"And That's When I Reached For My Revolver"
by Fernando Frias
thechaosfactor@hotmail.com
Directed by Quentin Tarantino
TEASER
FADE IN :
EXT./INT. CHEVROLET MALIBU - SUNSET
LEGEND reads : Santiago City, Harsh Realm
TIGHT SHOT of fingers drumming on the roof of a car. Not a nervous drumming,
just one to pass the time. The car's a 1970 Chevrolet Malibu with a
classic-looking black paint job. Slick.
PAN DOWN and FRAME IN the window of the car: MIKE PINOCCHIO. He's sitting in
the passenger's seat of the car, arm rested on the rolled-down window.
FLORENCE sits in the back seat. Her M16 rests on her lap. She looks just as
nonchalant.
The man in the driver's seat is someone we've never seen before. An unshaven
jaw lines his face. A wry smile curls from his lips for no reason at all. He
wears a black suit and tie with a white dress shirt.
His hands drum on the steering wheel to the tune of the song on the radio.
MAN
(singing along)
And as we wind on down the road
And if we listen very hard
There walks a lady we all know
Who shines white light and wants to glow.
The song is, of course, Led Zepplin's "Stairway To Heaven".
The Man stop singing and drumming. Takes out a Morley's cigarette and lights
up as Florence scowls a bit. After putting it between his lips, he offers
one from his pack to Pinocchio.
MAN
Cigarette?
PINOCCHIO
No thanks, Vic. Don't smoke.
VIC
Really? Jeez, you look the type and all . . .
Pinocchio shrugs.
PINOCCHIO
I'll bet I look like a lot of things.
There is a silence before anyone speaks again. Pinocchio finally turns to
Vic.
PINOCCHIO
You ever do something like this?
VIC
What, you mean this kind of job?
PINOCCHIO
Yup.
VIC
Naw. Never did this. But frankly this isn't all that
different from what else I've done.
PINOCCHIO
No? Give me an example.
Vic takes a nice long drag of the cigarette before starting.
VIC
All right. There was this one job I had about four years
ago. This boss-man, Italian guy named Costa, gave me a
good twelve grand to do it. Target was some guy named
Jason Craig. Guy got drunk and hit on Costa's girlfriend.
She blew him off, so he broke her face.
PINOCCHIO
Serious? Jesus . . .
VIC
Guy hits a girl while under the influence, I got no
qualms about taking his ass out. So anyway, he works in
Tampa. So I, Vic Vega, take a ride. Guy works out of
a nice four story office. Nobody'd take a place like that
to be owned by an organized crime syndicate. Posh joint.
Persian rug carpet. Fancy towels to wipe your hands with
after you take a whizz. So I walk in. Joint's crawling with
thugs. I walk up to this one guy and say, "Excuse me, is
Jason Craig here? I can make him some dough." Faster than
you can say "access granted" two of these burly guys
in suits grab me and haul me up to this room. I get tossed
into it. Sitting right in the middle of the office behind
this huge cherrywood desk is good ol' Craig. He's got a
bodyguard right next to him, guy looks like Charles freakin'
Bronson on steroids. Craig says hi. I smile at him. Now this
girlfriend-beatin' jackass's a major gun lover. Musta been
Charlton Heston's illegitimate child. The wall's just covered
with guns like The Sweets Company's covered with candy. So
anyway, he asks what *I* can do for *him*. So I give him this
jackcrap story about having weed for sale. Good prices, lotta
customers in the area. He goes "Mind of I see the goods?".
And I say "Sure", and shoot Charles Bronson. BAM! He falls.
Craig goes nuts, dives for one of his guns. His hand's right
on an ammo clip when I pop a round at it. Clip bursts, bastard
starts screaming, hands look like a Maxi Pad. The bullet, it
turns out, shot right through his hand and ignited the clip.
Two more shots, he's dead.
He takes another puff of the cigarette. Pinocchio's face shows both shock
and bemusement.
PINOCCHIO
And that's it?
VIC
Hell no. I had to shoot my way out. It was just bang, bang,
bang, bang, bang, bang, bang, then out in the sunlight. I
don't have a clue how many guys I wasted. But I hopped in
my car on drove off.
A devilish grins twists onto his face.
VIC
(cont'd)
*That's* the end.
Pinocchio starts to laugh. Florence looks horrified. She looks ready to say
(if she could) "PSYCHO!"
Something catches Pinocchio's eye. He looks out the window. From his POV:
Across the street. A building. The sleek industrial design makes the words
"Santiago City Municipal Penitentary" look out of place.
A Humvee pulls up to the curb. Two fully-dressed Republican Guard exit the
vehicle. Their uniforms are different. Instead of green or camoflouge
coloring, it's black. Their berets are green.
REVERSE on Pinocchio.
PINOCCHIO
Private Ops. Santiago's personal men.
VIC
That's our cue.
He slips an ammo clip into a Beretta 92F automatic and all three step out of
the Malibu.
INT. PRISON HALLWAY - NIGHT
Two doors whoosh open. DOLLY in front of the two Guardsmen, LEARY and
MALCOLM, as they walk down a cold, tiled-floor hallway. They round a corner,
walk down a long corridor of prison cells. All are empty until they stop at
one.
Inside is TOM HOBBES.
LEARY
Thomas F. Hobbes?
Hobbes looks up.
MALCOLM
Prisonmate 325-1013? Scheduled for execution under
sedition charges. Okay, buddy, let's go.
No sooner have the words come out that four GUNSHOTS ring out! Malcolm sails
back, slams against the wall and digitizes. Leary jerks his head to the
side. From his POV: bounding down the hallway is VIC VEGA, firing his
Beretta.
Leary goes down in a digital flash. Vic runs up, stops. He looks straight at
Hobbes. Hobbes jumps forward and rattles the bars. Recognition crosses his
face.
HOBBES
Hey!
Vic grins, aims his gun . . . at Hobbes. And fires.
FADE OUT
ACT ONE
LEGEND reads : THREE STORIES ABOUT ONE STORY
FADE IN:
INSERT a FLASHCARD that reads : "THE INVESTIGATOR AND THE MAN IN CHARGE"
It drops abruptly out of frame.
INT. BEDROOM - MORNING
PAN ACROSS the rumples sheets and covers of a queen-sized bed. An arm, a
hairy on at that, sticks out of the mess. Aside from that, the sleeping
figure is hidden from view.
TIGHT SHOT of an alarm clock lying on the dresser. It goes off with an
annoying beep. The arm reaches out and smacks it off onto the floor.
SLEEPING SOMEONE
Oh . . . damn.
A man's voice. The alarm stops ringing. The figure rises out of bed. JOHN
DONOVAN. His hair's screwed up, he looks disheveled. Just a normal guy
waking up. He groans.
INT. BATHROOM - MORNING
CLOSE UP of a cabinet. We hear water from a faucet. It turns of. Donovan
stands up, his face is wet. He closes the cabinet and looks at himself in
the mirror. After a few blank moments, he makes a hard, glaring scowl.
DONOVAN
(to his reflection)
You talkin' to me? You talkin' to me? Ain't no one
else around . . .
He suddenly grins wryly and laughs.
INT. KITCHEN - MORNING
Donovan pulls his tie up to his collar. He's out of his pajamas and full
dressed. TIGHT SHOT of the badge ID lying on the countertop. It reads:
JOHN DONOVAN
USAMRIID ID NUMBER 673853
He picks it up and slips it into his pocket. Next he picks up a gun, a
Beretta 92F, and slips it into a holster at his side.
Finally, he picks up a bowl of cereal. The box on the countertop identifies
what he's eating as "Fruit Brute"-brandcereal.
INT. LIVING ROOM - MORNING
CLOSE UP of the TV. On it they're showing the 70's blaxploitation movie
"Shaft". Off-screen, we can hear a sink running. There's a knock at the
door. An urgent one. Three knocks follow it. Gunshots are heard on the TV.
DONOVAN
(os)
Just a minute!
The knocks come to a stop. TRACK feet coming toward the door. Donovan takes
off the four locks on his door, unlatching them instinctively.
INT. HALLWAY - MORNING.
The door opens. ANGLE on Donovan from below. He looks around. His gaze drops
to the ground. PAN from Donovan down to his feet and the floor.
On the carpet lies a plain yellow envelope.
REST on the envelope as Donovan bends down to pick it up. PAN up as he takes
it and closes the door.
INT. LIVING ROOM - MORNING
Donovan sits on the couch. On the TV, Shaft puts a bullet in a man. He
dissolves suddenly from the screen. REVERSE on Donovan, who sets down the
remote control.
He takes the envelope. OVER THE SHOULDER shot as he peels the seal open. He
pulls out a small white card. INSERT of what's written:
Do you want to know the truth?
Vinny's Burger Barn, 6:00
He frowns. Sets the not down on the table. Something else falls out of the
envelope to the floor. He picks it up and his eyes widen.
It's a picture of GRETCHEN MOLRY.
FADE TO:
INT. VINNY'S BURGER BARN - NIGHT
It's a normal burger joint. Tiled floors, beat-up 60's-style chairs and
tables with peeling paint. We can hear the sound of burgers sizzling on the
fryer. On an old jukebox in the back, a 60's bubblegum pop song finishes up.
PAN DOWN the tables until we REST on Donovan. He sits with a half-eaten "Big
Kahuna" burger on the table. He shoves two more fries into his mouth and
takes a sip of his unmarked soda.
He looks at his watch. 5:58 PM. He looks up.
>From his POV: through the windows facing the parking lot. A dark blue Sedan
drives up and comes to a stop. Inside are two men. One is the DRIVER. The
other is a very nondescript MAN IN SHADOW.
REVERSE on Donovan. He looks down at his watch again.
The Man In Shadow exits the car. Starts to walk toward the Burger Barn.
Now PLAYING OVER THE SCENE is "Long Cool Woman (In A Black Dress)" by the
Hollies.
Donovan takes another sip of the soda. The Man In Shadow nears the
plexiglass doors or the Burger Barn. Stops right in front of them.
And produces a .9mm SIG Machine pistol.
The Bruger Barn employees see him. Everyone jumps underneath tables and
behind doors. In less than a second, only Donovan remains within sight. And
he looks ready to shit a brick.
The Man In Shadow grins as he opens fire.
Donovan ducks out of the way just as gunfire shatters the windows and
splinters the table to pieces.
Donovan slides across the tiled floor, reaches into his coat and pulls out
his Beretta. Quickly, he returns fire. The Man In Shadow recoils as bullets
scream over him. He goes forward when he sees Donovan begin to crawl away.
Donovan holds his head and rolls away as more shots ring out.
At the other end of the Burger Barn, a big, fat, bald, sweaty, hairy guy
bursts out from behind the cashier. He's VINNY THE BURGER BARN MANAGER. He
wears a ratty hair net despite his baldness and a sweat-soaked apron.
VINNY
What the hell's going on here?
He looks angrily at the Man In Shadow. The Man In Shadow's grin melts, he
looks intimidated.
Faster than the Man In Shadow can point his Machine pistol, Vinny brings out
a HUGE SHOTGUN. Pumps it and fires four powerful rounds. The Man In Shadow
hits the floor. The plaster walls burst apart where bullets land.
Seizing this opportunity, Donovan leaps to his feet and hurls himself out
the side exit of the Burger Barn.
EXT. ALLEYS - NIGHT
He grips his pistol as we hear more gunfire exchanged. Without looking back,
he darts down the alley and out of frame.
HOLD FRAME: around the corner, the Man In Shadow, looking pissed, emerges.
CUT TO Donovan's location. He races down the alley and swings to the left
into another backstreet. When he comes to the end of this alley, he turns
to the right and plunges into another one. The alleys seem to be an
interminable labyrinth.
Right smack in the middle of the alleyway is a tall fence. Donovan passes
underneath a fire excape and hits the fence. It blocks his way completely.
Only one choice now. Donovan starts to scale the fence. He barely touches
the top beam when he twists his head around.
CRANE UP to reveal: The Man In Shadow, coming quickly in pursuit of his
prey. He steps right underneath the fire excape. He readies his aim square
at Donovan.
OVER THE SHOULDER shot of Donovan, just as he whips out his gun and fires
two shots.
Instead of hitting the Man In Shadow, the bullets strike the lower steps of
the fire escape. Sparks hail in all directions but most descend on the
surprised Man In Shadow.
He recoils as the glinting glames overtake him.
Without a second thought, Donovan flings himself over the fence. He lands on
his feet and flies down the alleyway, disappearing behind another building
and into another backstreet.
TRACK him as he continues down the alleys. He makes a left. Turns the corner
and makes a right. As he runs down the pavement, we see from his POV: the
end of the alleyway. It empties out into an open street.
DOLLY into a CLOSE UP of Donovan as he comes to a sudden stop. His mouth
opens and closes a few times as he gawks. From his POV : a jet-black
limousine pulls up to the curb directly ahead.
ANGLE on the limo. The rear window slides down. The person inside is hidden
from our view but not Donovan's.
REVERSE on Donovan. He staggers back a few nervous steps and then breaks
into a run back into the alleys.
RESUME the car. The window rolls up and the car drives off.
CUT TO Donovan, still running.
He turns to the right. There's no sign of the Man In Shadow at all. Donovan
starts to slow down. At the intersection of two alleys. He finally comes to
a stop. His chest heaves, he pants. And that's when he hears the footsteps.
He looks up. RIght in front of him, the Man In Shadow steps out of the
gloom. There's a dogged, wolflike grin on him.
He takes one step forward. Cocks his Machine Pistol at Donovan's head.
Donovan's own gun is aimed at the Man In Shadow's chest.
TIGHT SHOT of the finger of the Man In Shadow curling over the trigger.
There's a sharp CLICK.
The Man In Shadow looks away from Donovan over to Donovan's left.
The MAN IN CHARGE holds an SP4 with a silencer aimed at the the Man In
Shadow.
MAN IN CHARGE
Gun down.
The Man In Shadow shows no sign of backing off. Donovan looks like he
doesn't understand a goddamn thing that's going on.
There's another sharp CLICK.
Another man emerges from behind Donovan. We recognize him as the other man
in the Man In Shadow's car. He's the DRIVER. He aims a .45mm automatic at
the Man In Charge.
The Man In Charge looks at the Driver, then at the Man In Shadow.
The Man In Shadow readies himself to shoot Donovan.
And then we hear a third CLICK.
A SOLDIER in full uniform steps out and points a CAR-15 at the Driver.
CRANE SHOT of the full Mexican standoff.
PAN successively to each person. Donovan looks confused. The Man In Shadow
looks relentless. The Man In Charge tenses. The Driver licks his lips. The
Soldier only inhales deeply.
Suddenly Donovan ducks and lands on his back on the pavement!
The Man In Charge and Soldier simultaneously switch targets!
The Man In Shadow's gun follows Donovan down seconds before bullets from the
Soldier tear him apart!
The Driver is shot repeatedly by the Man In Charge.
Both bodies fall hard on the ground.
Donovan gets to his feet. Eyes wide. From his POV: swerving. He sees the Man
In Charge take the Man In Shadow's gun and slip his own gun into the his
dead palm. The Soldier does the same with the Driver.
As soon as Donovan turns back to the Man In Charge, the Soldier grabs his
arm.
DONOVAN
What the f-
MAN IN CHARGE
Let's go. Now.
EXT. STREET - NIGHT
Donovan, the Soldier, and the Man In Charge emerge from the alleyways. The
black limo is parked against the curb. The Man In Charge looks tense, his
eyes wander from side to side as if he expects someone to come.
The soldier opens the limo's door for the Man In Charge, who stops and looks
at Donovan.
MAN IN CHARGE
Get in the car.
Donovan doesn't move. The Man In Charge looks annoyed.
MAN IN CHARGE
Look, get in. If you don't, in less than an hour there's
gonna be a dozen more men here to take you out. This is
your chance to stay alive.
Donovan takes a step back. In one swift movement, the Man In Charge pulls
out his SP4 and points it at Donovan's face.
MAN IN CHARGE
I was hoping it wouldn't come to this. I'm not asking you
anymore. Your life isn't the only one on the line. Right
now, so's mine.
DONOVAN
Why should I trust you?
MAN IN CHARGE
As of right now, that doesn't matter. But if it'll work, if
I put the gun down will you get in?
DONOVAN
Maybe. Maybe not.
The Man In Charge exhales sharply, then slowly lowers the gun. Slips it into
his holster.
MAN IN CHARGE.
There. Do you trust me now?
DONOVAN
Honestly? No, not at all.
He turns around and starts to walk away.
MAN IN CHARGE
You can walk away, but you're only walking away from
answers.
That stops Donovan.
MAN IN CHARGE
(cont'd)
Answers about what's going on. About Sophie Green's fiancee.
About the secrecy. About the attempt on your life.
(beat)
About Gretchen.
Donovan turns around. The Man In Charge almost smiles. Donovan looks at the
open car door. Then, he comes forward and steps inside the limo.
The Man In Charge looks at the Soldier, who's ready to climb in the front
seat and be the chauffer.
MAN IN CHARGE
Take us to Mr. Donovan's house. And take the longest route
possible.
SOLDIER
Yes sir.
EXT. STREETS - NIGHT
Shot of the limousine as it cruises down the main streets of the city.
INT. LIMOUSINE - NIGHT
The Man In Charge and Donovan sit on opposite sides of the interior of the
car. The Man In Charge takes out a briefcase and sets it on a table in the
middle of the car.
MAN IN CHARGE
You have to understand, Mr. Donovan, everything I'm
about to give you is highly classified. Murders have been
committed to keep these kind of government secrets from
the general public.
DONOVAN
You mean like Chuck Webster?
This throws the Man In Charge off, but only for a second.
MAN IN CHARGE
Unfortunately yes. Orders were given in the name of
national security, as they say, and orders were followed.
DONOVAN
So he *is* dead.
The Man In Charge nods gravely. He takes a sip of a glass of water on the
table before starting.
MAN IN CHARGE
Now, Mr. Donovan, as an agent of the United States
government, are you quite aware that at all times the
Defense Department has made sure that it is always years
ahead of the general public when it comes to technology?
DONOVAN
Yes.
MAN IN CHARGE
Any idea how much?
Donovan doesn't reply.
MAN IN CHARGE
Are you aware of the virtual reality systems the DoD has
set up to train soldiers?
DONOVAN
Yeah. 3-D combat simulations, usually games played in a dark
room, huge screen, something in the field of just expensive
laser tag with a TV.
The Man In Charge grins.
MAN IN CHARGE
Child's play. The truth of the matter is, the DoD is way
ahead of huge Nintendo systems in the VR field. So ahead,
in fact, that that's what this whole secrecy is centered
around.
