NINJA ASSASSIN
Written by
Matthew Sand & J. Michael Straczynski
REVISED 2nd DRAFT 6/4/08
FADE IN:
CLOSE ON a Horimono Tattoo as it is being drawn into
flesh. The ink is needled into the surface of the skin,
raw and bloody, the needled brush tapped with the
precision of ritual.
The tattoo is in the style of a Kuniyoshi print: Miyamoto
Musashi thrusting his spear into the writhing dragon.
The image has beauty but retains the violence required to
saturate flesh with art.
The skin canvas shifts uncomfortably with the needle-
work.
HOLLYWOOD
Fuck! Fucking-shit-fuck-fucking-
fuck!
PULL BACK to reveal that we're in...
1 INT. TATTOO PARLOR - NIGHT 1
A place of designer furniture, beautiful girls carrying
towels, tea and cigarettes. Dozens of Yakuza look on as
the process continues, sleeves rolled up or shirts off to
expose the lavish tattoos that cover their torsos.
HOLLYWOOD, the young Yakuza member, is getting his first
tattoo, a relatively small one on his back.
He grabs a bottle of sake and suckles it like a baby.
HOLLYWOOD
Watch it, old man!
The old tattoo artist continues tapping his brush. Maybe
a little harder.
HOLLYWOOD (CONT'D)
What the fuck? You're doing it
wrong.
TATTOO ARTIST
The needle is doing what the
needle does.
HOLLYWOOD
What's that supposed to mean?
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 2.
1 CONTINUED: 1
TATTOO MASTER
The irezumi does not hide the
skin, the tattoo reveals the
nature of the man and illuminates
the four noble professions in the
Book of Five Rings: the Warrior,
the Artist, the Merchant, and the
farmer. If there is a conflict
between the needle and the skin,
between the mark and the man, then
perhaps the path you have chosen
is not the path for which you are
suited.
HOLLYWOOD
What did you just say, old man?
Hollywood whips his gun out and jams it under the old
man's jaw.
HOLLYWOOD (CONT'D)
I know you didn't just disrespect
me, did you? You that fucking
stupid? You disrespect me, and
I'll tattoo this ceiling with your
fucking brains!
The old man speaks with a kind of deference honed through
years of service to men like Hollywood.
TATTOO MASTER
No disrespect.
Hollywood smiles.
HOLLYWOOD
You're lucky. I can't kill you
'til you finish this thing. Gimme
that mirror! How's it looking?
Goons and girls all cluck their tongues in chorus.
Hollywood peers at the new tat through the mirror. He
whistles approval as Yakuza One enters carrying an
origami envelope.
HOLLYWOOD (CONT'D)
Not bad. Not bad. For an old fuck.
YAKUZA ONE
Hey, boss. This just came for you.
HOLLYWOOD
What is it?
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 3.
1 CONTINUED: (2) 1
YAKUZA ONE
A letter.
HOLLYWOOD
So open it, dumb ass.
He opens the origami envelope, then hesitates at what he
sees.
HOLLYWOOD (CONT'D)
What? What is it?
He pours the contents out into his hand.
YAKUZA ONE
Looks like sand.
He tastes it.
YAKUZA ONE (CONT'D)
Yup. Sand. Black Sand.
The tattoo master drops his brush. It clatters to the
floor.
TATTOO MASTER
No...
HOLLYWOOD
You know what this is?
The artist barely nods.
HOLLYWOOD (CONT'D)
Wanna let us in on the joke?
TATTOO MASTER
Years ago, I watched a man open an
envelope like that one.
His eyes pool with fury at the memory.
TATTOO MASTER (CONT'D)
There were many with him and they
laughed like you laugh now. Then
it came from the shadows and their
laughter was drowned in blood.
You cannot bargain with what is
coming. You cannot reason with it.
Because it is not a human being.
It is a demon sent straight from
hell that will never stop until
you are dead.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 4.
1 CONTINUED: (3) 1
HOLLYWOOD
What came out of the shadows?
TATTOO MASTER
I cannot say the word.
HOLLYWOOD
What word?
He pulls open his robe, revealing a hauntingly beautiful
tattoo of a Shinobi demon thrusting its blade into a lump
of scar tissue at the center of his heart.
TATTOO ARTIST
That night, one of their blades
struck here. I should have died,
but for an accident of birth. My
heart is here, on the other side.
Hollywood peers closer at the dark figure of the demon.
HOLLYWOOD
What the fuck is that?
YAKUZA ONE
Looks like a Ninja, boss.
HOLLYWOOD
A ninja? Are you kidding me?
That's the word you're afraid to
say? Ninja?
As he starts to laugh.
HOLLYWOOD (CONT'D)
Ninja-Ninja-Ninja!
His laughter is infectious.
HOLLYWOOD (CONT'D)
You old fuck! You had me going!
Ninja. That's some good shit.
His Lieutenant laughs hard with him until the top of his
head disappears, sliced off from his jaw up, leaving his
tongue wagging in space.
Lights shatter around the room.
Chaos ensues. The panicked screams of the fleeing
entourage co-mingle in chorus with gruesome death rattles
of Hollywood's foot soldiers as one by one, they are
eviscerated.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 5.
1 CONTINUED: (4) 1
There's a RUSH of movement, more felt than seen. The
whistle of swords through the air. Cries and screams.
Guns that fire suddenly and are just as suddenly stilled.
STAY on the face of the Tattoo Master, barely visible in
the thin trace of moonlight from a nearby window.
Frozen. Immobile. As the killing continues around him.
Then: silence, broken by the sound of heavy, desperate
BREATHING, and a MATCH being struck by Hollywood who
looks up --
-- and sees a dark figures standing before him. Everyone
else is dead. Only he and the Tattoo Master remain. The
figure regards him with still silence. For perhaps the
first time in his life, Hollywood is terrified.
HOLLYWOOD (CONT'D)
Listen... you don't have to do
this! Whatever you're getting
paid, I'll triple it! You hear me!
I'll pay you whatever you want!
Just name your price!
Their answer is silence. Hollywood sees his guns nearby.
With a desperate scream, he THROWS the match in the air
as he DIVES for his guns, grabbing one in each hand.
There is a whistle of metal and suddenly his severed
hands are tumbling gracefully through the air.
The blade swings again, slicing through his body as if it
were barely there, coming out the other side as --
-- Hollywood's body erupts as it falls in two pieces,
splattering the artist with blood.
The match touches the floor and goes out.
The Tattoo Master does not move, has not moved. Frozen.
TATTOO ARTIST
But you are real, aren't you?
After a moment, the ninja emerges into the moonlight, the
way a shadow coalesces into a panther gliding from the
dark to inspect its kill.
The artist doesn't move, but his eyes widen, his heart
pounding in his ears.
TATTOO ARTIST (CONT'D)
For fifty-seven-years, I've told
your story...
(MORE)
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 6.
1 CONTINUED: (5) 1
TATTOO ARTIST (CONT'D)
No one ever believed
me.
The ninja walks towards him, his steps soundless. He
crouches down, his eyes taking in the old man's tattoo.
TATTOO ARTIST (CONT'D)
But you are real, aren't you?
There's the shing of a sword being unsheathed. The
artist closes his eyes, anticipating death.
Silence. He waits for the death blow. It does not come.
He finally forces himself to open his eyes.
The ninja is gone, having departed as silently as he
came, leaving death and blood in his wake.
CUT TO:
2 INT. ISTANBUL SUPERMARKET AISLE - DAY 2
A roll of toilet paper drops into a cart. PULL BACK to
REVEAL RAIZO, 20s, slim and sinewy, his expression
distant, almost haunted. He considers the toothpaste
options for a moment, then drops in one of those too.
Moves on to food.
Turkish Muzak plays in the background, a Beatles song,
"Helter Skelter" by way of Turkish musicians. Other
SHOPPERS cruise past in their own private quests.
Raizo gets quick, easy bachelor food: six eggs, a single
stick of butter, several handfuls of noodle packages.
3 INT. ISTANBUL SUPERMARKET - CHECK-OUT - MOMENTS LATER 3
Raizo waits while the CHECKER - a pretty young woman -
tallies up his groceries.
CHECKER
That's a lot of noodles.
(beat)
Are you a student? Tourist? Here
on business?
Raizo shakes his head to all three.
CHECKER (CONT'D)
When was the last time someone
cooked you a real meal?
(beat)
I get off at seven.
(MORE)
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 7.
3 CONTINUED: 3
CHECKER (CONT'D)
You could come by, let me make you
a proper dinner!
She winks at him. Very cute.
RAIZO
I don't think so. Sorry.
No smile. No emotion in Raizo's face. He pays in cash.
He picks up the bag and starts away when --
CHECKER
So if you're not a student, and
you're not a tourist, and you're
not here to work... what are you
doing?
RAIZO
Waiting.
CHECKER
For what?
RAIZO
For the wheel to turn.
And he exits.
4 EXT. ISTANBUL, STREET - DAY 4
Ancient gateway between Asia and Europe. Minarets thrust
up from the tangled streets into the bright Aegean sky.
The street is crowded with bicycles, cars and motorcycles
as Raizo makes his way down a narrow sidewalk.
OZUNU (V.O.)
Wherever you are, wherever you may
go....
5 FLASHBACK - INT. ORPHANAGE OZUNU HOUSE - NIGHT 5
We're in a heavily shadowed room, lit with flickering
candles as an older man, OZUNU -- hard-edged and
unforgiving -- talks to his clan.
OZUNU
...you must never, ever forget who
you are, how you came to be. You
are Ozunu. You are a part of me
as I am a part of you.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 8.
5 CONTINUED: 5
Beside him is a ten-year-old boy. His expression has the
weight of stone.
OZUNU (CONT'D)
This is the truth of your lives
and it will remain true after
death.
He pushes the boy forward.
OZUNU (CONT'D)
This is my new son. I have given
him the name Raizo. Welcome him
as your brother.
The clan mummers "welcome Raizo", bowing their heads.
One head remains upright, looking him in the eye. A girl
roughly his own age. Her name is Kiriko.
5A INT. EUROPOL OFFICE - DAY 5A *
MIKA CORETTI, 30's, high-energy, a force of nature in *
human form. She enters EUROPOL AGENT RYAN MASLOW's *
office carrying an armful of reports. *
MASLOW *
What's all this for the Delgata *
case? *
MIKA *
No. This is Delgata- *
Sets her pile down and she hands him one folder from the *
ton. *
MASLOW *
And the rest? *
MIKA *
...evidence. *
MASLOW *
For? *
Her eyes tell him. *
MASLOW (CONT'D) *
Oh no. Not again. *
MIKA *
You said you'd take it serious *
when I had serious evidence. *
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 8A.
5A CONTINUED: 5A
MASLOW *
Does that evidence include photos *
of the Loch Ness monster as well? *
He chuckles. She's not laughing. *
MIKA *
You've trusted my research before, *
what's the problem now Ryan? *
MASLOW *
What's the problem? Come on Mika, *
it's like one of those questions *
on an IQ test, which of these *
doesn't belong; laptops, space *
shuttles, nanotechnology, ninjas. *
MIKA *
All I'm asking for is an hour. *
That's all. Give me an hour and *
if you still think I'm chasing *
UFO's, I'll walk out and you'll *
never hear another thing about *
them. *
He eyes her. *
MASLOW *
Why do I think I'm going to regret *
this? *
6 INT. ISTANBUL APARTMENT BUILDING - HALL 6
ON A DOOR LOCK as he inserts his key and HEARS:
LANDLADY (O.S.)
Oh, Mr. Nan, good, you're back.
Raizo turns to his LANDLADY, an older woman who looks up
at him from the top of the stairwell.
LANDLADY (CONT'D)
We had a heating problem, and I
had to go into your apartment.
Raizo nods, his expression not betraying the sudden
tightness in his chest at this information.
RAIZO
Is everything all right?
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 8B.
6 CONTINUED: 6
LANDLADY
Yes, fine, it's all fixed. You
keep it very dark and spare in
there.
RAIZO
Ms. Ali, my privacy is very
important to me. If you enter my
apartment again without my
permission, I will leave your
building.
LANDLADY
I just --
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 9.
6 CONTINUED: (2) 6
RAIZO
Good day.
He closes the door behind him.
7 INT. ISTANBUL RAIZO'S APARTMENT - CONTINUOUS 7
He stands on the other side of the door, surveying the
room for a moment with severe, unforgiving eyes. The
place is monastic, nothing decorative, or comfortable.
Then, in a quick series of cuts, he checks all of the
secret places he hides things.
A drawer is flipped over and a hidden bottom opens
revealing weapons. A panel in the oven reveals his chain
and blade. A hidden compartment in his suitcase exposes
inky folds of fabric. He sifts through them as we hear-
OZUNU (V.O.)
You should have died.
8 FLASHBACK - INT. ORPHANAGE DOJO - DAY 8
Raizo, breathing hard, stands over another young boy that
he has just defeated in a fight. Both are sweaty, dirty,
scarred. The other children are lined up in perfect
rows, watching silently. Most are boys, but a few are
girls. One of them is KIRIKO, lithe and supple, a
child's eyes haunted by an adult's sorrows and knowledge.
Ozunu circles Raizo as he regards his fallen opponent.
OZUNU
On the street. Abandoned by your
parents. Without a home. Without
people to care for you. You
should have done as most children
do, and gone quietly from this
world, to the next.
(beat)
But, instead you fought. As you
did here today. You fought. And
you won.
As we TRACK with Ozunu, we see that Raizo's body is
covered in scars.
OZUNU (CONT'D)
Scars are the calligraphy of
violence, Raizo. They inscribe
the story of one's life.
(MORE)
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 10.
8 CONTINUED: 8
OZUNU (CONT'D)
You survived because you are
different. You are special. That
is why you are here. That is why
the Great Current, which flows
beneath all life, carried you to
me.
BACK TO:
9 EXT. BERLIN - DAY 9
Mid-day traffic, tourists strolling down wide avenues
past war monuments and street art.
10 EXT. EUROPOL - DAY 10
Just long enough to ESTABLISH UNDER:
MIKA (V.O.)
It's a pattern, like the currents
of the ocean.
11 INT. EUROPOL OFFICE - HALLWAY - DAY 11
Close on a mound of bank records; rivers of numbers
cascading neatly down perforated spread sheets. *
MIKA
Some people see money as the root
of all evil, but to me it looks
like a fingerprint. Whether we're
talking about 19th century Korea,
or 21st century Iraq, the game is
the same. If you want to
understand why certain things are
happening, you have to understand
the flow of money.
MASLOW
You're excited, Mika. You know I
get nervous when you're excited.
He would never admit it, but he enjoys watching her work,
almost as much as he likes poking her about it.
MIKA
You remember the Eulmi incident? *
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 11.
11 CONTINUED: 11
MASLOW
Korean queen, late eighteen- *
hundred's. According to you, she
was off'd by one of these ninja
clans.
MIKA
Ozunu. I think. I've been going
through some of the original
transcripts of the trial of
Kunitomo Shigeaki. The prosecutor
questioned him about a payment of
100 pounds of gold. Shigeaki
answered that he didn't know what
the prosecutor was talking about.
The question was never brought up
again. But what pinged for me was
the amount- the exact same amount
rumored to be paid to the Hattori
Clan for the assassination of Lord
Sanda.
