"The Art of War"
by Alison M. Dobell and Fernando Frias
AlisonMDobell@aol.com and thechaosfactor@hotmail.com
Directed by John Woo
TEASER
FADE IN:
INT. HOSPITAL WARD - DAY
Daylight streams through a window. It's a calm peaceful aura. So quickly
shattered as a woman, who we recognize as HANAKO YOSHIMORI, suddenly sits up
into frame. She grits her teeth; she's in terrible pain. Yet her screams
sound muted and echoed. As if in a dream.
The music accompanying the scene is one of a thousand angelic voices, all
harmoniously singing in unison. Through it breaks a single voice.
SHIORI
(vo)
My name is Shiori Yoshimori. I'm fifteen years old,
and I live in Michigan. My mother passed away many
years ago, when I was a little girl.
Hanako screams again. Her face turns red.
SHIORI
(vo)
And my father is a legend come true.
Relief abruptly flushes over Hanako's face. Though she remains a crimson
hue, we notice exhaustion overtake her as she slumps down against pillows.
In the b.g., a new sound breaks through. It's the sound of crying. A baby
crying.
We PAN over Hanako's face, as her eyes open, a warm grin settling on her.
>From her POV: TAKASHI YOSHIMORI. Smiling. Not the man we saw last episode.
Full of hope, happiness, and love.
We PAN DOWN to show him carrying a small bundle in his arms: a baby girl. He
hands the baby over to Hanako. She cradles the baby in her arms.
HANAKO
(What do we call her?)
YOSHIMORI
(Shiori.)
The baby gurgles.
FADE TO WHITE
FADE IN:
EXT. FOREST - DAY
We've moved some time since the last scene. Now we see Yoshimori in the same
attire he was wearing when Hanako was murdered (teaser, "The Way of the
Warrior"). Hanako isn't present. We know why.
He sits on a ledge, his eyes shining with unspeakable sorrow and anger. He
stares out on the horizon. From his POV: the sunset. A burning yellow disc
casting out ribbons of color across the sky.
In his arms, he holds Shiori, only a girl, crying. She grasps him tightly,
holding onto him as a pillar of physical and emotional support as her world
is turned upside down.
Yoshimori suddenly stands and turns around. From his POV: a large group of
people, moving steadily toward him. They are all Japanese. Some limp, others
stride with heavy determination.
SHIORI
(vo)
Many years ago, after my mother died and my father
changed in the blink of an eye, he took a vow. A
vow to protect.
The people stop on sight of him, parting to allow one man to step forward.
This is TOSHIO MINAMOTO. He's older, in his late 50s. And yet something
about him radiates a hidden energy.
SHIORI
(vo)
A vow he promised to a man who would mold him into
what I never dreamed he would become; a modern warrior.
The samurai that was hidden in his blood.
He smiles at Yoshimori. Yoshimori only stares back.
FADE TO WHITE:
FADE IN:
INT. JAPANESE STONE GARDEN - DAY
We realize this is the same stone garden behind Yoshimori's house in "The
Way of the Warrior". This is the same house as well. Yoshimori stands,
poised. He's dressed in a traditional yukata, and is barefoot. His gaze
falters to the side as he looks out at the horizon again.
>From his POV: in the valley below, a myriad of people buzz in between
houses, shops, and centers, all being erected. The village is being created
right
before Yoshimori's eyes.
MINAMOTO
(os)
(Yoshimori-san, pay attention!)
Yoshimori jerks his attention back at the man before him. Minamoto gazes
upon him. Behind him, Shiori sits on a rock, intently looking at her father.
Minamoto turns around, and comes up to Shiori. He grins down, and takes a
small book out of his yukata. Hands it to her.
SHIORI
(vo)
I remember the days when my father first took up
the ways of the ancient warriors. One day, while
he was training, Sensei Minamoto came to me. And
handed me a book as I watched my father change.
Shiori, still only a child, takes the book and looks at it. On the cover are
three kanji symbols. Shiori opens the book and starts to read.
SHIORI
(vo)
It was called "The Water Margin". An old piece of
Chinese literature, translated in English. Minamoto
once owned a store in New York's Little Tokyo. That
was the only book he held that survived the bombing.
He gave the last shred of his past to me, to keep.
Minamoto turns around and faces Yoshimori once again. Waves his hand.
Yoshimori nods, then quickly begins to go through numerous karate and aikido
exercises. First a chop with an open hand. A flip-kick. A backhand.
IN SLOW MOTION
He jumps, somersaults, and lands on his feet again.
RESUME NORMAL SPEED
Minamoto watches with a master's contentment; it's nothing more than a
serious frown. Yoshimori reaches out to the back porch of the house, where a
sheath containing a sword is laid out. Yoshimori grips the handle, brings it
to bear. It shines in the crisp morning light.
We realize this is what will become Yoshimori's own katana. Minamoto brings
out his own sword, a longer tachi blade. He holds it in both hands. Faces
Yoshimori. The sensei teaching the gakusei.
And they duel.
IN SLOW MOTION
Yoshimori slices forward at Minamoto's abdomen. Minamoto easily deflects it.
Almost reflexively, Minamoto arcs back up toward Yoshimori.
Yoshimori's sword tip barely manages to block the attack.
Just as quickly, Minamoto brings a knee at Yoshimori gut.
Yoshimori, holding the katana hard against the tachi, blocks it with his
shins.
Shiori continues to read.
SHIORI
(vo)
As I read, the opening lines entered my memory
forever. "Do not despise the snake for having no
horns, for who is to say it will not become a
dragon?"
More seconds pass by. Minamoto pushes back, attacks again with a chopping
motion.
Yoshimori deflects the flashing steel with a defensive stroke. Pushes the
enemy sword past him.
He suddenly elbows Minamoto across the jaw as the tachi goes past him.
Minamoto loses his balance, staggers back.
Yoshimori sharply lands a kick across his master's torso.
RESUME NORMAL SPEED
Minamoto falls. Lands hard on his back against the gravel garden. Almost
instantly, Yoshimori is over him. The katana hovers inches over the soft
flesh of Minamoto's jaw.
SHIORI
(vo)
"In this way, may one just man become an army."
I never believed that anything like that could
be real.
A smile etches its way across Minamoto's face. As Yoshimori's sword sways
away from inflicting any harm on a man of such mythological mastery,
Minamoto begins to laugh. The satisfaction of his teaching apparent.
SHIORI
(vo)
Until now.
Off this we:
FADE OUT
ACT ONE
FADE IN:
EXT. FOREST/ROADWAY - NIGHT
A biting wind ripples out along the cold night air, spreading the fog like
an ocean wave. TRACK to find: MEL WATERS. Emerging from the fog like a
ghoul. Behind him, FOUR GUARDS, all in full Republican gear, file after him
in two neat rows.
Legend reads: MICHIGAN FRONTIER, HARSH REALM
Their faces are tense after the assault. Two of them have cheekbones covered
in both soot and camouflage paint. Each of them carries a threatening M64
assault rifle by the shoulder.
The fog begins to clear. Waters halts in the middle of the roadway. The
others follow suit. One Guard, LACEY, steps forward next to his commanding
officer.
LACEY
Major Waters, are you sure we should be out like
this?
Waters winces as he hears the younger man speak. He turns around and looks
him straight in the eye.
WATERS
What do you mean, *Corporal*?
He stresses the last word. A lot. Lacey swallows hard, nervous.
LACEY
Well . . . I mean, we've just been attacked. We don't
know if whoever did this is still here. There could
be snipers-
WATERS
(interrupting)
Are you scared?
A beat as Lacey swallows again at this accusation. His apprehension starts
to grow.
LACEY
No, sir . . .
WATERS
You better not be. Cowards don't last long in
Santiago's army. This is where I said I'd meet
with Willards and the scouting mission. You want
to go scared on me, you better expect General
Santiago to give you what's due.
Lacey nods. Fearing any further humiliation, he backs off. Waters turns his
attention back to the road ahead. Two orbs of light glow in the fog. They
gradually begin to grow as a distant droning approaches. A car. We realize
the orbs are HEADLIGHTS.
A steady mechanical blur nears the four at a quick pace. Waters' eyes widen
as the vehicle comes fully into view. From his POV: Pinocchio's Chevelle.
WATERS
Hobbes . . .
The Guards throw each other glances just as they start to unstrap their
weapons. RESUME Waters' POV: the Chevelle. TOM HOBBES throws the passenger's
side door open, emerges, and slams it back shut.
MIKE PINOCCHIO and FLORENCE also emerge. Both have their guns clenched in
their hands. But don't look as though they're planning to use them.
IN SLOW MOTION
Lacey points the barrel of his M64 at Hobbes' head. His finger curls over
the trigger.
With Lacey in view, we FOCUS on the background. Yoshimori steps into view.
His arm arcs gracefully around, a .45mm automatic grasped securely in his
palm.
RESUME Lacey. As four bullets rake across his head.
ZOOM IN: on Waters, stunned as he whirls around.
Panic breaks loose. The remaining Guards break formation to defend Waters.
Waters brings his .9mm to bear, begins to frantically shoot in Yoshimori's
direction. None are accurate, a result of desperation.
A SECOND GUARD swings up his gun and manages one shot off at Yoshimori.
Before he can manage a second one, a bullet rips across his throat.
Blood pours across his neck as he gasps for air. He starts to fall. A second
bullet punctures his chest, digitizing him before he can hit the ground.
The THIRD GUARD ducks, tries to roll back on his feet. As he gets up,
Yoshimori is already over him.
With brutal agility, Yoshimori rams the Third Guard's face with his foot.
Before the Third Guard can go down, he strikes him again up at the base of
his neck. The Third Guard's neck snaps up.
A third kick bores into his stomach, pain wrenching over his face. The pain
is quickly ended as four bullets tear over his torso. He digitizes
Yoshimori whirls around, kicks the FOURTH GUARD behind him against the
chest. The Fourth Guard staggers back.
Yoshimori lunges at him again. The Fourth Guard tries to punch him.
Yoshimori easily blocks the blow.
The Fourth Guard tries to punch him again. Yoshimori blocks it, quickly
strikes him in the face, stomach, leg, then finally shoots him twice.
The last Guard digitizes.
RESUME NORMAL SPEED
Waters stares shocked. Squeezes his automatic. Yoshimori is looking straight
at him, both men are locked in a silent stare. Without a word, Yoshimori
starts to approach Waters.
WATERS
(to the trio behind him)
Hobbes! Pinocchio! Do something!
The three, still standing imperviously next to the Chevelle, do absolutely
nothing.
Waters starts to REALLY panic now! He turns his face back toward Yoshimori,
only feet from his now. Sweat drips from Waters' brow. Yoshimori's right in
front of him! Only his right hand grasps a wicked-looking .45mm.
Both men jerk up their guns simultaneously. CIRCLE AROUND the two.
Yoshimori's .45mm is pointed at Waters' forehead; Waters' gun strokes
Yoshimori's brow. Each man stares at the other with fierce eyes. Waters
winces. And pulls the trigger.
Nothing happens. An empty magazine falls plaintively from his gun.
IN SLOW MOTION
ZOOM IN as it hits the floor with a clatter that sends shivers down Waters'
spine.
RESUME NORMAL SPEED
Terror drains down Waters' face like blood. His hands start to shake. The
gun itself falls from his hands. Yoshimori stares at him, the venomous hate
inside him like a hidden dragon behind a shield of severity. Slowly, he
lowers the gun from Waters' face . . .
And shoots him twice in the thigh.
Waters falls onto the dirt, blood spilling over the pants of his Republican
Guard uniform. He writhes in agony, as Yoshimori continues to stare at him
from above. Yoshimori shoots him again in the shoulder.
He levels the gun at Waters' head. Waters tries to plead for his life, but
can't: chokes of anguish bereave him of speech. He looks up, past the barrel
of the smoking automatic, at the man with vengeance in his eyes.
YOSHIMORI
(whispering)
Behold vengeance. It is the last thing you will
ever see.
Yoshimori pulls the trigger. A gunshot goes off. A second. A third . . .
FAST CUT TO:
INT. TENT - NIGHT
The sound of the fourth carries over to this scene as WATERS suddenly sits
up from a cot, shaking with horror from the nightmare we witnessed. Cold
sweat drips his forehead, steam comes off his face. The small lamp next to
him slowly loses its glow.
Abruptly, a middle-aged officer, COHEN, zips open the tent and enters.
COHEN
Major Waters?
Waters jerks his attention to the other soldier. He stops shaking, we can
tell he's trying to hide his fear.
WATERS
Yes, Lieutenant?
COHEN
We've just detected a chopper on radar. Major
Willards is on the way.
Waters nods.
WATERS
Thank you, Cohen.
He gets up. Reaches out to the pistol next to the cot. He holds it before
his eyes, staring at it as if it were some premonition. Then he slips it in
his holster. And leaves the tent.
FAST CUT TO:
EXT. FOREST/ROADWAY - NIGHT
Waters stands erect, attentive to every sound and sight. We PULL BACK to
reveal: the exact same forest roadway from his dream. Apprehension stains
his expression like sweat.
>From his POV: the night sky. Stars peep through tears in the clouds. On
Waters, as a spotlight suddenly shines down on him and his men. Six soldiers
stand behind him; they are in turn flaked by a Humvee on either side.
The sound of an approaching UH60 Blackhawk attack helicopter fills the air.
As the dark shape above begins to descend, a Guardsman steps forward. He's
MONTEZ.
MONTEZ
Major Waters, are you sure we need this many men?
The words are barely out of his mouth before Waters jams a gun in his face.
WATERS
(growling)
Get back in line!
Wide-eyed, Montez rejoins the ranks, not understanding his CO's sudden
outburst.
Waters lowers his gun. The copter hovers only a few feet above the treetops.
In the distance, three Humvees appear, closely tailing the descending
helicopter. A second set of three Humvees follow the first set.
The chopper finally lands. Dirt sprays in all directions, especially around
Waters. But he stands his ground. The rotation of the rotors begin to slow
down, then finally stop.
The searchlight switches off as a soldier, WILLARDS, steps out. This is the
same Willards we've heard only as a voice on radio. His stride toward Waters
exhibits rugged determination. He's only a few years Waters' senior.
WATERS
Sergeant Willards.
WILLARDS
Major Waters. I hear you have a situation on
your hands.
WATERS
(nodding)
That's right. *We* have a situation.
A beat as Willards lifts an eyebrow.
WATERS
(con't)
As of right now, I'm combining our forces. We've
got about seventy men left from the original three
hundred -
WILLARDS
(interrupting)
There was an assault?
WATERS
Four men planted charges while we slept. Killed all
the Guards we had posted. We've lost almost all of
our vehicles and supplies.
WILLARDS
How long ago was it?
WATERS
Two hours. Two and a half at most.
Willards suddenly turns around as all six Humvees following the copter come
to a stop. Six men pour out from each car; four emerge from the copter,
making a total of forty soldiers ready for combat. Each man is fully-armed
and as determined-looking as their CO.
WILLARDS
(to his men)
Fan out! I want a full search within a two-mile radius!
Subjects pursued: four rebels. Consider each of them to
be potentially lethal. Employ any means necessary.
Capture if possible, but terminate if worst comes to worst.
(to Waters)
If it was that recent, they must still be in the area.
Waters and Willards continue to speak, but their voices are muted as we PULL
AWAY from them. Into the thick undergrowth of the temperate forest. We hear
the shuffle of Republican Guards' boots.
Eyes blink like rising suns in the darkness. A figure sits motionless in the
grass. Hearing every word uttered. As more soldiers swarm into the trees,
the figure stands, quietly retreats into the night.
Cut to Waters. Watching as the last few men trudge forward into the foliage.
With a weary mien, he walks back in the direction of the encampment.
EXT. FOREST - EARLY HOURS
Pinocchio and Hobbes sit, staring at each other and Florence. Steamy breaths
come from all of their mouths as they exhale and speak.
PINOCCHIO
Christ, it's cold. I hate Michigan.
HOBBES
You wanna start a fire?
PINOCCHIO
Sure. And while you're at it, why not put up a bright
yellow sign that says "Santiago City's Most Wanted
Located Here"?
A beat as Hobbes starts to say something, then holds back.
Behind them, the sound of tough boots approaches. Instantly, the three are
on their feet, holding their guns. Yoshimori appears from among the trees, a
gun clenched in one fist.
PINOCCHIO
What've you got?
YOSHIMORI
Soldiers. They are on their way. The scouting mission
has combined with the remnants of the invasion force.
HOBBES
How many total now?
YOSHIMORI
One-hundred-ten.
PINOCCHIO
(grinning)
That's almost two hundred we've taken out. Job well
done, wouldn't you say?
Yoshimori says nothing. The grin melts off Pinocchio's face.
YOSHIMORI
Forty men have entered the forest. Their orders are to
pursue and capture us.
HOBBES
We gotta get out of here.
PINOCCHIO
Split up. Now.
Florence jerks her attention to Pinocchio. She looks confused.
PINOCCHIO
If we aren't all together, it'll be harder to spot
us all. Split up, head back to the car. This place's
gonna be crawling with Republican Guard in a while.
HOBBES
What happens if one of us doesn't make it?
Pinocchio flashes Hobbes a dirty look.
PINOCCHIO
We wait until we can't wait anymore. Besides, we're
gonna make it. You keep that negative crap in your
head, maybe we should leave you behind.
Hobbes doesn't look to amused.
YOSHIMORI
They are close. Go. Now.
With that, the four depart in four different directions.
Yoshimori makes his way across the fields. A smile of satisfaction on his
face
as he watches explosions continue to consume the camp in the distance. He is
300 yards from the forest when guards appear.
>From YOSHIMORI's POV. Sees a line of five guards creeping through the tall
grasses, looking for whoever set the charges, hoping to flush them out. He
starts to move quietly back towards the forest. They see him and open fire.
FIRST GUARD
Don't move!
