ASSASSINS

Written by

Larry and Andy Wachowski

Part 3

August 12, 1994

CONTRACTOR/SCREENDo you want Rath or not?

Bain stares at the screen, thinking. Thinking hard.

INT. LARGE CHAIN HOTEL ROOM - NIGHT

Another computer screen, but we don't know that it isdifferent.

CONTRACTOR/SCREENIt will take three days to arrangethe transfer.

ELECTRAThree days?

We are in Electra and Rath's hotel room. She is standingbehind him, reading as he types.

CONTRACTOR/SCREENWhich account?

ELECTRAAre you going to tell him?

RATHIt. Tell it. For all I know itcould be a machine.

ELECTRAYou said you didn't trust it.

RATHI don't.

CONTRACTOR/SCREENWhich account?

ELECTRAWhat kind of bank is going to allowus to withdraw ten million dollarsthe day it is transferred?

RATHThe kind preferred by drugsmugglers, arms dealers andpoliticians.

Rath types in an account number.

RATHDo you have a passport?

ELECTRASeveral.

RATHGood.

ELECTRAWhere is it?

RATHMexico.

INT. AIRPLANE - DAY

Rath and Electra are sitting in the first class section,which she is obviously enjoying, smiling and sippingchampagne.

ELECTRAGod, I love first class. I rememberwhen I was a little girl, I wouldwonder what it was like up here. Iwould always try to peek through thecurtains.

Rath says nothing, staring out the window.

Electra shakes her head.

ELECTRAI hope Nikita's all right.

He still does not respond.

ELECTRAHey, where are you?

RATHThinking.

ELECTRAAbout?

RATHNothing.

Electra sips the last of her champagne.

ELECTRAI've never been to the Gulf ofMexico. Is it as nice as they say?

RATHI don't know.

ELECTRAYou were there?

A long beat.

RATHYes.

EXT. SMALL MEXICAN AIRPORT - DAY

The plane lands.

EXT. TERMINAL CAB STAND

Rath and Electra hand their bags to a CABBY who puts themin his trunk.

INT. CAB

Rath speaks perfect Spanish.

RATH (in Spanish)Good afternoon. We havereservations at the Hotel Paraiso inCosta Blanca.

CABBY (in Spanish)Yes, sir.

EXT. HOTEL PARAISO - DAY

The cab pulls up in front of a large, brand new glasshotel, which shimmers in the blue green reflection of thegulf water.

Rath is upset.

RATH (in Spanish)No, no. I said the Hotel Paraiso.

CABBY (in Spanish)Yes. This is the Hotel Paraiso.

RATH (in Spanish)No, the other Hotel Paraiso, in thecity. Near the Plaza del Sol.

CABBY (in Spanish)I'm sorry, sir. A year ago therewas a fire in the old Hotel Paraiso.This is the new Hotel Paraiso.

RATH (in Spanish)Take us there.

EXT. COSTA BLANCA - DAY

American tourist dollars have built up the coasts, butmuch of the out-lying city is very poor.

The old Hotel Paraiso is a five story blackened husk. Theface of the building is burnt black and it seems to hangin space as something non-corporeal, like the shadow ofthe building rather than the building itself.

Rath stares at it, remembering.

Electra is behind him, standing in the midst of the Plazadel Sol.

He looks up to the fifth story window, then turns directlyopposite of that.

The International Banco de Mexico, an enormous, beautifulold building; its exterior walls are white-washedconcrete, blindingly bright white.

Electra looks at the bank and smiles.

ELECTRASo, that's where all that S & Lmoney is?

Rath is not listening to her. He is somewhere else. Heturns back to the fourth story window.

RATHThat's where he'll be.

ELECTRAWhat?

RATHI wasn't expecting this. I need tothink.

EXT. HOTEL PARAISO - NIGHT

Beyond the lights of the hotel the gulf darkens tomidnight oil.

INT. HOTEL PARAISO ELEVATOR

On one side of the elevator is a young couple who looklike newlyweds. They are cuddling, kissing and gigglingas though they are alone.

Electra and Rath are on the other side of the elevator.It is a strange contrast.

Electra is staring at them.

Rath, behind his sunglasses, is in his own world.