MASLOW
So you start to wonder, in this
ever changing world, if the cost
of a man's life has remained
constant.
MIKA
Exactly. I figure these clans are
like a thousand years old. They
probably don't change a lot.
She begins flipping through huge reams of bank records.
MIKA (CONT'D)
I started looking at international
wire transfers, targeting banks in
the regions of several high-
profile assassinations and bingo-
The proverbial needle in a haystack; a single wire
transfer circled in red.
MIKA (CONT'D)
Minister Zhang. The day before
the assassination $1,555,999.90
was transferred from the bank of
Shanghai. The exact market value
of one hundred pounds of gold.
MASLOW
Highly circumstantial. *
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 12.
11 CONTINUED: (2) 11
MIKA
I thought you might say that so I
checked how often this particular
bank transferred that market
equivalent to a hundred pounds of
gold in the last three years.
MASLOW
Let me guess.
MIKA
Not once.
He sifts through the report. *
MASLOW
Okay you got me. This is *
interesting. *
MIKA
The clans are real, Ryan. They *
steal children and turn them into *
assassins. They've been doing it *
for years and nobody's doing a *
damn thing to stop them. *
MASLOW
Look, no one's denying the
historical record, Mika. But the
whole idea just doesn't fit in
with a modern world. It's like
one of those questions on an IQ
test: which of these doesn't
belong in this sentence: laptops,
space shuttles, nanotechnology,
ninjas.
MIKA
They're real Ryan. You can call
them spooks, or assassins, or
whatever you want if it makes you
feel better, but they're out
there. They're killing people and
nobody is doing a damn thing to
stop them.
CUT TO:
GOLDENROD REVISED 2nd DRAFT 6/4/08 13.
12 INT. ISTANBUL LAUNDROMAT - NIGHT 12
Close on tokens being rammed down the mechanical throat
of a washing machine. Overhead, the fluorescent lights
STROBE unevenly, the fixtures old and in need of new
bulbs.
Raizo steps back as the washer begins to cycle loudly, a
wheezbox instrument that rattles, gurgles and groans.
As he looks at the machine we hear:
OZUNU
Our enemies are everywhere.
12A FLASHBACK - INT. ORPHANAGE - DAY 12A
Ozunu strides among his children who are bathing,
scrubbing themselves with evergreens.
OZUNU
You must move without trace or *
footprint.
Young Raizo pours water through evergreens onto clothes
he is scrubbing.
OZUNU (CONT'D)
You must become shadow; Your scent *
nothing but wind through trees. *
BACK TO:
12B INT. ISTANBUL LAUNDROMAT - NIGHT 12B
A pretty young Japanese woman, the only other customer,
calls to Raizo as she stands beside one of the dryers.
PRETTY WOMAN
Hi... excuse me...?
(catches his eye)
Would you mind?
RAIZO
...sorry?
She hands him one end of a freshly dried sheet.
PRETTY WOMAN
If it's not too much trouble,
could you help me with this?
He smiles and nods.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 13A.
12B CONTINUED: 12B
They begin to fold, corner to corner, end to end.
Silently. The fluorescent strobing above them.
We sense a strange tension between them as we realize
they are alone in the midnight cleaners. He looks at
her. She smiles. The uneven strobing on either side of
the Laundromat casts uneven shadows on her face... almost
as though she had two faces. One light, one shadow. We
EXTEND the silence for a long BEAT until he looks down at
the sheet and says:
RAIZO
What clan are you from?
She glances up sharply.
PRETTY WOMAN
I... don't understand...
RAIZO
You came alone. The Ozunu clan
would never make such a mistake.
Her eyes REACT as suddenly a blade flashes from beneath
the sheet, reaching for Raizo's throat.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 14.
12B CONTINUED: (2) 12B
He catches the blade in the sheet, twisting it in her
grip. She fights for control.
A fury of slashes and the sheet is shredded.
13 INT. ISTANBUL LAUNDROMAT OFFICE - NIGHT. 13
The night manager is half-asleep, watching a Korean soap
on Empress Min. When he hears a series of crashes, he
gets up.
14 INT. ISTANBUL LAUNDROMAT - NIGHT 14
He throws open the office door, wielding a fire iron.
MANAGER
What is going on-
The space is empty, glowing with fluorescent glare.
One machine is thumping loudly. He crosses to it.
As he nears it, bloody water begins bubbling up, flowing
over the top.
15 EXT. CURRY-WURST STAND BERLIN - DAY 15
Ketchup splatters the chopped meat.
MASLOW
And two cokes, please.
MIKA
How long have you been here? And
you can't say "zwei cola bitte"?
MASLOW
Course I can, but you tend to hear
more interesting things if people
don't know you can understand what
they're saying.
MIKA
Do you ever stop being a cop?
MASLOW
Not the way I was raised. My dad
always said, being a cop has
nothing to do with a clock. It's
a consequence of consciousness
often interpreted as desire.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 15.
15 CONTINUED: 15
MIKA
Desire?
MASLOW
For justice. And doughnuts.
He smiles as they move to one of the circular tables.
MASLOW (CONT'D)
So you got something else?
MIKA
I think so. Same template as
before. The transfer was made the
day before a multiple homicide in
Osaka. The police and newspapers
are calling it a gangland slaying.
MASLOW
How do you know what the police
report says? You're not still
requisitioning evidence with my
clearance codes, are you?
She shakes her head. Lying. Quickly sipping her coke.
MASLOW (CONT'D)
Good.
MIKA
What about the bank audit?
MASLOW
Denied. It was a long shot at
best.
MIKA
But you said you found something.
MASLOW
A report. A friend of mine in
Moscow, tipped me to it.
He slips an envelope from his briefcase and gives it to
her.
MASLOW (CONT'D)
It was written during the height
of the Cold War by a high ranking
KGB agent named Aleksei Sabatin.
In it, he raises the possibility
that several political
assassinations were conducted by
an ancient but very sophisticated
network he calls the Nine Clans.
(MORE)
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 16.
15 CONTINUED: (2) 15
MASLOW (CONT'D)
Mind you, he doesn't call them
ninjas.
MIKA
What happened to him?
MASLOW
Same thing that's going to happen
to me, if I keep hanging around
with you- booted out of the
service for mental instability.
MIKA
Is he still alive? We need to
find him.
MASLOW
Working on it.
MIKA
You believe it now, don't you?
He scoffs.
MASLOW
Ninjas? Are you kidding?
MIKA
Then why are you doing this?
MASLOW
No idea-
He finishes his soda and takes his garbage to the can.
MASLOW (CONT'D)
But I can guarantee you that it
has nothing to do with the fact
that you're the most attractive
researcher that I've ever worked
with.
He smiles and turns before she flushes a bright shade of
red.
16 INT. ISTANBUL RAIZO'S APARTMENT - DAY 16
A teapot begins to sing.
Raizo pours the boiling water into a plastic bowl of
noodles. He covers the bowl and waits a moment for the
soup to cook.
As he stares, we hear.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 17.
16 CONTINUED: 16
OZUNU (V.O.)
The body must obey the will. *
17 FLASHBACK - INT. ORPHANAGE KITCHEN/DINING ROOM - DAY 17
Several of the younger members of the clan are sitting at
the table, about to eat.
Ozunu stands before them. He removes a small blade from
inside his robe. Places the blade against his palm.
OZUNU
Hunger and thirst, your bowels and *
breath, even the blood in your *
veins, are the body's weaknesses. *
The knife slices down along his palm, opening a split;
the flesh parts, yet no blood flows.
OZUNU (CONT'D)
Master them, and you master the
self.
He closes his fist.
OZUNU (CONT'D)
This is the power of the Ozunu
clan.
He concentrates, squeezing his hand tightly until he
opens it revealing that the wound has closed.
OZUNU (CONT'D)
This is the way of the ninja.
The children look at each other, except for Raizo who
stares at Ozunu.
OZUNU (CONT'D)
Eat tonight and you work twice as *
hard tomorrow.
Ozunu leaves.
The children look at the soup, their mouths watering.
All around, the older Ozunu clan members eat noisily.
One of the children can't resist any longer and begins
scooping up the noodles. In short order, others do the
same.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 18.
17 CONTINUED: 17
All except for Raizo, who sets down his chopsticks.
Willing himself not to be hungry.
17A BACK TO SCENE 17A
The grown Raizo looks at his soup. We cannot tell if he
is going to eat or not.
OZUNU
The world feeds on the weak.
18 FLASHBACK - INT. ORPHANAGE OZUNU HOUSE - NIGHTINGALE 18
FLOOR - NIGHT
Young Raizo stands in the central chamber of the
compound. The floor beneath his bare feet is made of
thousands of carefully mitred pieces of gleaming wood
laid down in an intricate pattern. They are not,
however, glued down to the floor. The slightest wrong
move will make them shift noisily.
This is our first look at the Nightingale Floor.
OZUNU
Suffering exists only because *
weakness exists.
Ozunu watches from the far side of the room as Raizo
takes his first step. Carefully. Graceful as any
dancer.
He makes no sound.
OZUNU (CONT'D)
You must hate all weakness. Hate *
it in others, but most of hate it *
in yourself.
He takes another step, and another. Each soft as a
falling feather.
He is a third of the way across the floor - his body
gleaming with sweat - when he steps wrong and the floor
sings beneath him.
Raizo stops, a flash of panic in his eyes. Then he
subdues the emotion and obediently lifts the offending
foot, holds it out as Ozunu rises and approaches.
Ozunu lays open Raizo's foot with a bamboo rod. Slashing
blows that leave deep cuts.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 18A.
18 CONTINUED: 18
Raizo's expression hardly changes. Ozunu returns to his
place, and Raizo starts walking again, making no noise,
and leaving no trace of his passage...
...except for a trail of small, bloody footprints.
19 FLASHBACK - INT. ORPHANAGE DORMITORY - NIGHT 19
The same evening. Most of the children in this place
sleep on mats in the same room. They are exhausted,
silent, motionless.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 19.
19 CONTINUED: 19
We FIND Raizo and though he makes no sound, his eyes show
silent tears of pain, his feet still bleeding and
bruised.
Kiriko looks on from her mat for a long, silent BEAT,
knowing the agony he is in. Then, as if coming to an
inner decision, she reaches under her mat for a leaf into
which a thick salve has been folded. She crosses the few
feet to Raizo's mat and, as he watches in silent agony,
she puts her finger to her lips, then kneels down --
-- and begins applying the salve to his feet. Within
moments, we can see the pain leaving his eyes. Finishing
quickly, she folds the remaining salve back into the
leaf, exchanges a quick, furtive glance with Raizo, then
heads back for her mat.
He lays there for a BEAT, confused as to whether his
diminishing pain is a good thing. Then he turns to look
at Kiriko, but she lays with her back to him, apparently
asleep.
He regards her silently for a moment, then rolls over
himself to sleep as we come around to --
-- the other side of Kiriko, and see that she is very
much awake, almost smiling. She closes her eyes.
CUT TO:
20 INT. MIKA'S APARTMENT - NIGHT 20
The apartment is dark as Mika ENTERS and turns on the
lights. She looks the place over, then goes room to
room, turning on every light in the place. The practiced
way she does it makes it clear she does this every night.
Satisfied she's alone, she goes into the bedroom to
change.
21 INT. MIKA'S APARTMENT - BEDROOM - MOMENTS LATER 21
Mika is curled up in a chair and with KGB report.
She turns a page and sees a photocopied drawing of a very
intricate floor that we now recognize as the Nightingale
Floor. She reads the caption beneath it.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 20.
21 CONTINUED: 21
SABATIN (V.O.)
(Russian accent)
Historical evidence suggests that
Ibn-Battuta's journey through the
far east brought him into contact
with what might be one of the
oldest of the Nine Clans. He
travels with a group of orphans
that are being taken from a city
devastated by war to the Shido of
the Ozunu clan. The people of the
surrounding province refer to the
Shido as "The Orphanage."
22 FLASHBACK - INT. ORPHANAGE DOJO 22
We see Battuta, the 14th century Muslim explorer sitting
among the original leaders of the Ozunu clan, watching
two children fight.
SABATIN (V.O.)
Battuta describes a ceremonial
dinner followed by a display of
martial skill. The combatants
were children neither beyond the
age of ten.
Battuta masks his revulsion as the battle continues until
one child beats the other to death. Small fists gleam
with blood as one boy pummels the other.
SABATIN (CONT'D)
His host explains that a man's
life must be made meaningless
compared to the life of the Clan.
Own the meaning of a man's life
and you own his heart.
22A BACK TO SCENE 22A
Slowly the light in the bedroom hallway goes OUT.
She freezes, and the world seems to freeze with her. She
doesn't move, doesn't breathe.
She forces herself to sit slowly up, reaching under her
bed for a cricket bat. A car drives by outside. Could
be nothing. Could be everything.
Despite her fear, she edges toward the door. Slowly
peers around it. The darkened hall is empty.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 21.
22A CONTINUED: 22A
There is a ticking sound, like someone tapping at a
window. Could be a tree in the wind. Could be something
else.
She moves slowly through her apartment. Every shadow
could conceal unseen eyes.
She comes to the end of the hall, where the overhead
light is out. She flicks the switch on and off.
Nothing. She reaches carefully toward the light bulb.
Taps it. The bulb rattles, it's just burned out. She
breathes a sigh of relief. Then she notices --
-- that the living room window is open, the blinds gently
swaying from the wind, tapping against the sash.
She closes it and locks it. Looks to her desk,
concerned. Did she leave the window open? Or is
something going on.
She goes to her desk, anxious, to check on something.
She opens a drawer, revealing a box of tampax. Pulls out
the tampax to reveal a key... a place no guy would think
to check.
She unlocks a drawer and takes out an unmarked DVD in a
slim plastic case. Relieved, she starts to put it
away...then stops. Is it the same DVD? She moves OS.
MOMENTS LATER... the TV is switched on, and an image
begins to play, revealing a time coded security camera,
recording an urban street corner in Japan. The tape is
riddled with digital noise and artifacting.
Then, slowly, the digital noise seems to coalesce, to
grow shapes. The shadows come to life.
Then with incredible speed two dark figures start
battling it out, their blades striking sparks that are
still descending after they've slipped back into the
shadows.
They emerge over and over, brief flashes of clarity like
the perfect arc of a calligrapher's brush describing the
wing of a bird. Fight. Retreat. Silence. Shadows.
Sparks.
Mika hits the pause button and moves closer to the
screen, examining the figures.
One of the figures is wearing a mask, but the face of the
other combatant is revealed, albeit somewhat obscured by
the dim light and digital noise.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 22.
22A CONTINUED: (2) 22A
As we PUSH IN, we see that it's Raizo. But she doesn't
know that name yet.
MIKA
...who are you?
She stares at the fierce beauty of his face and touches
the screen gently.
22Aa INT. ISTANBUL RAIZO'S APARTMENT - DAY 22Aa
CLOSE on a bed of nails; sixteen penny nails arranged in
perfect rows pointing up, the sharp tips catching the
light.
As we REVEAL Raizo his breathing is rhythmic and deep,
but this is really the first time we have heard him sound
like he is straining.
As we continue to WIDEN, we discover the reason for this:
he is doing handstand push-ups. On the nails. Over and
over, with little apparent effort.