IN SLOW MOTION
Yoshimori ignores the guard, fires from the waist and hits him in the chest.
The First Guard digitizes.
RESUME NORMAL SPEED
The others spread out, trying to surround him and cut him off from the
forest.
A burst of gunfire rips through the air but he has anticipated them. He
fires
only sporadic shots, making every bullet count, using the grass to blend
into
as he sidesteps back and away from the guards.
The guards are excited, thinking they have got him. He must be cut off from
his friends. It is after all only one man.
>From the SECOND GUARD's POV. Sees Yoshimori melt back into the grass. Next
he
sees grass waving off to the left of Yoshimori's last position. About six
feet
away from where he disappeared. Smiles. Indicates to the others that he is
going to slip round behind his position.
They divide to form a pincer movement, intending to trap Yoshimori between
them.
The Second Guard inches his way round to the left, careful but confident.
From
his POV: He sees the grass wave again, a little further left. He adjusts his
position.
As he turns Yoshimori slips in behind him, his katana flashing briefly.
IN SLOW MOTION
The Second Guard tries to turn, to protect himself.
There is no sound, no movement, just a slow look of shock and disbelief
creeping over the guard's face.
He watches in horror as the blade slowly arcs in an upward movement that
draws
pain from his lower abdomen.
A bright splash of red follows the blade up. Individual droplets splatter
outward and spray the sky.
The soldier watches the supple wrist turn the blade for the coup de grace.
Disemboweled, he falls.
RESUME NORMAL SPEED
Yoshimori melts back into the grasses. As he disappears everything returns.
The Second Guard's scream cut short by arcing blue light as he digitizes.
The remaining three soldiers are afraid now. The man they are chasing cannot
be human.
EXT. EDGE OF THE FOREST - DAY
Yoshimori returns to the forest, using the tree line as cover.
Yoshimori's POV: the remaining guards, much more cautious now, have started
to
retrace their steps. Unwilling to be drawn into what may be an ambush.
We PAN to the Guards. The three keep their guns ready.
IN SLOW MOTION
A katana-wielding blur suddenly bursts from the trees. Yoshimori hurls
himself
at the THIRD GUARD.
Seconds before collision, Yoshimori LEAPS gracefully into the air, slamming
both feet against the Third Guard's stomach.
As the Third Guard flies back, Yoshimori has already regained balance.
He PIVOTS around in a fluid motion, his sword arching up across the barrel
of
a FOURTH GUARD's M64. Sparks shoot as metal slices metal.
Vibrations wrench the assault rifle from the Guard's hands. Before the gun
has
even reached the ground, the blade splits the Guard open.
He falls and digitizes as Yoshimori changes the position of his hand on the
katana's lacquered hilt.
It surges underneath Yoshimori's arm, into the vitals of the FIFTH GUARD. He
screams, then digitizes.
RESUME NORMAL SPEED
Yoshimori turns around just in time to see the Third Guard give him a
fearful
gawk, then run like a coward into the foliage. Most likely to get more men.
Yoshimori becomes still. Makes himself part of the forest, part of the slow
wind that carries the smoke and the smell of burnt flesh from the camp.
He is one with the trees, part of the grasses that wave like an unsettled
sea
around him. Small sounds each have their place, scents tell him which
animals
have passed close to his position.
His head comes up. Another scent taints the air, closes cautiously. He eases
his katana from its' leather sheath and waits calmly. He has not moved from
his original position. Nothing indicates that he has heard anything, noticed
any change.
Suddenly he spins, the bright blade halting a fraction of an inch from
Hobbes'
neck. He freezes, completely white.
Yoshimori eases his balance and in one fluid motion has sheathed his sword.
He
looks so relaxed, at one with his surroundings. Hobbes seems to finds it
incongruous that he should be such an accomplished killer.
HOBBES
(swallows)
I came to find you. There's been a change of plan. If
we split up we won't be able to return here to regroup.
It won't be safe. There are too many soldiers.
YOSHIMORI
(nods)
Where are the others?
HOBBES
They're waiting.
Quietly and quickly they run through the edge of the forest to where the
others are waiting. Sounds are still coming to them from the camp, soldiers
pouring out across the fields, angry and seeking revenge.
Hobbes and Yoshimori continue their flight.
Swiftly they retreat through the edge of the forest, taking a long
circuitous
route that will lead them eventually back to the village. It will take hours
longer to return but this way is safer. Yoshimori does not want to risk
anyone
following them.
Among the trees, a figure emerges: Florence. She puts a finger to her lips.
Pinocchio comes up next to her, tilts his head in the direction of the
Chevelle. Hobbes nods. They all trudge toward the car.
Hobbes walks beside Yoshimori, Pinocchio and Florence bringing up the rear.
Everyone is on high alert. They cannot afford to take any chances.
HOBBES
(whispers)
How did you know I was there?
YOSHIMORI
(replies without looking at HOBBES)
I could smell you.
Behind him, Pinocchio snorts in amusement and Hobbes shoots him an angry
look.
YOSHIMORI
Human sweat. It is very distinctive.
HOBBES
(surprised)
You could smell my sweat?
YOSHIMORI
(almost smiles)
Among other things.
Hobbes falls silent. Afraid to ask what else he could smell.
PINOCCHIO
Maybe you should change your aftershave,
Hobbes.
Hobbes turns his head to glare at Pinocchio and sees Florence snigger.
All four head to the car in the foreground.
EXT. REMAINS OF THE ENCAMPMENT - NIGHT
The scouting party has returned. This gives Waters another forty odd men to
add to their depleted numbers. Just as important are the vehicles they bring
with them. Waters looks grim. He takes a call from the field telephone.
It is Santiago. A look of angry determination fills his eyes as he listens.
His men watch. Wondering what is happening. Waters listens carefully. We do
not hear what is said to him.
WATERS
(speaking into the handset)
Yes, sir. I understand. The village.
SANTIAGO
(vo)
I want it raised to the ground.
WATERS
(nods)
Yes, sir.
He replaces the handset. Clicks the phone off.
>From his POV: looking around at the men gathered expectantly before him.
WATERS
Prepare to move out. We have some spring cleaning
to do.
A few of the men exchange knowing glances. Eager to find an outlet for their
rage and frustration. Many lost friends as well as colleagues. They want
revenge and Waters intends to give it to them. In rivers of blood.
INT. COUNCIL ROOM - NIGHT
We see a hand reach down, click a phone neatly in place. We PULL UP to show:
OMAR SANTIAGO. He stands regally in his Government House, alone except for a
single brown-haired ADVISOR who sits down behind the horseshoe-shaped
conference table.
Legend reads: GOVERNMENT HOUSE, SANTIAGO CITY, HARSH REALM
ADVISOR
Long live the new regime.
Santiago turns around to face the Advisor.
ADVISOR
I hope your right-hand man is up to the challenge.
SANTIAGO
I select my men well. This one only needs to be
trained correctly. I've forgone any aid to him while
his training is being done. All he as are his men, our
contact in the village, and his own will.
ADVISOR
Is that so? And what do you expect him to learn?
SANTIAGO
Skill. Determination. Strategy. Self-sufficiency.
(beat)
Independence.
ADVISOR
I'd be careful with that last one.
Santiago steps forward. This Advisor, curiously, is much different than the
yes-men we've seen before. He smiles.
SANTIAGO
And why, sir, should I?
ADVISOR
You wouldn't want to be too successful.
SANTIAGO
Success? You fear success?
ADVISOR
You were too successful before. One soldier, independent,
skilled, determined. You planted independence in him. But
you never meant it to grow as much as it did.
SANTIAGO
Mike Pinocchio.
ADVISOR
That's right. He saw differently. He was independent
enough to break away. To join the other cause.
SANTIAGO
You believe too much independence will make Waters break
away.
ADVISOR
Right. You be careful. Or success will mean failure.
With that, the Advisor walks away and out of the Council Room. Leaving
Santiago alone.
The General stands staring at the map of his empire. Something about what
the Advisor has said is slowly eating away at him. Distance lines the pupils
of his eyes.
His hand rests over the desk, next to a nameplate in front of the seat where
the Advisor had been sitting. CLOSE SHOT shows us the name of this man:
"ROMMEL, ERIC AVERY"
He contines to stare. Off this as we:
CUT TO:
FADE TO:
EXT. FOREST/ROADWAY - DAWN
The sun has risen already, but fog and clouds and thick foliage obscure any
trace of light. Only a gray radiance moves over the greenery.
The Chevelle cruises into frame.
INT. CHEVELLE - DAWN
Pinocchio and Yoshimori sit in the front seats with Hobbes and Florence in
the back. Florence does not look at all comfortable. Yoshimori guides the
car.
YOSHIMORI
Turn left.
CLOSE SHOT of Pinocchio's hands. Pinocchio's fingers are tightly grapsed
around the wheel.
YOSHIMORI
(con't)
It is imperative we avoid the main road.
CLOSE SHOT of Pinocchio's eyes. Flinching sharply.
PINOCCHIO
Why? We avoid the main road, we add an extra two or
three hours to the drive back.
YOSHIMORI
If we remain on the main road, why do you believe this
will not be the first road our enemies will travel on?
Pinocchio exhales sharply. He's starting to get tired of losing arguments.
EXT. FOREST/ROADWAY - DAWN
The Chevelle turns to the left, and cruises out of frame.
SHARP CUT TO :
EXT. VILLAGE - EARLY HOURS
Aerial shot. Neatly lined village houses. Then:
INT. REIKO SHIRAKAWA'S HOUSE - EARLY HOURS
Shiori is in the upstairs bedroom. We can tell she's thinking about
Yoshimori. It feels wrong that she should be here in safety while he is
facing danger without her.
>From behind her, the bedroom door opens. Reiko Shirakawa enters the room.
>From her POV: Shiori. She glances over to the pillows. They're moist.
Shirakawa looks back at Shiori, who now turns to face her.
SHIRAKAWA
(You've been crying.)
Shiori doesn't reply. Doesn't tell her hostess what she is thinking. But
Shirakawa knows. It is written all over Shiori's face.
The subtitles show us just how extravagant proper spoken Japanese really is.
SHIRAKAWA
(Do not worry, Shiori. Your father is a brave
man. They will not catch him.)
She smiles, trying to reassure the girl.
SHIRAKAWA
(Do not withdraw yourself so heavily from the others
of the village. You would not want them to speak about
the daughter of such a noble man in bad tones, would
you?)
SHIORI
(Don't they already speak about me? "Pretty yet shy,
shrinking from sight, unsociable, fond of old tales . . ."
such is the unpleasant opinion the people have of me.)
Shirakawa's smile melts. She can tell something is seriously troubling her.
SHIRAKAWA
(There is something wrong. I am here as your friend, a
friend loyal to you for many years. What troubles you,
Shiori-chan?)
Tears begin to well up in Shiori's ears again.
SHIORI
(I can't help it. I'm tired of the fighting. All
the bloodshed. Where will it end?)
Shirakawa blinks in amazement at the deepness of Shiori's words.
SHIRAKAWA
(That is what wells the sadness in your eyes?)
Shiori nods with a forlorn expression.
SHIORI
(I question my father's reasons for this. My father
has always hid his true self. His true reasons.
His actions may appear noble, but behind them lie
dark thinking. He's an obsessive man. Once he begins
to kill what threatens what he loves, he won't stop.
Why?)
SHIRAKAWA
(I do not know, but I know this. If it was not for
your father we would all have perished by now. Either
taken to the work camps or away to be killed.)
SHIORI
(I don't believe that.)
SHIRAKAWA
(I did not believe either. Not until they killed my
family.)
Shiori looks at her and feels compassion.
SHIORI
(quietly)
(I'm sorry. I didn't know.)
SHIRAKAWA
(So now I do what little I can.)
SHIORI
(Is that why you perform the art of Kabuki theater?)
SHIRAKAWA
(nods)
(Have you seen me?)
SHIORI
(Yes. Your portrayal of the tragic Princess was
very subtle.)
SHIRAKAWA
(smiles gently)
(Then tomorrow we shall have a performance just
for you.)
SHIORI:
(shakes her head, suddenly switches to English)
I don't think I could . . .
SHIRAKAWA
(interrupts)
Nonsense. We will choose a story to celebrate your
father's return. Yes?
SHIORI
(nods)
Yeah. I'd like that.
SHIRAKAWA
(tucks her in bed)
Now sleep. Tomorrow I will teach you the tea ceremony
then we will choose which play to perform.
Shiori nods, unable to speak. Shirakawa is very kind. Yet she is so brave.
So
grown up. Shirakawa kisses the top of her head.
SHIORI
(Thanks.)
Shirakawa smiles then turns out the light as she leaves the bedroom.
Shiori lies in the dark for some minutes, unable to sleep. Worrying. Then
she
notices light behind the curtain. It comes and goes. She frowns, gets up and
pads over to the window. Pulling back the paper curtain she looks out
>From her POV: She sees the bright line of circular orbs in the distance.
Headlights of a multitude of tough military vehicles driving in the
direction of the village! Panic sweeps through her. She forgets everything
else.
Quickly she dresses, ties her shoe laces together and hangs her shoes round
her neck so that she can grip the tiles with her bare feet. She opens her
window with care. She pauses.
EXT. ROOF - DAY
All is silent. So far so good. All the roofs in the village follow the
traditional pattern. The roofs curve and end with ridges of stylised dragons
and carved waves to represent fire. None of the roofs are straight or follow
in a single line.
Carefully, Shiori tiptoes with a warrior's grace across the tiles. She
places one foot in front of the other, so as to make sure her inner balance
keeps her body out of harm.
>From her POV: a panorama of the village. The whole layout of the village had
been planned down to the last auspicious detail by their local geomancer.
Everything had to be considered, from the position of the planets to the
topography of the land around them. The prosperity and health of the people
depend on the balance of the gods' approval and cosmic forces.
While she does not believe everything can be planned with a compass and an
eye on traditional beliefs, the result is still pleasing and calming. Now
all
she can see is the danger.
She comes to the edge of the rooftop. The ground is about twelve feet below
her. She steadies herself to take the fall.
IN SLOW MOTION
She drops off the top. Her hair and clothing wave in all directions like
wings.
RESUME NORMAL SPEED
Once on the ground, SHIORI quickly puts her shoes on and runs across the
fields, taking the most direct route.
CUT TO:
EXT. VILLAGE STREETS - EARLY MORNING
Though the skies overhead are gray with clouds, the villiage below is alive
with festivities. Villagers dance in jubilation around a small bonfire.
Incence smoke adds a sweet flavor to the air.
Amulets made of cedar-wood line the windows of shops and homes, petitioning
the gods for peace and prosperity. The distant sound of taiko drums beat
through this pocket of life and peace in Harsh Realm.
The street is filled on both sides with a throngs. We PAN ACROSS to view
villagers of different ages: children running about, old men laughing and
playing Japanese board games, women fixing their hair. All smile; most are
dressed in a diverse array of brightly-colored kimonos and yukatas.
PULL BACK to show a procession of men, dressed in white yukatas with a
single blue kanji on the back, carrying a large portable shrine on the poles
through the street. More amulets hang from the shrine. Incence burns. Bowls
of rice are placed before a painting of the God of the Harvest.
IN SLOW MOTION
Cut to: the villagers dancing around the bonfire. Flames cast radiant light
everywhere, as if to herald the natural energy of life.
Shinto priests bow to the shrine moving steadily through the street.
Villagers wave colorful fans outside a rural Shinto shrine. The front gate
of the shrine is a torii. The symbol of native Japanese spiritual beliefs.
RESUME NORMAL SPEED
Resume the procession. As the villagers clap to the beat of the taiko drums.
Yet the revelry is solemn. They celebrate not for themselves, but for the
thankfulness they feel toward the gods.
Suddenly the head shrine carrier stops. This is TOYOTOMI. His eyes are wide.
His abrupt halt stops the other shrine carriers. They look confused at
first, but suddenly their eyes grow wide too.
We CIRCLE AROUND Toyotomi's head, to see from his POV: A vast multitude of
Republican Guard. Standing in front of them all, his eyes narrowed and
focused on the Toyotomi, is one man. CLOSE SHOT of his face.
Waters.
IN SLOW MOTION
He raises a gun, and shoots three rounds at the shrine.
Wood splinters in all directions. The carriers lose hold of it in fear, and
drop the shrine.
It hits the ground. And bursts into flame. Fire consumes the Harvest God's
picture.
RESUME NORMAL SPEED
Suddenly, the entire festival erupts in panic! All the villagers scramble to
their homes, trying to get away from the army in their midst. Waters watches
with silence. As the last people pour away, Waters turns around to the
soldiers behind and nods.
Instantly, the Guards swarm upon the town like locusts.
FADE TO:
EXT. FIELD - DAY
Shiori runs into frame. She clutches her chest, wheezing. She's been running
for what looks like a long time and has to stop for a moment to catch her
breath.
Suddenly she hears something in the background. The distinctive sound of
vehicles. It is not coming from ahead of her but behind. Frowning, Shiori
peeks above the high grasses. From her POV: a line of Humvees driving
towards the village.
On her face floods confusion. She is torn. What to do? Carry on and find her
father or run back and warn Shirakawa? Resume her POV: lights coming on in
some of the houses and breathes a sigh of relief. They have seen the
vehicles.
That means she can go on but she had better hurry. She does not like the
look of this. Breaking into another run she presses forward.
IN SLOW MOTION
Her heart is pounding in her chest, blood rushing in her ears, her breathing
starting to labour. No sound is heard but the sound of her breath.
She risks a look above the grasses.
Another sound suddenly breaks the rhythmic sound of her breaths.
Shiori thinks she hears something and freezes, mouth open.
RESUME NORMAL SPEED
There it is again. A furtive sound, coming closer. Exactly like footsteps.
She looks to her left and right, not sure which way to go. Someone is
definitely working their way through the field towards her.
Carefully she works her way to the left. She is careful to cause as little
disruption to the crop as she is to make good time.