The ELEVATOR CHIMES and opens.

Nobody moves.

The DOORS CHIME again and start to close, as everyonerealizes that this is their floor.

Rath and the other man grab the doors, which spring backopen.

It is a funny, awkward moment, as everyone apologizes andsmiles politely, on the way out.

INT. HALL

The couple move down the hall, the newlyweds finding theirdoor first.

Rath reaches the door to their room, opens it and enters.

Electra lingers, watching the other couple, watching as hefumbles for his keys, her hand running up between his legsand over his ass.

He finally manages to open the door and she pushes himinside.

Electra softly closes her door.

INT. HOTEL PARAISO - HOTEL ROOM

Rath is sitting in a desk chair staring out of the slidingbalcony doors at the dark gulf water.

ELECTRADid you see them?

Electra moves about the large suite.

ELECTRAThey looked like they were in love.

Rath says nothing.

ELECTRAWell, I think I'll take a bath.Come on, Nikita!

The two of them walk into the bathroom, leaving Rath tohimself.

INT. BATHROOM

Electra sits on the edge of the over-sized tub, waterrunning through her fingers as she adjusts thetemperature.

After a beat she hears a SMALL CRASH, a GLASS BREAKING.It is followed by other MUFFLED NOISES, a WOMAN GIGGLINGand a THUMPING. The sounds are coming from the other sideof the tub wall, from the other suite. Electra puts herear against the tile to listen.

The WATER FILLING her TUB is too loud for her to hear.She turns it OFF.

There is more BUMPING and THUMPING, the WOMAN LAUGHING andthen, the LAUGHS SHORTEN into SOFT WHIMPERS.

Electra hangs on each sound, slowly lifted by it, movingup toward the over-head fan and ducts.

The SOUNDS get LOUDER as she moves closer to the vents,until she is standing precariously on the edge of the tub,listening to what is clearly the sounds of TWO PEOPLEMAKING LOVE.

Their MOANS and SHRIEKS CLIMAX and Electra smiles.

INT. BEDROOM

It is dark now. A single desk light is on, under whichRath is setting up his chess board, putting the pieces intheir familiar pattern.

Electra comes out of the bathroom. She seems very cleanand fresh, wearing a long white T-shirt and thin robe.

ELECTRAThat felt great. You should try it.

She watches him setting the pieces onto the board.

ELECTRADon't you ever get tired of playingthe same game?

He looks at her.

RATHNo.

ELECTRAWhy not?

RATHIt helps me to focus. It centersme, helps me think.

ELECTRAOh. What do you think about?

RATHWork. The things I need to getdone.

She sits across from him looking at the board.

ELECTRADo you think about the game?

RATHYes.

ELECTRABut you've never figured out a wayto win.

RATHNo.

ELECTRANot even a stalemate?

RATHNo.

ELECTRAWhat happens if you do?

This strikes Rath as a very strange question and he issuddenly annoyed by her.

ELECTRACan I ask you something?

He knows she will anyway.

ELECTRAWhat will you do if this works, ifwe get the money?

RATHI don't know... maybe I'll live on aboat, sail to all the places I'venever been.

ELECTRAThat sounds nice.

He finishes his glass of bourbon.

She is not sure what to say next, if she should sayanything at all.

ELECTRAI'm kind of tired. I think I'd liketo try and get some sleep.

RATHYou can have the bed. The chair isfine for me.

He pours himself another drink, dropping in some ice fromthe ice bucket.

ELECTRAThanks.

She slips out of the robe and in between the sheets.

Rath sits across the room, his back to her.

She tries to make herself comfortable, but cannot.

ELECTRADo you think he's here?

RATHHere?

ELECTRAIn Costa Blanca.

RATHYes.

She thinks.

ELECTRAWhat do you think he's doing?

RATHI don't know... But I'm sure he'snot sleeping.

She pulls the covers tightly to her chin. Her eyes do notclose.

INT. HOTEL (COSTA BLANCA) - NIGHT

A small hotel in the city, away from the beaches, builtbefore there was such a thing as central air conditioning.

Bain is naked, except for a small pair of camouflagejockeys and his Walkman strapped to his shoulder. Hishead is pumping wildly with the speed metal thrashing inhis ears.