The hard edges and lines of his body catch the light,
like the tips of the nails, as we HEAR:
OZUNU (V.O.)
Strength is the only virtue that
nature respects.
22Ab FLASHBACK - INT. ORPHANAGE - DAY 22Ab
Children are sharpening their weapons. Ozunu walks above
them.
OZUNU
Hone your body. Sharpen your mind.
Become the weapon you will need to
survive.
Young Raizo looks up and sees young Kiriko looking at
him. She smiles. He looks back to his weapon.
22B EXT. ISTANBUL - STREET - DAY 22B
Raizo walks down a street where repair work is being
done. To keep cars from falling into the hole, they've
covered the street with big steel plates. As the cars
and trucks pass over the plates, they make a bump-thump
sound. Bump-thump, bump-thump, bump-thump. We PUSH IN
on Raizo under that sound.
GOLDENROD REVISED 2nd DRAFT 6/4/08 22A.
23 FLASHBACK - EXT. ORPHANAGE BONSAI GARDEN - DAY 23
Kiriko is working in the bonsai garden. Raizo watches
her silently for a moment noticing that she is secretly
loosening the wires, letting the branches ease back into
their natural shape.
He whispers.
RAIZO
You shouldn't do that. It's
against the rules. If they catch
you --
KIRIKO
Then they catch me.
RAIZO
They'll put you in the box.
KIRIKO
Yes, they will.
She finishes releasing the branch.
KIRIKO (CONT'D)
I believe the heart of the tree
knows which way it needs to grow.
RAIZO
Trees don't have hearts.
KIRIKO
Everything has a heart.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 23.
23 CONTINUED: 23
RAIZO
I don't.
There's sadness and bitterness in his eyes. He's closing
off to the world, becoming what they want. She won't let
that happen.
KIRIKO
Really? Let me see.
He hesitates, then approaches. Kneels down beside her.
She reaches toward him. He flinches...a sword he can
handle, but kindness has become something foreign...then
allows her to undo the top button of his shirt. She
presses her ear to his chest. Listens.
Then she gently whispers to it.
KIRIKO (CONT'D)
Hello....hello, you in there.
She listens again.
KIRIKO (CONT'D)
It's saying hello back. And that
it's happy to meet me...but it
misses you.
Raizo smiles despite himself.
RAIZO
Liar.
KIRIKO
Listen to mine, I'm not lying.
I'll prove it.
Again, he hesitates. Then he leans in, and listens to
her heart. Bump-thump. Bump-thump. She smiles.
KIRIKO (CONT'D)
Hello.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 24.
23 CONTINUED: (2) 23
He looks up at her, his ear still to her chest. And for
the first time, his face softens. Bump-thump. Bump-
thump. Bump-thump.
23A BACK TO SCENE 23A
In the present as the traffic bounces past Raizo. Bump-
thump. Bump-thump. Bump-thump.
His eyes saddening with memory, he continues on his way.
24 INT. MIKA'S OFFICE - NIGHT 24
Mika is at her computer doing what she does best:
intuitively sifting through interconnected threads of
information.
Searching through what is known about Ibu-Battuta, she
discovers information concerning the lost chapters of the
"Rihla," supposedly destroyed sometime in the 15th
century.
She remains immersed until a sound grows louder and
louder.
A vacuum cleaner. She checks the time. Very late. She
looks up and finds two eyes watching her through the
crack in her open door.
Startled she gets up while the eyes quickly disappear.
In the hallway, an older Asian man is pushing the vacuum
cleaner.
MIKA
Excuse me? Excuse me?
He shuts it off, turns to her.
MIKA (CONT'D)
Where's Jona?
He seems not to understand her.
MIKA (CONT'D)
Jona. The usual cleaner. Jona.
ASIAN MAN
Ahh, Jona. Jona sick.
MIKA
Oh. Well, tell him I hope he
feels better
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 25.
24 CONTINUED: 24
ASIAN MAN
Take care. You should take care.
MIKA
...What?
ASIAN MAN
Work so late. Not good for you.
She smiles sheepishly.
MIKA
True...Thanks.
25 EXT. BERLIN STREET - NIGHT. 25
Mika walks down the empty street, the sound of her heels
slap against the stone buildings.
The shadows seem to stalk her.
She hears a faint sound like metal claws against glass.
She stops and listens trying to see into the dark.
MIKA
...is someone there?
26 INT. ISTANBUL RAIZO'S APARTMENT - DAY 26
Raizo is practicing his chain form.
We begin to hear the sounds of another fight.
GOLDENROD REVISED 2nd DRAFT 6/4/08 26.
27 FLASHBACK - INT. ORPHANAGE DOJO - NIGHT 27
Raizo, is fighting with TAKESHI, a few years older, in a
room lit by hundreds of hanging torches. Armed with
katanas, the boys duck, dodge and weave around the
burning obstacles as they fight.
They are both extremely agile, their bodies moving with
the impossible flexibility of youth.
Kiriko watches along with the other members of the clan.
If she feels anything as she watches the fight, we cannot
tell.
They perform a vicious series of combinations, then
Takeshi's sword cracks against Raizo's head, opening a
huge gash.
Raizo hits the ground hard, blood speckling the mats.
Takeshi backs away as Ozunu steps in.
As blood flows down the side of his face, Raizo looks
like the young boy that he is. Pain throbs from the
wound, and he begins to cry.
OZUNU
Did Takeshi's blow hurt you? You *
think this is pain? You are *
mistaken. *
He gouges three fingers into the boy's stomach and twists
something inside of him.
Raizo screams.
His screams smear into uncontrollable sobbing.
OZUNU (CONT'D)
That is true pain. You must learn *
to live with it.
He steps back, leaving Raizo writhing in agony.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 27.
27 CONTINUED: 27
OZUNU (CONT'D)
This is your first test. Survive *
the night.
He signals to the rest of the clan and they all begin to
leave.
Kiriko is the last to turn away.
TIME CUT:
Later. Night.
Raizo is still where we left him, a twisted knot of pain,
his face stained with tears and crusted with snot.
He is trying to control his breath, at first without
success. Then slowly, finally, it begins to ease. His
hand, twisted into a kind of rigor mortis, slowly begins
to relax, opening like a lotus flower.
TIME CUT:
Dawn breaks over the wall, as Ozunu returns to the dojo
to find Raizo is sitting in a full lotus, completely
calm, the wound already beginning to heal.
Ozunu shows a hint of a smile.
OZUNU (CONT'D)
Very good, Raizo. Very good.
28 OMITTED 28
29 EXT. RIVERSIDE PARK - DAY 29
They are walking. Maslow is nervous.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 28.
29 CONTINUED: 29
MASLOW
Last night I'm working late and I
get a visit. Guy named Zabranski.
Works upstairs for Internal
Affairs. Just drops by. In the
neighborhood- cup a sugar- how ya
doin- kinda thing. Asks what I'm
working on. Oh, this and that,
usual blibbity blab, I tell him.
Then he smiles and says-
30 FLASHBACK - INT. MASLOW'S OFFICE - NIGHT 30
Zabranski is leaning against the door jam.
ZABRANSKI
...Very Good.
His faint smile reminds us of Ozunu.
31 EXT. RIVERSIDE PARK - DAY 31
MASLOW
I don't understand what is really
going on, but I'm smart enough to
recognize a warning when I see
one.
MIKA
But why?
MASLOW
Why? It's obvious. If your little
fantasy has even slightest chance
of being real, then these Nine
Clans would have some pretty major
juice protecting them.
MIKA
What are you going to do?
MASLOW
We are going to tip-toe, very
carefully from here on out. You
understand? You don't do anything
else without checking with me. Got
it?
She nods.
MIKA
Did you find Sabatin yet?
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 29.
31 CONTINUED: 31
Maslow isn't sure he wants to answer her.
MIKA (CONT'D)
You did.
MASLOW
Yeah...he's dead.
MIKA
How?
MASLOW
Heart attack.
MIKA
They killed him.
MASLOW
People die of heart attacks, Mika.
MIKA
Was he married? Did he have a
family?
MASLOW
God, you are relentless, aren't
you.
MIKA
I know you Ryan, you would have
checked.
MASLOW
A wife.
MIKA
Still in Russia?
MASLOW
Relocated.
MIKA
Where?
He pulls a folded piece of paper from his jacket.
MASLOW
Explain something to me first.
Where is this obsession coming
from? What started this whole
thing?
She thinks.
FLASH CUT.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 30.
31 CONTINUED: (2) 31
We see Mika reaching out to touch Raizo's face.
CUT BACK.
She shrugs.
MIKA
Like your father said...It's a
consequence of consciousness often
interpreted as desire.
MASLOW
Desire for what?
MIKA
For the truth.
He shakes his head, handing her the paper.
MIKA (CONT'D)
Potsdam. She's in Berlin.
Mika shoots off as Maslow calls-
MASLOW
Mika! Tip-toe!
She takes several exaggerated tip-toe steps.
CUT TO:
32 INT. ISTANBUL RAIZO'S APARTMENT - NIGHT 32
A shuriken blade grinds against a whetstone as Raizo
sharpens the weapon with practiced grace...despite being
blindfolded.
Sunlight is held back by vertical blinds.
When he finishes, he stands, a Rodin sculpted out of
midnight.
We realize there are wooden blocks placed around the
room.
In his palm, a single shuriken abruptly fans into many
like a deck of cards.
Suddenly his arm whips around as the shurikens crack and
split the thick wooden targets.
He stands alone, still blindfolded.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 31.
32 CONTINUED: 32
OZUNU (V.O.)
These next five years will be the
most important of your training.
33 FLASHBACK - INT/EXT. ORPHANAGE DOJO/VERANDA - NIGHT 33
One of the OLDER NINJAS is wrapping Raizo's eyes with a
sticky gauze, like the tape used to wrap horse's legs.
MR. OZUNU
For an entire year, you shall live
without one of your senses,
beginning with the sense you rely
on the most: your sight.
34 FLASHBACK - INT. ORPHANAGE DOJO - NIGHT 34
Takeshi's sword slides from one position to another as
Ozunu looks on.
Raizo, blindfolded, reacts to the sound, matching his
posture a fraction of a second later.
OZUNU
A true Shinobi lives in darkness.
The night is his weapon. *
Takeshi attacks again. While Raizo eludes or blocks
several blows, for every two he manages to block, another
connects.
OZUNU (CONT'D)
You must see with more than your *
eyes. *
Raizo gets up, slowly releasing the tension in his jaw.
He takes his position again, and this time the stance is
easy, his expression softer. This time, as Takeshi comes
at him, everything becomes clear.
The whistle of the blade.
The zip of the leg sweep against the tatami mat.
The sound of his robe.
Combined with Takeshi's unmistakable body odor Raizo has
everything he needs to dodge, slip and counter.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 32.
34 CONTINUED: 34
His chain strikes, wrapping an ankle, throwing a stunned
Takeshi to the wall.
Kiriko tries to hide her smile.
Ozunu nods in appreciation.
Raizo nods back, as if he can see without eyes.
35 FLASHBACK - INT. ORPHANAGE DORMITORY - NIGHT 35
Young Raizo, still blindfolded is in bed. Trying to
sleep, but it's impossible. Takeshi's snoring doesn't
help.
He turns slightly towards Kiriko, as her chest rises and
falls, her breath as rhythmic as and gentle as the lap of
sea-water in a tidal pool. He begins to breathe in sync
with her, perhaps in hopes it will relax him.
Slowly, all the other sounds in the room go away, until
only her breathing, and his, remains. There is the
slight murmur of their hearts.
Then she opens her eyes...and smiles at him because he
cannot see her. But he hears her heart begin to beat
faster and that brings a faint smile to his lips.
They listen to each other's breathing growing heavier,
the sound of their hearts beating faster and faster.
Her lips part as she makes the tiniest movement...tilting
her pelvis up, rubbing her hips ever so slightly against
the blanket-
It's like tectonic plates shifting for Raizo.
Bump-thump, bump-thump, bump-thump their hearts growing
louder and louder as they become-
36 EXT. POTSDAM - SABATIN HOME - DAY 36
Mika knocks. The cold war widow opens the door.
MIKA
Mrs. Sabatin?
MRS. SABATIN
Ja.
MIKA
I'm with Europol. We spoke on the
phone.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 33.
36 CONTINUED: 36
She nods.
MRS. SABATIN
(stepping aside)
Ah, sehr gut. Bitte...please.
MIKA
Shoen.
Mika enters.
37 INT. SABATIN HOME - DAY 37
Sabatin and Mika sit across from each other. The house
has the chill of loneliness. Tea has been set out
between them.
MRS. SABATIN
You said you read my husband's
report, yes? What did you think?
MIKA
I found it...illuminating.
Especially the references to the
Rihla. Your husband quotes
passages not found in Battuta's
present manuscript.
MRS. SABATIN
My husband journeyed all over the
world researching that report, but
when he was home, he never spoke
about it. He said it was safer
that way.
MIKA
I understand the report caused
some problems for him inside the
KGB.
MRS. SABATIN
The report caused "problems" for
Alexei's career the way Moses
caused problems for the Pharaoh,
you see? Very unpleasant.
Terrible people saying terrible
things.
She pours tea, the harsh memories still fresh.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 34.
37 CONTINUED: 37
MRS. SABATIN (CONT'D)
After he retired...was asked to
retire...we moved, first to
Byelorussia and then here to
Berlin when the wall came down.
He said this will be a good place
to grow old together. And it was,
for a time.
MIKA
What happened?
She looks off, shakes her head.
MRS. SABATIN
About two years ago...two? Yes,
after the assassination of Zhukov,
the report drew attention. After
that, everything was different.
38 FLASHBACK - EXT. SABATIN HOME - DAY 38
As Alexei supervises, workmen install locks, put in
fencing material, hang lights and video cameras on the
outside of the house.
MRS. SABATIN (V.O.)
Alexei hired men to change all the
locks, and put in more of them.
Locks on the windows, locks on the
doors, locks on the locks. He put
in cameras and motion sensors and
lights...everywhere, lights.
The lights SNAP on, illuminating the back of the house
with brilliant klieg lights.
MRS. SABATIN (V.O.) (CONT'D)
"There can be no shadows," he
said. "No shadows."
38A BACK TO SCENE 38A
CLOSER on Mrs. Sabatin as she looks down at her tea.
MRS. SABATIN
I will tell you a true thing, and
a hard thing. My husband was a
soldier. A member of Russian
intelligence. He had seen many
terrible things....
(beat)
He was not a man to frighten
easily.
(MORE)
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 35.
38A CONTINUED: 38A
MRS. SABATIN (CONT'D)
But from that day on, when the sun
went down behind the hills...in
his eyes, I saw the fear a child
has of the dark.
(beat)
Then, one day, a man came to the
door.
39 FLASHBACK - INT/EXT. SABATIN HOUSE - DAY 39
We are over the shoulder of someone who could be Raizo or
Takeshi as the door opens revealing Alexei.
After a moment Alexi invites the man in. A security
camera watches them enter the house.
MRS. SABATIN (V.O.)
They talked in Alexei's study for
sometime. Then the young man
left.
Mrs. Sabatin watches the young man leave then hurries
toward the study door.