Donovan looks at the Man In Charge, unbelief on his face.
DONOVAN
A game?
MAN IN CHARGE
Not just any game. A total digital environment. So real that
to call it *virtual* reality is a misonomer. This program is
so real that we have had to administer psychological treatment
to players who've used it.
DONOVAN
So . . . all these men disappearing . . . they're just hooked
up playing a game? What's with the secrecy?
MAN IN CHARGE
It goes far deeper than that. This takes a lot of explaining.
There's forces here working that have plans that would make
any man turn away in horror. But you're not just any man,
Mr. Donovan, and that's why we've come to you.
DONOVAN
Okay. Let's hear it.
The Man In Charge takes another sip of water before starting.
MAN IN CHARGE
In 1993, the government started working on a TDE. A total
digital environment, as I've said before. It was named
Project Harsh Realm, and it was meant to simulate the state of
the US in the most dire of situations. Now the research, the time,
the programming needed to undertake such a huge project was far
beyond the budget the Pentagon would give. So what we did was
approach a few large technology corporations. Contracts were
drawn. We agreed to give them shares and some level of control
of the project. Also, they'd keep the technology rights. They
agreed. The largest of these corporations, DigitalPioneer,
invested about 30 million into it. All in all, the private
corporations payed for about 65% of everything that went into
this. But that backlashed against us. Because essentially, that
would mean that the corporations own it, not us.
DONOVAN
What's so evil about private corporations? I mean, it's not like
you're dealing with Microsoft or anything.
MAN IN CHARGE
Oh, they had plans, though. They didn't tell us about it yet.
Project Harsh Realm went operational on the morning of October
13, 1995. For the first few months, everything ran fine.
Though the situations the soldiers faced were intense, they
withstood it. No psychological treatment was necessary. And
then they sent in Santiago.
DONOVAN
Santiago?
The Man In Charge exhales.
MAN IN CHARGE
Seargent Major Omar Santiago. He was one of the first chosen
to play the game. He was a Vietnam veteran, led a couple dozen
missions from '70 to '73. Decorated war hero known for his
resourcefulness. Unfortunately there was ruthlessness to go
along with that. When we sent him in, it took him only a few
months to secure his position as high scorer. He took out the
game's opponent and took over the fictional dictatorship
programmed into Harsh Realm. Only he didn't come back to claim
his title.
DONOVAN
So you're saying he stayed in the game. What was he, some kind of
war junkie? Vietnam vet who likes the sight of blood?
MAN IN CHARGE
That and more. You see, Santiago convinced them to support a plan
he devised. It wasn't until later that we realized it was both
these corporations and the high command of the Pentagon itself that
backed him up.
DONOVAN
You're telling me the Defense Department stabbed its own people in
the back?
MAN IN CHARGE
You work for the government too, Mr. Donovan. Are you prepared to
tell me that surprises you?
DONOVAN
Hoo-boy. You got me there. So what was his plan?
MAN IN CHARGE
After setting a rather small government in the TDE, he began to
conquer more and more land in the program's version of the US,
which was, and still is to some extent, splintered into
territories. Currently, he's set up an empire that stretches
along most of the East Coast and into the mainland. Because
that's the plan. Set up a new nation in a digital world and
then destroy the real world so Harsh Realm is all that's left.
Donovan's jaw drops. For a long time he doesn't say anything. Until finally
-
DONOVAN
And the DoD and co are all behind this.
MAN IN CHARGE
That's right. In fact the C.E.O. of DigitalPioneer is personally
at the head of the operation. The Leader. What better world
could there be for ruthless entrepeneurs than one where they
make all the rules when it comes to economics? Controlling
everything - currency, sales, taxes - all to get more money
in their hands. And a military state where prominent Army men
can live knowing that they've got all the power?
DONOVAN
And they've tried to destroy us already, haven't they? The
virus at Fort Dix . . .
MAN IN CHARGE
Santiago was nervous at the time. We've invested a lot in the
soldiers we're sending in -
Donovan cuts him short. He's very impatient all of a sudden.
DONOVAN
You keep saying "we". Who's "we"? Come on, I don't know
your name, but I'd at least like to know who you're with.
Why did you come to me?
MAN IN CHARGE
(forcefully)
Because you have your motives, Mr. Donovan. We know you do.
Gretchen's dead, and both of us know that you know that.
Donovan is taken aback.
MAN IN CHARGE
(cont'd)
The bug you planted in my office *was* found, Mr. Donovan. I
left it there. Because you needed to know about Gretchen. The
most dangerous man is one with nothing left to lose, they say.
You're out to set things right. Get some sort of closure to
all this. That's the motivation we want. And who's we? I'll
tell you. Those of us that helped create the program. We're
rebelling against orders. But quietly. Until the time is right
for us to bring these men to justice.
(beat)
Maybe my superiors don't believe in this country, but I still
do. And I'm not about to let a bunch of overambitious corporate
executives destroy it.
Donovan swallows this as the Man In Charge takes another sip of water.
DONOVAN
Okay, so you're rebelling. Explain to me how you're doing
without making the slightest difference in your tiny little
conflict.
MAN IN CHARGE
(annoyed look)
I wouldn't go so far as to say something so blatantly WRONG
like that. You need to understand, Mr. Donovan, our rebelling
faction has to maintain secrecy if our plans to defeat Santiago
are supposed to come to fruition. Saving the world is our
business now. Anything we do, any sacrifice we make, is worth
it to fulfill our purpose.
DONOVAN
So 15,000 soldiers are worth it, in other words?
A long silence comes from the Man In Charge.
DONOVAN
Are they alive at all? Or are they all dead, like Gretchen?
MAN IN CHARGE
I can't speak for all of them. As soon as they enter the
Realm, all communication with them is lost. In fact all
communication between those in Harsh Realm and those in
our world is nonexistent.
DONOVAN
So either they're dead or they're not, or Santiago's got
'em or he doesn't.
MAN IN CHARGE
Yes.
DONOVAN
So what's this about investing something in them?
MAN IN CHARGE
We've used the lack of communication to our advantage. You
see, we're sending the soldiers in to take out Santiago.
DONOVAN
Don't you think Santiago'll figure it out after there's
15,000 GIs going after him?
MAN IN CHARGE
That's how it's an advantage. There's three sides to this.
There's us, the faction working against Santiago, there's
his supporters in our world, and there's Santiago and
his industrial-military complex within Harsh Realm. We
know the full story - what the hell is really going on
on every side. Santiago's corporate supporters believe
we're sending in soldiers to supply Santiago with more
and more mobile troops. And Santiago himself knows about
the threat to his life, but he believes it's all part of
the game. And he's a sick bastard too. He prefers his
allies to be former enemies. He believes if they're utterly
defeated and come to him, deep down he's molded them
perfectly into believing that "he is their only salvation
in both this world and the other one". Yes, that's how
he talks. He talks like King Lear and acts like Macbeth.
DONOVAN
So basically your soldiers walk in, and whether they stay
on your side or defect, your position's still safe.
MAN IN CHARGE
Correct.
DONOVAN
Aren't you worried they're all gonna defect?
The Man In Charge shakes his head knowingly.
MAN IN CHARGE
I can guarantee you there's still at least a couple
thousand working for us. They don't know our complete
plans. We just tell them to go in and follow orders.
DONOVAN
And after that, what? Are they lost? We're never gonna
see them again?
MAN IN CHARGE
No. They've got a future. The ones that are alive, anyway.
DONOVAN
So not Gretchen.
The Man In Charge looks down sorrowfully.
MAN IN CHARGE
She didn't die in Harsh Realm, Mr. Donovan. Santiago's
got a way out of Harsh Realm. The Portal, he calls it. She
was just a programmer, but she became an active operative
in the Realm for us. Volunteered, in fact. She slipped into
where he kept the Portal hidden and made it out to warn us
about the virus Santiago was sending out at Fort Dix. But
when we sent her back in, the Leader of Santiago's supporters
killed her. Put up some kind of firewall between her and the
program. It killed her immediately.
He sighs deeply. Then he looks at Donovan.
MAN IN CHARGE
You're a very strong man, John. I could have told any other
man this, he'd have broken up and cried. Not you. You're
strong. And that's why they think you're such a threat.
DONOVAN
The assassin at the diner.
MAN IN CHARGE
That was them. I'm in a comprimising situation. They'll know
their own operative was murdered under mysterious circumstances.
And someone who knows what's going on would probably do something
defend you the way I did.
(beat)
But you - you're untouchable. They haven't figured out a way to
knock you out of the way legally. They could call the police on
you for the murder of their own man, but they're not gonna. It
would put them in too much light. And the witnesses at the diner.
That's why they tried a hit. Random acts of violence are always
good cover stories.
The Man In Charge takes a long, contemplative gulp of water. Then he takes
the briefcase he set down between them earlier and slides it to Donovan.
MAN IN CHARGE
Let me add to that. You and Ms. Green are untouchable. Because
both of you are so close to the truth.
(indicates the briefcase)
The truth you want is in that briefcase, Mr. Donovan. Everything
you need to bring these men to justice is in here. But I'm advising
you not to go public with this until I contact you again. If
you do it to soon, you put us in jeopardy, you put Sophie in
jeopardy, and most of all, you flush any chance of getting back
at the men who killed your wife down the toilet.
Donovan takes it. ANGLE on him as he opens the briefcase. We don't see the
contents, only a soft, faint glow. Then he closes it.
He realizes that the car has come to a stop. The Man In Charge knows too.
Donovan starts to get out of the limousine, opens the door, and steps out.
EXT. STREET - NIGHT
Donovan looks up. He's right in front of the building we know to be his
apartment's complex. He stoops down again to look inside the limo.
INT. LIMO - NIGHT
CLOSE UP of the Man In Charge, who watches him like a fatherly figure.
DONOVAN
(os)
One more thing.
MAN IN CHARGE
Go ahead.
DONOVAN
(os)
Why's Sophie been under more fire than I have?
MAN IN CHARGE
Because her husband's close too. Because eventually, he's
going to kill Santiago.
CLOSE UP on Donovan, who looks surprised.
MAN IN CHARGE
Goodbye, Mr. Donovan.
Donovan nods, and closes the door, disappearing from view. REVERSE on the
Man In Charge. He says nothing for a while, thinking, before turning to his
chauffer, the Soldier.
MAN IN CHARGE
Driver, take us back to base.
SOLDIER
Yes sir.
CUT TO :
INT. LIVING ROOM - NIGHT
Donovan opens the door, flicks on the lamp on his coffee table, and closes
the door softly behind him. He goes and sits down on his couch, setting down
the briefcase down on the coffee table. He rests his hands on his knees. He
looks like Rodan's "The Thinker". His eyes look distant. Then they come into
focus.
>From his POV : a framed picture on the table of himself and Gretchen, both
looking young and carefree.
He stares at it for a long time, like his trying to make a decision.
Finally, his gaze turns away from the picture to the phone. He picks it up
and starts to dial. There's three rings before the phone picks up.
SOPHIE
(vo, on the phone)
Hello?
DONOVAN
Hello, Sophie Green? I gotta talk to you about something . . .
FADE OUT
ACT TWO
FADE IN :
We hear glasses clink together and the muffled drone of conversation.
INSERT a FLASHCARD that reads : "PINOCCHIO, FLORENCE, AND VIC VEGA"
It drops out of frame.
INT. BAR ROOM - NIGHT
There's a PAN from one person to another as we get a look at the numerous
customers hanging out at this joint. There's a couple of GI men, a couple of
nondescript rogues, quite a bit of women hanging around the GIs.
PLAYING OVER THE SCENE on a radio is "Jungle Boogie" by Kool and the Gang.
Smoke curls up from the numerous cigars and cigarettes held by the
customers.
Finally we come to a REST on one of the tables. Sitting in a circle are MIKE
PINOCCHIO, TOM HOBBES, and FLORENCE. They seem pretty oblivious to each
other and their surroundings.
Pinocchio takes a light sip of a drink sitting in front of him on the table.
Hobbes and Florence share a bowl full of nachos. Hobbes avoids the ones with
jalapenos on them.
HOBBES
Tell me what we're here for again?
Pinocchio sighs.
PINOCCHIO
I'm sorry, Hobbes, I didn't know you suddenly went deaf.
Maybe I shoulda smacked you while you were sleeping in
the Chevelle and I was telling you everything.
HOBBES
Look, I think we had a rough time. Give me a break, would
you?
PINOCCHIO
Fair enough, Hobbes. You wanna know what we're doing here?
We're waiting for that assassin that GI in Chicago told me
about. I traded a canister of gas for that info and an
appointment to see him, so I better see results. And
considering the last time I traded something necessary for
flat info . . .
HOBBES
What's so special about this guy?
PINOCCHIO
Way I hear it, he's the only guy sent into the game who
wasn't military. Guy's a civilian.
Hobbes' interest piques.
HOBBES
You're kidding me.
PINOCCHIO
Nope.
HOBBES
If he wasn't military, how come they'd even send him in?
Isn't that risking quite a bit?
PINOCCHIO
Look, that's what we're here to discuss with him. If
at least half of that BS the GI gave me was true, this
guy's one of the most pinpoint accurate assassins on the
face of the earth. How he got stuck in this hellhole is
anyone's guess for now.
HOBBES
What's he doing for now in Harsh Realm?
PINOCCHIO
Contract hits.
HOBBES
You're telling me we're contacting a hit man?
PINOCCHIO
Look, people gotta find a way to make a living in here.
He's found his way. All I know is, you get him to help us
take out Santiago, you don't ever have to think about
this place again.
Hobbes frowns. He's not pleased. He gets another nacho.
PINOCCHIO
Quit whining, Hobbes. What's with you and the jalapenos?
That's damn good grub there, you better eat it.
Hobbes sighs hard and shakes his head. Pinocchio takes another sip of his
drink. He looks around nonchalantly. His POV: the bar and its patrons.
Suddenly the bar entrance opens. A man steps in. Instantly we recognize him.
It's VIC VEGA from the teaser. But he's dressed differently. Now he wears
camoflouge army pants held up by a leather belt, boots, a black muscle shirt
under a camoflouge army vest, a black trench coat, and copper-tinted
sunglasses. He has a slight goatee. Dog tags hang from his neck. There's
grappling gloves on his hands. Two holsters are strapped to both sides of
his waist.
Pinocchio gets up from the table and starts toward Vic.
HOBBES
Hey, where are you going?
PINOCCHIO
Jeff Costello just showed his face.
Hobbes looks like he has no idea what Pinocchio means.
That's of little importance to Pinocchio. He makes his way through the sea
of barflies and walks up to Vic. He taps him on the shoulder. Vic turns
around.
PINOCCHIO
Vic Vega?
VIC
Yeah.
PINOCCHIO
I'm the guy who's here to see you.
VIC
So you're the guy Roth told me about.
Pinocchio nods.
PINOCCHIO
Let's sit down. Hope you like nachos.
Pinocchio and Vic walk up to the table. Pinocchio sits down in his chair,
and Vic pulls up one from another table, and turns it around, leaning his
elbows against the back rest of the seat.
Immediately, Vic Vega picks up a nacho and sticks it in his mouth.
>From this vantage point now, the camera PANS to the speaker as he talks.
PINOCCHIO
Now, Vic Vega, is it? You the one Roth told me about?
PAN to Vic, who nods with a grin. PAN back to Pinocchio.
PINOCCHIO
Good. Now, we're interested in getting you to help
us organize a hit. One we're interested in having a part
in.
PAN to Vic.
VIC
Gee, before you stick me with the payment and legal stuff,
I'd kinda like to know who's dealing the cards.
PAN to Pinocchio.
PINOCCHIO
All right. Vic Vega,
(indicated Hobbes)
Tom Hobbes.
PAN to Vic and Hobbes, who shake hands. REST on Vic.
VIC
Tom Hobbes? What the hell kind of name is that?
PAN to Hobbes, looking awkward at the question. He points a finger at
Pinocchio.
HOBBES
Well . . . his name's Mike Pinocchio.
PAN to Vic.
VIC
That's was very evasive. Too bad it didn't do the trick.
Listen, kid, if there's one thing you gotta know about in
this Realm, it's that personality goes a long way. Your
buddy - Pinocchio, is it? - he's got something about him.
A coolness. He's like the Fonz. Your pal could probably turn
on a jukebox by hitting it. But you? Naw. You're more like
Richie Cunningham. Some goody two-shoes blondie. I doubt you could
turn on a jukebox by inserting quarters. Now Pinocchio's name
could be Veronica and that don't erase his coolness. Watch
yourself, friend.
PAN to Pinocchio, who's just getting the biggest kick out of the Vic.
PINOCCHIO
Okay, thanks for the defense, Vic. This is Florence.
PAN to Vic, reaching across the table and shaking Florence's hand.
VIC
Hey, babe, nice to meet ya.
Florence looks at Pinocchio. PAN to Pinocchio, then to Vic.
VIC
She's a bit short on conversation, ain't she?
PAN to Pinocchio.
PINOCCHIO
She's got her reasons. She's a Sister.
PAN to Vic, surprised.
VIC
No joke? Way I heard, they're all dead.
PAN to Florence, who looks down sorrowfully, then to Pinocchio, who notices
this and doesn't like it.
PINOCCHIO
Listen, Vega, watch your mouth around the lady,
got it?
PAN to Vic, who nods. Then PAN back to Pinocchio.
PINOCCHIO
(cont'd)
Now, before we fork over the money, we'd like to know
a bit about you. Give us something about you. Your past,
how you got into Harsh Realm - especially that. I heard
you're a civilian.
PAN to Vic.
VIC
Roth's got a big mouth, then. Yeah, I'm civilian. Before
I got the Harsh Realm gig, I was pulling off hits for the
Mob in the Big Apple. Smooth ones; I was one polished guy.
I could get about fifteen grand per hit, which is an okay
payment. But that's when I screwed up. I botched a job for
the Vizzini family - some FBI Assistant Director. Walter
something, I think. But the cops fingered me, and I got
thrown in the state pen for about three years. And believe
me, the cops were planning to get the judge's permission
to toss the key. That's when these government guys came to
me. Said they could arrange for me to get out for good
behavior, but for a price. I said "Sure" without a second
thought, and ended up in the Pentagon halls. They said they
had this virtual reality game that this hacker had entered
and taken over and was living disembodied inside it. My
job was to go in and take him out. So they patted me on the
back and sent me in to find out everything they told me was
a pile of dog shit.
PAN to Hobbes.
HOBBES
If that was your mission, then how come you didn't follow
through?
