"The Way of the Warrior"
By Fernando Frias and Alison M. Dobell
thechaosfactor@hotmail.com and AlisonMDobell@aol.com
Directed by John Woo
TEASER
FADE IN :
EXT. FOREST - DAY
On a peaceful mountainside valley, complete with fog winding around the
trees. The idyllic place for anyone to live.
LEGEND: MAINE FRONTIER, 1997, HARSH REALM
Crane down the side of the mountain to a roadside.
Suddenly, bursting through the foliage roars four Humvees, all with the
Republican Guard symbol of the crossed swords adorning their sides. Outside
the Humvees, we can hear the hiss of static as radio transmissions switch on
and off.
Pan quickly back into the thick green blanket of evergreen trees, shrubs,
and bushes. We can see three figures crouching down, trying to avoid being
detected.
One turns his head to look at the other two. He's a Japanese man, late 30s.
The two others are a woman, his age, and a little girl, about 10.
The man, TAKASHI YOSHIMORI, begins to whisper in Japanese.
YOSHIMORI
(Ssh, quiet. Stay low, or they'll hear
us.)
The woman, HANAKO YOSHIMORI, looks very scared. Around her neck is a
pendant. Suspended from the pendant chain is a coin with a Japanese kanji on
it. SUBTITLES translate the character for us:
"Hope".
HANAKO
(Who are they, Takashi?)
YOSHIMORI
(Republican Guard.)
HANAKO
(Why are you worried?)
YOSHIMORI
(I've heard enough to know they shoot you
on sight.)
The girl, SHIORI YOSHIMORI, exhales.
SHIORI
(Daddy . . .)
YOSHIMORI
(Ssh. We'll get out, don't worry.)
A beat as he smiles to reassure the girl. Then tensing up.
>From Yoshimori's POV: The Humvees, coming to a stop. Doors swinging open,
uniformed Guards coming out.
Reverse back on Yoshimori. He takes out a gun, a PP7 with a scope and laser
target, slips in a magazine.
YOSHIMORI
(Turn around, stay low. Get as far away as you
can.)
Hanako nods, and they all turn around and make a break for it.
CUT TO:
INT. HUMVEE - DAY
A radio speaker held up to a man's lips, we can't see his full face but we
can clearly hear his voice. His face is smudged in black, commando-style,
obscuring any identification. He's the UNIT LEADER.
UNIT LEADER
This is Unit Leader Alpha, moving in with
the platoon. We're located on grid 527A, Maine
Frontier. Mission objective: locate civilians
for repatriation. Over.
Fingers click the speaker. On the radio, a light changes from OUTGOING to
INCOMING. The radio hisses, followed by a response. We recognize it as
SANTIAGO.
SANTIAGO
(vo)
Move out the unit. Our capture of the East Coast
continues here. Terminate all who meet with hostile
resistance. Over.
The Unit Leader's finger's click the speaker again.
UNIT LEADER
Yes sir. Over and out.
The radio goes dead.
EXT. FOREST - DAY
Resume Yoshimori, Hanako, and Shiori, staying low while traveling through
the brush. On Yoshimori, pushing a branch out of the way.
In the background, the Republican Guard platoon and Humvees are more
distant.
Shiori trips over a tree root, falls, scraping her knee.
SHIORI
(hurt)
(Dad . . .)
Yoshimori turns, seeing his fallen daughter. He motions for Hanako to stay
down, and goes back to Shiori.
YOSHIMORI
(Shiori-chan? Are you all right?)
Shiori nods.
SHIORI
(It hurts, but I can keep going.)
Yoshimori takes a quick moment to look up. Circle around his head, until we
see the back of it and also his POV:
Republican Guard moving through the winding forest vines. Their guns are
raised threateningly.
Reverse on Yoshimori. He takes Shiori and lifts her up. Still staying as low
as he can, he carries her a few meters to where Hanako is waiting.
HANAKO
(Are you okay, Shiori-chan?)
Shiori nods.
YOSHIMORI
(Look.)
>From his POV: the edges of the foliage. Between it and the beginning of
another thick copse, an overwhelmingly wide clearing.
YOSHIMORI
(Damn.)
He sits down, looks Shiori deeply eyes.
For a moment, his gaze wavers (POV): The Republican Guard still wandering
through the forest. They're farther away, probably not close enough to get a
visual reading of the family, but still a tenable threat.
Yoshimori closes his eyes, shakes his head, and returns to looking at
Shiori.
YOSHIMORI
(Listen to me, daughter. I want you to
run. Run to the other side of that clearing.)
A beat as Shiori's eyes grow wide. Her head trembles. She doesn't want to.
YOSHIMORI
(Please, Shiori. Do it. Once you get there,
we'll be right after you. We've got to get you
where it's safe.)
Shiori stops trembling, but can't hide the fear in her eyes.
Finally, she turns around, and makes a mad dash.
>From Yoshimori's POV: his daughter, running. She makes it to the other side
safely, gets behind a bush, and crouches, out of view.
Resume Yoshimori and Hanako. They stand up, ready to run. Yoshimori takes
Hanako by the hand, grasping it tightly.
YOSHIMORI
(I love you.)
Hanako smiles.
They run. Quickly. Wind whipping up Hanako's long, shining black hair.
Suddenly, behind them a voice shouts!
UNIT LEADER
STOP RIGHT THERE!
Yoshimori and Hanako both speed up. Hanako screams!
IN SLOW MOTION:
The Unit Leader whips out an automatic pistol.
Yoshimori and Hanako continue running. Hanako's pendant wildly swings from
her neck.
The Unit Leader aims the gun.
Shiori watches, her lips mouthing words in Japanese.
The Unit Leader fires.
Hanako's body jolts forward. Her clothes are stained in blood. The pendant
chain snaps. The coin goes flying backward in the direction of the Unit
Leader.
Yoshimori shouts.
Hanako's body turns a haunting blue glow. Then she digitizes.
RESUME NORMAL SPEED
Yoshimori screams in anger. He turns around, full of burning rage, and
rushes full-speed at the Unit Leader.
The Unit Leader raises his gun.
RESUME SLOW MOTION
Before he can get a shot off, Yoshimori skillfully leaps off his feet, and
lands a judo kick square against the Unit Leader's jaw.
The Unit Leader goes down.
Yoshimori lands on both feet. A vein bulges from his forehead.
The Unit Leader tries to wrench himself up. Yoshimori's boot swings into
his stomach. The Unit Leader jerks.
Yoshimori looks up. From his POV: Republican Guard charging toward their
fallen commander.
RESUME NORMAL SPEED
Yoshimori turns around and hurtles into the thicket ahead. Once safely in
it, he grabs Shiori, and disappears among the trees.
Resume the Republican Guard, crowding around the Unit Leader. Some start in
the direction of Yoshimori.
GUARD
Sir, are you okay?
The Unit Leader sputters, pushes himself up, but nods.
UNIT LEADER
Leave them.
GUARD
What?
UNIT LEADER
It's just one man. Of no consequence.
GUARD
But . . .
UNIT LEADER
You have your orders, soldier.
The Guard nods, the platoon starts back in the direction of the Humvees.
Circle around the Unit Leader, bleeding from the mouth. He breathes heavily,
sweat running down his black, obscure face.
Suddenly he stops. Bends down, and picks up something.
CLOSE SHOT OF HIS HANDS: Grasped between his fingers is the coin that was on
Hanako's necklace.
CUT TO:
Yoshimori and Shiori, father and daughter, in the undergrowth. Shiori's eyes
are red, she's been crying. On Yoshimori, his face a stoic, disturbed
expression.
Shiori fights through tears to speak.
SHIORI
(Dad, where's mom?)
A beat. Again . . .
SHIORI
(Dad, where's mom?)
No response from Yoshimori. He just stares, lost in thought.
FADE OUT
ACT ONE
FADE IN:
EXT. SANTIAGO CITY - NIGHT
A view of the Government House. Uncountable steps leading up to a grand
building. Something about it seems healthy, powerful. Now the horror of the
plague has subsided. Santiago City has returned like a phoenix, rising from
its own ashes to become powerful once again.
Legend: GOVERNMENT HOUSE, SANTIAGO CITY, HARSH REALM
PRESENT DAY
INT. WAR ROOM - DAY
Close shot of SANTIAGO. His expression showing deep concentration. We PULL
BACK to show the entire War Room. The map is back up, it's pristine once
again. New Advisors have filled the empty chairs we saw in "Codejacked".
SANTIAGO
Are the plans proceeding as scheduled,
Major Waters?
WATERS stands up from among the Advisors. He looks rather awkward without
Inga by his side. Unsure of himself.
WATERS
Yes sir. Our best men are out scouting the
Michigan Frontier.
An ADVISOR cuts in.
ADVISOR
What are the tactics being employed?
WATERS
The scouting mission is underway, charting the
area. They're about a week's travel time away from
us. I'll be personally joining them after I lead
the invasion force into the field.
SANTIAGO
How much separation are you planning to keep between
the scouts and the corps?
WATERS
A day's travel. A large entourage would reveal us.
We need to keep it small. Undetectable. Forty men
in the scouting mission, including myself once I
arrive.
Santiago sits back, still no emotion breaking through his stone-cold
features, but giving the impression of quiet understanding.
SANTIAGO
Act quickly, Major. The call of conquest is summoning
you to battle.
Waters, not quite understanding Santiago, nods.
WATERS
Yes, sir.
He turns around and exits the War Room.
CUT TO:
EXT. FOREST - DAY
The same feel of the forest from the teaser. Quiet, serene, sunlight
streaming through the gaps in the canopy above. Snow has fallen rather
recently, it's dried up on the ground, but still visible on the trees.
A road, winding through the foliage.
Legend: MICHIGAN FRONTIER, HARSH REALM
The Chevelle pulls up into frame, comes to a stop.
PINOCCHIO
(os)
Hurry up, Hobbes.
MIKE PINOCCHIO exits the car. Out of the passenger side comes TOM HOBBES and
FLORENCE. Pinocchio brings his MP5K up, glancing warily around the terrain.
>From Pinocchio's POV: a vast field, tall green stalks as high as
>Pinocchio's
chest.
HOBBES
Where are we?
Florence looks around. Worried. Grips her M16 tightly.
PINOCCHIO
I don't know. Michigan Frontier is all
I've got.
HOBBES
We know that already.
Pinocchio exhales sharply.
PINOCCHIO
Then don't be asking questions.
He steps out into the field. He's barely a few feet in before the ground
squelches beneath his boots with moisture. He looks down.
Hobbes comes forward. Watches Pinocchio staring down at the ground
curiously.
HOBBES
What is it?
PINOCCHIO
Rice field.
HOBBES
Then there's people here.
PINOCCHIO
They could have gone already. Didn't you hear that
radio transmission? There's already Republican
scouts checking the place out, and an invasion force
on the way.
HOBBES
Who says they didn't stay?
Pinocchio takes careful steps forward. The ground sloshes underneath.
Suddenly, off-camera, the sound of a Humvee engine roars forward!
The three look at each other, then make a break deeper into the rice field.
In the background, a Humvee pulls up to a stop. Just as four Guardsmen
scramble out of car, Florence, Pinocchio, and Hobbes drop to the ground,
hidden among the stalks.
Pinocchio peeks through the rice.
>From his POV: the Republican Guards, guns drawn, examining the Humvee. Two
are standing, looking across the rice field.
GUARD #1
Looks abandoned.
GUARD #2
No, the engine is fairly warm. They're
close.