MRS. SABATIN (CONT'D)
It was unlike Alexei not to see
him out. I remember being very
scared. But when I opened the
door, he was just sitting there.
For a moment, he didn't even
notice me. Then he stood up and
kissed me and told me that he
loved me very much. He said I
should always remember that.
We see Alexei looking shell-shocked, eyes hollowed, as he
stands and kisses his wife. His eyes begin to shimmer
with tears but before he cries, he leaves.
39A BACK TO SCENE 39A
MIKA
Do you know what they talked
about?
MRS. SABATIN
No. Alexei never spoke about it.
But two months later, he was dead.
MIKA
Can I ask how he died?
GOLDENROD REVISED 2nd DRAFT 6/4/08 36.
40 FLASHBACK - EXT. SABATIN HOUSE - NIGHT 40
The lights have come on outside his house. Alexei comes
out, a gun in hand, shielding his eyes. Searching for
whatever set off the automatic lights.
Then, suddenly: darkness.
And sudden MOVEMENT in the shadows that LUNGES toward
Alexei.
40A As Mrs. Sabatin shakes her head, looks away. Shrugs. 40A
MRS. SABATIN
The lights went out.
She looks to Mika. That says it all. She rises.
MRS. SABATIN (CONT'D)
You are the first person who has
taken my husband's work seriously.
It would be good to know that he
did not die without cause. Come
with me.
Mika follows her into --
-- an adjoining room, where Mrs. Sabatin pulls the bottom
drawer of a bureau out and sets it on the floor. From
the darkness she removes a metal box.
MRS. SABATIN (CONT'D)
He would want you to have this.
41 INT. ISTANBUL RAIZO'S APARTMENT - DAY 41
Raizo sits alone. Crossed-legged on the floor. Utterly
still.
There's an ocean of sound swirling around him. The
cacophony of Instanbul evening rush hour.
Raizo starts to build a dam; auricular sandbags laid one
by one, walling off the outside world.
The traffic outside- horns, engines, squealing tires,
rattling trucks chassis- all fade away.
People shouting, singing. A couple next door making love.
A baby wailing. Jackhammers pounding...
Slowly, the world fades away, until there is only one
sound. Faint, familiar, but almost too quiet to hear...
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 37.
41 CONTINUED: 41
Raizo's heartbeat.
He listens to it. Meditates on its simple rhythm...
Until a sound explodes in the room, it is a sound we
haven't heard in his apartment-
A phone.
He rises slowly as the phone continues to ring. He
answers it silently waiting for something-
The line clicks and goes dead.
42 EXT. ISTANBUL STREET SOUK - DAY 42
Raizo walks through the crowded market. Shoppers,
salesmen and tourists fill the narrow aisles between the
stalls.
FIVE CHILDREN- who we see only from the back- run past.
Shouting laughing. The last one jostles against Raizo as
he goes by.
Raizo keeps walking, but he is holding an envelope in his
hand. He slips it into his pocket.
43 EXT. ISTANBUL STREET - DAY 43
Raizo opens the envelope as he crosses the street.
There's a square of paper inside, and a photograph.
On the paper is a street address in Berlin. The
photograph is a close-up of a woman's face...
Mika.
44 INT. MIKA'S APARTMENT - LIVING ROOM - DAY 44
Close on the box. It sits on her desk, calling as
another box once called to Pandora.
She opens it.
Inside are a series of cataloged photographs taken in the
style of 1970's archeologists (like those of the dead sea
scrolls) of the lost chapter of Ibn-Battuta.
The scrolls contain his 14th century Islamic writing and
several sketches.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 38.
44 CONTINUED: 44
There is also a very rough map that suggests the location
of The Orphanage.
Images of the orphanage, of the children training and
their ordeals, bloody combat, ritual bindings, beatings
on the Nightingale floor.
There is a scroll that she unrolls revealing the lineage
tree of the Nine Clans.
Also in the box is a single VHS tape.
She pushes the tape into the player.
It's a recording of a surveillance camera staring at the
front of the Sabatin house.
A man walks up to the house and rings's the bell. We
cannot see his face. Sabatin opens the door. They
exchange words. Sabatin seems wary but invites the man
in.
Mika doesn't understand why this is significant.
She hits fast forward until she sees a flash as the man
exits. She stops, rewinds and plays it again. *
As he steps out of the shadow of the house, she sees his
face-
It is Raizo.
She is startled when someone pounds on the door. It
seems like it might rattle off its hinges as she hurries
to open it revealing-
Maslow and he's not happy.
MASLOW (O.S.)
You lied to me.
He pushes into the room and slams the door behind him.
MIKA
What're you --
MASLOW
I told you to stop using my
confirmation code.
MIKA
I did --
MASLOW
Dammit, Mika -- *
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 39.
44 CONTINUED: (2) 44
MIKA
...I'm sorry, it was the only way *
I could get the evidence. *
MASLOW
Shit....
MIKA
What happened?
MASLOW
What happened? Everything's
fucking happened.
He tries to dial it down, succeeds, but only a little.
MASLOW (CONT'D)
When you were slapping my code all
over town like some phone number
in a bathroom, did you happen to
notice the classification code on
the cases you were digging
through?
She knows.
MASLOW (CONT'D)
What did it say?
MIKA
(quietly) DNP.
MASLOW
That's right. DNP. DO NOT
FUCKING PURSUE!
MIKA
(quietly)
Actually that would be DNFP --
45 FLASH-IMAGE - INT. MASLOW'S OFFICE - AFTERNOON 45
We SEE men and women in dark suits, their expressions
deadly serious, tossing through everything he has in the
place.
45A BACK TO SCENE 45A
MASLOW
Right now there are people from
internal affairs, CIA, Homeland
Security and for all I know the
Martian Fucking Military in my
office tearing the place apart.
(MORE)
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 40.
45A CONTINUED: 45A
MASLOW (CONT'D)
I don't know what they're looking
for but I think you do.
She shifts nervously, no poker face. She turns and leads
him into her home office.
With the key from the tampax box she opens the drawer.
Maslow watches as she pulls out the contents of Sabatin's
box as well as the illegally requisitioned evidence.
MIKA
Most of this is from Sabatin.
Copies of what I think are the
lost chapters of the Rihle. I
think it describes the original
location of the Ozunu Clan but my
14th century Arabic is a little
rusty.
MASLOW
And this?
Meaning the DVD.
MIKA
That's how it started. I made a
mistake, mixed up the case code
and they sent me that.
A moment later the DVD is playing, Raizo and the other
ninja dancing through the shadows.
MASLOW
...Christ.
MIKA
Yeah. I know. I don't understand
why they're fighting though. It
could be a clan war.
Maslow starts to put it together.
MASLOW
So you requisitioned this by
accident. You used my code which
is why you didn't want to show me
this. Which is also why they're
tearing apart my office right now.
MIKA
I'm sorry Ryan. You have to know
I didn't mean for you to get in
trouble...
(MORE)
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 41.
45A CONTINUED: (2) 45A
MIKA (CONT'D)
I just thought if this was real,
if these clans were killing
people, you know, it was our job
to try to stop them.
He eyes her.
MIKA (CONT'D)
Isn't that what your dad would do?
MASLOW
Okay, that's low.
MIKA
Look, I know I broke the rules.
I'll explain what I did and accept
the consequences.
MASLOW
Very noble of you but I've got the
feeling this isn't a slap-on-the
wrist kinda consequence. Let me
take this and try to make some
sense of this shitstorm you
started. In the meantime, you
will not say anything to anybody.
Capiche?
She nods.
46 INT. PASSPORT CONTROL AIRPORT - DAY 46
Close on Raizo's fake passport.
PASSPORT OFFICIAL
Are you coming to Berlin for
business or pleasure Mr. Han
Raizo smiles
RAIZO
Pleasure.
47 INT. MIKA'S OFFICE - DAY 47
She's at her computer, studying a topographical map of
Japan, trying to relate the Ibu-Battuta's drawing to it.
Suddenly she realizes she is not alone;
Zabranski is leaning against the door jam. He smiles.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 42.
47 CONTINUED: 47
ZABRANSKI
Boy you're like a dog with a bone
on that computer aren't you?
MIKA
Excuse me? Who are you?
He reaches across her desk.
ZABRANSKI
Agent Zabranski. Internal
affairs. Need to ask you a couple
of questions. You are Mika
Coretti, yeah?
She nods, her gut clenching. He pulls out a small
notebook.
ZABRANSKI (CONT'D)
Forensic researcher. You work a
lot with an Agent...Maslow. That
right?
MIKA
...A few cases.
ZABRANSKI
You have something of a social
relationship.
MIKA
What?
ZABRANSKI
You had lunch with him on the 13th
and again on the 18th.
MIKA
How do you know that?
ZABRANSKI
Is it not true?
MIKA
I...I'm not sure. We do have
lunch together sometimes, usually
when we're working-
ZABRANSKI
Are you working on something with
him right now?
A beat.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 43.
47 CONTINUED: (2) 47
MIKA
No...not right now.
ZABRANSKI
Has Agent Maslow seemed different
lately, in any way? Has he done
or said anything that struck you
as unusual?
MIKA
No why. Has Agent Maslow done
something?
He smiles in the way a piranha might smile if it could.
ZABRANSKI
Just routine. The agency cares
about its field operatives. We
monitor for signs of stress,
fatigue, mental exhaustion. Agent
Maslow has a serious case load.
That much work can wear on a man.
He leaves.
She gets up and closes her door. She grabs her phone and
calls Maslow.
MASLOW (V.O.)
This is Ryan Maslow. Leave a
number-
She disconnects then texts.
TEXT: 911. CALL ME. M
48 INT. PARKING GARAGE - NIGHT 48
It is later. The garage is a gyre of shadows. Mika
walks towards her car.
The fluorescent light flickers and goes out. She stands
in the dark.
MIKA
Come on...you're kidding me.
It flickers back on. She continues to her car.
49 INT. PARKING GARAGE CAR - NIGHT 49
She gets in as a shadow leaps to life behind her. She
starts to scream when she realizes it's-
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 44.
49 CONTINUED: 49
Maslow.
MASLOW
Ssssshhhhhh. Sorry, Mika.
MIKA
Fucking Christ, Ryan-
MASLOW
I couldn't talk earlier. They're
watching me.
MIKA
Zabranski came to my office.
Asking about you.
He nods.
MASLOW
I know how Sabatin must have felt.
MIKA
What happened?
MASLOW
I showed Jamison the materials.
MIKA
What did he say?
50 INT. JAMISON'S OFFICE - DAY 50
A typical autocrat.
JAMISON
This agency is subject to the
International laws and agreements
that govern the jurisdiction of
our authority. If a case is
marked DNP we must respect the
jurisprudence of the regional
government and act accordingly.
MASLOW
I understand that sir but-
JAMISON
Let me be clear, Agent Maslow. In
the eyes of the law these
materials do not exist. If so,
than there is no case and if there
is no case there is no reason for
this conversation to continue.
GOLDENROD REVISED 2nd DRAFT 6/4/08 45.
51 INT. PARKING GARAGE CAR - NIGHT 51
MIKA
He took the materials?
MASLOW
Come on Mika, how could he take
something that didn't exist? He
couldn't. Which means that I
couldn't copy it either, and if I
couldn't copy it than I can't be
violating international laws and
agreements by still having it.
She likes this guy.
MIKA
What are we going to do?
MASLOW
Your going to go home. Pack your
bags and go on holiday.
MIKA
No way-
MASLOW
Don't fucking argue with me, Mika.
I trusted you. Now you've got to
trust me.
MIKA
Ryan, I can't let you lose your
job because of me-
MASLOW
I'm not talking about my job,
Mika.
He hands her a Glock and two spare clips.
MASLOW (CONT'D)
Take this. It's clean, no serial
number. Untraceable.
MIKA
I've never even fired one of
these.
MASLOW
(pointing) This is the bad end.
This is the end you hold. Point,
shoot, run like hell.
He also gives her a phone.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 46.
51 CONTINUED: 51
MASLOW (CONT'D)
I'm going to try to find some
help. Until then, I need you gone.
Don't tell anyone where you're
going, just go. Use this phone to
text me when you get there, or if
you have any problems.
MIKA
Ryan...
MASLOW
I know. It's unbelievable. I've
investigated, world bank
officials, drug cartels, arms
dealers, and I've never faced this
kind of heat. For ninjas. Fucking
unbelievable!
He shakes his head and slips out the door.
52 EXT. MIKA'S APARTMENT BUILDING - NIGHT 52
Mika parks her car around the corner from the apartment
building, gets out and starts down the street when she
sees --
-- the apartment building and the one next door are dark.
Candles and flashlights are visible in some of the
apartment windows, a scattering of neighbors congregating
outside. Mika approaches a NEIGHBOR.
MIKA
Hey....
NEIGHBOR
Hi.
MIKA
What happened?
NEIGHBOR
Power's out. Us, the building
behind us, that one across the
street. Seems like every few
months, boom, the lights out. I
call, I complain, they
listen...nothing gets done. So I
sit out here, at least it's cool.
Mika looks up at the building, scared but not ready to
believe that ninjas are responsible for everything. She
pulls a tiny LED flashlight out of her bag and starts
into the building.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 47.
52 CONTINUED: 52
NEIGHBOR (CONT'D)
Watch your step.
MIKA
You're not the first person to
give me that advice today....
And she continues into --
53 INT. MIKA'S APARTMENT BUILDING STAIRWELL - NIGHT 53
-- where she climbs the steps, each creak adding to the
possibility of attracting trouble. On the passing
floors, we hear doors being opened and shut, footsteps,
the distant murmur of voices. Could be nothing. Could
be everything. She presses on.
54 INT. MIKA'S APARTMENT - MOMENTS LATER 54
She opens the door to her apartment, shining the tiny
light ahead of her. Shadows chase each other across the
room as she swings the light one way, then another.
There seems to be no one else in the place. But as she
hurries into her home office, we see --
A shadow move behind her.
As she packs she begins to hear something, a tapping.
The same sound she heard before. She pulls the gun from
her purse. With the flashlight spearing the darkness,
she goes to her office.
Again the window is open, the blinds gently blowing
against the sash.
She is certain the window had been locked.
Now every shadow is alive.
She rushes back to her bedroom aiming in every direction.
Her flashlight finds her suitcase. On the top of her
clothes she sees it: An envelope. Perfectly centered.
Setting the gun down, she picks up the oragami-folded
envelope. Opens it with a shaking finger.
Black sand spills out.
Terror steals her breath. Behind her, a shadow tilts and
reveals the eyes of a ninja.
Before she can even move, a blade flashes from the
darkness, heading for her neck-
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 48.
54 CONTINUED: 54
Another shadow blocks the blade, knocking Mika over the
bed.
The sounds of a fight erupt all around her but the
combatants are almost invisible in the surrounding
darkness.
Her flashlight catches glimpses. Impossibly fast, lethal
predators trying to kill each other.
She crawls towards the spilled contents of her suitcase,
towards the gun. Another blow arcs for her and is again
blocked.
Her hand finds the handle of the gun. She points into
the dark, fires.
The gun flash strobes the room, freezing the two ninjas
in the blink of a flashbulb.
They move towards her until a kick sends her gun flying.
