WARRIOR
Written by
Gavin O'Connor, Anthony Tambakis & Cliff Dorfman
EXT. PITTSBURGH, PA - TWILIGHT
A beautiful blue-collar city approaching nightfall. Bridges.
Rivers. Churches. The working class poetry of the `Burgh.
EXT. ST. MARY'S CHURCH - SAME
PADDY CONLON (60) exits the doors of a run-down church
holding a 12-STEP BOOK. He is followed by a cluster of other
PEOPLE in the program and says his goodbyes.
EXT./INT. RESIDENTIAL NEIGHBORHOOD/`75 OLDS - LATER
Paddy grips the steering wheel with labor-calloused hands and
drives over the P.J. McArdle Bridge and up a winding hill. He
listens to "MOBY DICK" on tape as the last piece of daylight
bleeds away. With rosary beads swaying from his rear view,
Paddy turns and eases the Olds past row houses in a blue-
collar neighborhood high above the city.
EXT. HOUSE - SAME
TOMMY CONLON (28), hard miles on a handsome face, sits on the
stoop of an old row house in a wool watch cap and winter
coat. A duffel bag is at his feet, a bottle of whiskey in a
brown bag in his hands. He reaches into his coat pocket, pops
a handful of prescription PILLS, and stares off into the
approaching night.
EXT. PADDY'S HOUSE - MOMENTS LATER
Paddy pulls up to the curb in front of the house, clicks off
the tape, kills the engine, and climbs out of the car. As he
approaches the stairs, Paddy sees Tommy. Can't believe his
eyes.
PADDY
Tommy?
Tommy gives a drunken, crooked smile.
PADDY (CONT'D)
What're you doing here?
TOMMY
I was just passing through. Figured
why not have a belt with the old
man.
2.
Father and son look at each other. It's obvious it's been a
long, long time. Tommy takes a bemused look down at the car.
TOMMY (CONT'D)
She looks good.
PADDY
(patting car hood)
Yeah, she's hanging in there.
TOMMY
Well, you always did take good care
of her. Paddy Conlon. Man of
priorities.
Paddy grins uncomfortably. Lets the remark go and climbs the
stairs as Tommy reaches into his duffel bag and produces a
fresh BOTTLE of Jameson. He offers it to Paddy.
TOMMY (CONT'D)
Got a little something for ya. Mom
always said never go anywhere empty
handed.
PADDY
She did. But that's not for me
anymore, Tommy.
TOMMY
What? You change brands?
Paddy shakes his head. Tommy looks at him. Paddy Conlon not
drinking? What gives?
PADDY
C'mon, let's go inside.
Paddy pats his son on the back and heads for the door as a
confused Tommy follows.
TITLE CARD: WARRIOR
INT. PADDY'S HOUSE - NIGHT
Paddy and Tommy walk through the front door. The house is
clean, yet all the furnishings are from the late 1970s. Tommy
stands in the den and looks around, breathing the old place
in, as Paddy makes his way into the kitchen.
TOMMY
I like what you've done with the
place.
3.
PADDY (O.S.)
Appreciate that.
The sound of glasses CLINKING in the kitchen as Tommy takes
off his watch cap and begins to look around his old home. He
glances down at a BIBLE on a table beside a weathered Barca
lounge chair.
TOMMY
There's not much of a woman's touch
around here.
PADDY (O.S.)
No more women for me, Tommy.
TOMMY
Yeah? Must be hard to find a girl
who can take a punch nowadays.
Tommy takes another swig from his bottle and looks at a
series of old PHOTOGRAPHS lining the walls as Paddy walks
into the room carrying a coffee pot and saucers on an old
wicker tray. Tommy looks at him, incredulous.
PADDY
Here you go.
TOMMY
Coffee? You haven't seen a guy in
14 years and you're not gonna have
a drink with him?
PADDY
I told you, I'm off it. I'm coming
up on a thousand days.
TOMMY
C'mon, just one drink.
PADDY
No.
Tommy shrugs. Takes another pull from his bottle and turns
back to the photos. He takes them in.
FRAMED PHOTO OF: 12-YEAR-OLD TOMMY, IN A WRESTLING UNIFORM
AND HOLDING A HUGE TROPHY, STANDING NEXT TO A YOUNGER PADDY,
WHO WEARS A TOWEL OVER HIS SHOULDER, CIRCA 1992.
FRAMED PHOTO OF: YOUNG PADDY AND A LOVELY, THIN WOMAN DANCING
AWKWARDLY AT A WEDDING RECEPTION, CIRCA 1974.
4.
FRAMED PHOTO OF: THE SAME WOMAN, SHIELDING HER EYES FROM THE
SUN, STANDING NEXT TO TWO YOUNG BOYS, AGED 4 AND 6, AT THE
KENNYWOOD AMUSEMENT PARK, CIRCA 1984.
FRAMED PHOTO OF: 8-YEAR-OLD TOMMY, A YOUNGER PADDY, AND A 10-
YEAR-OLD BOY STANDING IN FRONT OF A BLAST FURNACE WEARING
HARD HATS CIRCA 1988.
Tommy's eyes are drawn to another picture, likely taken at a
mall photography studio, of a MAN AND WOMAN (late 20s) POSING
WITH A YOUNG GIRL (2). The man looks like the second boy in
the other photos. His brother BRENDAN.
PADDY (CONT'D)
(OFF PICTURE)
He's a school teacher down in
Philly.
Tommy's face registers surprise.
PADDY (CONT'D)
Remember Tess? They've got two
beautiful little girls.
Tommy turns back to the photos and looks at another one of
the woman. Obviously his MOTHER. He puts it down, glances at
the bible, then stares hard at Paddy.
TOMMY
So you found God, huh? That's
awesome. Mom kept calling for him,
but he wasn't around. I guess Jesus
was down at the mill forgiving all
the drunks. Who knew?
Paddy sips his coffee. Says nothing. Tommy keeps pressing.
TOMMY (CONT'D)
So, you gonna ask about her, or you
just gonna sit there all sober?
PADDY
I know.
TOMMY
Oh, you know? What do you know? Do
you know it wasn't enough just to
drive west to get away from you?
When we hit the water we drove
north, too.
PADDY
When I got sober I hired a man to
find you.
5.
TOMMY
(taking a swig)
Is that one of the 12 steps? Or
does a guy like you get 24?
PADDY
Just the 12.
TOMMY
Did your guy tell you what you
needed to know?
PADDY
Just that your mother died in
Tacoma. And you were in the
Marines. That was all. That was
enough.
TOMMY
That's too bad. You could've gotten
some good details.
Tommy plops himself into a recliner. Glances at the coffee
table, where a stack of classic books on tape sits. CRIME AND
PUNISHMENT. THE SUN ALSO RISES. THE COUNT OF MONTE CRISTO.
MOBY DICK.
TOMMY (CONT'D)
You could've heard about her
coughing up blood in a shit box
with no heat. Having me rub her
down with holy water, because she
didn't have no insurance. All the
while waiting for your pal Jesus to
save her. Did your man tell you
that?
PADDY
I'm sorry, Tommy.
TOMMY
It's good to know you're sorry,
Pop. Goes a long way.
Paddy chokes up. Tommy looks at him. Closes his eyes.
TOMMY (CONT'D)
I think I liked you better when you
were a drunk.
An overwhelmed Paddy sips his coffee and looks at Tommy, who
is fading. The pills are kicking in. He tries to open his
eyes, but it's no use, and after a few moments he's out.
6.
Paddy glances down, where some pills have fallen out of
Tommy's pocket and scattered on the rug. He watches his son.
Relieved and heartbroken at the same time.
EXT. BRENDAN AND TESS' HOME, PHILADELPHIA - DAY
A chaotic birthday party in the back yard of a middle-class
home in the suburbs of Philly. A CLUSTER OF 5-YEAR OLDS run
about, some whacking at a pinata hanging from a tree, some
whizzing down a large blow-up slide, some getting their faces
painted by a make-up artist dressed like a GYPSY.
TESS CONLON (29) bounces around the yard, multi-tasking like
a champion and filming the proceedings with a VIDEO CAMERA.
She trains the camera on BRENDAN CONLON (30), who sits in a
lawn chair in a scarf, hat, and women's make-up.
THROUGH VIDEO CAMERA LENS: TWO GIRLS, EMILY (5), WHO WEARS A
BIRTHDAY GIRL CROWN, AND ROSIE (3), MIMIC THE MAKE-UP WOMAN
AND APPLY MASCARA AND BLUSH TO BRENDAN.
TESS
What's going on here?
BRENDAN
Well, I'm not sure, but I think
Daddy is now a princess.
Tess laughs. Brendan looks at her with a "Help me out here"
expression.
TESS
Em, you want to open your presents?
The make-over ends abruptly at the mention of "presents."
Emily, little sister in tow, runs over to a table filled with
gifts as PARENTS and CHILDREN gather around.
Brendan gets out of the lawn chair and follows Tess over to
the gift table. Amidst all the presents is one BOX, covered
in pink wrapping paper, that is far larger than the rest.
TESS (CONT'D)
(off pink box)
This an awfully big box.
BRENDAN
It's her birthday.
Tess turns the video camera toward Brendan again. He couldn't
look more ridiculous. And he obviously didn't clear the gift
with his wife. He grins at her as she lowers the camera.
7.
TESS
(TEASING)
I know, but that's why you call it
a budget. You set it, and you don't
budge.
Brendan smiles in his make-up. Kisses his wife.
EXT. BRENDAN AND TESS' HOME - LATE AFTERNOON
The remnants of the birthday party lay strewn across the
lawn. Tess, in a cocktail waitress outfit, says goodbye to
her MOM and the kids, who play on the swing set.
She walks toward the garage and enters to find Brendan
pressing free weights on an old bench.
INT. GARAGE - CONTINUOUS
Brendan continues to lift as Tess rushes in and tosses a bag
of garbage in the bin. A deep CUT, hidden earlier by the make-
up, is visible on his cheek.
TESS
Hey babe, I'm late. Mom's saying
goodbye to the girls. She's gotta
get on the road. They've been fed.
They just need a bath.
BRENDAN
I'm on it.
TESS
Can you get them down at a
reasonable time tonight? They're
exhausted.
Brendan kisses Tess. Looks at her outfit.
BRENDAN
Where's the rest of that skirt?
TESS
Babe.
BRENDAN
Listen, if any guys give you a
hassle in that joint tonight you
give me a call, okay?
8.
TESS
(off his cut)
Yeah. Just like you gave me a call
when those Temple frat boys decided
to smash up your face.
BRENDAN
I told you, most nights I sit on
the stool and grade papers, but
every now and then I need some
action.
TESS
Alright, well wait up for me
tonight. I'll see what I can do
about that.
Tess smiles flirtatiously and and heads for the car.
BRENDAN
Promises, promises.
INT. COLT'S PITTSBURGH FIGHT CLUB - DAY
A big, old-school warehouse, where a handful of GUYS whale
away at MMA punching dummies and roll around on sweat-
saturated mats. Sun slants through a dirty, industrial
skylight. A no frills kind of gym.
Behind the front counter, FENROY (20s) rolls hand wraps and
watches ESPN's "MMA LIVE" on a laptop.
ON COMPUTER SCREEN: ESPN ANCHOR JON ANIK INTERVIEWS PROMOTER
J.J. RILEY, AND PUNKASS AND SKYSKRAPE FROM TAPOUT.
JON ANIK (ON SCREEN)
And we return here on MMA Live, Jon
Anik alongside billionaire fight
promoter J.J. Riley. The Tapout
crew is also here. Punk and Skrape
are in the building. Now J.J., what
led to this project that is
redefining Mixed Martial Arts here
in the States?
J.J. RILEY (ON SCREEN)
Well, Mixed Martial Arts is a sport
that I've always been incredibly
passionate about. As for where the
idea for Sparta came from, I've
always kind of dug the Grand Prix
format, so I tracked these guys
down to help me out.
9.
PUNKASS (ON SCREEN)
When J.J. came to us he said he
wanted to create the Super Bowl of
Mixed Martial Arts.
SKRAPE (ON SCREEN)
And he decided to put up the five
million dollar purse, too.
JON ANIK (ON SCREEN)
Well, there you have it. It shall
be done. Hedge fund king J.J.
Riley, going from the lion's den of
Wall Street to the cage, promoting
the biggest winner-take-all
tournament in MMA history. Sparta.
As Fenroy watches them talk about the upcoming Sparta
tournament, Tommy walks into the gym, surveys the room with
curiosity, and approaches the front desk.
TOMMY
Fitzy still own this?
FENROY
Don't know no Fitzy. Colt Boyd owns
this gym.
Fenroy goes back to his computer. Tommy stands there. Notices
a Sparta POSTER on the wall reading: "THE WAR ON THE SHORE.
ATLANTIC CITY, JULY 2-3. BIGGEST WINNER TAKE ALL IN MMA
HISTORY!"
FENROY (CONT'D)
Can I help you with something?
TOMMY
How's it work here?
FENROY
Thirty five a month with locker.
We're open at 7, lights out at 11.
You wanna join?
TOMMY
Sure.
Fenroy grabs a pencil and an index card and puts them on the
counter in front of Tommy.
FENROY
Put your name and contact info on
the card.
10.
INT. CENTRAL HIGH SCHOOL CLASSROOM, PHILADELPHIA - DAY
Brendan stands in a classroom, surrounded by high school
STUDENTS wearing safety goggles and raising cain. A block of
wood sits wedged in a vice, and a student, TITO, stands over
it with a Louisville slugger in his hands as his classmates
CHEER him on.
BRENDAN
Whoa whoa whoa! There's a lesson in
this too, OK? Listen up. So we have
a body at rest, and you have the
bat which needs--
TITO
Acceleration.
BRENDAN
Acceleration, right. If you have
enough acceleration, you have might
have a chance to break the body at
rest. OK. Go ahead.
Brendan, sleeves rolled up and a bemused look on his face,
watches as Tito brings the bat down on the wood. As it CRACKS
in half, the other students cheer wildly. Tito smiles and
leans the bat against a blackboard with "NEWTON'S 2nd LAW OF
MOTION" printed on it.
BRENDAN (CONT'D)
There we go. Alright Tito, well
done. Remind not to mess with you.
Sit down everybody. Dial it down.
As Tito high-fives his way back through the group, things
settle down and the kids take their seats.
BRENDAN (CONT'D)
So, have we got it?
A room full of affirmatives, with the cocky voice of NASH, a
skinny white kid in a Flyers jersey, standing out.
NASH
Force equals mass times
acceleration. We got it.
BRENDAN
Alright. The third law--
A black student, STEPHON, looks up from his desk.
11.
STEPHON
How many laws this dude got?
BRENDAN
(LAUGHING)
The dude? The dude has three.
Newton the dude says that for every
action, there's an equal and
opposite reaction.
Brendan looks toward the classroom door, where two red-and-
white clad CHEERLEADERS are peering in, then walks over to
KC, a blonde cheerleader seated in his class. She is working
a Blackberry and doesn't notice him approaching.
BRENDAN (CONT'D)
For example, if KC does not stop
the action of sending texts in
class...
Brendan stands directly in front of her desk. She quickly
shoves the Blackberry under a stack of books.
BRENDAN (CONT'D)
...and tell her posse outside to
beat it...
He turns and shoos away the two cheerleaders peering in the
window.
BRENDAN (CONT'D)
...then my reaction might be to
send her down to Principal Zito's
office. Thus setting our world back
in proper balance.
KC
Mr. C, I put it away.
The class busts on KC as Brendan walks back to his desk and
sits on top of it. It's clear from the vibe in the room that
he's a very popular teacher. Then the BELL rings.
BRENDAN
Alright, before you go, I have your
tests from last week.
INT. COLT'S PITTSBURGH FIGHT CLUB - DAY
Fenroy sits at the front desk and looks at his computer.
Watches "MMA LIVE" and another feature on the big upcoming
Sparta tournament.
12.
Tommy, wearing a wife beater and old gray sweats, works a bag
and eyeballs an ENTOURAGE that surrounds a ring. Inside, a
heavily-muscled FIGHTER with a mohawk, MAD DOG GRIMES (30s),
is putting a beating on his SPARRING PARTNER. The obsequious
nature of the entourage makes it clear that Mad Dog is
somebody important.
In the ring, the sparring partner takes a vicious spinning
back fist to the chin, goes down in a heap, and doesn't get
up. COLT BOYD (40s), clearly in charge, throws up his hands
as Mad Dog laughs.
MAD DOG
Where do you find these girls?
Colt climbs into the ring and looks at the fallen fighter.
Glances at Mad Dog.
COLT BOYD
We got a tournament coming up. You
gonna kill every guy in the `Burgh?
(TO FENROY)
Fenroy. Get me some ice. And call
that Puerto Rican kid, the one that
fights outa the Bottoms. If he's
here in 20 minutes, he gets 200
bucks.
TOMMY
Yo, I'll fight him.
Colt turns around and looks at Tommy. As does Mad Dog, who
smiles down at him from inside the ring.
COLT BOYD
Do me a favor guy, go back to your
bag. We don't need anybody else
getting hurt. G'head. Take a walk.
Tommy walks back to his bag. Mad Dog smiles. Looks at Tommy's
outfit.
MAD DOG
Yo Rock, what happened? You leave
Mick and Paulie at home today?
Tommy stops. Walks back to the ring as Fenroy approaches.
FENROY
(TO COLT)
His phone's disconnected.
13.
COLT BOYD
Then go through the list. Get me
Joe Bones.
TOMMY
(TO COLT)
All I'm saying is if you need
somebody to help you, I'm happy to
keep your boy warm for you.
Colt looks at Mad Dog. What do you think? The Mohawked
fighter looks at Tommy. Shrugs. It's his funeral.
COLT BOYD
You ever fought before?
TOMMY
Yeah.
Colt studies Tommy. Sees he's serious. Gives in.
COLT BOYD
(TO FENROY)
This guy sign a waiver?
FENROY
All good.
COLT BOYD
What's your name?
TOMMY
Tommy.
COLT BOYD
You get tuned up in here, it's on
you, Tommy.
TOMMY
Sure, no problem.
COLT BOYD
Come on in.
Colt Boyd waves Tommy into the ring. Mad Dog's entourage
starts whispering amongst themselves. Snickering at what lays
in wait for Tommy as the fallen sparring partner is helped
out of the ring.
A TRAINER tapes Tommy's hands and gives him some MMA gloves.
He slips them on, then at the sound of a BUZZER he starts
moving toward Mad Dog, who smirks at Tommy's aggression and
then starts circling him. Tommy nails him with a front kick
to the chest. Grimes staggers back and shakes it off.
14.
MAD DOG
Gonna be a hero? Alright.
He crouches down, gets serious. He throws a right. Blocked. A
leg kick. Blocked. Tommy snaps his head with a jab. Then he
does it again. And again. Then he DECKS HIM with a hard
right, sending Mad Dog to the canvas to the shock of his
entourage and Colt Boyd.
Fenroy looks up from his post and walks over to the ring.
Within moments everyone in the gym stops what they're doing
and watches as Tommy grabs the back of Mad Dog's head, hauls
it down, and launches knee after knee into his face.
Tommy starts throwing Mad Dog around like a rag doll,
striking him with vicious punches and kicks, as Fenroy pulls
out his CELL PHONE and starts filming the action. As Colt
Boyd screams at Mad Dog to cover up, Tommy shoves him against
the ropes and blasts away.
Tommy continues to pound. It's a full-fledged beating going
on in there. Finally, he crushes Mad Dog with a vicious left
hook and sends him sprawling through the ropes, UNCONSCIOUS.
SILENCE in the gym. What the hell just happened here? The
entourage rushes to Mad Dog's aid, but he's out cold. Colt
Boyd looks on in disbelief as Tommy walks across the ring and
approaches him.
TOMMY
You owe me two hundred bucks.
INT. FIRST UNION BANK - DAY
Brendan sits in a chair across from loan officer DAN TAYLOR
(40s). They're mid-meeting and going over documents.
DAN TAYLOR
This is the new appraisal figure,
and this is how it effects the
monthly. As you can see, that puts
you upside down on your mortgage.
That's the problem. It's the
country that did the assessment,
not the bank. So, the numbers are
what they are, Mr. Conlon.
BRENDAN
Brendan.
15.
DAN TAYLOR
The numbers are what they are,
Brendan. I mean, you're a Math
teacher, you can appreciate that.
BRENDAN
I teach Physics.
DAN TAYLOR
Physics. OK. But the bank has got
to go by the new appraisal figures.
According to these figures, you're
upside down on your mortgage--
BRENDAN
You said that three times already.
I get that. But I'm asking you if
there's something else you can do.
Not the bank, you. Can you shift
things around, restructure--
DAN TAYLOR
Well, you've already refinanced
twice.
BRENDAN
Because you advised us to do that.
DAN TAYLOR
I presented you with that option.
It was your choice.
(BEAT)
I'm also showing you netted a
substantial payout with the refi.
BRENDAN
We had that conversation. I was
paying medical bills. Is that in
your file?
Taylor looks at Brendan. Takes him a second to remember.
DAN TAYLOR
Oh, right. Sorry. Your
daughter's...kidney?
BRENDAN
Heart.
DAN TAYLOR
Heart, right.
(off stack of files on desk)
Lot of stories.
16.
Brendan glares at him.
BRENDAN
So my option is I've got no
options? You're not even gonna try
to help me?
DAN TAYLOR
I am trying, Brendan. Look, I can
get you 90 days to get even--
BRENDAN
90 days is not enough. My wife and
I have three jobs between us and
that doesn't cut it. So, what do
you suggest?
DAN TAYLOR
Let me ask you a question: have you
considered bankruptcy? It's a
viable option. There's no shame in
it these days.
BRENDAN
That's not how I do things.
DAN TAYLOR
Well, then you're looking at
foreclosure.
Brendan gets up and storms out of the office.
ANNOUNCER #1 (V.O.)
Utter domination by Tommy Conlon,
the undefeated freshman from
Pittsburgh...
INT. PADDY'S HOUSE - NIGHT
Paddy sits in front of the TV and watches an old VIDEO TAPE
of a wrestling tournament. The bottom of the screen reads:
1994 PA STATE WRESTLING FINALS. CONLON VS. SPEERY.
ON TV SCREEN: 14-YEAR-OLD TOMMY DOMINATES AN OPPONENT.
ANNOUNCER #1 (V.O.)
...the prodigy has yet to yield a
single point in the entire
tournament. It's just
unprecedented.
17.
ANNOUNCER #2 (V.O.)
Tommy trained by his father since
the age of five.
ANNOUNCER #1 (V.O.)
You're talking about Paddy Conlon.
ANNOUNCER #2 (V.O.)
The controversial Paddy Conlon.
ON TV SCREEN: A YOUNGER PADDY SHOUTS INSTRUCTIONS AS TOMMY
CRUSHES HIS OPPONENT.
ANNOUNCER #1 (V.O.)
Say what you will about the methods
of the former Marine, but he's led
his son to six straight junior
Olympic titles, and now just
moments away from a high school
state championship. And there it
is! Wow!
ON TV SCREEN: TOMMY PINS HIS OPPONENT AND LEAPS OFF THE MAT
IN JUBILATION.
ANNOUNCER #2 (V.O.)
There's just no limit to what the
future holds for this kid!
As Paddy watches, the DOORBELL RINGS. He makes his way to the
door as the tape continues to play.
ANNOUNCER #1 (V.O.)
Tommy told me that he's chasing the
record of Theogenes, apparently a
mythical Greek fighter said to be
unbeaten in over 1400 bouts...
Paddy opens the door to find Colt Boyd standing on the stoop.
COLT BOYD
How you doin,' sir? I'm looking for
Tommy Riordan.
Paddy registers the name "Riordan."
PADDY
Who?
COLT BOYD
Tommy Riordan? My name's Colt Boyd.