GUARD #1
They could have abandoned it and left the
engine on.
GUARD #3
If they were still here, we'd already be
dead.
The Third Guard's comment ends the conversation, but the car is still
surrounded.
Resume: Pinocchio. Very agitated about his car's welfare.
PINOCCHIO
(to himself)
Hurry up.
On Hobbes, looking just as tense as Pinocchio.
Cut to Florence. She's got her rifle ready for anything. Circle around her,
to view her POV.
Suddenly a fourth figure rises from the field! In a blur of motion, the
figure, a girl with long black hair, begins running.
The Republican Guard notice her.
GUARD #4
Hey! Stop her!
They break off in pursuit.
Resume the girl: racing through the rice stalks, water spraying under her
feet. All of a sudden, a hand reaches out and grabs her arm tightly.
>From the girl's POV: Florence.
>From Florence's POV: the girl. We realize it's SHIORI, in her early teens
now.
There's fear in her eyes, she trembles.
IN SLOW MOTION
Florence pulls Shiori, pulls her away from the Guardsmen and in the opposite
direction, toward the edge of the field a few yards away.
The Fourth Guard raises his gun.
Pinocchio appears next to the guard, swinging his MP5K up and opening fire.
The Guards hit the ground as bullets spray overhead.
Hobbes rises, holding his gun, and fires off two rounds.
All four Republican Guards crawl on their stomachs, keeping low. Back
towards the Humvee.
Florence notices the defense. She reaches the edge of the rice field, and
drops. She motions for Shiori to stay down.
RESUME NORMAL SPEED
She gets back up, unslings her M16, and races next to Pinocchio. She aims it
and lets lead fly.
On Shiori. She covers her ears, shielding them from the piercing gunfight.
On the First Guard, who manages to make a break for the Humvee. As he flings
open the door, he snaps back. Circle around him to reveal: a bullet hole in
his uniform. He digitizes.
The remaining three Guardsmen get up and tumble, staying low, back to the
car. They coldly hop in without a moment's thought for their fallen comrade.
The Humvee's headlights blaze, the engine roars. The car goes screaming off
into the road, around a corner, and finally disappearing.
CUT TO: Florence. Setting her gun down and putting the sling back over her
shoulder.
Pinocchio lowers his gun as well, but Hobbes keeps his out.
HOBBES
Florence! Where's the girl?
Florence turns around and marches to where she left Shiori. She's not there
anymore. Just as Florence starts to search the plain ahead of them, Shiori
appears next to her.
SHIORI
Are they gone?
Florence looks at Shiori. Pinocchio and Hobbes come up behind her. Hobbes,
hearing her question, nods.
HOBBES
They're gone.
Shiori keeps a fixed gaze on Florence. Not even paying heed to Hobbes'
reply.
SHIORI
Don't you talk?
Florence shakes her head.
Pinocchio looks at Hobbes, a suspicious expression on his face. Hobbes leans
over and whispers to him.
HOBBES
What's wrong?
PINOCCHIO
I don't know, Hobbes. We don't know her,
so there's no way I trust her.
Hobbes gapes in disbelief.
HOBBES
She's just a kid!
PINOCCHIO
And that's supposed to change my mind?
SHIORI
(os, to Florence)
You're a healer.
Pinocchio jerks back to Shiori, astonished. Shiori stares back at him, a
very intense stare for a girl her age. Pinocchio seems to waver under it.
Hobbes steps forward.
HOBBES
Where do you come from?
Shiori doesn't answer. Instead, she takes Florence by the hand and begins to
lead her across the plain.
Hobbes starts to follow.
PINOCCHIO
Hey!
Hobbes stops, turns back to Pinocchio.
PINOCCHIO
You can't be serious.
HOBBES
If Florence trusts her . . .
PINOCCHIO
I'm not about to be led into something I'm
gonna regret. Besides, I ain't leaving my
car.
HOBBES
Fine. You can stay here, then.
He starts after Florence and Shiori again. Pinocchio gives a sharp breath
before reluctantly following Hobbes.
INT. HUMVEE - DAY
A radio whirs to life. Waters picks up a radio speaker, exactly the way the
Unit Leader did in the teaser. Momentary static.
WATERS
Major Waters.
RADIO VOICE
This is Sergeant Major Willards speaking.
WATERS
The scouting mission commander.
WILLARDS
(vo)
That's right, sir. A report's come in from
my men.
A beat.
WILLARDS
(vo, con't)
We sent four of our men to survey the terrain on
grid 3175-3701. They said they were attacked by
a group of four rebels. I've been able to piece
together their descriptions, we got a positive ID
on three of them.
WATERS
Who are they?
WILLARDS
(vo)
Thomas F. Hobbes, Michael Pinocchio, and the healer
Florence.
Waters gawks. He wasn't ready for them to show up.
WATERS
All right. Keep me posted. I want round-the-clock
reports on any and all sightings of them. Over
and out.
He puts the speaker down as the Humvee trudges along the path. His
expression is one of both surprise and dismay.
EXT. FIELD - DAY
The sun's a bit lower in the horizon. An hour or two have passed. Crane down
to show Shiori, still leading Florence by the hand. Florence looks nervous
as they walk across a wooden bridge over another rice field.
Pan across, behind them. Pinocchio and Hobbes follow a couple yards behind.
Pinocchio squints.
>From his POV: a village in the distance. Huts, small homes, and a larger,
castle-like private mansion. All of them are Japanese-styled homes. Rising
from the center is a windmill.
Resume Pinocchio. Cautious.
PINOCCHIO
I don't like the looks of this place.
HOBBES
What's wrong this time?
PINOCCHIO
I don't know. Something ain't right. They're
all . . . Japanese.
HOBBES
And how is that wrong?
Pinocchio stops walking, turns to Hobbes, annoyed.
PINOCCHIO
Now you listen to me. I don't care if this is the
goddamn Emerald City. I'm not trusting anything I
don't know about, and until someone proves that this
place is worth relaxing in, I'm keeping my finger on
the trigger.
Pinocchio starts off again. Hobbes shakes his head, continues.
HOBBES
I don't know. It seems tranquil enough to me.
Suddenly a sword whips out of nowhere! The blade comes to a halt only
centimeters from Pinocchio's neck. Pinocchio doesn't move. A drop of sweat
falls onto the shining metal.
Hobbes looks stunned.
Florence turns around, horrified. Shiori starts toward Pinocchio.
Resume Pinocchio.
PINOCCHIO
I hope you aren't planning to use that.
Close shot of the blade. Pan up, past the lower part of the steel blade (a
Japanese katana sword), past the hand, past the military vest and shirt, the
neck, up to reveal:
TAKASHI YOSHIMORI. Older, tenser. Composed. The sword still held at
Pinocchio's throat.
YOSHIMORI
Who are you?
Close shot of Yoshimori's eyes. We can see a reflection of a tense,
unflinching Pinocchio.
Pinocchio doesn't answer.
YOSHIMORI
Answer. Or the blade will only come closer.
Shiori stops, stares up at her father, an obstinate gaze. She begins to
speak in Japanese.
SHIORI
(Leave them alone.)
YOSHIMORI
(Who are they?)
Florence has her gun aimed at Yoshimori, but intrigued by the conversation.
SHIORI
(Wanderers. They need food.)
YOSHIMORI
(How do you know they aren't spies for Santiago?)
SHIORI
(Because they just saved me from his soldiers.)
Yoshimori stares at Pinocchio. His is expression is calm, betraying nothing.
The warrior's sword gripped in his hands slowly moves away from Pinocchio.
Pinocchio lets out a sigh of relief. Hobbes watches Yoshimori slide the
katana into a leather sheath slung on his hip.
YOSHIMORI
Bring them into the town. They have a place to
stay now.
Hobbes' interest piques.
Pull back to reveal Yoshimori's entire wardrobe: Heavy, tan cargo pants,
military vest, brown shirt, . . . and a short yukata, a thin Japanese coat.
Like a kimono.
He walks away. Florence looks at him with something between reverence and
caution.
PINOCCHIO
What did I tell you?
Hobbes looks at Pinocchio.
HOBBES
We've got shelter now . . .
PINOCCHIO
Wonderful welcome we got.
HOBBES
He's as nervous about us as you are
of him.
PINOCCHIO
You'd think so.
HOBBES
You don't?
PINOCCHIO
A guy's gotta be pretty brave to hold a
blade to my throat with you and Florence
armed right next to me.
HOBBES
You think there's something else to him?
PINOCCHIO
If you're gonna drag me into that village
with freakin' Yojimbo probably running the
place . . .
HOBBES
You make it sound like he's a samurai.
PINOCCHIO
What makes you think he isn't?
Hobbes is thrown off by this last comment. He gapes at Pinocchio.
HOBBES
This is Harsh Realm. A virtual reality. What
makes you think there's a modern Japanese warrior
in here?
PINOCCHIO
You could make the same argument about prophecies
of a savior in this damn world too.
Hobbes stops. Pinocchio brings out a good point.
In the distance, the deep, thrumming sound of Japanese drums begins to beat.
Hobbes looks out in the distance, at Florence still being led to the village
with Shiori. Pinocchio is starting to make sense.
PINOCCHIO
Go ahead. March yourself in.
Pinocchio starts walking after Florence and Shiori. Hobbes watches him.
PINOCCHIO
(con't)
But let's hope this isn't a trap.
Hobbes, somber, begins to follow.
>From his POV: a full-scale view of the village as the sound of drumbeats
pulsates even louder.
EXT. STREET - DUSK
The streets appear clean, but old, worn. On the sides of the street are
farmers wearing jeans, overalls, coats, military utility vests, kimonos,
yukatas, and army pants. A mix of old and new clothing.
Yoshimori walks into frame among the crowds, followed by Florence and
Shiori. Trailing them by a few feet are Pinocchio and Hobbes.
Pinocchio keeps a cautious glare, his eyes swaying to and fro.
>From Hobbes POV: the denizens of the village, all eyes on the strangers as
they pass.
One of them suddenly comes forward. His name is KIKUCHIYO. He runs up to
Yoshimori, who turns to him before he's within a few feet.
KIKUCHIYO
(Do you know these? You bring strangers into
our village.)
Yoshimori regards him, blinks.
YOSHIMORI
(They may serve a purpose.)
A beat, as from his POV: Florence, looking cautiously as the two men
converse in Japanese.
YOSHIMORI
(They saved my daughter, nonetheless. Such
kindness is to be rewarded.)
KIKUCHIYO
(Saved from who?)
YOSHIMORI
(Republican Guard.)
Kikuchiyo's eyes widen.
KIKUCHIYO
(There are Republican Guard in the area?)
YOSHIMORI
(Do not reveal this to the people yet. I
will learn more of the strangers in time,
as I will of the threat of Santiago's forces.
We don't want them to panic right before the
festival.)
KIKUCHIYO
(I put my faith in you, sensei. But please
be cautious.)
YOSHIMORI
(Has there ever been a time when I wasn't?)
Kikuchiyo, having nothing more to say, walks off. But not before eyeing
Florence with suspicious eyes.
Pinocchio notices it.
PINOCCHIO
Whaddya think that was all about?
HOBBES
I don't know. You think I speak the language?
Pinocchio isn't amused.
Behind them, a voice calls out. Pinocchio turns around.
On Kikuchiyo, crouching, with another villager, SHIMADA. Shimada is quite
the opposite of Kikuchiyo's cold gaze; he smiles.