She can feel them fighting very close to her and when she
finds them with her flashlight, a blade is struck deep-
Blood erupts. One shadow falls to the ground.
The other turns towards her. Her flashlight shakes as
the ninja reaches up and removes his mask.
It is Raizo.
He sees in her eyes that she knows him.
RAIZO
You know me?
She nods.
RAIZO (CONT'D)
How?
MIKA
...security camera in New York. *
Recorded you fighting...one of *
them. *
She glances at the dead ninja. *
RAIZO *
You know about them? *
MIKA
A little. *
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 48A.
54 CONTINUED: (2) 54
He waits. *
MIKA (CONT'D) *
Uhh-- Well, there are these *
clans...we're not sure how many. *
RAIZO *
Nine. *
MIKA *
Okay. Nine. Nine clans. And *
they apparently have been *
supplying assassins to governments *
or anyone who happens to have one *
hundred pounds of gold lying *
around for the last thousand *
years. Give or take. *
He nods faintly. Then turns to his dead "Brother". *
RAIZO *
His name was Jin. *
MIKA *
You knew him? *
RAIZO *
He was not born an "Assassin". *
She looks at the dead body. *
MIKA *
...you're from his clan ? *
His nod is almost imperceptible. *
MIKA (CONT'D) *
Then...why did you stop him? *
RAIZO *
The clans have three kinds of *
people! People with power. *
People with money. Or people *
hunting them. *
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 49.
54 CONTINUED: (3) 54
He hears something she can't. She starts to speak, and *
he stops her with a gesture.
RAIZO (CONT'D) *
They're coming.
MIKA
Who?
RAIZO
The Hanta-Kirra.
MIKA
Does that mean what I think it
means?
RAIZO
They won't stop until you are *
dead. *
MIKA
Oh god. *
She looks for her gun.
RAIZO
The gun won't help you.
MIKA
I don't have a lot of options
okay. I once took a Tae Bo class,
but that's the extent of my Kung
Fu abilities.
RAIZO
I can help but you must tell me *
something first.
MIKA
What?
RAIZO
You saw Ms. Sabatin. *
MIKA *
How did you know that? *
RAIZO *
I've been watching you, waiting *
for them. *
She tries to compute the idea that he's been following *
her. *
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 50.
54 CONTINUED: (4) 54
RAIZO (CONT'D) *
Did she give you something? *
She nods, Raizo's eyes lite up.
RAIZO (CONT'D) *
You have them?
Shakes her head "no."
MIKA
But I can get them.
He hears something else.
RAIZO
We need something black. Hurry! *
She runs with the flashlight to a bureau. Inside is a
black tablecloth. He pulls her shoes off.
RAIZO (CONT'D)
Follow me. Step where I step.
55 INT. MIKA'S APARTMENT BUILDING STAIRWELL - NIGHT 55
He leads her down through the stairwell of the large walk
up. She follows him step by step.
Suddenly he pulls her into the corner of a doorway.
Wrapping the tablecloth around them, they melt into
darkness.
Beneath the wrap, he puts his hand over her mouth and
nose stopping her breath.
Outside after a long beat a ninja's foot silently glides
past, climbing the stairs.
Inside he releases her nose. Before she can finish
taking a breath he yanks her up and they quickly descend
the remaining stairs.
56 INT. MIKA'S APARTMENT - NIGHT 56
The dead ninja lies in a pool of blood.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 51.
56 CONTINUED: 56
The shadows come alive and four dark figures emerge, born
from the black-
The Hanta Kirra.
Their leader drifts forward surveying the apartment, his
dark eyes flashing that we recognize.
Like snap-focus flashes taking in the myriad signs of the
fight: the bullets in the wall, footprints, and shattered
lights. One of the killers uses his sword to trace the
line of a slashing cut in wall. Braille from the blow
that Raizo used to cut the ninja.
He removes his mask and we see it's Takeshi.
TAKESHI
Raizo.
Another Ninja leans forward and tastes the air with his
nose. Eyes closed. Like a dog getting the scent, his
inhalation a long, low whisper in the silent room.
DOG NINJA
He's taken the girl.
Takeshi nods turning to the windows. He smiles; A hunter
who knows the hunt is almost over.
OZUNU (V.O.)
Weakness compels strength.
CUT TO:
57 EXT. WOODS - NIGHT 57
A figure is running wildly through the thrashing
branches.
58 INT. ORPHANAGE OZUNU HOUSE ASSEMBLY ROOM - NIGHT 58
Ozunu addresses the clan, his eyes like those of an
executioner.
OZUNU
Betrayal begets blood.
BACK TO:
GOLDENROD REVISED 2nd DRAFT 6/4/08 52.
59 EXT. WOODS - NIGHT 59
We are gaining on the figure who continues to bolt like a
panicked horse.
BACK TO:
60 INT. ORPHANAGE OZUNU HOUSE ASSEMBLY - NIGHT 60
OZUNU
This is the law of the Nine Clans.
This is the way of the ninja.
BACK TO:
61 EXT. WOODS - NIGHT 61
We rush up behind the figure who glances back. It is
Kiriko and she screams as we attack-
The sound of the assault becomes-
62 EXT. STREET - NIGHT 62
Mika's car rushing past us.
63 INT. CAR - NIGHT 63
Raizo is silent. Mika is driving.
MIKA
I'm going to have to make a phone
call in order to get the
manuscript.
RAIZO
Not now. Just drive.
MIKA
Where?
RAIZO
Does not matter. Just get as far
away from here as fast as you can
without drawing attention.
MIKA
You think they're following us?
RAIZO
I know they're following us.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 53.
63 CONTINUED: 63
She watches in the mirror for a moment.
MIKA
I don't see anything back there.
RAIZO
They have our scent.
MIKA
Following our scent? Like dogs?
RAIZO
No. Like Wolves.
She swallows.
MIKA
How do you know so much about
them?
RAIZO
I was one of them.
MIKA
You flunked out of ninja school or
something?
RAIZO
...something.
64 FLASHBACK - INT. LIMOUSINE - NIGHT 64
Raizo is dressed in normal clothes his hair starting to
grow back from the close shave he had in the Orphanage.
He wears a silk blindfold.
Ozunu sits in the leather gloom of the stuffed
upholstery.
OZUNU
You may remove the blindfold.
Raizo does so. Looking around at the lights of Osaka, a
city he has never seen before.
OZUNU (CONT'D)
Your entire life has brought you
to this moment. Do not fail
yourself. Do not fail your
family.
Raizo nods faintly.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 54.
64 CONTINUED: 64
MR. OZUNU
He is wearing a black and gold
watch. Bring it to me.
Raizo nods again, then opens the door and steps out.
65 INT. FIVE STAR HOTEL LOBBY - NIGHT 65
CLOSE ON the fat wrist of a large man as he strides
across the lobby.
He turns to his entourage which includes several
bodyguards and a few arm pieces.
KINGPIN
Wait here. Gotta piss.
BODYGUARD
Want me to come with you, boss?
KINGPIN
Why? So you can shake it for me?
You some kind of secret faggot?
He laughs and the arm pieces cluck on cue.
He heads into the bathroom.
66 INT. FIVE STAR HOTEL BATHROOM - NIGHT 66
Kingpin enters there is only one person in the bathroom-
Raizo washing his hands. His eyes flash in the mirror,
watching the Kingpin only after he has turned away.
The enormous man steps into a stall. After a moment he
begins to piss, moaning slightly as he does.
Raizo hits the air dryer button. The sound fills the
room.
A thin razor sharp blade flashes from his sleeve.
The Kingpin continues to enjoy his piss but as we look at
him we see the door behind him silently swing open,
revealing Raizo.
Raizo stares at the back of the man's head. He can
almost see his jugular beating beneath the thick folds
of his neck-
But something prevents him from striking.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 55.
66 CONTINUED: 66
The dryer stops, the sound of the piss dribbling when the
Kingpin suddenly looks back over his shoulder-
KINGPIN
The fuck-?
Raizo strikes but the kingpin is able to deflect the blow
which sinks into his enormous body.
He laughs.
KINGPIN (CONT'D)
That kinda tickled...
He smashes a fist into Raizo that slams him backwards.
KINGPIN (CONT'D)
Gonna take more than a knitting
needle to fuck me up, boy.
Raizo attacks and it is immediately apparent that this is
not going to be easy.
Several ferocious blows that would have broken the neck
of a smaller man, only seem to make the Kingpin madder.
Soon both are covered in blood, and gore.
But it is not until Raizo slams the man's head against
the lip of the urinal-
The first time a font blood splashing up--
The second time the porcelain shatters as the Kingpin's
head opens, spilling black blood across the floor.
67 EXT. ROOF - NIGHT 67
It is raining.
Raizo, still wearing his bloody clothes, climbs up onto
the roof, his clothes spattered with gore.
He waits as the shadows around him come to life: Ozunu,
Takeshi, and several other clan members surround him.
All but Ozunu wear their masks.
Raizo extends his hand, revealing the black and gold
watch, smeared with fresh blood. He offers it to Mr.
Ozunu.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 56.
67 CONTINUED: 67
OZUNU
Keep it. It will remind you that
every minute of your life is a
gift that I have given you.
Ozunu smiles.
OZUNU (CONT'D)
You have made me proud tonight,
Raizo. There are some who
believed you would fail, but I
knew you would not.
His eyes narrow.
OZUNU (CONT'D)
You have a strength inside you
Raizo. You must use that
strength, now to show me that you
are truly Ozunu.
Several of the other ninjas step back. Revealing
Takeshi. He pushes a small hooded figure forward.
OZUNU (CONT'D)
Weakness compels strength.
Betrayal begets blood.
Takeshi yanks the hood off revealing a young girl. She
is bloody, bound and gagged and for a flash-
Raizo sees her as Kiriko.
OZUNU (CONT'D)
A daughter that turned her back on
her family. She tried to run.
Takeshi hunted her down.
He unsheathes his blade, offering the hilt to Raizo.
OZUNU (CONT'D)
It is the law of the Nine Clans.
Raizo looks at the girl, her tears lost in the rain.
We cannot tell if Raizo is crying as he takes the blade-
He CRIES OUT, the light of madness in his eyes.
He STRIKES, lashing out with the fury of a wild animal,
at Ozunu --
-- who bends back with impossible grace. But not far
enough.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 57.
67 CONTINUED: (2) 67
The point of Raizo's sword slashes across his face,
opening an ugly wound that spills blood over his eye and
mouth...
He hasn't tasted his own blood in years, and the anger
boils up in his eyes.
OZUNU (CONT'D)
Kill him!
Raizo meets their attack. Throwing himself into the fray
as only a man who is no longer interested in living can.
But the ninjas are everywhere. They hurl shuriken at him
by the handful, a storm of jagged steel racing for
Raizo's flesh.
Raizo blocks some of the shuriken, misses many more. The
shuriken strike muscles, tendons, flesh. He SWINGS
around, still trying to attack, there are too many of
them.
He stumbles back towards the edge of the roof as Takeshi
SWINGS what he believes will be the death blow as --
-- Raizo half-falls, half-leaps backward, falling from
the rooftop, tumbling through space, until he --
-- Splashes into the canal below-
Bubbles dancing between the ribbons of blood.
68 INT. CAR - NIGHT 68
Mika speeds along the autobahn.
MIKA
Okay, if you're not going to say
anything, do you mind if I talk?
When I get nervous, it helps if I
talk.
He says nothing.
MIKA (CONT'D)
My name is Mika by the way.
RAIZO
I know.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 58.
68 CONTINUED: 68
MIKA
Yeah, well usually if someone
introduces themselves it is a
convention that the other person
does likewise.
He considers her.
RAIZO
Raizo...is the name I was given.
MIKA
So, you were an orphan?
His head nods slightly.
MIKA (CONT'D)
Interesting nature verses nurture
case study I imagine.
He cocks an eyebrow.
MIKA (CONT'D)
If it's okay with you, I'll try to
fill in some of the blanks. You
must have been taken by the Ozunu
clan, trained to be an assassin,
but something happened and you
decided to opt out of the program.
I don't imagine this went over so
well and since they're after me
for just peeking through the
keyhole, they must be after you in
a major way. But you are also
after them or you wouldn't have
bothered going to Sabatin. Which
I figure means you're searching
for the location of The Orphanage
because that's obviously the only
information Battatu's book would
have that you wouldn't already
know.
He looks at her impressed.
MIKA (CONT'D)
Yeah, I got some moves too. I'm
pretty lethal with the research
thing.
He almost smiles.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 59.
68 CONTINUED: (2) 68
MIKA (CONT'D)
But here's a question I can't
answer: since you didn't know I
went to Sabatin's, why did you
save me?
RAIZO
Ninja only kill two kinds of
people. The first kind has power
and money. The other kind is
trying to stop them.
He nods, noticing shops out beyond the exit.
RAIZO (CONT'D)
Exit here.
CUT TO:
69 EXT. SHOPPING MALL - NIGHT 69
The shops are all closed, Mika's car crawls to a stop in
the empty parking lot.
70 INT. CAR - NIGHT 70
Raizo looks her over.
MIKA
I understand retail therapy as
well as any girl but I think it's
a little late.
RAIZO
You are a size 36?
MIKA
What? No! Size 34...`cept certain
times of the month.
He starts to leave then stops-
RAIZO
If you leave while I am gone they
will catch you and kill you.
He looks her in the eye.
RAIZO (CONT'D)
Do you understand that?
She nods. He opens his door and slips out.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 60.
70 CONTINUED: 70
She watches as he heads for the doors. He passes into
the shadow of the building and disappears.
She digs into her bag for the phone Maslow gave her.
She TEXTS: 911. But situ stable. Guardian angel all in
black. Need Battuta book soon. Will call. M
She hits send. Looks out to the darkness surrounding
her. After a moment one of the shadows comes to life.
The door opens and Raizo gets in, his arm full of
clothes.
RAIZO (CONT'D)
We need a hotel.
71 EXT. HIGHWAY MOTEL - NIGHT 71
The car is parked around several others.
72 INT. HIGHWAY MOTEL ROOM/BATHROOM - NIGHT 72
Raizo goes into the bathroom, and turns on the shower.
RAIZO
Get undressed. Shower. Do not
use the hotel soap. Or any towel.
Do you smoke?
MIKA
No.
He nods.
RAIZO
Put your clothes in here.
He pulls the garbage bag from the wastepaper basket.
Then leaves as she begins getting undressed.
73 EXT. HIGHWAY MOTEL - NIGHT 73
Outside the hotel, Raizo finds a pine tree. He cuts
several branches from it.
74 INT. HIGHWAY MOTEL ROOM/BATHROOM - NIGHT 74
Back in the room, he enters the bathroom. She is still
in the shower.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 61.
74 CONTINUED: 74
MIKA
Hey-
RAIZO
What?
MIKA
Don't you know how to knock?
RAIZO
I'm trying to save your life.
MIKA
...okay right.
He hands her the tree branch.
RAIZO
Dry yourself with this.
He starts taking off his clothes. He does it quickly
without any sense of awkwardness; the world where he came
from makes little distinction between male and female.
She's not from the same world, keeping herself as covered
as possible with a tree branch.
He jumps in the shower while she tries to dry herself
off.
MIKA
...I'm just a researcher. I'm
really not equipped to deal with
this...