They are getting closer. She can now hear their noisy breathing, their boots
crashing like cymbals as they press forward.
Cautiously she continues, noticing the sounds are passing on her righthand
side. Foot by foot she works her way away from the approaching soldiers and
even when the noises fade her mind imagines they are still trying to close
in on her. She cannot stop.
She is almost crying when the field finally thins out. She looks at the
copse and feels the tears of relief sting her cheeks. She has no strength
left for running, but instinct propels her weary legs to at least bring her
into the circle of trees.
She almost falls to the ground when a pair of strong arms grabs her and
makes her heart jerk violently in shock.
An angry voice hisses in her ear as she is lifted off her feet, spun round
and shaken.
YOSHIMORI
(Shiori! What do you think you are doing, daughter?)
PULL BACK to reveal: Yoshimori, Pinocchio, Hobbes, and Florence. Florence is
the one that looks the most concerned about Shiori.
Shiori almost collapses with relief.
SHIORI
(crying)
Dad, oh dad!
She hugs him fiercely, not heeding the tears that run openly down her face.
Alarmed, Yoshimori kneels before her and looks at her closely. His grim face
now a mask of concern.
Shiori is only vaguely aware of Hobbes, Florence and Pinocchio just behind
her father. All of them look worried now.
YOSHIMORI
Shiori-chan, you must tell me what happened. Why
did you leave the village?
SHIORI
I wanted to find you.
YOSHIMORI
This is too dangerous for you to risk yourself.
SHIORI
No, dad. You don't understand. The soldiers . . .
Yoshimori's eyes narrow, he has a bad feeling about this. Pinocchio frowns,
but his attention is focused somewhere else. Hobbes listens intently.
Florence hovers, wanting to comfort Shiori but not wanting to intrude.
YOSHIMORI
What about the soldiers?
SHIORI
They've gone to the village.
YOSHIMORI
(alarmed)
You saw this?
SHIORI
(nods)
They came in vehicles, dad. Lots of soldiers.
Yoshimori's face pales. He hugs her and looks at Florence over her shoulder.
His expression is one of deep concern. Florence does not like the sound of
this.
Yoshimori looks at Florence, then at Pinocchio, and finally Hobbes. All of
them look horrified. Without a word between them, they all start in the
direction of the village.
EXT. JAPANESE VILLAGE - MORNING
CRANE SHOT showing a line of Humvees being driven down the main street.
Soldiers mill around the houses not already in flames, and promptly torch
them. Fire eats away at the wood and stone, turning the once peaceful
village to nothing more than ashes.
And yet all is quiet. A deathly silence covers the smoke and ruin
devastating the town.
One Humvee comes to a stop. CAMERA ZOOMS in on the driver's door as Staff
Sgt Willards steps out. Waters gets out of the front passenger seat. From
Waters' POV: a row of houses, untouched by flames.
WATERS
(to his men, without looking at them)
Okay men, we'll do this done quickly. Remember,
I want the girl *alive*.
WILLARDS
Are you sure about this?
WATERS
I remember what I saw. I remember that man. He's got
a daughter. I want her.
The soldiers nod silently back at the Major and split up to systematically
search the house from all possible exits. Waters looks at the first house,
then nods to Willards. He has JENKINS and PETRIE with him.
They approach the door. Willards hammers on the door with the butt end of
his rifle. All the men are keyed up. There is no reply. Waters nods.
Willards kicks in the front door and they breeze quickly into the building.
It takes moments only to establish that there is no one inside.
WATERS
(expression grim)
You know what to do.
The men nod and torch the building. Waters and his other men follow him to
the next house.
>From his POV: a neat house 100 yards up the street with a plum tree in the
front garden.
Reiko Shirakawa's house.
Waters indicates it to Willards and they start off towards the house.
Jenkins and Petrie finish checking the curtilege of the property to make
sure there are no outbuildings or cellars where a person could hide then
join them.
When they get to the door, Waters nods to Willards.
WATERS
We'll forget about knocking this time.
Willards nods and kicks the door in.
INT. REIKO SHIRAKAWA'S HOUSE - MORNING
As they rush inside, a startled Shirakawa puts her hands over her mouth in
shock and alarm. It is the past all over again.
WATERS
Where's the girl?
Shirakawa shakes her head, trembling, tears running down her face. Too upset
and frightened to say or do anything. Jenkins and Petrie take the stairs two
at a time.
Willards checks the rest of the downstairs while Waters threatens Shirakawa.
WATERS
If you don't tell me what I want to know, this is
gonna go badly for you.
Shirakawa shakes her head as if she knows nothing. She does not believe him.
Waters pulls his hand back and strikes her across the face. Hard. The blow
elicits a cry as she falls to her knees.
Waters drags her roughly to her feet by her hair. He pushes his face right
up against hers. Determined and very pissed off. She is terrified.
WATERS
(yells into her face)
I know she's here!
Shirakawa's eyes widen in disbelief. He knows? How could he know? Jenkins
runs down the stairs, Petrie just a step behind him. He looks excited.
JENKINS
No sign of the girl, sir, but the bedroom window's
wide open. Looks like she left in a hurry.
Waters swears. Shirakawa's expression shows suprise as if this is news to
her.
WATERS
She must have heard the vehicles coming. She couldn't
have gone far.
WILLARDS
What do you want us to do with the woman?
Waters looks at a cowering Shirakawa.
WATERS
Show her what we do to people who refuse to cooperate
with Santiago.
Willards nods, puts his rifle to the side of her head and pulls the trigger
just as her mouth opens to protest.
IN SLOW MOTION.
Horror fills her eyes, mouth opening in a silent scream to beg for mercy
that she knows will never come.
The bullet enters with sudden force, splitting through bone and flesh and
exiting out the other side of her head in a spray of blood and bone.
The left side of her head is effectively blown right off.
She digitizes before she can fall to the ground, already dead.
RESUME NORMAL SPEED
For a moment Jenkins and Petrie look at Willards, stunned.
Seeing the look in his eyes they silently torch the place then follow Waters
and Willards outside.
EXT. JAPANESE VILLAGE - MORNING
Even though the men continue with their systematic search, Waters knows that
Shiori is no longer in the village. He is really pissed off big time now and
lengthens his stride in the direction of a particular house.
The front door is already open but the occupant is standing just outside as
if he has been expecting them. There is no fear in his eyes but a look
Waters cannot fathom. He looks annoyed at the burning of the houses.
It is Kikuchiyo.
WATERS
You Kikuchiyo?
The man nods but says nothing.
WATERS
Where's the girl?
KIKUCHIYO
Why are you burning the village?
WATERS
Don't act so goddamn innocent with me. The moment you made
that deal with Willards four months ago, you knew exactly
what the hell we were gonna do. You've been our contact for
four damn months. Now where's the girl? I know who she is
and I WANT HER.
Kikuchiyo sighs deeply.
KIKUCHIYO
If you cannot find her then she is gone.
WATERS
You said she'd be here. When I called.
KIKUCHIYO
She was. Yoshimori left her here.
Waters frowns.
WATERS
Yoshimori?
KIKUCHIYO
(smiling coyly)
The man whose wife you murdered.
Waters' eyes suddenly widen with rage. His sins are known.
KIKUCHIYO
(con't)
Do not tell me you never knew his name . . . ?
Waters wearily tries to recover his composure.
WATERS
Where did she go?
KIKUCHIYO
(shrugs)
I do not know.
Waters looks at the man for a moment, puzzled that he is not frightened of
him.
WATERS
The General asked me to pay you what he owes.
Kikuchiyo says nothing. He waits. Waters turns and nods to Willards.
IN SLOW MOTION
ZOOM IN: on Kikuchiyo, as a barrage of gunfire peppers his body.
RESUME NORMAL SPEED
Waters is already walking back to his Humvee, not even bothering to watch
the traitor digitize.
TIME FADE TO:
EXT. JAPANESE VILLAGE - LATE MORNING
A thick layer of mountain fog has now moved like a leviathan over the
village. PULL BACK for an AERIAL SHOT of it; it now lies in ruins. The last
vestiges of life have departed. Even the fires have burnt away. The
soldiers' Humvees are gone.
PAN BACK, as the Chevelle cruises a few yards from the outskirts of the
city. It comes to an abrupt halt. The headlights shut off as the engine's
whirr slowly dies down.
Pinocchio and Yoshimori emerge from the front seats, followed by Shiori,
Hobbes, and Florence from the back. Shiori wears Yoshimori's yukata.
Yoshimori wears a trench coat that billows as he exits.
His eyes are locked on the village. Nothing breaks his exterior visage, but
we can sense intense feelings welling up.
Pinocchio graps his MP5K tightly. But his mind isn't on his gun. As Hobbes
comes up from behind, also gripping his Sig Sauer, we see that Pinocchio
himself is deeply hurt by the carnage.
Cut to Shiori. She stares shocked at the ruins. But her vision is dominated
by one single sight. From her POV: Shirakawa's house. Reduced to nothing but
a skeleton of what it once was. Resume Shiori. Her lips start to quaver. Her
eyes water. But like her father, she tries to maintain a serious, almost
detached gaze.
Resume Yoshimori. Walking slowly, cautiously into the innards of his
village.
A small flock of white doves has gathered in the main courtyard where
Shirakawa's house once stood behind. They coo softly, whistling like the
distant murmur of the wind. The last remaining life and peace left.
IN SLOW MOTION
As Yoshimori approaches them, they all suddenly lift off, and flutter with
pure grace into the sky.
Yoshimori watches them with quiet wonder as they disappear into the
treetops.
RESUME NORMAL SPEED
Yoshimori walks over to one of the houses. An open window holds a small
wooden block with Japanese inscribed with delicate calligraphy.
One of the amulets used to petition the gods. Though the building itself is
nothing but remains, this block, unlike everything else, is untouched.
Yoshimori fingers it gently.
Cut to Hobbes. He starts to come up behind Yoshimori when a hand reaches out
and stops him. It's Pinocchio. Hobbes looks at him curiously.
PINOCCHIO
Leave him alone.
HOBBES
What? Why should I? He's hurt, someone needs
to talk to him.
He starts toward Yoshimori again, but Pinocchio grabs him again, pulls him
back even tighter than before.
PINOCCHIO
Listen to me. Back off of him. Let him face the
questions he's asking himself right now. The same
questions every man whose seen everything that ever
meant anything to him go to hell.
HOBBES
And what question's that?
A long, sullen beat.
PINOCCHIO
Why?
Saying only that, Pinocchio suddenly turns, and walks in the opposite
direction. Leaving Hobbes to wonder why Pinocchio has both distrusted and
empathized with Yoshimori from the beginning.
He turns back to Yoshimori.
Yoshimori has now made a dirt mound in the center of the streets. The amulet
lays neatly on the mound.
Slowly, he unsheaths his katana.
IN SLOW MOTION
With a somber gaze, he lets the blade slip into the dirt like a gravestone.
He gets back up. Takes two steps backward.
And bows.
RESUME NORMAL SPEED
Cut to Shiori. Finally breaking down, letting the tears flow down her cheeks
as it finally hits her that everyone she's ever known and loved is dead. The
village she grew up in lies in ruins. What she calls home is now a
wasteland.
Florence comes up behind her. Before she can even touch Shiori for comfort,
the girls whirls around and buries her face in Florence's shoulder. Florence
puts her hand on Shiori's neck, embraces her tightly. If only she knew how
much Florence has faced the same . . .
Yoshimori suddenly says something in Japanese. No subtitles translate it for
us. It is for him and the spirits of the villagers alone to know.
With that, all five survivors start toward the foot of the mountain. Where
Yoshimori's house is.
No one notices the snow that begins to fall.
EXT. MOUNTAINSIDE - MIDAFTERNOON
PAN across misty mountain forest to a bridge. The same bridge we saw last
episode that was the route to Yoshimori's home, the main house. Underneath
it, the stream bubbles and whispers the soft echo of nature. Most of the
terrain is covered in a light blanket of snow.
The tranquility is broken as the sound of five pairs of heavy footwear
approaches. Yoshimori, Hobbes, Pinocchio, and Florence with Shiori come into
view. They make their way toward the bridge.
Hobbes comes up next to Yoshimori.
HOBBES
Are you sure it'll still be there? After what happened
to the village . . .
YOSHIMORI
It is there. It was the first house built in the village.
Minamoto selected its location strategically. It is well-hidden
from view thanks to the forest. My master wanted it that way,
so that it would serve as an emergency haven in case of attack.
Hobbes blinks.
HOBBES
So you think there might be survivors here?
Behind Hobbes, Pinocchio scowls. A long pause entails before . . .
YOSHIMORI
No. There are none.
Hobbes is about to open his mouth to ask "How can you be sure?" when
Pinocchio grabs him aside. Yoshimori doesn't seem to notice.
Pinocchio flashes Hobbes a glare.
PINOCCHIO
(whispering)
What did I tell you back there, Hobbes? Shut up.
HOBBES
(whispering in reply)
But how does he know?
PINOCCHIO
If he's wrong, he's wrong, all right? He doesn't need you
to piss him off right now.
Pinocchio abruptly changes his stride, and backs off to walk with Florence
and Shiori.
Hobbes stares at Pinocchio. He's never seen Pinocchio quite act like this.
YOSHIMORI
(os)
Look.
Hobbes turns his head. From his POV: Yoshimori, holding his hand out to
indicate his house.
It's untouched. Its high stone walls only continue to add to its castle
appearance. The wooden sliding doors of cherry wood, the perfectly centered
stone garden, the two overbearing towers like sky guardians, and tiled
rooftop are all in exactly the same position as they were left when the
company had departed. Only the greenery has changed: two large cherry trees
are now bursting with colorful blossoms.
Just as Yoshimori predicted, it is devoid of any people. It fully hits
Hobbes that only Yoshimori and Shiori are what remain of the village.
INT. HOUSE - DAY
An inside shot of the house, focused on a wooden door. It slides open, and
rays of sunlight stream inside. Shiori enters first. She looks around the
house with caution and fear. Florence follows behind her, and then
Yoshimori.
Hobbes and Pinocchio don't go in. Discerning this, Yoshimori turns around to
the two men.
YOSHIMORI
Will you two not also join us in the house?
Pinocchio answers for the both of them.
PINOCCHIO
We'll make circuits around the house. If there's any
Republican Guard tailing us, we'll need to have someone
stand lookout.
Something that might have been a smile crosses Yoshimori's face.
YOSHIMORI
Very well. My daughter will be out in an hour with food
for you. And with dinner later on.
He turns around, and goes into the house. He closes the door behind him
without looking back. Hobbes looks at Pinocchio, who only grunts in reply.
He tips his head in Hobbes' direction.
PINOCCHIO
Come on, Hobbes, we have a job to do.
They both start their circuits in opposite perimeters.
TIME FADE TO:
EXT. HOUSE - EVENING
CLOSE SHOT of the door sliding open. Shiori comes out, holding a tray with
steaming food hidden under a napkin. She lies it down on the porch, and
looks in both directions. From her POV: Hobbes and Pinocchio.
They notice Shiori, and start toward her. Their weariness makes them look
very hungry. As Pinocchio approaches, Shiori narrows her eyes at him, and
abruptly disappears into the house.
Pinocchio, noticing this, sighs.
FADE TO:
Hobbes and Pinocchio sit on the porch only some time later. Both men have a
bowl of steaming rice in their hands. Lying between them is a half-eaten
plate of yakitori and pickled fish, along with several kinds of vegetables.
Pinocchio picks up a chunk of rice with his chopsticks and jams it in his
mouth. Hobbes takes a sip of green tea. And sighs.
PINOCCHIO
Hurry up and eat. Florence takes over the circuit
work for you after this.
HOBBES
And you?
PINOCCHIO
I think I've gotten used to no sleep more than you
have, Hobbes.
Hobbes shrugs. But his gaze is distant. He isn't thinking much about the
rounds.
HOBBES
You should talk to her.
PINOCCHIO
Who?
HOBBES
Shiori.
PINOCCHIO
(scowls)
Why would I want to do that? She doesn't even like me.
HOBBES
That's why. She doesn't know you.
PINOCCHIO
And you think if she knows me she'll like me?
Pinocchio gives a snort of derision.
PINOCCHIO
Get real, Hobbes. You can't make everybody like
everybody else. It's a nice fantasy but it ain't
gonna happen.
Hobbes pauses, thinking.
HOBBES
She's just a kid. She's afraid.
PINOCCHIO
She ain't no kid, Hobbes.
HOBBES
What do you mean?
PINOCCHIO
(shakes his head)
You just don't get it do you? Age has absolutely dick to
do with it. Look in her eyes and you'll know what I mean.
Hobbes frowns. Not understanding.
PINOCCHIO
That little lady has seen more stuff than you
have.
HOBBES
(starts to protest)
You're wrong . . . she's just . . .
PINOCCHIO
A kid? Think again. It's all in the eyes. All the sorrows
of the world. She's watched her village burn in hell, not
to mention the kind of father she has.
Hobbes suddenly tenses. That last comment hit a nerve.
HOBBES
What's so wrong with Yoshimori? You still don't trust him?
PINOCCHIO
After watching all that Seven Samurai swordplay, I trust him
even less.
HOBBES
God, Pinocchio, I don't get you! Half the time you're reading
him like you know his life story, and the rest of the time
you're saying what a threat he is!
Pinocchio stands up, angrily growls back at him.
PINOCCHIO
You're damn right I have to talk like that! If I left it up
to you and Florence, we'd have followed him without a second
thought!
HOBBES
There's nothing wrong with him! He's a hell of a lot more of
a man than I've seen you be!
Pinocchio suddenly jerks his head to the side. Florence stands in the open
doorway, looking at the standoff. Pinocchio throws Hobbes a sharp wince,
then starts in the house.
PINOCCHIO
(not looking back)
Florence, take over for me for a bit. There's something I
gotta get off my back.
