and
OTHER FISHERMEN unload fish and make their way to the large fish market
closeby. MUNNY makes eye contact with GUNTHER/NANDA, in his saffron robes.
33 EXT. BACK ALLEY.
DAY
MUNNY stands in a back alley, obscured from view of the
fish market seen in the background, by bins of rubbish.
NANDA stands guard at the entrance to the alley. CHAKRA
stands alongside MUNNY, translating. NICK stands opposite, filming with his
small video camera. MUNNY speaks in Khmer - part of the interview we have been
seeing/listening to.
MUNNY (subtitled)
Vibrol became sick. Too sick to work. The captain beat
him with an iron bar. I tried to stop him but he bashed me in the face with a
gun.
MUNNY opens his mouth to reveal his broken teeth. CHAKRA
holds up his hand to stop MUNNY; translates for NICK.
CHAKRA
Vibrol became sick...
NANDA rushes up.
NANDA
Trouble.
The CAPTAIN, holding a pistol, and another BIG MAN have
spotted them. As they run into to alley NICK tips the garbage bins behind him
as he, along with MUNNY, CHAKRA and NANDA, run in the other direction.
The CAPTAIN and the BIG MAN give chase. As NICK, CHAKRA
and MUNNY turn a corner, NANDA stops, shout to the others.
NANDA
Keep going.
He then turns and waits. The CAPTAIN runs around the
corner, gun at the ready. NANDA, expert in karate, disarms and disables him
quickly. He does the same with the BIG MAN.
34 EXT. BACK
STREET. DAY
NANDA runs up to NICK, MUNNY and CHAKRA, a smile on his
face.
NANDA
It is resolve...
NICK gestures: ‘what?’
NANDA
I had some word with them.
…to be continued…
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