SHIMADA
(to: Yoshimori)
Yoshimori! Show us your strength!
He picks up a small fruit, an orange, and tosses it like a baseball,
screaming at Yoshimori.
IN SLOW MOTION
Yoshimori's hand closes over the handle of the katana.
Pinocchio cranes his neck to see what's happening.
The orange spins toward the man.
The sword flies out of the sheath, gleaming in the sun.
The fruit nears a little over arm's length from Yoshimori.
The blade makes an almost supernaturally controlled arc upwards toward the
fruit.
The sword passes through it, spraying juice in all directions.
The orange falls.
The sword goes into its sheath again.
RESUME NORMAL SPEED
The orange lands on the floor, neatly cut in two pieces. It spins, not
dripping any more liquid.
Shimada and Kikuchiyo both begin to applaud. Some of the other villagers
start to join in.
Hobbes looks at Pinocchio, completely mystified.
PINOCCHIO
Now I hope you know what you got us into.
FADE OUT
END ACT ONE
ACT TWO
FADE IN:
EXT. BRIDGE - NIGHT
Pinocchio, Hobbes, Florence, and Shiori, all moving in step behind Yoshimori
across a stone bridge over a river. Below them, the water ripples and churns
with a delicate, serene complexity.
In the sky, the moon hangs.
Pinocchio begins to pick up the pace, and moves quickly next to Florence.
Shiori eyes him without much regard. He doesn't seem to care.
PINOCCHIO
Where's he taking us?
SHIORI
The main house. Our home.
Florence shoots Pinocchio a quick look. It seems to say, "She's only a girl;
don't pester her with your cynicism."
SHIORI
You should be glad. He's never given this kind
of kindness to strangers.
A beat.
SHIORI
Especially if they didn't deserve it.
Pinocchio, not liking her comment, starts back toward Hobbes, who's been
watching the whole play.
They step off the bridge, onto the grass.
HOBBES
What was that all about?
PINOCCHIO
I've never been popular with the girls.
HOBBES
She doesn't like you?
Pinocchio shrugs.
PINOCCHIO
Isn't the first person. Sure as hell's latching
onto Florence, though.
>From Hobbes' POV: Shiori gripping Florence's hand tighter.
HOBBES
So we're going to . . . ?
PINOCCHIO
The master's house.
(beat)
You saw that trick he did with the sword?
Hobbes nods.
PINOCCHIO
Not every man can cleave a fruit like that.
Something's weird about this guy. I don't
like it.
Hobbes stops. A look of pure, unadulterated wonder envelops his eyes.
Pinocchio notes his gaze, and lets his own eyes drift in the direction of
Hobbes' stare.
>From Pinocchio's POV: a large, traditional Japanese home. A lot like a
shogun castle, but also like a garrison. The river the three have just
passed over serves as a moat. Stone blocks serve as step stones leading up
to a break in a tall stone wall, a fortified gateway. Two towers rise from
the compound. The wood of the house appears to be cherry. A light brown hue.
Hobbes continues to gawk.
PINOCCHIO
I don't like that either.
INT. HOUSE - NIGHT
Close shot of Pinocchio's hands around his gun, slipping in a magazine. He
clicks it in securely, then lays it on the ground.
Florence is behind him, propped up on her knees. Hobbes flattens a futon on
the wooden floorboard. None of them are wearing shoes.
Hobbes looks up at Pinocchio.
HOBBES
Are you gonna complain about sleeping on
the floor too?
Pinocchio shakes his head.
PINOCCHIO
Not as long as I'm sleeping with my gun.
Hobbes shakes his head also, but in weariness with Pinocchio's mistrust.
Behind them, a wooden-paper door slides open. Close shot of eyes looking at
them: youthful, Asian eyes.
Shiori enters the room, holding a tray with three steaming bowls of rice.
She moves slowly before Florence, oblivious to the two men. Carefully, she
sets it down before Florence.
SHIORI
I made you some food. I hope you like it.
Florence does something we don't see her do often: she smiles.
Shiori smiles back. She bows, and leaves the room.
Florence turns her attention back to the rice, picks up the bowl and
chopsticks beside it, and starts to eat.
Hobbes picks up chopsticks, and awkwardly holds them in his hand. Pinocchio
grumbles.
PINOCCHIO
Army give you a C-minus in chopstick usage?
He picks his own set up, and starts to eat.
FADE TO:
INT. HOUSE - NIGHT
Florence is fast asleep. Pinocchio lies beside her on the floor as well, his
MP5K gripped in his hand. This might be the first indoor shelter they've
gotten in a long time.
Pull back: on Hobbes. In the silence of dreaming.
Suddenly, the distant sound of tapping. A metallic clang.
Hobbes' eyes flutter open. His head jerks up. Alert. Attentive. Again, the
clatter. It's coming directly from above.
Hobbes reaches over and gets his automatic pistol.
EXT. HOUSE - NIGHT
The wooden-paper door opens up with a faint grind. Hobbes steps out into the
moonlight, gun ready. He walks under the cover of a tree. Shadows flicker on
his face. He looks up.
>From his POV: a silhouette on the thin beam of the roof.
Hobbes moves forward. Gun ready.
Circle around the shadowy figure. When we rest on his face, we know who it
is immediately: Yoshimori. Barefoot. His eyes are closed in deep meditation.
>From another angle: The sword suddenly springs from its sheath. It reflects
the moon's eerie glow.
Yoshimori holds it steadily in front of him, gripped tightly in his hands.
Then, with a swift motion of his wrist, he wields it in a full, effortless
arc over his head. He holds it out horizontally, slicing up, down,
side-to-side. Manipulating it like a master. The air whistles as the blade
runs through it.
Smoothly, the katana reenters its sheath.
Resume Hobbes: his gun down, his eyes transfixed on the shadow above.
Yoshimori then poises himself on his toes, a brilliant performance of
balance. His arms are outstretched. He begins to leap up and kick the air,
once, twice, six times. Practicing the art of aikido.
DROP TO SLOW MOTION
Gracefully, he leaps off the beam. In midair, he flips his entire body 360
degrees backwards in a circle, and lands softly back on the beam.
RESUME NORMAL SPEED
He exhales sharply.
YOSHIMORI
You enjoy watching me?
Angle Hobbes, who blinks. How did he sense him?
HOBBES
I heard something on the roof . . .
YOSHIMORI
You are alert. Conscious of your surroundings.
Such attributes certainly make you skilled.
He slides off the roof, and then drops onto ground level. Hobbes approaches
him cautiously, wonder smeared over his face.
HOBBES
How did you learn to do that?
Yoshimori sits on the wooden porch of the house. Hobbes sits down next to
him.
YOSHIMORI
I was taught by a master of Japanese arts.
Hobbes frowns. Could he be serious?
HOBBES
Who was he?
YOSHIMORI
A true genius from among the refugees.
Hobbes frowns again. Yoshimori notices it.
YOSHIMORI
The people living in the town are refugees from the Japanese
district of New York City. Some of them were the
second generation to feel the fiery wrath of the atomic bomb.
The ground zero was far enough away from them to give them
only minimal damage. Some have scars on their back, burnt skin,
but not anything of great consequence.
HOBBES
And the man who trained you?
YOSHIMORI
Ah. Sensei Minamoto. He was still vigorous in both soul
and body. When he found me, and Shiori, I was weak of
mind. Insanity was already rippling through my mind.
I couldn't face the fact that she was gone . . .
HOBBES
Who?
YOSHIMORI
Shiori's mother. My wife. I watched her slaying at the hand of
Santiago's men.
A beat as Hobbes digests the information.
YOSHIMORI
Surely no man has ever felt as much grief as I did.
HOBBES
You'd be surprised.
Another beat passes. Hobbes is clearly making reference to Sophie's death at
the hand of Waters.
YOSHIMORI
Shiori was only a child then, but she saw the
crime as well. Saw her mother scream, her last
expression of fear and agony, and then her
vanishing. Neither of us have ever been the same.
(beat)
But we are speaking of my master. That is another
story. Intertwined with my wife's fate.
Hobbes nods.
YOSHIMORI
When I met him, he saw me not as the broken man
I was at the time, but a man capable of finding
his true center. His point of balance. The refugees
needed someone to lead them. Time was following my
master like a stalking dragon. So he came to me,
taught me the ways of the ancients, and now I am
their leader.
HOBBES
And now . . . where is he?
A sorrowful expression comes over Yoshimori.
YOSHIMORI
The dragon came for him one night a year ago. Since
then, I have led these people to the settlement here.
A long silence draws between the two men. Hobbes digests every word fed to
him.
HOBBES
This settlement's under threat.
YOSHIMORI
Yes, I know.
Hobbes blinks.
YOSHIMORI
My daughter has already told me of the forces here
from Santiago.
HOBBES
What are you gonna do about it?
YOSHIMORI
What else is there to do? Fight, defend my people
if they attack.
Hobbes can't believe what he's hearing.
HOBBES
How are you supposed to fight an army? You're only
one man!
YOSHIMORI
I will manage.
HOBBES
You can't do this alone. Aren't you going to start
an army from the village?
YOSHIMORI
Many are either to old or too young. Those strong
and ready are few, they won't make a difference.
Hobbes suddenly stands up, turns around, and runs back toward his room.
>From a distance, Yoshimori watches, stone-faced.
INT. ROOM - NIGHT
A short time later. Florence and Pinocchio are both awake.
PINOCCHIO
You gotta be kidding me.
HOBBES
He can't fight them alone!
Pinocchio gives Florence a sharp look, then goes back to Hobbes.
PINOCCHIO
This isn't our fight, Hobbes.
HOBBES
When is it going to be our fight? How many
people have to die before it *is* our fight?
PINOCCHIO
You can't expect to go righting every wrong in
Harsh Realm.
HOBBES
Yeah, well you know what they say: The only thing
necessary for evil to prosper is for the good to do
nothing.
Pinocchio's voice suddenly erupts.
PINOCCHIO
Oh, don't go giving me this "we're the saviors, this
is our job" crap again!
Hobbes stops. He's angry. Florence shoots Pinocchio the coldest look
imaginable. Pinocchio notices it enough to have a regretful look wash over
him.
PINOCCHIO
Hobbes . . .
HOBBES
I can't watch these people die. It isn't right. Too
many people have died because of Santiago.
PINOCCHIO
Yeah. I know. But there's one other thing you haven't
considered before you make up your mind, Hobbes.
HOBBES
What's that?
PINOCCHIO
You've only heard one side of the story about him.
Florence stares at the two men arguing. Not ready to intervene.
HOBBES
(looks in disbelief)
He's a samurai, do you know what that means?
PINOCCHIO
He could be a stick of rock with 'Honor' and
'Righteousness' carved all the way through it and
it still wouldn't change the fact that he's a
stranger, Hobbes. We don't *know* him.
HOBBES
And what are we supposed to do?
PINOCCHIO
Watch our backs when he's around.
(beat)
But we're still defending this village.
INT. CANDLE-LIT ROOM - NIGHT
Angle from the top. Yoshimori, bowing in deep meditation. Crane down to him
to reveal a vast array of weaponry. Swords, guns, knives, both army and
traditional clothing.
Yoshimori starts to chant. As we circle around him we see that he's in front
of a small wooden altar, a butsudan. He places a small cup of rice and a
burning stick of incense in front of a small picture. The picture is of an
old man.
Behind him, Florence, Pinocchio, and Hobbes come to a stop. Yoshimori barely
acknowledges them.