Hobbes opens his mouth, starts after him, but a glance from Florence holds
him back. Hesitantly, he starts to circle the house again.
INT. HOUSE CORRIDOR - EVENING
DOLLY in front of Pinocchio, looking determined. He makes a turn to the
left. Anger drips from his mouth like blood.
INT. ROOM - EVENING
Yoshimori sits in an empty room. The only thing in front of him is a tray
holding a bowl of rice and a small cup filled with green tea.
The doorway to the room suddenly opens, and Pinocchio enters with a stern
look on his face.
PINOCCHIO
Stay away from Hobbes.
Yoshimori returns his gaze with the same severity.
YOSHIMORI
You are afraid I will take him away from you.
PINOCCHIO
He's impressionable.
YOSHIMORI
But not a child.
PINOCCHIO
He looks up to you. Thinks of you as some kind of hero.
YOSHIMORI
This troubles you?
PINOCCHIO
Yeah. I don't want you messing with his head. Blinding him
to the blood on your hands.
YOSHIMORI
(softly)
What about the blood on your hands?
Pinocchio looks at Yoshimori for a beat. He knows Yoshimori is not talking
about his service for the village or the battle they have fought. He is
talking about Pinocchio's past.
YOSHIMORI
(con't)
You know the ways of the enemy much too well.
PINOCCHIO
That's my business and so is Hobbes.
YOSHIMORI
Perhaps you should let him decide.
PINOCCHIO
I won't let you hurt him.
Yoshimori says nothing. They understand each other even if it is not
acknowledged. Pinocchio starts to walk away.
YOSHIMORI
(os)
You and I are very much alike.
That stops Pinocchio dead in his tracks. He turns around to face Yoshimori
again, his anger reinforced.
PINOCCHIO
No we aren't.
YOSHIMORI
Yes. Do not deny it. You, like me, have your secrets. Your past, haunting
you at every step of the way through life.
PINOCCHIO
Maybe, but I don't do all my thinking with my weapon.
YOSHIMORI
You do not trust me.
PINOCCHIO
I don't know you.
YOSHIMORI
Wrong. You do know me. Because you know yourself well
enough.
Pinocchio glares angrily at Yoshimori.
YOSHIMORI
(softly)
I am not your enemy.
PINOCCHIO
Good. Then we won't have to have this conversation
again.
He whirls around and stomps out of the room. Yoshimori stares at the closed
door where Pinocchio once stood.
CLOSE SHOT of a candle burning on a window behind Yoshimori. The wind
ripples the glowing blue flame before snuffing it out.
EXT. HOUSE - NIGHT
Darkness has fallen. The moon shines from behind clouds.
Hobbes finishes his circuit. All is quiet and there is no sign of movement
across the forest or from the direction of the distant ruins of the village.
He works his way back to where the others are when he becomes aware of
someone softly singing. It is a female voice, beautifully pitched, but the
tongue is strange to him. It is Japanese.
With a smile he realises there is only one person it could be. Shiori. He
approaches quietly and stands in the shadow of a tree, listening. From his
POV: Shiori sits on the porch.
As if aware of his presence she suddenly stops singing. She looks in Hobbes'
direction. He looks surprised she even sensed him.
He steps out from the shadow of the tree.
HOBBES
I'm sorry, I didn't mean to interrupt, but the song
was so beautiful. What was it?
She dips her head as if it is not something to be proud of.
SHIORI
It's a song of War.
HOBBES
It sounded sad.
She looks up, thinking perhaps he will understand.
SHIORI
It's a traditional Japanese song. The shogun and the
samurai sing it when they go to war. A friend, Shirakawa,
the Kabuki actress, taught me it.
HOBBES
(gently)
Why were you singing it?
SHIORI
(shrugs)
I don't know. As a reminder this is war? As a hope for peace?
HOBBES
Would you sing it again . . . for me?
She looks at him and says nothing for a beat.
HOBBES
(Tentatively, hoping he is not asking too much)
In English?
A faint smile dusts her sad lips. She nods shyly then begins to sing softly.
SHIORI
(softly)
The water lilies once floated gently
Upon the jade green waters,
Once we had harmony, we had serenity
When will they ever return?
As she sings and Hobbes stares, enchanted, we FADE TO:
EXT. COURTYARD - NIGHT
Yoshimori stands in a tiled courtyard within the house. In his hand is a new
katana, sleek, shining with a black lacquered handle. He graps it and closes
its eyes, as if absorbing the sword as part of his own body.
SHIORI
(vo)
War has begun, yes it's begun,
Carry us on to victory -
Mighty guns of war.
IN SLOW MOTION
With a solemn opening of his eyes, he begins to practice as we've seen him
do before last episode.
His breaths are rhythmic. He makes an upward slice. Then a horizontal cut.
His movements are slow, fluid, graceful. He continues with an arc behind
him.
A rotation of his wrist manipulates the sword into a different position in
his hand. He makes a jab back. Whirls around and makes a thrust in the crisp
air.
SHIORI
(vo)
Our horses pounding, their hooves are thrashing
The river red with blood
She's waiting patiently under the plum tree
When will I ever return?
FADE TO:
INT. ROOM - NIGHT
Pinocchio lies on the ground with a colorful Japanese sheet over him to keep
him warm. A steaming cup of green tea lies next to him. But his eyes are
focused on something else. He's thinking deeply. But there is nothing to
tell us what it is he's contemplating.
His head turns to the side. CRANE UP to see what he's looking at: his MP5K
nestled on the floor. Lying next to it are two sticks of incense.
SHIORI
(vo)
War has begun, yes it's begun,
Carry us on to victory -
FADE TO:
EXT. HOUSE - NIGHT
Shiori pauses a second before finishing the song.
SHIORI
Mighty guns of war . . .
For a moment neither speak. Hobbes finds the song strangely moving. He is
not sure why.
HOBBES
Don't you have any happy songs?
SHIORI
(nods then her expression closes with sadness)
Yes, and I'll sing them when the killing stops.
Hobbes' eyes widen. He stares at Shiori, even more mystified by the young
girl's emotions carefully hidden under her youthful facade. Behind him, the
sound of heavy boots approach.
He turns around. From his POV: Florence. She peers at him curiously. When he
turns around, Shiori has already disappeared back into the house.
FADE TO:
INT. SHIORI'S ROOM - NIGHT
Shiori opens up her futon. Fluffs the rather American-looking pillow where
she'll lie her head. Lies it on the ground. With a mournful sigh, she takes
out a small leather purse from her side and and sets it in front of a small
case. Inside the case is a porcelain sculpture of a geisha.
Behind her, she suddenly hears footsteps. She turns around. OVER THE
SHOULDER, we see Florence enter the room. She smiles, but her eyes tell
Shiori the smile is a facade.
REVERSE on Shiori. Her smile mirrors Florence's.
SHIORI
What are you here for?
Florence tilts her head. Lying on the floor beside Shiori is paper and a
brush. Shiori quickly takes the items and hands them to her.
Florence scribbles something on them, and puts the finished sentence on the
floor in front of Shiori. ANGLE on the words.
"I've worried about you."
Shiori gives a nervous cough.
SHIORI
Join the club. You'll be the only one in it.
INSERT words again. "What's that supposed to mean?"
Shiori sighs sharply. Looks deeply at Florence, preparing to pour out her
heart.
SHIORI
It's my father.
Florence nods. "Go ahead".
SHIORI
I remember the old days. Before the village, the bomb,
my mother's death. When 'anger, pain and vengeance were
the stepping stones of the enemy', like the way he talks.
It's all gone away now. He's not like the dad I used to
have.
(beat)
The moment those Republican Guards killed my mom, something
snapped in him.
Florence looks concerned. She lifts Shiori's chin so she cannot hide her
face. She wants to know. To understand. Shiori bites back an angry tear.
SHIORI
Now look at him. He's just an guilty man with a gun. This
whole fight isn't about the village anymore. It's done.
We don't have a thing to protect anymore. And he's still
fighting. It's all about revenge now.
Florence shakes her head. She cannot believe that.
SHIORI
Listen to me. I know you will, that's why I like you.
You're the only one who'll listen.
Florence pauses.
SHIORI
Like I was saying. Revenge. I know him, I've lived with
this broken man for about five years now. Those soldiers
have taken almost everything from him. My mom, the village.
Everything except . . .
Shiori pauses, shudders. A revelation has come to her.
SHIORI
I don't want to end up like that. Just another reason for
him to run in with two guns shooting everyone in sight.
I swear, I won't be able to look at myself.
Florence writes again. "He's a good man." Shiori sniffs.
SHIORI
You're really something Florence. You see everything I
don't. The good in my father, and then there's your
friend Pino-
She stops suddenly. Looks at Florence with wide eyes.
SHIORI
I didn't mean that.
Florence sighs with sorrowed eyes. Writes again. "Don't worry."
Shiori hesitates to start. Florence smiles, dips her head.
SHIORI
He's always angry, like my father. He's violent.
Florence writes one word. "protective"
SHIORI
(shrugs)
He's your friend.
Florence nods.
SHIORI
Why do you stay with him, Florence, when he's so rude?
So aggressive? You're not like that. Hobbes isn't like
that.
Florence removes a used piece of paper, emphasizing the already-written
words on it. "He is a good man".
Shiori scowls but says nothing, not wanting to upset Florence any further.
"So is your father"
SHIORI
That's why I don't like him. He's too much like my
father. They're both the same type of person. Inside.
The same anger toward the world. Only they show it in
different ways.
Without warning, Florence suddenly embraces Shiori tightly. Shiori squeezes
her back. When she pulls away, Florence writes one more thing on the paper.
"Give them both a chance."
Florence rises just as footsteps approach. Yoshimori appears in the
doorway.
YOSHIMORI
I believe it is time for my daughter to sleep.
Florence nods. Exits the room, but not before throwing Shiori a kind,
genuine smile. Florence watches her go.
Yoshimori's eyes are locked on Shiori. From his POV: she slips into the
futon.
YOSHIMORI
(You look troubled, Shiori-chan.)
SHIORI
(I was thinking about the killing.)
YOSHIMORI
(Sometimes it cannot be avoided.)
Shiori opens her mouth, then closes it. Yoshimori looks grim, but by his
response we know he heard enough of the conversation.
SHIORI
(There must be another way.)
YOSHIMORI
(Not today.)
SHIORI
(When? When will you hang up your sword?)
Yoshimori approaches her, sits down next to her .
YOSHIMORI
(When honour and justice have been satisfied, daughter.)
SHIORI
(When will I hear you laugh again?)
YOSHIMORI
(It will be a long time.)
Shiori looks at him with something that borders on a glare.
SHIORI
(softly)
I miss her too.
Then she turns over and lies her head on the pillow, facing away from her
father.
YOSHIMORI
Do you have it?
Shiori blinks. She gets up and turns around to face him again. Slowly, she
reaches into her pocket, and pulls something out.
CLOSE SHOT on her hand. In her palm is the coin that bears the kanji "Hope".
She holds it out to him. Yoshimori takes it. For a long time he doesn't say
anything. Then he gets up and starts to leave. A few steps into the hallway,
he stops. Without turning around, he speaks.
YOSHIMORI
I only want to be your father.
He turns to the right and disappears from view.
PAN DOWN to Shiori, lying on her side. She looks like her father's last
words have hit a nerve in her. Only she doesn't know where. And that
befuddles her. Shaking it away, she closes her eyes and tries to sleep.
INT. CANDLE-LIT ROOM - NIGHT
Yoshimori sits in front of Minamoto's butsudan we saw last episode. He claps
his hands once, and bows before the altar of his dead master. He bows for a
long, long time.
When he tilts his head back up, he picks up a bowl of rice. ANGLE on the
photograph of Minamoto. He places the bowl before. Puts two chopsticks
sticking straight in the air into the bowl.
After that, he places two small sticks of incense and lights them. They glow
as the embers start to burn off. A sweet-smelling wisp of smoke curls over
them.
And then, in a low, monotonous voice, he begins to chant.
CIRCLE AROUND him as he chants. We see again the room he's in. The walls are
adorned with weapons of every type: swords and knives of various lengths,
spears with silvery blades, an assortment of guns and grenades, even a bow
with arrows.
REST ON Yoshimori once again. As the song comes to an end. His eyes remain
closed, deep in contemplation. With a startling suddeness, they open up.
CLOSE SHOT of the small mirror in the butsudan. In it we can see the
reflection of a winding corridor behind the room. Four figures, all dressed
in Republican Guard uniform, suddenly appear, heading straight for
Yoshimori.
Yoshimori only sits, unmoving.
IN SLOW MOTION
Suddenly, he bolts to the side, out of view from the onslaught!
A flurry of bullets suddenly blasts across the room. Minamoto's shrine is
splintered into a million pieces.
Yoshimori gets up, his eyes fierce with readiness for battle.
TIGHT SHOT of the sacred butsudan, now lying on the floor in fragments. The
incense continues to burn.
RESUME NORMAL SPEED
TIGHT SHOT of a katana hanging on a mantle on the wall. An angry glow
radiates from its blade. A SHADOW passes over it. When the shadow recedes,
we see only the empty mantle.
INT. CORRIDOR - NIGHT
IN SLOW MOTION
We CUT TO the attacking Guardsmen. About five of them are walking urgently
down the corridor.
Behind them, in another corridor that intersects this one, a half-dozen lie
waiting on either side.
ANGLE on the entrance to the Candle-Lit Room. Yoshimori hurls himself out
with savage rage. He brandishes his sword.
The FIRST GUARD at the forefront of the attack raises his gun.
Before he can get a shot off, Yoshimori yanks him by the neck and tosses him
aside.
The SECOND GUARD behind him grabs his own gun.
The blade suddenly arcs downward, slicing the Second Guard from his shoulder
to waist.
He's barely fallen before the blade thrusts into the chest of the THIRD
GUARD behind him.
The Third Guard screams and falls backward, hitting the ground.
A FOURTH GUARD aims his automatic pistol and fires two shots in Yoshimori's
direction.
Yoshimori ducks as two bullet holes appear in the wall above him.
Instantly, Yoshimori's at his feet again. He lunges toward the Fourth Guard,
raises his foot.
With a quick kick, he pins the Guard's hand against the wall.
The Guard screams with pain as Yoshimori crushes the Guard's fist between
the wall and his boot. The gun goes off, erratically but harmlessly, until
it runs out of ammo.
With a fluidic grace, Yoshimori severs the Fourth Guard's hand, then slits
his throat.
The FIRST GUARD suddenly reappears from behind.
Yoshimori's grip on the katana transforms. The blade whips across the First
Guard's chest, a crimson line forms on him as he falls back.
The bloody body of the Fourth Guard falls. The FIFTH GUARD surges toward
Yoshimori with his M64 ready.
Yoshimori catches the barrel and yanks the Fifth Guard forward before
driving the sword into his vitals.
He lets a vicious kick into the dying Guard's chest to wrench him free of
the blade's hold.
RESUME NORMAL SPEED
Yoshimori starts quickly for the crosspath of the hallway. When he enters
it, he sees the half-dozen Guards on either side of him. Their guns are
drawn, but they look fearful. Like they have absolutely no idea what to do.
Yoshimori regards both of them on either side. Sheaths his sword, and
crosses his arms so that both hands are in his pockets.
The Guards raise their weapons.
IN SLOW MOTION
Two shiny metal objects suddenly go flying as Yoshimori uncrosses his arms
in a fast motion.
Both Guards at the forefront on either side suddenly lurch forward.
RESUME NORMAL SPEED
CLOSE SHOT of the Right-Hand Guard's chest. A shaken pokes out from the
blood spilling from the wound. PAN UP as his eyes roll into their sockets,
and he slumps forward.
RESUME Yoshimori, watching as panic erupts on both sides as the two groups
suddenly start to shout orders.
OFF-CAMERA GUARDSMAN
Fall back!
The two sides start to recede, but not quickly enough.
IN SLOW MOTION
CIRCLE AROUND as Yoshimori whips out his .45mm pistols, and raises his arms
as if crucified. Aiming the guns on either side.
A meteor shower of bullets overtake both sides.
Men go down, a few digitize.
RESUME NORMAL SPEED
CLOSE SHOT of Yoshimori. His eyes are eerily closed as the bullets continue
to tear down the hallways.
CUT TO:
INT. SECONDARY LEFT CORRIDOR - NIGHT
We see that both sides of the intersecting corridor are intersected again by
a perpendicular corridor. On the left side, soldiers begin spilling out into
this corridor as Yoshimori's well-aimed shots continue to take men down.
One soldier, YEATS, shouts.
YEATS
Retreat! Retreat!
His head suddenly swivels to the side.
IN SLOW MOTION
>From his POV: Hobbes, bounding down the corridor at a furious pace, gun
flashing toward the men.
Yeats points his gun at Hobbes. Hobbes ducks out of the way just as two
bullets scream past him.
Reflexively, he fires back four shots.
Two of them catch Yeats in the chest and arm. He stumbles and lands on the
floor before digitizing.
INT. SECONDARY RIGHT CORRIDOR - NIGHT
At the opposite end of the intersecting corridor, Florence suddenly appears,
hauling with her the trademark M16. Just as a few of the right hand soldiers
notice her, she unleashes a flurry of lead that splinters wood into pieces
and takes down two men.
INT. INTERSECTING CORRIDOR - NIGHT
Seeing that they are being attacked on both sides, both flanks of the Guards
begin to retreat as fast as they can, not even bothering to return fire.
RESUME NORMAL SPEED
>From Yoshimori's POV: They flee in the direction opposite their attackers.
Suddenly, from above him, a clanking sound echoes. Like footsteps on the
roof. He jerks his head up. Quickly, he slips new magazines into both guns.
Lets the empty clips fall on the floor without a second thought.
And quickly, he bounds back down the corridor, into the Candle-Lit Room, and
flings open the wooden door.
EXT. FOREST/HOUSE - NIGHT
IN SLOW MOTION
Yoshimori hurls himself out the door, guns blazing, just in time to see two
Guardsmen standing watch outside the house.