He is tearing open a long box wrapped in "Happy Birthday"paper.

Inside the box is a massive black hi-tech assault rifle.He smiles.

He assembles it quickly, snapping it together withautomatic ease. When the sight is tightened in place, hejumps up.

In the mirror over the dresser, he poses down with thegun.

Not satisfied, he grabs his shades and checks himselfagain. He starts moving with the music, playing with thegun, first as a guitar, then whipping it around, spinningit expertly, like a drum and bugle corpsman. The gun zipsand flashes around as he whirls in place, then freezes.

The butt of the rifle to his shoulder, he peers down thescope at his own head reflected in the mirror. He issweating and breathing, but the barrel does not move.

BAINYou're dead, motherfucker.

EXT. HOTEL PARAISO - DAY

Electra leans out over the railing, smiling, inhaling thewarm air, the scent of the shimmering blue-green sea.

Rath stands in the shadow of the door frame.

RATHBreakfast.

ELECTRAWhy don't you bring it out here?It's beautiful out here.

Rath steps a little farther out. He looks down eitherside of the building, checking sight lines. He looks outand sees another hotel with windows facing them.

He turns to her. Says nothing. Moves back inside.

INT. HOTEL ROOM

The breakfast trays are empty. Rath is sipping coffee,scribbling notes and diagrams on a piece of paper.

Electra comes out of the bathroom dressed for the beach.

He stops working.

ELECTRAI know what you are thinking. I'mnot going to disappear, okay? I'mnot going anywhere, just down there,to that beautiful beach. I got toget out of this room, just for alittle while.

RATHOkay.

ELECTRAReally?

RATHHe won't be looking for you. Justbe careful. Buy a book. Keep yoursunglasses on.

ELECTRABook. Sunglasses. Great.

INT. HOTEL HALL

Electra steps out of the hotel room ready for the beach.At the end of the hall, she sees the newlywed couple geton the elevator. She starts to call to them to hold itfor her, but she stops herself.

The elevator closes.

She edges slowly down the hall, stopping outside the doorto their suite. She touches it with the tips of herfingers.

INT. HOTEL ROOM - DAY

Rath is still at the table.

The curtain begins to billow, a soft breeze blowingthrough the open patio door. They swell open and fall.It seems for a moment that there is a figure, a shadow, inthe changing shape of the curtain.

Rath stands. He walks to the open door. Standing in theframe, he looks out at the blue ocean below.

He slides the door closed, and the curtains fall still.

EXT. PLAZA DEL SOL - DAY

Bain moves through the market, booths lining the edges ofthe plaza. His eyes shift rapidly behind his sunglasses.

He buys an apricot and strolls into the center of theplaza.

He looks at the bank, at the military-style securityguards that patrol the front.

He turns in the plaza, checking the perimeter, his gazefalling on the tall, burned-out building.

He looks back at the bank, imagining the sight line.

He bites into the apricot, its juice gushing, running downhis chin.

INT. HOTEL ROOM

Rath is leaning back in the bed, NIKITA PURRING in hislap.

He did not sleep last night and is very tired. His eyesfight to stay open.

The sound of the TELEVISION momentarily hangs in the hotelroom as he sleeps. The program is a SPANISH DUBBEDversion of GOLDFINGER.

The door bangs open and Rath springs off the bed, a gunflashing in his hand, leveling it at a dazed, blinkingElectra.

Rath sighs slowly, letting the hammer of the GUN CLICKback into place.

RATHYou should knock.

ELECTRASorry.

RATHHow was the beach?

ELECTRAThe beach? It was nice.

She smiles.

EXT. HOTEL PARAISO - DUSK

The sun burns a tropical red against the mirrored windowsof the hotel.

INT. HOTEL ROOM

Electra is sitting on the bed, her back against the wall.In her hands is a paperback romance novel that she islooking over the top of, staring intensely across theroom.

We can hear Rath, his breathing deep and even. He isdoing Tai Chi, wearing only his boxer shorts. His body iscoated in a sheen of sweat, his muscles strained as hemoves fluidly through space.

Electra begins to breath with him.

She moves her body slightly, her hips rising as though tomeet his.

He empties his lungs entirely in one exhale and stops, hiseyes closed, rested.