YOSHIMORI
I already know what you are here to do. No.
Hobbes gives him a curious look. Pinocchio holds back annoyance.
PINOCCHIO
And why not?
YOSHIMORI
How can I repay you?
HOBBES
We're not here for a price. We're not mercenaries.
PINOCCHIO
Not all of us.
YOSHIMORI
How can I risk your lives and have nothing to give
in return?
HOBBES
All we ask for is food and shelter.
Yoshimori finally turns around. He pauses to consider the strength of their
commitment.
YOSHIMORI
Then let us prepare.
CUT TO:
INT. ARCHIVAL ROOM - NIGHT
A map folds out. Pinocchio's hand reaches out with a paintbrush and makes
three circles on it. The first and second are quite a distance apart, while
the third is only a few inches from the second.
Pan up to Yoshimori.
YOSHIMORI
Are you sure?
PINOCCHIO
That's exactly what we got from the transmission.
An invasion force. About a four hour drive from
here. Scouting mission's six miles away, moving in
the opposite direction. Away from us.
HOBBES
How do we take them out?
Florence looks on. She stares at Yoshimori.
YOSHIMORI
How many are there?
PINOCCHIO
Average invasion force is about a couple hundred men.
An eighth the number of Humvees.
HOBBES
We're talking about a lot of men.
PINOCCHIO
Too much to run in going guns blazing and hoping for
a lucky break.
YOSHIMORI
No. No brazen attack will destroy this enemy. We must
rely on stealth rather than force. Our numbers are
small, but carefully laid plans can overcome the highest
of mountains.
Pinocchio sighs.
HOBBES
We'll need to execute a quiet assault.
PINOCCHIO
And how's that supposed to happen? You're asking
for us to hit 'em hard without 'em knowing.
Hobbes frowns.
HOBBES
Nothing's impossible.
PINOCCHIO
Doesn't mean we can pull this off easy.
Neither Hobbes nor Yoshimori answers. Hobbes bites his lip, eyes trail off.
In thought. Knowing there's a solution to be found, only it's hidden.
HOBBES
If only we had explosives.
Florence's eyes brighten.
PINOCCHIO
Hell yeah. That would work.
He pauses. Turns to Yoshimori.
PINOCCHIO
(con't; to Yoshimori)
You got any?
Pinocchio looks at Yoshimori. Eyebrow lifted.
YOSHIMORI
We have dynamite. A cache in storage. The farmers
normally use it for clearing land.
Hobbes looks at Yoshimori, then at Pinocchio. He smiles. Things are starting
to fall neatly into place.
PINOCCHIO
Great. That's the plan then. Sneak in at night,
lay the charges, get out, and let them rip. We
gotta lay 'em out strategically, or else we won't
get as high a collateral damage level as we want.
Yoshimori nods. Hobbes looks pleased.
CUT TO: Eyes in the darkness. Japanese eyes. Listening in on the
conversation.
HOBBES
(os)
There we are.
YOSHIMORI
(os)
We shall attack tomorrow evening at sunset. Ready
yourselves for the battle.
IN SLOW MOTION
Pull back to reveal: Shiori. Leaning against the outside wall of the room.
Hearing all. There's a pained expression on her face, her eyes shimmer with
sadness in the shadows.
RESUME NORMAL SPEED
Without a sound, she turns and walks away.
FADE OUT
END ACT TWO
ACT THREE
FADE IN:
INT. MAIN HOUSE - MASTER BEDROOM - DAY
HOBBES, PINOCCHIO and FLORENCE are in the guest quarters. They are getting
ready. YOSHIMORI and SHIORI are in the master bedroom. He only has a little
time left to make his good-byes to his daughter.
YOSHIMORI drops to one knee and looks her in the eye.
YOSHIMORI
(Shiori-chan, this is not easy for me either
but I must ask this of you.)
SHIORI
(Please, father, I want to be with you.)
She does not want to stay behind. Does not want to be parted from her
father. She tries to fight back the tears. Tears of anger, sorrow and pain.
She is also afraid. Afraid that if he goes she will never see him again.
YOSHIMORI
(shakes his head firmly)
(It cannot be.)
SHIORI
(Then I'll stay with Florence.)
YOSHIMORI
(No, Shiori. Our friends will be walking into
danger themselves. I want you to be safe.)
SHIORI
(I don't want to be safe, I want to be with you.)
Yoshimori hides a sad smile. He leans forward and kisses her on the
forehead, so gently that it feels as if an orange blossom has drifted down
and touched her face. She looks at him, realizing she will not be able to
change his mind. They embrace tightly. Then he stands.
INT. GUEST ROOM - DAY
Hobbes and Pinocchio are packing up their stuff but pause when Yoshimori and
Shiori come into the room. Florence is standing by the window sorting
through their rations and putting them carefully into her pack so they will
be easy to get to.
She stops what she is doing and looks at Shiori. A tender smile graces her
lips.
SHIORI
I just wanted to say goodbye.
Florence nods.
Pinocchio quietly leaves the room to give them some privacy. This goodbye
has nothing to do with him. From the hallway he can see that the back door
is open. Drawn by the light he goes to the back door.
>From PINOCCHIO's POV: looks out onto a small Japanese stone garden. He
>walks
into the garden, letting the peace envelope him.
Resume: Shiori is trying to be formal, say her goodbye and go, but when she
looks at FLORENCE she just cannot do it. Her face crumples. FLORENCE opens
her arms and hugs her.
SHIORI
(mumbles into FLORENCE's shoulder)
I don't want you to go. I'll miss you.
Florence nods back, she feels sad too. She kisses Shiori on top of the head
then pulls back to give her a smile of encouragement and love. Shiori moves
away and goes to Hobbes.
SHIORI
(nods as if reassuring him)
We'll see each other again.
Hobbes tries to hide his amusement. He hunkers down and faces her, his good
nature shining through. His expression shows his gladness that she'll remain
safe in the village.
HOBBES
This'll be over before you know it, Shiori.
Shiori looks at him for a moment knowing it is a lie but liking him for
wanting to reassure her. She gives him a hug. She makes no attempt to look
for Pinocchio.
Shiori goes to Yoshimori and he takes her hand. Hobbes joins Florence by the
window and watches them go.
Wondering where Pinocchio is, he goes down the hallway.
>From HOBBES' POV: he notices the open back door and sees Pinocchio sitting
on a bench in the stone garden outside. Pinocchio has his back to them and
the house. Hobbes goes out the back door and walks up to him.
EXT. STONE GARDEN - DAY
HOBBES
Why'd you leave? She only wanted to say goodbye.
PINOCCHIO
Maybe to you and Florence, not to me.
HOBBES
(Irritated)
Would it have hurt you to stay in the room?
PINOCCHIO
(scowls)
I hate good-byes.
HOBBES
(looks back towards the house)
She'll be safe here in the village.
PINOCCHIO
(snorts)
As if anywhere's safe in Harsh Realm.
Hobbes looks at him, vaguely disturbed.
He notices the stone garden for the first time and as he turns his head
notices Pinocchio is watching him.
PINOCCHIO
You never seen a Japanese stone garden before,
Hobbes?
HOBBES
Not this close.
Pinocchio turns his head away and gazes in mute fascination at the stone
garden, soothed by the way in which it makes order out of chaos. The neatly
raked gravel making stylized waves around a smooth central boulder. It is
beautiful and elegant in its simplicity.
HOBBES
(frowns)
What's it for?
PINOCCHIO
(turns his head)
What do you mean 'what's it for'? It's a place of
to sit and think. A place to organize your thoughts,
clear your mind.
HOBBES
Is that what you're doing?
PINOCCHIO
No, Hobbes, I came out here to avoid all your
stupid questions.
Pinocchio stands up. The peace of the moment is ruined anyway. He might as
well go back inside the house.
Pinocchio and Hobbes go back into the guest room. Florence looks at them.
PINOCCHIO
Shouldn't be long now.
Florence nods. Hobbes looks at Pinocchio.
HOBBES
Do you think they'll give him the dynamite?
PINOCCHIO
(nods)
No question.
HOBBES
How can you be so sure? We're not exactly their
favorite people. If Santiago finds out they
helped us . . .
PINOCCHIO
Don't forget Yoshimori's the local hero. Their protector.
He could ask them for anything and if they had it they'd
give it to him.
HOBBES
This is hard on Shiori.
PINOCCHIO
And Yoshimori.
Something about the way he says it makes Hobbes look at him more closely.
HOBBES
He'll be relieved. Now he won't have to worry
about her.
Pinocchio turns his head and looks at Hobbes.
PINOCCHIO
When you hold your first child in your arms, Hobbes,
you'll understand.
Hobbes looks at him, surprised. Pinocchio does not elaborate. He is
remembering another child. One who did not have the good fortune to live
beyond infancy.
HOBBES
What do you mean?
PINOCCHIO
She doesn't want to be left behind, and Yoshimori
doesn't want to leave her behind. Necessity doesn't
change that. Never will.
Hobbes falls silent. He realizes there is still much about his friend he
does not know.
EXT. MAIN STREET OF VILLAGE - DAY
Yoshimori is coming out of a house. He is alone. He has a large pack on his
back but it appears to be either empty or have little in it. He walks passed
a plum tree that stands in front of the house. It is in flower.
Shiori is looking out of a downstairs front window. A Japanese woman - REIKO
SHIRAKAWA - is standing behind her also gazing out.
CAMERA ANGLE changes and pans round to YOSHIMORI's POV. He walks down the
street to the house of MIFUNE MUSASHI.
Musashi is expecting him. He is older than Yoshimori, and his face is far
more lined, his skin almost nut brown from long hours working in the paddy
fields. He is lean and fit, his eyes deep. He steps aside to invite
YOSHIMORI into his house. He does not speak until they are both inside.
MUSASHI
(You are going with the strangers then, sensei?)
YOSHIMORI
(Yes.)
(beat)
(I need a favor, old friend. Your help.)
MUSASHI
(nods)
(Kikuchiyo told me you needed dynamite.)
YOSHIMORI
(The soldiers are many and we are few. The dynamite will
help even up the odds.)
MUSASHI
(How much do you need?)
YOSHIMORI
(As much as you can spare.)
MUSASHI
(Then you must take what you need. We have powder as
well as sticks.)
YOSHIMORI
(nods, expression grim but pleased)
(That is good, Mifune.)
A beat as Yoshimori bows.
YOSHIMORI
(Thank you.)
MUSASHI
(returns the bow with a deeper one)
(No, sensei, it is I who must thank you. This danger
that threatens could destroy us all.)
Yoshimori nods and the two men leave together and head on foot for the
ammunition store.
EXT. AMMUNITION STORE - DAY
It is a specially constructed cellar on the edge of the village. Steel storm
doors protect it, and they have to brush aside several layers of soil to
expose the doors so they can unlock and open them.
They enter down a short flight of stone steps. Yoshimori swings the pack off
his back and carefully selects what he needs. Musashi watches him, noticing
how he avoids any of the sticks that show too much sign of sweating.
Musashi locks the store with care then they replace the soil, taking time to
smooth it out so the ground looks undisturbed.
IN SLOW MOTION
Yoshimori flicks a handful of very dry topsoil over it and sprinkles pine
needles and bits of debris to add to the illusion.
RESUME NORMAL SPEED
He stands up and takes his leave of Musashi.
Musashi watches Yoshimori walk back down the main street towards his house.
Only when Yoshimori is out of sight does Musashi slowly begin the walk home.