PAN to Vic.
VIC
Better market? No friggin' cops out to make my deals hard
to follow through?
PAN to Hobbes, understanding but kind of uneasy. PAN back to Vic.
VIC
So, ladies and gentlemen, what the holy hell do you want
with the likes of me?
PAN to Pinocchio.
PINOCCHIO
A hit.
PAN to Vic.
VIC
Figured that.
PAN to Pinocchio.
PINOCCHIO
*The* hit.
PAN to Vic. He looks really surprised.
VIC
Santiago? You want me to do him in for you?
PAN to Pinocchio.
PINOCCHIO
No. But we want you to help us do it. Way Roth made it
sound, you're one of the most accurate snipers in the
whole Realm. And you're all about strategy. Design a
plan or something.
(points at Hobbes)
And Hobbes here's gonna do the deed.
PAN back to Vic.
VIC
Okay, you guys surprised me for a second. I recognized
your boy here the moment I saw him, so when you made it
sound like *I* was gonna take out Santiago for you . . .
HOBBES
(os)
You know me?
VIC
(turns to look in Hobbes' direction)
No, Blondie, not personally. But there's a lot of Christ
tales circling around the territories that you're the
guy who's supposed to put the bullet in Colonel Kurtz.
(turns back to Pinocchio)
Now, yeah, I'd help you with this. But what's the payment?
How much bread do I get for the deal?
PAN to Pinocchio. Who looks, as we PAN, to Hobbes, who looks, as we PAN, to
Florence.
VIC
Apparently there's a flaw in your plan.
He chuckles to himself. The PANNING stops, and we simply have a CLOSE UP of
the speaker.
VIC
All right, kiddies, listen up. There's more than a couple
of joints in SC that carries bread on them. If while we're
in there there's an opportunity to rob those beret-wearing
bastards blind, take as much as you can - I don't care in
what, ammo, guns, diamonds, money - and I'll take that.
PINOCCHIO
Deal.
Hobbes looks over at Pinocchio.
HOBBES
Pinocchio, a word with you, okay?
Pinocchio looks annoyed. He's been around Hobbes long enough to figure out
what this is gonna be about. He sighs loudly.
PINOCCHIO
All right, Hobbes.
HOBBES
Bathroom.
The two get up, and start in the direction of the bar bathroom.
VIC
You ladies gonna be powdering yourselves up?
Pinocchio busts out laughing, much to the annoyance of Hobbes. He continues
laughing all the way into the bathroom. BACK to Vic, as he looks over at
Florence. The two don't say anything to each other. They're worlds apart.
BACK on Pinocchio, as he opens up the door for Hobbes to enter with a grin.
PINOCCHIO
Step into my office.
INT. BATHROOM - NIGHT
Pinocchio wipes some smudges off the mirror and splashes some water in his
face before turning to Hobbes.
PINOCCHIO
All right, Hobbes, what's the problem you have with
this guy.
HOBBES
Are you blind?
PINOCCHIO
I've brought a dozen guys in the past in to talk to
and you've never had trouble with them before. Remember
Wolff? Gordon Sym? Those guys from that ragtag army we
USED to have before the plague hit? And I've always
followed you whenever you decided to follow some little
crusade that wasn't our business. Remember those two
families fighting over that radioactive gold? And do
I really have to remind you about a certain sword-wielding
samurai that you had me deal with four months ago?
(beat)
Listen, trust me on this. This guy seems all right. He's
a hell of a lot more genuine that most of the GIs I've
met before. I don't think he's holding anything up his
sleeve.
HOBBES
He's different, Pinocchio. Look, he kills people for money!
PINOCCHIO
We've killed people too. He's just making a side of cash
to go with the general mayhem that comes with the Realm.
Hobbes' head bobs. He's getting a bit frustrated. Finally he looks straight
at Pinocchio.
HOBBES
Okay. I'll trust you on this. Just don't expect me to trust
him.
PINOCCHIO
Relax. He's all right. He wouldn't be here if he wasn't. You
know what, Hobbes? I think this is about all the shots he's
been taking at you.
INT. BAR ROOM - NIGHT
Pinocchio and Hobbes emerge from the bathrooms and approach the table. Vic
and Florence look quite obviously as if not a word has passed betweem them.
PINOCCHIO
All right, after a short debate with Hobbes here, we're
willing to start.
Vic grins. It's an incredibly devilish smile.
VIC
Great. Now we're 'The Wild Bunch'. Who wants first call
on playing Pike Bishop? Don't forget to leave a tip for
whoever served you. The quality of the waiters and waitresses
at this joint is supposed to be high.
He chuckles to himself. The song playing in the background comes to an end.
EXT. BAR - NIGHT
DROP TO SLOW MOTION as all four walk in a neat row, shoulder-to-shoulder,
out into the parking lot.
CRANE SHOT still in SLO-MO. The bar is nestled within the remains of an
industrial section of a ghost-town version of a big city.
CLOSE UP of each person - Hobbes, looking tense. Pinocchio, relaxed.
Florence, looking indifferent. Vic, grinning. He places a Chesterfield
cigarette in his mouth, flicks open a Zippo lighter, and lights up.
NORMAL SPEED as the trio and Vic suddenly break off into different
directions. The three circle around Pinocchio's Chevelle, parked neatly to
the side. Vic stops, and looks at them. When they notice his gaze, they look
back at him.
VIC
Where ya off to?
HOBBES
Our car.
VIC
Ooh . . . the plot thickens. I got my own car out back.
We going with your wheels?
Hobbes looks at Pinocchio. It's his car, after all.
PINOCCHIO
We'll have to take both.
VIC
Are you sure? I got a friend of mine who could watch it
for a while. Good, honest guy. The type that's hard to
come by out here.
HOBBES
You sure we can trust him?
VIC
Hey, I swear on my mom's grave.
PINOCCHIO
That's touching, Vic, but we don't even know if your
mom's dead.
Vic lifts the cigarette from his mouth and laughs to himself.
VIC
We *are* gonna need a car, no doubt about that. What's
gonna be harder, spotting one well-tended nondescript
black one or a beat-up Mad Maxmobile that's probably
well identified by the whole freakin' Republican army?
PINOCCHIO
Watch it, Vic, that's my car you're talking about.
(a beat)
Okay, we'll trust your guy.
Hobbes looks it him.
PINOCCHIO
(aside to Hobbes)
Quit whining.
(to Vic)
We follow you?
VIC
Yeah. It's only a short drive from here. We should be there
by sun-up.
EXT. DIRT STREET - MIDMORNING
The two cars come barelling down the road and come to a stop in front of a
battered couple of storage warehouses encircled by a medium-height mesh
fence.
A sign hangs above a gap in the fence. The worn words "Chicago Impound
Department" are covered up with hastily nailed-on boards that read "Steve's
Garages".
PLAYING OVER THE SCENE is "Brick House" by The Commodores.
Vic steps out of his Malibu and enters the confines of the fence. Pinocchio,
Florence, and Hobbes follow him.
DOLLY with Vic as he looks around.
VIC
(calling)
Buscemi!
A toady-looking man with a goatee and mustache comes out from a small shack
(doubling out as an office). He's got an annoyed look on his face. Vic grins
as he approaches them.
VIC
Buscemi! Hey, man, it's great to see you. Wow, it's been . . .
weeks.
BUSCEMI
What do you want, Vega?
VIC
Look, I need you to hook up my fine fellow vets here with some
place to stash their wheels. Mind being a caring soul and
letting them leave their Chevelle in your garages?
BUSCEMI
Give me one good reason why the hell I should.
Vic snorts in a half-laugh.
VIC
Why shouldn't I?
BUSCEMI
Why shouldn't you?! I'll tell you why! Last time you left your damn
car here, a day later the whole damn lot got invaded by a couple of
Republican pigs saying that they were looking for you! I had to cry
my way out of getting shot just for knowing your name, and you STILL
haven't paid me back after they shot me in the leg for good measure.
VIC
Well, that's why you get insurance, isn't it?
BUSCEMI
Insurance my ass.
VIC
Look, would you give me a break? It's not my car you're watching, it's
this guy's.
He points a thumb at Pinocchio. Buscemi looks at Pinocchio, but then his
eyes widen as his gaze drifts to someone else . . . Hobbes.
BUSCEMI
You've gotta be kidding me! This is worse than looking after your
car! At least the Santiago's stools don't want you. This guy's like
Santiago's most wanted!
VIC
No one'll even know they were here, okay?
Buscemi squints. Then looks at Vic.
BUSCEMI
This is gonna cost you.
VIC
I didn't think it wouldn't.
BUSCEMI
You got my whole price down?
VIC
No. I could leave a deposit . . .
BUSCEMI
How much?
VIC
Five hundred Osants. Up front.
BUSCEMI
And?
VIC
Another grand when I get back.
Pinocchio looks at Vic like he's kidding. Vic shoots him an "I'm not kidding
look". He fishes in his pocket and slaps a wad of wrinkled bills with
Santiago's face on them in Buscemi's hands.
VIC
Nice doing business with you.
BUSCEMI
You just promise me I don't get shot for doing this
favor for you.
Vic turns around and marches off. Hobbes looks at Pinocchio, who shrugs and
follows the hitman.
EXT. FENCE - DAY
ESTABLISHING shot. Tall fences line a grassy knoll.
LEGEND reads: SANTIAGO CITY PERIMETER
HARSH REALM
DOLLY into a MEDIUM of the front bumper of the Malibu as it cruises down
into a stop. The doors fly open, and Vic, Hobbes, Pinocchio, and Florence
come out.
Vic takes a moment to lean against the hood and light another cigarette.
VIC
Well, looks like we've finally come to Green
Acres.
HOBBES
What's our next move?
VIC
What else? Get inside the joint and start getting
ready.
PINOCCHIO
What's the plan you've got?
VIC
I got a guy on the inside. Not a huge fan of the
Republic. He's got a job working as a weapons inventory
worker, takes care of filing reports on all this shit;
how much guns they got in, this and that. Every so
often a few screw-ups appear on the reports - one or
two guns that got shipped in a set but didn't make it
through.
Vic stalks to his trunk and reaches into his pocket, pulling out his keys.
VIC
They wind up in my trunk.
CUT TO BLACK
Then light, as we realize we are looking out of the trunk of the Malibu. A
standard Tarantino TRUNKSHOT. Vic reaches in just as Pinocchio appears next
to him. He pulls out a heavy-duty shotgun, plus a Beretta 92F. He puts the
shotgun under his arm.
Next, he drops the automatic in Pinocchio's arms.
PINOCCHIO
I already got a gun.
VIC
Would it kill you to have another one? One that don't
make that much of a holler when it goes off?
Pinocchio slips the gun on his side.
PINOCCHIO
Don't talk to me about hollering. I wouldn't be surprised
if you go off like freakin' Norman Bates the moment we
see one damn red beret stick out of the blue.
VIC
Who says I'm shooting for Hitchock? I'm more of a
Scorcese lover, "Taxi Driver".
The trunks slams shut, and we are left IN BLACK.
INT. EMPORIUM - DAY
TIGHT SHOT of a television screen. On it's playing a crappy sixties kung-fu
movie, complete with bad acting, stupid stunts, and horrible dubbing.
Off-camera, we hear the almost constant giggle of delight.
TIGHT SHOT of a hand reaching to a tray of fries, grabbing some. The fries
get stuffed into someone's mouth. TIGHT SHOT as they go in.
There's another laugh. MEDIUM of the back view of a couch. The person
watching the kung-fu movie's face is hidden from us.
Off to the side, at a table, playing cards sit two Republican Guards,
O'BRIEN and PORTER. O'Brien looks up, annoyed as another chuckle escapes
from in front of the TV.
O'BRIEN
Aren't you supposed to be working and not watching
that shit, Quentin?
The figure in the sofa doesn't bother to look up.
QUENTIN
(still unseen)
My shift starts in ten minutes. Let me finish my fries
and I'll get to work, all right?
He grabs some more.
EXT. STREET - DAY
The urban-looking backstreets of Santiago City. The emporium can be seen off
to the left - it's entirely made of bricks. A catwalk clings to the side of
the red building.
The drone of a car engine approaches. The Malibu comes cruising down the
alleys and pulls up to a stop on the side of the road. Vic, Hobbes,
Pinocchio, and Florence pile out of the car in sequence.
CLOSE UP of Vic. He exhales.
VIC
Shit.
PINOCCHIO
What?
VIC
Great. We got some damn pigs in the emporium.
I feel sorry for Quentin.
HOBBES
This Quentin is your guy?
VIC
That's right.
He pauses a moment to think.
VIC
All right, boys and girls, let's get this joint
rollin'.
He pulls one of his guns out from his side.
INT. EMPORIUM - DAY
Quentin's walking around with a clipboard, scribbling numbers, dates, and a
few names here and there. This is the first good look we get of him. An
odd-looking guy, wearing a cheap polyester black suit with a white shirt and
reddish-brown tie.
O'Brien tosses another hand of cards on the table. He throws in two blue
chips as well.
O'BRIEN
Hit me.
Suddenly, the front doors of the emporium fly open. Vic enters, alone.
Quentin looks up from what he's doing. Vic jerks his head to the side, at
the two Guardsmen at the table. O'Brien starts to stand up.
He reaches for the gun at his side.
Before he can even pull it out, Vic pumps the guy full of lead.
Hobbes - and Pinocchio and Florence walking side by side - enter in just as
the spray of gunfire ceases. Hobbes gapes.
HOBBES
Do you have any idea what you just did? I
can’t believe what I’m seeing here!
VIC
I just killed someone. Surprise, surprise,
pretty-boy, that's what you hired me to
do, isn't it?
CLOSE IN on the bullet-riddle carcass of O'Brien. His upper body slumps
forward and digitizes. The chair beneath him crumbles apart.
Vic moves the gun away from where O'Brien once was and points it point-blank
at Porter. Porter's totally freaking out. He's shaking, muttering.
PORTER
Oh my god . . . I can't believe . . . Jesus
Christ . . . CHRIST . . . that was so cold-
blooded . . .
Vic kicks the table over. Porter jerks. The chips and money spill all over
the floor.
VIC
Hey, Quentin!
Quentin comes out and he's got a Cheshire Cat grin on his face.
VIC
(cont'd)
Tell your friend if he wants to continue living,
I suggest he shut the hell up.
QUENTIN
(to Porter)
Hey Porter, I'd cut that shit out if I was you.
Vic looks at Pinocchio and Hobbes.
VIC
All right, you three, keep an eye on this guy,
would you?
PINOCCHIO
No prob.
Vic turns around and walks toward Quentin.
QUENTIN
Vic Vega. What brings you to my neck of the woods?
VIC
I'm here to kill your boss.
QUENTIN
Someone wants Lionel Marvin dead?
VIC
No, no, no, no, no. Santiago.
QUENTIN
I knew what you was talkin' about.
VIC
Oh, yeah? Care to expostulate on how you knew?
QUENTIN
Oh, just Blondie's mug.
He points at Hobbes.
CLOSE UP of Porter, still shaking, but listening intently.
QUENTIN
(os)
Guys up the ladder of the Republican system talk about
that Joe Shmoe constantly. He's a goddamn celebrity behind
closed doors. Something about him taking out the big man.
That's what you're here to do, right?
BACK on Vic and Quentin.
VIC
Correct.
QUENTIN
Thought so.
VIC
Look, I need some guns.
QUENTIN
What, you're not down with the ones I got ya?
VIC
Naw, they're fine. But we need some heavy-duty
merchandise for this job. Sniper rifles. Plus a
lot of ammo in the totally unlikely event that
we're gonna have to shoot our way out of this job.
QUENTIN
You're in luck. Just got some shipments from the
subsidized manufacturers in Vermont. What dough
ya planning to pay with?
VIC
Ooh, you're in luck, pal. I just got this down
in Glendale.
He reaches into his pocket.
Suddenly there's a shout! Porter leaps to his feet, holding a TEC-9 in his
hand aimed square at Vic's chest. FOUR BOOMING SHOTS go off. Porter slumps
down on the ground in a bloody mess. Behind him, Pinocchio holds a smoking
gun.
VIC
Good call, El Mariachi.
QUENTIN
Where were we?
VIC
Oh, yeah . . .
Vic digs into his pocket and plops three clear plastic bags tied together
with a rubber band in Quentin's hand.
QUENTIN
Damn, Vega, were'd you get the weed from?
VIC
Eddie Cabot. His dad's got his own nursery for
growing this stuff. That better be enough to cover
for what I need.
QUENTIN
How much this shit worth?
VIC
Lemme see . . . five hundred . . . wait . . .
(turns toward Pinocchio and Hobbes)
Santiago City, right?
(back to Quentin)
A thousand dollars worth.
QUENTIN
You give me this much, you can buy the whole damn
emporium for all I care. Thanks a lot, buddy ol'
pal. Why don't you and your friends here put up there
feet from here on in? Me casa, su casa.
VIC
Muchos gracias.
He turns around and looks at Hobbes, Pinocchio, and Florence.
VIC
All right, everybody, we got a place to kick it
now. Check out the candy store, 'cause Willy
Wonka's given us the OK to nab whatever we want.
HOBBES
What're you gonna be up to?
VIC
Planning the job, whaddya think I was gonna do?
Give me an hour or two. Then we'll sit down and
talk, got it?
Hobbes and Pinocchio go off to explore the emporium. Florence stares at Vic
for a moment, hesitant to take her eye off him, before going off to join her
friends.
QUENTIN
Relax, Vic. Here, have some fries.
He points to the fries on the table next to the chair in front of the TV.
Vic walks over to the fries, picks some up and tosses them into his mouth.
He looks at the TV.
VIC
What movie's this?
QUENTIN
"Killer Monk and the Hand of Death".
VIC
Thought so.
Suddenly, he notices a jar of mayonnaise next to the fries.
VIC
What's with the mayo?
QUENTIN
Tastes good with fries.
VIC
Ugh. That's the sickest thing I ever heard.
QUENTIN
Whaddya talkin' about? They do it all the time
in Paris.
VIC
So some Frenchie drowns his fries in mayo and
therefore you're gonna follow suit?
The two men laugh.
VIC
You belong in a Republican mental institution for
doing that kind of stuff. By the way, I'm gonna help
myself out to your packets of salted almonds.
QUENTIN
I'm not crying.
CUT TO
Pinocchio, Hobbes, and Florence, sifting through boxes upon boxes of
weapons, ammunition, grenades, and the like. Pinocchio reaches into one,
pulls out an automatic. He finds another box, and pulls out a magazine.
PINOCCHIO
Hey, Hobbes.