PADDY
What business you got with Tommy?
18.
COLT BOYD
None yet. That's why I'm here. I
manage fighters.
Colt looks at Paddy. Jams his hands in his pockets. He's
obviously waiting for an invite inside. It doesn't come.
COLT BOYD (CONT'D)
Tommy's been working out at my gym.
He put a beating on the number one
middleweight contender in the world
today. I want to know more about
the guy. Maybe help him out. I have
a lot of contacts, Mr. Riordan.
PADDY
Conlon. Name's Conlon. And anything
you want to know about Tommy, you
gotta ask him yourself.
COLT BOYD
I'm just looking for some general
information here.
PADDY
Like I said, anything you want to
know about Tommy, you gotta ask him
yourself.
COLT BOYD
Look, I don't mean to interrupt
your night. He put this address
down when he signed up at the gym.
PADDY
He doesn't live here.
Paddy closes the door on a frustrated Colt.
INT. BRENDAN'S CAR - NIGHT
Brendan drives down the road on the outskirts of town and
talks on his cell.
BRENDAN (INTO PHONE)
Listen kiddo, I need you put Mommy
back on, OK? I love you.
(BEAT)
Hey. I'm just pulling in. Huh? Oh,
they've got this open mic night
thing. Should be a quiet one. Sleep
well. You too. Bye.
19.
EXT. THE TENDER TRAP - NIGHT
Brendan pulls into the parking lot of the local strip club. A
white TENT is set up outside, and the parking lot is
overflowing with cars. Something big going on.
INT. TENDER TRAP TENT - SAME
Aluminum bleachers are set up around a ring, where TWO
AMATEUR FIGHTERS go at it under a bank of sodium lights.
Hundreds of rowdy LOCALS swill beer and BOO lustily when the
action slows.
INT. TENDER TRAP RING - LATER
MIKE MOORE (20s), a FIGHTER sporting sleeves of demonic ink,
paces in his corner as a cluster of BIKERS cheer him on from
ringside. An ANNOUNCER walks to the center of the ring with a
cordless microphone.
ANNOUNCER
It's time for our next contest!
Introducing first, fighting out of
the red corner, from Ripley, West
Virginia, please welcome Mike "The
Mutilator" Moore!
Some hollers from the crowd.
ANNOUNCER (CONT'D)
And in the blue corner. He fights
out of Philadelphia, Pennsylvania.
Please welcome "Irish" Brendan
Conlon!
A
Lo and behold, there's a shirtless Brendan standing in the
corner of the ring wearing a pair of shorts. On his right
shoulder, an elaborate TATTOO of the CONLON FAMILY CREST.
ANNOUNCER (CONT'D)
This bout is scheduled for three
five-minute rounds, and when the
action begins your referee is Mr.
Rick Fike.
The REFEREE enters the ring and stands between Brendan and
Mike Moore.
20.
REFEREE
Fighters to the center! I want you
to obey my commands at all times.
If you have no questions, touch
gloves, back up, and wait for my
signal. Come out fighting!
Brendan reaches out to touch gloves with Mike Moore, but his
opponent snubs him and storms back to his corner. He means
business. Brendan, looking less sure of himself, retreats to
his corner.
REFEREE (CONT'D)
Fighters, are you ready? Let's go!
The bikers raise hell as the BELL sounds. Moore comes out
bombing. Brendan dodges a couple of wild haymakers, then gets
caught in the side of the head with a right hand. He stumbles
back into the ropes and Moore presses into him, swatting at
him with his huge hands.
Brendan absorbs the blows, ducks down, grabs Moore by the
legs, lifts him, and dumps him on the mat with a resounding
THUD. Obviously bull strong and with tremendous punching
skills, Brendan sits on his opponent's chest and starts
raining down shots, banging and banging, pulverizing his face
and body.
It's a full on ass-whooping going on in there until finally,
mercifully, the referee stops the butchery amidst a mixture
of CHEERS from the crowd and BOOS from the bikers.
A winded Brendan walks to his corner, touches the side of his
head, wipes a small amount of blood on his shorts, and climbs
out of the ring, where a PROMOTER approaches.
PROMOTER
Nice fight. Two more wins and you
take home the bacon.
INT. BRENDAN AND TESS' HOME - BEDROOM - NIGHT
The bedroom door opens and Brendan creeps through the room
and into the bathroom.
INT. BRENDAN AND TESS' HOME - BATHROOM - SAME
It's dark, except for the moonlight glowing through the
window. An exhausted Brendan takes off his shirt and begins
washing his badly SWOLLEN FACE. Then the door opens, and Tess
shuffles in.
21.
TESS
(SLEEPY)
Hey babe. How was work?
Brendan doesn't answer. Tess slowly wakes up. As she does,
she gets a look at his face.
TESS (CONT'D)
Oh my God. What happened? You said
it was going to be a slow night.
Tess studies his face. Brendan looks at her. Reaches into his
pocket and hands her $500 in cash.
BRENDAN
I'm not bouncing at a club.
TESS
What do you mean you're not
bouncing?
She looks at him. Looks at the money. Puts it together.
TESS (CONT'D)
You've been lying to me?
BRENDAN
I went in to apply. They were only
paying nine bucks an hour. Then I
saw a sign for this other thing.
Tess can't believe what she's hearing.
BRENDAN (CONT'D)
They're putting us out of the house
in three months, we're running out
OF OPTIONS--
TESS
(FURIOUS)
Then they'll put us out of the
house in three months. I'd rather
go back to the old apartment than
see you in the back of an ambulance
again.
(BEAT)
I thought we agreed that we weren't
going to raise our children in
a family where their father gets
beat up for a living.
22.
BRENDAN
We're not giving up the house. This
is our home. We're not going
BACKWARDS
Tess reaches up and touches his battered face. Calms herself
down. Embraces her husband.
TESS
We'll figure it out. But this is
what we're not going back to.
EXT. TRACKSIDE DINER - MORNING
A steady rain tumbles down over an old-school diner in the
shadow of the railroad tracks.
INT. DINER - SAME
Paddy sits in a booth and takes a sip of coffee. Judging by
the spent sugar packets and the half-eaten club sandwich,
he's been there a while.
The front door swings open and Tommy enters wearing his watch
cap and sweats. He makes his way over to the booth and plops
himself down. It's clear something's on his mind but he
doesn't say anything. Finally, Paddy engages him.
PADDY
You wanted to talk?
TOMMY
Yeah.
(BEAT)
I'm gonna start fighting.
PADDY
That right?
TOMMY
Don't play babe in the woods with
me. I know that guy from the gym
came to see you.
PADDY
Colt Boyd? I didn't tell him
anything, Tommy.
TOMMY
We wouldn't be sitting here now if
you did.
23.
Tommy grabs a fry off Paddy's plate.
TOMMY (CONT'D)
Alright. Look. There's this
tournament. A big tournament. Top
sixteen middleweights in the world.
Single elimination. Winner take all
for a lot of money. I'm gonna do
that. But if I'm doin' it, then I'm
gonna need a trainer. Now that much
you were good at.
(off Paddy grinning)
No, no, no. This doesn't mean
anything.
Paddy tries to tether it down, but he's happy. Tommy looks at
him sternly.
TOMMY (CONT'D)
I'm serious. We train. That's it. I
don't wanna hear a word about
anything but training, you
understand? You wanna tell your war
stories, you can take `em down to
the VFW. You can take `em to a
meeting, or church, or wherever the
hell it is you go nowadays.
PADDY
What about Colt Boyd?
TOMMY
What about him? I told him I don't
train with people I don't know.
PADDY
Ah, the devil you know.
TOMMY
Excuse me?
PADDY
The devil you know is better than
the devil you don't.
Tommy looks at him. Grins for the first time.
PADDY (CONT'D)
Chasing Theogenes. It'll be kinda
like old times.
24.
TOMMY
(ANGRY)
I just told you, this doesn't mean
anything. You get that through your
skull right now or I'm walking.
Paddy calmly sips his coffee, then leans in on Tommy with a
stern look. The old lion's got a few teeth left.
PADDY
Alright. Alright. But you get
something through your skull, too.
You called me. So don't go
threatening to walk every five
minutes. And since this is about
training, you dump whatever it is
you need to dump as far as those
pills are concerned. I don't want
to see `em.
Tommy gives him a hard look, but the old man doesn't shy
away.
PADDY (CONT'D)
In fact, hand `em over right now.
(BEAT)
I know they're on you, Tommy. You
sounded like a goddamn maraca
coming through the door.
Tommy considers, then reaches into his pocket and slides two
bottles across the table.
PADDY (CONT'D)
That's not gonna do.
(SHAKING BOTTLES)
When you came through that door it
was chhh-chhh-chhh.
(holding up 3 fingers)
Three.
Tommy looks at him. Fishes another bottle out of his pocket
and flips it on the table.
PADDY (CONT'D)
(off French fries)
And another thing, you don't eat
crap like this. This is for losers
and old men.
(BEAT)
And we're gonna have to bunk up. If
we're gonna do this right, you
gotta stay at the house.
(MORE)
25.
PADDY (CONT'D)
I watch your diet, we follow the
old regimen. You copy?
The two men stare at each other. Tommy looks furious, but he
doesn't get up. A silent, tenuous agreement is reached.
PADDY (CONT'D)
Copy.
INT. CENTRAL HIGH HALLWAY - MORNING
Brendan, his face BRUISED badly from the night before, walks
down the hallway toward his classroom. STUDENTS watch him as
he passes and whisper.
INT. CENTRAL HIGH SCHOOL CLASSROOM - SAME
The class is filled with the kind of BUZZING that can only
rise off a major rumor. Tito, Nash, KC, and Stephon discuss.
TITO
My brother said he was at the strip
club and saw Mr. C fighting MMA---
NASH
What's MMA?
STEPHON
Mixed Martial Arts. Like, different
styles of fighting.
KC
Your brother's a liar.
Brendan enters the room. The kids look at him. Holy shit.
It's true.
BRENDAN
Take your seats.
Brendan puts his bag down on his desk and faces the class. He
is not amused by the murmuring in there.
BRENDAN (CONT'D)
Now, please.
The kids pipe down. Then Tito speaks up.
26.
TITO
Yo, Mr. C. My brother was at the
titty bar last night and said you
was choking brothers out. What's
up? Is it true?
STEPHON
Yeah, Mr. C. I mean, did you really
work on some fools or something?
KC
You have to tell us.
Before Brendan can answer, he sees PRINCIPAL JOE ZITO (50s)
gesturing to him through the window of the classroom. Zito
taps his watch and points. Come see me after class.
INT. PRINCIPAL ZITO'S OFFICE - LATER
Zito, puffy faced, hair getting thinner by the hour, hangs up
his phone as Brendan pokes his head in. Zito waves him in.
Eyeballs the marks on his face.
BRENDAN
C'mon, it's not as bad as it looks.
JOE ZITO
Are you being literal or
figurative? Because literally it
looks bad. And figuratively it
looks even worse. The
superintendent's coming by in a few
minutes. So gimme a little help
here, Brendan. Can you explain to
me what the hell you were doing?
BRENDAN
I need the money, Joe.
JOE ZITO
Yeah, but we can't have this. This
isn't moonlighting at Applebee's
for Christ's sake.
Zito stands up and runs his hands across his head.
JOE ZITO (CONT'D)
Shit, Brendan. Leaving everything
else aside, which we can't, are you
out of your mind? You're gonna get
yourself killed. I mean, you're a
goddamn teacher.
(MORE)
27.
JOE ZITO (CONT'D)
You've got no business in the ring
with those animals.
BRENDAN
Actually, I used to be one of those
animals.
Zito looks at Brendan. Puzzled.
BRENDAN (CONT'D)
I fought for a living.
(BEAT)
Guess I forgot to put that down on
my application.
JOE ZITO
Yeah, I guess you did.
Zito sits back down.
BRENDAN
Look, I'm sorry, Joe. It's just--
JOE ZITO
Listen, the school district's not
going to tolerate school teachers
cockfighting in strip clubs.
BRENDAN
It was the parking lot of a strip
club.
JOE ZITO
Wherever it was, you can't be doing
it, alright? I mean this is a
serious--shit, he's here.
Zito sees the SUPERINTENDENT enter the foyer outside his
office. He's looking none too pleased.
JOE ZITO (CONT'D)
This is a serious problem.
(BEAT)
Guy hasn't been inside a school
since 9-11.
BRENDAN
What are we gonna do?
JOE ZITO
You say yes, sir. And you say no,
sir. And you say it'll never happen
again, sir. And then we just pray
to God he's in a good mood.
28.
Brendan and Joe stand up. Zito can't tether down a slight
grin.
JOE ZITO (CONT'D)
UFC?
Brendan nods. Joe shakes his head. Impressed.
JOE ZITO (CONT'D)
Sonofabitch.
INT. BRENDAN AND TESS' HOME - KID'S PLAYROOM - NIGHT
Brendan sits in a miniature playroom off the kid's bedroom,
putting glue on the leg of a TOY PIANO. Tess enters the
bedroom, where the girls sleep, and leans into the playroom.
They speak in whispers.
TESS
What are you doing?
BRENDAN
(OFF PIANO)
The girls have an important piano
recital in the morning. Got an
equipment malfunction.
(BEAT)
How'd it go?
TESS
They're gonna review your case at
the end of the semester, but until
then you're suspended without pay.
Joe gave me the number of his
attorney.
BRENDAN
How the hell are we gonna pay for
an attorney?
Tess crouches down and enters the tiny room. She sits on the
floor.
TESS
He talked to me for free. As a
favor to Joe.
BRENDAN
That was nice.
29.
TESS
He said there's no precedent for
this. You'll be back by next
semester.
BRENDAN
Next semester?
Tess sighs. They sit in silence. There are no easy solutions.
Finally, Brendan speaks up.
BRENDAN (CONT'D)
Look, Tess. They have these smoker
fights all over. There's one in
Lancaster next week. There's two in
Dover the week after. Wilmington.
Camden. Baltimore. It could keep us
afloat.
TESS
You're gonna put yourself through
this over and over, for five
hundred bucks a pop?
BRENDAN
Some of them pay a little more than
that.
(BEAT)
I would have had to bounce for a
month to make what I made in two
hours last night.
Brendan looks at his wife.
BRENDAN (CONT'D)
And these guys, they're not real
fighters. They're just guys who
have seen too much UFC on TV. If
you have a better solution, I'm all
ears.
Tess sits quietly. Knows they have limited options.
TESS
What are we gonna tell the girls?
BRENDAN
It'll be fine. I'll just leave the
house as usual, except now I'll be
going to the gym.
They look at each other. No choice. This is the plan.
30.
INT. TOMMY'S ROOM - PRE-DAWN
Paddy climbs the stairs with a POSTER BOARD tucked under his
arm and a cup of coffee in his hands. He enters Tommy's room,
which is also a monument to the past. Old wrestling TROPHIES,
Steelers' posters, and an EMPTY SECOND BED that obviously
once belonged to Brendan.
PADDY
(SINGING)
Oh the duck says quack and the cow
says moo, and the old red rooster
says cock-a-doodle-doo. Cock-a-
doodle-doo.
Paddy places the cup of coffee on the night stand as Tommy
stirs, then sits on the empty bed and unrolls the poster.
It's yellowed with age and covered with a boy's handwriting.
ON BOARD: THEOGENES 1415 WINS. NO LOSSES. TOMMY CONLON 315
WINS. NO LOSSES. ALSO, A 1994 NEWSPAPER CLIPPING READING
"PRODIGY WINS STATE CHAMPIONSHIP," AND ABOVE IT, GOALS: 1998,
COLLEGE, PENN STATE. 2000, SUMMER OLYMPICS, GOLD MEDAL.
PADDY (CONT'D)
Look what I found in that disaster
of a basement. Whattya say we sit
down and update this sometime? You
can fill me in on how close you got
to that record.
Tommy says nothing. Not a nostalgic bone in his body. The
dreams on that poster are long gone.
PADDY (CONT'D)
Did you continue wrestling after
you left with your mother?
(BEAT)
C'mon, Tommy. Tell me something.
TOMMY
Yeah, I'll tell ya something. You
can take that thing back to where
you found it. And you can leave the
coffee in the pot. I can pour that
myself. I can wake myself up, too.
Paddy's stung but covers it amiably.
PADDY
OK. Hurt my knees coming up and
down those stairs anyway.
(BEAT)
(MORE)
31.
PADDY (CONT'D)
Coffee pot's on til 0-500, then I
dump it.
EXT. AL ADAD AIR BASE, RAMADI, IRAQ - DAY
Marine base camp in the middle of the Iraqi desert. Blackhawk
HELICOPTERS floating in the sky. MARINES rushing about.
INT. MARINES COMMUNICATIONS TENT, RAMADI, IRAQ - SAME
MARINES of various rank huddle around a computer screen,
fired up about something they're watching.
MARINE #1
Damn dude, that's brutal.
LANCE CORPORAL MARK BRADFORD (20s) walks up to see what the
commotion is all about.
BRADFORD
What's that?
MARINE #2
"Mad Dog" Grimes gettin' tuned up
by some dude in a gym in
Pittsburgh.
BRADFORD
Who's "Mad Dog" Grimes?
MARINE #2
Shit, Bradford. The stuff you don't
know amazes me.
(OFF COMPUTER)
Oh my god, did you see that?
ON COMPUTER SCREEN: YOU TUBE VIDEO OF THE CELL PHONE FOOTAGE
FENROY TOOK OF TOMMY BEATING UP ON MAD DOG GRIMES. THE
MOHAWKED FIGHTER IS CRUSHED BY THE LEFT HOOK AND FALLS
BETWEEN THE ROPES.
Bradford stares at the screen, his eyes widening as the
Marines raise hell about the footage.
BRADFORD
Wait, rewind that.
One of the Marines rewinds the video. Bradford looks at the
image in disbelief, then races out of the tent.
32.
EXT. BRAVO COMPANY COMPOUND - CONTINUOUS
Bradford hustles outside into the searing sunlight.
INT. TENT - CONTINUOUS
Bradford enters a barracks, where Private "AV" SIMERS (20s)
plays cards with other MARINES.
BRADFORD
AV, I need to see the tape!
AV
What tape?
BRADFORD
The tape.
AV drops his cards, rushes to his bunk, pulls out a steel
container loaded with VIDEOTAPES and sifts through it. They
are labeled by day and month. AV finds what he's looking for,
loads it into the camera, and hits PLAY.
ON VIDEO SCREEN: A CHAOTIC FIRE FIGHT IN THE DEAD OF NIGHT.
MUZZLE FLASHES. TRACER LIGHTS. MAYHEM. THE CAMERA FOCUSES ON
A FLIPPED TANK, HALF OF IT SUBMERGED IN WATER. A MARINE, HEAD
SHAVED BUT ALMOST CERTAINLY TOMMY, SUDDENLY APPEARS AND
CLIMBS ON TOP OF THE TANK, REACHING FOR THE HATCH.
BRADFORD
Freeze.
AV holds the "Pause" button down as Bradford looks at the
screen in disbelief. It's definitely Tommy.
BRADFORD (CONT'D)
That's him. That's him.
INT. CAMPANA FIGHTING SYSTEM - DAY
In a top MMA gym, FRANK CAMPANA (40s) works in a ring with
Brazilian superstar MARCO SANTOS (20s) and other FIGHTERS.
The sound of CLASSICAL MUSIC fills the air.
FRANK
Let the music sink in to you. This
is Beethoven. Breathe. Breathe.
As Frank teaches, Brendan walks in the door. The great
trainer notices him and walks over.
33.
FRANK (CONT'D)
Do I know you? I think I know you.
They embrace warmly.
FRANK (CONT'D)
Long time, brother.
BRENDAN
Liking the place, Frank.
FRANK
Thank you, brother.
(off Brazilian fighter)
You see this beast? Marco Santos?
I'm training him for Sparta.
BRENDAN
Amazing, man.
FRANK
Come on back.
The two head for the offices at the back of the gym.
INT. FRANK'S OFFICE - CONTINUOUS
They walk into an office filled with PHOTOS of Frank in his
fighting days. He was obviously somebody. The walls are also
adorned with SPARTA posters. Frank reaches into a mini-
fridge, pulling out a couple bottles of Vitamin water. He
hands one to Brendan and motions for him to sit down.
FRANK
You look good, brother. How're the
girls?
BRENDAN
Good. Good. I had another little
one. Rosie.
FRANK
I know. Johnny C. told me she was
in the hospital for a bit. I was
gonna call, but then time went by.
I don't know. I'm a piece of shit.
I should have called.
BRENDAN
It's alright.
FRANK
No, Brendan. I'm sorry.
34.
BRENDAN
It's all good. She's good now.
Frank looks at his old friend. Smiles warmly.
FRANK
It's great to see you, man. So
everything's going good?
BRENDAN
Yeah. Well, I've got a little
problem. The guys at the bank want
to take my house away. That's kind
of why I came to see you, actually.
Frank considers what he's hearing.
FRANK
I've got most of my dough tied up
in this joint, but how much do you
need?
BRENDAN
I didn't come here for a loan,
Frank.
(BEAT)
I was hoping you'd train me.
FRANK
Train you for what?
BRENDAN
I want to get back in the cage.
Frank starts smiling. Leans back in his seat. Then he sees
Brendan is not smiling with him.
FRANK
You're serious?
BRENDAN
I just won an event the other
night.
FRANK
Ah, you won an event.
(off bruised face)
That's what this is. Let me guess,
it was in a parking lot. DJ from
the local radio station. Couple of
ring card girls you wouldn't bang
on a dare. Am I right?
Brendan smiles.
35.
BRENDAN
Ish.
FRANK
Ish. Brendan. I love you. I do. But
why would I train you? When you
were in shape and on the right side
of 30 you were barely a .500
fighter. You never listened to me.
You never listened to anyone. These
guys are animals. I mean, you're a
teacher, right? What're you gonna
do? You're gonna come down here for
a couple days a week after
detention? You're gonna skip out of
the girl's volleyball game early?
BRENDAN
I've got loads of time. Time's not
an issue. The parking lot thing
kinda got me suspended. I need to
keep working the smokers.
FRANK
Tess know about this?
(off Brendan's nod)
Yeah? `Cause the last time you
fought, I got read the riot act
sitting in a hospital waiting room.
You remember that?
BRENDAN
No. I was unconscious.
The two friends share a laugh.
FRANK
She's not gonna come down here with
the two puppies, screaming at
Frank?
BRENDAN
It's not gonna happen. Come on.
Whattya say, Frank?
FRANK
What do I say? What am I gonna say
to you? No? I mean, all my time is
wrapped up with Marco. You come
down, I'll throw you in the
rotation, you spar with these guys,
no problem. But I can't promise you
much more than that, Brendan.
36.
BRENDAN
That's all I need.
Brendan stands up. Shakes Frank's hand.
BRENDAN (CONT'D)
I appreciate it.
FRANK
Let me know when you're coming
down.
BRENDAN
(WALKING AWAY)
Well, I'm just gonna go get my
stuff from the car.
FRANK
Now?
Brendan puts his dukes up and smiles as Frank shakes his
head.
EXT. BRENDAN AND TESS'S HOME - NIGHT
Brendan pulls into the driveway of his modest home, gets out
of his Camry, and looks to the street, where Paddy stands
outside his Olds, leaning on the passenger door.
Brendan carries a gym bag and wears work out clothes. He's
clearly not happy to see Paddy, who stands there,
uncomfortable and heavy hearted in the light of the street
lamp.
PADDY
Hey, Brendan. It's me, Pop.
BRENDAN
What're you doing here?
PADDY
I have some news for you.
BRENDAN
Something wrong with your hands?
Paddy shakes his head, unsure what he means.
BRENDAN (CONT'D)
If there's nothing wrong with your
hands then there's no reason for
you not to phone. That's the deal.
37.
PADDY
Yeah, I forgot--
BRENDAN
Phone or mail, Pop. Non negotiable.