He steps out and quickly wipes the dripping water off his
body with the branch.
RAIZO
Get dressed.
In the bedroom, Raizo is dressed in new clothes. He
lights a cigarette as Mika come out struggling with the
tightness of her new jeans.
MIKA
These are a little tight.
RAIZO
You said 34.
MIKA
European sizes...run a little
small I guess.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 62.
74 CONTINUED: (2) 74
Raizo takes the cigarette and begins waving it all around
her.
MIKA (CONT'D)
This is for my "scent"?
He nods.
RAIZO
Let's go.
75 EXT. HIGHWAY MOTEL PARKING LOT - NIGHT 75
CLOSE as he picks the lock of a different car trunk.
MIKA
Wow. They teach you that at ninja
school?
RAIZO
Most locks are not worth the metal
they're made of.
The trunk pops open. Raizo tosses their bag of clothes
under the lid of the tire compartment. Then closes the
door.
He leads her down the parking lot sizing up the cars,
until he finds one he likes.
MIKA
You're going to steal a car?
RAIZO
Just borrow it.
The door opens.
RAIZO (CONT'D)
Get in.
She sighs.
MIKA
In for a penny, in for a pounding.
75A INT. CAR - NIGHT 75A
Raizo takes out a small electrical device. He aims it at
the dash and hits a button. The device finds the right
frequency to start the car.
She is impressed.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 62A.
75A CONTINUED: 75A
RAIZO
At ninja school I minored in
electrical engineering.
His smile makes her smile.
76 EXT. AUTOBAHN - NIGHT 76
A moment later the car flies back towards Berlin.
RAIZO
Now we have some time.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 63.
76 CONTINUED: 76
MIKA
How much time?
RAIZO
A day. Maybe less.
MIKA
Jesus.
RAIZO
Make your call.
She nods, digs through her purse for the phone.
INTERCUT WITH:
77 INT. MASLOW'S OFFICE - NIGHT 77
MIKA
Ryan, it's me.
MASLOW
Mika! For Christ sake I've been
calling for hours!
MIKA
I know. I'm in a bit of trouble-
MASLOW
Trouble? You miss jury duty
you're in trouble. You're in some
kind of bottomless pit of deep
shit.
MIKA
Yeah. Least I'm not down here by
myself...
She looks at Raizo.
MASLOW
Your guardian angel? Is it him?
The one from the tape?
MIKA
He's on our side, Ryan. I trust
him.
MASLOW
Careful, Mika.
MIKA
I promised him the Battuta pages.
Do you still have them?
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 64.
77 CONTINUED: 77
MASLOW
...yeah, I got them.
MIKA
Can you meet us? In three hours?
MASLOW
Where?
MIKA
How bout the usual?
78 EXT. BERLIN WALL - NIGHT 78
Maslow waits, the red-tip of his cigarette glowing in the
middle of his silhouette.
Mika is leading.
MIKA
There he is.
Raizo hesitates; an animal sensing danger.
MIKA (CONT'D)
He's a good man. It's all right.
They approach Maslow.
MASLOW
Mika!
He embraces her.
MASLOW (CONT'D)
You're all right?
MIKA
Thanks to him.
RAIZO
Why have you done this?
MIKA
Done what?
MASLOW
Step back Mika.
MIKA
What?
RAIZO
People will die.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 65.
78 CONTINUED: 78
Maslow takes hold of Mika as he shouts-
MASLOW
NOW!
An explosion of light; A firing line of kliegs all aimed
at Raizo, each as bright as a slice of the sun.
MIKA
No!
Twenty heavily armed men emerge from the wall of light.
MILITARY MAN
Hands on your head! On your
knees! Do it now!
MIKA
Raizo! No! This is wrong!
RAIZO
The clans have people everywhere.
Raizo raises his hands slowly, a glance thrown like a
shuriken at Maslow.
MIKA
What are you doing?
MASLOW
Following orders.
The men swarm over him, binding him with brutal
efficiency, hauling him away.
CUT TO:
78A FLASHBACK - INT. ORPHANAGE DOJO - DAY 78A
Ozunu watches. A faint look of disgust dangling from his
lips.
OZUNU
Cut him.
Kiriko is panting, covered in sweat and blood, standing
over a bloody, beaten Takeshi.
OZUNU (CONT'D)
All failure must be sown into the
flesh.
Kiriko is handed a razor sharp blade.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 65A.
78A CONTINUED: 78A
OZUNU (CONT'D)
Cut him!
Takeshi prepares for the blow, but--
Kiriko drops the blade.
OZUNU (CONT'D)
What?
He marches up to her.
OZUNU (CONT'D)
You know the law!
Her silence remains defiant, while he boils with
suppressed rage, picking up the blade.
OZUNU (CONT'D)
You will wear this disgrace for
the rest of your life!
He slashes her, slicing across her face.
TIME CUT:
79 FLASHBACK - INT. ORPHANAGE DORMITORY - NIGHT 79
Raizo wakes up.
There's a commotion on the other side of the shoji
screens that comprise the inner wall of the dorm.
Silhouettes limned against the paper.
Raizo moves to the screens. Pulls them a half inch aside
as the other children watch...
Through the tiny gap, he sees ninjas dragging Kiriko down
the hall. Gagged, arms twisted with shiburi, blood
streaking her pale and terrified face.
GOLDENROD REVISED 2nd DRAFT 6/4/08 66.
80 INT. SAFE-HOUSE - VAULT - NIGHT 80
Raizo is chained to the walls of a vault. Spread-eagled,
double-locked, and lit from all sides so there are no
shadows anywhere in the room.
Raizo's head sags. Eyes closed.
Cameras stare at him.
81 INT. SAFE-HOUSE GROUND FLOOR - NIGHT 81
Classic Berlin aesthetic. A modern office shoe-horned
into an abandoned building: cubicles, computers and Aeron
chairs amidst crumbling walls.
Maslow's team are hanging out there, thirty agents, a
fairly competent and well-armed bunch. Maslow is inside
the control room which is like a small construction
trailer. Several different monitors have images of
Raizo.
SECURITY GOON
Prisoner is secure sir.
For a moment it appears that Raizo looks up as Maslow
looks at him, as if somehow Raizo could see through the
lens watching him. Then his head drops again.
MASLOW
Right.
He scans the different monitors.
MASLOW (CONT'D)
Something's wrong with the
infrared cam.
SECURITY GOON
No sir, we checked it.
MASLOW
Then why isn't he showing up?
SECURITY GOON
We think he's able to lower the
temperature of his body to remain
neutral.
MASLOW
Or maybe he's just cold-blooded.
SECURITY GOON #2
Sir!
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 66A.
81 CONTINUED: 81
The goon struggles to stop Mika as she storms inside.
MIKA
Ryan, you know this is wrong! It
can't be legal! What is this
place? Your own private
Guantanamo?
MASLOW
It's an old GDR safehouse.
Jamison wants this off the grid.
MIKA
Ryan you're making a huge mistake!
MASLOW
I don't think so. We got reports
from Washington, London, Osaka all
tagging your boy. Only problem we
have is where to extradite him
first.
MIKA
So two weeks ago, there's no such
thing as a ninja and now every
city in the world has a warrant
for one?
MASLOW
We must respect the jurisprudence
of the regional government and
corresponding law enforcement
agencies.
MIKA
He's not the enemy.
MASLOW
No? You ever heard of Stockholm
Syndrome I'm getting the feeling
I'm looking at a pretty serious
case of it.
MIKA
I'm not crazy. This is!
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 67.
81 CONTINUED: (2) 81
MASLOW
He's a killer, Mika. Weren't you
the one telling me it was our job
to stop him.
MIKA
You're not listening to me!
MASLOW
You're not saying anything worth
hearing. Look, if want to do the
insubordination tango, let's go,
but not in front of the kids okay?
Boys, give us a minute.
The security goons clear out, closing the door behind
them.
82 INT. SAFE-HOUSE OFFICE - NIGHT - CONTINUOUS 82
She wheels on him to let him have it.
MIKA
Damn it, Ryan, I --
-- but he holds a finger to his lips, indicating be
quiet.
MASLOW
Listen to me, we don't have much
time. Look, I don't know what
you've stumbled into, but somebody
is pulling some major strings
inside.
MIKA
They want him dead. He's been
fighting them for years.
MASLOW
I believe you.
(softer)
I believe you. I've been in this
business too long not to smell a
set-up. But we have to be careful
how we handle this. And I can't
risk you going AWOL on me again,
because --
(beat)
-- because I don't want anything
to happen to you.
He glances up at her, and it's clear: he has affection
for her.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 68.
82 CONTINUED: 82
He presses a tracking device into her hands.
MASLOW (CONT'D)
If trouble comes, turn this on, no
matter where, and I'll find you.
83 INT. SAFE HOUSE VAULT - NIGHT 83
Raizo remains motionless, his eyes open when he hears
someone coming.
RAIZO (V.O.)
You shouldn't do that they'll
catch you.
KIRIKO (V.O.)
Then they'll catch me.
RAIZO (V.O.)
They'll put you in the box.
KIRIKO (V.O.)
Yes. They will.
84 FLASHBACK - INT. ORPHANAGE DORMITORY - NIGHT 84
It is the middle of the night. Raizo lies on a floor
mat, unable to sleep. He looks over at Kiriko's empty
mat. Quietly he gets up and makes his way outside.
85 FLASHBACK - EXT. ORPHANAGE MEDITATION BOX - NIGHT 85
He moves to an upright bamboo box about the size of a
coffin. Looking at --
-- Kiriko, in the box. Dehydration has left Kiriko with
barely the strength to breathe. Her lips are swollen and
cracked, she sags against the tight walls of the box.
He pulls a bamboo straw from his dark robe, then fills
his mouth with water from a flask.
Sticking the straw through the bamboo poles near her
lips, he feeds her drop by drop, and in this way,
separated by a cage they share a kind of kiss.
Her eyes part, ever so slightly, and she manages a smile.
RAIZO
I told you. I tried to warn you.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 69.
85 CONTINUED: 85
KIRIKO
...yes, you did....
RAIZO
But you did it anyway. Why?
KIRIKO
Why am I in here for watering my
tree...or why are you out there...
watering me?
She meets his eyes.
86 INT. SAFE-HOUSE - VAULT - NIGHT 86
Mika is standing behind the bars which slide open.
She has a bottle of water, she looks at the two armed
guards following her.
MIKA
Could you give us a moment?
GUARD
Negative. Not safe ma'am.
MIKA
If he wanted to hurt me he could
have done that a while ago.
GUARD
Sorry ma'am. Maslow okayed the
water. That's it.
They stand near the door as Mika crosses to Raizo.
MIKA
Hi...you looked thirsty.
She holds the water bottle to his lips, whispering.
MIKA (CONT'D)
I'm sorry...I didn't know about
this.
RAIZO
I know.
MIKA
You do?
He nod's, swallowing another sip.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 70.
86 CONTINUED: 86
RAIZO
The only time you lied to me was
when you told me your size.
MIKA
How did you know that?
RAIZO
Your heart. It is special.
MIKA
You know about my heart?
RAIZO
Hearts speak truer than
tongues.
He is unlike anyone she has ever met.
MIKA
Listen, Maslow is on our side.
He's going to try to help you.
RAIZO
It's too late. All that matters
is the Rihla. Get the manuscript
before they get here.
MIKA
The Hanta Kirra?
RAIZO
Hurry.
87 INT. SAFE-HOUSE GROUND FLOOR - NIGHT 87
Mika rushes up to Maslow who is talking to the group of
Europols.
MIKA
Ryan, can I talk to you?
MASLOW
We have to do this again, Coretti?
MIKA
No sir. I just...I have reason to
believe that a group of ninja may
be on their way here.
The men chuckle.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 71.
87 CONTINUED: 87
MASLOW
I think these gentlemen can handle
a few whack-jobs wearing pajamas.
Am I right?
They ad-lib responses: Fucking' A sir... Locked, cocked
and ready to rock.
MASLOW (CONT'D)
See?
MIKA
But the situation we discussed-
MASLOW
I'm working on that. You have to
give me a little time.
MIKA
We don't have time.
MASLOW
They're not here now.
MIKA
They'll be here soon.
MASLOW
How soon-
88 INT. SAFE-HOUSE - VAULT - NIGHT 88
Raizo looks up. His eyes narrow: they're here.
89 INT. SAFE-HOUSE GROUND FLOOR - NIGHT 89
The lights go out.
Mika's eyes dart into the pitch, red emergency lights
suddenly glowing ominously.
MIKA
Raizo--
Maslow spins as she sprints for the stairs.
MASLOW
Mika!
Maslow draws his firearm and hisses at one of the Special
Ops.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 71A.
89 CONTINUED: 89
MASLOW (CONT'D)
Go with her! Secure the prisoner!
Instantly, tiny LED flashlights and laser targeting
systems light up on automatic weapons. Night vision
goggles go up. Rather than panicking, the police are
instantly in stealth-mode, communicating with quick,
urgent hand gestures.
A handful of men splinter off for the vault while the
rest separate into teams with practiced precision, moving
through the safe-house, ready for whatever comes.
89A INT. SAFE-HOUSE - VAULT - NIGHT 89A
Mika charges into the holding area, the detail of men
right at her heels.
EUROPOL WATER GUARD
Hold your fire--
Raizo's guards release their aim.
EUROPOL GUARD
Christ--
EUROPOL WATER GUARD
Good way to get yourself killed,
Agent Coretti.
EUROPOL #2
What the fuck's with the lights?
EUROPOL GUARD
We got some guys in pajamas comin'
to play spin the bottle.
One of them lifts a shotgun.
EUROPOL #2
Huh huh. I got something they can
wrap their lips around.
MIKA
I don't have time for this shit.
We have to move the prisoner.
In the back of his cell, Raizo's head lifts at the sound
of Mika's voice.
RAIZO
Mika!
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 71B.
89A CONTINUED: 89A
EUROPOL WATER GUARD
No ma'am. Those aren't our orders.
Raizo calls from behind the reinforced door.
RAIZO
You've got to get out of here!
She calls to his cell.
MIKA
Not without you.
Raizo's voice hangs in the gloom.
RAIZO
Then we all die together.
89B INT. SAFE-HOUSE - GROUND FLOOR - NIGHT 89B
One of the teams edges through the decay of the
dilapidated industrial cavern.
Straining through the eyepiece of his goggles one of them
mutters.
EUROPOL AGENT 2
Don't see shit--
Ahead the point man motions and the men take up defensive
positions.
The point man creeps forward, a flicker of heat
fluttering in his IR-Optic.
POINT MAN
Is that..?
Through the darkness we see that his infrared is actually
picking up the slow exhale of a ninja poised like a cobra
inches away just above him.
His blades flash--
And the detail of men recoil as their infrared sensors
light up, the point man cleft open in hot volcanic gore.
A cloud of shuriken spit out of the darkness and punch
into necks, faces, eyes. Ten of them fall like wheat
before a scythe. The rest fire hitting nothing.
GOLDENROD REVISED 2nd DRAFT 6/4/08 71C.
90 INT. SAFE-HOUSE - VAULT - NIGHT 90
The screams of dying men and gunfire shudder down the
gullet of the old concrete building.
MIKA
Fuck me...