Behind him, the forest erupts in gunfire, sparks spewing from the roof above
as bullets hit the metal.
Yoshimori lands on the ground, spewing dust in his wake. He continues
firing.
Both Guards are simultaneously hit. They spring backwards.
Yoshimori watches them go down. The illumination of their bodies rezzing out
covers his face.
RESUME NORMAL SPEED
He quickly jerks his head up. More rounds riddle the ground in front of him.
>From his POV: three Guards on the roof, looking horrified as their comrades
have died, but not stopping the battle.
Yoshimori dives out of view of the Guards before anymore bullets have a
chance to take him.
Quickly he slips his guns back in and unsheaths his katana. He looks up.
With a flying leap, he grabs the edge of the roof. With a dancer's grace, he
flips himself up.
EXT. ROOFTOP - NIGHT
He lands on his feet on the roof. He stands firmly on the slanted surface,
the way we saw him as he practiced last episode. The sword in his hands is
held out. Quickly, the Guards bring their weapons up. Yoshimori lunges at
the first Guard, BOHR.
IN SLOW MOTION
He makes a sharp kick to Bohr's stomach. A sharp arc across his forehead
splits his skull open.
Before he can scream, Yoshimori elbows him at the small of his back. Bohr
falls from the roof. Digitizes in midair.
RESUME NORMAL SPEED
The two remaining Guards leap off the roof. They look up at Yoshimori and
immediately start shooting.
IN SLOW MOTION
Yoshimori leaps off just as sparks and debris fly in all directions behind
him.
RESUME NORMAL SPEED
He lands, quickly regains composure, and goes in for the kill.
IN SLOW MOTION
He arcs at one of the Guards, WESTBROOK. It misses him by inches.
It's enough of a distraction to allow Yoshimori to hurl the blade at the
other Guard, PERRI.
It enters his chest, he stumbles backward.
Yoshimori instinctively wrenches the M64 from the stunned Westbrook's arms
and whirls around, landing an aikido kick across the man's chin.
Westbrook stumbles back and receives a second blow from the butt of the
rifle across his temples.
INT. CORRIDORS - NIGHT
Hobbes continues firing just as he hears shots ring outside into the night.
It temporarily stops him before he focuses on what's before him again. From
his POV: the soldiers, still running away in front of him. Four of the left
flank remain.
REVERSE on Hobbes. It seems almost surreal that four men flee from only one.
The soldiers shoot thoughtlessly at him coming from behind, but he easily
evades the danger . . .
And doesn't notice the one Guard, GRANT, coming up behind him.
IN SLOW MOTION
Hobbes turns around quickly, in time to see:
Grant, lifting his pistol.
TIGHT SHOT of Hobbes' face, eyes wide.
Grant pulls the trigger.
On Hobbes, as an ARM suddenly shoots into view, covering his face. The
bullet enters it, spraying a geyser of blood.
Pinocchio suddenly enters frame, pushes Hobbes against the wall. He covers
him with his full body.
Hobbes stares at him in surprise and realization: Pinocchio's just taken a
bullet in the arm for him.
Pinocchio's face contorts with pain. But that doesn't stop him. Reflecively,
he snaps up his MP5K and lets lead fly.
Grant is instantaneously torn apart.
RESUME NORMAL SPEED
Pinocchio watches as Grant goes down and digitizes in a flash of light. He
staggers off of Hobbes, clutching his arm. Red stains his fingers as he
pulls his hand away from the wound. CLOSE SHOT of his arm, a red hue growing
over the fabric.
Hobbes comes up to him.
HOBBES
Pinocchio -
PINOCCHIO
(groaning)
Before you start jabbering, get Florence over here
fast.
Hobbes makes a dumb nod, and starts down the hallway. Pinocchio looks back
at his arm and applies pressure to it again.
A few moments later Hobbes returns with Florence. As soon as she sees him
lying with a soaked sleeve, she bolts toward him and kneels next to him.
Tenderly, she takes his arm and puts her hand over the wound.
Pinocchio exhales, groans. Florence looks at him with a sad gaze, then pulls
her hand away. TIGHT SHOT of the wound, as the blood starts to flow back
into the wound. The skin closes over it, and it heals without so much as a
scar.
PINOCCHIO
Thanks.
Florence stands up next to Hobbes, relieved.
HOBBES
How did you know to come for me?
PINOCCHIO
I'm Spider-Man, and my idiot sense was tingling. I
figured I should come save your ass.
He throws Hobbes a strange scowl.
PINOCCHIO
Where's Yoshimori?
Hobbes looks at him, mouth opening and closing before he shuts up for good.
He looks over at Florence. She's got nothing to say either.
INT. ROOM - NIGHT
Waters stands in an empty room of the house with four of his men.
WATERS
You follow your orders?
The Guard at the front, NELSON, nods.
NELSON
Yes sir. We got the subject.
WATERS
Good. Head back to the vehicles and prepare to move out.
That subject you got is going to be a valuable instrument
in eliminating this threat. Gather the survivors -
He pauses.
WATERS
How many casualties so far?
Another Guard, HUNT, answers.
HUNT
Twenty-two, sir.
The number shocks Waters.
WATERS
Twenty-two? Jesus . . . all right, you have your orders.
Go. I'll catch up with you as soon as Willards reports
here. Find him.
All four soldiers nod and exit the room.
For a long time, Waters leans against the wall, thinking. He frowns. His
thoughts don't please him. He reaches down, and removes his automatic
pistol. Removes the ammo clip from it.
VOICE
(os)
Do not deceive yourself into thinking I have forgotten
about you.
Waters suddenly jerks at the voice. He knows who's voice it is: Yoshimori's.
Only he doesn't know from where it is coming from. He presses himself
against the wall, and takes out another ammo clip.
YOSHIMORI
(os)
I have been thinking about you since I saw you. It seems
so long ago. But I have lived with you in my mind.
PAN to the side, so that we see both sides of the wall Waters is leaning
against. He and Yoshimori, like last episode, are back-to-back. Both men
realize it this time. INTERCUT on both sides of the wall as they speak and
ready their guns.
YOSHIMORI
Know this. The blood of those slain in the village stank
of you. The smoke violating my nostrils stank of you. The
burnt flesh was your nauseating odor. You, coward and
despised, are the one responsible for all this.
WATERS
What makes you so determined?
YOSHIMORI
It is who I am.
WATERS
You think it's that easy to kill me?
YOSHIMORI
If it is, then perhaps I should kill you now.
Simultaneously, both men spin and open fire.
Smoke fills our view. Everything is obscured by a silvery haze. When it
clears, Waters walks into view. Looking really shaken. He peers through a
hole in the wall. Yoshimori has vanished.
He turns around again, aims his gun just as someone enters the room. It's
WILLARDS.
WILLARDS
Reporting, Major Waters.
Waters tries to look calm, even though perspiration runs down his face.
WATERS
Let's get the hell out of here.
INT. HALLWAYS - NIGHT
DOLLY as Hobbes and Florence trudge down the hallways, with Pinocchio in the
back, still shaken up after the bullet he got. They turn to the left. The
entire house seems to be filled with smoke.
>From the haze, Yoshimori appears. He coughs, and looks at Pinocchio.
YOSHIMORI
Are you injured?
PINOCCHIO
I've had worse.
YOSHIMORI
(to all)
The soldiers are retreating. They're reentering the -
He stops suddenly. His eyebrows arch in realization.
YOSHIMORI
Where's Shiori?
Florence's own eyes widen. Without hesitating, she bolts down the hallways.
The three men follow her, but none as determined in stride as Yoshimori.
INT. SHIORI'S ROOM - NIGHT
The door slides open, and Yoshimori enters. His demeanor is different than
we have seen. He's worried. Very worried. Florence stands behind him. Hobbes
and Pinocchio cannot be seen, but they're there.
YOSHIMORI
Shiori-chan?
>From his POV: the room. His gaze swivels from side to side. We see the
futon, a comb, the paintbrush and ink with paper, and a small tan book lying
beside the pillow.
But Shiori is gone.
YOSHIMORI
Shiori!
He turns around and exits the room with all urgency, leaving Florence
standing in the hallway. Looking just as fearful.
EXT. FOREST OUTSIDE THE HOUSE - NIGHT
Waters trudges down through the forest, avoiding trees. Behind him in the
distance are about five more Guards, all retreating. Up ahead, a Guard,
LESSING, races to meet him.
LESSING
Major Waters!
WATERS
Is the subject secure?
LESSING
Yes sir! The chopper's taken her away, flying her to the
camp now!
WATERS
What about Yoshimori?
LESSING
We haven't seen him.
WATERS
That's not a good sign.
(beat)
Get to one of the vehicles and get out.
Lessing nods. Just as he turns arounds, something whizzes through the air
and enters his back and out his chest. He falls on the ground, dead. Waters
stares at him in horror.
ZOOM IN on Lessing. An arrow, adorned with a black feather and made of the
finest wood, juts from his back.
Waters breaks into a desperate run.
Wind pulls at his hear and perspiration. His red beret falls off, but he
doesn't bother to retrieve it or even look back. He turns around once more
to see the Guards following him.
A downpour of arrows suddenly rains down on the men. Two fall, one with an
arrowhead piercing his throat, another with the wood stalk protruding from
his stomach.
A THIRD GUARD shouts as an arrow enters his thigh. He staggers a few feet
before another arrow from a second downpour takes him down.
Waters reels around and dashes for the for the Humvees now plainly in view.
They are parked in a meadow. He swiftly makes his way to one of them, tosses
himself at the passenger's-side door, and climbs inside.
INT. HUMVEE - NIGHT
He looks at the driver, Willards.
WATERS
Drive! Now!
EXT. FOREST - NIGHT
The headlights radiate to life, and the car drives off.
CUT TO:
A swarm of retreating Guards. Six of them, AUDEN, BLAKE, CONRAD, DONNE,
FORSTER, and GRAVES. They all run at a furious pace for the Humvee waiting
for them. Ahead.
Four arrows shower over them. Auden takes one in the back and one on the
neck.
Another group of arrows take down Conrad and Donne.
The three survivors reach the Humvee. Blake ducks as he makes his way to the
passenger side, and climbs inside. Graves follows him.
And screams, as an arrow shoots into his abdomen. He hits the ground and
digitizes.
Forster comes up to the driver side and flings open the door. He starts to
climb in when an arrow enters his back. But doesn't stop there. It comes out
his chest and the metal arrowhead shatters the window into shards.
Blake stares at Forster with eyes fearful.
IN SLOW MOTION
>From Blake's POV: Forster's inert form slumps down out of view, revealing:
Yoshimori. Standing silently among the forest. His left hand firmly grasps
the gleaming jet-black wood of a bow.
His right hand draws back a bowstring. PAN ACROSS from Yoshimori's narrowed
eyes to the straight stalk of an arrow, down to the shining arrowhead.
With a calm movement, he lets the arrow go.
ZOOM IN on Blake. As the arrow screams at him.
RESUME NORMAL SPEED
On the Humvee. We can't see Blake, but we hear the entry of the arrow, and
then see a blue flash of light that dies quickly.
REVERSE on Yoshimori. He brings down the bow. We could see what looks like
an ancient quiver slung over his shoulder. He stares at the Humvee, now
devoid of life, before turning around and trudging back to the light
streaming from the house.
EXT. HOUSE - NIGHT
Yoshimori comes up to the side just as a door opens up. Hobbes, Florence,
and Pinocchio step out. Pinocchio looks much better. He holds a cup of hot
tea in his hand. Exhales sharply.
HOBBES
Yoshimori . . . we couldn't find -
YOSHIMORI
I already know.
For a long time, no one speaks. Then Pinocchio pipes up.
PINOCCHIO
Soldiers got your girl. Looks like they want you
pretty bad.
YOSHIMORI
These things I know.
PINOCCHIO
Then do you want us to follow them? I've got the car ready
to go.
YOSHIMORI
No.
Hobbes looks surprised. Florence looks like she can't believe a word she's
hearing.
YOSHIMORI
This battle has taken its toll on us enough for one
night.
(looks at Florence)
She will endure. I taught her many things, though they
have never been needed. Perhaps now she will excercise
what she has learned. She is, after all, of warrior blood.
HOBBES
Then what do we do? When do we get her back.
YOSHIMORI
We will wait for dusk. Tomorrow. Under cover of night. This
will be a desperate battle, you will not be needed -
PINOCCHIO
No way.
Yoshimori turns to Pinocchio.
PINOCCHIO
We're going. You need all the help you can get to get her
back, and we're not about to give her up all that damn
easily.
A long beat.
YOSHIMORI
Very well. Prepare yourselves. Right now, prepare by resting.
Our work will commence soon.
He opens the door of the house. And goes in. For a while, none of the trio
move. Florence slings her M16 over her shoulder. Pinocchio looks at Hobbes.
PINOCCHIO
You heard the man. Get some sleep. It might be the last
we get for a long time after this is over.
He enters the house. The two follow him. As Florence enters, the last, she
shuts the door.
FADE TO:
EXT. REPUBLICAN ENCAMPMENT - DAWN
The sun barely peeks through the sky. Ominous clouds cake the world with an
overbearing gray. PAN DOWN to the tents. Much less since the last encampment
we've seen. Then again, it had less men.
The lead Humvee comes to a stop. About twenty men swarm from the tents
inside and come out to meet the four vehicles.
Waters steps out with Willards. The other Humvees come to a stop, the men in
these come out and join with those left behind during the attack. Waters
looks over at Willards.
WATERS
Count up the men. I want a number for how many we
got left after the hell we've been through.
WILLARDS
You'll have it in the hour, Major.
Waters looks back at one particular Humvee.
WATERS
Add three to your total, send two of your men with
me. We'll need to move the prisoner.
WILLARDS
Yes, Major.
EXT. FOREST - DAWN
The back of a Humvee slides open, and two Guards, BRETT and ULTON, exit with
their arms clenched around a smaller figure with long black hair drooping
over her neck.
Shiori. She wears an indignant stare at both the men. But it turns to
burning cold hatred as they set her standing before Waters. Waters steps
toward her and stoops over a bit to come face-to-face with her.
BRETT
Where do we take her, sir?
Waters replies, but doesn't take his eyes off her. Her eyes don't waver from
him.
WATERS
Place her in a secure holding cell and tie her arms and
legs there. She looks like a tough girl. We wouldn't
want her to get back to her father.
SHIORI
(angrily)
Why? Are you afraid of him?
WATERS
(clenching teeth)
I'm not afraid of that man.
There's a long beat, as Shiori stretches her neck so that her mouth is right
next to Waters' ear. She whispers softly.
SHIORI
Liar.
She pulls back, and Waters stares at her, a look both furious and fearful at
the guts this girl has. Brett and Ulton take her by the arms again and start
to lead her toward the camp. We get a shot of Waters as they pass, still
staring at Shiori.
Shiori's stride seems to pull along the Guards instead of the other way
around. She looks down. CLOSE SHOT of their legs. Shiori's left foot twirls
behind Brett's suddenly, and pushes forwards against his ankle.
IN SLOW MOTION
The sudden motion trips Brett. He begins to fall back.
Shiori wrenches her arm from Brett's grasp and elbows him on the chest.
He hits the front of the Humvee, arches back in the pain on his tailbone.
Instinctively, Shiori pivots around and lands a hard punch across Ulton's
jaw.
On Waters, gaping with disbelief.
She grabs him by the collar and pulls him down, kneeing him in the stomach
before forcing him back up and kicking him down.
He's barely hit the ground before Shiori reaches down and snatches the gun
from his belt.
She gets back up and immidiately goes for Waters.
RESUME NORMAL SPEED
On Waters, as the barrel of the gun slides into frame, pointed at his
forehead. On Shiori, holding the gun. CIRCLE AROUND both of them. Behind
her, the two Guards are already on their feet.
They come up behind Shiori, Brett points a gun at her. Ulton pulls another
one from his ankle and points it at her too. But they don't know whether to
shoot or not.
Waters stares, trembling, at Shiori. She starts to speak, but her words come
out fast.
SHIORI
Just because I don't agree with my dad doesn't mean I
don't hate you. You killed my mom, and in a way, you
killed my dad too. You're a liar, a thief, a murderer,
and a coward.
Waters blinks. How could she know . . . ?
SHIORI
I knew you the moment I saw you. It's not that easy to
forget the day your mother died.
(beat)
You deserve this bullet, but that's not who I am.
With a quick movement, she tosses the gun roughly at his chest. He catches
it awkwardly.
She throws him one last disdainful glare before walking over to the two
confused Guards and allowing herself to be taken captive once again. From
Waters' POV: The two Guards leading the young girl, as if she were some
child of ancient warrior blood.
EXT. RIVERSIDE - MIDAFTERNOON
CLOSE SHOT of the cool stream bubbling down into the endless horizon. Its
clear waters sparkle with a luminescence like purity personified. Off the
surface shines the sky, but it's darkly covered by the towering clowds
above.
Suddenly Pinocchio's reflection comes into frame. He's leaning down toward
the water. The reflection is quickly broken as hands reach down a break the
surface, sending ripples through the water.
REVERSE on Pinocchio. He brings his soaked hands up and sprays the cool
water onto his face. He does it a second time. The third time he thrusts his
entire head into the river.
When he comes back up, Hobbes is standing behind him. He does not turn
around, and lets the water drip from his face freely.
PINOCCHIO
I thought you'd learnt not to go sneaking up
on people by now.
HOBBES
I wasn't sneaking up. You didn't hear me 'cause you
had your head under water.
PINOCCHIO
Yeah, well the water's cold but the view's better.
(beat as he turns to look at Hobbes)
What do you want?
HOBBES
I came to apologize. About last night.
Pinocchio shrugs as Pinocchio comes to kneel next to him.
HOBBES
(cont'd)
I said a lot of things I didn't mean. I'm sorry.
