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Modesty Blaise 2 modesty blaise I, Lucifer part two written by Pete D. Gaskell www.mzp-tv.co.uk based on Peter O'Donnell's Modesty Blaise FADE IN: INT. MODESTY’S BEDROOM - NIGHT ON STEVE COLLIER, as he rolls over in bed and JOLTS himself awake. A desk-lamp is switched on, and it takes Steve a moment or two to acclimatise himself. And that’s when MODESTY BLAISE hurries past, moving at a brisk pace, carrying an open suitcase, fully-dressed. She heads over to a nearby wardrobe, opens it, and starts neatly and quietly layering in clothes. Steve forces himself up into a sitting position. STEVE Modesty? What are you doing? Modesty’s head SNAPS around - a deer-in-the-headlights look momentarily flashing across her face. It’s gone in a second - and she resumes her packing, not making eye contact with Steve. MODESTY Leaving. STEVE Why? MODESTY Trouble at home. Steve raises an inquiring eyebrow. STEVE Your sort of trouble? Modesty stops what she’s doing for a moment, finally turning to face Steve properly. MODESTY My sort of trouble, yes. STEVE And were you going to let me know, or just disappear in the middle of the night? Awkwardly, Modesty looks to her packing again. STEVE (CONT’D) You were just going to go? 2. MODESTY (bites her lip) I’d have left a note. STEVE (incredulous) A note?! MODESTY (snapping) What more did you want? It’s been three days, Steve! Three wonderful days, yes, but that is all! Steve runs a hand through his hair, stunned. STEVE So what was I to you? Some sort of toy that you played with to while away the time? MODESTY No! You were more than that! STEVE Clearly not much more! Sighing, Modesty closes her suitcase, before settling down onto the bed next to Steve. MODESTY My life’s dangerous, Steve. STEVE I know. I’ve seen enough. MODESTY No, you’ve seen too much. She reaches out with her hand, touching him gently on the side of his cheek. MODESTY (CONT’D) I can’t risk having people get close to me. Steve gulps nervously. STEVE I’m prepared to take that risk. MODESTY (shakes her head) No, you’re not. (strokes his cheek) I think I know you by now. (MORE) 3. MODESTY (CONT'D) You probably have some fantasy of turning me away from my life, becoming a housewife or something. STEVE Isn’t it possible? MODESTY Never. I’ve chosen this life. It’s who I am. And I won’t change it for anybody. She climbs off the bed, reaches over for her suitcase. STEVE Well, in that case, I’ll just have to be careful, won’t I? MODESTY No. With a small, sad smile, Modesty looks back at Steve, shaking her head. MODESTY (CONT’D) It’s best this way. She trundles her case through the bedroom towards the door, stopping just as she gets there, her hand on the handle. MODESTY (CONT’D) Stay as long as you want. Put the keys in the pigeonhole when you’re done. STEVE How long will you be gone for? MODESTY Can’t say. And then she throws one last look over her shoulder as she opens the door. MODESTY (CONT’D) Goodbye, Steve. STEVE Seeing as we’re in Paris, shouldn’t it be au revoir? MODESTY (shakes her head) Goodbye. With that, she steps through the door, closing it behind her. 4. Steve listens to the sound of her footsteps as they grow quieter, before CRASHING back onto the bed, distraught. EXT. MODESTY’S COUNTRY HOUSE - DAY The small house, set in its own grounds. PUSH IN on the wooden door - which has been TORN violently off its hinges... INT. MODESTY’S KITCHEN - CONTINUOUS The place looks like a tornado’s been through it. The metal door’s dented inwards, the slats over the windows are buckled and twisted, cupboard doors are open and swinging, and crockery is scattered all over the floor. WILLIE GARVIN KICKS away one of the cluttering pans in disgust and fury. WILLIE Knew I shouldn’t have cleared off and left you. Modesty’s sitting with JACK FRASER at the upturned kitchen table. He’s bruised and bloody. Modesty’s dabbing at him with a bit of cotton wool. MODESTY Don’t be so hard on yourself, Willie. If you’d have been here, you’d have just ended up like Fraser here. (with a stern look) Or worse. WILLIE (gesturing) I know that. But I’d still liked to have been here, you know? (grumbles) So I wouldn’t feel so soddin’ useless right now. Fraser winces a touch, so Modesty backs off with the cotton wool, watching him carefully. FRASER Never seen anything like it. Just tore through the place. MODESTY Alone? 