Paddy holds his hands out, palms down.
PADDY
Hey Brendan, have you ever seen my
hands so steady? Have you?
BRENDAN
I'm going inside.
PADDY
I've got a thousand days. A
thousand days sober today.
BRENDAN
Well, that's great, Pop. But it
doesn't change anything.
PADDY
What do you mean it doesn't change
anything? Have a heart, Brendan.
Paddy's words set Brendan off. A side of him we haven't seen
before emerges. He approaches his father fiercely.
BRENDAN
You listen to me. You take your
have-a-heart bullshit and you run
it down the road. Run it out on
someone who doesn't know you like I
do.
PADDY
C'mon, Brendan. I thought maybe we
could break bread. Open some lines
of communication.
BRENDAN
You got two lines of communication,
the telephone and the post office.
Just because you decide it's a
special day, it doesn't make it one
for me. I got a wife and kids
inside and they're waiting for me,
so I don't have time for whatever
this is.
38.
PADDY
I know you got a wife and kids in
there. I got a grand-daughter I
haven't seen in three years and
another I haven't even ever met.
BRENDAN
Why is that, Pop? Why is that? Do
you remember having anything to do
with that?
Paddy nods. Casts his eyes down in shame.
BRENDAN (CONT'D)
That shit you pulled. Never again.
And all the shit I saw growing up?
That doesn't happen here.
Brendan looks at the reformed Paddy, a measure of sympathy on
his face. Then he heads for the house.
BRENDAN (CONT'D)
Take care of yourself.
As he's halfway through the yard, Paddy calls out.
PADDY
Tommy's back.
Brendan stops in his tracks. He turns and looks at his Dad.
PADDY (CONT'D)
He's in the `Burgh.
BRENDAN
Tommy's in Pittsburgh?
PADDY
He came to see me.
BRENDAN
He came to see you?
PADDY
He's over at the house. We're doing
a little training at Fitzy's.
Remember Fitzy's? It ain't Fitzy's
anymore.
Brendan walks closer. Incredulous.
BRENDAN
You and Tommy are training
together?
39.
Paddy nods.
BRENDAN (CONT'D)
Tommy Conlon.
PADDY
Riordan. He's using your mother's
maiden name now.
BRENDAN
I know what her name is.
PADDY
I thought you'd want to know he's
back. That's why I drove all the
way over here.
BRENDAN
I thought you came to break bread
over a thousand days?
PADDY
That too.
Brendan looks at him. Considers.
BRENDAN
Did he say if he wants to see me?
PADDY
He doesn't say much. He's just not
that happy kid he was.
BRENDAN
Wow, look at you. Mister inside
man.
Paddy frowns.
BRENDAN (CONT'D)
You and Tommy training together
like nothing ever happened. This is
unbelievable. Now I know what
you're really doing here.
PADDY
What's that?
BRENDAN
You came to gloat.
PADDY
I did not come to gloat. I came to
get my son back.
40.
BRENDAN
Well, there you go. You got your
son back.
PADDY
I'm talking about you, Bren--
BRENDAN
You got your son back.
Brendan starts to walk away, then turns around again.
BRENDAN (CONT'D)
You know, part of the reason I
stuck around was `cause I thought
I'd finally get you all to myself.
But you didn't have any interest in
training me. Tommy was the one.
PADDY
Ah, Brendan. I was a drunk. I mean,
you know. I'm sorry.
BRENDAN
Forget it. You were always a front
runner. You never had any interest
in underdogs. But I was your son.
PADDY
You are my son.
BRENDAN
Am I?
PADDY
Yeah, you are. I'm just asking you
to find just a little space in your
heart to forgive me.
BRENDAN
Yeah. Alright. I forgive you. But I
do not trust you. Tell Tommy this
is where I am if he wants to see
me.
PADDY
Alright. But they're not different
things. You've gotta trust to
FORGIVE--
BRENDAN
Goodnight, Pop.
41.
Paddy looks toward the house, where Emily, Rosie, and Tess
stand at the door. Paddy waves.
PADDY
My God, is that Emily? Boy, she's
grown, Brendan. Is that Rosie?
Brendan keeps walking. Opens his door to step inside.
ROSIE
Daddy, who is that?
BRENDAN
Just some nice old man.
Brendan closes the door, leaving the heartbroken Paddy alone
in the yard.
EXT. COLT'S PITTSBURGH FIGHT CLUB - DAY
Tommy, his hoodie drenched, jogs up the sidewalk and enters
the gym.
INT. COLT'S PITTSBURGH FIGHT CLUB - CONTINUOUS
Fenroy watches "MMA LIVE" on his computer as Tommy walks in
the door and heads into the gym.
ON COMPUTER SCREEN: JON ANIK AT THE MMA LIVE DESK. A PHOTO OF
KOBA, A BAD, BALD RUSSIAN FIGHTER, IS ALSO ON THE SCREEN.
JON ANIK
Huge news breaking here at ESPN.
Koba is coming to America and will
fight at Sparta. Universally
considered to be the greatest pound
for pound fighter that ever lived,
the mighty, mythical Russian has
never fought on U.S. soil in his
legendary career...
Mad Dog Grimes trains furiously under the watchful eye of
Colt Boyd. When Colt sees Tommy approaching, he turns his
attention away from Mad Dog.
COLT BOYD
Tommy? Got some news for ya. I got
you into Sparta. Took some doing,
but I made it happen..
(off no reaction from Tommy)
Thank you and 10 percent is
customary.
42.
Tommy heads up the stairs toward the locker room without
acknowledging Colt, though he does allow a small smile to
crease his lips.
INT. LOCKER ROOM - CONTINUOUS
Tommy pulls a crumpled PIECE OF PAPER out of a beat-up wallet
and begins dumping change into an old pay phone on the wall.
INT. PILAR FERNANDEZ'S HOUSE, EL PASO, TEXAS - SAME
More of a shack than a house. PILAR FERNANDEZ (20s), a pretty
but tired Mexican girl, watches a grainy TV with a six-year-
old BOY and a four-year-old GIRL as the phone RINGS. The
table it sits on has a FRAMED PICTURE of Tommy and another
MARINE on it, their arms around each other in the Iraqi
desert.
INTERCUT TOMMY AND PILAR
PILAR
Bueno?
TOMMY
Pilar. It's Tommy.
PILAR
Tommy! Dios mio! I can't believe
it! How are you?
TOMMY
Good good. How you doin'?
PILAR
OK. You know me, Tommy.
(BEAT)
I was getting really worried about
you.
TOMMY
How're things? Kids are good?
PILAR
They're good. Maria's getting so
big. She looks more like Manny
every day.
TOMMY
How's little man?
43.
PILAR
He's good. He's a good kid, Tommy.
Takes care of his sister. He's a
great kid. Everyone's good.
TOMMY
You know, Pilar, I haven't
forgotten for one minute what I
promised you. What I promised
Manny. I've got an opportunity
coming up to help you guys out. To
take care of you guys.
PILAR
Whatever you can do, Tommy. I know
Manny would really appreciate it.
You worry too much. It's OK. We're
hanging in there.
BEGIN TRAINING MONTAGE BEGINS
EXT. P.J. MCARDLE BRIDGE, PITTSBURGH - PRE-DAWN
Tommy, hoodie up, runs in the darkness as Paddy's Olds trails
behind him, the SOUND of "Moby Dick" playing in the car.
EXT. HILLSIDE - DAY
Frank watches as a team of FIGHTERS races up a steep hill.
Marco is ahead of the pack, Brendan in the middle.
EXT. 33RD STREET RAIL YARD - MORNING
Tommy runs hard through an industrial area along the
Allegheny River. The sky, the steel, the bridges,
everything's hard and gray.
INT. MARINES COMMUNICATIONS TENT, FALLUJAH, IRAQ - DAY
Bradford and other Marines watch "MMA LIVE" on a laptop.
ON COMPUTER SCREEN: J.J. RILEY BEING INTERVIEWED BY JON ANIK
VIA SATELLITE FROM TOKYO.
JON ANIK (ON SCREEN)
With eight weeks left til Sparta,
J.J. Riley and the TapOut crew take
time out of their international
press tour to join us.
(MORE)
44.
JON ANIK (ON SCREEN) (CONT'D)
J.J., we've never seen this kind of
Grand Prix tournament in the
country before. Tell us, why the
unique format?
J.J. RILEY (ON SCREEN)
Well, Jon, you know as well as
anyone that in Mixed Martial Arts,
anyone can beat anyone on a given
night...
EXT. PARKING LOT, SCRANTON PA - NIGHT
Brendan takes steady blows from an OPPONENT in another
smoker, then turns the tables, slams his man down, and chokes
him out. His skills are improving.
J.J. RILEY (V.O.)
...but with this type of format,
it's gonna be tough to deny who the
champion is.
EXT. 33RD STREET TIRE YARD - MORNING
In an expansive and grim scrap yard along the river bank,
Tommy somehow manages to lift and flip old long-haul rig
tires. They're roughly the size of hot tubs. His strength is
astonishing.
J.J. RILEY (V.O.)
You've got four fights in two
nights, sixteen fighters down to
one. Winners gonna be the last man
standing.
EXT. HILLSIDE - DAY
Everyone charging up the hill with Frank pushing them. Marco
leads the charge again, but Brendan is gaining and a close
second.
EXT. P.J. MCARDLE BRIDGE - MORNING
Tommy runs across the bridge as Paddy follows behind in the
Olds, right at his heels. The pace is relentless.
45.
INT. BRENDAN AND TESS' HOUSE - DAY
Tess and the girls run up the stairs as ESPN plays on the TV
in the den.
ON TV SCREEN: JON ANIK AND FIGHTER/ANALYST RASHAD EVANS
DISCUSS KOBA.
JON ANIK (ON SCREEN)
Only five weeks left `til Sparta
and the hype continues for the War
on the Shore. Fourth of July
weekend in Atlantic City and you
know what that means: the great
Koba, bringing his act stateside.
Let me ask you about the other
guys. What are they thinking
entering a winner take all
tournament against a guy that
seemingly can't be beat?
RASHOD EVANS (ON SCREEN)
They're thinking five million
dollars, and five million dollars
is a lot of money, but they've
gotta remember one thing: they're
going against Koba. Mission
impossible. Game over. Go home.
Tess comes back down the stairs and looks at the screen,
concern on her face.
ON TV SCREEN: THE MIGHTY KOBA TATTOOS AN OPPONENT WITH A
VICIOUS STRIKE TO THE HEAD. THE FIGHTER FALLS FLAT ON HIS
BACK AND IS FINISHED OFF IN NO TIME. BRUTAL. "FROM RUSSIA
WITH LOVE" APPEARS ON SCREEN.
INT. CAMPANA FIGHTING SYSTEM - MORNING
Frank lets himself into the gym at the crack of dawn. Finds
Brendan already there, training alone with ferocity and
listening to classical music.
EXT. 33RD STREET TIRE YARD - DAY
Tommy pounds on tires with a sledge hammer as Paddy exhorts
him on. It's a brutal regimen.
INT. COLT'S PITTSBURGH FIGHT CLUB - NIGHT
Fenroy watches "MMA LIVE" on his computer.
46.
ON COMPUTER SCREEN: JON ANIK INTERVIEWS MAD DOG GRIMES.
JON ANIK (ON SCREEN)
The `Pittsburgh Beatdown' has
become one of the most watched
videos on YouTube this year. Now
joining us via satellite is the
victim of the infamous incident,
Mad Dog Grimes. Mad Dog, what is
your response to all the hoopla
surrounding the video and Tommy
Riordan?
MAD DOG (ON SCREEN)
This guy's a nobody. It was just a
sparring session. It is what it is,
and he's gonna pay for it next
month in Atlantic City.
EXT. PARKING LOT, YOUNGSTOWN OHIO - NIGHT
Brendan works over another FIGHTER in a smoker. He looks
fantastic and submits the guy with slick Jiu Jitsu.
EXT. HILLSIDE - DAY
Up the hill they race, Brendan now leading the way and Marco
struggling to catch up with him.
INT. COLT'S PITTSBURGH FIGHT CLUB - DAY
Tommy and Mad Dog work out, each jumping rope at blinding
speed. They eyeball each other, the hate increasing.
JON ANIK (V.O.)
With Sparta now only two short
weeks away, J.J. Riley and the
TapOut crew returned to the U.S.
after a world tour that saw them
visit ten fighters in ten different
countries.
INT. CAMPANA FIGHTING SYSTEM - DAY
As Marco and Brendan train, J.J. Riley, SkySkrape, and
Punkass walk into the gym and warmly greet Frank. All
obviously old friends.
47.
JON ANIK (V.O.)
They stopped in Philadelphia today
to check in on renowned trainer
Frank Campana and top contender
Marco Santos.
EXT. P.J. MCARDLE BRIDGE, PITTSBURGH - MORNING
Tommy keeps running, Paddy in the Olds right behind him.
FRANK (V.O.)
You've gotta relax and stay calm in
there. The cage is your home. You
set the pace.
INT. CAMPANA FIGHTING SYSTEM - DAY
Brendan and Marco grapple. They're evenly matched. Frank
looks on, impressed by Brendan.
FRANK (V.O.)
You set the rhythm. Feel the
Beethoven. Be smarter than him.
More patient. Wait for him to make
a mistake. And when he does, that's
your moment.
Brendan turns Marco and gets him in a knee bar. Marco has
nowhere to go and is forced to TAP. Frank jumps in the ring,
all smiles, and slaps Brendan on the chest.
FRANK
No he did not tap you! Physics
teacher! That's the best in the
world there, son.
EXT. 33RD STREET TIRE YARD - DAY
Tommy keeps pushing the giant tires until he finally reaches
the end of the yard. He's ready.
EXT. HILLSIDE - DAY
Frank, Brendan, and group of other FIGHTERS stand at the
bottom of the hill and tend to Marco Santos, who has just
badly INJURED HIS KNEE.
END OF TRAINING MONTAGE
48.
EXT. ST. IGNATIUS HOSPITAL - NIGHT
An AMBULANCE pulls in front of the ER.
INT. UNDERGROUND PARKING GARAGE - LATER
A sorely dejected Frank walks through an underground parking
garage with Brendan.
BRENDAN
You gonna be OK? Wanna grab a bite?
FRANK
Nah. I'm gonna head home. I gotta
call the boys and break the news.
I'll call you tomorrow.
Frank heads off through the lot. Brendan reaches his car,
stops, considers. Calls out to Frank while jogging toward
him.
BRENDAN
Coach! Hey, I know this isn't a
great time. And it's too bad about
Marco. But what about me?
Brendan looks hopefully at Frank, who shakes his head as he
begins to open the door of his `70 Ford Bronco.
FRANK
You talking about Sparta? Brendan,
please. You got a better chance of
starting a boy band. I'll talk to
you tomorrow.
BRENDAN
It's a grand prix tournament. Which
means anything can happen. You know
that as well as I do.
Frank looks at him. Sees how serious Brendan is.
BRENDAN (CONT'D)
They'll have to kill me to get me
out of that cage.
FRANK
That's what I'm afraid of.
BRENDAN
Frank, I need this. You're real
tight with those guys. You call
them, they'll listen to you.
49.
FRANK
You realize what you're asking me
to do here, Brendan? We go down to
AC and you get tapped out in five
seconds, how does that benefit
either one of us?
BRENDAN
That's not gonna happen.
FRANK
Not gonna happen. Wish I had a
nickel for every time I heard that.
BRENDAN
(SMILING)
It's not gonna happen.
Frank breaks. Smiles. How can he say no?
FRANK
I'll make a call.
Brendan grins and walks back toward his car.
BRENDAN
I love my coach!
EXT. BRENDAN AND TESS'S HOME - MORNING
Brendan pulls a garbage bin down to the curb as Tess walks
out of the house talking on a cordless PHONE.
TESS (INTO PHONE)
Yeah, the girls are good. They're
good. Yeah, you should. You've been
spending so much time with Brendan
these days it's like you're part of
the family or something. Yeah, he's
right here.
(handing phone to Brendan)
It's your boyfriend.
BRENDAN (INTO PHONE)
Hey Frank.
(BEAT)
That's unbelievable. I can't thank
you enough. I don't know what to
say. Alright, listen, I've gotta
call you back. Alright, bye.
Brendan hangs up the phone. Looks at Tess.
50.
BRENDAN (CONT'D)
I'm in. I'm going.
A look of serious concern crosses Tess's face. She puts her
hands on her hips.
TESS
Really? So that's your decision?
You decided? `Cause I really
enjoyed that conversation we just
had about making that decision
together.
Brendan doesn't say anything. Knows she's right. And that
he's about to get laid into.
TESS (CONT'D)
You told me you were gonna fight
guys that watched too much UFC. I
saw that Koba dude on TV, and he's
the guy they're watching.
BRENDAN
It's a lot of money, Tess.
TESS
I don't give a shit about the
money, Brendan. I told you that.
We're gonna end up cashing in your
life insurance policy before we
pick up that prize money.
BRENDAN
You don't think I can do it.
TESS
I think you can get killed.
BRENDAN
I'm not gonna get killed.
TESS
Fine, you're not going to get
killed. But can you promise me
you're not going to get hurt?
You're not gonna end up in the
hospital? You're not gonna end up
paralyzed? We'll have no prize
money. No house. Payments for
HOSPITAL BILLS--
51.
BRENDAN
Tess, I can promise you this: if I
don't try, they're gonna take the
house. How's that for a promise?
No response from Tess, who has tears in her eyes.
BRENDAN (CONT'D)
So, I'm gonna go, OK? But I'd
really love it if you'd be with me
on this.
Tess looks at her husband. Wants to support him, but can't.
TESS
I'm not gonna watch you fight
again. I'm not.
(BEAT)
I'm gonna get the girls breakfast.
Tess starts walking back toward the house. She marches up the
lawn without turning back, leaving Brendan, alone, in front
of his house. He looks at the toys strewn across the yard.
Surveys the neighborhood. He's going to Sparta.
CALLEN (V.O.)
Fourth of July weekend doesn't
officially start until tomorrow...
EXT. ATLANTIC CITY - DAY
Sunlight pours down on the crowded beaches, hotels, and
boardwalks of AC. Thousands of PEOPLE jam the outside of the
majestic Boardwalk Hall. It seems as if everyone on earth is
in town.
CALLEN (V.O.)
...but fight fans are already
descending on Atlantic City for the
Super Bowl of Mixed Martial Arts,
Sparta.
BILLBOARDS heralding the arrival of the SPARTA tournament are
everywhere. Ceremonial Fourth of July banners hang, cars jam
Ocean Avenue, early FIREWORKS pop. The buzz is electric. The
greatest show on earth has hit the shore.
52.
EXT. BOARDWALK HALL ARENA - SAME
LIMOUSINES pull up in front of the Boardwalk Hall rotunda as
"Mad Dog" Grimes, Orlando "Midnight" Le, Karl "The Dane"
Kruller, and other fighters make their way down a long red
carpet swarming with FANS.
In the middle of it all is J.J. Riley, greeting press and
guests and running the show as the Tapout crew, Colt Boyd,
and others mill about and talk shop. Announcers BRYAN CALLEN
(40s) and SAM SHERIDAN (30s) corral J.J. for an interview.
CALLEN
J.J., you've made a fortune with
your hedge funds, yet you turned
your back on Wall Street and
dedicated your life to making
Sparta happen. Tell us, why is this
tournament so important to you?
J.J. RILEY
Growing up, we all wanted to know
who the toughest kid in the
neighborhood was, right? I wanna
know who the toughest man on the
planet is. That's why I put this
together, that's what all these
people are here to see, and come
Saturday night, that's what we're
gonna find out.
SHERIDAN
Thank you, J.J. And here's
something fans never thought they'd
see: Koba is here! The legend
arriving to fight on U.S. soil for
the very first time...
The great and mighty KOBA emerges from a white stretch limo,
trailed by his ENTOURAGE of tough-looking RUSSIANS.
FLASHBULBS pop. REPORTERS swarm. It looks like a movie
premiere out there and Koba's the star.
INT. BOARDWALK HALL LOBBY - SAME
As WORKERS set up for the press conference and camera crews
stake out their territory, Tommy and Paddy hug the corner of
the room and wait. Not in their element at all. Moments
later, Brendan comes walking through the doors.
As he moves through the crowded room, Brendan and Tommy make
eye contact.
53.
They haven't seen each other in 14 years, and judging by the
looks on their faces they certainly didn't expect to see each
other today. Paddy is just as shocked.
Brendan begins to inch toward Tommy, but is intercepted by
Frank, who was caught up in the media storm outside.
FRANK
Hey. Where'd you go? You can't
leave me like that. They wanna talk
to you, not me.
Brendan looks past Frank. Tommy has risen and headed toward
the exit, trailed by Paddy, who calls after him.
EXT. RESORTS HOTEL AND CASINO - TWILIGHT
The sun descends over the boardwalks and hotels of Atlantic
City, and sinks into the sea.
INT. HOTEL ROOM - SAME
Paddy sits on a couch thumbing through a Sparta program and
looks proudly at a PICTURE of Brendan. He listen to "Moby
Dick" on his headphones as a TV plays in the foreground.
ON TV SCREEN: LOCAL NEW JERSEY NEWS ANCHOR MICHELLE MOONEY
SPEAKS OVER IMAGES OF THE RED CARPET EVENT AND PRESS
CONFERENCE.
MICHELLE MOONEY (ON SCREEN)
...the only fighter missing from
the event was dark horse entry
Tommy Riordan.
ON TV SCREEN: A PICTURE OF TOMMY APPEARS ON THE SCREEN NEXT
TO A PICTURE OF LANCE CORPORAL MARK BRADFORD.
Paddy notices the picture of Tommy. Puts down the program and
takes his headphones off.
MICHELLE MOONEY (ON SCREEN) (CONT'D)
Recent revelations that Riordan
was not only a United States Marine
but a hero in the Iraq War, has
cast an even brighter spotlight on
a fighter who seems to have come
out of nowhere.
(MORE)
54.
MICHELLE MOONEY (ON SCREEN) (CONT'D)
Lance Corporal Mark Bradford's web
testimony to Riordan, who saved his
life earlier this year in Iraq, is
spreading like wildfire throughout
the media.
Paddy stares at the screen intently.
PADDY
Tommy!
ON TV SCREEN: MARK BRADFORD PEERS INTO A HAND-HELD CAMERA IN
IRAQ AND SPEAKS. HE FIGHT BACK TEARS.
BRADFORD (ON SCREEN)
...the bridge just crumbled. The
Amtrack was upside down. Water was
coming in from everywhere. The
water pressure was too much. We
couldn't get the back hatch open.
ON TV SCREEN: BRADFORD HAS TO COMPOSE HIMSELF.
BRADFORD (ON SCREEN) (CONT'D)
We were all drowning, man. It was a
death trap.
Tommy walks into the room from the door of an adjoining suite
and stares at the TV.
BRADFORD (ON SCREEN) (CONT'D)
I couldn't have had more than
another minute. Suddenly the back
ramp gets ripped off, and there he
was. Before I could get out and
thank him, he was gone. He just
vanished like a ghost.
Paddy is dumbfounded and looks at Tommy, who glances at him
and back at the TV before heading toward the door.
TOMMY
I'm takin' a walk.
ON TV SCREEN: THE CAMERA PUSHES IN ON BRADFORD'S FACE. HE
SPEAKS DIRECTLY TO TOMMY.
BRADFORD (ON SCREEN)
You saved my life, brother. Anybody
seeing this at Sparta, anybody out
in Pittsburgh, reach out to Tommy
Riordan. Tell him Mark said thank
you.
55.
ON SCREEN: BACK TO THE NEWS STUDIO, AND THE PHOTO OF TOMMY.
MICHELLE MOONEY (ON SCREEN)
Footage taken from a helmet camera
on the ground captured the heroic
incident...
