Candy And Violence

Yay Violence!

(A/N: Okay, here's the deal with this. I litterally own all of these characters! And I don't mean this in the sense that Fiction Press protects it, I protected it myself. That's right, under my ugly birthname, bought-and-paid-for copywritten. This is my original screenplay, "Candy and Violence". This has refferences to Pulp Fiction ::high fives Quentin Tarantino as I mention it::, oodles of sex and violence. Can't handle it, stop here. This is posted in industry standard format, as I wrote it by hand, so the names in all caps, the "INTERIOR, HOUSE, DAY," and "Cut To," is all a part of that. Without further ado, I give you one hunk of my script. (If I posted it all at once, you'd never finish it.)

Candy and Violence

(Yay Violence!)

Hajime's apartment,Interior, Day.

His house is immaculate, nearly all glass. "Fairly Oddparents" plays in the background. The only thing of HAJIME you see is his shadow as he walks along, obviously getting ready.

COSMO

Guess what I had for breakfast today? Candy and Violence! Yay violence!

Road, Exterior, Day.

Hajime is driving his car. He wears a business'd up outfit. His shirt is a tux shirt and he wears a flower in the lapel. he has a deep scar over one eye, the same eye that is patched. The patch resembles a sunglass lens, and his hair is black with a green sheen.

CUT TO-

Convience Store, Interior Night.

The whistle from the famous hospital scene in "Kill Bill Vol. 1" plays while on a black screen. Black dissolve into store in mid whistle.

A woman stands behind the counter. She has long but angular black hair and wears a red uniform. This is AMI. Two men enter, in obviously worn western attire. They mosey around the shop for a while. They pull masks on themselves as Ami watches a snuff film on a hidden TV. They aim guns at her. She doesn't look too scared but does hold her hands up.

THEIF ONE

Empty the fucking register!

THEIF TWO

Put the fucking money in the bag or I'll put one in your fucking head right fucking now!

She does nothing but stare at them as her hands come down.

BOTH THEIVES

Fucking do it!

She-instead-pulls out a hefy gun of her own. A fully customized Beretta and with no ado fires it, to shoot both of them between the eyes. It flashes anime, then back. the whistle continues, black fade out.

On-Screen

The Katana Chronicles

(Anime Segment)

Takei' House, interior, night.

Three girls are sword fighting in an upstairs room. YUMI (Midnight Blue), HARU (China White) and Ami. They are maybe 14 or 15 in this scene.

Yumi and Haru are coming at Ami with swords. Ami blocks them both at the same time. She knocks the sword from Yumi's hand and kicks Yumi into the wall, still fighting Haru. She executes a quick upward left diagonal slice to a medium horizontal slice to an elbow, knocking the sword from Haru's hand. Ami does a right upward diagonal slice to Yumi, who then is knocked on the couch. Ami then does a quick switch so that the point of her blade impales Yumi. Yumi jumps so that Ami kills the couch instead and fights her from on top of the couch. Ami quickly, after a couple of blade clashes does an axe-kick to a spin kick that knocks Haru into a glass comes at Ami. Both do the same move- a downward left diagonal slice . Ami locks her sword around Yumi's sword hand and elbows her Yumi flies back towards Ami, grabbing the wall after her fall and going forward with a three kick combo which Ami dodges and kicks yumi backward again. She rolls under a table. Ami sticks it. Yumi gives a shocked expression, then kicks it while in a roll stance, making the table hit Ami. Ami lands on top of it, grabs her sword from it and spins iinto Yumi- who dodges it. She gets against the wall and kicks Ami back and grabs her sword. Haru gets back up- she knocks Yumi down, doing a sideways double flipping kick and takes a sword to her rolls forward towards Haru and they sowrd fight. Halfway through Haru picks up the table and uses it to block Ami's kicks. Ami kicks it in two and and out of Haru's hands and tries to stick Haru in the chest but it blocks so fast the sharp end of her sword is sut off. Haru tries to hack off the rest but Ami kicks and takes the sword from her in one fast move that cuts Haru's hand- then hurls the katana at Haru's head and is dodged. They stop fighting but stand there panting. Yumi takes the sword out of the wall.

YUMI

Damn you Ami! You always win. Why didn't you just kill us already- goddamn.