HOBBES
What?
PINOCCHIO
What kinda gun you have?
Pinocchio loads in the magazine.
HOBBES
I think it's a SIG P226.
PINOCCHIO
Ever got jamming problems?
HOBBES
Occassionally, yeah.
PINOCCHIO
Care to take the Pepsi challenge?
He hands Hobbes the gun. Hobbes takes it and pulls out his own gun. Compares
the two with his eyes, then hands it back to Pinocchio.
HOBBES
You trust him, don't you?
PINOCCHIO
Who?
HOBBES
Who else?
PINOCCHIO
Vic? I wouldn't go so far as to say I trust the
guy with my life, by I sure think he's capable
of helping us pull off what we want to pull of.
HOBBES
What about him as a man?
PINOCCHIO
As a man? Oh, I think he's kinda cute . . .
Hobbes rolls his eyes. Florence bats an eye at Pinocchio and smiles.
HOBBES
Come on, be serious.
PINOCCHIO
You remember when we met Yoshimori back in Michigan?
I didn't trust him for beans 'cause he wasn't like
me at all. But you - for God's sake - YOU were pretty
damn caught up with his whole nobility complex and crap.
I mean, in the end you were absolutely right, but still.
Now answer me, friend, why'd you trust him?
HOBBES
I could identify with him, I guess. Right down to the
cause he was fighting.
PINOCCHIO
Bingo. I can identify with Vic.
HOBBES
That's not a good thing.
PINOCCHIO
Why not?
HOBBES
I really wish bodies didn't just disappear in Harsh Realm,
'cause if they didn't, I could point out two good reasons
by the door why that's not a good thing.
PINOCCHIO
Vic get's the job done.
HOBBES
Little too well, methinks.
PINOCCHIO
Look, once we play "Pin The Bullet On Santiago", you don't
ever have to think about him again. You'll be too busy
snuggling with your dearest darling sweetie pie honeybunny
pumpkin -
HOBBES
I'd really appreciate if you stop reading my letters.
PINOCCHIO
Leave them all over the damn car, what the hell you think
I was gonna do?
HOBBES
You really think Vic's gonna help us take out Santiago?
PINOCCHIO
Most definitely.
(a beat)
That is, if no one screws up whatever he's planning.
Hmmm . . . wonder what he's up to now?
CUT TO
Another part of the emporium. Vic is behind a desk in what is obviously
Quentin's incredibly messy office. His feet are up on the desk He's
finishing up the pack of almonds. He wrinkles it and tosses it over at a
wastebasket. Misses, but doesn't bother to pick it up.
The door swings open, and Quentin comes in lugging a greenish gun case. He
notices the almond wrapper on the floor.
QUENTIN
Enjoy the almonds?
VIC
Tastiest nuts I've ever had.
Quentin explodes in laughter.
VIC
Get your brain out of the gutter, would you?
Sick bastard.
QUENTIN
Don't look at me, you said it.
VIC
You thought it. All right, old buddy, what've you
got from the candy shop?
QUENTIN
Just got this in from a manufacturer in Florida.
He places the green case on the desk in front of Vic. Vic takes his feet off
the desk and intently opens up the case. EXTREME CLOSE UP as Vic smiles a
grin.
Inside is a quickly-assembled and wicked-looking sniper rifle.
QUENTIN
You ever seen anthing so pretty?
VIC
Naw, can't say I have.
QUENTIN
It's a Tango-51. Amazing thing, I heard.
VIC
What's the caliber on this thing?
QUENTIN
7.62 by 51 millimeters NATO. That's .308 WIN.
VIC
Action?
QUENTIN
Remington M700, accurized and blue-printed to
boot.
VIC
Moving on to the important stuff - accuracy?
QUENTIN
Guaranteed. .25 MOA.
VIC
Sweet.
He closes the case.
QUENTIN
That's right.
(imitating a commercial spokesman)
"Tango-51. When absolutely positively gotta
kill every single piece of shit within 100 feet
of ya. Accept no substitutes."
They both crack up.
INT. EMPROIUM - DAY
The table O'Brien and Porter were playing cards at has been cleared at.
There's five fold-out chairs around it. Pinocchio, Hobbes, and Florence are
sitting their, digging into Quentin's bottomless basket of fries.
A door opens, and Quentin and Vic take their seats. Vic's hauling a couple
rolled-up street maps, Quentin's got a cup full of pencils, pens . . . and a
metal case.
VIC
Well, I hope everyone here's ready to get on the
ball.
PINOCCHIO
You got a plan?
VIC
*The* plan should swing off without a hitch.
HOBBES
Let's hear it, then.
Vic clears his throat.
VIC
My good friend Quentin here's just informed me
that tomorrow at noon's some moronic "Santiago
City Pride" parade. Our dear ol' dictator's gonna
be showing off his mug for everyone to see.
QUENTIN
Guy's an egomaniac.
VIC
All right, get this - he's gonna be riding in
a convertible. The top's gonna be down, which
is gonna be perfect for getting a good aim at
him.
PINOCCHIO
Don't forget that our boy Hobbes is the one
supposed to take him out.
VIC
Look, I got a memory like an elephant. Don't
blast me for forgetting somethin' I didn't forget.
Just hold on 'n' this'll all be cool once I'm
done, 'k?
HOBBES
Fine. Continue.
Vic rolls out a street map. He starts to mark various points on it as he
talks.
VIC
We're gonna let the citizens of Santiago City
have their merry little fun for about three hours
till they come down to Blume Avenue. We're gonna
be there waiting. Quentin's given us some good
merchandise to work with. Quentin?
Quentin slams the case on the table and opens it up.
QUENTIN
These are high-grade audio earpieces. Santiago uses
them for Private Ops whenever they go on special
tactical missions in the field.
HOBBES
What's Private Ops?
PINOCCHIO
Santiago's personal SS.
QUENTIN
How'd ya know that?
PINOCCHIO
Know? I was freakin' in it at one time. All right,
what were we talkin' about?
VIC
The earpieces.
QUENTIN
Right. Switch on the main transmission box, ya get
a crisp, clear private communications newtork. Only
problem is, transmissions *can* be picked up if
someone's got the right frequency.
VIC
Which is why I'm assigning you four names. I don't
need some asshole turning on to WSCR and finding out
that there's a hit. You keep your traps shut for this.
No, "all right, Vic, let's kill Santiago like you
told us to", got it?
HOBBES
Got it.
PINOCCHIO
You mean you're giving us code-names? This smacks
of "Mission Impossible".
QUENTIN
(teasing)
Good evening, Mr. Phelps.
Vic chuckles.
VIC
All right, pay attention. I am the Walrus. Pinocchio,
you're the Eggman. Florence, you're Eleanor Rigby,
Hobbes -
PINOCCHIO
Whoa, whoa, whoa. You're giving us names took off of
Beatles songs?
VIC
You got a problem with that?
PINOCCHIO
No, just . . . I mean, come on, The Beatles?
VIC
Look, the Beatles were the guys who took the whole
rock 'n' roll scene and reinvented that shit. They're
artists, man, not some bubblegum pop jackholes.
PINOCCHIO
Koo-koo-ka-choo, Walrus.
VIC
You fine with it now, El Mariachi?
PINOCCHIO
Guess so. I liked the Beatles' early stuff, though. I
mean, "Love Me Do", "She Loves You", "Eight Days A
Week", and "A Hard Day's Night". That's their best,
says me. Hell, I even liked "Yellow Submarine". But
once they started getting all psychedelic and political,
that's when they lost me.
QUENTIN
What're you talking about? The moment they started
the psychedelic style, that's when they took off. You
line up your faves next to "Strawberry Fields Forever",
"Lucy In The Sky With Diamonds", and "With A Little
Help From My Friends", there isn't any comparison. There
ain't even any contest, you know what I'm saying?
PINOCCHIO
Think whatcha like, I still prefer their early stuff.
VIC
What about you, Hobbes?
HOBBES
What do you mean?
VIC
What's your take on the Beatles?
HOBBES
I'm not a big fan of the Beatles. I prefer the
Monkees.
QUENTIN
Get out of my emporium.
Hobbes looks surprised.
VIC
Aw, come on, Hobbes. Everyone knows the Monkees
were just imitation Beatles.
HOBBES
Oh, yeah? I didn't see the Beatles do something as
good as "I'm A Believer".
PINOCCHIO
He's gotcha there.
QUENTIN
No kidding. Touche.
HOBBES
"Last Train To Clarksville"'s pretty good too.
VIC
I don't think so. That was an obvious knockoff of the
Beatles' "Paperback Writer".
HOBBES
The Monkees didn't use drugs, either.
VIC
And how is that good? That just means their songs
weren't as original. There's no way Davy Jones - who
sounds like a fag in "Daydream Believer", by the
way - is gonna beat out a high John Lennon. I mean, it
just ain't gonna happen.
HOBBES
Whatever.
VIC
No, you started something here, you better be intent
on finishing it -
PINOCCHIO
Can we get back to business?
VIC
All right, all right. Where were we?
PINOCCHIO
I'm the Eggman, you're the Walrus, she's Eleanor Rigby.
VIC
Right. Hobbes, you're Seargent Pepper.
HOBBES
Why am I Seargent Pepper? Why can't I be something
like . . . uh . . . Jude. From "Hey Jude".
VIC
No one's changing names here. You're Seargent Pepper,
end of story. Just be glad you're not the Fool on the
Hill.
PINOCCHIO
Though that would make a lot more sense.
VIC
Here comes the plan.
(beat)
We're gonna drop Hobbes off on Gilmore Street. He's
gonna go alone. Gilmore Street's a backstreet directly
north of Blume. He's gonna have to find his way through
the alleys of the apartment complexes there. Parade's in
a civilian district of the city.
(another beat)
Pinocchio, Florence, you're gonna stay with me in
the car. We'll be on the other side, on - what is it?
QUENTIN
Rolling Avenue. The next street south of Blume.
VIC
On Rolling, you two'll follow me until we get to one
of the apartments. I've picked one with a flat roof.
I'll be going right to the top of it while you two stay
on the ground. You'll be watching my back. From the
rooftop, I'm going to start firing into the crowd.
HOBBES
Randomly?
VIC
Hey, I said I'd watch my trigger-finger. No, I'm not
targeting any real people. Just Guards. Hopefully that'll
cause enough panic to get everything off.
PINOCCHIO
What if someone figures out where the bullets are coming
from?
VIC
That's where you come in. I want them to focus on our
side. That'll give Hobbes enough of a diversion to go
in and take ol' uncle Omar out. But the moment you see
any Republican Guards headed for the front steps of my
hangout, you get rid of them and RUN. That clear?
PINOCCHIO
Crystal.
VIC
While our little diversion is going on, Hobbes, you'll
be hiding under the stands. From there, you pop a bullet
in Santiago's skull. Florence, Pinocchio, and I are gonna
be in the car. There's a dumpster in those alleys. Hide
in it, we'll pick you up.
(a pause)
All right. See ya tomorrow. If you'll excuse me, I gotta
get some shut-eye.
HOBBES
It's three in the afternoon.
VIC
Yeah, I know.
He gets up, and walks off. Pinocchio looks at Hobbes then at Florence. Then
he sighs.
EXT. GILMORE STREET - DAY
ESTABLISHING of an empty street. The buildings here are red-brick buildings,
much like the emporium, only they're apartments, of course. A lot of them
have fire escapes down their sides. Very urban.
Just then, Vic's Chevy Malibu pulls up to the curb. A front door flies open,
and Hobbes almost trips and falls over on the way out. He turns around
angrily.
HOBBES
Was that shove really necessary?
VIC
(os, inside the car)
No.
The car door slams shut again. The engine blares a bit as the car goes a few
feet forward, makes a U-turn, and starts heading down the way it came.
Hobbes watches them go. He sighs, reaches into his pocket and pulls out his
Sig Sauer. He snaps an ammunition clip into it and turns around. Without a
moment's hesitation, he plunges into the alleys.
EXT. BLUME STREET - DAY
The stands on either side of the street are absolutely filled to the brim
with cheering Santiago City denizens. Some sections of the stands have
regular blue-collar workers and their families. One has older men who look
like they were kidnapped off Wall Street.
Down the street, straight rows of Republican Guardsmen come marching down.
They are neat and dignified. Something about them smacks of old 1940s Nazi
celebration footage.
Behind them comes an expensive luxury car with the top down. Sitting right
in the backseat is GENERAL OMAR SANTIAGO. He waves here and there at the
celebrating citizens of his empire's capital.
The car is flanked by six pairs of soldiers dressed with green berets and
black uniforms. These are the Private Ops-type soldiers we saw in the tease.
OPS SOLDIER ONE
Quite a turnout, wouldn't you say, General?
SANTIAGO
Oh, yes.
OPS SOLDIER ONE
This ever bring you a kind of personal victory?
Knowing that all these people are backing you and
supporting you?
SANTIAGO
I am a soldier, soldier. Subduing a people is not
challenging at all. These came to me willingly. They
just a quickly can turn against me. That is why they
must be reminded that I am their hope and future.
The Ops soldier looks taken aback by Santiago's words. But they continue
marching. CLOSE UP of Santiago, watching, and waving without so much as a
smile.
EXT. ROLLING AVENUE - DAY
TRUCK on the Malibu as it pulls up to the curb. We get a nice fat CLOSE UP
of the license plate. It reads "VEGA666". There's a license plate frame
around it that reads "I Still Miss My Ex - But My Aim's Getting Better."
INT. MALIBU - DAY
Vic turns around. Looks at the two people in his backseat.
VIC
You got your lead ready?
MEDIUM on Pinocchio and Florence. Florence pats her M16.
VIC
All right you two. You know the drill. You
got - what was it?
PINOCCHIO
420 East Blume.
VIC
Bingo.
Vic reaches into his pocket and pulls out a cigarette. Pushes it into his
lips and reaches to the car lighter. Presses it to the butt end of the
cigarette and lets it burn before puffing.
He pushes the lighter in, reaches over and flicks open a suitcase in the
passenger's seat. He next flicks the ON switch within it. This is the
transmitter for the earpieces.
Pinocchio presses his earpiece into his ear.
Vic reaches over, grabs the second suitcase on the passenger's seat floor,
and opens the side door. He lets out a puff of smoke, then climbs out.
Pinocchio and Florence empty out of the car.
EXT. GILMORE STREET ALLEYS - DAY
FOLLOW Hobbes as he rounds a corner. This is another highly-industrial area
of the city. Brick walls, catwalks, everything you'd see out of a gritty
"Godfather" flick. Hobbes tries to keep his steps silent as he passes
through the alley.
He circles another corner. The sound of cheering and marching feet is
gradually getting closer. Hobbes passes a dumpster. He suddenly stops as
something catches his eye on the walls of the apartments.
His POV: a small pamphlet taped to the brick wall. It reads "WANTED FOR
CRIMES AGAINST THE REPUBLIC". Underneath is a picture of himself.
Hobbes looks very much disturbed. But he swallows. And continues.
EXT. ROLLING AVENUE ALLEYS - DAY
Unlike Hobbes, Vic walks straight forward. No turns, no maneuvering, just a
smooth stride right down a path. In fact, the backdoor he's headed for can
be seen about two buildings away. He's almost there.
He grips the greenish-gray suitcase a bit more with his left hand.
PLAYING OVER THE SCENE is George Baker Selection's "Little Green Bag".
Vic lets out another puff of smoke from his cigarette off the side of his
mouth. CLOSE UP on his other ear, with the earpiece in it.
CUT TO
DOLLY on Pinocchio and Florence. Trying to avoid the light of day.
VIC
(vo)
How's Eleanor?
PINOCCHIO
She's following the plan.
VIC
(vo)
You almost at the place, Eggman?
PINOCCHIO
Almost? We're here.
A quick CIRCLE AROUND them show's that he's right. They're right behind a
dumpster with a complete mob of cheering people waiting on the sidewalk.
VIC
(vo)
What are you doing now?
PINOCCHIO
Sitting on a cornflake, waiting for the van
to come. Whaddya think?
VIC
(vo)
How far's the van?
Florence looks at Pinocchio, a bit wide-eyed. But she also keeps an eye on
the mob waiting for Santiago's arrival. We can see the red berets of the
Republican Guards bounce up and down as they march in their straight lines.
PINOCCHIO
Don't know. All I see are pretty little
policeman in a row. You at your position yet?
VIC
(vo)
Couple minutes, I'll be there, yeah.
PINOCCHIO
Sergeant Pepper . . . you hear from
him?
VIC
(vo)
Just a sec . . .
SMASH CUT TO
EXT. GILMORE STREET ALLEYS - DAY
TIGHT SHOT of Hobbes' ear. Then a DOLLY on him.
VIC
(vo)
Sergeant Pepper?
HOBBES
Yeah?
He rounds a corner and runs smack into TWO REPUBLICAN GUARDS. He freezes up
instantly. His face begins to turn white.
VIC
(vo)
How's your position?
Hobbes says nothing. He only stares at the Guards in front of him. They
stare right back at him. A grunt escapes from Hobbes. He looks ready to
faint.
VIC
(vo, annoyed)
Sergeant Pepper?
1ST GUARD
Can I help you, mister?
SMASH CUT TO
Vic, right next to the door of the building he's headed for. He hears the
voices, and instantly his eyes widen. The cigarette goes limp between his
lips.
RESUME
Hobbes. His lips tremble. Finally, he opens his mouth.
HOBBES
Yeah. Santiago come by yet?
1ST GUARD
Not yet. You better hurry yourself up, though,
he'll be coming by soon.
HOBBES
Thanks a mill.
1ST GUARD
No problem.
He quickly passes the Guards. In the b.g., the Guards carry on in the
opposite direction. They make a left and disappear around the corner Hobbes
emerged from.
Hobbes lets out a deep sigh. That's when Vic's voice snaps him back to
reality.
VIC
(vo)
You are one lucky sonofabitch, Sergeant Pepper,
ya know that?
HOBBES
What would you have done?
VIC
(vo)
Whipped out a gun and blasted them all to ribbons,
that's what I'd do.
HOBBES
Wouldn't that have blown our cover, Walrus?
INT. BUILDING - DAY
A door swings open, and Vic enters. This is the building he'll be taking
position in. The walls are painted a crappy, peeling green color. A metal
step-staircase rises up to the top. Vic looks up.
VIC
Maybe, maybe not. Ya never know.
Quickly, he heads up the steps.
EXT. BLACKTOP - DAY
Vic appears out on top of the roof of the building. Making his way to the
edge of the roof, he drops the bag, crouches, and opens it. Inside, nestled
in the fabric, is the sniper rifle.