CAMERA ANGLE from the ammunition store, follows Musashi as he slowly walks
off down the street to his house. As if another pair of eyes is watching.
CUT TO:
INT. MAIN HOUSE - DAY
Pinocchio keeps watch. Something about his expression radiates apprehension.
He wants them to be on their way before anyone takes too much notice.
Florence checks her rifle and makes sure she has enough ammunition.
Hobbes crosses to the window where Pinocchio is keeping careful watch,
ensuring he does not make a silhouette.
Hobbes frowns at him.
HOBBES
What are you afraid of?
PINOCCHIO
(does not take his eyes off the street)
Just being careful, Hobbes.
He straightens a bit.
PINOCCHIO
He's here.
CUT TO:
INT. FRONT DOOR - EVENING
YOSHIMORI lets himself in quietly and steps into the front room.
HOBBES
Did you get it?
YOSHIMORI
(nods)
Yes.
Pinocchio watches closely as he swings the pack off his shoulders, wanting
to know exactly what he has. Yoshimori opens the pack and divides the
contents between the four of them.
Hobbes looks at Pinocchio.
HOBBES
What do you think?
Pinocchio is already rolling a length of fuse wire in his busy hands,
calculating the payload he can get out of the dynamite and powder.
PINOCCHIO
Don't worry, Hobbes. This's more than enough to
get the job done.
HOBBES
(glances out of the window at the quiet street)
I'm surprised your friends didn't want to say goodbye.
YOSHIMORI
The more eyes that watch, the more tongues may talk.
Hobbes nods his understanding.
EXT. YOSHIMORI'S HOUSE - DUSK
Yoshimori takes them out the back way, skirting the stone garden and taking
an old worn track. It will soon be fully dark.
And the battle is ready to be fought.
FAST CUT TO:
EXT. REPUBLICAN ENCAMPMENT - NIGHT
Aerial pan across: to reveal an entire valley full of Humvees. They seem
almost impossible to count. Not only that, but almost four times as many
makeshift tents are erected in the area. Housing hundreds of Republican
Guard. The enemy waiting to strike.
SHIFT TO: a the same view, only seen with a green tint. Through night-vision
binoculars. Circling around.
Reverse on Pinocchio. A large bag is slung over his shoulder. Florence is
beside him, also holding a bag. Both have their trademark guns ready.
The four warriors look over the encampment from a ridge high above an
abandoned road. The foliage is dense, hiding them well.
PINOCCHIO
Got 'em. Looks like a hell of a lot of
guys.
IN SLOW MOTION
He tosses the binoculars to the side. Yoshimori catches them.
RESUME NORMAL SPEED
Yoshimori looks through them.
>From his POV through the binoculars: The last few Republican Guard entering
the tents. They look weary. Most of the tents look hastily made. A few more
shifts in view, and we see three Guards talking. Another shift. Three more,
breaking apart to another side.
YOSHIMORI
Six guards. As you predicted.
PINOCCHIO
Yeah. Six risks.
HOBBES
We need to take them all down without waking
up the rest.
PINOCCHIO
Piece of cake. Just tell them their moms want
them home.
Yoshimori, ignoring Pinocchio's sarcastic quip, studies them. One can almost
feel the strategic layout already being formed. He's quiet. But his eyes, as
always, are intense. Unwavering.
YOSHIMORI
I shall take care of the first three.
A beat as Florence looks at him.
YOSHIMORI
(con't)
Alone.
PINOCCHIO
You're not serious.
Yoshimori looks deeply at Pinocchio. Pinocchio absorbs it almost instantly.
He means exactly what he says.
HOBBES
You really think you can do it?
YOSHIMORI
We are a brotherhood already. Would you doubt
your brother?
PINOCCHIO
All right. So maybe you can.
A beat as he considers his words.
PINOCCHIO
You probably will, too. But that still leaves three
more on the other end of the camp. What are we supposed
to do about that?
Yoshimori, hearing Pinocchio's question, contemplates.
YOSHIMORI
Wait for me to signal you.
He looks at Pinocchio sharply.
YOSHIMORI
(cont'd)
I will take the first three by surprise. The second . . .
they will be more strategic, more prepared. I will have
to lure them to me. Under the guise of helplessness. I
will allow them to stalk me as though they were tigers
hungering for the kill.
(beat)
I will kick up soil. Spray the earth upon itself. When you
see the signal, come, attack. And when we are done . . . ?
PINOCCHIO
Regroup in the forest.
HOBBES
Sounds like a plan.
Florence nods.
YOSHIMORI
Then it is decided.
With that, he stands, turns, and disappears into the foliage.
Hobbes starts up after him. A hand reaches out, snatches him down again.
Pinocchio gives him a harsh glance.
PINOCCHIO
You heard the man.
HOBBES
Do *you* really think he can do it?
PINOCCHIO
I don't know. If he says so.
HOBBES
You can't just leave him to do it alone,
that's impossible.
PINOCCHIO
Don't tell me about impossible.
He turns to Florence.
PINOCCHIO
We stay here until we know he needs us there.
If he's as damn good as he says he is, we'd
only get in the way.
Florence nods.
Pinocchio lifts up the binoculars to his eyes.
HARD CUT TO:
The three Republican Guard. In close proximity to each other. Eyes roving,
guarding the Invasion Force Encampment. Guns ready. One of them, MARSHALL,
looks down the roadside. It's barren. Devoid of life. Moonlight creates
eerie shadows against the cold gravel.
Cut to: Yoshimori. Laying on the ground, facing away from the road. He clips
two magazines into two .45 semi-automatic pistols. Tucks them neatly into
his coat. He then pulls out his katana, stares at the gleaming blade. He
closes his eyes. Meditating. Focusing on the task at hand.
Then his eyes open. And he gets up.
Resume the three Republican Guard. Marshall hears a clicking coming from
behind. He whirls around, gun pointed toward the sound.
>From his POV: a silhouette. Standing poised. Silent as the wind blows,
making his clothing billow.
Marshall and the Guard with him, HALL, both lift their weapons and rush over
toward the form, guns drawn.
MARSHALL
STAY WHERE YOU ARE!
The figure raises his arms behind his head. Hall keeps the gun trained on
him as Marshall flips on a switch on his own assault rifle. A flashlight
showers the figure with luminescence. ANGLE ON: Yoshimori. Unnerved. We can
see that nothing, not his guns nor his sword, is visible.
Marshall walks cautiously around him. Yoshimori keeps a stern gaze. Behind
them, the third Guard, BRODSKY, comes up. Marshall turns around.
MARSHALL
Call Major Waters. Tell him we found this
guy snooping around the fringes of the camp.
BRODSKY
Yes sir.
He turns around, and jogs toward the tents. Marshall turns his attention
back to the intruder.
MARSHALL
All right, Jap, let's get moving.
Without a word, Yoshimori begins walking toward the camp. Marshall lowers
his M64, takes out a cigarette, and lights it. Smoke curls and disappears
into the wintry air.
Yoshimori is led toward the camp, a Guard on each side. Brodsky's up ahead.
He's dropped back to a rather uniform march. Yoshimori's eyes sway back and
forth between the two men. Studying them. From his POV: Marshall. Then Hall.
Each has a small gun at their side. Marshall's M64.
IN SLOW MOTION
Yoshimori leaps fully off the ground, dealing a furious blow to Hall's gut.
Hall goes down. Marshall begins to lift his gun.
Yoshimori pulls out his well-hidden katana. Swings it with delicate grace
across Marshall's chest.
The glint of light from the blade flashes.
Marshall's eyes bulge just as a scarlet tide begins to flow onto his green
Republican uniform.
Still standing, he digitizes.
Hall, recovering his balance, pulls up his gun.
Yoshimori's fist slam across his jaw. Knees him in the stomach.
The katana slices upward, across Hall's spine. Hall twitches sickeningly up.
His eyes roll back into their sockets.
He hits the ground.
RESUME NORMAL SPEED
Yoshimori walks plaintively over the bloody corpse just as Hall sparkles
with an iridescent glow, and vanishes. The lone warrior's eyes are locked
forward. From his POV: Brodsky. Looking horrified. He whirls around, breaks
into a fast, desperate run.
IN SLOW MOTION
With the most casual of ease, an unflinching gaze, Yoshimori removes
something small from his belt. Something metal. Shining.
Brodsky continues running. He opens his mouth to scream for help.
And suddenly, his back arches backwards. Pain contorts his face. He slips
down to his knees, lands face-first in the mud.
RESUME NORMAL SPEED
On Yoshimori, arm outstretched. He just threw something. From his POV:
Brodsky. Something small embedded in his lower back. Brodksy digitizes. The
metal doesn't digitize with him.
ZOOM IN on it: it's a shaken. A circular disk, blades radiating from a solid
center.
SHIFT TO: the green-tinted binocular view. Pinocchio sets them down, gaping
at what he's just seen. The sheer precision of the attack is overwhelming.
Pan onto Florence and Hobbes.
HOBBES
Something up his sleeve's right.
PINOCCHIO
Watch him. It's not over yet.
(beat)
There's still three more Guards.
CUT TO: Yoshimori. Obliviously walking over to the nearest Humvee. With the
utmost care, he opens the driver's side door without a sound.
INT. HUMVEE - NIGHT
Leaning past the steering wheel, to the small radio between the two seats.
Three lights are blinking on and off. Under them are the letters 'WT',
followed by the numbers one through six.
Yoshimori picks up the receiver. He presses the side button with his thumb,
and brings it slowly to his mouth.
YOSHIMORI
(whispering)
This is Hall. There is an intruder present, headed
toward the camp at twelve o'clock. Appears unarmed,
but approach with the utmost caution.
With that, he flips off the radio abruptly.
CUT TO:
EXT. NORTH SIDE OF REPUBLICAN ENCAMPMENT - NIGHT
A Republican Guard, SCOTT, puts down his walkie-talkie. He has a hard, grim
look as he clips it to his belt. He turns around. From his POV: the other
two Guards, CROWE and RIFKIN.
Scott nods. They bring up their guns, prepare to move out.
RESUME:
EXT. REPUBLICAN ENCAMPMENT - NIGHT
Yoshimori waits. Waits for his opponents, no matter what number, to come to
him. He remains still, unwavering from deep concentration. Knowing that the
enemy may strike at any moment. That he must prepare for it.
SHIFT TO: the binocular POV again. Then on Pinocchio.
>From his POV: the Guards quietly spot him. All three lean up against the
back of a Humvee, facing the front of a second Humvee.
Yoshimori looks around. From his POV: the windshield of the second Humvee.
He squints. ZOOM IN on the windshield. The three soldiers all clearly in
view from the glass's reflection.
RESUME Pinocchio's POV: Scott makes a few motions. Quiet instructions to the
other two. Rifkin nods. He and Crowe move to the side of the first car. They
crouch downward, and begin to move silently toward Yoshimori.
ANGLE on the two soldiers, hidden behind the hoods of the file of military
vehicles. In the b.g., we can see Yoshimori. Still standing. Not flinching
for a moment. Totally concentrating on the task at hand.
They reach the end of the line of cars. Now they're behind Yoshimori. Still
out of his view.
CUT TO: Florence, watching the scene play out. Sensing the danger involved.
Waiting for the signal.
RESUME:
The confrontation. Scott appears out in the open, directly in front of
Yoshimori. He raises his M64, levels it at the lone man ahead.
SCOTT
Stay where you are. Put your hands up.