ON SCREEN: THE GRAINY FOOTAGE SEEN EARLIER IN THE MARINE
BARRACKS OF TOMMY AND THE SUBMERGED TANK.
Then the phone RINGS. Paddy grabs it.
PADDY (INTO PHONE)
Hello?
(BEAT)
Brendan.
EXT. BEACH - NIGHT
Brendan walks on the beach as the waves of the Atlantic Ocean
lap at the shoreline. Boats bob on the water. Stray bottle
rockets trace through the night sky.
In the distance, the NEON LIGHTS of an amusement park flash
and zip. Behind Brendan, the big casinos loom, advertisements
for Sparta filling their BILLBOARDS.
Brendan continues walking, then spots Tommy coming toward
him. The brothers make eye contact. Stop. Then approach each
other warily.
BRENDAN
Been looking all over for you.
How's it going?
TOMMY
It's going.
BRENDAN
I was thinking maybe we could grab
a coffee.
TOMMY
I don't drink coffee. Whattya want?
BRENDAN
You don't want to go sit down
somewhere?
TOMMY
I'm good right here.
56.
Brendan looks at Tommy. Sees how rigid he is. A long silence.
Finally Brendan cuts right to it.
BRENDAN
Shit, Tommy. How was I supposed to
know I was never gonna see you guys
again?
TOMMY
You were briefed. You had the
information. You chose the old man
and the girl.
BRENDAN
She wasn't some girl. I married
her. She's my wife.
Brendan reaches into his pocket and removes a recent
Christmas PHOTO of Tess, Emily, and Rosie from his wallet.
BRENDAN (CONT'D)
(handing Tommy the picture)
That's Tess. And that's Emily and
Rosie. They're your nieces, Tommy.
Tommy glances at the photo impasssively and hands it back.
TOMMY
Don't know `em.
BRENDAN
I know you don't know them. Of
course you don't know them.
TOMMY
Why am I looking at pictures of
people I don't know?
BRENDAN
Because that's my family.
TOMMY
And who are you exactly?
BRENDAN
I'm your brother, man.
TOMMY
You were in the Corps?
BRENDAN
What?
57.
TOMMY
I said I didn't know you were in
the Corps.
BRENDAN
I wasn't in the Corps.
TOMMY
Then you ain't no brother to me. My
brother was in the Corps.
With that, Tommy walks briskly away from Brendan and up the
beach. His brother runs after him.
BRENDAN
Jesus, Tommy. I was a 16 year old
kid. What the hell did I know?
TOMMY
I don't know what you know. Why
don't you go ask your girlfriend
about it?
BRENDAN
She's my wife, Tommy. So that's it?
I stay with Tess and I never get to
see you guys again? Not a single
phone call? Nothing?
No response from Tommy. He's a wall.
BRENDAN (CONT'D)
God, man, I don't understand this.
You won't forgive me, but you'll
forgive Pop?
TOMMY
Shit. He's just some old vet I
train with. He means nothing to me.
From what I hear he means nothing
to you, either, so you got balls
talking about forgiveness.
BRENDAN
That's got nothing to do with
forgiveness. I've got a family to
protect. Everything I do is for
them.
Tommy smirks. Walks away again.
BRENDAN (CONT'D)
But I forgave Pop. Just like I
forgave you and Mom.
58.
TOMMY
(TURNING AROUND)
You forgave us?
BRENDAN
Yeah.
TOMMY
I'm not surprised you made the
tournament, Brendan. You got some
stones.
BRENDAN
I fell in love, Tommy. What the
hell was I supposed to do?
TOMMY
You were supposed to stick to the
plan. You were supposed to come
with us. Mom needed you. I needed
you. You were my big brother and
you bailed on me.
The words hit Brendan hard.
TOMMY (CONT'D)
Hey, I'm glad you stayed and
everything worked out for you,
Brendan. See, you leave, you get
the opposite. You leave, you get to
bury people.
BRENDAN
You're not the only one who
suffered, Tommy. I didn't even know
she was sick. I never even got the
chance to say goodbye to my own
mother. You had no right to keep
that from me! That was not your
decision to make!
TOMMY
You know what? You walk around with
your pictures in your wallet and
you're all, I forgive you, I
forgive Pop. I forgive everyone.
But you know what? You're full of
shit.
Tommy and Brendan are right in each other's faces. Standing
on the knife's edge of violence. They hold the stare down for
a few long seconds, like two fighters about to go to war.
59.
TOMMY (CONT'D)
Are we done, Brendan? Are we
finished?
Tommy and Brendan look at each other with burning intensity.
Too much baggage and both too much and nothing left to say.
Finally, Tommy turns and walks on down the beach.
EXT. CENTRAL HIGH, PHILADELPHIA - DAY
Sunny day. And a nearly abandoned school parking lot.
INT. OUTER OFFICE - DAY
Nash, Tito, and KC wait outside the Principal's office. It's
quiet and aside from one SECRETARY, there's no one around.
After a moment, Stephon comes walking in, and they all stand
up and head into the Principal's office.
INT. PRINCIPAL ZITO'S OFFICE - CONTINUOUS
The kids walk in. Zito looks up and shakes his head.
JOE ZITO
You realize you're supposed to seek
my wise counsel when school's
actually in session, right?
All four of them laugh nervously. Working their way up to
something.
STEPHON
We want to use the auditorium this
weekend to watch Mr. C in Sparta.
TITO
What do you say?
JOE ZITO
Let me get this straight. You want
to use the auditorium to watch a
suspended teacher engage in the
activity he was suspended for? Am I
hearing this correctly?
(BEAT)
I gotta talk to your parents. You
guys might need to be in summer
school after all.
NASH
But everyone wants to see it.
60.
KC
The gym's the only place that's big
enough.
JOE ZITO
It's never gonna happen.
STEPHON
What if we get a petition?
TITO
Yeah. We'll get the whole school to
sign it.
NASH
The power of democracy!
JOE ZITO
Look, I appreciate that you guys
love your teacher. I really do. But
there is nothing I can do for you.
Zito turns and heads back to his desk. The kids, dejected,
leave the office and walk off down the hallway.
EXT. BOARDWALK HALL - NIGHT
The Goodyear BLIMP, "SPARTA IS HERE" blinking on it, floats
over Atlantic City. FIREWORKS explode majestically above
Boardwalk Hall and fall into the sea, where hundreds of boats
bob, televisions tuned to Sparta visible from many of them.
THOUSANDS OF PEOPLE cram the beach and boardwalk, crane their
necks toward the sky, and watch the stunning pyrotechnics. In
the streets, limos line up on Ocean Avenue. Even from a
distance, the excitement and energy are palpable.
CALLEN (V.O.)
The roof is about to blow clean off
Boardwalk Hall Arena! It might be
Fourth of July weekend, but this is
Christmas Eve for fight fans! This
is Atlantic City! This is the War
on the Shore! And this is what
everyone has been waiting for!
Enormous electronic BILLBOARDS flash outside of the giant
seaside casinos. On one, Koba hangs off the side of a ferris
wheel and swats at smaller fighters buzzing around him in a
replication of the iconic "King Kong" movie scene.
61.
CALLEN (V.O.)
Sixteen of the baddest men on the
planet duking it out over a 24-hour
period for the largest purse in
Mixed Martial Arts history. In the
town everyone knows from the game
of Monopoly, we've got ourselves a
winner-take-all affair. Buckle your
seatbelts, roll the dice, and take
riiiiide on the Reading. Sparta.
Is. Here!
INT. BOARDWALK HALL ARENA - SAME
Play by play announcer Sam Sheridan and color analyst Bryan
Callen stand cageside. The arena is packed to capacity and
buzzing with anticipation.
CALLEN
Welcome, I'm Bryan Callen along
with best-selling fight author Sam
Sheridan. Sam, when J.J. Riley
conceived Sparta he wanted to
create, quite simply, the biggest
Mixed Martial Arts spectacle in
history.
SHERIDAN
Five million dollars, Bryan. Five
million dollars. J.J. Riley put his
money where his mouth is and put up
the biggest purse this sport has
ever seen.
CALLEN
It's unprecedented, Sam. As is the
hoopla surrounding Tommy Riordan,
the war hero who has become an
overnight sensation...
INT. TOMMY'S LOCKER ROOM - SAME
Tommy lays on the ground near the showers, collecting his
thoughts. As Paddy watches a TV monitor showing Callen and
Sheridan, an OFFICIAL pokes his head into the locker room.
OFFICIAL
Five minutes, Paddy.
62.
INT. COLT'S PITTSBURGH FIGHT CLUB - LATER
Fenroy and a group of FIGHTERS gather around a TV in the gym.
A very fired up group.
SHERIDAN (V.O.)
It looks as though the moment of
truth has arrived, because here
comes Tommy Riordan.
ON TV SCREEN: A FURIOUS TOMMY MAKES HIS WAY THROUGH THE CRUSH
OF INSANE SPECTATORS, PADDY DUCKING ALONG AT HIS SIDE. LIGHTS
RICOCHET CHAOTICALLY AROUND THE ARENA.
INT. BOARDWALK HALL ARENA - SAME
As Tommy makes his way toward the cage and the strobe lights
sweep over nearly 15,000 SCREAMING FANS, not one of them
sitting.
CALLEN (V.O.)
Tommy Riordan's captured the
media's attention, but the question
still remains: who is this guy? And
more importantly, can he compete in
this talent pool? Can he win?
SHERIDAN (V.O.)
I wish I knew, Bryan. I wish I knew
who he was, and I've gotta say the
fact that I don't know is strange.
In an internet age where there are
no secrets, this guy is a complete
mystery. I can't find out anything
about him. Tommy Riordan is
officially Google proof.
Tommy continues to storm toward the cage with a furious and
focused look on his face. He seems to want nothing to do with
Paddy. Training is over. It's time to fight.
CALLEN (V.O.)
You gotta love this guy, Sam. No
walk out music, no sponsors, no
interviews. He skipped out on the
press conference. Wouldn't have his
picture take for the program. He's
breaking every rule!
63.
SHERIDAN (V.O.)
The only reason that Tommy is even
in this tournament is because of a
video showing him beating up Mad
Dog Grimes in the gym.
CALLEN (V.O.)
But the reason a lot of his fans
are in the stands is because of
another video, which is even more
stunning than the Mad Dog Grimes
video. Let me describe it for you
folks for the few who haven't seen
it, and I don't know anyone who
hasn't, but Tommy Riordan ripped
the door off a tank in the heat of
battle, saving lives in the
process, and then walked away
without claiming a medal. He ripped
the door off a tank!
SHERIDAN (V.O.)
Tommy Riordan is a genuine war
hero, I'm not taking anything away
from the guy. He's a very, very
tough guy, Bryan, but the tank
don't hit back. We've seen YouTube
sensations fail on the big stage
before.
Tommy stands outside the cage and has Vaseline applied to his
face. He looks like he's ready to murder someone.
CALLEN
Sam. He ripped the door off a tank!
INT. LOCKER ROOM - MOMENTS LATER
Frank holds mitts for Brendan as a TV plays.
CALLEN (V.O.)
Tommy Riordan definitely has his
hands full in his first opponent,
Francisco Barbosa. Barbosa is
nothing to scoff at.
SHERIDAN (V.O.)
Yeah, he's the real deal. Very
tough guy. Very high caliber
fighter. Tommy Riordan came out of
nowhere, and I imagine he's going
to disappear just as quickly.
(MORE)
64.
SHERIDAN (V.O.) (CONT'D)
Great story, but I think your boy
is about to be exposed as a YouTube
sensation.
ON TV SCREEN: REFEREE JOSH ROSENTHAL (30s) GIVES INSTRUCTIONS
TO TOMMY AND HIS OPPONENT, FRANCISCO BARBOSA (20s). THE
MUSCULAR BRAZILIAN DOESN'T HAVE A TRACE OF FEAR ON HIS FACE.
INT. BOARDWALK HALL ARENA CAGE - SAME
Tommy and Barbosa face to face as JOSH ROSENTHAL instructs.
JOSH ROSENTHAL
Gentlemen, you've been given your
instructions. I expect a clean
fight. Obey my commands at all
times. Defend yourselves at all
times. Touch gloves, go back, let's
do this.
In the crowd, two sections of MARINES in full dress uniforms
wave flags and raise about as much hell as humanly possible
for Tommy, who returns to his corner. Paddy attempts to give
him some advice, but Tommy is not listening.
CALLEN (V.O.)
We're about to get the big answer
to the big question: is Tommy
Riordan for real? And here we go!
The bell rings. DING! And Tommy comes out fast and hard.
SHERIDAN (V.O.)
Barbosa's gonna be looking for a
take down.
CALLEN (V.O.)
Definitely gonna be looking for a
take down.
There will not be a take down. Tommy ducks a blow, then
levels Barbosa with a massive and brutal LEFT HOOK. The
Brazilian's head snaps sideways, his MOUTHPIECE goes flying,
and he does a face plant on to the canvas. It's over.
CALLEN (V.O.)
Barbosa is down! Barbosa has been
knocked out! Tommy Riordan is most
definitely for real!
As the crowd erupts and Josh Rosenthal waves to Barbosa's
corner to get a medic in there, Tommy marches out of the cage
without waiting for an official announcement.
65.
CALLEN (V.O.)
And now he's walking out of the
cage! He's leaving the cage! There
goes another rule out the window!
INT. COLT'S PITTSBURGH FIGHT CLUB - SAME
Fenroy and the boys fired up. They can't believe the
ferocious knockout they've just witnessed.
SHERIDAN (V.O.)
Francisco Barbosa is out cold, and
he is out of this tournament,
Bryan.
INT. BRENDAN'S LOCKER ROOM - SAME
The official pokes his head into the locker room where Frank
and a nervous Brendan sit alone.
OFFICIAL
Show time.
On the TV monitor, Tommy's annihilating knockout of Francisco
Barbosa plays. Then, in the distance, the strains of
CLASSICAL MUSIC can be heard. Brendan looks at Frank, who
smiles and puts his hands on Brendan's shoulders.
FRANK
You can do this.
He grabs the nervous Brendan's head between his hands.
FRANK (CONT'D)
I want to hear you say it.
BRENDAN
I can do this.
FRANK
Then let's go do this.
INT. BOARDWALK HALL ARENA HALLWAY - MOMENTS LATER
BUZZING in the crowd. Another fight close at hand.
SHERIDAN (V.O.)
J.J. Riley had less than 48 hours
to fill Marco Santos' spot, and he
basically had to rely on the word
of Frank Campana.
66.
CALLEN (V.O.)
And he chose Brendan Conlon, which
quite frankly is something I just
don't understand.
Brendan and Frank walk down the tunnel toward the arena,
where Paddy is waiting, his All Access pass around his neck.
Brendan notices the old man as he approaches.
PADDY
Go get `em, son.
Brendan barely acknowledges Paddy and keeps walking. Frank
looks at Brendan with a "Who the hell is that?" expression.
As they approach the dark lights of the arena, Beethoven
continues to BOOM out over the loud speakers.
CALLEN (V.O.)
I can understand coming out to no
music, by why in the world would
you choose classical music for your
entrance?
SHERIDAN (V.O.)
This is Beethoven, Bryan. This is
Ode to Joy.
CALLEN (V.O.)
My apologies, Mr. Renaissance man.
SHERIDAN (V.O.)
You want to talk about renaissance
men, you gotta talk about Frank
Campana. Very unorthodox trainer,
and one of the best in the game.
He's well known for using classical
music to train his fighters to
remain calm, to remain patient, and
to remain composed under pressure.
Brendan and Frank make their way through the crowd and toward
cageside, where Bryan Callen reaches beneath his seat.
CALLEN
Classical music is about as fitting
to this setting as Brendan Conlon
is to this tournament. In fact, let
me show you something.
Callen holds up a plastic bag with water and a GOLDFISH
inside.
67.
CALLEN (CONT'D)
This is Brendan Conlon. He's a
feeder fish, and he's about to get
dropped into a shark tank.
Brendan gets greased up, then climbs into the cage.
SHERIDAN
C'mon, give the guy a break. At
least we've seen him fight before.
He was in the UFC. We remember him.
CALLEN
I remember him, too. I remember him
being very unmemorable.
INT. BRENDAN AND TESS'S HOME - LIVING ROOM - SAME
A nervous Tess sits at the table, failing to concentrate on
folding laundry. The TV in front of her is off, but she
glances at it anyway. In front of her sits a CELL PHONE. She
glances at it repeatedly.
INT. BOARDWALK HALL ARENA CAGE - MOMENTS LATER
Brendan stands in the corner as his opponent, ORLANDO
"MIDNIGHT" LE climbs in, shoulders bulging and abs shredded.
SHERIDAN (V.O.)
Midnight Le getting ready to climb
into the cage and go to work.
CALLEN (V.O.)
When the brackets were announced,
Midnight thought he'd be going up
against Marco Santos. He's gotta be
thrilled to be seeing Brendan
Conlon standing across from him.
Brendan stands in the corner and looks at the massive
Midnight Le. Frank smiles at him.
FRANK
You asked for it.
Brendan grins and looks out at the rabid crowd.
68.
SHERIDAN (V.O.)
Brendan retired from fighting some
years ago, he's actually a high
school Physics teacher now, and
Midnight had some fun with that at
the press conference.
CALLEN (V.O.)
He said he was gonna give the
teacher a serious lesson, and that
getting killed was no way to spend
a summer vacation.
Josh Rosenthal waves the two fighters into the center of the
cage for instructions.
JOSH ROSENTHAL
Alright, gentleman, you've been
given your instructions, I expect a
clean fight. Obey my commands at
all times. Defend yourselves at all
times. Touch gloves, go back, let's
do this.
The fighters head to their corners and wait for the bell.
FRANK
Have some fun, baby.
At the sound of the bell, "Midnight" Le comes out hard and
strong. He repeatedly KICKS Brendan in the leg and batters
him with STRIKES. His power is overwhelming Brendan.
INT. TOMMY'S LOCKER ROOM - SAME
Paddy stares at the TV monitor.
ON TV SCREEN: MIDNIGHT PICKS UP BRENDAN AND BODY SLAMS HIM.
Tommy lays on the rubdown table, his eyes closed. No interest
in Brendan's fight.
INT. PRINCIPAL ZITO'S LIVING ROOM - SAME
Joe Zito sits on a couch in his suburban home and watches
Brendan on TV. He's a nervous wreck.
ZITO
Move! You gotta move!
69.
INT. BOARDWALK HALL ARENA CAGE - LATER
Frank exhorts Brendan from cageside, telling him to relax,
but it's no use. It's an unholy beating going in the cage.
INT. PRINCIPAL ZITO'S LIVING ROOM - SAME
Zito drinks a glass of Scotch.
ON TV SCREEN: MIDNIGHT POUNDING ON BRENDAN.
SHERIDAN (V.O.)
Midnight is all over Brendan.
CALLEN (V.O.)
This can't last much longer. This
won't last much longer. The teacher
just has no answers.
Zito leans forward. He looks as if he's going to have a heart
attack.
ZITO
C'mon, Brendan, get outta there!
INT. BOARDWALK HALL ARENA CAGE - SAME
Midnight Le takes Brendan to the ground. Brendan tries to
escape, but turns his back, allowing Midnight to sink in a
rear naked CHOKE. He puts the strangle hold on Brendan and
squeezes his neck with his enormous biceps.
FRANK
Get out of there! Get out of there!
Brendan tries to pry Midnight's hands off him. No use.
CALLEN (V.O.)
And now he's got the hooks in. 20
seconds left.
SHERIDAN (V.O.)
The end is near. Can he make it to
the end of the round is the
question.
Midnight squeezes for all it's worth as Frank screams at
Brendan, imploring him not to tap.
70.
CALLEN (V.O.)
10 seconds left, and Brendan's face
is turning purple. Conlon's whole
world is about to go from day to
night.
Brendan is on the verge of going unconscious, but he refuses
to tap out. Then the HORN blows ending the round. The crowd
can't believe Brendan hung in there, and neither can Midnight
Le, who slams the canvas in frustration.
As Midnight walks back toward his angry TRAINER, who expected
him to finish Brendan early, the teacher heads toward a
smiling Frank.
FRANK
Beautiful! Beautiful! He doesn't
know what hit him!
Brendan grins at Frank's positive spin on things, then looks
across the cage at Midnight Le, who glares at Brendan.
INT. PRINCIPAL ZITO'S LIVING ROOM - LATER
The frazzled Zito continues to root for Brendan.
ON TV SCREEN: MORE OF THE SAME. MIDNIGHT ALL OVER BRENDAN.
INT. TOMMY'S LOCKER ROOM - SAME
An excited Paddy watches Brendan on the monitor.
INT. BOARDWALK HALL ARENA CAGE - SAME
Midnight continues pounding on Brendan, but Brendan starts
giving back, working a few leg kicks of his own. He seems to
be gaining confidence. From cageside, Frank HOLLERS words of
encouragement as the battle continues.
Back and forth they go. Midnight rocks Brendan with a right
hand. Brendan recovers and fires back. Then Midnight shoots
in for a take down, but Brendan dodges him, reverses
position, and suddenly takes a shocked Midnight down to the
ground. The crowd is on its collective feet.
SHERIDAN (V.O.)
He's got a Kimura locked in.
CALLEN (V.O.)
Are you kidding me?
71.
Brendan locks up Midnight's shoulder. Applies pressure. The
bigger fighter struggles to get free, but he seems to be
trapped. From cageside, Frank screams, instructing Brendan on
how to finish the move.
CALLEN (V.O.)
Midnight is in big trouble!
SHERIDAN (V.O.)
I don't think he's got anywhere to
go!
CALLEN (V.O.)
This isn't happening! This can't
happen!
Midnight TAPS and the crowd EXPLODES. Shock and mayhem
throughout the arena.
SHERIDAN
It just did, Bryan.
CALLEN (V.O.)
Brendan Conlon tapped Midnight! I
can't believe it!
INT. PRINCIPAL ZITO'S LIVING ROOM - SAME
Principal Zito leaps off his couch, SCREAMING in celebration.
ZITO'S WIFE (40s), drying dishes, pokes her head in the room
as the Principal pumps his fist over and over.
ZITO
He tapped him out! He tapped him
out! He did it! He did it! He did
it!
ON TV SCREEN: BRENDAN AND FRANK EMBRACING. CHAOS IN THE RING
AND MIDNIGHT ON THE GROUND IN UTTER DISBELIEF.
SHERIDAN (V.O.)
This is what makes Mixed Martial
Arts so great. There's so many ways
to lose. One tiny miscalculation at
any time and that's it.
CALLEN (V.O.)
Frank Campana embracing his man,
Brendan Conlon. I don't think
either one of them can believe what
just happened.
72.
INT. BOARDWALK HALL ARENA CAGE - SAME
Frank and Brendan embrace. The arena is BUZZING. Midnight
gets off the canvas, and Brendan approaches him and bows. The
dejected Midnight bows in return.
SHERIDAN (V.O.)
Great show of sportsmanship from
the teacher.
CALLEN (V.O.)
That's a hallmark of Frank
Campana's philosophy right there.
SHERIDAN (V.O.)
Midnight Le is shocked. He thought
he had a free pass into the second
round, but instead he's going home.
He dominated the fight the entire
way, but fell prey to a very
technical finish.
CALLEN
Very technical finish, but come on,
that's a fluke.
A jubilant Brendan raises his arms in victory. The crowd
responds to the gutsy underdog.
SHERIDAN (V.O.)
You call it a fluke. I call it a
guy maintaining composure and
waiting for his opportunity.
CALLEN (V.O.)
Conlon beats Midnight!
As the celebration continues, Callen looks at Sheridan and
shakes his head. Was he ever wrong.
SHERIDAN
I hope you got a receipt for your
goldfish.