Vic starts to sing along with the song playing over the scene, even though
it's all in his head.
VIC
Got to find just the kind, or I'm losin'
my mind . . .
He screws in the barrel. Snaps the body together perfectly, and finally
places the scope on top.
VIC
Done and done.
He stands up. Moves toward the edge of the roof. His eye pokes into the
scope.
VIC
What a view, Eggman.
His POV through the crosshairs of the rifle settles on one of the Private
Ops soldiers marching in front of Santiago's car.
PINOCCHIO
(vo)
What about it?
CUT TO
EXT. ALLEYWAY BESIDE STREET - DAY
CLOSE UP of Pinocchio just as a huge BANG goes off in the distance. Right
smack in front of Pinocchio and Florence, the PO soldier falls. Santiago's
car's only about a baseball-toss away from them.
Pinocchio's eyes widen. He looks at Florence.
PINOCCHIO
Can you believe this?
She shakes her head.
VARIOUS SOLDIERS
(os)
Protect the General! Where's the shots coming from?
Locate the direction! We need a trajectory! Stay low!
Protect the General!
CUT TO
EXT. ROOFTOP - DAY
Vic smiles nonchalantly. Through his crosshaired POV: takes aim at a regular
Republican Guard. The Tango-51's trigger jerks back. The Guard slumps over
and disappears underneath the feet of the panicking ranks.
He lets out another puff of smoke.
The stands are starting to empty out. Santiago City civilians are beginning
to pour out. The crosshairs settle on another man beside the hood of
Santiago's car.
PINOCCHIO
(vo)
The hell's this, Walrus, a goddamn bloodbath?
Put the gun down, please quit firing, and let's
take you to get some therapy. Might be good for
you, you know?
The trigger jerks again. The Guard bursts into a digital flash and rezzes
out. Vic, half-ignoring Pinocchio's voice.
VIC
Hardy-freakin'-har. You a comedian in the Real
world, Eggman?
PINOCCHIO
(vo)
No.
VIC
Were you a trained hitman like me?
PINOCCHIO
(vo)
No.
Another shot rings out. Another scope-view of a Guardsmen taking it in the
chest.
VIC
Not even any military assassin tactics at the
base you trained at?
PINOCCHIO
(vo)
I'm kinda getting tired of saying the same thing.
I feel like a scratchy record player.
VIC
Is it quite possible you don't understand why
the hell I'm doing what I'm doing?
PINOCCHIO
(vo, sounding annoyed)
Yes, but -
VIC
Ah, so it's quite possibly I'm doing the best
and you just don't get it.
PINOCCHIO
(vo)
If you wanted to paint the town red, we coulda
run downtown to the industrial district and
bought ourselves a few quarts, don'tcha think?
Vic doesn't answer. The crosshaired view through the scopes suddenly swerves
and settles nicely and neatly on the crown of Santiago's head.
VIC
You know, I coulda just take out Uncle Omar right
now and it'd be over.
PINOCCHIO
(vo)
Perish that thought, Walrus. We all know who's supposed
to take care of that bit.
VIC
Then where's Pepper? This is his gig.
EXT. BENEATH THE STANDS - DAY
HOBBES
I'm here. Don't get your hair in a knot. I'm
under the stands near the car.
Sergeant Pepper, or Hobbes, stands right underneath the now empty stands.
Everyone of the spectators are running down the streets to safety. A quick
view from a different angle shows us that even though everyone's gone, he's
still well hidden. He peers through the gaps between the bench-seats.
VIC
(vo)
Well hurry up, Sergeant, I ain't got all day
to just dilly-dally in the sun. My stomach's
growling, and that don't settle well with me.
His POV: the car's beginning to slide into view. Santiago keeps his head
low, but it's obvious that he's getting pissed with every shot fired.
Still, no one notices Hobbes behind the stands.
He reaches into his pocket. Pulls out his handgun and clips in a magazine.
Then eases it up. The gun pokes out slightly. The car slides further and
further in front of the gun. TIGHT SHOT looking down the barrel.
Santiago's angry face is right in front.
ANGLE on Hobbes. Suddenly the barrel of an M64 slides into frame and presses
into his neck. Hobbes' neck hairs go up. His arms go limp, and the gun drops
down. Santiago's car cruises right by.
VIC
(vo)
How does some tacos sound after this. That
sound good to you?
Hobbes doesn't say anything.
VOICE
(os)
Turn around slowly.
Hobbes does.
VIC
(vo)
I could go for some pie right now, you know
what I'm saying? Mmmm . . . my tongue's watering
at the thought. Hold up, I ain't hearing a
gunshot. What's holding you up, Pepper? I
didn't make you lose your train of thought,
did I?
Looking straight down the barrel at Hobbes is the 1st Soldier from earlier.
Next to him is the 2nd Soldier. He's holding the Wanted poster for Hobbes
that Hobbes passed by earlier. He's got a grin on him.
VIC
(vo)
Hello? Hellooooooooo . . . anybody there?
Hobbes licks his lips. Then -
HOBBES
I'm caught.
VIC
(vo)
What?
That's the last thing Hobbes hears. The 2nd Soldier pistol whips Hobbes down
the front of his head and konks him out.
BLACK.
EXT. ROOFTOP - DAY
Vic's eyes widen as he hears a shuffling and then static. The cigarette
drops out of his mouth and onto the rooftop.
VIC
You hear that, Eggman? We've just gone from a
diddly-eyed Joe to a damned-if-I-know.
PINOCCHIO
(vo)
Pepper's out of the ballpark.
VIC
You get yourself and Eleanor back to the
wheels, pronto. I'll meetcha their. You
get stopped along the way, you better take
a bit of an example from me and kill the
bastard before he kills you, ya understand?
'Cause if you and the miss ain't there, I'm
not bustin' my ass to wait for you.
PINOCCHIO
(vo)
You're just gonna leave him? Hold up, you -
But Vic's already reached into his ear, pulled out the earpiece, dropped it
on the cement floor, and stepped on it.
EXT. ALLEYWAY BESIDE STREET - DAY
Pinocchio turns to Florence. All he hears is static on his earpiece.
PINOCCHIO
They got Hobbes. We gotta go.
Florence shakes her head rigorously.
PINOCCHIO
We'll get him back, Florence. Don't even worry
about it.
He grabs her by the arm and they both bolt off.
INT. BUILDING - DAY
PLAYING OVER THE SCENE is the song "Bullwinke Part II" by The Centurions.
Vic scrambles down the metal staircase. Every step he takes is more hurried
than the previous. He's seriously hauling ass, even though he's lugging the
green case with the sniper rifle with him.
Finally, he makes it down the flight. He reaches for the doorknob, twists
it, and flings it open. Sunlight floods in.
Just then, the door behind him opens up. A brawny Republican soldier with
the name CASH stitched on his uniform comes crashing through the door.
CASH
Stop there! Hands up.
Vic reaches into his side, pulls out one of his automatics, and BLASTS THE
GUY RIGHT OFF THE GROUND.
He pockets the gun and bounds out the door, slamming it shut behind him.
EXT. ALLEYWAYS - DAY
TRACK Florence and Pinocchio, running for their lives. They make a quick
turn. Brick walls fly past them on either side. Switch to a DOLLY. They make
another turn around the corner of a building.
A FLOOD OF BULLETS suddenly explodes at the edge of the corner where they've
just been. Pinocchio turns around, puts his arm around the corner and fires
a few rounds back with his MP5-K.
Florence unslings her M16 just for safety's sake. They start running again.
They're about twelve meters from the corner where they were. The sidewalk on
Rolling Avenue's only a few yards in front of them.
Suddenly, a GUARDSMAN comes bounding around the corner the two had just come
around. He yells, and aims a TEC-9 at them. Opens fire.
Florence grabs Pinocchio and pushes him gruffly toward the left against the
sides of a building while she scrambles to the left. The bullets go whizzing
past them.
Florence swings up her M16 and totally lets loose a storm. The Guardsman
jolts back as the bullets slam into his chest.
She lowers her gun and turns back to Pinocchio. Her expression melts to
horror.
PINOCCHIO
Florence . . .
He grips his arm. Blood's coursing down his shoulder and side. He's hit bad.
EXT. ROLLING AVENUE - DAY
Vic hauls ass out the alleyways. He reaches into his pocket and snatches out
the keys. His Chevy Malibu is parked just as he left it, oblivious to all
the commotion surrounding the place.
SIRENS WAIL in the distance. Quickly, Vic circles the car. Comes to the
driver's side, pushes the keys into the hole, and unlocks the door.
Just as he prepares to open it, THREE GUNSHOTS explode nearby. Vic instantly
ducks below the window of his car. The shots hit the top of his car, but
leave some pretty bad marks on the roof.
A troop of four Republican Guardsmen shuffle toward him down the sidewalk.
Their leader takes aim and fires again.
Vic reaches into his pocket and whips out a shiny revolver. He pulls back
the hammer and suddenly stands up. Leaning against the roof of his car, he
empties the gun out in their direction.
In the chaos, all four men drop to the ground and digitize.
Huffing and puffing, Vic throws open the door, climbs in. After chucking the
rifle case into the driver's seat, he jams the keys into the ignition. The
car roars to life.
INT. MALIBU - DAY
He closes his door. The wheels spin in reverse. Then, he slams on the
brakes. The car lurches to a stop. He reaches over and presses a button.
Every door lock on the car pops up. The back door opens up.
VIC
May I offer you ladies a cool beverage or perhaps
a tasty snack?
Florence shoots Vic a dirty look before dumping a bleeding and moaning
Pinocchio into the car. Vic takes a good look at him.
VIC
Oh, shit. They tagged him? Damn. He hurt bad? He's
hurt bad, ain't he?
Florence says nothing. Of course, she can't. She slams the backseat, climbs
into the passenger's side.
The car roars again as Vic pumps the gas.
EXT. ROLLING AVENUE - DAY
The car pulls back, then lurches forward, speeding off and disappearing. The
sounds of the sirens begin to die down and with that we
FADE OUT
ACT THREE
INT. EMPORIUM - DAY
Quentin jumps just as the doors of his emporium fling open and slam against
the wall. He grabs the remote and lowers the volume in time to hear Vic.
VIC
(os)
Well, if that wasn't the biggest screw-up
in the history of screw-ups.
Vic plops himself down on a chair. Pinocchio comes in through the door held
up by the human crutch Florence.
PINOCCHIO
Ain't our fault.
VIC
The hell it ain't your fault. If Hobbes'd
just done the deed, we'd be done with it,
wouldn't we?
PINOCCHIO
We took risks. Ain't Hobbes' fault either.
What, you gotta blame SOMEONE? If anybody,
it's those guys that got him. He didn't
see that coming. No one did. Apparently
there was a chink in your plan, huh?
VIC
Yeah, and it was your boy. If he wasn't
gonna pull the trigger, you coulda let me.
PINOCCHIO
How do you know you woulda hit him?
VIC
Unless the good lord Jesus Christ himself
came down and stood in front of Santiago,
I wouldn't've missed him.
(a pause)
You think no one can kill Santiago except
Hobbes? That fate's gonna somehow protect
that jackhole until Hobbes shows up in his
apartment with gun?
PINOCCHIO
There's probably a thousand or more godforsaken
souls in this world who've got orders to take
him out. We snuck in this City like nobody's
business, and we ain't the first. But answer
me, is Santiago dead? Talk about fate . . .
VIC
Don't get philosi-phical on me.
PINOCCHIO
I believe it's pronounced phili-sophical, Mr.
Vega.
VIC
(rolls his eyes)
I'm dealin' with Ms. Harris all over again,
for Chrissakes.
PINOCCHIO
Who's Ms. Harris?
VIC
My English teacher, tenth grade. You wouldn't
know her.
Pinocchio blinks at him. Vic lets out a sigh.
PINOCCHIO
We can't just leave Hobbes where he is.
VIC
(whispering to himself)
He really shoulda been The Fool on the Hill
after all.
PINOCCHIO
What was that?
VIC
(louder)
I said 'He really shoulda been The Fool on
the Hill after all'!
Another pause, but much longer. Finally, Vic looks up at Florence. She looks
a bit sad after hearing
VIC
Florence, take Pinocchio in back and clean
him up. Heal him, or whatever it is you call
it.
PINOCCHIO
What about Hobbes?
VIC
Look, maybe you know some stone cold
psychopaths who leave a buddy in the gutter,
but that ain't the way I work. Just give me
some time to catch my breath, will ya?
Florence helps Pinocchio up, and leads him over to one of the rooms in back.
Vic hardly watches. She opens up the door, sets him on a chair, and closes
the door to give herself and Pinocchio some privacy.
Quentin flicks off the TV.
QUENTIN
Tough break. Que sera sera, my man.
VIC
Excuse me, Quentin, but the last thing I
need right now is Doris Day serenading me.
He looks down. From his POV: the table next to Quentin has a soda, some
papers on a clipboard, a small radio . . . and a pipe with the plastic bag
Vic gave him earlier lying plaintively next to it.
QUENTIN
Just helping myself out to some of your
fine Joe Cabot's merchandise.
VIC
If I were in the mood for it, I'd ask for
some myself, but I'm not. Is what happened
on the City news?
QUENTIN
Well, you'll be happy to know that there's
some lucky prick newscasters out there who're
getting a boost in ratings thanks to your little
attack.
VIC
Uhuh, uhuh.
QUENTIN
'Course they got the Blondie. What're you gonna
do now? I mean, I know you're gonna have to go
get him.
VIC
Scout's honor, looks like.
QUENTIN
They got search warrants out for ya. Clothes,
looks. You're gonna have to have a serious makeover
if you're planning to go out in the light of day.
I'm curious how you managed let some of those guys
see you and live.
VIC
I was in a rush. I think there was one behind the
guy I clocked by the stairs. We're gonna need a
serious change of clothes. Ya got any? Uniforms?
QUENTIN
Can't help ya there. This emporium is in the war
supplies quarter of the city. Clothes ain't my biz.
Sorry, but this ain't the Burlington Coat Factory.
Still . . .
VIC
What?
QUENTIN
You want a quick fix? I know this guy.
VIC
He'll deal?
QUENTIN
Hell, no. He's my supervisor. I can give you his
apartment number, you take care of him, and he's got
plenty of clothes.
VIC
I'm getting a feelin that you're gonna use an old
buddy's misfortune to take a crack at your boss,
that sound about right?
Quentin smiles and taps his nose. The two start to chuckle. Vic stands up.
VIC
I gotta get some Z's.
QUENTIN
Bed’s in the backroom.
VIC
Thanks a mill.
He walks off.
Quentin, meanwhile reaches for the radio and flicks it on. Quentin's hand
reaches for the pipe and bag of goodies and pulls them out of frame. TIGHT
on the radio. PLAYING ON THE RADIO is "That'll Be The Day" by Buddy Holly .
. .
FADE TO
EXT. STREET - DAY
. . . and the song continues over the scene.
The Malibu is parked on the roadside, tucked into a dark corner between two
buildings.
INT. MALIBU - DAY
TIGHT on a mirror. We see Vic's eyes look in the mirror.
VIC
So there's this Italian, this Pole, and this
Frenchman, and they're all talking in a
bar . . .
PINOCCHIO
(os)
I already heard this before.
CLOSE UP of Vic. It's from Pinocchio's POV.
PINOCCHIO
(os)
So what do we do from here?
VIC
We go in, sneak past security, the receptionist,
and the elevator bellboy, if they have one. It's
not gonna be too crowded in there 'cause this
is an apartment complex. Pretty damn sweet for
an apartment complex, but a complex nonetheless.
PINOCCHIO
(os)
How'dya know the receptionist won't recognize
us the moment we drop in?
Vic turns to look at Pinocchio/the camera.
VIC
If he does, then take the butt of the gun I
gave you and smash his forehead. Hard, too,
I don't want moaners, I need a real live
unconscious guy.
PINOCCHIO
(os)
We don't shoot him? Since when did we switch
tactics?
VIC
Since we're wanted men. We ain't got the
element of surprise on our side anymore. Hobbes
blew it for us when he got caught. The only
thing we got left to work with is stealth.
PINOCCHIO
(os)
And after we get into the guy's apartment?
VIC
Tie him up, take the clothes. I hear he's a
cream puff from Quentin. I don't mean nice, I
mean the guy's a grade-A wuss. He won't give
us much trouble. If he does, he gets it from
me, 'cause as of yesterday's screw-up, I'm
working with a short fuse.
PINOCCHIO
(os)
And after we get out? Back door, right?
VIC
(nodding)
According to Quentin, they took Hobbes to the
downtown Municipal penitentary. According to
Quentin, that's just a fancy way of saying
"county prison". He's still alive. But we better
hurry. I don't know how long Santiago's gonna
take before with a wave of his hand he orders an
execution. Ya ready?
The camera shakes up and down.
VIC
Give me a moment to get into character.
PINOCCHIO
Get into character? What's that supposed to
mean?
VIC
Usually, these kind of jobs require you to
put on some type of game-face. Makes things
go a lot smoother if you play up your evil
attributes. Scares the shit out of people.
Okay, hold up.
(pauses, clears his throat)
HEY! I'LL BLOW YOUR FREAKIN' HEAD OFF!
He lets out a maniacal, blood-freezing laugh. Pinocchio stares at him.
VIC
All right, rambler, let's get ramblin'.
He turns the key and shuts off the car. Buddy Holly's voice dies down. It's
been playing on the car radio all along.
EXT. STREET - DAY
Pinocchio and Vic step out on both sides of the car. Vic looks warily around
to make sure there's no one watching.
His POV: nothing but the shady space between the two buildings and the main
street in front of them. A bus rolls by, but that's about it.
Florence starts to get out of the car.
VIC
Hold on there, little lady.
Florence glares at him.
VIC
Oh, excuse me, I forgot how not a little
lady your really are. Listen, this is
a two-man job. Not three-man, two-man.
You just stay here, watch the car.
Florence looks insulted. She had no intention of staying behind.
VIC
We lost Hobbes. If there's any surprises
with this job, you're our insurance.
Finally she relents. Closes the door, and sits back hard, still miffed.
VIC
Kick back, listen to some tunes. Relax,
wouldya?
With that, he and Pinocchio start walking down the sidewalk toward the front
of the building. A car passes by, momentarily bringing some noise to the
street, then disappears.
PINOCCHIO
She don't like being left behind.
VIC
Who, Florence?
PINOCCHIO
Yeah. She's like the third person of my
little troupe.
VIC
You mean like you're Batman, she's Robin, and
Hobbes is Batgirl?