Behind Yoshimori, Rifkin and Crowe appear from behind Yoshimori. They also
lift their weapons to the threat ahead. The threat that is seemingly
trapped. Yoshimori does nothing in response to Scott's orders. Calmly, he
studies the gunman before him.
SCOTT
I said put your hands up!
Yoshimori stays motionless.
IN SLOW MOTION
Suddenly, he makes a sharp kick. Dirt sprays up, carrying a brown fog with
it.
RESUME NORMAL SPEED.
Quickly Florence gets to her feet. Before Pinocchio can react, she's off,
sliding down across the muddy terrain toward Yoshimori.
PINOCCHIO
Go! GO!
He leaps up, slides down the hill behind her, landing at her side.
Hobbes yanks out his automatic, stands up, follows them, only more gingerly.
He takes careful steps down the incline.
ANGLE on the two soldiers. Crowe starts to move forward.
IN SLOW MOTION
>From behind Rifkin, a leather strap from an M16 whips out, tightens like a
noose around his neck!
It's Florence. She twists it, tightening it. Rifkin begins to gasp.
Crowe raises his gun just as the butt of another gun slams across the back
of his head. He drops to the ground, unconscious, to REVEAL: Pinocchio.
Florence tosses her gun on the ground, pulling Rifkin down with it.
His gun flies upward, out of his hands, as he lands on his back in the mire.
Droplets of dirty water spray in all directions.
Florence catches it, rams the barrel across his face.
Blood drains from a fresh wound on his face. He's out cold.
Scott, seeing this all happen, charges full-speed at Yoshimori.
Yoshimori rises off the ground, sending a sidekick straight across Scott's
jaw. Scott falls.
RESUME NORMAL SPEED
Almost as soon as he hits the ground, Hobbes is over him with a gun, ready
to pull the trigger. Yoshimori quickly grabs his hand.
YOSHIMORI
No guns. No bullets. If you choose to fire one
shot, you choose to reveal us all.
Hobbes, comprehending, nods. Puts the gun down. The calm, calculating scene
is broken quickly. Scott tries to get up again, make a break for it.
Yoshimori immediately whips out his sword, slashes at the back of his neck.
IN SLOW MOTION
Scott goes down again. Scarlet covers the back of his neck as he vanishes in
a haunting blue light.
RESUME NORMAL SPEED
Hobbes, looking shocked. Yoshimori, totally oblivious. Florence and
Pinocchio approach them. Pinocchio now has the bag slung over his shoulder.
He drops it to the ground. CLOSE SHOT of the bag, now open for us to see the
contents. Dynamite.
Pinocchio grunts. He pulls the bag open more, begins to put the sticks of
dynamite underneath his arm. Florence does the same. Hobbes takes out fuse
wires. All three begin to lay out charges, one by one, on the ground. We
PULL BACK to show: there's a lot of room to cover.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN:
EXT. REPUBLICAN ENCAMPMENT - NIGHT
Florence squats down as she inserts a wire into one more charge. She lies it
gingerly on the ground, stands. We CRANE AROUND her to reveal: a vast,
intricate web of dynamite, about one every ten square feet. In the
background, we can see Pinocchio laying one more underneath a Humvee.
On Yoshimori and Hobbes. Standing guard, making sure no one awakens long
enough to expose the men and healer working in shadow. Yoshimori's thoughts
are hidden behind an intense stare. IN SLOW MOTION, he blinks. Resuming
NORMAL SPEED, he grips the handle of his katana, brings it to bear.
Cut to: the interior of a Humvee's open trunk. It pops open. Pinocchio swims
into view. From his POV: grenades. He's stumbled upon a cache of explosives.
Eagerly, he takes a few, jamming them in his pockets. The trunk closes
slowly,
we FADE TO BLACK.
Resuming the scene. Pinocchio walks up to another vehicle. It's larger, has
an enormous cylindrical structure. A fuel truck. Pinocchio digs into his
pockets, bringing out a screwdriver.
He kneels over just as Hobbes comes up behind him. Gripping the handle
tightly in his fists.
HOBBES
What are you doing?
PINOCCHIO
Getting us some insurance.
With a sharp jab, he punctures a hole into the tank. Fresh, clear gasoline
begins flowing out, creating a small river.
Florence watches the two men. Then stares at Yoshimori. We can see her
expression betrays a deep contemplation. As to what, it is a secret only she
knows.
Hobbes walks up to Yoshimori.
HOBBES
(whispering)
It won't be long now. They've got a couple
more charges to lay before-
YOSHIMORI
(interrupting)
You do not have to inform me. I have faith in
them.
Hobbes is taken aback.
YOSHIMORI
There is something you must understand. Though
your companion distrusts me because he does not
know who I am, I know who he is. His eyes tell
everything. I see the fire of a warrior within
him. I know he will succeed. So do not concern
yourself with trying to succor me.
Hobbes, not knowing what to say, drops back into the guarding routine.
CLOSE SHOT of Yoshimori. He tilts his head toward a faint, droning sound in
his ear. From the sound of it, it's in the distance.
Yoshimori grabs Hobbes, pulls him to the ground.
HOBBES
What's the mat-
Yoshimori puts a finger to his lips. Hobbes shuts up. That's when he hears
it too. The drone. Both men lift their heads. From Hobbes' and Yoshimori's
POV: in the background, past the trees, two red lights have appeared,
casting crimson rays all around. Hobbes begins to listen more closely. The
drone is the sound of a car engine.
Yoshimori gets up. He starts in the direction of the Humvee.
HOBBES
(whispering loudly)
Yoshimori . . . Yoshimori!
Yoshimori raises his hand, not turning around. He still requires silence.
YOSHIMORI
(whispering)
I will attend to this development. Remain
here, guard your companions' work.
With that, in the sharpest burst of silent energy, he takes off into the
foliage.
Hobbes watches him go with a kind of helpless look. He inwardly decides to
let Yoshimori do what he will without doubting him again. He turns around to
look at the two still setting the dynamite. Pinocchio doesn't seem to
acknowledge Yoshimori's absence.
INT. HUMVEE - NIGHT
Waters is at the wheel. He's driving alone. Ahead, the lights slice through
the darkness, shedding light into the bowels of the forest as it continues
down the road. He picks up a long-range radio.
WATERS
This is Major Waters.
Static. Then . . .
RADIO
(vo)
This is Willards. Reporting on grid 3175-3786.
We hear you.
WATERS
Prepare for my arrival at o-four-hundred. I'll
be assuming command as soon as I arrive.
RADIO
(vo)
Yes, sir.
The radio goes dead. Waters continues driving. Alone.
EXT. ABANDONED ROAD - NIGHT
Headlights pierce through the narrow road. The Humvee bounces down the rocky
road. Off this, we PAN from the road into the thick underbrush lining the
edges of the concrete. A rock, a tree stump, trunks, a bush . . .
Eyeballs. An intense brown staring past narrow eyelids.
Yoshimori stands, and starts to follow the Humvee on foot. He bounds through
the tree trunks, maneuvering through them as if he's been born and raised
among the creatures of the forest.
INT. HUMVEE - NIGHT
RESUME: Waters, hands firmly on the steering wheel. His eyes look out on the
faded yellow lines on the pavement, but he's got a detached expression. Not
really paying attention to what he's doing.
>From his POV: The hood of the Humvee. Suddenly, something shiny whizzes
through the air at a high speed! It slams onto the hood, spraying fresh
sparks in all directions!
Waters loses control of the vehicle. The steering wheel goes wild in his
hands.
EXT. ABANDONED ROAD - NIGHT
The Humvee swerves to the right, then to the left. It bucks around, making a
complete 180 degree rotation. Waters slams hard on the brakes. The Humvee
almost tips over on its right side. Then it comes to a sharp stop.
Water exits the car. He's badly shaken, his fingers tremble. Cold sweat
drips from his forehead. He turns his head to look at the badly gnarled
hood.
ZOOM IN from his POV: We can clearly see another shaken, embedded in a sea
of twisted green metal.
Water stares at it. Not quite believing his own eyes.
He starts toward the back of his Humvee. Probably intent on grabbing heavy
artillery. The small .9mm automatic at his side doesn't cut it. As he walks
past the driver's door, he stops. PAN DOWN from his POV: a boot print in the
mud.
Now he looks even more agitated. His eyes sway back and forth, scanning for
any sign of any man. He leans up, back pressed against the side of the
Humvee.
PAN to the right, so that we can get a glimpse of both the inside and
outside of the vehicle. Yoshimori's inside, he and Waters are back-to-back.
Yoshimori readies a gun. And Waters doesn't even know it . . .
CUT TO:
EXT. REPUBLICAN ENCAMPMENT - NIGHT
On Pinocchio, laying down one more charge. He grabs a segment of the fuse
wire and sticks it into the charge, adding one more piece to the already
overblown web. Then he takes a handful of soil pours it onto the charge.
Hiding it beneath the dirt. We PULL BACK, revealing the web; all the charges
are hidden the same way. Their job's nearly done.
He stands up, starts to look around. Florence and Hobbes are nowhere to be
seen. Pinocchio opens his mouth.
PINOCCHIO
(whispering)
Florence? Florence!
Nothing.
PINOCCHIO
(still whispering)
Hobbes?
Suddenly a sharp zipping noise jerks his attention behind him. From his POV:
a soldier, GARNER, exiting a tent. He's rather drowzy. In fact, he doesn't
show any sign of noticing Pinocchio. Pinocchio stays completely still. Not
about to get his attention.
Garner starts toward on of the Humvees. About two meters away from it, he
suddenly stops. Looks down. From his POV: dirt cakes around his boot, but
crevices in it reveal a charge.
The soldier looks up just as Florence appears in front of him. She stares at
him, eyes wide. Her M16 is slung behind her, out of easy grasp. Garner
snatches his own gun, a .9mm automatic pistol. He aims it at Florence. Then
he notices her eyes are distant. Looking behind him.
He whirls around.
A SHARP PULL BACK: and we see Pinocchio and Garner, face-to-face.
Garner's automatic is pointed at Pinocchio's cheek. Pinocchio's MP5K is
pointed at Garner's forehead. They stare at each other. Frozen. Knowing
the threat.
A hint of recognition glimmers on Garner's face.
GARNER
Mike Pinocchio . . .
PINOCCHIO
In the flesh.
Garner smiles. It's a malovolent grin.
GARNER
You won't pull the trigger.
PINOCCHIO
Neither'll you.
GARNER
How do you know that?
PINOCCHIO
Because the Republican Army issues red berets to their
soldiers, not balls. You ain't got any. And you pull
the trigger, that woman behind me'll make sure you get more
peppered than a baked potato.
Garner doesn't reply. They both know this is the worst stalemate possible.
A long pause follows as they stare at each other past the barrels of each
other's guns.
GARNER
You know, they'll make me a saint once I kill you. I'll
get a nice couple thousand for a job well done. Getting
rid of one of General Santiago's most wanted.
PINOCCHIO
Yeah, you'll be a saint, all right. A saint who ended up
a martyr. Hell of a cause you're fighting for, too. Killing
innocent people, driving them from their homes . . .
GARNER
You won't pull either. One shot to my forehead, you'll
have the whole damn camp on you.
Pinocchio's POV suddenly switches. He looks past the soldier as: Florence
removes her gun from her side, aims it squarely at Garner. One shot
will get him for sure.
Pinocchio suddenly grins devilishly back at Garner.
PINOCCHIO
You're not thinking straight, soldier.
Florence puts her finger on the trigger . . .