PINOCCHIO
I think we both said a lot we didn't mean.
A long pause.
HOBBES
Thanks, Pinocchio. For taking that bullet for me.
Hobbes grins for a while. Pinocchio rolls his eyes.
HOBBES
Where were you? During the fight?
Pinocchio grunts as he turns to look back at the water.
PINOCCHIO
I'll tell you exactly what happened.
EXT. HOUSE - NIGHT - FLASHBACK
Pinocchio walks his circuits. We can tell this is the previous night. He's
on the northeast corner of the house, heading toward the north side.
Clenched firmly in his fist is his MP5K.
He circles the corner when suddenly he jolts back and presses his back
against the wall. Then he peeks around the corner. From his POV: soldiers.
Some of them have already entered the house, others are starting to pour
from the trees.
WILLARDS
(os)
I want a full platoon on Yoshimori now! We'll need enough
men to divert his attention while the other team takes the
girl. Let's move!
As soon as the word "girl" leaves Willards' mouth, Pinocchio suddenly whirls
around the side of the house and opens fire. The bullets go in all
directions . . .
EXT. RIVERSIDE - DAY
. . . and the sound continues over the scene briefly.
PINOCCHIO
Yeah, that's how it went. It was only a while after
I sent you and Florence in for a rest.
HOBBES
Wow.
PINOCCHIO
That's nothing compared to what we're gonna have to
put up with tonight.
HOBBES
You ready for it?
PINOCCHIO
You're never really prepared for these kind of things.
CUT TO:
INT. HALLWAYS - DUSK
The last rays of yellow light filter through the walls and brighten the
inside of the house. DOLLY in front of Florence, as she appears. She heads
toward a door up ahead and opens it. No one's inside the room.
Mutedly, in the b.g., we can hear Pinocchio talking with Hobbes.
She heads down the hallways to another door, opens it up. It's the
Candle-Lit Room from the previous night. Though candles still adorn the
room, it's devoid of people.
Finally she heads to a door and opens it up. It spills into a courtyard
outside.
EXT. COURTYARD - DUSK
CIRCLE AROUND as Florence looks for any sign of anyone. The courtyard also
is empty. Her gaze suddenly drops down, and we PAN with her to see it:
boot-prints on the ground. They all lead away. Florence looks up.
>From her POV: we TRACK the footprints leading out to a wooden gate that
opens up to outside the enclosure, into the forest mountainside. Florence
quickly starts in that direction.
CUT TO:
EXT. FOREST - DUSK
Yoshimori emerges from the foliage, his breath making wisps of vapor against
the cold mountain air. He looks around for a while before continuing among
the trees.
RESUME:
EXT. ANOTHER PART OF FOREST - DUSK
Florence tromps across the mud and grass, and comes up a few seconds later
to where Yoshimori had been. But he's not there. Florence looks down, sees
more tracks, and continues to follow them.
CUT TO:
EXT. MOUNTAINSIDE - DUSK
The terrain suddenly inclines sharply. Yoshimori appears, and comes to an
almost perpendicular rise of earth from the ground. He comes up to it, and
starts to feel around it. Abruptly his hands reach a certain spot, and he
grasps the vines overlapping it. He pulls them away.
SHARP PULL BACK to reveal: Yoshimori, standing before a cleft in the the
mountainside. It looks more like an entrance. Yoshimori quickly enters.
INT. CAVE - DUSK
The soft dripping of water murmurs about the cave. Yoshimori quickly walks
into the depths of the cave and turns right into another chasm. This one
stops only fifteen feet away from him, and empties into another cleft off
the side of the mountain.
>From this cleft, we can see Yoshimori's house, as well as a panoramic view
of the village below. It would be wonderful, if only the village were still
alive. But that's not what Yoshimori looks at. He steps forward, about six
feet from the front of the cleft. And kneels.
CIRCLE AROUND him to reveal: a butsudan, a small shrine dedicated to the
memory of a deceased loved one. It sits plaintively on a neatly-hewn rock
jutting from the floor of the cave. It seems perfectly jet black, shining
clean, a counterpoint to the murkiness of the cave.
TIGHT SHOT of the photograph inside it. It's Hanako.
Yoshimori puts his palms together, and bows deeply. When he looks up, his
expression has changed.
YOSHIMORI
Please, love, forgive me. I've failed you.
His voice quivers only barely as he speaks.
YOSHIMORI
I have failed Minamoto. I've broken my vow, and I
did not save them. I promised to, but I could not.
I failed you twice. Once by allowing you to die,
and twice by losing our daughter.
There's a solemn pause, and he draws a breath. Behind him, we can see
Florence appear. She doesn't make a sound, and Yoshimori doesn't acknowledge
her prescence.
YOSHIMORI
Yes, I have lost her. Forgive me. It's unbearable.
I can't . . . cannot stand to look at myself. If I
can promise you one thing, though I've lost
everything . . . if I pass on to the next world, to
meet you where souls wander forever . . . I promise
you, our daughter will live. The three will take care
of her, though I may die. As a warrior, with honor.
Suddenly, something happens that shocks Florence. Her eyes widen in
amazement.
Tears start to stream down Yoshimori's cheeks.
It doesn't break his somber face. His eyes barely redden. He simply stares,
blankly, at the butsudan and the photograph of his passed love, letting the
drops slide down his jaw. He closes his eyes. And bows his head.
When his head bobs back up, he doesn't bother to turn around. His tears seem
to have already dried.
YOSHIMORI
I had hoped that at least here I would find some solitude.
Florence looks surprised, but comes forward and kneels next to him. She
writes something on the dirt beside him:
"Don't blame yourself for your imperfection."
Yoshimori regards the words, his but expression is still like a stone
castle.
YOSHIMORI
This is not a matter of perfection. Nothing not of nature or
of the gods is perfect. This concerns promises. I've let
those that scorn the sacredness of life destroy what I vowed
to protect. And I must make it up.
Florence looks long and hard at him before she starts to write again.
"You pray. You speak of honour. You value life".
YOSHIMORI
(nodding)
Yes.
"Yet you kill"
YOSHIMORI
This disturbs you?
Florence nods.
YOSHIMORI
You are a Healer.
Florence nods again.
YOSHIMORI
A sister. Devoted to your faith. Yet you kill.
How is what you do different?
"I want to make a difference"
YOSHIMORI
By killing or by healing?
"Sometimes it can't be avoided"
YOSHIMORI
Then you understand.
(then, gently)
Does your God forgive you?
There is another long pause as Florence writes again.
"Does yours?"
YOSHIMORI
Perhaps we are both in need of forgiveness, then.
He looks back at the butsudan. CLOSE SHOT of the picture. He stares at it
with sadness in his eyes. His gaze starts to drift up. From his POV: the
first glimmer of stars beginning to shine in a now dark sky.
YOSHIMORI
The time is now.
FLASH CUT TO:
EXT. FOREST/ROADWAY - DUSK
AERIAL PAN down as the Chevelle comes cruising into view down the dusty
concrete road. Mist hazes the landscape. The clouds continue to glare down
on the car, almost taut with water.
INT. CHEVELLE - DUSK
Yoshimori rides shotgun. Pinocchio steers the car. Everyone from Pinocchio
to Florence looks very tense, as if having gotten a foreboding of their task
ahead. Yoshimori reaches into his trench coat, and pulls out both his
pistols.
With a stern gaze, he slips two new magazines into both guns. Pulls the
barrels both back, then pockets them silently once again.
FLASH CUT TO:
EXT. REPUBLICAN ENCAMPMENT - NIGHT
Another AERIAL PAN across the rows of about thirty or so Humvees, with small
forest of tents between them. Not as monstrous as the last encampment we saw
last episode, but seemingly just as formidable.
All the men are awake at this point. They seem ready, attentive, but in
fear. They don't want to meet up with what they know is inevitable. The air
is wafting with the smell of expectation.
A single Republican soldier starts towards a parked Humvee, gun ready. The
hiss of a radio in the background blares the voice of the Republican
Guardsmen's CO.
WATERS
(vo)
Keep a close watch. He's not going to
let us have his daughter under lock and
key for long.
IN SLOW MOTION
The soldier suddenly turns his head in surprise as a white dove appears,
soundless, perfect. Wings momentarily poise in the air with feathers bracing
against the wind as his eyes widen in disbelief.
RESUME NORMAL SPEED
Then the bird is gone. He continues toward the Humvee and usddenly he stops.
His eyes widen as he realises there is something on the hood of the Humvee
that was not there before.
ZOOM IN: on a grenade. The pin is missing.
Before he can turn the car erupts in flames! Metal, glass, and various other
debris flies in all directions. The conflagration starts to spread.
IN SLOW MOTION
>From the fiery tongues, a silhouette starts to move towards the camp.
On the soldiers, watching.
The silhouette comes to a halt. Another shooting flame reveals the face:
Yoshimori. Determined. Eyes intense. Face betraying nothing.
As the flame dies down again, the face is lost in shadow.
The next shooting flame shows no sign of Yoshimori.
As they watch the white dove reappears. It flies up from where he had been
standing, as if he has changed from a man into a creature of the air.
RESUME NORMAL SPEED
The dove flutters across the men, whose eyes are all set on it. It suddenly
rises up and disappears into the moonlight.
A long moment passes. Then suddenly the entire encampment goes alive with
the sounds of men shouting to one another, almost in panic. Out of them, one
soldier, CALANDRELL, darts toward the nearest Humvee. He flings the door
open, and snatches up the speaker of the vehicle's radio.
CALANDRELL
This is Calandrell. Major Water, Willards, we've just
sighted him. Northeast corner of the camp . . .
INT. HUMVEE - NIGHT
CALANDRELL
(vo)
. . . and we're standing by.
Willards looks over at Waters distantly. Waters returns the gaze before
snatching up the receiver and talking.
WATERS
You have your orders. Terminate him immmediately.
He clicks the receiver off. Throws one more glance at Willards before
getting out the Humvee.
EXT. ABANDONED ROADWAY - NIGHT
As he steps out and starts down the side of the car to the back, thunder
suddenly rumbles from the grey clouds. Waters falters for a moment, staring
up a the creeping monsters floating in the sky, then continues. We can tell
that where the car is parked is quite some distance from the encampment.
He goes around back, and pulls keys from his pocket. In a swift movement, he
places the key inside the keyhole of the trunk, turns it, and opens it up.
CIRCLE AROUND Waters and PULL BACK to reveal:
Shiori.
She glares back at him from her small prison. As he picks her up and sets
her on her small chained feet on the ground, she breathes deeply, sighing
out a wisp of vapor.
SHIORI
You don't have to kill me.
Waters suddenly jerks up to look at her square in the eyes. His confused
expression only makes Shiori's glare harder. How could she possibly know his
plans?
WATERS
You wouldn't understand.
He's not sure whether he's saying that to her or trying to reassure himself.
SHIORI
You're gonna to kill me because you're afraid.
WATERS
I have no choice.
SHIORI
Still a liar, huh? You have a choice. You just don't have
the courage to make it.
That stings badly. But its nothing compared to the calm, confident way
Shiori turns to the side and slowly marches before Waters into the forest.
Over her shoulder, she throws him a cold glance that chills him.
Again, the thunder reverberates like the steady beat of a taiko drum.
EXT. REPUBLICAN ENCAMPMENT - NIGHT
The soldiers stand ready, bearing their guns and waiting for any sign of
attack. They barely notice the first small drops of water that sprinkle from
the clouds above.
EXT. FOREST - NIGHT
Waters puts his hand around the gun at his side and pulls it out of his
holster. Shiori watches, but like her father, betrays no emotion. Her hands
are behind her back. She suddenly speaks up.
SHIORI
Why did you keep it?
Waters looks up, frowning.
WATERS
Keep what?
SHIORI
The coin. With the character on it. The one that belonged
to the mother you murdered.
Waters stares at her, not knowing how to respond to such an accusing
question.
WATERS
I . . . I kept because the day I came back from that mission
was when Santiago inducted me into his council of officers.
I guess it brought me--
SHIORI
Good luck?
Waters doesn't know how to reply. Shiori's glare hardens even further.
SHIORI
You *are* a maggot. Every success you get is leeched off of
other peoples' misery.
Waters shakes his head, almost as if trying to shake off the guilt. He takes
his gun, and pulls back the hammer. He aims it Shiori's feet.
Then slowly raises it up, past her knees, her waist, her stomach, her young
breasts, neck, until finally from his POV: we see down the barrel her
youthful eyes, staring at him like retribution.
EXT./INT. HUMVEE - NIGHT
Willards sits in the driver's seat, looking out the window, almost
obliviously at the road outside. More drops of rain, larger now, start to
spatter against the windshield. He lies his head back on the seat, ready to
rest, when suddenly the radio hisses to life.
RADIO
(vo)
This is Calandrell again. Please come in. I repeat,
please come in.
Willards snatches up the speaker.
WILLARDS
This is Willards.
CALANDRELL
(vo)
Major Willards, we haven't had any attack and its been
quite a while. Have you seen him? I'm suggesting extreme
caution be taken. I repeat, he's not here. Is Major Waters
with you sir? Is Major Waters --?
The voice is suddenly cut short as Willards tosses the speaker down and
quickly swings the door open and exits the car.
INTERCUT EXT. HUMVEE and EXT. FOREST. As soon as he reaches out, Willards
walks round the hood and starts to open his his mouth.
On Waters, gun still aimed at Shiori.
Just as the start of a word croaks from Willards throat, he hears a sharp
ZING in the air behind him. ZOOM IN on him as he whirls around.
MATCH CUT as Waters whirls around too to the sound of a piercing scream.
CIRCLE AROUND his head to see his POV:
Willards lands heavily across the metal hood of the vehicle. Embedded in his
bloodstained uniform and back is small shiny shaken. He coughs, spouting
crimson droplets, before digitizing.
IN SLOW MOTION
Waters blinks and stares in horror at Shiori. Then turns around again.
ANGLE ABOVE and CIRCLE as a figure in a black trench coat suddenly appears
from behind the Humvee, heading straight toward Waters.
YOSHIMORI.
The sharp, biting wind ripples across his determined face, and makes his
trench coat billow like the robes of an ancient samurai.
The clouds burst. A torrent of rain spills across the forest, engulfing
everything in sheets of water.
RESUME NORMAL SPEED
Waters turns around again to Shiori, and his jaw drops. In her hand, the
barrel of his gun is firmly clenched. She's taken it from him, and he's been
to stricken with fear to notice.
He only gapes at her as she holds it dangling in front of his face. Then,
she slowly lets it drop.
IN SLOW MOTION
ZOOM IN on the gun as it splashes against the mud.
RESUME NORMAL SPEED
Waters takes two steps back, then breaks into a sudden, desperate run.
On Yoshimori, only a few feet from where Shiori stands. Father and daughter
look at each other, as if quietly exchanging thoughts. Yoshimori then
departs Waters' direction.
RESUME Waters. The pelting rain screams in his face. He bursts from the
foliage onto the open roadway, so as not to be overtaken by the darkness and
an unseen enemy. Only he doesn't realize it also makes him more vulnerable.
A short distance away, he turns around. From his swerving POV: the road and
forest, hauntingly devoid of any movement besides the showering storm.
That doesn't stop him; he turns around and keeps running. Fear drips from
him like the sweat, mingling with the rain coursing down his temples. He
turns around. Again, nothing. He keeps running.
When he turns around a third time, his eyes go frozen.
IN SLOW MOTION
Yoshimori rises above him in midair, not wearing his trench coat, his knees
bent up so that they are at his chest.
In a flash of motion, his legs extend, unleashing a double-footed kick that
pummels Waters hard against the chest.
RESUME NORMAL SPEED
Lightning flashes and thunder reverberates as Waters goes sprawling against
the mud, splashing in the puddles already forming beneath his feet. He stays
on the floor, the rain running down and darknening his uniform from green to
black.
Then slowly, he rises. CIRCLE AROUND to see: Both him and Yoshimori, staring
at each other. Yoshimori's stoic gaze can't cover up the raw hatred flooding
through him. For a long time, neither man moves.
SHARP CUT TO:
EXT. REPUBLICAN ENCAMPMENT - NIGHT - RAIN
A figure blurs out of the forest above the encampment and hurls straight
toward the innards of the encampment. ZOOM IN: it's Florence! She quickly
hurtles straight in.
The entire encampment comes alive. Men screech, some break to meet her, guns
raised.
Before a single of their shots are fired, Florence swings up her M16 and
lets a powerful barrage of bullets hail the men.
IN SLOW MOTION
Everywhere, sparks fly as lead hits metal. Men digitize where they stand,
others fly back and land hard on the ground before bursting into static.
Florence pivots the side, and unleashes more ballistic fury at a row of
Humvees spouting men.
Glass shatters, more sparks, more bursts of digital light. Some soldiers
actually begin to turn and retreat.
RESUME NORMAL SPEED
A GUARDSMAN comes up behind her, waving a knife. Florence whirls around and
rams the butt of her rifle into his vitals. Quickly she snaps the butt up
across his chin and kicks him down.
He lands flat on his back; bullets tear across his torso.
IN SLOW MOTION
Up ahead, another Republican Guard barrels toward her.
She opens fire on him, flames spewing bullets from her gun.
He sprawls back, covered with holes, and digitizes.
RESUME NORMAL SPEED
She turns around in time to see another Guard hurling himself at her. She
doesn't even manage a shot before he suddenly slips on the mud and slumps
forward, blood staining his hair.
Florence swivels her head around. From her POV: Hobbes, bursting from
another gap in the Humvees.
FOLLOW him as he opens fire on a flank of FOUR GUARDS coming from the side.
One soldier in the front, MCGAVIN, is caught in the chest.
IN SLOW MOTION
He slumps backwards across the hood of a Humvee and bursts into a blue glow.
With a brilliant flash, he dissolves into the rain.