INT. BRENDAN AND TESS'S HOME - LIVING ROOM - LATER
Tess sits on the couch, TV still off. Her phone BEEPS. She
grabs it quickly. A text reads: "I WON!!!!!!!!"
TESS
Yes!
She starts dancing around the room, kissing her phone.
73.
INT. TOMMY'S LOCKER ROOM - LATER
Tommy and Paddy sit and watch the monitor.
ON TV SCREEN: THE CROWD IN A FRENZY AS KOBA CLIMBS INTO THE
CAGE.
CALLEN (V.O.)
We're down to eight fighters, soon
to be seven as Koba prepares to go
to work for the second time
tonight.
INT. BOARDWALK HALL ARENA CAGE - MOMENTS LATER
At the sound of the BELL, Koba sprints across the ring and
delivers a flying kick to the chest of his already retreating
OPPONENT. He picks him up with incredible strength, then
SLAMS him into the ground and pounds his brains in. The whole
thing is over in under 10 seconds.
CALLEN (V.O.)
That was quick.
SHERIDAN (V.O.)
Wow. Once again, Koba does not
break a sweat.
CALLEN (V.O.)
I'm afraid he might have broken
something else, Sam.
SHERIDAN (V.O.)
It's certainly possible, Bryan.
Koba moving on to tomorrow night.
INT. BRENDAN'S LOCKER ROOM - SAME
Brendan and Frank stare at a monitor. They look worried.
ON TV SCREEN: KOBA's OPPONENT GETTING ATTENDED TO AFTER THE
BEATING BY THE MIGHTY RUSSIAN.
INT. TOMMY'S LOCKER ROOM - LATER
Tommy and Paddy sit on stools opposite each other, Paddy
taping him up. Tommy keeps a lazy eye on a monitor, where Mad
Dog Grimes is fighting.
ON TV SCREEN: MAD DOG GRIMES, HIS MOHAWK DYED PLATINUM,
KNOCKS OUT HIS OPPONENT IN BRUTAL FASHION.
74.
CALLEN (V.O.)
Mad Dog fighting like a man
possessed. Like a man with
something to prove.
ON TV SCREEN: MAD DOG MAKES A THROAT SLIT GESTURE DIRECTLY
INTO THE CAMERA.
SHERIDAN (V.O.)
Mad Dog said he had a message for
Tommy Riordan and there it is right
there.
INT. BOARDWALK HALL ARENA TUNNEL - LATER
Brendan and Frank stand in the tunnel as the house lights go
down in the arena.
SHERIDAN (V.O.)
Here comes the underdog, Brendan
Conlon.
CALLEN (V.O.)
The teacher miraculously passed his
first test, but now he's gotta face
The Dane.
Paddy stands amidst the crowd in the tunnel and gives Brendan
a thumbs-up.
PADDY
You can do it, Brendan.
Brendan glares at him and marches toward the cage.
INT. BRENDAN AND TESS'S HOME - LIVING ROOM - LATER
Tess, now watching the fights on TV, stands in front of the
screen and bites her nails. She looks like she's about to
throw up.
ON TV SCREEN: BRENDAN TAKES A BEATING FROM KARL "THE DANE"
KRULLER (30s), WHO POUNDS ON HIM WITHOUT MERCY.
SHERIDAN (V.O.)
Halfway through round three now and
the beating continues.
CALLEN (V.O.)
I honestly don't know how Brendan
Conlon is still standing, Sam.
(MORE)
75.
CALLEN (V.O.) (CONT'D)
He has been absolutely battered in
both his fights tonight.
INT. BOARDWALK HALL ARENA CAGE - SAME
KARL "THE DANE" KRULLER presses Brendan against the fence and
knees him repeatedly in the midsection.
INT. BRENDAN AND TESS' HOUSE - LIVING ROOM - SAME
Tess can barely watch the beating.
INT. BOARDWALK HALL ARENA CAGE - MOMENTS LATER
Frank shouts instructions as Brendan and The Dane tangle
against the fence.
FRANK
Take him down!
Brendan grabs Kruller and FLIPS him to the canvas. Then he
spins for an ARM BAR, a move similar to one seen earlier in
the smoker fights.
INT. PRINCIPAL ZITO'S LIVING ROOM - SAME
Zito, now joined by his wife. Both on the edge of the couch
and sucked into the action.
INT. BOARDWALK HALL ARENA CAGE - SAME
Brendan twists Kruller's arm. He's got him in a terrible
position, much like Midnight. The Dane SQUIRMs. Looks for an
escape. It's not there. With Brendan applying tremendous
pressure to his arm, he TAPS.
INT. BOARDWALK HALL ARENA TUNNEL - SAME
Paddy watches from the tunnel as the crowd goes insane.
PADDY
That's it, Brendan!
INT. BRENDAN AND TESS'S HOME - LIVING ROOM - SAME
Tess does a wild JIG in front of the TV.
76.
ON TV SCREEN: BRENDAN CELEBRATING IN THE CAGE WITH FRANK.
INT. PRINCIPAL ZITO'S LIVING ROOM - SAME
Zito and his wife, arm in arm in celebration.
CALLEN (V.O.)
Do it one time, it's a fluke, do it
twice, that's something else!
INT. BOARDWALK HALL ARENA - SAME
Frank and a victorious Brendan embrace.
CALLEN (V.O.)
Pull the bandwagon over, I think
I'm hopping on! I think I'm a
believer!
INT. BOARDWALK HALL ARENA TUNNEL - LATER
Paddy's waiting in the tunnel for Brendan, who comes through
full of adrenaline.
PADDY
Way to go, Brendan!
BRENDAN
I'd doing this!
PADDY
OK, son.
BRENDAN
I'm doing it!
INT. COLT'S PITTSBURGH FIGHT CLUB - LATER
Fenroy and the gang around the big screen again.
ON TV SCREEN: TOMMY WADING FURIOUSLY THROUGH THE CROWD, WHERE
A "TOMMY" CHANT HAS BEGUN.
CALLEN (V.O.)
The crowd catching fire for war
hero Tommy Riordan.
77.
SHERIDAN (V.O.)
He doesn't seem to want anything to
do with all this adulation, Bryan.
He's just here to fight.
INT. BOARDWALK HALL CAGE - MOMENTS LATER
Tommy climbs into the cage. A Mexican fighter, DIEGO SANTANA
(20s), is waiting for him. Josh Rosenthal points at both men.
JOSH ROSENTHAL
Gentlemen, you ready? You ready?
Let's go to war!
The bell RINGS and Tommy goes right after Santana and starts
administering a beating. He bullies him into the cage and
starts raining BLOWS all over him.
CALLEN (V.O.)
Here he comes again like a buzzsaw.
Tommy is all over Diego Santana!
INT. COLT'S PITTSBURGH FIGHT CLUB - SAME
The crowd raising cain for Tommy.
ON SCREEN: HURRICANE TOMMY POUNDS AWAY, THEN SLAMS SANTANA TO
THE GROUND AND BEATS HIM TO A PULP.
INT. BOARDWALK HALL ARENA CAGE - SAME
Josh Rosenthal pulls Tommy off the brutalized Diego Santana
before he kills him. Once again, Tommy marches straight out
of the cage.
CALLEN (V.O.)
There he goes again! Storming right
out of the cage!
Tommy marches past Paddy again, then off through the crowd.
CALLEN (V.O.)
Tommy Riordan marching through the
crowd, and straight into the final
four!
The arena is on its collective feet CHANTING "Tommy! Tommy!
Tommy!" As Paddy looks on and Tommy disappears into the
darkness of the tunnel, the sound of cheering fades.
78.
EXT. BOARDWALK - DAWN
Dawn breaks over Atlantic City.
INT. CASINO FLOOR - SAME
A CLEANING WOMAN vacuums as an elevator door DINGS and opens.
Out comes Paddy. The casino is nearly empty, the only sounds
coming from the tinny RINGING of a handful of slot machines.
From a distance, Paddy spots Tommy sitting at the far end of
a bank of Triple 7 American Glory slot machines, mechanically
feeding the slot from a tray full of silver and pulling the
lever with a thousand-yard stare. Paddy approaches Tommy, who
doesn't acknowledge him.
PADDY
Can't sleep, huh?
Tommy feeds the machine and pulls. Says nothing. Paddy sits
down in front of a slot machine next to Tommy.
PADDY (CONT'D)
I know that other thing's bothering
the hell out of you, but I'm proud
of you. What you did for that kid
in the tank? That was really
something.
TOMMY
How about deserting my unit? Is
that really something, too? Yeah. I
was on my way outta country when I
came across those guys. What was I
supposed to do, let `em drown?
PADDY
No.
(BEAT)
What'd you do?
TOMMY
What'd I do? I took off.
Paddy starts putting things together.
PADDY
That's why you go by Riordan.
That's why the press can't find
your service records.
Tommy doesn't respond.
79.
PADDY (CONT'D)
What the hell happened over there,
Tommy?
TOMMY
That is none of your business.
PADDY
Come on, kiddo. I've been there.
I've done it. I've seen it. You can
trust me. I'll understand.
TOMMY
Spare me the compassionate father
routine, Pop. The suit don't fit.
PADDY
I'm really trying here, Tommy.
TOMMY
You're trying? Now? Where were you
when it mattered? I needed this guy
back when I was a kid. I don't need
you now. It's too late now.
Everything's already happened. You
and Brendan don't seem to
understand that. Let me explain
something to you: the only thing I
have in common with Brendan Conlon
is that we have absolutely no use
for you.
Paddy's shaken. He can't fathom the anger in Tommy, yet he
knows he's responsible. It's written all over him. Tears well
up in his eyes. They seem to make Tommy madder.
TOMMY (CONT'D)
Look at you. Yeah, I was right. I
think I liked you better when you
were a drunk. At least you had some
balls then. Not like now. Tip
toeing around like some beggar with
your cup out. Take it somewhere
else, old man.
Tommy reaches down and picks up a plastic CUP made for
holding coins and dips it into his tray, filling it with
QUARTERS.
TOMMY (CONT'D)
In fact, you know what? Here's a
cup. Why don't you take this and go
buy some more of your shitty tapes?
(MORE)
80.
TOMMY (CONT'D)
Go back to the room and listen to
some more fish stories no one gives
a shit about. Go on, get outta
here.
(BEAT)
Get the fuck outta here!
Tommy whips the bucket toward his father, splashing COINS
into his face. A stunned Paddy, tears streaming down his
face, walks off. A handful of late-night GAMBLERS look at
Tommy, who stares angrily ahead and bounces a quarter off his
slot machine as his destroyed father limps away.
EXT. ATLANTIC CITY - DAY
Fourth of July weekend in full swing down the Shore.
INT. HOTEL ROOM - SAME
Paddy staggers about in pajama bottoms and a stained V-neck,
clutching his Walkman and a bottle of WHISKEY. "Moby Dick"
plays from ear phones that are half on his head and half off.
LIQUOR BOTTLES are strewn everywhere. He has obviously fallen
off the wagon. Hard.
PADDY
God pity `em! All shall perish
except me! You bastards! Stop the
ship, you bastards!
He staggers around the room, giving a fragmented soliloquy to
no audience.
PADDY (CONT'D)
Ishmael! God pity `em! Stop the
ship! Please stop the ship!
Somebody help `em!
Suddenly the adjoining door swings open. Tommy, hair
disheveled, looks in and sees Paddy's state. The old man
thrusts his hand up in the air and screams at Tommy.
PADDY (CONT'D)
Ahab! You Godless sonofabitch!
Paddy staggers over and gets in Tommy's face, his own face
blotched and contorted. The old Paddy Conlon revealed. The
monster from the past.
PADDY (CONT'D)
You stop the ship, you Godless
sonofabitch!
81.
There's no anger in Tommy. He simply walks toward the old man
and tries to pry the bottle out of his hand. As he struggles
to take it, the Walkman falls to the ground. Faint dialogue
is heard coming from the earphones.
PADDY (CONT'D)
Captain. Oh captain. Stop the ship.
For the love of God. We're lost.
The old man is running out of steam. He begins WEEPING.
PADDY (CONT'D)
Please stop the ship.
Paddy wobbles, tears streaming down his face. Tommy looks at
him. The first time we've seen anything resembling compassion
on that relentless face of his. He HUGS his father and pries
the whiskey bottle from his hand
PADDY (CONT'D)
We're lost. We're all lost, Tommy.
We'll never make it back.
Tommy pulls his father back on to the bed. Puts his arms
around his chest and tries to quiet the old man. It's a
tender moment, and it seems as if Tommy is only able to
relate to the brutal, former version of the father he knew.
PADDY (CONT'D)
(MUMBLING)
I always loved you. You know that,
don't you Tommy? I always loved
you. You and your brother. My two
boys.
Tommy continues to hold his father as sunlight streams into
the room. The end of a very long night.
EXT. BOARDWALK HALL - NIGHT
A bigger, even more bombastic FIREWORKS display than before
explodes over Atlantic City. If it's possible, the CROWDS on
the beach and boardwalk have swelled. It seems as if the
entire east coast has descended on AC.
Outside Boardwalk Hall, the giant electronic BILLBOARD has a
new motif. Koba still swings mightily from the side of a
ferris wheel, but now Tommy, in a camouflage superhero
outfit, flies right toward him. On a collision course.
Mad Dog Grimes holds on to Tommy's cape, trying to slow him
down, and below the three of them, in miniature, is Brendan
holding a sling shot.
82.
INT. BOARDWALK HALL ARENA - SAME
The crowd at a fever pitch. Two sections full of MARINES in
dress uniforms cheer insanely. So does an entire section of
GIRLS wearing camouflage tank tops and holding up signs
reading "TOMMY GIRLS." Everyone in the arena chants "Tommy!
Tommy! Tommy!" A cult hero has been born.
CALLEN (V.O.)
Tommy Riordan, coming down the
tunnel without his trainer.
INT. COLT'S PITTSBURGH FIGHT CLUB - SAME
Colt's is packed. FIGHTERS. PEOPLE off the street. VETS in
fatigues. A bigger crowd than before.
SHERIDAN (V.O.)
Once again, no walk out music.
CALLEN (V.O.)
I wouldn't say no walk out music,
Sam. Listen to this.
ON TV SCREEN: TOMMY MARCHING TOWARD THE CAGE AND BEING
SERENADED BY THE MARINES.
INT. BOARDWALK HALL ARENA - SAME
The Marines are on their feet, singing "HALLS OF MONTEZUMA"
at the top of their lungs.
MARINES
(SINGING)
From the halls of Montezuma to the
shores of Tripoli, we will fight
our country's battles in the air,
on land, and sea...
At cageside, Sheridan leans over to Callen, raising his voice
to be heard above the Marines.
SHERIDAN
It sounds like VJ Day in Times
Square, Bryan. I've never seen
anything like it!
Tommy climbs up the stairs and into the cage. He turns and
nods at the Marines.
83.
CALLEN (V.O.)
Tommy acknowledging his comrades
for the first time, and climbing
into the cage.
INT. COLT'S PITTSBURGH FIGHT CLUB - LATER
The crowd at the gym both CHEERS and JEERS at the TV.
ON TV SCREEN: MAD DOG GRIMES, SUPREMELY CONFIDENT, CLIMBS
INTO THE CAGE AND GETS IN TOMMY'S FACE. HE HAS DYED HIS
MOHAWK CAMOUFLAGE COLORS TO MOCK TOMMY.
CALLEN (V.O.)
Mad Dog Grimes has been looking for
revenge ever since the day Tommy
Riordan walked into his gym in
Pittsburgh and turned his life
upside down.
SHERIDAN (V.O.)
It's been a very long, very
miserable few months for Mad Dog to
say the least.
INT. BOARDWALK HALL ARENA CAGE - SAME
Mad Dog and Tommy in a STARE DOWN as Josh Rosenthal attempts
to give them instructions. Unless Mad Dog's mother is in the
building, every single person in the Boardwalk Hall is
rooting for Tommy.
CALLEN (V.O.)
Mad Dog mocking Tommy with a
camouflage motif for his mohawk
tonight and the Marines are really
letting Mad Dog have it.
The Marines hoot and holler at Mad Dog as Josh Rosenthal goes
over his instructions with the two fighters.
JOSH ROSENTHAL
Alright gentlemen, you've been
given your instructions. I expect a
clean fight. Obey my commands at
all times. Defend yourselves at all
times. Touch gloves, go back, let's
do this.
In the center of the cage, Mad Dog is practically spitting in
Tommy's face. Tommy's eyelids droop. He could not be less
intimidated.
84.
MAD DOG
It's not gonna happen again.
Callen and Sheridan look on as the two fighters retreat to
their corners. The anticipation in the arena is incredible.
CALLEN (V.O.)
Mad Dog predicted an early
knockout. Said he was gonna knock
Tommy out with one punch.
SHERIDAN (V.O.)
Let's see what Tommy has to say
about that.
Josh Rosenthal looks at Tommy and Mad Dog.
JOSH ROSENTHAL
Gentlemen, you ready? You ready?
Let's go to war!
CALLEN (V.O.)
And they are off!
Tommy goes after Mad Dog like it's the last night on earth.
What Tommy did to him at Colt's Gym was an exercise in
restraint compared to what's happening in that cage.
CALLEN (V.O.)
Tommy tackles him and he's on top!
He's raining blows!
SHERIDAN (V.O.)
Someone has to stop this.
Mad Dog is on his back and being pounded on. Tommy's rage is
shocking, even by his own brutal standards. From cageside,
Colt Boyd SCREAMS at Josh Rosenthal.
COLT BOYD
Stop it! Stop the fight!
It's such a savage beating, so malicious, that Rosenthal has
to climb on Tommy's back to get him off of Mad Dog. If his
mother is indeed in the crowd, she couldn't recognize him
now. Beaten to an absolute pulp.
CALLEN (V.O.)
That's the fastest knockout I think
I've ever seen.
SHERIDAN (V.O.)
Mad Dog Grimes has been poleaxed.
He is not moving.
85.
Tommy marches out of the cage and past Colt Boyd, Punkass,
and SkySkrape, who can't believe what they just witnessed.
Neither can anyone else at Boardwalk Hall. In the cage, a
MEDIC tends to Mad Dog.
CALLEN (V.O.)
I'll tell you what: you do that to
someone on the street and they'd
lock you up and throw away the key!
Break out the yellow tape, Sam.
Tommy's walking away from the cage
like he's leaving a crime scene.
EXT. STARLIGHT DRIVE-IN, PHILADELPHIA - LATER
"ODE TO JOY" is heard coming from distant speakers as ROWS OF
CARS line up at the entrance and pull into the lot.
Pull back to reveal an enormous, old drive-in movie theater
packed with a RAUCOUS CROWD. On the gigantic MOVIE SCREEN,
Brendan makes his way through the arena and into the cage. As
he does, CHEERS erupt in the parking lot. Stephon, Nash, KC,
Tito, and some of the other students from Brendan's class
root him on. They came up with a pretty good Plan B.
As the kids get fired up for the fight, they're joined by a
familiar face that emerges from the crowd. Joe Zito. Tito
shakes his hand. Smacks Stephon. Look who's here.
INT. BOARDWALK HALL ARENA - SAME
Brendan climbs into the cage to a major OVATION from the
crowd. They're completely on his side now.
SHERIDAN (V.O.)
Brendan Conlon came into this
tournament as a 1000 to 1 underdog,
and now here he is in the final
four. The crowd's showing their
appreciation. They're giving him
quite the reception.
CALLEN (V.O.)
He's getting a huge reception. I
mean, this guy shocked everybody
last night.
Brendan stands in the corner. Frank leans over the railing of
the cage and smiles at him.
86.
FRANK
You've got a visitor. Second row,
10 o'clock.
Buzzing in the arena. The lights about to go down for the
entrance of Koba. Before they do, Brendan looks up to see a
familiar face at cageside. Tess. He can't believe his eyes.
FRANK (CONT'D)
You alright with that?
Brendan looks at his wife. She smiles broadly. Mouths the
words "I love you." Brendan grins. Kisses his glove and
presses it against the cage. As he does, the lights go out
inside the arena and ominous RUSSIAN MUSIC BLARES.
CALLEN (V.O.)
And here comes the great Russian
Koba.
SHERIDAN (V.O.)
Koba is so intimidating. His
reputation is larger than life.
The crowd strains to get a look at the legend as he makes his
way toward the cage. Brendan watches. So does Frank. Tess
takes a quick glance at Koba, then looks away. She can't bear
it.
FRANK
I want you to look right at him
when he comes in here. Don't take
your eyes off him.
Brendan nods, then looks at Tess. Drawing strength. Frank
leans over the railing and taps fists with his fighter.
FRANK (CONT'D)
I'm proud of you brother. This is
your cage.
Finally, the creepy music subsides, and the great Russian
climbs into the cage. He's massive, and the crowd stares at
him like an exotic animal.
Josh Rosenthal calls Brendan and Koba to the center of the
cage. The Russian looks at Brendan with the cold,
dispassionate eyes of a killer. Brendan does his best to hold
his gaze.
JOSH ROSENTHAL
Alright, gentlemen, you've been
given your instructions. I expect a
clean fight.
(MORE)
87.
JOSH ROSENTHAL (CONT'D)
Obey my commands at all times.
Defend yourselves at all times.
Touch gloves, go back, let's do
this.
Brendan retreats to his corner. Takes a deep breath.
CALLEN (V.O.)
Should I be nervous for Brendan?
`Cause I am. I want to stop the
fight before it even begins.
JOSH ROSENTHAL
Gentlemen, you ready? You ready?
Let's go to war!
Koba comes straight at Brendan. His speed and strength are
astonishing.
CALLEN (V.O.)
Now the question is, how long can
Brendan Conlon stay alive?
Franks screams at Brendan to keep his distance. Tess watches
through her fingers. And Koba keeps coming, snapping
Brendan's head back with a jab and bludgeoning him with an
uppercut to the chin. The Russian is doing whatever he wants
to Brendan. He slices him up with strikes. Bruises his legs
with kicks. Works him against the fence. Power slams him.
CALLEN (V.O.)
Koba just pounding on Brendan
Conlon! He's pounding on him like a
side of beef!
EXT. STARLIGHT DRIVE-IN - SAME
Thousands of people staring at the drive-in screen and you
can hear a pin drop. They're aghast. Zito can hardly look. KC
buries her head in Nash's chest.
ON MOVIE SCREEN: THE SLAUGHTER CONTINUES. HOW BRENDAN IS
TAKING IT IS ANYONE'S GUESS.
INT. BOARDWALK HALL ARENA - SAME
Koba gets Brendan in a BEAR HUG, lifts him off the ground,
carries him into the center of the ring like a sack of
laundry, and body SLAMS him on his back.
CALLEN (V.O.)
Koba's got him in the air. Oh no!
88.
As Frank screams for Brendan to remain calm, a mortified Tess
watches. Mercifully, the HORN sounds, and Brendan survives
the round. He barely makes it back to his corner.
SHERIDAN (V.O.)
Frank Campana has to think
seriously about stopping this.
CALLEN (V.O.)
Seriously, Sam. How much abuse can
one man take?
The minutes passes in no time. It's time to go again.
JOSH ROSENTHAL
Let's go to war!
Koba comes right after Brendan, and it's soon more of the
same. Power slams. Brutal strikes. Brendan's face is carved
up and battered. He tries to go for a take down, but Koba
snuffs it, then lifts Brendan off the mat again and carries
him through the air. Frank screams, but there's nothing he
can do. Brendan is brutally SLAMMED into the ground.
SHERIDAN (V.O.)
Uh oh, Brendan's going for ride!
CALLEN (V.O.)
That one shook the entire building!
As Brendan writhes on the ground, Koba grabs him and slings
him against the fence like it's nothing. Brendan flies
through the air and RATTLES against the cage. Then Koba
climbs on top of him and starts whaling away. Tess can't even
watch it. Once again, just as Rosenthal is about to stop the
fight, the HORN sounds.