PINOCCHIO
You're forgetting one thing. And it's that . . .
Pulls back the hammer . . .
PINOCCHIO
I DON'T GIVE A DAMN!
IN SLOW MOTION
Pinocchio suddenly hits the ground!
Bullets spray, Garner's body is wracked with bullets. He arches backward
in pain, and disappears in a flash of digital light.
Pinocchio gets to his feet, runs toward Florence. Hobbes appears from
behind, having heard the shots ring off.
RESUME NORMAL SPEED
PINOCCHIO
Go! GO!
As they begin to run back toward the high incline at the edge of the camp,
we can hear a cacophony of voices suddenly shouting out, a myriad of
soldiers crescendoing into the night, waking to the sound of gunfire.
CUT TO:
EXT. ABANDONED ROAD - NIGHT
RESUME: Yoshimori and Waters, back-to-back. In the background, muted shouts
can be heard. Waters, looking confused, tilts his head in the direction of
the encampment.
And suddenly, he hears a sharp CLICK.
IN SLOW MOTION
Waters suddenly slams on the ground.
Two bullets pierce through the car! Both are only inches from him, very
close to splitting his skull.
Waters rolls over on his back, gets up.
>From his POV: The Humvee door flings open. Yoshimori, blazing in silent
determination, exits. He eyes Waters.
RESUME NORMAL SPEED
Waters blinks. Both men stare at each other; Waters apparently mystified by
the tense Japanese man in front of him, Yoshimori concentrating at his new
opponent. Out of Waters' view, Yoshimori grips the handle of his sword.
IN SLOW MOTION
Waters reaches for the .9mm at his side. His hand closes over it, he jerks
it up.
Yoshimori reacts almost in anticipation. He kicks Waters' fist, sending the
gun spiralling out of his hands.
It lands in the mud, out of reach.
Waters dives for it. His hand comes within half a foot of it.
And then he stops, falls down on his stomach. Yoshimori tripped him.
He turns around, tries to punch Yoshimori in the stomach.
Yoshimori grabs Waters' wrist, whirls him around. He begins to bend Waters'
arm backward. We can hear ligaments pop, see muscle flex as Waters' face
floods with pain.
Waters quickly seizes Yoshimori's leg, forces his body weight against him.
Yoshimori slams against the side of the Humvee. He loses his grip on Waters.
Waters wrenches free. From his POV: the gun lying in the mud, half-exposed.
He jumps forward to it, grasping the slippery butt in his palm. He turns
around quickly, aiming at his advesary.
Yoshimori reacts seconds before Waters can manage a shot off. He grabs his
wrist again, elbows him viciously against his jaw.
The gun reels out of Waters' fingers; it clatters against the Humvee window,
then disappears from view.
Yoshimori lunges at Waters, leaps into the air.
A thick-soled boot cuts into Waters' chest.
Yoshimori sails backward, somersaults back onto his feet, ready.
Waters jerks back. He looks just up just in time to see Yoshimori, bounding
back toward him.
RESUME NORMAL SPEED
In a flash of motion, Yoshimori knees him savagely in the gut. Followed by a
blow to the chin, sending Waters back up. Then finally whirling around and
sending the hardest blow yet to his abdomen.
The pocket on Waters' Republican uniform rips half-open.
Waters staggers back. A rough tree trunk on the roadside halts his descent.
He breathes deeply, then hurls himself full-force at Yoshimori. Reflexively,
Yoshimori catches him by the forearm, twists it around his back, and grasps
the back of his neck.
With an oblivious demeanor and fierce strength, Yoshimori rams Waters' head
once, twice, three times against the window of the Humvee. He pulls Waters
back a final time, stares at him straight in the eye. And then rams him a
fourth time.
The glass shatters. Pieces splinter in every direction. Some are colored
pink with blood. Yoshimori brings Waters back, staring at him. Without much
effort, he tosses him aside.
Waters falls. Yoshimori stares. As Waters descends, something sparkling
flies out of his pocket.
IN SLOW MOTION
It's perfectly round. Effortlessly, it sails through the air.
Waters' limp form finally hits the ground. He rolls over, face-first in the
mud.
Yoshimori continues to look at the object. It begins to fall.
Waters' head starts to rise. Covered in mire.
The object nears the ground. Yoshimori blinks.
And then it rolls neatly on the ground, lands on its side.
ZOOM IN on the object. A coin. A coin bearing a kanji character. The same
kanji character on the coin that was on Hanako's necklace.
RESUME NORMAL SPEED
Yoshimori stares. Slowly, we can see his blood is boiling with recognition.
Pure hatred is pulsing like a raging waterfall through his veins. He walks
over to it and picks it up. From his POV: the coin. The kanji character.
Yoshimori closes his eyes.
>From his internal POV, we see SUDDEN IMAGES OF FLASHBACK
-- The Unit Leader holding a gun. It goes off.
-- Hanako jerking forward, clothes stained with blood.
-- Yoshimori screaming in anger and sorrow.
-- Hanako digitizing.
Resume Yoshimori. Brimming with unadulterated anger. He looks at Waters,
who stares back at him. He's noticed the way Yoshimori's handled the
coin. Perhaps he's even had the same internal flashback. His face is covered
with a thin layer of mud . . . like camaflouge ink. With this we:
JUXTAPOSE the scene of the Unit Leader, shrouded in camaflouge, holding a
gun after shooting Hanako. The face of Waters and the face of the Unit
Leader are the same. They are the same.
And Yoshimori fingers the handle of the katana. He starts to walk slowly
toward Waters.
>From Waters' POV: Yoshimori, walking toward him. Imperviousness replaced
with determination. Behind him, a haunting, almost holy light appears. But
this light is not of divine origin.
Yoshimori turns around in time to see a Humvee approach. He turns back to
Waters, snatches him up, and pulls him behind the side of the car not facing
the new soldiers. The two men sit, side-by-side.
Yoshimori casually begins to remove his two .45mm automatic pistols. Waters
starts to tremble. Yoshimori notices. He turns, looks deeply at Waters. And
begins to say his first words to him.
YOSHIMORI
That is right. Tremble, coward. Killer of innocents.
For your days in this world are numbered.
In the b.g., we can hear four soldiers' voices. Doors slam. But Yoshimori
doesn't stop.
YOSHIMORI
(con't)
The day of your judgement is coming fast. It is not
now. But is will arrive soon.
He crosses his arms, still grasping the guns.
YOSHIMORI
(con't)
And when it does, vengeance is mine.
IN SLOW MOTION
Yoshimori leaps to his feet, holding the two guns forward.
He rolls across the hood, straight toward the four Guardsmen.
>From his POV: the foursome, headed straight for him. The LEADER aims a
nasty-looking M64 assault rifle at him.
Yoshimori stops suddenly, lifts the two guns, pointing them straight at the
leader.
And lets bullets rip. Six rounds, three from each automatic, riddle the
leader with bullet holes.
He falls. Rolls across the mud and digitizes.
The SECOND GUARD, barely acknowledging the fallen leader, runs full-speed to
Yoshimori.
Before a single bullet is fired, Yoshimori lunges, grabs the barrel of the
rifle, and pulls the Guard past him.
As the Guard starts to lose his balance, Yoshimori shoves the gun at his
collar bone, pulls the trigger twice.
The Second Guard falls in a bloody mess just as the THIRD GUARD goes for
Yoshimori.
Yoshimori quickly thrusts his foot against the Third Guard's neck. The Third
Guard chokes, stumbles back.
The FOURTH GUARD charges at him, arm up, ready to strike him and fire into
his stomach.
In a flash, Yoshimori's guns are back in their holsters. His katana is
brought to bear.
He charges too. Blocks the blow and jams the blade into the Guard.
RESUME NORMAL SPEED
The Guard's eyes bulge. Yoshimori heaves the sword up, splitting him from
abdomen to chin. Then, slowly, pulls the blade out as the Fourth Guard sinks
to the floor. Yoshimori stares at Guard as a bright blue glow whisks him
into oblivion.
Yoshimori SPINS around, slices across the recovered Third Guard's chest,
sending bolts of pain across his face. With lightning reflexes, he shoves
his boot onto the Guard's throat, pinning him against the side of Waters'
Humvee. The Guard struggles, then slowly digitizes, Yoshimori's foot still
pressed against soft flesh as he vanishes.
Without a word, Yoshimori turns around. We realize we are looking from
Waters' POV. Yoshimori eyes Waters for a long time. Waters remains cowering
behind the Humvee, completely disbelieving what he's seen.
Yoshimori then starts to walk away. In the direction of the camp.
As he passes the Guards' Humvee, he whips out his gun a final time. Shoots
six rounds into the car's hood. It explodes in a brilliant conflagration,
sending debris of twisted metal, glass, and machinery in all directions.
Yoshimori calmly walks by it, not even paying attention. We can clearly see
the silvery blade of the katana. It's covered in the hot blood of his
enemies. Steam from the blood hitting the cold mountain air curls around the
shining metal.
In the distance, we can hear steady beat of gunfire. Waters doesn't budge.
CUT TO:
EXT. REPUBLICAN ENCAMPMENT - NIGHT
Gunfire explodes around a troop of Republican Guard! Four digitize. More
gunfire as they respond. From this we FLASH CUT TO Pinocchio, aiming his
MP5K, letting more bullets shower across the advancing Guards while trying
to avoid being killed himself.
Florence comes up to the side, points her assault rifle and joins in the
fray, furiously shooting any one within a few meters. Six more Guards
digitize.
Hobbes comes up from behind, swings up his pistol and lets more bullets fly.
Another solder is hit in the chest.
IN SLOW MOTION
The shot Guard falls on the ground and digitizes.
RESUME NORMAL SPEED
Even though they're knocking off most of the Guards, they are obviously
retreating. Florence starts to fall back as Pinocchio cautiously edges his
way back. In the b.g., we can see the hill they were on previously.
HOBBES
(shouting)
What happened?
Pinocchio continues to fire, ignoring Hobbes. Four more Guards take it
across the chest and stomach.
HOBBES
What happened.
PINOCCHIO
(still firing)
SHUT UP AND GET BACK!
Suddenly he turns around and yanks Hobbes by the scruff of his neck. He
shoves his gun over Hobbes and fires even more. The Guard that was coming up
behind Hobbes is pumped full of lead.
IN SLOW MOTION
He falls back, digitizing before he even hits the dirt.
RESUME NORMAL SPEED
They're only thirty feet from the base of the hill. Parked in front of it is
the fuel truck Pinocchio had previously punctured a hole in. Pinocchio spins
around and continues to fight off the advancing Republican Guard units.
Florence suddenly runs out of bullets. She gives Pinocchio a horrified look.
PINOCCHIO
GET OUT OF HERE!
She hesitates for a moment.
PINOCCHIO
NOW!
And then she's off running. She tromps through the mud at top speed, her
boots splash across the gasoline pool. She reaches the hill, quickly runs up
the steep incline. She gets up, crouches down to avoid danger, and watches.
RESUME Pinocchio and Hobbes. Pinocchio suddenly snatches Hobbes by the
shoulder.
PINOCCHIO
You too, Hobbes!
HOBBES
What are you gonna do?
PINOCCHIO
Light the fuse, Einstein, what else?
He lets more bullets rip.
IN SLOW MOTION
One Guard flies back as a bullet pierces his forehead.
RESUME NORMAL SPEED
HOBBES
We haven't found Yoshimori yet!
PINOCCHIO
(quickly reloading his gun)
He'll be here! You just get yourself out! Now!