Pinocchio snickers.
PINOCCHIO
Something like that.
VIC
If she didn't butch herself up so much, she just
might be an attractive lady. You know what I'm
saying?
PINOCCHIO
Come on, leave her alone. She's good in a fight.
She could mop the floor with any guy in any bar
I've ever set foot in. That's more useful than
just being some defenseless broad who's only
there to make Hobbes look like Prince Charming
on a white horse.
They round the corner and continue toward the glass doors that are the
entrance to the private lodging suites where their intended victim lives.
INT. RECEPTION AREA - PRIVATE LODGING SUITES - DAY
Sitting behind a desk and computer is a pretty young receptionist named
JENNY. Her lips are bright red with lipstick. She blows a bubble with the
gum in her mouth, much in the style of all those 50s girls ever seen in the
movies.
On a radio next to her, "Ain't No Sunshine" by Bill Withers plays.
She looks up as the doors chime and the two men, Vic and Pinocchio, enter.
Vic takes one gander at Jenny, then suddenly looks down.
Pinocchio leans over to Vic's ear.
PINOCCHIO
(whispering)
You don't expect me to bash in the forehead of
a pretty little thing like that, do you? That's
just CRUEL. Like one of those crimes against
humanity.
Vic takes a few steps forward. He suddenly puts on the most charming smile
imaginable. Not the wicked Cheshire Cat grin he's so accustomed to using.
It's really quite convincing.
VIC
Excuse me . . .
His POV: he looks down at her name card.
VIC
(cont'd)
. . . Jenny. Can I ask you which suite a Mr.
Eric Marvin is staying in?
She smiles right back at him and types in a few keys at the computer.
JENNY
Suite 19A, fifteenth floor. You and your friend got an
appointment with Mr. Marvin?
VIC
Yeah, you could say that.
JENNY
Can I help ya out with anything else, sugar?
VIC
Ooh, sugar, is it? Naw, everything's cool. Thank you
so much, Jenny. You've been a doll.
JENNY
Not a problem, Mr. . . .
VIC
Pitt. I'm Pitt.
JENNY
Mr. Pitt.
VIC
Well, much as I'd like to, I can't keep Mr. Marvin
waiting. I better get going.
Vic and Pinocchio walk off. They breeze past the reception room and enter a
hallway. DOLLY on the two. They're headed for an elevator.
PINOCCHIO
Check out the sweet talker, here. I had no idea
you had it in you, Vega. All this time I thought
you were all guns, and not much else.
They make it to the elevator. Vic punches a button.
VIC
You gotta go with the flow, man.
The elevator chimes open, and they both go in.
INT. ELEVATOR - DAY
They go in, and Vic presses another button inside.
VIC
Tenth floor, right?
PINOCCHIO
Yeah.
The elevator starts to move up.
PINOCCHIO
So what were you saying on the way here?
You started to say something about the truth
in old style TV and how much stuff's changed.
And not for the better.
VIC
Okay, see, here's the deal with old TV. You
watch "I Love Lucy", and they got the whole
human race nailed down truthfully. Women are
inherently schemers. Let's say that Lucy decides
to wreck Ricky's performance at that club he
works at. What was it called?
PINOCCHIO
I think it was the Tropicana, wasn't it?
VIC
Right, the Tropicana. So she does something
wacky. Dresses up as a showgirl, a guy, or something
like that. Makes everyone go ha ha. But what the
average viewer doesn't realize is, the writers
of this show have struck a gold mine of a truth:
women give men a lot of crap. And they don't stop
at one truth either. You see, every episode, Ricky
figures out what his old lady's cooking. Now, he's
put up with a lot of crap from her as it is. He
could just as soon divorce her. That would've left
her in the gutter.
PINOCCHIO
She coulda remarried.
VIC
Not in the fifties, she couldn't've. Guys would
at this dame and figure that something was horribly
wrong with her. But no, Ricky stayed with her. And
you know why?
PINOCCHIO
Why?
VIC
Because, like every man in this world, he put up
with her so he could get some action in the bedroom.
Now, I don't care if you're Middle Eastern, Chinese,
black, white, green, French-Canadian, or half-Italian,
half-Nepalese. The simple fact is that men, like Ricky,
are willing to put up with crap from women so long as
they can get some lovin'. That was the great thing
about old TV. They figured this out and stuck with it.
Somewhere along the way, though, they lost it. It musta
started with "The Brady Bunch". Those writers got into
peace and love from the sixties and they invented
this non-realistic utopia family where the parents
never fought and this kind of examination of man-woman
relationships was history. That's where there magic
died. When things started being idealized instead of
shown for what they really were.
PINOCCHIO
Real profound, Vic. But if she gave him a lot of crap,
why didn't he follow the tradition of the time and slap
her around?
VIC
Ah, here's where Ricky shows himself to be a true genius.
No man wants to go to get some lovin' and wake up next
to something that looks like it went through a machine.
The elevator chimes. It opens up to reveal a long hallway.
INT. TENTH FLOOR HALLWAY - DAY
The two stroll into the hallway like it's a park. They pass door after door,
and Vic reads each and every one as it goes by.
VIC
18J . . . 18K . . . here we go, 19A.
PINOCCHIO
We gonna knock?
VIC
You still have your MP5-K on you?
PINOCCHIO
Mmmm-hmmm.
VIC
Take it out.
Pinocchio does. It's been stealthily hidden under his arm underneath his
leather jacket. Vic, meanwhile, reaches into his pocket and pulls out about
about four small metal rods. Silencers.
PINOCCHIO
That more of Quentin's merchandise?
VIC
You get the connections, you get the goods,
you dig? Here, give me the gun.
Pinocchio forks it over. Vic screws a silencer on the tip, and hands it back
to Pinocchio.
VIC
Get ready.
He knocks on the door loudly. They wait. Footsteps approach and stop very
close to the door.
INT. MARVIN'S SUITE - DAY
LIONEL MARVIN, a balding businessman-looking guy, stops at the door.
MARVIN
Who is it?
VIC
(os)
UPS!
Suddenly, the door EXPLODES as silenced machine gunfire spouts from the
MP5-K on the other side. The door is completely splintered to pieces. Marvin
ducks and scrambles over behind a desk on the other end of the room,
cowering there like a child.
CLOSE UP of Marvin. Off-camera the gunfire stops. There's a loud WHACK, then
we hear footsteps approach. Marvin looks up.
His POV: A devilish grin appears on Vic's face. He and Pinocchio are
standing over him.
VIC
Good afternoon, Mr. Marvin. I hope you
don't mind, but my friend and I are gonna
help ourselves to your fine assortment of
bodywear and footwear.
He reaches down and wrenches Marvin off the ground. Marvin gets dragged
whimpering over to a chair in the middle of the room by Vic. Meanwhile,
Pinocchio starts looking through his desk.
MARVIN
Wha . . . what . . . what're you gonna do?
VIC
Shut up, buddy.
(turns to Pinocchio)
Got anything to hold him with?
He drops Marvin on the chair. Marvin just sits, eyes wide. Pinocchio tosses
a pair of handcuffs and fishing reel at Vic, who catches them. In a flash,
the hancuffs are around Marvin's wrists behind the chair.
PINOCCHIO
Hey!
VIC
What?
PINOCCHIO
I'll take care of tying him up. Why don't
you go upstairs and get your clothes. I'll
take care of him.
VIC
You sure?
PINOCCHIO
Yeah.
Vic tosses the fishing reel back at Pinocchio, and turns away. He walks
across the brown carpet and goes up a stairwell, disappearing into another
room upstairs in the suite.
Pinocchio walks toward Marvin and starts to tie him up with the reel. He
looks a bit regretful as he does it. Pretty soon Marvin starts to look like
a fly in a spiderweb with all the reel on him.
PINOCCHIO
Now listen to me, Mr. Marvin. I'm gonna give
you some good advice. Don't mess with that guy
when he comes down the stairs. He's not in his
right mind, so I think it'd be a good idea to
keep your mouth shut, you hear me?
MARVIN
You think I'm going to take orders from YOU,
Mike Pinocchio?
Pinocchio looks at him, then lets his head drops into his hands.
PINOCCHIO
Shit.
MARVIN
Didn't think I'd recognize you?
PINOCCHIO
I don't care if you do. Just don't let that
guy that's in your bedroom right now know that.
He'll probably shoot you under the pretext of
it being some kinda insurance.
He starts work at the knot. He pulls it tight.
PINOCCHIO
Shut up and stay alive, got that?
Marvin says nothing. Pinocchio lets off an annoyed sigh.
Just then, footsteps come from down the stairs. Vic walks down with his old
clothes in his arms. Now he's wearing a black suit, white shirt, and black
tie. When he gets to the bottom stairs and drops his old clothes on the
ground.
VIC
(to Marvin)
That's some good clothes you got. Regular Armanis
in your closet.
(to Pinocchio)
All right, El Mariachi, you're up.
Pinocchio starts walking towards the stairs. When he gets there, he flashes
a look at Marvin that seems to say "Remember what I said". Marvin stares
back.
Pinocchio goes up the stairs, and disappears. Marvin watches him go.
VIC
Alone at last.
Marvin's attention goes straight to Vic.
MARVIN
Do you really think you can get away with this?
This is Santiago City! They'll catch you soon
enough. You can torture me if you want -
Vic smiles.
VIC
Thanks, don't mind if I do.
Marvin's eyes grow wide. He shuts up immediately, knowing he's just said the
wrong thing. PAN with Vic as he takes a few steps back, folds his arms, and
stares at the tied-up Republican soldier in front of him.
VIC
Do you know what I really miss about the real
world?
He waits for Marvin to say something, which he doesn't.
VIC
It was the absolute most ass-kicking radio show
I'd ever heard. "K-Billy's Super Sounds of the
70s", they called it. Played some of the best chart-
topping tunes that I remembered growing up as a
kid in Brooklyn. Funny how much you miss things.
Oh, well. But see, here's the best part of the
story - right before I popped into here, I went to
this little dinky CD store and found "The Best of
K-Billy's Super Sounds of the Seventies". I tucked
it in my pocket, went to this little backwater base,
and got scanned into the game. Now, somehow, it got
scanned in with me. It's my little bit o' home.
Vic reaches into his pocket and pulls out a jewel case. He opens it up, and
takes out the CD. He walks behind Marvin's desk and finds a CD player. He
continues talking as he loads it in.
VIC
Now let me talk straight with you, Marv. I'm not
torturing you for revenge or some deep emotional scars
or some crap. I'm doing this because frankly, torturing
a soldier amuses me.
He smiles. A song starts to play. Stealer's Wheel's "Stuck In The Middle
With You".
Vic starts to dance to himself, and reaches into the drawer. He pulls out a
long roll of duct tape and a HUGE pair of office scissors. Then he turns
toward Marvin, and starts dancing toward him.
Marvin looks horrified.
Vic comes up to him and presses up the tape against his lips. Then he dances
around the tied-up soldier, wrapping more and more duct tape around his
entire head.
Marvin starts to literally freak out. Muffled cries start to come out of
him.
VIC
Now, now, hold still . . .
He completes a final revolution around Marvin. Then, he takes out the
scissors and gingerly snips the tape - very closely to Marvin's ear.
He returns to the table, and places the items back into the drawers neatly.
Then he reaches into his pocket, revealing an ENORMOUS SWITCHBLADE. He grins
as he flips the knife open.
He eyes the tied-up and now gagged soldier a moment before dancing over to
him again. This time he circles him once, then stops right in front of him.
Stooping over, he comes nose-to-nose with Marvin.
More muffled gasps escape the tape barriers.
Suddenly, Vic slaps Marvin five times.
VIC
Would you shut up for a moment?
Marvin stops gasping, but his eyes are still wide. He's visibly trembling.
VIC
Now where were we? Oh yes . . .
Viciously, the hitman-turned-soldier of fortune socks him in the gut. Marvin
lurches forward in pain. Vic grabs him by the shoulder and pushes him back
up, socking him in the eye this time before slapping him back in place.
Then, suddenly, he lashes out with the knife like a cobra.
INT. MARVIN'S BEDROOM - DAY
Pinocchio pulls a shirt over his head just as he hears a LOUD MOAN somewhere
off-screen. He frowns.
INT. MARVIN'S FRONT ROOM - DAY
A fresh red line is on Marvin's cheek. CLOSE UP of Vic, who smiles
fiendishly. Slowly, he moves the switchblade over Marvin's ear. The blade
touches the soft cartilage.
Marvin is really scared now. He's shaking, bruised, and bleeding. The blade
starts to close in on its target . . .
VIC
(singing along)
Clowns to the left of me, jokers to the right,
Here I am, stuck in the middle with you.
And abruptly stops. And pulls away.
Vic shakes his head.
VIC
(to himself)
Naw, too obvious.
He pockets the blade. Walks over to a cabinet in the back of the room, as we
FOLLOW. Opening it up, he finds a small bottle of cleaning solution.
He turns around and reads the label. OVER THE SHOULDER, as his finger finds
what he's looking for . . .
INSERT - The word "Flammable" next to the Warning.
Vic turns around and looks at Marvin again.
VIC
Ah, but before the grand finale . . .
He walks over to the computer, and finds a small digital camera resting on a
plug-in port for it. Vic picks it up, dances over to Marvin.
He holds the camera up to Marvin's bruised, gagged face. There's a WHIR and
a CLICK. Vic walks back to the computer and plugs the camera back in.
Learning over, he taps a hell of a lot of keys before finally going for the
mouse.
OVER THE SHOULDER of him, with the computer in view. An e-mail window. He
clicks SEND. The window disappears.
He straightens up, dancing back to Marvin. As his feet sway with the beat of
the music, he unscrews the cap of the flammable liquid. Circling around
Marvin again, he begins to douse the soldier in a thick puddle of it.
Finally he rounds Marvin completely. The bottle is about two-sixths full.
Coming up to his face, he sprays a whole rest of the solution into the
soldier's face, who writhes as the burning solution hits him.
He reaches into his pocket and pulls out a cigarette later. Flicks the
flint. A small flame appears. Vic grins triumphantly as he prepares to drop
it.
The song comes to an end.
VOICE
(os)
Hey!
Vic stops, and looks up. Coming down the stairs is Pinocchio, now dressed in
Marvin's clothes. He wears blue jeans, a black T-shirt, and leather tennis
shoes.
Over all this is a gray sweatshirt. A bit of his MP5-K sticks out from under
it under it. He eyes Vic.
PINOCCHIO
Time to fly.
Vic looks at Marvin, then back at Pinocchio. He flicks the lighter closed,
extinguishing the flame. Without a word, he starts up the toward and passes
Pinocchio.
Pinocchio comes down the stairs, leaning on the table, arms folded, much
like Vic did earlier. He inspects the beaten-up soldier.
He suddenly sniffs the air. Frowns. Sniffs again.
PINOCCHIO
(to Marvin)
Did you just pee in your pants?
He reaches out and pulls the tape off Marvin's mouth. Marvin sputters and
gulps some air down his throat.
VIC
Yeah, that's why I had to disinfect the filthy
animal.
PINOCCHIO
We're heading out now.
VIC
Fine by me.
(turns to Marvin)
By Marvin. Been nice meetin' ya.
They start to walk out.
MARVIN
(sarcastically)
Bye Mike.
Vic stops.
VIC
Am I trippin' or does this shithead recognize
you, El Mariachi?
PINOCCHIO
Uhhh . . .
VIC
There's no foolin' me, Mariachi.
PINOCCHIO
Maybe you heard wrong.
VIC
Screw you, "wrong". I know what I heard.
He turns around, pulls out one of his handguns and SHOOTS MARVIN NINE TIMES.
Marvin lets out a quick scream before digitizing.
PINOCCHIO
You know, I warned him not to say anything stupid.
Guy's an idiot.
VIC
Hey, you play with matches, you get burned.
They step out of the room.
INT. HALLWAY - DAY
DOLLY on the two as they start to walk down the hallway toward the elevator,
which is just coming up and chimes as the doors open.
A REPUBLICAN GUARDSMAN steps out holding a huge silver Magnum.
REPUBLICAN GUARDSMAN
DIE! DIE! DIE!
He fires two BOOMING SHOTS in the direction of Vic and Pinocchio. His
expression says "Vengeance is MINE!". Then the gun suddenly jams. His
expression melts to a "What the hell?"
REPUBLICAN GUARDSMAN
What the hell?
He's suddenly BLOWN OUT OF FRAME by bullets that TEAR HIM TO SHREDS.
MEDIUM on Pinocchio and Vic. Both are holding a Beretta 92F in their right
hand. They simultaneously pocket the guns and step past the now vanished
Guardsman and into the elevator.
INT. ELEVATOR - DAY
Vic presses a button. The elevator whirs, then starts to descend. Elevator
music starts to play - the most utterly annoying elevator music rendition of
Herp Albert and the Tijuana Brass's "Spanish Flea".
For a full forty seconds, neither man says a word.
INT. FIRST FLOOR HALLWAY - DAY
The two step out and continue walking.
VIC
Don't you hate that?
PINOCCHIO
What?
VIC
Uncomfortable silences.
INT. RECEPTION AREA - DAY
The moment the two walk into the reception room, they immediately whip out
their guns from under their new clothes.
CLOSE UP of Jenny. Her eyes are wide, her head swings from side to side.
PLAYING ON JENNY'S RADIO is "Paint It Black" by The Rolling Stones.
Vic fingers the trigger of his automatic. Pinocchio's grip on his MP5-K
tightens.
VOICE
(os)
Lower your weapons and place them on the
ground.
The voice belongs to KEITEL, a stern, hard-as-nails Private Ops soldier. He
has Florence held tightly in front of him. The barrel of his .9mm Smith
presses against her throat. She looks scared.
Accompanying Keitel is a group of seven GI Republican Guards.
PINOCCHIO
Florence . . .
KEITEL
Allow me to repeat my request, Mr. Vega and Mr.
Pinocchio. Lower your goddamn weapons and place
them on the ground.
VIC
Let the lady go or I'll blow your freakin'
head off. I've managed to get in a better mood
since this morning, but that doesn't mean I'm
more than willing to go Sam Peckinpah on your
asses.
KEITEL
Someone doesn't know how to negotiate well.
Sorry, cowboy, but you're outnumbered. You
think I'm not ready to blow HER head off?
PINOCCHIO
If you so much as give her a paper cut, you
son of a bitch, I'll . . .
KEITEL
Are you gonna bark all day, little doggy, or
are you gonna bite?
Vic's POV: swivels from Florence, to the gawking Jenny, to the soldiers, to
his own gun, to the glass doors of the building.