SHERIDAN (V.O.)
Everyone has gotta be concerned
about Brendan Conlon's bravery
getting him into trouble here.
CALLEN (V.O.)
His bravery can get him killed,
Sam. He's got nothing more to
prove. He's already lasted two
rounds against Koba, which is more
than anyone else can say. You
wonder what's keeping this guy up.
Brendan drags himself off the ground and limps to his stool.
Frank enters the cage. His usual positive attitude is gone.
He comes at Brendan with aggression instead.
89.
FRANK
Sit down. Breathe.
(grabbing Brendan's face)
Look at me! Look at me! Why are we
here, Brendan? Why are we here? Are
we here to win this fight? You tell
me, `cause if we're not, I'll throw
in the towel right now. We'll get
Tess and we will go home. You don't
knock him out, you lose the fight.
Understand me? You don't knock him
out, you don't have a home.
Josh Rosenthal claps his hands. Frank takes his cue to leave,
but not before giving Brendan one last look. It's now or
never. Brendan looks across the cage at Koba. Steels himself.
JOSH ROSENTHAL
Let's go to war!
Brendan comes out and meets Koba in the center of the cage,
but the Russian resumes his supremacy.
CALLEN (V.O.)
Conlon somehow answering the bell
for round three, but Koba's all
over him again.
Koba roughs the battered Brendan up some more, but then
Brendan starts responding. Throws a couple effective leg
kicks. A decent punch or two.
SHERIDAN (V.O.)
Brendan's giving back, Bryan. There
are signs of life in Brendan
Conlon. He's starting to mix it up!
EXT. STARLIGHT DRIVE-IN - MOMENTS LATER
The parking lot is quiet and tense. Zito and the kids stare
at the movie screen.
ON MOVIE SCREEN: KOBA PRESSES BRENDAN UP AGAINST THE CAGE AND
TRIES TO CHOKE HIM OUT.
INT. BOARDWALK HALL ARENA CAGE - SAME
The Russian SQUEEZES away.
90.
CALLEN (V.O.)
Koba's got him caught in an iron
vice, squeezing for all it's worth
and trying to choke the teacher
out.
Frank screams at Brendan to stay calm. To wait for his
moment. Koba continues to squeeze. Brendan's face turns more
and more red. Finally, he grabs Koba's shorts, musters up all
the strength he has left, and TOSSES the Russian on his back,
freeing himself from the choke in the process.
CALLEN (V.O.)
He just launched Koba! Can you
believe this? Conlon just shook off
a guillotine!
Brendan jumps on Koba and attempts his own choke.
CALLEN (V.O.)
Conlon's staying after him! He's
squeezing him! The tables have
turned, and the boy scout is
squeezing the bear!
Koba shakes off Brendan's submission attempt and stands.
Brendan stands with him and they exchange a vicious round of
blows. Brendan's giving as good as he's getting.
SHERIDAN (V.O.)
Conlon standing and trading with
the Russian! I've never seen this!
CALLEN (V.O.)
This is a fight! We've got
ourselves a fight!
Brendan snaps Koba's head back with a left, but the Russian
responds with a combination. Brendan stumbles backwards, and
Koba grabs him and tries to take him down. Brendan throws a
left ELBOW that connects with Koba's temple. The Russian is
momentarily STUNNED, long enough for Brendan to take him to
the ground and wrap his arms around Koba's KNEE.
CALLEN (V.O.)
Conlon going for a knee bar! He's
got it very deep!
SHERIDAN (V.O.)
He's deep on that knee bar!
Brendan wrenches his body for all it's worth. Frank pounds on
the apron of the cage.
91.
FRANK
Crank it! Crank it!
The Russian tries to squirm away, but he can't. His face is
contorted in PAIN. The cageside OFFICIAL indicates there's
only 10 seconds left in the fight.
CALLEN (V.O.)
Brendan Conlon wrenching that knee
for all it's worth! He's putting
everything he has in it, and Koba
is screaming in pain!
Four. Three. Koba struggles. Grimaces in agony. Brendan keeps
wrenching his knee. Two. He can't take it. One. He TAPS!
CALLEN (V.O.)
He did it! Brendan Conlon has
tapped Koba! I can't believe it! He
can't believe it! Frank Campana
can't believe it! This whole place
can't believe it!
EXT. STARLIGHT DRIVE-IN - SAME
The drive-in crowd goes absolutely BERSERK. Tito leaps into
Nash's arms. Stephon hugs KC. Zito pumps his fist in the air.
CALLEN (V.O.)
That's gotta be the biggest upset
in MMA history! Brendan Conlon has
tapped the great Koba!
INT. BOARDWALK HALL ARENA - SAME
Tess stands on her seat, shrieking. Brendan climbs on top of
the railing and lifts his arms in the air, a look off shock
on his face. The arena goes bananas.
CALLEN (V.O.)
Brendan Conlon, the Physics
teacher! Brendan Conlon, the
civilian! He's done the impossible!
He's pulled off a miracle! This
place is going crazy `cause we've
just seen a miracle!
Pure bedlam in Boardwalk Hall. Frank going wild. Tess. The
TapouT crew. J.J. Riley. Just an extraordinary scene.
Finally, the noise fades away.
92.
ANNOUNCER (V.O.)
This is CNN breaking news...
INT. BOARDWALK HALL PRESS AREA - LATER
J.J. Riley, the TapouT crew, and a few OFFICIALS stand over a
computer screen on press row. They wear headphones and
shocked expressions.
ON COMPUTER SCREEN: CNN ANCHORMAN DON LEMON DELIVERS A REPORT
AS "BREAKING NEWS" FLASHES ON SCREEN ALONGSIDE A PICTURE OF
TOMMY.
DON LEMON (ON SCREEN)
A surprising turn in the story of
Iraq War hero Tommy Riordan. CNN
has learned that Riordan's true
identity is that of Marine Staff
Sergeant Thomas Conlon, who went
AWOL from his unit earlier this
year following the friendly fire
death of his brother-in-arms,
Sergeant Manny Fernandez.
Fernandez' wife, Pilar Fernandez,
spoke with me in an exclusive
interview moments ago.
Riley and the others look at one another. They can't believe
what they're hearing.
ON COMPUTER SCREEN: A TEARY-EYED PILAR INSIDE HER HOME IN EL
PASO. BEHIND HER, THE PHOTO OF TOMMY AND MANNY IN IRAQ.
PILAR (ON SCREEN)
Bombs started dropping. They were
coming from U.S. planes. Tommy and
Manny were waving their flags to
let them know they were Americans,
but they didn't stop. Everyone
died. Everyone except Tommy.
(BEAT)
You know, my Manny used to say
Tommy was the brother he never had.
INT. HALLWAY, BOARDWALK HALL - SAME
Two MARINE MPS stand guard outside Tommy's locker room.
93.
DON LEMON (V.O.)
Conlon, who is fighting in the
Mixed Martial Arts mega tournament
Sparta, is expected to be taken
into custody by military police
following tonight's winner take all
finale in Atlantic City.
INT. TOMMY'S LOCKER ROOM - SAME
Tommy sits in his locker room. Another MP stands behind him.
DON LEMON (V.O.)
If victorious, he has pledged his
five million dollar purse to the
widow of his fallen comrade.
INT. BOARDWALK HALL PRESS AREA - MOMENTS LATER
J.J. Riley sidles up between Callen and Sheridan and WHISPERS
in their ears. They're stunned by the news as well.
EXT. STARLIGHT DRIVE-IN - SAME
Tito and the kids sit on the hoods of cars eating hot dogs
and waiting for the final fight. Joe Zito looks up at the
movie screen, where Bryan Callen makes an announcement.
ON MOVIE SCREEN: A SURPRISED CALLEN.
CALLEN (ON SCREEN)
We've just got some incredible news
that I'm having trouble putting
into context, but here it is: the
two men fighting for the
championship tonight, for the five
million dollar prize, for the
middle weight championship of the
world, are brothers.
Stunned expressions from Zito, KC, Nash, Stephon, Tito, and
everyone at the Drive-In. The wild night has taken an
unexpected turn.
INT. BRENDAN'S LOCKER ROOM - SAME
Brendan, Frank, and Tess sit in the locker room. On the
monitor, Callen and Sheridan continue to discuss the
situation. Brendan has ice packs on his shoulders and knees
and his face is a mess after three brutal wars in 24 hours.
94.
TESS
(TO BRENDAN)
What are you gonna do?
BRENDAN
I'm gonna fight him.
INT. TOMMY'S LOCKER ROOM - SAME
Tommy sits by himself in his locker room, the weight of the
world pulling his shoulders down. His black hoodie is over
his head. He couldn't be more alone.
EXT. RESORTS HOTEL AND CASINO - SAME
A sobered up Paddy runs out of the hotel and climbs into a
waiting taxi.
INT. BOARDWALK HALL - MOMENTS LATER
Brendan and Frank make the long walk down the tunnel and into
the arena. Unlike previous trips, there is no joy on their
faces. It's a grim march to the cage.
EXT. STARLIGHT DRIVE-IN - SAME
People stand on cars. Chairs. Each other's shoulders.
ON MOVIE SCREEN: THE BATTERED BRENDAN CONTINUES HIS WALK,
WADING THROUGH A CROWD THAT IS AS PUMPED AS HE IS SOMBER.
Tito, KC, Nash, Stephon, and the other students start
chanting "Mis-ter C! Mis-ter C! Mis-ter C!"
INT. TOMMY'S LOCKER ROOM - SAME
Tommy rises and walks toward the door.
INT. BOARDWALK HALL ARENA - CONTINUOUS
He marches out the door and into the bowels of the arena,
moving past MPS as he goes. His march is as grim as
Brendan's.
INT. BOARDWALK HALL ARENA CAGE - SAME
Brendan and Frank embrace.
95.
FRANK
One more time.
Brendan climbs into the cage as the house LIGHTS DIM. The
crowd is going bonkers. And they EXPLODE when Tommy appears
at the end of the tunnel with his hoodie up and begins his
march toward the cage.
The Marines shower him with cheers and "Hoo-ahs." The girls
scream. The rest of the audience stamps their feet and chants
his name. But he acknowledges no one, and the hard look on
his face never wavers.
INT. COLT'S PITTSBURGH FIGHT CLUB - MOMENTS LATER
Fenroy and the crew on the edge of their seats, all staring
at the big screen.
ON TV SCREEN: TOMMY GETTING GREASED UP AND CLIMBING INTO THE
CAGE.
INT. TAXI - SAME
A nervous Paddy sits in the back of the cab as the DRIVER
navigates through holiday traffic.
INT. BOARDWALK HALL ARENA CAGE - SAME
And here it is. The two brothers face to face in the middle
of the ring, staring each other down. Tommy with his usual
controlled fire, Brendan intense, searching his brother's
eyes for some flicker of recognition.
JOSH ROSENTHAL
Gentlemen, this is the final. Five
rounds. I expect a clean fight.
Obey my commands at all times.
Defend yourselves at all times.
Touch gloves, go back, let's do
this.
As Rosenthal finishes his instructions, Brendan peers into
Tommy's empty corner.
BRENDAN
Where's Pop?
Tommy turns without answering. All business. Brendan returns
to his corner. Looks at Tess. So much emotion on her face.
96.
JOSH ROSENTHAL
Gentlemen, are you ready? Are you
ready? Let's go to war!
Tommy comes right after his brother. Just like with his
previous three opponents. A natural wrecking machine. Frank
screams at Brendan to stay calm, but Tommy is all over him,
POUNDING on him with savage intensity. As bad as the other
fights were for Brendan, this one is worse.
EXT. STARLIGHT DRIVE-IN - SAME
The crowd is tense and subdued. It's not going well.
ON MOVIE SCREEN: TOMMY KEEPS TATTOOING BRENDAN WITH HEAD
SHOTS. BEATS HIS BROTHER WITH MALICE. IT'S HARD TO WATCH.
INT. COLT'S PITTSBURGH FIGHT CLUB - SAME
Fenroy and company thoroughly enjoying themselves.
INT. BOARDWALK HALL ARENA - SAME
Tommy continues to batter Brendan, then he swoops in, picks
him up, and SLAMS his big brother into the ground. Then he
does it again. And again. And again.
Brendan, the wind knocked out of him, is on his back, trying
to protect himself from Tommy, who mounts him and starts
blasting away with a BLUR of lefts and rights. The only thing
that saves Brendan is the HORN. Which Tommy ignores, blasting
his brother with a brutal CHEAP SHOT to the jaw well after
the round had ended.
TESS
What was that!
FRANK
C'mon, Josh!
Brendan lays on the ground as Josh Rosenthal pulls Tommy off
him and admonishes him for the cheap shot. Tommy stares at
Brendan. You want more?
Frank runs into the cage with the stool and Brendan limps
over to him and sits down. Brendan stares at Tommy, who paces
in his corner like a caged animal.
FRANK (CONT'D)
Sit down. Look at me. Look at me,
Brendan! Let it go! Breathe.
(MORE)
97.
FRANK (CONT'D)
Beethoven. He's coming hard, just
like we planned. I want you to
angle out, hit, and move.
BRENDAN
Angle out, hit, and move.
FRANK
Good. Breathe. Relax. He's not your
brother, right? He's just a guy
who's in the way.
Josh Rosenthal claps his hands. It's time. Frank glares at
him as he picks up the stool.
FRANK (CONT'D)
I'm taking a little more time for
the cheap shot! Do your job, Josh!
Tess sits uncomfortably in her chair. Her husband's face is a
mess. In front of her, Callen and Sheridan commiserate. J.J.,
the TapouT crew, and Colt Boyd look on. The electricity in
the crowd is greater than ever. They want a champion.
EXT. STARLIGHT DRIVE-IN - MOMENTS LATER
Very quiet at the Drive-In. It's tough for everyone to watch
what's happening to Brendan.
ON MOVIE SCREEN: ROUND TWO. A REPEAT OF ROUND ONE. TOMMY JUST
WHALING ON BRENDAN AND BRENDAN TRYING TO HANG ON FOR DEAR
LIFE.
INT. BOARDWALK HALL ARENA - SAME
The Marines in the crowd are all on their feet, screaming for
Tommy to end it. The chant starts up again. 15,000 strong.
"Tommy! Tommy! Tommy!" Frank tries to instruct Brendan, but
he can't hear him, and he's too overwhelmed.
Tommy presses Brendan against the cage and does the same
thing Koba did. He lifts him off the ground, carries him on a
dead run, and body SLAMS him so hard the cage shakes. Then
Tommy mounts him and starts pounding away again.
The HORN sounds ending the round, but this time it's Brendan
who pops up and pushes Tommy. Tommy shoves him back.
Rosenthal has to separate them as the crowd roars its
approval.
98.
CALLEN (V.O.)
Here we go, Mom! Time to lock up
your china, the boys are at it
again!
INT. COLT'S PITTSBURGH FIGHT CLUB - LATER
Fenroy and company watching the big screen.
ON TV SCREEN: ROUND THREE. MORE TOMMY DOMINATION, BUT BRENDAN
IS SOMEHOW TAKING IT.
INT. BOARDWALK HALL ARENA CAGE - SAME
Again, Tommy is on top of Brendan, trying to ground and pound
him into submission. Frank, leaning on the apron nearby,
screams at Brendan.
FRANK
Switch! Switch!
Tommy tries to pound Brendan out, but Brendan latches on to
Tommy's arm, wraps his legs around him, and REVERSES
position, just as he did with Midnight, the Dane, and Koba.
Tommy is in deep trouble. Brendan pushes him face down on the
canvas and cranks his shoulder. There's no escape.
SHERIDAN (V.O.)
Oh my God, that's a deep omoplata!
CALLEN (V.O.)
He's doing it again! Conlon's doing
it again! This is going to be over!
Brendan applies intense pressure. Tommy's shoulder is
contorted, WRENCHED backwards, and his face is a mask of
pain. Tommy's in agony, but he won't give in.
BRENDAN
Tap, Tommy!
Tommy SHRIEKS like an animal, but still won't quit. In fact,
he elbows Brendan in the face in defiance. Brendan in turn
cranks the shoulder even more. It's at the breaking point.
BRENDAN (CONT'D)
Tap!
The shoulder twists. Twists. And then, audible only to Tommy
and Brendan, CRACK. Dislocated. Then the HORN ending the
round.
99.
Brendan, worried he hurt his brother, leans over to see if
Tommy's alright, but Tommy, like a wounded animal, leaps up
and grabs Brendan around the throat with his one good arm. He
shoves him all the way across the cage and into the fence,
and it takes Rosenthal and Frank to separate them.
EXT. STARLIGHT DRIVE-IN - SAME
The crowd fired up by Brendan's comeback, and mesmerized by
what's taking place in the cage between the brothers. It's
complete and utter chaos in there.
ON MOVIE SCREEN: TOMMY PACES IN HIS CORNER, HIS SHOULDER
WRECKED. JOSH ROSENTHAL TRIES TO SEE IF HE'S ALRIGHT BUT
TOMMY TURNS AWAY. HE'S NOT QUITTING AND NO ONE'S GOING TO
TELL HIM HE HAS TO.
INT. COLT'S PITTSBURGH FIGHT CLUB - SAME
Sheer amazement that Tommy didn't submit.
INT. BOARDWALK HALL ARENA CAGE - SAME
Tommy, flap down, tears of pain pouring down his face, stands
defiantly in his corner. In the other corner, Frank attends
Brendan. In the crowd, Tess covers her mouth. She can't
believe what Tommy allowed to happen to him.
Frank puts the stool down and gives Brendan some water.
Brendan's face is wracked with guilt and concern over his
brother.
BRENDAN
I popped his shoulder.
FRANK
Relax, breathe.
BRENDAN
I heard it tear.
FRANK
You popped his shoulder? Good. I
want you to pop his other shoulder.
This is not what Brendan wants to hear. He looks over to Josh
Rosenthal.
BRENDAN
Josh!
100.
Frank snaps. Grabs Brendan by the face.
FRANK
Hey! Hey! No Josh! Look at me! You
got two rounds left! You need both
rounds! Go in there, kick him in
the head, take him down, and finish
him!
Rosenthal claps his hands. Frank exits the cage. The wounded
Tommy stands in his corner, his ruined left arm hanging low.
Brendan makes eye contact with him.
BRENDAN
Tommy! What are you doing?
TOMMY
Shut up! C'mon.
BRENDAN
What are you that crazy?
JOSH ROSENTHAL
Let's go to war!
The BELL sounds. Round Four begins. Tommy throws useless
right jabs. He's one handed and has no chance. Brendan stays
away from him, not wanting to hurt his brother.
BRENDAN
What are you doing? It's over!
Frank screams at Brendan from cageside to take the wounded
Tommy out, but Brendan is reluctant.
BRENDAN (CONT'D)
It's over, Tommy. C'mon. We don't
have to do this.
Tommy and Brendan circle each other. Tommy throwing rights
and wincing in agony at any movement. Brendan stares at him.
Everything about him says "Quit, Tommy." But Tommy won't.
INT. BOARDWALK HALL ARENA TUNNEL - SAME
Paddy runs up the tunnel, his All Access pass around his
neck, and enters the arena. Sees Brendan and Tommy in the
cage. Quickly figures out what the situation is.
101.
EXT. STARLIGHT DRIVE-IN - SAME
Zito and the kids staring at the screen, imploring Brendan to
take the helpless Tommy out and win the championship.
INT. BOARDWALK HALL CAGE - SAME
Brendan continues to circle and not engage. Frank is livid.
He knows he'll lose the fight on the judges' scorecards if he
doesn't do something.
FRANK
Finish him! You finish him!
Tommy keeps throwing defiant right jabs at Brendan. Finally,
with no choice, Brendan fires back. He batters the
defenseless Tommy up against the cage and POUNDS away at him,
blasting his left shoulder with punches that make Tommy wince
in pain. It's anyone's guess how he can take it.
Brendan presses his brother up against the cage. Begging him
to quit. But Tommy merely responds by elbowing Brendan in the
face again. This sets the older brother off, and he resumes
pounding on Tommy until the HORN sounds and Rosenthal pulls
Brendan away.
JOSH ROSENTHAL
Break! Break!
Brendan heads back to his stool as Tommy leans against the
cage in agony. The Marines scream for him, but his eyes are
glazed over. It's unthinkable that he hasn't broken yet.
From near cageside, Paddy looks to the corner and makes eye
contact with Brendan. They exchange a small look of
understanding. A NOD. They both know what needs to be done.
EXT. STARLIGHT DRIVE-IN - SAME
The crowd wants a victory. Tito and the boys start the "Mis-
ter C!" chant again.
ON MOVIE SCREEN: FRANK ADMONISHES BRENDAN IN HIS CORNER. IT'S
OBVIOUS WHAT HE'S TELLING HIM, BUT BRENDAN'S EYES ARE FAR
AWAY. HE'S NOT LISTENING TO A WORD.
INT. BOARDWALK HALL CAGE - MOMENTS LATER
Tommy and Brendan stand for Round Five. Tommy's face is
battered after Round Four and Brendan's face is ruined.
102.
In the crowd, the "Tommy" CHANT begins in earnest. In fact,
it may be louder than ever. Having done the impossible and
carried on with one arm, Tommy is more superhuman and heroic
than ever before. But his face tells another story. Soaked in
pain and anguish. All his stoic walls crumbling down.
INT. COLT'S PITTSBURGH FIGHT CLUB - MOMENTS LATER
All eyes riveted to the screen, where the brothers circle
each other as in the fourth round.
ON SCREEN: MORE PAINFUL STABBING JABS FROM TOMMY. BRENDAN
GIVES HIM ONE LAST, LONG LOOK, BUT TOMMY RESPONDS BY KICKING
HIM IN THE LEG. FINALLY, LEFT NO CHOICE, BRENDAN SWOOPS.
INT. BOARDWALK HALL ARENA CAGE - SAME
Brendan SLAMS Tommy to the ground. His face is contorted in
merciless pain. Brendan slips his forearm under Tommy's neck
and squeezes. Tommy struggles, but he's got one arm and
there's NO ESCAPE. His face getting red from lack of oxygen.
As an anguished Tess and a shaken Paddy look on, Brendan
CHOKES his brother. As he does, he pleads with him.
BRENDAN
I'm sorry, Tommy! I'm sorry!
Tommy continues to struggle.
BRENDAN (CONT'D)
Tap, Tommy! Tap!
Tears pour down Tommy's face. Brendan is crushing his wind
pipe. Tommy's eyes bulge.
BRENDAN (CONT'D)
I love you, Tommy! I love you!
Tommy, about to pass out, no more air to breathe, slowly
opens his left hand, looks at Brendan, and TAPS his shoulder
on the Conlon family crest. Finally submitting.
EXT. STARLIGHT DRIVE-IN - SAME
While most of the crowd erupts in celebration and the kids
leap into each other's arms, Joe Zito stares at the screen.
ON MOVIE SCREEN: AS PEOPLE ENTER THE RING, BRENDAN AND TOMMY
STAY ON THE GROUND, BRENDAN CRADLING HIS BROTHER IN HIS ARMS.
103.
INT. BOARDWALK HALL ARENA CAGE - SAME
Frank makes eye contact with the jubilant Tess. Indicates she
should meet them in the locker room. Meanwhile, people pour
into the cage. Frank pushes them aside, keeping them away
from Brendan and Tommy, who remain on the ground, exhausted.
Tommy to begins to WEEP.
INT. COLT'S PITTSBURGH FIGHT CLUB - SAME
Silence at Colt's. Everyone spent from what they've seen.
ON TV SCREEN: CHAOS IN THE RING. BRENDAN HOLDS TOMMY IN HIS
ARMS AND PUSHES AWAY A DOCTOR.
INT. BOARDWALK HALL ARENA CAGE - SAME
Tommy buries his head in Brendan's chest. A torrent of
sobbing gushes from him, years of pain pouring out in heavy
bursts. From the crowd, Paddy stares into the cage and
watches as Brendan comforts his little brother, then helps
him to his feet.