She watches as the men position themselves, pressing into
the black of the corridor. Thumbs flick safeties to hot.
A shriek pierces the silence, one of the agents suddenly
jerked from his feet like a puppet on a string.
They watch in IR as the agent falls to the ground in
several pieces.
EUROPOL #2
What the fu--
#2's exclamation gets caught in the oozing slit that
opens in his throat.
The man guarding Raizo's cell door screams.
EUROPOL GUARD
They're not showing up on IR!
He clicks his flashlight the beam glinting against a hail
of shuriken that pound into him, wounds flowering in
ribbons of red.
Mika watches as he lands wetly at her feet.
More screams and gunfire shake the shock from her.
She dives for the guard, frantic fingers clawing at the
key-chain clipped to his belt.
The remaining Europol Agents cluster together,
flashlights strobing spastically, while Mika slams
through Raizo's cell door.
She instantly goes to work on his leg irons.
MIKA
Come on--come on--
Raizo's eyes narrow, the last of the Europol Agents
butchered by shadows.
RAIZO
Mika?
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 71D.
90 CONTINUED: 90
MIKA
Shh!
RAIZO
I don't want to sound critical--
He can feel the rush of darkness.
MIKA
Got it!
The leg irons click open and Raizo springs forward the
chain of his handcuffs catching a falling blade. He
twists and the ring of metal on metal is followed by the
dry snap of bone as Raizo breaks the ninja's neck.
She releases his handcuffs and they move quickly through
the glistening remains of the bodies, Raizo shielding her
from the darkness.
90A INT. SAFE-HOUSE - SUBLEVEL - NIGHT 90A
The two sprint from a stairwell into a concourse, Raizo
stopping suddenly, sensing the presence of the Hanta-
Kirra.
He pushes her toward another set of stairs.
RAIZO
Go. Find Maslow.
He turns to facing the dark.
RAIZO (CONT'D)
Go quick.
She lurches up the stairs as the Hanta-Kirra descend on
him like a murder of crows.
90B INT. SAFE-HOUSE - STAIRWELL - NIGHT 90B
Mika flies up the stairs taking the steps two at a time
rounding the next flight--
A beam of light flashing weapons rattling suddenly
trained on her.
MASLOW
Mika!
Her stomach finds its way into her throat.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 71E.
90B CONTINUED: 90B
MIKA
Jesus Ryan--
Maslow rushes down to her, another agent scanning the
stairs above them.
MASLOW
I thought you were--
Mika's eyes widen as the agent on the flight above them
is ripped into the air replaced by a squall of red.
Maslow whirls as a blade suddenly pierces his side--
But before it can continue its deadly cut, Maslow catches
it in a bloody fist and fires into the shadows.
One of the Hanta-Kirra falls tumbling past them down the
stairs.
Maslow grunts as he rips the chain blade from his side.
MIKA
Are you ok?
He nods, a bit woozy.
MASLOW
I hope that wasn't my liver. Gonna
need that soon.
MIKA
Come on.
91 INT. SAFE-HOUSE - GROUND FLOOR 91
Sparks dance along the singing ringing blades, the melee
escalating in the darkness.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 72-73.
91 CONTINUED: 91
Raizo meets the Hanta-Kirra in the air. Vaults from one
wall and door to another, spinning in and out of view as
he moves through the shadows.
The ninjas move with him, matching his speed and ferocity
and ability to disappear within the darkness.
Swords clash against chains and sword and walls. Sparks
fly and blood falls.
This is the first time we've seen Raizo turned loose.
But it's three on one...and Takeshi isn't a pushover.
Mika and Maslow slam through the exit into--
92 INT. GARAGE - NIGHT 92
The building carpark. Mika suddenly stops.
MIKA
Fuck!
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 74.
92 CONTINUED: 92
MASLOW
What?
MIKA
The manuscript--
MASLOW
No Mika--
He is about to argue but wilts at her resolve.
MASLOW (CONT'D)
Right...
He stuffs his car keys in her hand, trying not to let his
voice crack.
MASLOW (CONT'D)
Two minutes. Keep it in gear.
MIKA
Maslow--
He turns.
MIKA (CONT'D)
Tip-toe.
He opens the door retracing their steps into the dark.
Mika suddenly very alone manages a slow nervous pirouette
in the crypt-like garage, before skittering for Maslow's
sedan.
She slides in pulling the door shut behind her as quietly
as she can--
And waits.
93 INT. SAFE-HOUSE - GROUND FLOOR - NIGHT 93
Maslow moves cautiously through the folds of midnight.
He hears the fighting before he can see it.
Raizo blocks a sword-thrust from Takeshi. Dodges around
a hail of shuriken. Uses his chain to drive another
Ninja back.
Takeshi rips free his left arm. Draws a short, angled
blade and brings it slashing down at Raizo's neck...
Raizo blocks the knife with his elbow, twists, throws
Takeshi twenty feet through the air. He recovers mid-
flight like a cat and regains his balance.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 75.
93 CONTINUED: 93
From the darkness a ninja fires a dozen shuriken at him,
and at least three of the spinning blades find their
mark.
Raizo grunts at the impact, but vaults up and over a
counter and LEAPS through a window, crashing out to -
94 INT. GARAGE - NIGHT 94
The surrounding shadows seem to press in on the car.
MIKA
Come on, Ryan...
A figure darts in her periphery and her head whips around
craning all directions.
MIKA (CONT'D)
Hurry the fuck up!
Ka-chunk-- she punches the lock.
Click-- the headlights flash on--
Ka-chick-- she chambers the Glock.
MIKA (CONT'D)
Motherfuckfuckfuck--
She twists the ignition and as the motor turns over--
The car's headlights explode, shattered by projectiles
that seem to materialize from the void.
Mika screams throwing the car into gear--
Peeling out toward the down ramp.
The car fishtails down level after level through the
oscillating light/dark of the dimly lit exit ramp.
Her eyes twitch from mirror to mirror when she sees up
ahead--
A shadow hanging in the corner of the tunnel like a
spider.
She ducks just as the front of the sedan is shredded by a
squall of stars.
The sedan rebounds into the light. Its hood and
windscreen looking as though it was gnawed on by a Great
White.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 76.
94 CONTINUED: 94
Mika cranks the wheel tearing around a dark bend as--
Toom! Something lands on the roof of the car.
Above her she sees the distinct tips of the tiger claws
that have punctured the metal exterior of the car just as-
-
She passes under a light--
Revealing a crouching ninja staring right at her, through
the sun roof.
His blade whips from its sheath but before he can strike--
She jams the barrel of the Glock between the two tips of
one set of claws, right where his foot should be--
And fires.
A scream is followed by a gout of blood that washes over
the sunroof--
The ninja's body tumbling off the back of the car.
Maslow's gnarled sedan bottoms out in a starburst of
sparks as it corners into traffic.
Mika breathing heavy digs into her bag for her cell
phone.
INTERCUT WITH:
95 INT. SAFE HOUSE - NIGHT 95
The lights are still dead. Maslow is with a team of
Europols moving through the stairwell. He talks quietly.
MIKA
Ryan- I had to leave!
MASLOW
Good, stay clear.
MIKA
Do you have the map?
MASLOW
Not yet. We're heading upstairs
now.
MIKA
Where's Raizo
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 77.
95 CONTINUED: 95
MASLOW
He took off. We think they went
after him.
He looks into the surrounding shadows unsure.
96 EXT. ROOFTOPS - NIGHT 96
Raizo parkours across the roofs, the Hanta Kirra close
behind.
Shuriken sizzle past; some missing, some lashing open
whip cuts across his flesh.
97 EXT. WINGED VICTORY ROUNDABOUT - NIGHT 97
Raizo pulls free the shuriken in his side. Drops them to
the ground where they clatter back and forth like so much
tossed change. He looks up at winged victory silhouetted
against the moonlight.
And suddenly the ninja are on him.
Raizo blocks and parries. Counterattacks with a reverse
cut - and throws himself sideways as a truck comes
roaring down at him.
The truck fills the screen with lights and horns and
three tons of death.
Raizo cartwheels over the hood, forcing the Scarred Ninja
to leap the other way, and as he turns --
-- Raizo comes down on him, slashing his shoulder.
98 EXT. WINGED VICTORY ROUNDABOUT - NIGHT - CONTINUOUS 98
The fight is now two one against one, and one of them is
Takeshi. Their swords crash back and forth, sending
sparks flying.
Raizo is tired, already wounded by the shuriken...
With a cry, he hurls a second Ninja back and spins to
face Takeshi...
Too late. Takeshi's blade gets under his guard. Opens
up Raizo's side.
His sword is ripped free from his hand, rebounds off a
speeding sedan and clatters to the ground thirty feet
away.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 78.
98 CONTINUED: 98
Raizo stumbles backward. Life's blood dripping down and
splattering on the concrete.
Takeshi raises his sword high. Smiles.
TAKESHI
This is the end for you, brother.
Mika's car slashes across the width of the street
screeching to a stop next to Raizo. The door snaps open.
MIKA
Raizo!
Raizo gets into the car. Collapses into the seat, arms
wrapped tight around the ugly wound in his side. She
peels away before the others can stop her.
Mika carves a path through the traffic, driving as fast
as she can. Eager to get more miles between them and the
ninjas.
Raizo lets out a gasp as the car goes over a bump. His
shirt is drenched with his own blood.
MIKA (CONT'D)
What were you doing in the
street?!
RAIZO
...waiting for you...
MIKA
You have to go to a hospital.
RAIZO
No. Not a hospital. Another
place.
The car speeds into the night.
99 EXT. HERBALIST - NIGHT 99
The sort of store where the owner lives above the shop.
Mika pounds on the door as a LIGHT comes on in the floor
above. A moment later, the door opens.
HERBALIST
What is it? What --
He steps out of the way as Mika helps Raizo in, bloody
and half-dead.
GOLDENROD REVISED 2nd DRAFT 6/4/08 79.
100 INT. HERBALIST - NIGHT - CONTINUOUS 100
Herbalist places herbs into a hand-grinder as Raizo
staggers through the rows of bowls, grabbing what he
needs and handing it to her.
RAIZO
...dong-xia leaves...three of the
lo-chan...dragon root...
HERBALIST
You should not mix these. Very
dangerous.
Raizo ignores him. Gives her some more dried bits and
pieces. The herbalist shakes his head.
HERBALIST (CONT'D)
If you are in pain...if you wish
to die...there are other ways,
this will be agony --
RAIZO
No...it will save me....
HERBALIST
It will? You're sure?
(beat)
Let me write this down.
He goes to find a pen and paper as Mika grinds away.
RAIZO
Hot water.
She goes to a tea kettle, pours water into the bowl. He
reaches for it, and nearly collapses.
She helps him raise the cup to his lips. Tilts it and
watches him drink. Takes the empty cup away from him.
Raizo shudders as the drugs course through him.
RAIZO (CONT'D)
I have to sleep now...a day at
least.
His eyelids flutter. She's holding him up now - muscles
already loosening.
MIKA
A day?!? What should I do?
RAIZO
...keep moving...
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 80.
100 CONTINUED: 100
He slumps over the counter like a child dropping into
deepest sleep as --
-- the herbalist comes back, pen and paper in hand. He
pauses as he sees Mika standing over Raizo. She looks
from him to Raizo and back again, then:
MIKA
I'll have him to go.
(beat)
Can you...help me to the car?
CUT TO:
101 EXT. AUTOBAHN - NIGHT 101
Mika is the proverbial bat outta hell.
Her phone is at her ear.
INTERCUT WITH:
102 INT. SAFE-HOUSE - NIGHT 102
The lights are back on but the place is trashed.
MASLOW
Mika, where are you?
MIKA
Moving. He told me to keep
moving.
MASLOW
He's still alive?
She glances at his slumped body.
MIKA
After a fashion.
MASLOW
Let us bring you in.
MIKA
Not this time.
MASLOW
Mika, the situation's a little
different. Jurisprudence goes out
the fucking window when my men get
attacked.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 81.
102 CONTINUED: 102
MIKA
Do you have the manuscript?
He takes a breath.
MASLOW
...negative. They got to my
office. Everything's gone.
The news crushes her.
MASLOW (CONT'D)
Mika, it's gonna be all right.
We'll find them.
MIKA
...but I promised...
MASLOW
We'll keep your promise. They're
too many people involved now.
It's just a matter of time.
MIKA
I don't think we have much time...
MASLOW
Just tell me where you are.
She hangs up.
MASLOW (CONT'D)
Mika? Mika? Dammit.
103 EXT. HIGHWAY MOTEL PARKING LOT - NIGHT 103
The car is parked outside the same hotel that he took her
too.
104 INT. HIGHWAY MOTEL ROOM/BATHROOM - NIGHT 104
She steps out of the shower and dries herself with an
evergreen branch.
105 INT. HIGHWAY MOTEL ROOM - NIGHT 105
In the bedroom, Raizo is sprawled out on the bed.
She is wearing new clothes. She takes a drag on a
cigarette then passes the smoke over her body.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 82.
105 CONTINUED: 105
MIKA
I know you can't hear me, so I'm
sure this doesn't matter, but I'm
going to say it anyway.
She looks at him.
MIKA (CONT'D)
I'm a forensic researcher, okay?
That's like a fancy way of saying
I'm a librarian. By myself I
can't do anything to help you.
She opens her fist; inside is the tracking device Maslow
gave her.
MIKA (CONT'D)
I wanted to think you for saving
my life.
Bending over him, she kisses him gently.
MIKA (CONT'D)
And I hope you can forgive me for
this.
106 INT. MASLOW'S OFFICE - NIGHT 106
There's a crowd of other OFFICIALS there, having turned
the place into a makeshift command and control center.
An AIDE rushes in from an adjoining room, goes to Maslow.
AIDE
Agent Maslow, the tracking device--
MASLOW
You've got a lock?
AIDE
Triangulating her position now.
107 EXT. HIGHWAY MOTEL ACROSS PARKING LOT - NIGHT 107
Mika watches from the trees as a shadow comes to life on
the balcony outside their room. It pauses as if sensing
something.
108 INT. HIGHWAY MOTEL ROOM - NIGHT 108
Raizo lies alone. The heavy shadows begin to undulate as
the Hanta-Kirra emerge.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 83.
108 CONTINUED: 108
Takeshi's eyes gleam the way a blade gleams.
109 EXT. HIGHWAY MOTEL PARKING LOT - DAWN 109
Police and Europol cars scream up to the hotel.
110 EXT/INT. HIGHWAY MOTEL ROOM - DAWN 110
A moment later the door bursts open; Maslow and his men
pour into the bedroom.
The bed is empty. Raizo is gone.
Mika is sitting in the chair.
MIKA
They took him. Ten minutes ago.
He's gone.
Maslow embraces her.
111 FLASHBACK - INT ORPHANAGE DORMITORY - NIGHT 111
There is a furious storm raging outside the thin
screened walls.
Raizo is watching Kiriko who seems to be sleeping.
In a flash of lightning, her eyes open and she stares at
him and he feels in hi heart what she is saying goodbye.
The flashing ends and as the thunder booms, she is gone,
melting quietly into the shadows.
RAIZO
...no!
112 EXT. ORPHANAGE COURTYARD/WALL - NIGHT 112
Two shadows race through sheets of rain, visible in
flashes of lightning.