AMI

We were simply training. Sisters don't kill sisters- they just give a good fight.

YUMI

What the fuck ever. You want some cereal or something?

AMI

Noodles are fine.

Yumi wals off to the kitchen while Ami sits on the now defunct couch. The scene suddenly switches to reality. Haru enters from the bathroom, holding a soaking bloody towel over her hand.

HARU

Look what you did to me!

AMI

What the hell do you want me to do? Kiss it? I am the assassin sister. Fight me, take your wounds.

Haru stares at her. Ami looks down.

AMI

I am sorry though. It must hurt like shit.

Hospital Room. TAKEI, Haru and Yumi stand over a comatose Ami- who doesn't look so good.

HARU

I can't believe that bastard would do something like that.

TAKEI

I can. Geoff- like any other assassin- cannot be trusted. He has no problem crossing anyone. Not even God himself.

YUMI

Why not avenge her?

The scene goes black on the last sentence.

HARU'S V.O.

For as long as we've all known it, there were three of us. We were boss Takei's three girls. Yumi and I were into the syndicate business. Raising brothels, dealing, black market stuff. Ami, on the other hand, was an assassin. She was, in essence, her fathers keeper. She protected us and the boss. She dissapeared from the hospital she was held in. She was comatose- so it didn't quite make sense when it happened. What did matter, however, was that we find the culprit. And the most obvious suspect was...

On-Screen

The High Dollar Killer for Hire

Snowy Zen Garden, Takei's House, noonish. GEOFF and Haru stand across from each other. Haru turns to him, looking lovingly at him. Geoff's a happy go lucky German pretty boy assassin.

GEOFF

Did you tell your father- what happened?

HARU

Yes. He's very interested.

She turns around. He places a hand on her face and places himself in front of her.

GEOFF

Don't fuck with me here. I do need to know.

HARU

You'll know in time. Don't get so antsy. Take your time. One commitment here is lifelong. Enjoy the freedom you have for the time you have it.

Geoff stares at her, somewhat affectionately.

GEOFF

Maybe I'll take one more job.

HARU

Be tact with every move you make.

They kiss, slowly and passionately. Cut to-

Geoff's apartment, a love scene. It's slow, passionate sex. When it's over...

HARU

You would never betray me, would you?

GEOFF

Never.

The scene dissolves out, but you still get audio.

HARU'S V.O.

Never's a long time. Too long to betray your word to.

On-Screen (After every line, it fades)

The Katana Chronicles

Subchapter One

Small Begginnings

The Harajuku Hit

(Anime Segment)

ROAD, DAY

Jazz in the background as Geoff drives. He stops and gets out in an obviously Japanese backalley. He walks through the front and into a room full of Japanese men in business suits. They all stop what they're doing. They all start to shoot at him. He takes one down in a leg lock as he shoots almost, he lets go of ones legs and kicks another in the head- killing him. He twists himself up from there to ram one in the head with the butt of his gun, twists it around to shoot one behind him,dodges one guys punch and shoots him in the back of his head. One guys kicks the gun from his hand. He's kicked back into a glass something, takes a samurai sword from a rack behind wherever it is he lands and cuts the first advancing one with an upwards diagonal slice to a twist to one behind him. (At this moment, it switches back to reality) hacking his head off nearly. Everyone's dead at that point. He hold the sword behind his head, then in front of him. He laughs, then sheathes the sword.

GEOFF

I never got to say my line.

HARU

(coming from nowhere)

I'd like to hear it.

Geoff unsheaths his sword as soon as he hears her voice.

GEOFF

Who are you?

HARU

I was sent by the man who hired you to make sure you pulled this off. You've done well.

GEOFF

So what do you want now?

HARU

A fight. See how good you really are.

Haru does the first blow. A low diagonal which he blocks- then he executes a high diagonal which she blocks- a dramatized clash. They look at each other between the swords.

GEOFF

Are you gonna fight or stare at me?

HARU

Meet me at midnight in the city. Be there or be (she creates a square by drawing it with her fingers- as it appears on screen).

She lets go and flips away. Geoff doesn't even attempt to look around for her. He holds his sword at his waist as the blood drips from it. For a second the blood is animated, then real again. He looks up. Suddenly he's at the door with a hat on.