Callen, Sheridan, and J.J. Riley make their way inside for
the post-fight interview, cameras trailing behind them. With
Frank continuing to run interference, Brendan pushes through
the crush of people, arm around Tommy, and exits the cage.
The crowd parts for Tommy and Brendan. Paddy watches them, a
tear in his eye. He's overwhelmed by the sight of his two
boys together again.
As the noise from the arena fades, the brothers walk through
the wild crowd and continue on through the tunnel, arm in
arm...
THE END
MAD MAX II
Written by
Terry Hayes, George Miller & Brian Hannant
April 13, 1981
THE MONTAGE
BLACK AND WHITE ACADEMY FORMAT
THE WASTELAND. DAY.
Flurries of dust and sand swirl around us as we move
through an eerie, barren land. The only sound is the
howl of a rising wind.
Ahead something looms out of the storm. As we approach
we see that it is the rusting remains of a massive oil
pump.
The wind drops to be replaced by the voice of a very
old man. This is the Narrator:
NARRATOR v/o
The vision dims and all that
remains are memories. ._
They take me back - back to
the place where the black
pump sucked guzzolene from
the earth...
DISSOLVE.
lb. ANOTHER PART OF THE WASTELAND. DAY. lb.
Out of the dust storm emerges the ancient wreck of
a prime mover and fuel tanker. It is partly
charred, its wheels and sides studded with metal
crossbow bolts.
NARRATOR v/a
And I remember the terrible
battle we fought - the day
we left that place forever...
DISSOLVE.
A HILLTOP IN THE WASTELAND. DAY.
A warrior, dressed in leather and steel, stands on
a hillcrest. This is MAX. Behind him is a strange
road vehicle: two engines and a seat mounted on a
chassis.
NARRATOR v/o
But, most of all, I remember
the courage of a stranger, a
road warrior called Max.
To understand who he was you
must go back to the last days
of the old world...
FADE TO BLACK.
A MOB OF ARAB STUDENTS storm a heavily-fortified embassy
and raise the Iranian flag.
U.S. SOLDIERS LAND... If.
on a beach in the Persian Gulf and fight their
way across the sand.
NARRATOR v/o
.when, for reasons long
forgotten, two mighty warrior
nations went to war...
AN OIL WELL ERUPTS.
and then another... and another.
Plumes of flame burst across the skyline.
NARRATOR
and touched off a blaze
which engulfed them all.
Ih. A LINE OF CARS... lh.
stretches for blocks until it finally reaches
a gas station.
An attendant pulls down a sign which reads:
$7/GALLON
and replaces it with another sign:
AUTHORISED VEHICLES ONLY
A group of angry motorists gather around, yelling
and pushing.
The attendant produces a gun motioning them back...
NARRATOR
for without fuel they were
nothing. They had built a
house of straw...
ii. BUSINESSMEN AT A STOCK EXCHANGE... li.
are yelling and shoving.
BUSINESSMEN
Sell! Sell! Sell!
Torn up scrip litters the floor...
Ij. THE FOYER OF A HUGE CORPORATION lj.
The company's crest is chiselled on the wall. it
is accompanied by the words:
SEVEN SISTERS PETROLEUM
"Fuelling The World"
on the floor below, beyond the marble pillars, we see
the building is abandoned - littered with broken
furniture and piles of documents.
DISSOLVE. 4
lk. A CORRIDOR. 1k.
We pass through a door designated:
• CHIEF EXECUTIVE
At the other end of the imposing room we see a
businessman clearing out his vast desk. His name is
PAPPAGALLO. On the wall behind him we see photo-
graphs and paintings of oil wells and refineries.
PAPPAGALLO takes a wad of maps and puts them in his
briefcase, followed by a copy of 'Whole Earth
Catalogue" and another book. The cover reads:
TEACH YOURSELF SOLAR ENERGY
I.l. LIVING ROOM. ii.
An ANXIOUS FAMILY is gathered in front of a
television set. A politican addresses the nation.
POLITICIAN
Stage three of the national
emergency is effective
immediately. Citizens are
warned...
The speech is cut short as static fills the screen.
The family looks up at the lights as they flicker...
Im. IN A FACTORY... lm.
.a giant machine grinds to a halt.
In. IN A CITY STREET... In.
.anxious faces look up as the street lights
flick off.
9
1D
lo. AN INDUSTRIAL CITY SCAPE. lo.
It is dark, decaying, silent...
NARRATOR v/o
People stopped in the stmeets
and listened: for the first
time they heard the sound of
silence.
ip. A CITY LANE - DARK AND DESERTED. NIGHT. lp.
A terrible scream... a YOUNG MAN runs down the
street... a shot is fired.
The YOUNG MAN falls dead... crushing the meat and
eggs he has been clutching to his chest...
NARRATOR v/o
Their world crumbled...
DISSOLVE.
lq. IN A DESERTED CITY STREET. lq.
Bank notes, blown by the wind, flutter towards a
store dummy, lying smashed on the road...
A rat emerges from the back of the mannequin's skull
and scurries away as we hear the roar of a big
engine.
The wide wheels of a big car crush the dummy. As the
vehicle roars down the street it is followed by two
big bikes...
NARRATOR v/o
And only those mobile enough
to scavenge, brutal enough to
pillage would survive.
DISSOLVE.
1
1
(THE FOLLOWING IS ALL FOOTAGE FROM MAD MAX I)
2r.. A GROUP OF OUTLAW BIKERS...
.heap from a hillside onto the roof of a moving
fuel tanker. They pass a hose into the tank...
NARRATOR v/o
At last, the vermin had
inherited the earth.
DISSOLVE.
2s. A PACK OF BIKERS... is.
.swarm around a car and start to back it to
pieces.
DISSOLVE.
it. A SERIES OF RAPIDLY DISSOLVING IMAGES.
Speeding cars, speeding bikes, crashing vans,
crashing police cars, crashing bikes, brawls,
smashed windows, explosions.
NARRATOR v/o
And in this maelstrom of decay,
ordinary men were
battered and crushed...
lu. MAX IN POLICE UNIFORM. lu.
.turns and smiles.
NARRATOR v/o
.`.men like the Warrior Max...
DISSOLVE.
lv. MAX PLAYS. lv.
.with a woman - JESSIE and their child.
DISSOLVE.
.through a wheat field. He catches her. They
tumble on the ground laughing.
lx. MAX EMBRACES JESSIE. 1x-
NARRATOR v/o
.whointhe roar of an engine,
lost everything...
DISSOLVE,
1y. ON A HIGHWAY... ly.
JESSIE carrying the child, scrambles from her van
and runs down the road. A GANG OF OUTLAW BIKERS
run them down... the child's ball bounces down the
road.
MAX runs towards their bodies...
Iz. SILHOUETTED ON A HILLSID r GRAVEYARD. lz.
(PRODUCTION FOOTAGE)
MAX stands looking down at two headstones...
DISSOLVE.
laa. IN FRONT OF A ROARING FIRE. laa.
MAX fuels the blaze with the remnants of his past
life: children's toys; photo albums; his police
badge.
lbb. MAX WITH HIS SHOTGUN. 2bb.
.turns to camera, wild-eyed...
NARRATOR v/o
And became a shell of a man.
A burnt out, desolate man, a
dead man, running from the
demons of his past.
A man who wandered far away...
out into the wasteland... DISSOLVE.
icc. MAX DRIVING. lcc.
The supercharger on the front of the vehicle
dominates the foreground.
NARRATOR v/a
And it was out here, in this
blighted place, that he
learned to live again...
FADE UP COLOUR.
THE SCREEN WIDENS TO ANAMORPHIC RATIO.
2
2. HELICOPTER AERIAL TRANSITION. DAWN,
We soar along the empty highway, up and down its
rises and around its curves until we are out in
the vast wasteland.
3.
3. WASTELAND HIGHWAY. DAY.
The black hole of the supercharger dominates the
frame. Behind the wheel we see MAX looking about
- his leathers
3 years older. He is gaunt, unkempt
tattered and torn.
The black-on-black pursuit car, bearing the scars of
numerous road duels, cruises down the roller coaster
highway.
As MAX crests a hill he hits the brakes. His companion,
a mongrel DOG, sitting in a baby's auto seat, lifts
its bead to look.
The black-on-black slides to a stop.
4.
4. RURAL SHACK ON HIGHWAY. DAY.
On a ridge close to the road, silhouetted in a dust-blown
LIKE MEN.
field, is a strange assortment of WARRIO1
They are cannibalising a farm vehicle: siphoning its
fuel and loading food and other loot into their
bizarre vehicles.
The DOG growls. MAX looks further along the ridge.
On the bor:.zon we see a burning wooden s:iack and
three bodies strung from a gnarled, dead tree.
MAX looks back to the MEN. Several of then, having seen
him, are running to their vehicles.
The first of them is a muscular man with a red mohawk
haircut. He is heavily protected by a leather and
metal chest plate, shoulder pads and leggings. This
is WEZ.
Sc. 4. Cont..
2
4. Gont. 11 .
He runs to where a GOLDEN YOUTH sits on the pillion
seat of a huge bike.
WEZ is followed by TWO MORE MOHAWKERS on bikes, THREE
GAYBOY BERSERKERS in road racers and FOUR SMEGMA
CRAZIES in bizarre dune buggies.
MAX guns the big motor. The black-on-black takes off.
MAX hits the supercharger - surging away.
Through the rear window we see WEZ lead the other nine
vehicles down the hill, giving chase...
WIPE.
5. ELSEWHERE ON THE HIGHWAY. --(A LITTLE LATER). DAY. 5.
High angle helicopter shot of the chase. The
Marauders' vehicles are strung down the highway.
Only the fastest, led by Wee, can keep up with
the black-on-black.
WIPE.
6, THE WRECKS ON THE HIGHWAY. (STILL LATER). DAY. 6
The black-oD-black surges around a wide curve,
revealing only three vehicles still in pursuit.
The first machine is Wez's big road bike, the
GOLDEN YOUTH riding pillion. It is followed by a
bizarre road racer and a strange dune buggy.
As the black-on-black crests a rise MAX is confronted
by a tangle of wrecked vehicles on the road ahead.
He swerves, slaloms through the wrecks and accelerates
into a sweeping right hand curve.
WEZ ramps his bike over the first wreck and corrects,
avoiding the other wrecks.
The road racer ramps two wheels over the first wreck
but cannot correct. It clips the second wreck, sends
it spinning, then continues after the black-on-black.
The dune buggy decides to avoid the wrecks altogether
and veers off the road to the right. It,.heads across
open terrain aiming to intercept the black-on-black 1
on the curve,
3�
7
7. THE MARAUDERS CATCH UP - HIGHWAY. DAY.
A light flashes on Max's dashboard, an alarm whoops,
MAX looks down at the fuel gauge: close to empty,
He curses and flicks a switch, cutting off the
supercharger.
The black-on-black slows...
The DOG whimpers, crawls off its chair and under Max's
seat.
WEZ overhauls MAX on the passenger side: He raises his
forearm, aiming his gauntlet-style crossbow at MAX'S
head.
MAX barely has time to glimpse the road racer drawing
alongside the driver's door.
The passenger - a GAYBOY BERSERKER - wields a brutal,
gas-powered 'gun': the heads of six metal arrows
protrude from a big barrel. This weapon is the
"porta-pak".
MAX hits the brakes,
The road racer and the bike surge past the black car...
just as the porta-pak fires.
Two arrows thud into the black car, three go astray
and one hits WEZ in the arm.
MAX throws the black car in behind the road racer...
WEZ, fighting to control the bike, leaves the road...
MAX changes down and hits the supercharger...
The black car leaps forward, ramming into the back of
the road racer, bullying it along.
Wheels and metal screaming, the two cars approach an
intersection littered with furniture and other debris.
A road rig lies abandoned on the roadside.
MAX eases back for a moment then flattens the
accelerator...
The black car slams into the back of the road racer...
hurling it forward, just as the dune buggy regains the
highway...
4
p . 1aL a. a+ t aruua.:.. a 1 VL\ . Ld 1
The driver of the road racer screams as his vehicle
hits the dune buggy, spinning it like a top, sending
it crashing into the side of the road rig.
The road racer slides through a 180 degrees, rolls,
smashes through a road sign and hits a power pole.
The pole thuds to the road as MAX throws a handbrake
"U" turn and skids to a halt in the middle of the
intersection.
MAX, carrying a jerry can, gets out of the black car.
He looks down the highway.
9. A RISE OVERLOOKING THE INTERSECTION. DAY. 9.
WEZ is stopped on the crest of the road, looking down
on the intersection. The arrow is still in his arm.
We see the GOLDEN YOUTH clearly for the first time:
he is strikingly beautiful,.
10. THE INTERSECTION. 10.
MAX, unfazed , hurries to the wreck of the dune buggy,
crushed beneath the road rig. Fuel streams from its
ruptured tank.
From inside the wreck we hear the moans of the injured
driver.
MAX puts the jerry can under the escaping fuel and
tearing a bandana from his neck - mops up the gasolene
lying on the bitumen.
Suddenly, there is a shrill whistle.
MAX looks up at the crest of the road.
11. THE RISE OVERLOOKING THE INTERSECTION. DAY. 11.
WEZ grins as he pulls the arrow slowly out of his
arm. His eyes never leave MAX.
He holds up the arrow and mouths the words:
I
WEZ
For you.
With that he puts the arrow back into his quiver and
guns the motor. He rea.; the front wheel, hangs there
a moment, then spins th,: bike around and roars back
1L. irit. 111. 1 AI%Jill Ln+ .
MAX, examines the road rig:
most of the tyres have been punctured with arrows, the
rear doors torn off and its contents pillaged.
MAX taps the fuel tank - empty.
He reaches up to open the door of the cabin...
There is an anguished scream, MAX turns.
The hand of the dying driver emerges from the twisted
metal of the dune buggy.
The fingernails score deeply into the paint-work, a
rush of dark blood pours out of the wreck. Then, silence.
MAX opens the cabin door...
A figure drops down, crashing onto his shoulders. As
MAX struggles from its grasp we see that it is the
bloated putrifying corpse of the rig's driver. Two
crossbow bolts are buried in its neck...-
MAX stoops and picks up a toy hurdy-gurdy which has
fallen from the dead man's hand.
As he walks back towards the black-on-black he turns
the handle, playing the first few notes of "Happy
Birthday".
He stops next to the vehicle, in the middle of the
intersection. He looks from one direction to another.
undecided... and then sees the smashed road sign.
He picks up a fragment which reads:
ONE TREE HILL
And throws it into the air.
It lands at h:_s feet, pointing north.
He gets into the car and drives off in that direction.
FADE TO BLACK.
13,
13. DESERT ROAD, NEXT MORNING.
The black-on-black travels slowly through the
shimmering desert. The only sounds are the rumble of
the engine and the whistle of the wind.
Sc. 13. Cont..
13. Cont. 13,
As the car crests a rise MAX looks ahead and sees a
large kite - in the shape of a man's grinning face -
hovering above a dune.
MAX leaves the DOG to guard the car .nd, carrying a
jerry can and a tyre iron, cautiously makes his way
across the sand.
14. ON THE DUNES. DAY. 14.
From the,top of the dune MAX sees that the kite is
tethered to an abandoned vehicle: a primitive
version of a gyrocopter - little more than a motor,
a seat and a rotor mounted on a chassis.
A set of footprints leads from the gyrocopter,
dune and disappears into the distance.
Slowly MAX approaches the vehicle, skirting around it,
looking for a trap. Nothing moves except for the
flurries of sand whirling across the dunes.
15. THE GYROCOPTER. DAY. 15.
Carefully, MAX reaches up and taps the gas tank: empty.
As he straightens up, he hears a low hiss.
MAX freezes. Only inches away a snake, coiled around
the vertical shaft of the gyro, is poised to strike..
They stare at each other.
The snake strikes... MAX springs... hand flashing...
catching it by the neck.
He holds up the snake, grinning, about to kill, it.
The head and shaft of an arrow emerge from the sand
behind him. It is followed by the frame of a crossbow
and a man's face, spitting sand, a length of rubber
hose clenched in his teeth. This is the GYRO CAPTAIN.
GYRO CAPTAIN
Don't hurt that snake!
7
15, Cont. 15,
MAX turns. The CAPTAIN emerges from his shallow grave,
motioning with the crossbow.
GYRO CAPTAIN
Put him back... gently!
MAX lays the snake on the rotor.
GYRO CAPTAIN
Sounded like a big V-8 to me.
I guess I got myself some
guzzolene.
He raises his bow, aiming at MAX'S head, preparing
to fire.
MAX
The car's booby-trapped.
Touch those tanks and
BOOM! You'll blow yourself
apart.
The CAPTAIN looks quickly in the direction of the
black-on-black, and back to MAX. He gestures with
the crossbow.
GYRO CAPTAIN
Drop the weapons...
Now back up.
MAX throws down the tyre iron and unhitches a bolster
which contains a sawn-off shotgun.
The CAPTAIN slings the gunbelt over his stoulder.
1.6. THE DESERT ROAD - MAX'S CAR.DAY. 16.
MAX walks backwards towards his car. The CAPTAIN
tense, crossbow trained on MAX, follows him across
the dune.
Sc, 1.6. Cont..
0
16.
16. Cont.
GYRO CAPTAIN
You're quick, I'll give you
that. Never seen a man beat
a snake. Never. Reflexes,
that's what you've got.
Me? I've got brains.
He taps his head as they arrive at the black-on-black.
GYRO CAPTAIN
Now, where's this booby-trap?
MAX reaches under the car. His hand groping for a
machete clipped to the chassis. His fingers wrap
around the handle.
GYRO CAPTAIN
A fella - a quick fella - might
keep a weapon under there.
He nuzzles,the bow against the back of MAX'S head.
GYRO CAPTAIN
Then I'd have to pin his
head to the panel.
MAX slides his hand away, disconnects a series of
mechanical fuses and shows them to the CAPTAIN. He
moves to open the driver's door. The CAPTAIN
reacts quickly, raising his bow, motioning MAX back.
MAX
There's one more.
GYRO CAPTAIN
Oh no! You don't play me the
fool.
The CAPTAIN, keeping the crossbow trained on MAX'S
head, opens the door.
The DOG flies out, leaping for the CAPTAIN'S throat.
The crossbow discharges, narrowly missing MAX as he
hurls himself at the CAPTAIN. The steel arrow buries r
itself in the car door.
MAX pins the CAPTAIN to the ground and recovers his
shotgun.
Sc, 16. Cont...
16.
16. Cont.
MAX cocks the gun next to the CAPTAIN'S head.
GYRO CAPTAIN
Gas! Petrol! Guzzolene! Listen!
Hundreds... thousands of `gallons...
as much as you want...
MAX eases off the trigger.
MAX
Where?
GYRO CAPTAIN
Not far. Ten... maybe twenty
miles. Pumping it they are.
Refining it. Kachunk...
kachunk... kachunk...
Day and night. A huge tanker
full.
MAX
Balls!
GYRO CAPTAIN
It's there, you betcha...
I'll. tell you straight
though - it's not self service.
It's under guard. Too hard for
me. But a man with your
ingenuity... Jesus I reckon...
MAX rams the barrel against the CAPTAIN'S head.
MAX
Where?
GYRO CAPTAIN
Kill. me, and you'll never find
out.
MAX drags him to his feet and pushes him towards the
black-on-black.
41 f 1 Al 1 -a1"1 �... .n V �.Att ._ awn ..
MAX is driving the black-on-black while the CAPTAIN
sits rigid in the passenger's seat. The muzzle of
the shotgun is strapped to the back of his bead and
the stock fastened to the top of the seat.
A length of wire runs from the triggers across to the
DOG sitting in the rear of the car. The end of the
wire is clasped firmly in its mouth.
The CAPTAIN, not daring to take his eyes off the DOG
directs MAX along back roads to an area of high
country.
The DOG'S eyes dart out the window. He whimpers, body
twitching.
The CAPTAIN stares in horror at a rabbit bounding through
the scrub.
MAX smiles t') himself.
The DOG settles back.
i8. A CLIFFTOP OVERLOOKING THE COMPOUND. DAY.
MAX moves towards the cliff edge. A column of smoke
rises into the sky, accompanied by a garble of distant
sounds: police sirens; car horns; men screaming;
war-whoops; and revving motors.
The GYRO CAPTAIN - manacled and guarded by the DOG -
hobbles along behind MAX.
From the top of the cliff MAX looks down On a battle
raging on the plain below.
A fortified encampment, surrounded by a wide ditch
and coils of barbed wire, is under attack by a large
gang of MARAUDERS: MOHAWK BIKERS, SMEGMA CRAZIES in
dune buggies, and GAYBOY BERSERKERS in road racers.
They attack along a road which passes through an area -
outside the fortifications - which is under cultivation.
Three wooden work huts, a small barn and a corral
containing several cows and a horse are dotted around a
newly-ploughed field.
As the Marauders' vehicles come within range of the
compound, they stream around the perimeter, firing
crossbows at the DEFENDERS ranged along the battlements.
GYRO CAPTAIN I
Well.,. I never said it'd
be easy.
MAX unhooks an old pair of binoculars from the
equipment belt around his,waist.
19
19, THE COMPOUND. POV BINOCULARS. DAY.
Through the binoculars MAX sees a weird dune buggy
charging towards the camp. He recognises the two
bizarre occupants as members of the gang be
encountered sacking the farmiet the day before.
The dune buggy races along a causeway which spans the which blocks
ditch, heading for a yellowPAschool SSENGERuin buggy
the gate of the camp.
fires a string of arrows from a multi-barrel gas-gun.
A WARRIOR WOMAN on the battlement, armed with a flame-
thrower, hits the buggy with a stream of liquid fire.
The blazing vehicle plunges into the ditch. It tumbles - its
into another wreck which met a similar fate
tyres still smouldering.
MAX pans his binoculars to the interior of the compound.
He sees a large mechanical pump drawing the oil. from
the ground and a primitive fractionating column used to
refine it.
A DEFENDER firing from the refinery tower is struck by
an arrow. He falls over the guard rail, where a
dead companion hangs over the edge, suspended by his
foot.
The sound of an amplified voice draws MAX'S attention,
He swings the binoculars around:
20.
20. THE HILLSIDE ACROSS FROM TH.E COMPOUND. DAB .
A huge, muscular man - his face covered by a metal
mask - sits in a bizarre six-wheeled vehicle. He
uses a microphone to shout orders to the MARAUDERS,
directing the course of the battle. This man is
the HUMUNGUS.
Beside him, is the Mohawk Biker called WEZ. He sits
astride his bike, the GOLDEN YOUTH clinging to his
waist. He speaks with HUMUNGUS, pointing, sweeping
his hand.
21.
21. CLIFFTOP. DAY.
The GYRO CAPTAIN is becoming more agitated.
I
GYRO CAPTAIN
Okay, there it is. If anyone
can get in, I know it's gonna
be you. Me,.. I've gotta
feed the snakes.
Sc. 21, Cont -
21,. Cont.
MAX drops the binoculars.
The CAPTAIN offers his wrists to be unmanacled.
GYRO CAPTAIN
A man lives by his word, I
reckon. And I've kept mine...
MAX gets to his feet and hauls the GYRO CAPTAIN to
a nearby tree stump.
GYRO CAPTAIN
Look! We had a deal: I show
you the gas - You let me go.
MAX starts to chain him to the stump.
MAX
The contract was:
wouldn't kill you.
The GYRO CAPTAIN turns angry, protesting.
MAX pushes the shotgun close to his face.
MAX
I reckon you got a bargain...
Don't you?
The CAPTAIN shuts up.
MAX tests the chain. The sounds of the battle continue.
DISSOLVE.
22.