He catches her near the base of the wall.
RAIZO
Kiriko! You can't leave!
KIRIKO
I have to.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 84.
112 CONTINUED: 112
RAIZO
Why?
KIRIKO
Because my heart is telling me
too.
RAIZO
The Hanta Kirra will come for you.
KIRIKO
Then they will come.
RAIZO
You know the law. He will cut your
heart from your chest.
She smiles.
KIRIKO
No...He can never touch my heart.
She puts his hand on her chest, then leans in and kisses
him.
KIRIKO (CONT'D)
Come with me.
RAIZO
Where? What is out there?
KIRIKO
Life.
He cannot imagine what that life might be.
RAIZO
...My life is here.
She bows her head and turns.
RAIZO (CONT'D)
Why are you doing this?
KIRIKO
Because I can't watch you become
something you are not.
She races for the wall.
He watches her climb...And disappear.
GOLDENROD REVISED 2nd DRAFT 6/4/08 84A.
113 INT. METAL BOX - NIGHT 113
Raizo drifts on the edge of consciousness. He can sense
some light filtering through the edges and air holes.
The air begins to smell familiar.
OZUNU (V.O.)
We have been betrayed.
114 FLASHBACK - EXT. ORPHANAGE COURTYARD - DAY 114
The clan is gathered outside, the sun beats down on the
Spartan courtyard.
Kiriko's body is twisted, bound to a pole like one of the
Bonsai trees.
Ozunu delivers his eulogy.
OZUNU
A child of mine, my daughter,
betrayed us. She refused these
gifts. Rejected our clan.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 85.
114 CONTINUED: 114
Raizo stands among the clan; his face a mask.
OZUNU (CONT'D)
Hers is a shame that can only be
purged with blood.
He unsheathes the ancient Wakizashi, then offers the hilt
to Takeshi.
OZUNU (CONT'D)
You who returned her shall have
this honor.
Takeshi hides a smile as he takes the blade.
Kiriko looks out into the clan and finds Raizo. He can
hear her heart pounding.
Takeshi knows where she is looking as he prepares to
strike.
Blood pounds in Raizo's ears.
The sword plunges into her heart. Raizo hears it die-
And feels his own heart stop.
115 INT. ORPHANAGE COURTYARD - NIGHT 115
A bucket of water slaps Raizo awake.
He's bound to a pole in the middle of the courtyard by
thick rope that bites into his flesh.
Ozunu stands before him, as well as the rest of the clan,
down to the youngest of them. Watching silently.
He looks the same as he has in the flashbacks - except
that now an ugly scar runs diagonally across the length
of his face. Trace of Raizo's blade from atop the
building in Dubai.
When he speaks, Ozunu is speaking for the benefit of the
rest of the clan as to Raizo.
OZUNU
You are Ozunu. Your life is
meaningless compared to the
survival of the Clan. This is our
deepest truth. Because of it, we
have endured for hundreds of
years, and will endure for
hundreds more.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 86.
115 CONTINUED: 115
He looks to the rest, pounding the message home. The
message that says hope and escape are futile.
OZUNU (CONT'D)
Weakness compels strength.
Betrayal begets blood. This is
the way of the Nine Clans.
(beat)
This is the way of the Ninja.
He looks back at Raizo, approaching slowly. Taking his
time.
OZUNU (CONT'D)
I have waited many years for this
moment. I have dreamed it, many
times.
He hits Raizo. Hard.
OZUNU (CONT'D)
You will suffer for seven days,
one day for each year you defied
me.
He takes a knife, and very carefully cuts out a very
small piece of Raizo's flesh, from the upper arm. Raizo
doesn't cry out.
OZUNU (CONT'D)
For seven days, we
will...take...from you, as I have
just done. Everyone here will
take from you. Piece by piece.
You will live through it all, you
will feel through it all. You
will watch as the birds fight over
the pieces.
He STRIKES Raizo as he did long ago, his hand jutting
deep inside gut, flicking switches of nerves that cause
instant agony. This time Raizo does cry out.
OZUNU (CONT'D)
You will know pain like no other
human being has ever known.
He twists something in Raizo's belly and violent spasms
wrack the young man's body. Blood burbles up through his
mouth and flows down his chin.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 87.
115 CONTINUED: (2) 115
OZUNU (CONT'D)
Your death will be remembered for
a thousand years as a testament to
the will and strength of the Ozunu
Clan.
One last gouge in Raizo's stomach sends a heaving shudder
through him.
Confident, victorious, Ozunu turns and walks a few steps
away as --
-- Raizo coughs up a bloody wad onto the clean floor.
Takeshi smiles at this, then looks more closely, seeing
something amidst the bile...
TAKESHI
Father...
Ozunu looks down and sees a tiny steel cylinder. A
single LED light blinking through the gore.
He nudges it with his foot...and TIME SLOWS DOWN as he
realizes what he's looking at. He slowly raises his eyes
--
-- and meets Raizo's gaze as suddenly --
-- EXPLOSIONS rock the orphanage's centuries-old gate.
A reinforced military Humvee crashes through the cloud of
splintering timber with a roar and an explosion of
blinding lights.
The Ozunu Clan scatters as the massive vehicle heaves
into the courtyard, revealing behind it still more
vehicles, all equipped with brilliant lights.
The ninjas take to the shadows, trying to melt away, but
the shadows are gone. There's no place for the ninjas to
hide anymore. We FIND Mika and Maslow in one of the lead
vehicles as --
-- Takeshi draws his blade in a smooth arc, raising it
over Raizo's helpless form.
Maslow takes aim with his submachine gun and squeezes off
a long burst.
Takeshi blocks some of the slugs with his sword and
dodges the others. He slides into one of the few
remaining shadows.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 88.
115 CONTINUED: (3) 115
One of the soldiers sees him making a break for it and
fires an incendiary grenade.
The explosion sends incandescent white phosphorous
splashing through the courtyard, but Takeshi is gone.
They prepare to fire another one when Maslow comes on the
run.
MASLOW
No more grenades, not until we get
the children out!
But some parts of the orphanage are already on fire, the
flames spreading through the ancient timbers.
The carnage continues.
Maslow fires at the fleeing ninjas as Mika rushes for
Raizo, pistol in hand.
One of the MP's screams as a shuriken rips open his face
as other Mps FIRE back at the ninja, tearing him apart
with gunfire.
Mika makes it to Raizo's side.
He smiles at her as she saws through the rope with her
knife.
RAIZO
What took you?
MIKA
You knew I'd come?
RAIZO
Just because I was asleep doesn't
mean I couldn't hear you.
Mika finishes with the rope. Raizo pulls free and
reaches for a fallen ninja's sword and chain.
RAIZO (CONT'D)
And I forgive you.
Mika looks back at the sound of GUNFIRE tearing apart
another ninja. When she looks back --
-- Raizo is gone.
GOLDENROD REVISED 2nd DRAFT 6/4/08 89.
116 INT. ORPHANAGE KITCHEN/DINING/DORMITORY/DOJO - NIGHT 116
The fires are ripping through the interior, leaping from
bamboo furniture to paper shoji screens to polished
wooden floors as --
-- Raizo kicks down the burning wall of the empty dorm,
the futons smoldering.
Raizo continues into the next hall to find --
-- Takeshi waiting for him. An apparition in the
wavering blaze of heat, silhouetted against a wall of
fire.
TAKESHI
Come, little brother, let us play
like old times
They spring at other. Meeting in the middle of the
hallway as the flames dance around them...recalling the
lanterns they used to fight through, in the days of their
training.
Their weapons ring out a frenzied drum roll of steel on
steel. Neither giving an inch. Evenly matched in skill
and ferocity. Locking together for a moment Takeshi
smiles.
TAKESHI (CONT'D)
No death tasted as sweet as hers.
Raizo's back glistens orange in the firelight, sweat
pouring as he strains, attacks, defends and attacks
again.
Takeshi jumps over them, twists mid-air and ducks low
beneath Raizo's swinging chain as --
-- Raizo stumbles back on the polished floor, blocking
Takeshi's attack, but --
-- Takeshi catches his wrist in an iron grip. As he
brings his sword around, Raizo gets a loop of chain
around the blade and locks it tight.
Both men spin in their sudden embrace. Faces inches from
each other.
TAKESHI (CONT'D)
I watched you die when I pierced
her heart. You have always been
too weak to be Ozunu.
Takeshi's finger trips a hidden button on the sword.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 90.
116 CONTINUED: 116
The blade retracts back through the handle and a yard of
steel jolts out from the hilt of Takeshi's sword.
He moves to slam it into Raizo's side...but Raizo FLIPS
over him, holding onto the hilt and as he lands he --
-- DRIVES the steel into Takeshi's heart. He still
stands for a BEAT, more by inertia than will, then
slumps, dead, to the floor.
Raizo stalks down the hall. One last task ahead of him.
117 INT. ORPHANAGE OZUNU HOUSE NIGHTINGALE FLOOR/MASTERS 117
ROOM/ASSEMBLY ROOM - NIGHT
Raizo walks across the Nightingale floor, his bloody
footprints moving soundlessly.
From the shadows he hears Ozunu's voice
OZUNU
You have not forgotten your
training. You will always be
mine, child.
Raizo stops, considers this, then continues; his
footsteps now bringing every sound possible.
Ozunu steps out of the darkness, as though shrugging off
a cloak of midnight.
OZUNU (CONT'D)
Perhaps this is the best way for
you to die.
His blade rises as like a Cobra's hood, while the chain
blade begins to spin.
RAIZO
The breath I take after you are
dead, will be the first of my
life.
Raizo unleashes all his fury: The chain cutting with the
power of an enormous buzz saw--
Hacking timbers in half--
Carving scars in the floors and walls--
Braziers are thrown, fumes begin to spread but--
Ozunu blocks or evades, absorbing the assault patiently
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 91.
117 CONTINUED: 117
Waiting for Raizo to tire, waiting for an opening.
118 EXT. ORPHANAGE - COURTYARD - NIGHT 118
A portion of the Orphanage's wall burns through. Mika
spots Raizo through the flames.
She runs for him.
119 INT. ORPHANAGE OZUNU HOUSE ASSEMBLY ROOM - NIGHT 119
Raizo begins to weaken. An attack misses wrapping a beam
and Ozunu has his opening-
His assault is ferocious.
Wounds begin opening like windows shears of blood
billowing out.
Raizo retreats, his chain just blocking, catching, or
deflecting the whirlwind attack until--
One sound cuts through the furious fight.
Snap-zoom to Ozunu's ear as--
The hammer is cocked, a cylinder spinning into place.
MIKA
Die you fuck!
She fires and Ozunu twists enough so that the bullet
grazes him.
OZUNU
Bitch!
A scatter shot of shurikens send her diving to the floor.
But the distraction gives Raizo his chance.
The blade whistles, the chain snaps and blood arcs out of
Ozunu.
Rage thunders the hall.
Mika gets back up and aims but--
Ozunu seems to pull the shadows and smoke around him as
he disappears.
MIKA
Raizo
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 92.
119 CONTINUED: 119
She cannot see him.
Ozunu's attack hits Raizo with the force of a bomb burst,
his blade shatters through Raizo's chain--
Hurling him back, petals of blood fluttering from his
chest.
Raizo tries to recover, his chain now in two pieces.
RAIZO
Mika! Run!
MIKA
Where is he? I can't see him!
RAIZO
Get away!
Ozunu emerges from the smoke behind her, a wraith. His
eyes are as black as the sockets of a skull.
She spins around but is too late.
The ancient blade runs straight through her chest just as-
-
Raizo finds them.
He sees Kiriko, the same blade taking her life and howls--
His pain a force of nature unleashed.
The chain blades crackle in the air-
Dual cyclones that batter Ozunu's parrying blade which-
Finally shatters against Raizo's fury.
And with a final scream, Raizo lunges at his master, the
whistling blades lazering through his body until he
separates, pieces hanging in mid-air, like an unstitched
rag doll.
Raizo throws down the blood slick blades and--
--hurries to Mika's side. He picks Mika up and walks
through the falling timbers and blazing shards to the
door.
120 EXT. ORPHANAGE COURTYARD - NIGHT 120
The fighting is over now. All the combatant ninjas dead
or long gone.
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 93.
120 CONTINUED: 120
Maslow sees Raizo emerge from the smoke and flames,
carrying Mika in his arms.
MASLOW
Mika!
He runs to her side as Raizo lays her gently on the
ground.
MASLOW (CONT'D)
What happened?
RAIZO
She saved my life.
Raizo puts his hand on her chest. Closes his eyes. We
can FEEL her heart-beat. Bump-thump. Bump-thump.
Raizo opens his eyes.
RAIZO (CONT'D)
She will be all right.
MASLOW
How can you be sure?
Raizo touches her face as she takes in a sudden breath.
He smiles distantly.
RAIZO
Her heart is special.
MIKA
Medic! Over here now!
Several medics rush to them, Raizo gently laying her on
the stretcher.
As they immediately begin working on her, Raizo fades
back.
Maslow remains at her side.
Her eyes flutter open.
MASLOW
Is she going to be okay?
MEDIC
I don't know...she's got a hole
right through the middle of her
heart...but shes not really
bleeding, that badly...
(CONTINUED)
GOLDENROD REVISED 2nd DRAFT 6/4/08 94.
120 CONTINUED: (2) 120
MIKA
My heart...
She points to the right side of her chest.
MIKA (CONT'D)
...is over here.
MASLOW
...you gotta be fucking kidding
me.
MIKA
...Raizo?
MASLOW
He said you saved his life.
She smiles.
MASLOW (CONT'D)
So you kept your promise. Can we
go home now?
121 EXT. ORPHANAGE BONSAI GARDEN - DAY 121
Raizo stands among the bound trees.
RAIZO (V.O.)
You shouldn't do that.
122 FLASHBACK - EXT ORPHANAGE BONSAI GARDEN - DAY 122
Kiriko releases one of the trees.
KIRIKO
I believe the heart of a tree
knows which way it needs to grow.
CUT TO:
122A Raizo releases a tree. 122A
(V.O.)
Trees don't have hearts.
KIRIKO (V.O.)
Everything has a heart.
RAIZO
I don't.
CUT TO:
GOLDENROD REVISED 2nd DRAFT 6/4/08 95.
123 FLASHBACK - EXT: ORPHANAGE BONSAI GARDEN - DAY 123
She listens to his heart.
KIRIKO
Hello...hello in there. It said it
was happy to meet me and that it
missed you.
CUT TO:
124 EXT. ORPHANAGE COURTYARD/WALL - DAY 124
He stands and looks at the wall.
125 FLASHBACK - EXT ORPHANAGE COURTYARD/WALL - NIGHT 125
The storm lashes against them.
KIRIKO
Come with me!
CUT TO:
126 EXT. ORPHANAGE COURTYARD/WALL - DAY 126
He begins to climb.
CUT TO:
127 FLASHBACK - EXT. ORPHANAGE WALL - NIGHT 127
She kisses him.
CUT TO:
128 EXT. ORPHANAGE WALL - DAY 128
We hear his heartbeat. Bump-thump Bump-thump.
As he stands on the edge of the wall.
In the next moment he is gone-
And finally, free.
FADE OUT.
|