CLOSE IN on the doors. Words are painted on them. They read "BULLETPROOF
MANUFACTURED GLASS". The POV shot swivels back to Keitel.
Vic smiles. His trigger finger twitches. Then, he lets off one shot and lets
all hell break loose.
The bullet RICOCHETS off the glass and slams into Keitel's thigh. He totters
back screaming just as . . .
Florence grabs his Smith gun and lets loose a hammering BLAST OF BULLETS on
the seven Republican soldiers. . .
Jenny starts to SCREAM . . .
Pinocchio opens fire on the soldiers too . . .
Vic darts away, leaps over the desk, grabs Jenny and pulls her down as the
hailstorm of rounds fly in all directions.
He holds her tightly so that she's safe. The clocks behind her desk get hit
and shatter apart. Her computer gets pelted with bullets. The glass
explodes. Finally, even the radio gets BLASTED TO PIECES.
The gunfight rages off-camera.
Still, Vic holds her tight. Finally, the gunfire subsides. Vic grips his
automatic again and stands up.
Parts of the carpet are stained with blood. Pinocchio and Florence are the
only ones standing in the room. They look shaken, but they're pulling
themselves together as fast as humanly possible.
Vic pockets the gun and helps Jenny get up. He sits her down on the battered
chair. She's almost in tears, she's so shaken up. He looks at her sadly.
VIC
Now listen, Jenny. You're okay. Everything's
gonna be fine. Everything's cool, you're okay.
He talks to her so tenderly that Pinocchio throws a look at Florence. This
isn't the cold-blooded guy they've gotten used to.
VIC
(cont'd)
You just get yourself home and don't worry
about nothin'. You've been mighty brave. I'm
sorry you had to see all this, kid.
He pats her on the shoulder. Then turns around and marches over to Pinocchio
and Florence.
VIC
We gotta get out of here. Those Republican GIs
are like damn garden ants. There's probably a
whole convoy of those boys on their way.
He breezes past them and out the door. Pinocchio looks at Florence, shrugs,
and then they both follow.
Jenny looks up. Her POV: She can see Vic walking with the two behind him
through the glass doors. Just before he disappears out of view, he throws
her one last look.
EXT. STREET - DAY
PINOCCHIO
Since when did you become a sweet-talker?
Or are you like Ricky Ricardo incarnate and
have your brain between your legs instead of
in your head?
Vic flashes Pinocchio a mean look.
VIC
Look, maybe I'm down with this lifestyle,
but poor girls like that don't need to be
seeing any of this. You don't just breeze
out the door and not apologize to a broad
for making her cry. That just ain't right.
Pinocchio opens his mouth to say something else when they hear TIRES
SCREECH. Vic whirls around in time to see a Humvee tear-assing down the
street and pulling to a stop. A few more Republican Guards start to get out.
VIC
Dammit! Get to the wheels!
He whips out a .45mm in each hand and immediately starts BLASTING AWAY.
PLAYING OVER THE SCENE is "Miserlou" by Dick Dale and his Del-Tones.
Pinocchio and Florence dart off. FOLLOW them as they round the corner. Two
soldiers are waiting for them by the Malibu. One manages a badly-timed shot
at them before Pinocchio wastes them both.
RESUME Vic, still blasting. The windshield of the Humvee breaks into a
million pieces. A few Guardsmen lie bleeding on the street while the
driver's cowering behind the wheel. When Vic sees his work done, he bolts
off.
Florence and Pinocchio are already in the car when Vic tosses himself at the
driver's door.
INT. MALIBU - DAY
He climbs in and jams the key in the ignition. The engine starts up. Vic
tosses the two smoking automatics into Pinocchio's lap.
VIC
Hold 'em for me, would ya?
PINOCCHIO
Two guns?
VIC
Yeah, I'm Chow Yun-fat from "A Better Tomorrow".
You know, that John Woo Chinese gangster flick?
He pulls back the stick shift.
PINOCCHIO
Never seen it.
VIC
Rent it.
>From around the corner, a TALL REPUBLICAN GUARD appears. He points a
.32-caliber pistol straight at the car. Vic grits his teeth and STOMPS on
the gas.
EXT. STREET - DAY
The Malibu goes flying forward. The Tall Republican Guard's jaw drops. He
turns to run, but it's too late. The hood SLAMS into him, and he goes
rolling over the car.
He lands hard on the sidewalk and spits blood. That's when the wheels spin
in reverse.
INT. MALIBU - DAY
The inside of the car lurches up as it goes over the Guard. Then, Vic puts
the car in forward-drive again. He makes a sharp turn to the right and tears
down the street as fast as he can.
PINOCCHIO
I don't believe you, Vic. You're a maniac.
Vic ignores him. He keeps his eyes on the road.
A HUMVEE suddenly appears in front of them, blocking the way completely. Vic
hits the accelerator.
PINOCCHIO
You're gonna floor it?!
Vic doesn't even answer. The Malibu SMASHES into the Humvee, sending the
other car spinning. Glass and twisted metal flies in all directions.
Vic yanks the stick shift back. The car rolls back before speeding forward
again. Pinocchio looks at the hood of the Malibu. All he can see is broken
glass from the Humvee and a big paint-scratch, but aside from that the
Malibu looks untouched.
PINOCCHIO
I can't believe that. You frickin' totalled that
other car and we're almost as clean as a whistle?
VIC
Yeah, sacre bleu.
He turns on the radio. The Beatles’ "I Am The Walrus" PLAYS. Pinocchio stops
himself from laughing because he knows this isn't the time nor the place.
PINOCCHIO
I think we've had enough frantic escapes for one
day, dontcha think?
VIC
Yeah, I do. Too bad we got one more to handle.
We're getting your buddy Hobbes out TONIGHT. And
then we are getting OUR asses OUT of this town.
EXT. STREET - DAY
The Malibu coasts to a slower, more stable speed.
FADE TO
EXT./INT. CHEVROLET MALIBU - SUNSET
The three are sitting in the Malibu, looking just passive.
PINOCCHIO
So I ran into the house after getting rid
of them, and I find Hobbes just running
a troop of Guards. And he’s firing, but
nobody’s getting tagged.
He’s telling a story. CLOSE UP of Florence as he tells it.
PINOCCHIO
Now, I’ve been in Yoshimori’s house for over
two days, and I know the inside of this little
sushi bar like the back of my hand. This place
is like a labyrinth. It’s the freakin’ Hidden
Fortress. But just as I spot Hobbes, there’s
this huge burly guy just charging down ready
to turn Hobbes into Swiss cheese. So the first
thing I do is dive. I shoulda won an Olympic
medal, but I dived. Burly man fires one shot,
and I just manage to catch it in the arm. It
hurt, wouldn’t ya know?
VIC
So you saved Hobbes’ ass?
PINOCCHIO
Yeah, and it wouldn’t be the first or last
time, either.
VIC
I can’t believe you did that. If someone were
that dumb, I’d say let nature take its course.
Ain’t no sense in me risking my ass for someone
who I’m just gonna have to save over and over
again. You know what that’s called? A vicious
cycle. It’s like marrying a suicidal girl. Let
me ask you something, would you do it again?
PINOCCHIO
Yeah, I would. Hobbes may not be bright, but,
ya see . . . I dunno . . .
VIC
(turns to Florence)
Florence, shoot this piece of shit, would you?
Florence snickers and makes a gun shape with her hand. She points it at
Pinocchio and fires.
PINOCCHIO
Don’t kid me. You wouldn’t do that in a
million kadrillion years.
Vic reaches over and turns on the radio.
TIGHT SHOT of fingers drumming on the roof of a car. Not a nervous drumming,
just one to pass the time.
Vic's hands drum on the steering wheel to the tune of the song on the radio.
MAN
(singing along)
And as we wind on down the road
And if we listen very hard
There walks a lady we all know
Who shines white light and wants to glow.
The song is, of course, Led Zepplin's "Stairway To Heaven". And we realize
that we are seeing the teaser over again.
Vic takes out a Morley's cigarette and lights up as Florence scowls a bit.
After putting it between his lips, he offers one from his pack to Pinocchio.
VIC
Cigarette?
PINOCCHIO
No thanks, Vic. Don't smoke.
VIC
Really? Jeez, you look the type and all . . .
Pinocchio shrugs.
PINOCCHIO
I'll bet I look like a lot of things.
There is a silence before anyone speaks again. Pinocchio finally turns to
Vic.
PINOCCHIO
You ever do something like this?
VIC
What, you mean this kind of job?
PINOCCHIO
Yup.
VIC
Naw. Never did this. But frankly this isn't all that
different from what else I've done.
PINOCCHIO
No? Give me an example.
Vic takes a nice long drag of the cigarette before starting.
VIC
All right. There was this one job I had about four years
ago. This boss-man, Italian guy named Costa, gave me a
good twelve grand to do it. Target was some guy named
Jason Craig. Guy got drunk and hit on Costa's girlfriend.
She blew him off, so he broke her face.
PINOCCHIO
Serious? Jesus . . .
VIC
Guy hits a girl while under the influence, I got no
qualms about taking his ass out. So anyway, he works in
Tampa. So I, Vic Vega, take a ride. Guy works out of
a nice four story office. Nobody'd take a place like that
to be owned by an organized crime syndicate. Posh joint.
Persian rug carpet. Fancy towels to wipe your hands with
after you take a whizz. So I walk in. Joint's crawling with
thugs. I walk up to this one guy and say, "Excuse me, is
Jason Craig here? I can make him some dough." Faster than
you can say "access granted" two of these burly guys
in suits grab me and haul me up to this room. I get tossed
into it. Sitting right in the middle of the office behind
this huge cherrywood desk is good ol' Craig. He's got a
bodyguard right next to him, guy looks like Charles freakin'
Bronson on steroids. Craig says hi. I smile at him. Now this
girlfriend-beatin' jackass's a major gun lover. Musta been
Charlton Heston's illegitimate child. The wall's just covered
with guns like The Sweets Company's covered with candy. So
anyway, he asks what *I* can do for *him*. So I give him this
jackcrap story about having weed for sale. Good prices, lotta
customers in the area. He goes "Mind of I see the goods?".
And I say "Sure", and shoot Charles Bronson. BAM! He falls.
Craig goes nuts, dives for one of his guns. His hand's right
on an ammo clip when I pop a round at it. Clip bursts, bastard
starts screaming, hands look like a Maxi Pad. The bullet, it
turns out, shot right through his hand and ignited the clip.
Two more shots, he's dead.
He takes another puff of the cigarette. Pinocchio's face shows both shock
and bemusement.
PINOCCHIO
And that's it?
VIC
Hell no. I had to shoot my way out. It was just bang, bang,
bang, bang, bang, bang, bang, then out in the sunlight. I
don't have a clue how many guys I wasted. But I hopped in
my car on drove off.
A devilish grins twists onto his face.
VIC
(cont'd)
*That's* the end.
Pinocchio starts to laugh. Florence looks horrified. She looks ready to say
(if she could) "PSYCHO!"
Something catches Pinocchio's eye. He looks out the window. From his POV:
Across the street. A building. The sleek industrial design makes the words
"Santiago City Municipal Penitentary" look out of place.
A Humvee pulls up to the curb. Two Private Ops soldiers step out.
REVERSE on Pinocchio.
PINOCCHIO
Private Ops. Santiago's personal men.
VIC
That's our cue.
He slips an ammo clip into a Beretta 92F automatic and all three step out of
the Malibu.
FADE OUT
ACT FOUR
FADE IN
INSERT a FLASHCARD that reads : "HOBBES AND THE MOLE"
HOBBES
(vo)
I'm here. Don't get your hair in a knot. I'm
under the stands near the car.
The flashcard drops abruptly out of frame
EXT. BENEATH THE STANDS - DAY
Hobbes stands right underneath the now empty stands. Everyone of the
spectators are running down the streets to safety. A quick view from a
different angle shows us that even though everyone's gone, he's still well
hidden. He peers through the gaps between the bench-seats.
We realize we're reliving the same scene over again.
VIC
(vo)
Well hurry up, Sergeant, I ain't got all day
to just dilly-dally in the sun. My stomach's
growling, and that don't settle well with me.
His POV: the car's beginning to slide into view. Santiago keeps his head
low, but it's obvious that he's getting pissed with every shot fired.
Still, no one notices Hobbes behind the stands.
He reaches into his pocket. Pulls out his handgun and clips in a magazine.
Then eases it up. The gun pokes out slightly. The car slides further and
further in front of the gun. TIGHT SHOT looking down the barrel.
Santiago's angry face is right in front.
ANGLE on Hobbes. Suddenly the barrel of an M64 slides into frame and presses
into his neck. Hobbes' neck hairs go up. His arms go limp, and the gun drops
down. Santiago's car cruises right by.
VIC
(vo)
How does some tacos sound after this. That
sound good to you?
Hobbes doesn't say anything.
VOICE
(os)
Turn around slowly.
Hobbes does.
VIC
(vo)
I could go for some pie right now, you know
what I'm saying? Mmmm . . . my tongue's watering
at the thought. Hold up, I ain't hearing a
gunshot. What's holding you up, Pepper? I
didn't make you lose your train of thought,
did I?
Looking straight down the barrel at Hobbes is the 1st Soldier from earlier.
Next to him is the 2nd Soldier. He's holding the Wanted poster for Hobbes
that Hobbes passed by earlier. He's got a grin on him.
VIC
(vo)
Hello? Hellooooooooo . . . anybody there?
Hobbes licks his lips. Then -
HOBBES
I'm caught.
VIC
(vo)
What?
That's the last thing Hobbes hears. The 2nd Soldier pistol whips Hobbes down
the front of his head and konks him out.
BLACK
for a moment, then a voice . . .
VOICE
And so I suppose that the Minister of Security
will have be finding a new job.
FADE IN
INT. COUNCIL ROOM - DAY
The voice belongs to Santiago, though all we see is the back of his fat bald
head. A CLOSE UP of the person being spoken to is none other than ERIC
ROMMEL, last seen in "My Struggle".
SANTIAGO
If he can't keep four rogues from entering
the City, he doesn't deserve the money he
gets.
Just then, the chamber doors open, and a Private Ops Guardsman in full
uniform steps in. We instantly realize he's Keitel, seen earlier having
gotten killed by Vic.
SANTIAGO
Ah, Mr. Keitel. I'm pleased you responded so
quickly to the call. What do you have to report
on the matter of the attempt today?
KEITEL
I've just gotten a fax from the boys in the
west quarter. They've got one of the assassins.
Quite possibly the one who was going for you as
the target.
SANTIAGO
His name?
KEITEL
He gave them some trouble, but they finally
ID'd him. Thomas F. Hobbes.
Rommel licks his lips.
SANTIAGO
But there were more.
KEITEL
Yes. They think about two or three, we're
not sure.
SANTIAGO
For sure, Hobbes was accompanied by Mike
Pinocchio and the healder.
KEITEL
Mike Pinocchio was the man on the rooftop?
SANTIAGO
No.
KEITEL
Then who was THAT?
SANTIAGO
I don't know . . . in any event, find them.
They're still in the city. They would never
leave Hobbes behind.
KEITEL
And Hobbes?
SANTIAGO
Keep him in the municipal penitentary until
further notice.
KEITEL
Yes, sir.
He turns around and walks out. Santiago turns back to Rommel.
SANTIAGO
Thank you for coming, Mr. Rommel. Be sure that
the Minister of Security gets his resignation
document.
ROMMEL
Yeah.
He stands up, picks up a briefcase next to him, and bounds out the door.
EXT. PARKING LOT - DAY
Rommel walks over to his car, a blue Honda. He takes out his keys, unlocks
the door, and climbs in.
INT. HONDA - DAY
He places the briefcase on the passenger's seat and then picks up a bear
claw donut wrapped in a wrapper that says "Teriyaki Donut". He takes a bite,
followed by a sip of coffee. Finally, he turns on the car and drives onto
the street.
He reaches into his glove compartment and pops a tape into his radio. It
immediately drowns out the WSCR classical music program.
TAPE IN THE RADIO
(a monotone-voiced DJ)
Thank you for purchasing K-Billy's Super Sounds
of the Seventies' official tape. First comes a
little diddy from Joe Tex - "I Gotcha", on the
cassette where the seventies survived.
Joe Tex's "I Gotcha" begins to play.
Rommel takes another bite of his bear claw. INTERCUT him driving with a new
set of scenes.
INT. MUNICIPAL PENITENTARY - DAY
Hobbes is hauled down the hallways, barely conscious.
INT. HONDA - DAY
Rommel licks some donut glaze off his lips.
INT. MUNICIPAL PENITENTARY - DAY
A group of Republican Guards toss Hobbes into a jail cell. One comes in and
punches him square in the face.
INT. HONDA - DAY
Rommel's fingers drum on the steering wheel.
INT. MUNICIPAL PENITENTARY - DAY
Another Republican takes a punch at Hobbes' stomach. Hobbes goes lurching
forward.
INT. HONDA - DAY
Rommel begins to sing along with the music.
INT. MUNICIPAL PENITENTARY - DAY
Two of the Guards grab Hobbes and toss him down so that a third can come
forward and stomp him to the ground.
INT. HONDA - DAY
Rommel takes a sip of coffee.
INT. MUNICIPAL PENITENTARY - DAY
The Guards continue to beat the crap out of poor Hobbes.
INT. HONDA - DAY
Finally, Rommel pulls up to the curb. Grabs his bear claw, leaves his
coffee, and bounds out the door.
EXT. SIDEWALK - DAY
Rommel looks up and sees the sign of the sleek industrial building looming
over him. It's identified as the "Santiago City Municipal Penitentary".
INT. MUNICIPAL PENITENTARY - DAY
DOLLY on Rommel as he walks down the hallways. Finally, he comes up to the
front desk and meets one of the clerks there.
ROMMEL
Excuse me.
The clerk looks up.
CLERK
May I help you, Councilman Rommel?
ROMMEL
I'm here on official business, but it's not
supposed to be found out by anyone. I need
some tight lips here. General Santiago doesn't
want any of this leaked to the media, but I'm
here to talk to your prisoner you brought in
yesterday. Hobbes, I think. Santiago wants to
arrange a plea bargain for him.
CLERK
The one that tried to kill the General?
ROMMEL
Yeah, that's him.
CLERK
Sure. You need an interrogation room set up,
Mr. Rommel?
ROMMEL
That would be a nice thought.
The Clerk walks off, leaving Rommel waiting.
INT. INTERROGATION ROOM - DAY
Rommel sits at a table with the coffee still in front of him. There’s a
constant HUM of the fluorescent lights above him. Just then, there’s a
CLANK, and Hobbes comes in with a PRISON GUARD.