RESUME NORMAL SPEED
The other Guards, KRALL, FITTS, and MARKUS, duck as more bullets screech
overhead, slamming into the Humvee line and sending sparks in all
directions.
Hobbes continues running, lowering his head and charging between two
vehicles. Krall and Markus reply to his attack with a lethal barrage of
rounds. One bullet whizzes past the top of Hobbes' head and shatters a
Humvee window. Glass explodes.
Hobbes emerges off the side of Humvees. From his POV: ZOOM IN on the four
Guards. They follow him, and continue firing.
He drops into a roll. More rounds screams over his head and crash against
the front headlights of another vehicle. Hobbes jumps to his feet and hurls
himself between another two cars, two bullets barely missing him and hitting
one car's metal frame.
IN SLOW MOTION
Hobbes CLICKS his gun a final time, and an empty magazine falls from the
semi-automatic.
It clatters silently into the mud.
RESUME Hobbes. He blinks silently, concentrating. It's hauntingly like the
way Yoshimori has appeared in past scenes. Rain drips down his jaw and off
his chin.
Snapping out of the trance, he quickly slips another ammunition clip into
the gun, and suddenly darts forward.
Still hidden behind the vehicle's frame, he lets two shots fly. They both
hit Krall, one in his gut, one clear into his forehead.
He reels back and hits the ground, digitizing.
Hobbes jolts forward, and fires four more rounds.
Fitts dives down to avoid getting hit.
Two bullets pierce Markus in the torso.; a third penetrates his ribcage. A
scarlet geyser gushes from him; he totters back and digitizes off-screen.
Hobbes vanishes back behind the cover of the Humvees.
Fitts gets to his feet, almost slipping on the mud, and cautiously starts
toward the two vehicles, gun ready.
CUT TO:
RESUME NORMAL SPEED
Another part of the encampment. A Republican MECHANIC turns around as the
sound of rapid gunfire ruptures through the bellow of thunder. His eyes
widen, and immediately he goes for the nearest Humvee.
Lying on the hood is his weapon, a small submachine gun. His hand reaches
out to close around it when suddenly a HAND appears, knocking the gun onto
the ground and out of reach.
There's a sharp CLICK, and we CIRCLE AROUND to reveal: Pinocchio, the nozzle
of his MP5K pressed neatly against the Mechanic's forehead.
PINOCCHIO
I don't think so.
CUT TO:
Florence's location. She finishes off another soldier and turns around in
time to see four FLASHES OF LIGHT accompanied by gunshots behind a flank of
Humvees. There's a blue effulgence that flashes before fading with a static
whirr.
ANGLE on Florence. Suddenly she turns to the side in time to see a GUARD on
top of the canopy of the Humvee. His assault rifle points straight at her.
CLOSE SHOT of his finger, about to tighten around the trigger.
IN SLOW MOTION
Pinocchio suddenly races from behind the Humvee flank, gun blazing.
An outburst of sparks flares up all around the Guard. His entire figure is
veiled by the blaze.
Florence snaps up her M16 and opens fire on the car.
Without warning, the Humvee erupts into flames! It totters on its side in a
fiery mass.
RESUME NORMAL SPEED
Pinocchio and Florence look at each other for a split second before both
turning around and darting in different directions.
CUT TO:
The two Humvees. Fitts waves his gun in the crevice between the two cars.
>From his POV: the gap, empty. Cautiously, he takes slow strides into the
gap. ANGLE at ground level, as he puts one foot in front of the other.
Suddenly a HAND reaches out from underneath the Humvee at Fitts' left and
clenches around his ankle. It sharply pulls the ankle back.
Fitts goes down, but immediately rolls onto his back and wrenches himself
up.
Hobbes is right in front of him, and gives him a harsh right cross. Fitts
manages to grab on to Hobbes' collar and keep his balance. He forces Hobbes
back to the front of the vehicles, and swings a fist at him.
Hobbes ducks and tosses him against the hood of the Humvee. Reflexively, he
lunges at Fitts. Both men snap their guns at each other: Fitts' pointing at
Hobbes' jaw, Hobbes' jamming into Fitts side. Both men scowl.
Hobbes jerks his head to the side. Fitts fires.
BULLET TIME SLOW MOTION
The bullet whistles past Hobbes' ear and instead pierces a GUARD behind
Hobbes that must have appeared during the short brawl.
The Guard stumbles back, grabbing his bloody shoulder in agony.
RESUME NORMAL SPEED
Hobbes fires, the bullet slices into Fitts' side. Hobbes grabs the gun in
the dying man's hands before he dissolves into the rain.
The single wound on his shoulder doesn't stop the Guard behind Hobbes. He
angrily staggers forward, and thrusts up his gun.
Hobbes reacts a half-second faster, firing six shots point-blank into the
Guard.
IN SLOW MOTION
The Guard sails backward, slides across the mud with arms outstretched. Six
scattered bullet holes pepper his uniform.
RESUME NORMAL SPEED
As the Guard digitizes, six more Guards appear about twenty meters from
Hobbes. The one at the head swings up a submachine gun and opens fire. Shots
spray in all directions.
Hobbes dodges between the two Humvees again and darts into a quick retreat.
CUT TO:
Another section of the encampment. Shouts, rapid gunfire, and explosions
blend into a roaring pandemonium. Chaos spills across the camp like
floodwaters. The thunder continues to shriek.
ANGLE above a Humvee canopy, overlooking another grouping of Humvees. Four
Guards emerge from between two of them.
The barrel of a gun enters frame, we ANGLE down it. REVERSE on Pinocchio,
aiming it. He snaps the trigger back.
IN SLOW MOTION
A deadly hail showers down on the Guards. Sparks burst from the Humvees,
three of the men digitize almost instantaneously.
RESUME NORMAL SPEED
Pinocchio turns around and leaps off the car. He lands on the mud, knees
bent, and whirls around, firing at the car's window. Glass spews. TIGHT SHOT
of Pinocchio's hand. A grenade is firmly held between his fingers.
He quickly bites the pin and sends it spinning through the air into the
front seat of the car. With that, he pivots back around and dashes
full-speed away.
A few seconds later, the car bursts into an inferno, incinerating itself and
two unlucky soldiers tailing Pinocchio.
CUT TO:
Hobbes' location. He charges desperately toward a Humvee, with five soldiers
behind him shouting and firing at him. Machine-gun fire spews behind him.
Quickly he jumps up, and scales the hood.
More shots slam into the car. Hobbes reaches up, grabs the small metal
fastening bars on the top of the car, and pulls himself up, barely avoiding
being torn apart by a torrent of more gunfire.
He wrenches himself up. More shots are fired, the windows of the Humvee
burst inward. We can hear the sound of ricocheting bullets inside the car.
IN SLOW MOTION
Hobbes takes two steps and leaps off the top of the Humvee, just as:
One of the soldiers fires a massive round of shots at the car's hood.
The vehicle EXPLODES, almost disappearing inside a massive fireball!
The momentum drives Hobbes forward; he goes sprawling against the mud.
RESUME NORMAL SPEED
With a quick burst of energy, he snatches himself to his feet and forces
himself to continue retreating.
CUT TO:
Another part of the camp, where the Republican Forces' only helicopter, a
UH60 Blackhawk, is parked. The PILOT inside is panicked. Quickly, he jumps
inside the copter.
INT. HELICOPTER - NIGHT - RAIN
He goes back, and starts throwing crates of supplies away, desperately
digging for a certain one until he finds it. INSERT: AMMUNITION AND WEAPONS
is written on the box he was looking for. There's a lock on it.
He grins with satisfaction, and reaches to his side for keys. On accident,
he drops them. As he reaches down to pick them up, a FOOT suddenly appears
and kicks him sharply in the gut.
Pinocchio takes him by the arm and neck and tosses him off the open side of
the chopper. The Pilot splashes on the saturated ground, barely manages to
get up before Pinocchio lets more bullets fly, taking him out.
He digitizes, but Pinocchio's already on the move. The shouts of men
rallying could be heard in the distance. Pinocchio reaches for a crate,
picks it up, and SLAMS it against the side of the chopper's interior.
Wood snaps, the crate busts open. CLOSE SHOT of the crate's contents: two
ammuntion clips, some fuse wiring . . . and a long metal chain.
Pinocchio snatches up the clips, jams them in his pocket. He grabs the
chain, swings it over his shoulder, and leaps out of the copter.
EXT. ENCAMPMENT - NIGHT - RAIN
Quickly, he takes the chain off his shoulder and tosses it up at the
helicopter rotors above. The chain wraps neatly around on of the rotors
twice. Pinocchio tugs on it to make sure it's secure.
Pinocchio hear's another shout: it's closer. He jerks around and swings up
his machine gun, letting another burst of gunfire take down two Guards
headed straight for him. He clicks the gun a final time; an empty magazine
falls out.
He reloads the gun in so quick a time it's astounding. He turns around and
opens fire. ZOOM IN on the target. The controls of the chopper. Sparks and
bolts of electricity spring from the bullet-riddled bulkheads.
Suddenly, the helicopter whirs to life! The rotors start to twirl around, at
a slow pace, but fast enough for Pinocchio to leap up on the chain and
circle around with them.
The slow revolution of the rotor pulls Pinocchio up. He's about fifteen feet
off the ground when SIX GUARDS all appear below him. The rotor and Pinocchio
gyrates above their heads. They bring their weapons to bear and all point
them at their airborne target.
IN SLOW MOTION
Pinocchio responds by aiming his MP5K down at them.
A shower of bullets roars down on the soldiers below.
Two Guards are hit square in the chest, one gets it in the leg and shoulder,
another in the stomach and chest, one more in the arm and neck, and the last
gets a shot to the forehead.
All six digitize. Pinocchio continues pivoting around.
RESUME NORMAL SPEED
When he comes back the full 360 degrees, he leaps off onto the ground and
darts toward the nearest cover.
CUT TO:
Hobbes, still running. So far, it appears as though he's managed to evade
them. He's alone now, but that doesn't stifle his caution. That's when he
hears the footsteps behind him. He spins around.
Too late. A soldier, WARRINER, careens right into him. He socks him hard in
the stomach. Hobbes lurches forward only to receive a second blow across the
jaw. Warriner grabs him by the neck and slams him onto the hood of a car.
Hobbes gasps for breath. Warriner pushes his body weight on Hobbes, and
starts to twist his forearm. The shooting pain makes him drop his gun.
IN SLOW MOTION
It slides across the hood and disappears into the rain and mud.
RESUME NORMAL SPEED
Warriner yanks Hobbes by the collar and punches him again. Hobbes totters
back. Warriner produces a gun, aims it sqaurely at Hobbes.
WARRINER
Get on the goddamn ground.
Behind Hobbes, Pinocchio suddenly appears, wrestling a Guard as well. He
slugs the Guard square in the nose, and then drives his gun into the Guard's
side. He finger squeezes over the trigger.
The Guard twitches sickeningly backward. Before he begins to rezz out,
Pinocchio grabs the automatic at his side. The soldier digitizes. Pinocchio
turns toward Hobbes.
PINOCCHIO
HOBBES!
IN SLOW MOTION
WITHOUT SOUND save for Hobbes' heart beating in his chest.
Pinocchio tosses the gun at Hobbes.
Hobbes remains frozen, eye-to-eye with Warriner.
The gun is in midair and within reach.
Hobbes reels around. With fluidic grace, he catches the gun in his
outstretched hand.
He lets his feet slip forward from under him, lands on his back.
He snaps up the gun instinctively fires six rounds straight into Warriner.
Warriner flies backward, slams across the hood of a Humvee and bursts into a
blue flame, one so quickly extinguished.
RESUME NORMAL SPEED
Hobbes swiftly crawls over to the side of the Humvee, and snatches up
something from the mud. TIGHT SHOT of his hand: it's his automatic. He now
holds a gun in each hand.
He shoots back up to his feet. His head swivels from side to side.
HOBBES
(calling)
Pinocchio!
FAST PAN from his POV: vehicles in rows, soldiers running off in the
distance not taking note of him, a few sparse fires in various points of the
encampment, and the endless sound of BULLETS. But no sign of Pinocchio.
Hobbes takes barely a few strides forward when shots flare up all around
him! Quickly, he darts back a few steps.
ZIP PAN to a niche between two Humvees. A Guard, THOMPSON, surges forward
with an M64 assault rifle. The exit from the niche to the open ground where
Hobbes readies himself is blocked by an open car door. Thompson prepares to
vault over it.
He's only feet from it when Hobbes bursts back into the scene. With both
guns raging in the night, he fires six shots with both guns, one after
another, straight at Thompson.
IN SLOW MOTION
Thompson sails back as five bullet holes appear in the window.
The sixth shot shatters the window completely, showering glass all over.
Thompson lands on his back, and promptly digitizes.
CUT TO:
RESUME NORMAL SPEED
Pinocchio speeds steadily down the dirt track, jerks to the left and opens
fire on two Guards standing at his side, just about fire on them. One of
them digitizes as soon as the rounds graze over him. The other lurches
forward and then vanishes in a brilliant flash.
Pinocchio continues running. Fires another thunderous shot at a Guard
charging for him.
IN SLOW MOTION
This one is caught in the shoulder, stumbles back, face gnarled as pain
washes over his face.
He flies back, trips and lands flat on a metal cart, the kind used to move
large crates.
The momentum pushes him back, the mud only makes it roll faster backward.
Pinocchio raises his gun.
TRACK the cart, as it heads straight for two metal cylinders standing next
to Humvee. Gas containers.
Pinocchio opens fire.
The rolling Guard nears the cylinders.
RESUME NORMAL SPEED
Bullets graze against the cylinders, they explode in a blazing ball of
debris. The Guard disappears inside the glowing inferno.
REVERSE on Pinocchio. He whirls around just as SHOUTS echo through his ears.
His expression melts into horror.
>From his POV: twenty Guards surge toward him like a furious wave of death.
Their faces are masked with rage and exasperation. They aren't out to
apprehend anymore. They're in for the kill now.
A Humvee stands in their way. Quickly, the wave breaks off and forms a fork
that winds its way around the Humvee.
Pinocchio looks in their direction still, but his eyes don't focus on them.
They widen, swayed by something else.
>From his POV: The Humvee itself. On its side, a tarp is pulled over it. On
the tarp, one clear word is stenciled onto the fabric. ZOOM IN.
"Grenades."
IN SLOW MOTION
Pinocchio swings up his gun. Opens fire.
The bullets rake across the sides of the Humvee. Some ricochet back,
striking Guards who digitize instantly.
But the Humvee itself remains intact.
Pinocchio continues firing. His teeth grit, he's getting pissed.
Sparks burst up into the air as more rounds hit the metal, showering down on
the steadily approaching horde.
They're within short range of Pinocchio, looking like wolves closing in on
their prey.
A blood-curdling scream escapes past Pinocchio's lips. It's full of raw,
frustrated rage, making the shots he's still firing seem more powerful.
RESUME NORMAL SPEED
The Humvee suddenly slashes to life in a blinding conflagration that rolls
up into the sky! Ribbons of fire shoot out in all directions, engulfing the
wave in fiery jaws that swallow the helpless men in an instant.
Pinocchio shields his eyes as the flames curl into a mushroom cloud. Red
turns black, smoke smoldering sways up at mingles with the rain.
The ground shudders from the force of the explosion; Pinocchio is tossed
down. Just as quickly he wrenches himself to his feet.
>From his POV: the skeleton of the vehicle. As quickly as the thundering fire
appeared, it now subsides. Only scattered tongues now glow within a
twenty-feet radius of the wreckage. The or four soldiers left alive retreat,
not as fearless individually as they were in an unstoppable horde.
REVERSE on Pinocchio. His eyes seem distant. He stares blankly at the
battered Humvee. From this we go to an:
AERIAL PAN of the encampment. It's totally devastated. Cars blaze faintly in
various parts of the camp. Soldiers still tromp in between the different
groupings of the cars, but they seem nowhere close the the large force they
were at the beginning of the battle.
RESUME Pinocchio. He just stands, letting the rain drip down his temples.
Alone.
Off this we:
CUT TO:
EXT. ABANDONED ROADWAY/FOREST - NIGHT - RAIN
We come back to where we left the two men before, as if mere seconds have
ticked by during the battle at the encampment. The two men, alone in the
rain, face each other.
They circle about each other's position. Waters looks tense. His hands
clench into tight fists. His right hand, though, mysteriously reaches around
his back and nestles onto his waist.
Yoshimori stares at him, the fire in his eyes shining through the sheets of
water. Reflexively, his arms go up in a readiness stance. One arm is
extended further than the other, both hands are open.
Waters' hands tightly clench around something blank at his waist. He pulls
it out. A knife. He suddenly lunges at Yoshimori. The fight's begun.
IN SLOW MOTION
The music playing over the scene is the thundering, deeply rhythmic beat of
ancient Japanese taiko drums.
Seconds before the blade can slice into his chest, Yoshimori swings back.
The sharp blade arcs past him. Reflexively, he grabs Waters' wrist and pulls
him down.
Just as quickly, Yoshimori's foot slams hard into Waters' chest.
Waters gags for breath and stumbles back, but is held firmly on his feet by
Yoshimori's unrelenting grasp.
With a rotation of the wrist, Yoshimori starts to twist Waters' arm.
Waters screams; the pain surges up his arm. Yoshimori nails his elbow into
Waters' upper arm, and the pain finally becomes unbearable.
The knife slips from his hand. It falls down and onto Yoshimori's boot.
In a quick motion, Yoshimori lets go of Waters and kicks the blade into the
foliage. It disappears.
Seizing an opportunity, Waters takes a swing at Yoshimori.
Yoshimori reacts in a flash, deflecting the blow with his forearm, grabbing
his wrist and pulling Waters forward.
His knee jolts up, sinking into Waters' gut. Waters lurches forward only to
get a second blow to the chin that forces him back up.
Yoshimori leaps off the ground and executes a graceful sidekick to Waters'
chest, sending him reeling backwards.