ELECTRAThat was beautiful.

He looks at her.

ELECTRATai Chi, right?

He nods.

ELECTRAWhere did you learn it?

RATHTaiwan.

ELECTRANot that I would know, but you looklike you're really good at it.

RATHThank you.

ELECTRAI've always wanted to learnsomething like that.

RATHYou should. It's very important,that the body release the energythat builds in it.

Electra nods, watching him bend, reaching for a change ofclothes.

RATHI'm going to shower. If you'rehungry, go ahead and order somedinner.

Electra nods again.

INT. COSTA BLANCA HOTEL - NIGHT

Bain is doing push ups. He is naked except for hiscamouflage bikinis.

He has his feet up on a chair, making it harder, the dipdeeper.

His body is gushing sweat, his face a burning red.

He is like a piston firing up and down. The muscles inhis neck and shoulders are bulging cords.

Slowly, his arm begin to tire, the strain seen in hisknotting and twisting expression.

Half way up, he collapses, feet falling off the chair.

He rolls onto his back, rubbing a tricep. It hurts. Helicks the sweat off his upper lip and smiles.

INT. HOTEL PARAISO ROOM - NIGHT

Rath checks his watch. It's after eight o'clock. Helifts the phone and plugs it into the modem.

RATHI'm going to call.

Electra drops her book and climbs off the bed.

He dials, types the code and waits.

CONTRACTOR/SCREENHello, Robert.

RATH/SCREENThe contract?

CONTRACTOR/SCREENPaid in full.

ELECTRAOh, my God. Ten million dollars.

CONTRACTOR/SCREENTransferred to the specifiedaccount.

Rath stares at the screen.

CONTRACTOR/SCREENGoodbye, Robert.

Rath disconnects. The PHONE HUMS.

Electra picks it up, placing it back in the cradle.

RATHSit down.

She does.

He opens a case and pulls out his gun, some paper and pensand two small mikes that look like hearing aids.

RATHOkay --

He starts drawing several squares on the paper, as Electrapicks up the mike. She looks over it, frowns.

ELECTRATwo way?

RATHTransmits and receives.

ELECTRACheap as shit.

He looks at her.

RATHI paid a lot for these.

ELECTRAThey saw you coming a mile away. IfI had known we'd be using --

RATHIt's too late now. Okay? We'll haveto deal with these.

ELECTRAFine.

He goes back to his drawing.

RATHThis is the bank. This is thehotel. In the morning I will enterthe bank.

ELECTRACheck.

RATHHe will be hidden somewhere outhere, probably somewhere low, in thecrowd. He'll stay there until hesees me enter the bank.

ELECTRABut he won't shoot you right then?

RATHNo. It would be amateur. A risk.He'll wait for the prime shot, thathe knows is coming. Once I'minside, he'll move to the hotel.He'll go up the back, too muchtraffic in the front.

He draws another square.

RATHYou'll be here. A restaurant. Apublic place far enough away that hewon't notice you, but with a goodenough view you'll be able to seehim when he moves inside.

ELECTRAOkay. Then what?

RATHThen, we wait.

ELECTRAAiiee. More waiting? I don't knowif I like this plan.

RATHIt will take the entire day, but hewill begin to doubt himself. Hewill begin to believe that he missedme, that somehow I slipped by and amalready on a plane to Europe.

He describes this as though remembering it.

RATHThe sun will be low, almost dark,the air cool and the bank willalmost be closed. 5:45. 5:50. Hewill put the rifle down, he will getup and he will walk across the plazato the bank.

ELECTRAWhy won't he wait until the bankcloses?

RATHHe won't be able to. He'll have togo inside. He'll have to see withhis own eyes, whether or not I amthere. If the bank closes, he won'tknow for sure. He'll come. I'msure. And when he does you'll gointo the hotel, go upstairs and takethe gun.

ELECTRAWhat? What if he brings it withhim?

He shakes his head.

RATHHe can't. The bank has an expensivesecurity system; metal detectors andX-ray machines.

ELECTRAThat means you won't have a gun.

RATHThat's right.

ELECTRAAnd with the mikes, I'll tell youwhen he leaves the hotel and you'lltell me when he leaves the bank.