Hobbes, bruised and really weary, sits on the chair in front of Rommel.
ROMMEL
What happened to him?
PRISON GUARD
Oh, man. This guy was giving us major trouble
when we were taking him to his cell. The boys
had to rough him up just to settle him down.
‘Course now, he’s so messed up he wouldn’t know
a TV remote from a Pop Tart.
HOBBES
Yeah I do. Pop Tarts are frosted.
PRISON GUARD
(to Hobbes)
Well, well, check out the big brains on the
jailbird!
(to Rommel)
He’s all yours. You need anything, just hit
the red button on the far end of the wall.
ROMMEL
Thanks.
The Prison Guard excuses himself. The door shuts behind him. Rommel looks at
Hobbes, who looks back. There’s a long silence.
HOBBES
I didn’t give them any trouble . . .
ROMMEL
You don’t need to tell me they’re lying.
Hobbes blinks.
Rommel reaches into his pocket and pulls out a silver .45 automatic. He
places it plaintively on the table in front of him before folding his hands
and looking at Hobbes.
HOBBES
If you’ve come to kill me -
ROMMEL
Kill you? And destroy all of my hard work and
completely botching my assignment? I’m putting
this gun in front of me to let you know something,
Mr. Hobbes. I know that you won’t touch it.
Neither will I.
HOBBES
Who are you?
ROMMEL
My name is Eric Avery Rommel. I’m a member of
the Republican High Council and an advisor to
General Santiago. But that madman is NOT my
superior. My loyalties are placed somewhere else.
To the people who sent you. And they’ve decided
that it’s time for your questions to be answered.
HOBBES
Questions?
ROMMEL
About the Realm. About your purpose here. About
the people who sent you here. Whether you really
are the One or if it’s just some mumbo-jumbo
that’s going to kill you in the end. In the grand
tradition of “Kung Fu”, Grasshopper, I’m the master
who’s going to show you the path you’ve already
tread, the path you are on, and maybe, just maybe,
the paths you will take.
HOBBES
You’re from the real world.
ROMMEL
Correct.
HOBBES
And you were sent to help me?
ROMMEL
Yes.
HOBBES
By who? Everyone involved with Harsh Realm is
supporting Santiago.
ROMMEL
Did Inga tell you that?
Hobbes blinks again. Rommel grins suavely.
HOBBES
How do you know about Inga?
ROMMEL
Let’s just say I’ve filled in the role she was
supposed to play. Her unfortunate death dealt a
nice blow to the plans.
HOBBES
What plans?
ROMMEL
Now you’re catching on. Keep asking questions,
and you’ll get the answers. What plans? The plans
to stop Santiago through you. The plans my superiors
layed out the moment your name was chosen from
the thousands of decorated Army soldiers.
HOBBES
The men who sent me here?
ROMMEL
Yes. The men who sent you here are the government
bureau in charge of the Project. They’ve held a
long covert resistance to Santiago’s supporters
without ever being detected.
HOBBES
And Santiago’s supporters? Who are they?
ROMMEL
Private investors who provided the funding for
Harsh Realm in the project’s formation. They’ve
now got a hold on the project. The covert group
I work for is under them in the chain of command,
but they are still able to maintain their agenda
without being caught. Not yet, anyways.
HOBBES
All right, here’s another question. How do I know
that you aren’t lying to me?
Rommel grins.
ROMMEL
Paranoia is the key to self-preservation, Hobbes,
but if you don’t believe me, it’s your loss. You
really don’t need these answers, per se. You’ll
kill Santiago whether you know what’s happening or
not. But it’ll just be easier to take on your task
this way.
HOBBES
How do you know I’ll kill Santiago?
ROMMEL
Don’t you believe that you’re the One?
HOBBES
Yes.
ROMMEL
Then you will.
HOBBES
I’m a jail, Rommel. If I’m lucky, I’m gonna starve to
death. If I’m not, they’ll shoot me for crimes against
the empire without a trial.
ROMMEL
You’ll get out. With friends like you have, you better
believe it.
HOBBES
Pinocchio and Florence? They’re not . . . ?
ROMMEL
They’ve dispatched a Private Ops soldier named Keitel
to root your merry band out. Aside from that, not even
a scent was found of them. Or of your fourth man
either. Who is he, by the way?
HOBBES
Why do you want to know?
ROMMEL
Well, let’s see . . . the Simple Man, the Warrior, the
Healer . . . no there isn’t a fourth man on the list.
HOBBES
What are you talking about?
ROMMEL
You’re the Simple Man who will destroy the Dark Lord
with the aid of the Warrior and the Healer. When the
army marches forth to lay siege to the Great City of
Fear, then the hour will come that the Simple Man and
his closest disciples will and so on and so on and so
on.
HOBBES
You’re talking about the prophecy.
ROMMEL
The source code for all of Harsh Realm. We uploaded
it into the game before Santiago could take complete
control.
HOBBES
Yeah, so what? How do you know it’ll come true? Why
was I chosen to be the One? Why not someone else?
ROMMEL
What is creating a new world than being God? This
world has its own rules. It chose you. We ran the
entire US Army, Navy, Marines, Special Forces, and
Air Force names through the program, and it chose you.
Don’t ask me how. That’s called fate. And it’s one
you can’t escape.
HOBBES
So I have no choice.
ROMMEL
It's not that. It's that the choices you make are
going to lead your right to your destiny. The people
around you are going to lead you there. Circumstances
will lead you there. The whole story is not written.
In fact, in actuality, the prophecy is being fulfilled
at the same time it is being written, if you can
understand that at all.
HOBBES
No, I don't understand that at all.
ROMMEL
Well, don't bother. It's too odd of a concept, like
trying to figure out exactly what the hell was up
with the ending of "The Final Countdown". Have you
ever seen that movie?
HOBBES
No.
ROMMEL
Rent it.
There's a long pause at Rommel lets Hobbes take it in. He reaches over and
takes a sip of his coffee before returning his gaze to Hobbes.
HOBBES
If you're Inga's replacement, what was her purpose
anyway? She seemed to be backstabbing, double-crossing,
and generally screwing with everyone's head and
walking away scotch-free.
ROMMEL
She had a natural talent for that, yes.
HOBBES
So?
ROMMEL
Her original mission was to guide you along the way
as I did. But she exacted an interesting price for
following through. You see, she and your friend Waters
are working for my little group. Or rather, were.
Inga's as dead as John Lennon, and Waters . . . well,
let's just say he thinks he's all alone in here.
HOBBES
Some guiding she did.
ROMMEL
I'm sure those letters only reinforced your
determination to make it home, right? And the
only way to get home is to fulfill your end of
the mission: kill Santiago.
HOBBES
What was her price?
ROMMEL
Once Santiago was dead, and you were safely out
of the picture, she wanted control of Harsh Realm.
Her helping you was only her bid for power. She
wanted it all for herself.
Hobbes looks shocked.
HOBBES
I can't believe this.
ROMMEL
She was always a person who was out only for
herself.
HOBBES
What about you? You want her power?
ROMMEL
No. All I want is out of this place. Plus, I'd
rather stop Santiago than just sit back and let
him blow up the world with the nuclear missiles
he's got access to. That's his big plan. Once
he has the entire US of A under his belt, he's
has a nuclear arsenal bought off the black market
by his Real World supporters at his disposal.
(pause)
That's why you can't fail.
Rommel sits back. He looks like he's done.
ROMMEL
I haven't much time. Sooner or later someone's
going to call my office and ask where I am. Do
you have any last questions before I take off?
HOBBES
Just one.
ROMMEL
Yes?
HOBBES
You were in the Real World recently, right?
ROMMEL
And dying to get back, yes.
HOBBES
How's Sophie?
Rommel pauses for a long time. Obviously he knows there's bound to be a lot
of meaning in whatever answer he gives.
ROMMEL
She's waiting for you. That's all I know.
HOBBES
Thank you.
Rommel grabs his gun and coffee. Slips the gun into his pocket.
ROMMEL
We'll meet again, Hobbes. Very soon. Something
lost will be found in your future. Don't forget
that.
HOBBES
What’s that supposed to mean?
ROMMEL
How should I know? It’s part of the prophecy. I
thought you’d prefer it verbally rather then
getting it in some Charlie Chan Chinese fortune
cookie.
He looks at his watch and looks surprised.
ROMMEL
Well, goddamn. I got a couple of minutes to sit
back and relax. So, Hobbes, how’s life outside
the fence?
HOBBES
How do I look?
ROMMEL
You look you’ve just been walloped.
HOBBES
You’re quite perceptive, you know that?
The two men laugh.
HOBBES
Tell me, Rommel, why do want to stop Santiago?
ROMMEL
It’s his hair, Hobbes. I don’t like his hair.
I don’t like his shoes, either. If it were just
his hair, maybe - just maybe, I said - maybe I
wouldn’t be bent on destroying his empire. But
hair and footwear together, his empire’s going
down.
HOBBES
There must be a serious deficiency of people
being serious in my life lately.
ROMMEL
Okay, fine, Hobbes, I’ll cut it for a moment.
I have ethical issues with him. In my opinion,
freedom counts for a lot.
HOBBES
What kind of freedom? Democracy? You don’t like
that no one can vote? That this is some whacked-out
George Orwell ‘1984’ city where Big Brother’s
watching over your shoulder?
ROMMEL
Yeah. Plus there’s the little social injustices.
HOBBES
Example?
ROMMEL
Well, there’s no such thing as a privately-owned
business anywhere. I mean, you can’t just walk
into a Burger King and ask for a Big Mac and fries.
HOBBES
Big Mac’s McDonald’s, not Burger King.
ROMMEL
Excuse me. I meant to say Whopper and fries. You
can’t get a Whopper and fries. You have to drive
down to a government-owned restaurant and register
for the right to get a burger.
HOBBES
Are you kidding me?
ROMMEL
I am not. That’s just sick, isn’t it.
HOBBES
If there’s no McDonald’s or Burger King or Wendy’s
or whatever, then what do they have?
ROMMEL
They call them “Republican Hamburger Repositories”.
HOBBES
If that’s the case, what do they call a Big Mac?
ROMMEL
They’re called Big Omars. Of course, Santiago doesn’t
know about that. It’s a private in-joke for the
senior officers.
He looks at his watch again.
ROMMEL
Woop, gotta go.
He turns around and walks plaintively out of the room, leaving Hobbes
contemplating, alone for a long time.
INT. CELL - DAY
With a CLANK, the cell doors close. Hobbes sits on the bed. Sunlight streams
through the barred window, hitting his face.
Down the hallway, the Clerk turns on a radio. "Hooked On A Feeling" by Blue
Suede. The song PLAYS OVER THE SCENE.
Hobbes reaches into his pocket and pulls out a folded piece of paper and a
pen. Unfolding it and setting it on his lap, he presses the pen to the paper
and begins to write. EXTREME CLOSE UP of the words.
"Dearest Sophie . . . "
FADE TO
INT. CELL - EVENING
Hobbes lies on his cell bunk staring up at the ceiling. The letter lies
wrinkled on his chest.
Suddenly, he sits up. Stands and moves over the urinal next to his bunk.
CLOSE UP of his face as he looks out the bars. We hear a faint ZIP.
Suddenly, there’s footsteps audibly approaching. Hobbes zips back up and
turns around just as two Republican Guards appear in front of him. We
immediately recognize them as MALCOLM and LEARY.
LEARY
Thomas F. Hobbes?
Hobbes looks up, straight at them.
MALCOLM
Prisonmate 325-1013? Scheduled for execution under
sedition charges. Okay, buddy, let's go.
Malcolm reaches for the keys at his side when THREE BULLETS tear across his
torso. He goes sailing back, slamming against the wall and digitizing.
Leary reaches for the gun at his side before two more shots pelt his chest.
He goes down too.
There’s a thud and a crackle as Leary falls and digitizes. Hobbes stares.
Just then, Vic appears right in front of the bars. Hobbes jumps forward and
rattles the bars and he recognizes Vic.
HOBBES
Hey!
Vic trains the Beretta in his hand on Hobbes and FIRES.
Hobbes jumps back in fear. The bullet shatters the lock and the door swings
open.
HOBBES
Dammit, Vic, I thought you were gonna kill
me!
Vic sighs.
VIC
For the savior of the world, Hobbes, you’re
really quite a fag. I mean, you can least
attempt to be a super-cool John Holmes kind
of guy, but you’re as hopeless as Wally and/or
the Beav.
Hobbes stands and walks out, trying not to step on the bloodstains which are
all that’s left of Malcolm and Leary.
HOBBES
Are Pinocchio and Florence here?
VIC
They’re waiting outside in the car.
HOBBES
I thought they’d never come to get me.
VIC
Hobbes, I’M the one here to save you. As I
said, they’re waiting in the car. Now, Hobbes,
who’s saving you?
HOBBES
You are.
VIC
Who?
HOBBES
You are!
VIC
What am I doing?
HOBBES
You're saving me.
VIC
You bet your sweet ass I am.
DOLLY on them as they walk quickly down the cell aisle. They make a quick
turn and head down the main corridor. After passing a few more aisles on
either side, they head to the right.
INT. CORRIDOR - EVENING
They continue walking. Just then Vic hears the sound of heavy boots clicking
on the floor.
VIC
Oh, for the love of Bob Dylan.
He looks at Hobbes, then quickly at the numerous doors on either side of the
corridor. He spots one that has the sign LATRINE on it. Then he grabs
Hobbes, flings the door open, and tosses Hobbes in.
He slams the door, then whips out a .45 automatic.
INT. LATRINE - EVENING
Hobbes presses his ear against the door. The footsteps grow louder, then
stop right when they sound only feet away. Hobbes hears a few mumbled
voices, followed by . . .
BAM BAM BAM BAM BAM! THUD.
The door opens up and Vic hauls Hobbes back out.
INT. CORRIDOR - EVENING
The two continue down the hall, though Hobbes gawks a bit at the gasping
Guard lying bloodied on the ground. They make a right turn.
INT. FRONT LOBBY - EVENING
The glass doors are right in front of them when Vic stops. He looks at
Hobbes.
VIC
Go on to the car and climb in. Try to keep
things quiet. I’m off for a moment.
HOBBES
Where - ?
But Vic has already turned around and disappeared down the hallway. Hobbes,
having no choice, quickly bounds toward the exit doors.
EXT. FRONT STEPS - NIGHT
It’s dark when Hobbes steps out. He takes a few steps when there a CLICK.
Hobbes stops dead in his tracks.
MEDIUM on a Private Ops Guardsman with an M64 trained on Hobbes.
GUARDSMAN
Now where do you think you’re moseying
off to at this time of night?
Hobbes turns around and looks square at him.
Just then there’s a loud BOOM and the Guardsman goes flying backwards with a
GAPING HOLE in his chest. He digitizes. Hobbes whirls around again, this
time facing:
Pinocchio and Florence. Florence is wielding a HUGE SHOTGUN.
PINOCCHIO
Come on, Hobbes. We’re outta here.
INT. CORRIDOR - NIGHT
PAN ACROSS the front desk. The Clerk lies sprawled on the floor, konked out
with a gash in his forehead. The radio near his desk PLAYS THE SONG “Son Of
A Preacher Man” by Dusty Springfield.
FOLLOW Vic as he walks down the corridors. Finally he comes to a door. A
label on the door reads FUNDING. He quickly goes in.
INT. ROOM - NIGHT
He flicks on the light. Inside there’s filing cabinets on either side. But
straight ahead is a stack of metal briefcases. Vic walks over and yanks one
out.
Placing it on the ground, he leans over and puts his ear on it, and begins
to fiddle with the locks. After a few moments of very little effort, the
locks flip open.
The briefcase opens up. Vic smiles. Inside are scores of WADS of DOLLAR
BILLS. Every bill has Santiago’s face stamped neatly in the center with his
left hand raised.
Vic closes it and smiles. He quickly picks it up and walks out the room.
INT. HALLWAYS - NIGHT
DOLLY on him as he walks down the hallways.
Just as he rounds the corner, he comes right smack face-to-face with Rommel.
The two instantly freeze on catching sight of each other. There's a long
pause as they stare.
Then, Rommel reaches for his gun.
Instinctively Vic punches Rommel across the face.
Rommel goes down. As he hits the floor, he yanks out his Magnum revolver,
pointing it up at Vic.
Vic simultaneously pulls out a .45 and points it down at Rommel.
MEDIUM of the two. The standoff looks tense.
Rommel's eyes dart away from Vic. To Vic's surprise, Rommel jerks the gun
away from Vic and pulls the trigger.
The shot blows the face off a Republican Guard barreling down the hall
behind Vic.
Vic lowers his gun. Rommel stands up.
ROMMEL
Godspeed, Mr. Vega.
Vic throws him a strange look, then passes him, quickly. He goes down the
hall and disappears.
Rommel stands alone for a few moments. Tucks the gun into its holster at his
side and walks calmly out of frame.
EXT. FRONT STEPS - NIGHT
Vic strides out the glass doors in time to see his Malibu pull up to the
curb.
INT. MALIBU - NIGHT
Pinocchio shifts himself over to the passenger’s side. He honks the horn
loudly.
Vic walks over to the Malibu and climbs in behind the wheel. As soon as he
sits down, he flicks the radio on. “Coconut” by Harry Nilsson starts to
play.
HOBBES
Thanks, Vic.
VIC
All right, Hobbes, I got one question now that
this shit’s done and over. When I talked about
my background for this gig, did I in any way
say my major was in botched assassinations, hit-
and-runs, or prison-busts?
HOBBES
No.
VIC
What was it?
HOBBES
Assassinations and gratuitous murder, it looks
like.
VIC
And do you know why I didn’t bring up any of
the aforementioned professions?
HOBBES
Why?
VIC
Because that ain’t my goddamned business.
He pulls out a cigarette and his Zippo lighter and immediately lights up,
blowing some smoke.
VIC
Let me tell you something. We’re out of here.
And once good ol’ El Mariachi gets his wheel
back, expect my ass to be no longer part of
your quest. That’s ‘cause my ass is done
and tired. You want my ass to do something of
worth next time, you bring a whole damn army
behind you, got it? Because as of now, this
chapter of the story’s closed. Agreed?
HOBBES
Agreed.
VIC
(to Pinocchio)
Agreed?
PINOCCHIO
That’s probably a good idea, yeah.
EXT. STREET IN FRONT OF THE PRISON - NIGHT
The Malibu pulls out, swerves to the right, and speeds away.
FADE OUT
THE END