Waters remains on his feet, but badly shaken. His head slowly rises up.
>From his POV: Yoshimori, standing in the rain, waiting for him.
REVERSE as Waters grits his teeth, inhales sharply and slowly . . . and
charges at his advesary. His fist swipes at Yoshimori.
Yoshimori dodges the blow, uses his left wrist to thrust Waters' fist out of
the way.
With his right hand, he strikes Waters clean against the jaw.
Waters is driven back again, staggers a few feet.
Yoshimori is already upon him. Swiftly, he swipes at Waters' face again.
Much to his astonishment, Waters catches the blow with his elbow. Knocks it
away. Then takes another swipe at Yoshimori.
Instinctively Yoshimori parries the blow. Without warning he suddenly leaps
up again and pummels Waters hard across the breast.
Waters is forced back, receives a second blow to the jaw. He starts to
stagger backward again.
Yoshimori snaps his foot behind Waters' ankle, elbows him viciously on the
mouth. His leg jerks up, sending Waters flat onto the ground.
Mysteriously, Yoshimori withdraws from the attack. Waters rises once again.
The music changes tone as a resounding chorus rises over the beats of the
drums. It sounds like thousands of ancient samurai all chanting.
Getting angrier with each blow received, Waters lurches at his opponent and
takes another swing at him.
Yoshimori rolls his head underneath the firmly clenched fist, narrowly
evading the punch.
The rain spouts from the sky.
Reflexively he grabs Waters' upper arm, pulls him forward and deals a
splitting open-handed karate chop to Waters' neck.
Gagging for air, Waters wobbles back. His eyes look up in time to see
Yoshimori bearing down on him again.
Waters deflects a powerful blow that would have buffetted his chest. No
sooner has he done so than Yoshimori inflicts a painful kick to the stomach.
Waters falls to the ground, face contorted in sheer agony. Even as he lies
on the ground, Yoshimori doesn't stop.
Gracefully his ankle thrusts into his tailbone, doubling the pain.
Lightning flashes.
He worms his foot underneath Waters' stomach and brings it up, rolling
Waters away.
Waters splashes against the mud as he comes to a halt. Pushes himself back
up to his knees.
Yoshimori bounds at him in a blur of motion. He's about to kick Waters in
the head when suddenly Waters' hands jerk up and catch his foot in midair.
Seizing the opportunity, Waters bends his foe's knee down and thrusts it
away.
Yoshimori, balance lost, reels back. He skids on the mud and falls onto his
back.
Waters gets to his feet and lunges at him.
Yoshimori reacts seconds faster. As Waters comes down full force on him, his
knee lifts up, blocking Waters' descent.
Thunder churns in the black clouds above.
Nimbly Yoshimori pitches Waters over his head. The beaten man goes sprawling
against the mud.
Both men simultaneously get to their feet and surge at each other.
Before Waters can deliver a blow of his own, Yoshimori kicks him firmly in
the gut. Waters arches down in pain.
Grabbing him by the back collar, Yoshimori flips himself an astonishing 360
degrees over Waters' form.
As he comes back to his feet, Yoshimori elbows him in the base of his neck.
The bones sound as if they're cracking.
Waters howls in pain. Blood runs from his gums, mixing with saliva and
turning a sickening pink.
Still bent at the waist, Waters manages to deflect a jab at his temples. He
pushes himself away from Yoshimori and takes another swing at him.
Yoshimori arches himself back, eluding the furious fist. His hand clutches
Waters' wrist as he rises again and yanks Waters past him.
As he goes sailing past, Yoshimori's boot cuts against his tailbone, jolting
Waters' back up as he falls to his knees.
One of Yoshimori's fists batters across the rear of Waters' head. He lurches
forward on his hands.
Evading a kick to the spine, Waters whirls the side and jerks weakly back to
his feet.
His energy is draining now. He seems sickly next to Yoshimori's unstoppable
force.
-- As the fight progresses, a MONTAGE of SUDDEN IMAGES
unfolds between the action. FLASHBACKS of earlier scenes.
Waters takes a poorly-aimed punch of Yoshimori. Yoshimori ducks it and
grapples Waters' wrist, wrenching his arm over his shoulder.
-- A bullet hole pierces Hanako's white blouse, staining
it with blood. She starts to digitize.
Yoshimori circles around Waters and elbows him one, two, three times at the
base of the neck with savage force.
-- Yoshimori kicks Waters down, sending the small pendant flying
from his pocket. ZOOM IN on it, clearly the one Hanako lost at
her death.
Yoshimori knocks Waters brutally in the nose. Blood starts to drain from his
nostrils.
-- Waters stands in the village street and fires straight into
the festival shrine. It bursts into flame, the holders start to
run away.
Yoshimori's knee jerks up and stabs into the soft flesh of Waters' stomach.
Waters lurches down only to be pulled back up by the collar.
Waters tugs away from Yoshimori and takes another badly-coordinated swing at
his nemesis.
-- Waters nods looking down at a cowering Shirakawa. Willards
presses the gun to her head. CLOSE SHOT as the trigger is pulled
back.
Yoshimori dodges this blow. Simultaneously, each man grabs at the other
man's upper arm and clenches it rigidly between his fingers.
With stunning, fluidic speed, Yoshimori throws his foot their overlapping
forearms, balances himself on one foot, and boots him square in the face.
Waters' neck snaps back.
-- Yoshimori walks through the ruined city. The doves lift
off into the sky. He sinks his first sword into the mound
like a gravestone. The amulet lays in the dirt.
Yoshimori deals a second crushing kick to Waters' face. He lets go, sending
Waters sailing back and landing roughly on his spine.
--Yoshimori flings open the door of Shiori's room. It's
barren of his daughter.
RESUME NORMAL SPEED
Waters wobbles back to his feet. His face is scratched and bruised, as are
his hands. Parts of his uniform are tattered and ripped. Crimson drops seep
from his pale lips. His hot breath strikes the mountain air. All energy has
forsaken him.
Yoshimori is already upon him. The blaze in his eyes signals a
fast-approaching end.
IN SLOW MOTION
An open-handed chop arcs across Waters' forehead . . .
-- Waters and Yoshimori stand back to back against a wall.
Both spin around and open fire.
A lethal kick slices into his stomach . . .
--Yoshimori flings himself away from before Minamoto's butsudan
just as machine-gunfire splinters it to pieces.
A clenched fist rakes across his right shoulder . . .
--Shiori points a gun in Waters' face, not wavering as two
guns are quickly trained on her.
A second blow strikes his left shoulder . . .
--Hanako dissolves into a blue glow, and vanishes.
Yoshimori rises above the ground, exactly the way he'd done when the fight
commenced.
Only this is meant to be the final blow.
Both feet hammer into Waters' chest. The force is so sudden, so splitting,
that Waters actually lifts off the ground and sails back.
RESUME NORMAL SPEED
He lands flat against the muddy road. Rain continues to roar down on him.
The power of the double kick stuns him. Paralyzed he lays, eyes wide, breath
labored, body trembling.
Slowly, Yoshimori ambles toward him.
ANGLE on Waters. For the slightest fraction of a second, a glinting light
wisps over him. A whistle sounds in the air. Then it's gone.
Waters flinches. Suddenly, a red line appears on his cheek. Blood starts to
drain out.
PAN UP to Yoshimori. In his hand, raised to the sky and curving
horizontally, is the sleek steel katana. Only the smallest hint of red
stains the blade.
Waters swallows a gulp of air as if it's his last.
YOSHIMORI
Are you satisfied at the end of your days, coward? I know
what questions you ask yourself. If I had my sword all this
time, why did I bother to expel so much energy. Why did I
not just kill you with one swift stroke?
Waters quivers on the ground. Yoshimori regards him with a tacit aura of
menace.
YOSHIMORI
(cont'd)
Here is your answer: you had to suffer for your sins.
There is a long beat as the words sink in. Yoshimori suddenly switches
subjects.
YOSHIMORI
(cont'd)
Her name was Hanako. I loved her and you took her away. Bear
that name with you to the next world.
IN SLOW MOTION
WITH NO SOUND save for the tumultuous downpour of the rain.
Yoshimori grips the sword in both hands. He rotates the blade and his wrist
to prepare for one sweeping arc.
The rain washes away the red stain from the cold steel.
His fingers tighten on the hilt . . . and he plunges the blade down.
VOICE
(os)
Stop!
RESUME NORMAL SPEED
ClOSE SHOT of Waters, his eyes wide in utter horror, staring at the blade.
The gleaming metal hovers scant millimeters above his head, halting from a
stroke that should have cleaved his skull.
REVERSE on Yoshimori. He recognizes whose voice it was that called from the
darkness. He looks up, frowning.
>From his POV: a small white dove, perhaps the one earlier in the battle.
It's perched on the ground. Cooing softly, oblivious to the rain. And
suddenly, it lifts off, spreading its perfect, pure wings and disappearing
into the forest.
Feet suddenly appear, running forward. PAN UP to reveal: Shiori. Her hair is
drenched; she wears her father's trench coat, pulling it close to her body
for warmth. But not even the rain is enough to hide the tears welling up in
her eyes. She begins to speak in Japanese.
SHIORI
(Please, father, don't do this.)
Yoshimori's frown hardens. Almost as if ignoring her, he grips his sword to
prepare for another stroke.
SHIORI
(Look at yourself. Is this the man my mother loved? Cold,
relentless? Driven to kill? Don't you understand? You're
becoming like the very men you hate. A man with no pity,
no peace. Only revenge fills your mind. Even if you kill
this man now, what makes you think it will end here?)
This stops Yoshimori. His gaze softens, then hardens again.
SHIORI
(All I want is for us to be happy again. Like we were before
all this. Please, father . . . )
Yoshimori looks up, facing his daughter. Their eyes meet.
SHIORI
(You said before that you only wanted to be my father.
Here's your chance to prove it.)
Her lips quiver in the unbearable cold, but she retains her facial
composure. It eerily mirrors the Yoshimori we've seen so many times before.
SHIORI
(Please father . . . let it go.)
Yoshimori stares at her for a long time. Waters lays, almost deathlike, on
the ground, not knowing what is happening. But through Yoshimori's eyes,
he's already gone. All Yoshimori sees is his daughter.
IN SLOW MOTION
The sword lifts off Waters' face.
TIGHT SHOT of it as it slides into its sheath hidden in Yoshimori's
clothing.
RESUME NORMAL SPEED
Yoshimori steps over Waters' inert form. He walks over to Shiori and looks
straight into her teary eyes. She fights them away, but it seems to be a
losing battle.
He brushes the hair from her eyes, tucks the strands neatly behind her ear.
Then he sets his arms on her shoulders. Slowly, he leans down and kisses her
tenderly on the forehead.
His lips part from her, he looks deeply into her eyes.
YOSHIMORI
(I have accomplished what I have set out to do. My task
is finished. Let's go home.)
Shiori smiles and wraps her arms around his neck, hugging him tightly. She
pulls away, and Yoshimori stands up, proudly, like the warrior he is.
BACK on Waters, who stares at them, almost mystified.
Yoshimori takes Shiori by the hand, and father and daughter walk into the
forest, fading from view. Their figures gradually recede among the trees
until finally, nothing is left.
Waters lays his head back and remains silent and motionless.
Off this we:
FADE TO BLACK
And remain in the darkness for a long time, until gradually, we
FADE IN
INT. COUNCIL ROOM - DAY
Santiago stands proudly before the plexiglas map of his empire, facing the
twelve men sitting behind the U-shaped panel. The Council Room proceedings
smell of a cross-examination.
Waters stands in the middle of the Room, between Santiago and the Advisors.
All eyes are set on him. He looks nervous. On his cheek is a fresh white
scare where Yoshimori had cut him.
Santiago regards him coldly. And exhales.
SANTIAGO
You were given three hundred men. I asked you, as cheif among
my officers, to return with your task completed in full. And
yet you bring me only beaten survivors and failure as your
prize?
There is a long, sullen beat as Waters swallows hard.
SANTIAGO
(cont'd)
This was a test of your ability to lead, and you haven't shown
yourself capable. What have you to say for yourself?
Waters hesitantly opens his mouth.
WATERS
If only you'd been there, sir. He was unbelievable.
SANTIAGO
Now you know and understand, then. How one man can make all
the difference.
(beat)
I will deal with this matter at a later time. Return to your
quarters. And stay there.
He turns away from Waters and glances over his map. We see that the states
of Vermong and New Hampshire have been added to the Republic.
WATERS
(os)
Sir . . . ?
Santiago turns back. A tinge of annoyance crosses his face.
Waters points to the scar on his cheek.
WATERS
I'd like a digiwand. To erase it from my profile.
Santiago's eyes are locked on Waters, even as he produces the digiwand from
his belt. He holds it out to his officer.
Waters' hand is about to close over it when abruptly, Santiago pulls it
away. Waters stares at him confusedly.
SANTIAGO
Keep it. So you'll remember.
Waters steps back. The shock grows on his face. Awkwardly, he stumbles back,
turns around, and walks out of the room.
REVERSE on Santiago, as the door closes shut. He's about to return his gaze
to the map when something else catches his eye:
The Advisor, Rommel, grins.
BACK ON Santiago. His eyes narrow as they turn fully back to the map. PULL
BACK for a full view of the Council Room.
FADE TO:
EXT. YOSHIMORI'S HOUSE - DAY
The fair colors of the bright morning sky shimmer like rebirth. The clouds
have disappeared, letting the crisp sunlight stream down past the wooden
doors of the house.
Hobbes, Florence, Yoshimori, and Shiori an open door on the porch. None of
them say a word. Though they smile, it seems that there is an hint of
sadness between them.
The thrum of a car engine approaches. The Chevelle cruises into frame and
comes to a stop. TIGHT SHOT as Pinocchio exits the car. He walks over the
the four.
Hobbes turns to Yoshimori.
HOBBES
Looks like this is goodbye.
Yoshimori nods. He smiles, something that the three haven't seen in all
their time with him.
YOSHIMORI
Yes, it is. But what are goodbyes without parting gifts?
He turns to Pinocchio. From his yukata, he draws a Japanese-style dagger,
complete with a leather sheath and rayskin hilt. An aikuchi knife. Yoshimori
places it in Pinocchio's open palms.
Pinocchio gapes. He doesn't know what to say. He draws the silver blade and
stares at it, mystified.
YOSHIMORI
This is yours. May it serve you well.
(leans forward)
Do not lose your determination.
Shiori steps forward and peers into Pinocchio's eyes.
SHIORI
I was wrong about you. Sorry for the way I was.
PINOCCHIO
S'okay. I probably deserved it.
They both share a smile. Then Shiori turns to Florence, and takes a small
necklace from her pocket. CLOSE SHOT of the pendant that hangs from the
chain. It's identical to the one Hanako had, right down to the inscribed
Japanese character.
She places it around Florence's neck.
SHIORI
Please don't forget me.
Florence smiles warmly, takes the girl in her arms and hugs her. They part,
and Shiori's eyes seem to gleam with tears held back.
Shiori finally turns to Hobbes.
SHIORI
You were . . . difficult to select for. But here.
Learn from it. It's a good book.
She hands him a tan book. TIGHT SHOT of the title on the cover. "The Water
Margin". Hobbes holds it tightly in his hands, smiling.
HOBBES
Thanks.
YOSHIMORI
Thank you. For everything.
The three turn around and climb into the car. The engine revs up, the car
comes to life. It rolls back, turns to the left, and soon it speeds down
among a road etched in the trees. Seconds tick by, and soon, the car is
gone.
FADE TO:
EXT. ROAD - DUSK
The Chevelle cruises down the road.
INT. CHEVELLE - DUSK
Hobbes looks out the window. Florence has fallen asleep in the backseat. Her
M16 is set down next to her. Pinocchio remains rigidly watching the road up
ahead. They are all tired after such a long experience.
Hobbes stares up into the sky. From his POV: the first twinkling of stars
beginning to form in the heavens above. BACK ON him, as his eyes seem
distant, contemplating.
HOBBES
(vo)
What was he, dearest. A character created by some programmer
with a flair for the ancient spirit? A faceless VC who became
more than he was ever conceived to become? Or is there something
more? Can a man rise up, and become a person of mythic
stature? Are we bound, not by destiny, but by the determination
we hold in our hearts? I believe, Sophie, I may never know the
truth. But I do believe every world has a hero. I've met him
today in this world of paradox, where reality and illusion are
one and the same.
(beat)
He's given me something I'll never forget; something I can grasp
as I continue my crusade to return back to your arms. He's given
me a truth:
In the backseat, in her sleep, Florence grasps the pendant bearing the kanji
for "hope" between her fingers.
HOBBES
(cont'd, vo)
Hope is never lost forever.
MATCH DISSOLVE TO:
INT. CAVE - DUSK
The pendant, placed next to a photo of Hanako in her butsudan. Yoshimori
sets two burning sticks of incense before the photo. He and Shiori bow in
respect of a departed loved one.
RESUME:
INT. CHEVELLE - DUSK
Hobbes looks down at the tan book set on his lap. He picks it up, and opens
the cover, flips through the beginning and comes to the first page.
DISSOLVE TO:
EXT. LEDGE - NIGHT
The moon rises fully in the sky as Yoshimori walks out onto the ledge
protruding from the inside cave.
HOBBES
(vo)
Do not despise the snake for having no horns, for who
is to say it will not become a dragon?
IN SLOW MOTION
Yoshimori unsheaths his sword, gleaming, as the moonlight drips down its
pure blade.
ANGLE on Yoshimori, silhouetted in against the moon itself. Looking like a
warrior of the most ancient and forgotten years.
HOBBES
(vo)
In this way, may one just man become an army.
Off this we:
FADE OUT
THE END
IN MEMORIAM
AKIRA KUROSAWA
1910-1998
A SPECIAL THANKS TO JOHN WOO FOR ALL THE
CINEMATIC INSPIRATION GIVEN TO THE AUTHORS