5. FRASER (nods) One man army. All he needed. Willie turns to face them, his anger now on a low simmer. WILLIE Yeah, he wouldn’t have trusted anybody else on something like this. (nods at Fraser) You’re lucky you’re alive, mate. FRASER I reckon he thought I wasn’t. (shrugs) When I realised things were going bad, I fell back on a trick I learned in Tibet one time. Slowed down my breathing. MODESTY I know the one you mean. Probably saved your life, that. SIR GERALD TARRANT walks into frame, holding out a cup of tea for Fraser to take. SIR GERALD Here you go, old man. He takes a seat beside them whilst Fraser takes a quick sip...then looks at Sir Gerald in disgust. FRASER What the hell’s this? (off a stern look from Sir Gerald) ...sir. Sir Gerald produces a small bottle of brandy from inside his jacket pocket. SIR GERALD Slipped a bit of this in. Healing powers of the gods, this stuff. He chuckles to himself as Fraser downs the spiked tea a little quicker than normal. SIR GERALD (CONT’D) (to Modesty) I’ve put the word out. As many people as I can spare will be looking for Delicata’s hide. WILLIE Call ‘em off. 6. SIR GERALD What? WILLIE People who deal with Delicata have a habit of turning up dead. You’re putting your people at massive risk. SIR GERALD Give me a little credit here, Garvin. We’re British. We work through middle-men. He then turns to Modesty, who’s been quietly observing all this with a thoughtful expression. SIR GERALD (CONT’D) I’ve been trying to get in touch with Rene Vaubois as well... MODESTY Don’t bother. He should be holed up in his Cannes villa by now. (off Sir Gerald’s quizzical eyebrow) On my suggestion. SIR GERALD All the same... Modesty holds up a hand, interrupting him. MODESTY Forgive me, Sir Gerald, but I think Willie’s right. Delicata’s dangerous, and he’ll be expecting something now. (beat) This can’t be done through official channels. SIR GERALD (dryly) Who says I deal in official channels? Nodding politely, Modesty pushes back her chair, getting to her feet. MODESTY That’s as maybe, but Willie and myself will use our own method. She walks through the room with purpose, stopping by Willie’s side. 7. MODESTY (CONT’D) I think it’s time we called in a few favours... EXT. RED LIGHT DISTRICT - NIGHT A bombardment of FLASHING NEON SIGNS welcome us to: TOKYO, JAPAN Cramped streets, filled with signs taking up every last inch of space - all FLASHING, Japanese script everywhere you look. All the signs have a red tint to them. FOCUS ON DALE COOPER - an Australian ex-pat in his forties, tall, slender, and genial. He wanders through the area with a glint in his eye, taking in the ladies of the night flouncing their wares in an alleyway, by a lamp-post... A firm HAND grabs Cooper by the shoulder. He turns to find a bulky JAPANESE MAN wearing a kimono. JAPANESE MAN (thick accent) Hey! You want a good time? COOPER With you? The man remains where he is, his grip tight. Cooper can’t break free. JAPANESE MAN Traditional girl. Geisha. Cheap. COOPER How cheap? The Japanese man leans in, whispering in Cooper’s ear. Cooper’s eyes widen at what he hears. COOPER (CONT’D) Enough for the train ride home... He nods, and the Japanese man lets go. COOPER (CONT’D) All right. Lead on, shogun... Smiling slightly, the Japanese man turns on his heel, quickly disappearing down an alleyway, leaving Cooper chasing to catch up. 8. EXT. TEA GARDEN - NIGHT The Japanese man - or pimp, as we should call him - leads Cooper through a beautiful little green area, full of scented plants and flowers. He stops by a small wooden shack, shaped like a traditional tea-house, complete with a small entrance-way to crawl through. Bowing once, the pimp steps aside, gesturing for Cooper to enter the tea-house. Cooper nods, bending down to the necessary level. Through the gap, we see a GEISHA GIRL with her back to us, working away. She has a bottle and some glasses laid out. Satisfied, Cooper nods at the pimp, bowing in the traditional manner, hands together. COOPER Arigatou. The pimp copies the gesture. PIMP Okkei. And with that, Cooper crawls through the entrance, in the most ungainly fashion possible, kicking his shoes off behind him as he enters... INT. TEA-HOUSE - CONTINUOUS Cooper settles himself down on the small mat laid out for him, crossing his legs. COOPER Konnichiwa. The geisha humbly turns to face Cooper, head bowed, almost touching the floor.
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