Hobbes shoots twice more, hitting another Guard, and then turns around,
leaving Pinocchio alone. More gunfire showers around him. Quickly, he
reaches into his pockets.
IN SLOW MOTION
ZOOM IN on his hand from his POV: a grenade.
With one fluidic motion, he bites the pin out and tosses it straight into a
group of ten Guards only feet away.
As it sails through the air, he carefully aims at it.
It is only a few scant inches above the ten.
He pulls the trigger.
The bullets hits the grenade, creating a blast four times as devastating as
the grenade would have alone.
All ten men fall, digitize one by one.
RESUME NORMAL SPEED
Pinocchio watches, almost grins. Then turns around and runs. He pulls
another grenade and tosses it against the gasoline pool. It lands, spraying
droplets of it just as Pinocchio splashes across it.
He continues running. Florence and Hobbes watch. Both of them a gripped with
fear. Pinocchio bounds up to them.
ZOOM IN on the grenade. More Guard continue tromping toward the three
fugitives. And then it explodes.
A few are caught in the blinding explosion. Fire winds from the gasoline,
speeding steadily toward the fuel truck. As soon as it makes contact with
the underbelly of the truck, an even more devastating blast rocks the area.
Two Humvees on either side of the fuel truck catch on fire. They explode,
adding to the blast. Then the two Humvees next to those. And the two next to
those. Soon, every Humvee within a fifty foot radius of the fuel truck is
nothing more than a flaming wreckage.
We PULL BACK to view the entire inferno spreading rapidly. And realize what
Pinocchio's plan was all along; to create a wall of fire unpassable by the
Guardsmen. So they won't be followed.
A Seargant, MORGAN, approaches. He spits, obviously mad. He turns around to
face the men still alive.
MORGAN
I want that fire snuffed. Now.
They nod, six turn around and tromp back to the encampment. No one's even
noticed the hidden charges set.
Morgan turns around, curses softly, and goes to a single Humvee still left
unscathed in the blaze. Fire still whips at the other vehicles. Morgan opens
up the door, sweat dripping from his face, and picks up a radio speaker.
MORGAN
This is Morgan. We have a situation, Major
Waters . . .
CUT TO:
The other side of the fire wall. Pinocchio, Hobbes, and Florence lay
crouched on the floor. Florence looks very concerned. Pinocchio watches the
blaze. Hobbes turns to Pinocchio.
HOBBES
I thought you said you were gonna -
PINOCCHIO
I thought it would go off when the fuel dump went off.
Looks like I was wrong.
He lifts up his binoculars and swerves his POV from side to side. From his
POV: The fire, the soldiers . . . ZOOM IN on the fuse. It winds around where
the fire is. Untouched.
Pinocchio starts to get up.
PINOCCHIO
I gotta go do it.
HOBBES
(pulling Pinocchio back)
Not yet.
PINOCCHIO
And why the hell not?
HOBBES
Yoshimori could still be down there.
Pinocchio rolls his eyes.
PINOCCHIO
We gotta act now. This is what he wants us
to do. This is how we defend the village like
we said we were.
HOBBES
And what if he's down there and gets taken out
along with the Guards? What are we supposed to
tell the village when we get back?
Pinocchio doesn't say anything. Hobbes, for once, has a pretty good point.
PINOCCHIO
Fine. Five minutes.
HOBBES
(nodding)
Five minutes.
CUT TO:
The other side of the fire wall. Four Guards have reappeared , each
carrying a small portable fire extinguisher. They start toward the blaze,
their small extinguishers looking puny next to the almost unstoppable
devouring of their vehicles. They start to spray the flames.
PULL BACK; CLOSE SHOT of a hand putting a new magazine inside an automatic
pistol. Clicking it securely. PAN UP to show Yoshimori, watching the four.
Whether he saw everything that had just happened, we don't know.
He starts toward the Guards.
IN SLOW MOTION
The First Guard turns around to see Yoshimori approach.
He pulls out a gun.
Yoshimori brandishes a .45mm in each hand once again. He rigorously
fires.
The First Guard is effectively torn apart as six bullet holes appear across
his uniform.
His body falls into the flames. We watch while he digitizes as the flames
consume him.
The other three Guards spin around. Dropping the extinguishers and reaching
for their weapons.
Yoshimori brings his guns apart, fires even more rapidly.
The Second Guard is caught in the chest, falls to his knees and slumps to
the side.
Four shots rake across the Third Guard, a fifth skins his forehead. Blood
pours from all over him. He plummets to the ground and in a flash, is gone.
A Fifth Guard appears behind Yoshimori. He doesn't appear to notice.
The Fourth Guard raises his assault rifle.
Yoshimori points the gun in his right hand at the Fourth Guard, and curls
his left arm backward, gun pointed at the Fifth.
Simultaneously lets more rounds go off.
Both men fall, and digitize.
RESUME NORMAL SPEED
Silently, coldly, Yoshimori walks toward the fire. Not even paying heed to
the shouts of men behind him.
CUT TO:
The other side of the fire. Pinocchio fingers a grenade, ready to toss it
down to the fuse wire, hoping to ignite it from a safe distance. He looks at
Hobbes fiercely.
PINOCCHIO
Your five minutes is almost up.
>From Hobbes' POV: The flames. Still growing.
HOBBES
Wait. Just wait.
He blinks. He sees something. Pinocchio notices, looks over at the flames.
>From his POV: everything as it is. The fire still consuming the Humvees and
fuel truck.
PINOCCHIO
What is it?
And then he sees it too. From Pinocchio's POV: the fire. Something moves
through it. A silhouette. Slight, but enough to be seen. Pinocchio continues
to watch. Wonder grips Hobbes' expression. Slowly, it melts to total
disbelief.
IN SLOW MOTION
Yoshimori emerges from the fire. Sweating, but showing no signs of being
burned. As if the fire had parted for him to pass. Plaintively, he walks
over to the fuse.
RESUME NORMAL SPEED
On Hobbes. And Pinocchio. Both completely amazed.
PINOCCHIO
Jesus Christ.
Florence is the only one that seems as if she was expecting it.
On Yoshimori. He points one gun down at the fuse. ZOOM IN on it as one shot
shatters its complacency. The fuse suddenly bursts into fire, begins to
shoot around the flames not touching it, out of view. Into the camp.
Off Yoshimori, we FOLLOW the burning fuse as it screams into the bowels of
the encampment. Finally, it reaches a charge. It EXPLODES in fury! Quickly,
the fuse reaches even more charges. They explode too, spreading devastation
across the already wounded leviathan of a camp.
A huge fireball erupts in the camp. We CUT TO Morgan, horrified. A new
charge is bursting every half-second! They come in tsunami of total
anhilation! A new sun explodes and lights up the sky, bright as day. A
concatenation of smaller explosions and fires is triggered off and suddenly
it seems that everywhere he looks the camp is ablaze.
CUT TO:
Florence, Yoshimori, Pinocchio, and Hobbes. All watching as conflagration
consumes the encampment down to its last men. As expected.
Yoshimori stands up, and walks away. Pinocchio gives Hobbes a strange look,
and then all four get up, and follow him into the night.
CUT TO:
EXT. OUTSKIRTS OF REPUBLICAN ENCAMPMENT - NIGHT
TRACK - 800 METERS OUT
A Republican Guard Humvee heads towards the camp.
INT. HUMVEE - NIGHT
WATERS is at the wheel. His jaw is still red, painful. The black camoflage
is smeared on his face where he has been sweating. He keeps checking his
rear view mirror then freezes, eyes fixed front and centre on an unfolding
nightmare. His.
WATERS' POV: He can see smaller explosions and hear the sounds of ammunition
being detonated like some huge overblown firework display. Everything is
aflame. The smoke now is black amid the flames, oil and rubber making ugly
clouds that smear the illuminated sky.
He can hear the curses and hurried yells of those still trying to find some
order out of the chaos.
As he watches he sees a couple of humvees make it from the vehicle compound.
They are doing a slow circuit of the outskirts of the camp when they abort
the tactic and head for his position. They have seen him.
WATERS gets out of the vehicle and waits. He is feeling sick to the stomach,
knowing many good men have died this day. His men. The first humvee pulls up
in front of his. The other two stop just behind it. Lt SANCHEZ jumps out. He
has burns on his arms and face but is in one piece. Just shaken.
WATERS
What the hell happened? I thought you had guards posted.
SANCHEZ
Yes, sir! Someone slipped through and set charges.
WATERS
(temper rising)
I can see that! What are our casualties?
SANCHEZ
Three-quarters of the men have been lost. On top of that
we lost nearly all our vehicles, most of our munitions
have gone and we're low on all supplies, sir. Whoever
set the charges knew what they were doing.
WATERS
I want this area searched and the people responsible
found. In the meantime recall the scouting party. We're
gonna need all the men we can get.
Off Waters, we CUT TO:
INT. REIKO SHIRAKAWA RESIDENCE - BEDROOM - NIGHT
We PAN onto Shiori, staring listlessly out the window at the bright stars
shining in the blue night sky. Perhaps daydreaming, perhaps thinking deeply,
perhaps missing her father with all her heart. A faint tear appears in her
eye, but she only shrugs it off.
Behind her, a knock at the door. As she turns, the woman, REIKO SHIRAKAWA,
enters. She's in her early 40s. Something about the way she moves expresses
deep-seated wisdom. She smiles at Shiori kindly. Something is in her hand.
SHIRAKAWA
(You are still up.)
SHIORI
(I was thinking about my father.)
SHIRAKAWA
(I know you miss him. Do not worry, Shiori-chan. He
is a good man. A brave man. He will return.)
Her smile grows.
SHIRAKAWA
(con't)
(And to console you, he has sent you a letter.)
Shiori suddenly jumps to her feet, turns around, and quickly walks up to
Shirakawa.
SHIORI
(My father? He was here?)
SHIRAKAWA
(shaking her head)
(No. One of the strangers came. A woman.)
SHIORI
Florence . . .
She runs back to the window and eagerly scans the horizon.
SHIRAKAWA
(It is too late. The woman only handed it to me, and went
back in the direction of your father's whereabouts.)
Crestfallen, Shiori returns to Shirakawa. Gratiously takes the letter, but
there is still sadness in her eyes.
SHIORI
(Thank you, Reiko-san.)
Shirakawa smiles, and leaves.
Alone now, Shiori sits down on a bed. She's staying here, being looked after
by Shirakawa while her father is gone.
She takes the letter and reads it. It feels heavy.
CLOSE SHOT of the folded letter. It has Japanese written on it. SUBTITLES
translate it for us:
"For Shiori."
She opens it up. Something small falls from the paper.
IN SLOW MOTION
It drops silently. Clatters as it finally hits the tatami floor
ZOOM IN on it. It's the coin. With the kanji character on it.
RESUME NORMAL SPEED
>From her internal POV, we see SUDDEN IMAGES OF FLASHBACK. The same ones
Yoshimori had.
-- The Unit Leader holding a gun. It goes off.
-- Hanako jerking forward, clothes stained with blood.
-- Yoshimori screaming in anger and sorrow.
-- Hanako digitizing.
Resume Shiori. Despair flooding over her face like a crashing wave. She
sinks to her knees. We can still see grief lining her eyes with tears. She
takes one final look at what is written on the inside of the letter. Again,
in Japanese.
"I found him."
She lies her head against the soft cushions of the bed. And begins to cry.
Off this we:
FADE TO BLACK
TO BE CONTINUED . . .