RATHIf things go well, I don't have to.You'll already be in a rented carwaiting for me.

ELECTRAYou'll have the money. How do Iknow that you won't --

RATHI'll be walking out of the bank,unarmed. You'll have the gun andI'll drive the car.

ELECTRAWe split the money?

RATHFive million apiece. You get onyour plane, I get on mine.

ELECTRASounds pretty well figured out.

RATHI've been thinking about it for along time.

ELECTRAExcept --

RATHWhat?

ELECTRAExcept, if he doesn't come out ofthe hotel.

RATHI told you, he will.

ELECTRAYou can't know for sure, how canyou? I mean, you're not him.

RATHI was.

She waits for him to explain.

RATHTen years ago, I sat there in thatsame hotel window, sweat pouring offof me waiting --

ELECTRAFor Nicholai?

RATHYes.

ELECTRAYou killed him here? In this city,outside that bank?

Rath nods.

ELECTRAWhat is it? I don't like this atall. What is going on here?

RATHI don't know. It just happened. Iwas here ten years ago, I'm herenow. That's it.

ELECTRAI don't believe that.

RATHIt wasn't planned or premeditated.I swear. Things happened beyond mycontrol. I understood; I saw wherethey were leading and I suppose thatit just made sense.

ELECTRATen years ago.

RATHYes.

ELECTRAWhat happened?

RATHI waited until I was insane and thenI walked into the bank. He wassitting there, very calm, waitingfor me.

ELECTRAWhat did he want?

RATHHe wanted what I want now; to getout of the business. To disappearto some empty Greek island.

RATHWhat did he say?

RATHHe said I couldn't win. That no onewins at this game.

ELECTRAWas that it?

RATHThen he offered me one milliondollars to walk away, to quit thebusiness.

ELECTRAYou didn't take it.

RATHNo. I went back to the hotel. Andwaited.

ELECTRATen years later, here you are again.

RATHYes. Here I am again.

POV - THROUGH TELESCOPIC LENS - MARBLE STATUE

The cross-hairs of a telescopic sight are lined-up on thehead of a marble statue.

INT. COSTA BLANCA HOTEL - NIGHT

Bain is laying on the floor in the dark. The rifle isunder him as he aims out of his balcony, down the streetat the statue.

He looks up from the scope, checking the street. It isdark and empty and he shifts back looking into the sight.

His finger squeezes, the GUN ALMOST SILENT, as --

INTERCUT WITH:

STATUE

A chunk of STONE EXPLODES out the head of the statue.Again, the GUN SPITS and another cloud of dust and ROCKBURSTS from the head. His finger is pumping the trigger,until the head cracks and falls.

He's laughing, hysterical, looking down the street at theheadless statue.

He rolls onto his side still laughing. Then, suddenly, hestops, staring up at the stars in the night sky.

INT. HOTEL PARAISO ROOM - NIGHT

Electra is still at the table, staring at the diagrams, inanother world.

Rath pours a glass of bourbon and sets it in front of her.

ELECTRAThis has been the longest day of mylife.

Rath nods, pouring himself a drink. Electra looks at thedrink, downs the whole glass. He refills it.

ELECTRADo you have ulcers?

RATHNo.

ELECTRAI think I got one today.

RATHFive million dollars will buy a lotof Rolaids.

She smiles. They both gulp down their drinks and he fillsthem again.

ELECTRAWhat do you suppose he's doing now?

Rath shrugs. He is no longer looking at her; staring atthe board, moving his mind into the chess game.

She watches him and then begins to study it with him, theway a child does, almost imitating him. She does not wantto be left alone right now.

She reaches over and moves a white knight.

He blinks. His eyes shifting, sorting the possibilities.

He picks a bishop and counters.

After another sequence, he takes her bishop and she takeshis knight.

RATHWhy did you trade a bishop for aknight?

ELECTRAI hate bishops. They're useless. Ilike knights.

RATHThey're worth less points.

ELECTRASo?

There is no point in arguing.

As they continue to play, we begin to hear in thedistance, the COUPLE in the adjoining suite MAKING veryvigorous LOVE.

Electra watches Rath to see if he hears them. He shows nosign of it, concentrating on the game.