22. CLIFFTOP. LATER THE SAME DAY.
MAX has settled in. He sits under a small camouflage
canopy. His binoculars are fixed on a tripod
fashioned from sticks.
The DOG lies nearby. Further away the GYRO CAPTAIN
is tethered to the tree stump, on a short leash.
The black car is covered by a camouflage net.
MAX leans back from his binoculars, takes a can of
dog food from a pack and begins to open it.
Sc. 22. Cont..
The DOG pricks up his ears.
• The GYRO CAPTAIN watches as MAX unwraps a velvet cloth
to reveal a beautiful silver fork.
The revving of engines wafts up from below,
MAX, spooning the food into his mouth, leans forward
to his binoculars.
23. THE COMPOUND. DAY. 23.
The MARAUDERS have formed a bridge of car wrecks across
the ditch near aless defended section of the compound.
At WETS signal three bikes ride at the bridge of
wrecks. Two of them are hit almost immediately but the
third rides over the wrecks and attempts to ramp into
the compound.
The bike flies through the air... and bounces into the
wire. The RIDER sails over the fence into the compound
where he is set upon by THREE DEFENDERS.
24. CLIFFTOP. DAY. 24,
MAX wolfs down his meal.
The GYRO CAPTAIN and the DOG lick their lips in unison.
MAX tosses the can and its remains to the DOG.
The CAPTAIN groans as the DOG buries its muzzle into
the can. The CAPTAIN inches over towards the DOG.
The DOG snarls...
WIPE.
25. CLIFFTOP. (MAGIC HOUR). 25.
From the clifftop, we see the lights in the compound
come on. A searchlight weaves across the wasteland.
The only sound is the "kachunk! kachunk!" of the
huge oil pump.
The battle has reached a stalemate. The DEFENDERS
and the ATTACKERS watch each other across "no man's
land".
Sc. 25. Cant.
14.
25, Cont. 25.
Smouldering wrecks and dead bodies litter the ditch.
• The animals in the corral have been slaughtered.
26. CLIFFTOP. ANGLE ON MAX. MAGIC HOUR. 26.
MAX is slumped against a rock.
The DOG is asleep.
The GYRO CAPTAIN rings his finger around the dog food
can and licks it clean.
MAX sits up at the sound of a bugle.
He looks down.
27. THE COMPOUND. MAGIC HOUR, 27.
The MARAUDERS kick over their engines, fanning across
the area under cultivation, tearing up the ploughed
field.
As they pull back to the high ground surrounding the
camp, they set fire to the farm huts and drag off the
carcasses of the dead animals.
The fires blaze fiercely on the darkening plain.
FADE TO BLACK.
28. CLIFFTOP. DAWN. 28.
Tracking close on MAX as he sleeps.
The DOG sitting next to him is on his feet growling
at the sound of vehicles from the plain below.
MAX wakes, alert', looking down.
Below, three compound vehicles are fanning out across
the plain.
The MARAUDERS camped on the rise rouse themselves...
climbing aboard their vehicles.
The GYRO CAPTAIN, tethered to the stump, strains at
his chain but cannot get close enough to the edge to
see...
4b, c;Ont.
GYRO CAPTAIN
What's up!!
MAX ignores him, concentrating on the situation below.
' The bulk of the MARAUDERS have split into three groups
each chasing a camp vehicle off into the wasteland.
The HUMUNGUS leads one of the groups. Four MARAUDERS,
camped on a pinnacle, keep watch on the camp,
Suddenly another vehicle bursts out of the camp and
speeds across the plain towards MAX'S clifftop. It
passes out-of sight around the back of the hill,
MAX hurries from his canopy across the other side of
the hilltop.
29. REAR OF CLIFFTOP LOOKOUT. MORNING. 29.
MAX looks past the black-on-black, to where the lone
compound vehicle has achieved the bitumen.
Suddenly, three Mohawk bikes and a tow truck emerge
from behind a rocky outcrop. Led by WEZ, they fire
arrows into the tyres and smash the windscreen.
The compound vehicle leaves the road, rolling...
As the GYRO CAPTAIN crawls to his side, MAX raises his
binoculars...
30. MAX'S POV BINOCULARS. MORNING. 30.
The bloodied driver is being dragged from the wreck
by TWO MOHAWKERS. The others cannibalise the vehicle
and siphon off its fuel. Another occupant emerges
from the twisted metal and tries to crawl away...
I t is a YOUNG WOMAN.
31, REAR OF CLIFFTOP LOOKOUT. MORNING. 31.
The GYRO CAPTAIN sees her and fumbles urgently for
something deep in the pockets of his great-coat.
He produces a large telescope which is attached to
his waist by a leather cord.
.1 C
32. GYRO CAPTAIN'S POV. TELESCOPE. MORNING. 32.
Through the cracked lens of the telescope we see
two of the MOHAWIMRS dragging the woman to the
roadside.
33. REAR OF CLIFFTOP LOOKOUT. MORNING. 33.
MAX looks around to see the GYRO CAPTAIN'S telescope
and grabs it. The GYRO CAPTAIN, protesting, picks up
the less-powerful binoculars.
MAX lifts tae telescope.
34. MAX'S POV. TELESCOPE. MORNING. 34,
The GOLDEN YOUTH is sitting on one of the bikes. The
POV whip pans across the wreck where two MOHAWKERS
have pushed the badly injured driver up to the car
panel, WEZ fires an arrow into the man's shoulder,
pinning it to the panel..
Methodically, he reloads and fires another pin into the
man's other shoulder.
MAX pans the telescope to where the three MOHAWKERS
hold the STRUGGLING WOMAN. At WEZ'S signal they start
to tear the woman's clothes away...
35. REAR OF CLIFFTOP LOOKOUT. MORNING. 35,
Track in as the GYRO CAPTAIN and MAX watch through
the binoculars and telescope.
Camera tightens further to the GYRO CAPTAIN. His
face reacts to the horror below.
MAX drops his head... his eyes closing momentarily.
The noise of vehicles starting below breaks the
moment.
He lifts the telescope and pans to one side.
I
-1 W
36, MAX'S POV. TELESCOPE. MORNING. 36,
The zelescope lens finds all the MOHAWKERS except one
back on their vehicles. They ride off led by WEZ...
37.
37. REAR OF CLIFFTOP LOOKOUT. MORNING.
While MAX has the telescope trained on the departing
vehicles the GYRO CAPTAIN has the binoculars on the
WOMAN.
GYRO CAPTAIN
Jesus! He's gonna kill her.
MAX whips his telescope around...
38,
38. MAX'S POV. TELESCOPE. MORNING.
The lens finds the remaining MOHAWKER now standing
back from the prostrate girl. He is loading his
crossbow...
The image blurrs...
39.
39. REAR OF CLIFFTOP LOOKOUT.MORNING,
MAX has dropped the telescope and is on his feet
running down to the black-on-black. The DOG is at his
heels.
GYRO CAPTAIN
Hey! What about me?!!
The black-on-black roars off...
40.
40. THE WRECK OF THE COMPOUND VEHICLE. DAY.
We track low past the dead girl's face towards the back
of the MOHAWKER. He is sitting on a wheel pulling on
his trousers,
Close to his back, the camera stops.
He turns, looking up.
MAX, carrying a pair of bolt cutters is hurrying towards
him.
'fu. l,.UUI..
The MOHAWKER grabs for his crossbow.
MAX'S foot stamps down, pinning his wrist...
Ssswish? the bolt cutters swing down... onto the
Mohawker's head.
Tears stream down the COMPOUND MAN'S face.
As MAX walks up to him we see that he is bleeding
badly. His name is NATHAN.
NATHAN
Thank you. Thank you...
I.
MAX
Let's get this straight.
I'm doing it 'cos I need
fuel.
NATHAN
As much as you want. Take
me back... Don't let me die.
MAX takes the bolt cutters and inserts them between the
man and the panel. He cuts away the first arrow, then
the second.
WIPE,
41.
41. INT. BLACK-ON-BLACK.DAY
The supercharger screams as MAX races towards the
compound.
NATHAN is slipping into unconsciousness.
MAX grabs him by the shoulder, shaking him.
MAX
Stay alive!
Stay alive!
I
1Q.
4'L, UN XAtl n1LL1Ur. Phum hAMAU1Jtn"_11 LUUrL UU1 . VAX . 4G
Angle down on the plain.
The black-on-black approaches the burnt out huts.
A GAYBOY BERSERKER stands up into frame in the extreme
foreground.
He is joined by TWO OTHER MARAUDERS.
The GAYBOY BERSERKER grabs a hand-mirror and flashes a
signal across the wasteland.
From a far hill, we see the answering flash.
43. THE PLOUGHED FIELD. DAY. 43.
Crane down from a high angle on the black-on-black
as it approaches the camp. As the camera achieves a
smouldering but we see a small animal-like
figure stalking the vehicle.
Tracking closer we see that it is a wild-looking
child, about 8 years old. He is dressed in dog skins
and carries a chrome boomerang. On one hand he wears
what looks like a catcher's mitt: a leather glove
reinforced with steel plates. This is the FERAL KID.
Before we get too close the boy scurries into a large
rabbit warren.
44. THE CAUSEWAY LEADING TO THE COMPOUND. DAY. 44.
Long low angle on the compound. Its defenders wait
on the barricades, the cracking tower and the
catwalk.
The black car stops just outside crossbow range - about
twenty yards short of the compound.
In extreme foreground, the FERAL BOY'S head pops up
from another rabbit hole closer to the compound.
He ducks down out of sight when the car door opens.
High angle on MAX as he steps out of the car with
NATHAN across his shoulders.
MAX carries no weapons and as he steps up to camera,
he raises his arms high...
A woman on the barricade begins screaming. Her name
is BIG REBECCA,
Sc-44, Cont.
44, Cont. 44.
BIG REBECCA
Nathan! Nathan! It's Nathan.
A man on the catwalk orders the gate to be opene•3..
MAX hurries along the causeway...
The FERAL KID comes out of the rabbit warren and
begins to follow MAX.
A trail of blood drips from the injured man onto the
causeway...
As MAX approaches the camp the old �ello'.v school bus
is pulled aside.
The I A3IRI011 WOMAN emerges, crossbow read., , keeping it
trained on MAX.
She is followed by another defender the MECHANIC'S
ASSISTANT - pulling a strange mechanised crane.
Suspended from the front of this machine is a paraplegic,
He is the MECHANIC.
Thny MAX, heading for the car, revealing
BIG RLU,CC.A, distraught, running towards him,
BIG REBECCA
Nathan! God have mercy.,
What a waste.
Si,F wipe the man's face, caressing him., as MAX
walks on.
She turns and looks straight at the camp's leader,
PAPPAGALLO. He"is standing at the gate, surrounded
by anxious defenders.
BIG REBECCA
Look at your handiwork!
They didn't have a chance...
One of the group at the gate -- a nuggety old man
called the CURMUDGEON - plays to the crowd, pointing
AT PAPPAGALLO:
THE CURMUDGEON
You all heard me, I warned
him didn't I? Madness, I said.
45. THE COMPOUNL. DAY. 45.
As the DEFENDERS part to let MAX through we see the
group includes: a teenage couple - PISMO and ANGIE
- holding each other tight; a woman BUTCHER, holding
a knife and a rabbit; a middle aged man who looks
like a FARMER; and a LUSTY young girl chewing her
finger nails.
WARRIOR WOMAN
Pity your name wasn't pulled
out the hat.
CURMUDGEON
We can escape, take our petrol,
he said.
How? I said.
Get a prime mover, he said...
He points to NATHAN who is being carried to an old
bread van. The rear door is open, revealing two
hospital-style beds, drip stands and shelves of medical
supplies. An injured camp member occupies one of the
beds.
CURMUDGECN
.And there's the result!
Madness I said!
PAPPAGALLO ignores him, addressing MAX:
PAPPAGALLO
Where did you find him?
MAX
Two, three miles away.,, left
for dead.,, next to his car.
We made a deal.
In the background the FARMER starts to work the first
arrow out of NATHAN'S chest.
BIG REBECCA comforts him.
Sc. 45. Cont...
YJ. i t .lJ _ Ya.
PAPPAGALLO
Three other vehicles.
Did you see them?
MAX
Running hard to the south
west. In heaps of trouble.
Listen: he said if I brought
him in, you'd give me gas.
There's no time...
An anxious young man pushes through the crowd, talking
over MAX. This is the QUIET MAN.
QUIET MAN
There was a woman...
in the car...
MAX looks straight at him.
MAX
She's dead.
The man struggles to keep hold of his emotions.
QUIET MAN
How? What did they do?
MAX
It was quick.
The QUIET MAN bows his head and turns away.
NATHAN groans, ANGIE has the clear plastic mask of
an air viva device over NATHAN'S face, PISMO pumps
air into his lungs.
MAX turns to PAPPAGALLO:
MAX
I saw a man in trouble. I
brought him in. And now I
just want to get out of here.
Give me my gas.
Sc. 45. Cont.
21.
-alp . vlJU b.
WARRIOR WOMAN
For all we know, he's one of
them.
Give him nothing.
There's an ugly murmur of agreement.
MAX, keeping his temper, talks to PAPPAGALLO:
MAX
We had a contract...
The FARMER succeeds in removing the first arrow.
BIG REBECCA relaxes
NATHAN sputters. Blood sprays into the plastic mask.
BIG REBECCA screams. The FERAL KID looks on as the
FARMER feels for a pulse: nothing.
PAPPAGALLO turns to MAX:
PAPPAGALLO
I don't know who you are,
or what happened.
But if you had a contract,
it was with him. And it
died with him.
PAPPAGALLO t'.trns on his heel and walks through the
crowd, back towards his tent.
The WARRIOR WOMAN puts a bow to MAX'S temple and
shoves him towards the gate.
46. COMPOUND. MAX IS MARCHED TO THE GATE. DAY. 46.
THE FERAL KID, following MAX, laughs.
The DOG snarls at the boy.
As the crowd parts, MAX sees that the black-on-black
is being winched through the gate.
Sc. 46. Cont...
24.
-1b. t;OIIt.
The MECHANIC supervises the work.
LIAX stiffens, furious.. .
WARRIOR WOMAN prods him with the bow:
WARRIOR WOMAN
Be thankful, you're still
alive.
She pushes him past the car.
The DOG trained to protect the vehicle begins to
grow]. The MECHIANIC turns to MAX:
MECHANIC
I gotta hand it to you.
Some machine...
He holds up the detonators and fuse wire.
MECHANIC
Would've been a shame to
bloc it:. up.
The last of the pursuit spec-
ials. It's history, that's
what it is. A piece of
history...
The ME, IIA`IC runs an affectionate hand along the bonnet
of the car.
The DOG flies at him as he tour.hes the car. The DOG'S
ja.:s champ onto his u6elessIt-sthreatening to topple him
from t. is mechanical. "crane".
The MECIiANIC'S ASSISTANT turn, wielding a tyre iron,
about to batter the DOC to death...
MAX grabs his arm, wrenching the tyre iron from his hand,
other men raise their weapons..,.
The head of a crossbow arrow cuts into MAX'S neck.
The DOG, MAX and the camp people are frozen, waiting
for the next move,
WARRIOR WOMAN, holding the other end of the bow,
motions him forward,
Slowly MAX bends and gathers up the DOG.
Sc. 46. Cont
� 0 R
•to . %+uu 4 . 4b .
MAX
Its OK, Dog. Just do as
they say...
His words are lost in the wail of a siren. A guard
perched in the watch tower shouts a warning.
The yellow school bus roars across, closing the
entrance.
47. THE BATTLEMENTS. DAY, 47.
The compound people run to their positions on the
battlements.
A pair of manacles are locked around MAX'S wrists.
WARRIOR WOMAN climbs to a big crossbow mounted above
the causeway.
The BUTCHER drops her knife and grabs her long bow.
The rabbit on the chopping block leaps for safety.
PAPPAGALLO mans the flame thrower. Others draw their
bows.
The FERAL KID follows the rabbit down a hole at the
foot of the battlement.
As MAX climbs to a position on the battlements near
WARRIOR WOMAN and PAPPAGALLO he sees that the MARAUDER
HORDE has gathered in all its glory.
46. NO MAN'S LAND. DAY. 48,
The MARAUDERS rumble in formation over the rise:
At their head' is the Humungus machine surrounded by a
guard consisting of WEZ and his GOLDEN YOUTH on a
bike, a tow truck with TWO SKIN HEADS, a road racer
with THREE GAY BOY BERSERKERS and a dune buggy with
TWO SMEGMA CRAZIES.
As the advance guard approaches through the dust and
heat haze we see that SIX NEAR NAKED AND BLOODIED
PEOPLE are lashed to the front of the vehicles.
At the big crossbow, the WARRIOR WOMAN aims at the
Humungus machine. One of the TWO VICTIMS, tied to the
front of the Humungus machine, is screaming above the
awesome rumble of machines and sirens...
Sc, 48. Cont.
-2 0 .
THE BROKEN VICTIM
Hold your fire. He wants to
talk... he comes in peace...
for Godsake! Hold your fire..
49. THE BATTLEMENTS. DAY. 49,
The camp people moan as they recognise the victims.
PAPPAGALLO holds up his hand, stopping the WARRIOR
WOMAN from firing.
• The MECHANIC cranes himself up into view next to MAX:
MECHANIC
Poor mongrels... not one
got through.
BIG REBECCA sobs. The QUIET MAN puts a comforting
hand on her shoulder.
PISMO and ANGIE huddle closer together.
50. NO MAN'S LAND, DAY. 50.
The vanguard of 5 vehicles stops on the causeway,
just out of range.
MAX and WEZ look across no man's land, recognising
each other. WEZ grins, a gold tooth flashing.
The TOADIE, a comically dressed Marauder perched on
the top of the Humungus vehicle, waves his arms. The
Marauders cut their motors... Silence.
The TOADIE announces:
TOADIE
Greetings from the Lord Humungus
The Warrior of the Wasteland!
The Ayatollah of Rock and Roller.
Camera cranes up to the HUMUNGUS as he rises in his
seat. His voice is amplified by two loudspeakers
mounted to the roll cage of his vehicle:
Sc. 50, Cont...
HUMUNGUS
I am told you wish to take
the gasolene out of the
wasteland...
The SECOND VICTIM lashed onto the Humungus vehicle
shouts in defiance:
DEFIANT VICTIM
Shoot! Shoot him! While you've
got the chance...
The TOADIE takes the wind out of him with an elbow
to the stomach...
The FERAL KID watches from a rabbit warren near a burnt
out hut.
The HUMUNGUS continues...
HUMUNGUS
You set out this morning to
find a vehicle. A vehicle
strong enough to haul that
fat tank of gas...
Suddently, the escaped rabbit runs from a hole in the
barricade and out into the wasteland. WEZ whirls his
arm around... thud!... the rabbit falls dead from a
crossbow bolt.
The FERAL KID eases back down into his hole.
The TOADIE bellows:
TOADIE
You see! There is no escape.
The Humungus rules the
wasteland...
DEFIANT VICTIM
Don't give them the gas!
Blow it up!
WEZ leaps from his bike and head-butts the man into
unconsciousness, The BROKEN VICTIM sobs uncontrollably.
Sc. 50. Cont...
50. cont. 5Q.
The FERAL BOY runs from his hole, screaming. He
lets fly with the chrome boomerang...
The projectile whistles past WEZ'S head and returns
to the KID.
He reaches up and - clunk! catches it in his steel,
plated mitten.
The MARAUDERS roar with laughter.
The FERAL KID throws the boomerang again...
WEZ ducks and it buries itself into the head of the
GOLDEN YOUTH.
The MARAUDERS are dumbstruck.
51. THE BATTLEMENTS. DAY. 51.
The MECHANIC grimaces.
The rest of the DEFENDERS are silent.
MAX is impressed.
52, NO MAN'S LAND. DAY. 52.
WEZ bends over the GOLDEN'YOUTH and pulls the weapon
from his skull.
He hurls it at the FERAL KID.
The boomerang whistles across the ground... the KID
throws himself down into the hole... the boomerang
arcs and returns to WEZ... out of his reach.
The TOADIE runs forward...
TOADIE
I got it! I got it!
He reaches up to catch it...
Sc. 52. Cont...
Jf.. vv...
Then falls to his knees clutching his bleeding
fingerless hand.
The HUMUNGUS and MARAUDERS roar with laughter.
WEZ, bellowing with rage, leaps up dnto the
HUMUNGUS vehicle. He hits the ignition, yelling:
WEZ
There's been enough talk.
I'm going in!
Powerful arms encircle him from behind. WEZ is lifted
bodily from the seat.
The HUMUNGUS reaches over and cuts the ignition and
the P.A..system.
53.
53. THE BATTLEMENTS. DAY.
The CAMP PEOPLE ease back on their weapons...
MAX is concentrating on his manacles, starting to use
a small, file to pick the lock.
54.
54, THE HUMUNGUS VEHICLE. DAY.
• Maintaining his vicious hold on WEZ the HUMUNGUS
hisses soothingly in his ear.
SUMUNGUS
Be still my dog of war. I
understand your pain. We've
all lost someone we love...
But, we do it my way.
Fear is our ally.
Later, you can have your
revenge.
WEZ tries to break free but still, he cannot move.
The HUMUNGUS reaches over and flicks on the P.A. System.
Sc. 54. Cont.
54 . Cont. 54.
HUMUNGUS
There has been too much violence
too much pain. None here
i s without sin,
But, I have an honourable
compromise.
Give me the gasolene and I'll
spare your lives. Just walk
away. I will give you safe
passage in the wasteland...
Walk away and there will
be an end to the horror...
He hits the ignition, eases WEZ aside and turns the
vehicle around...
HUMUNGUS
You have one full day to decide!!
The TOADIE jumps on board as the HUMUNGUS leads the
HORDE back over the rise.
As the vehicles rumble away, the FERAL BOY retrieves
his bloodied boomerang and scurries back into his
hole.
55. INSIDE THE COMPOUND. DAY. 55.
The QUIET MAN fires his long bow at the departing
MARAUDERS: the arrow falls well short, unnoticed.
He yells after them:
QUIET MAN
We'll never walk away. Never!
BIG REBECCA grabs him by the shoulder.
BIG REBECCA
Don't be a fool! It's our only
chance...
She turns to the other defenders:
BIG REBECCA
It's simple... we trade the
gas for our lives.
DO. wont . 55,
WARRIOR WOMAN
No! We've worked too hard.
FARMER
Walk out there? They'd
slaughter us... run us down
for sport.
BIG REBECCA plays to the crcwd.
BIG REBECCA
Don't listen to them! It's
bad enough the lunatics are
running the asylum. Don't
let 'em throw away the key.
56. THE BATTLEMENTS. MAX AND THE FERAL BOY. DAY. 56.
While the CAMP PEOPLE argue, MAX sits forgotten -
the manacles unlocked now, dangling from one
wrist.
He produces the hurdy-gurdy he found on the bloated
man and plays the first few notes of "Happy Birthday".
From the hole under MAX, the FERAL KID appears wiping
his boomerang. He is attracted by the noise.
MAX plays the next few notes faster.
The FERAL KID grins.
More notes - very fast.
The FERAL KID laughs.
Several people at the back of the CROWD, including
WARRIOR WOMAN, turn around to look. MAX holds the
manacles up so that she can see that he's free.
She glares at him as he goes back to turning the
hurdy-gurdy.
The argument continues.
57. THE CUMPUUNiJ. DAY. 57
PISMO and ANGIE are quietly bickering.
The CURMUDGEON pushes past them heading towards the
gate.
He has a Gladstone bag in his hand and a collection
of car parts and personal effects tucked under his
arm.
CURMUDGEON
it'll be alright. I'll talk to
this Humungus.
He'd never hurt an asthmatic ol.d
man.
The LUSTY GIRL is joining him.., The MECHANIC turns to
her.
MECHANIC
I'm sure they'll find a use
for you.
LUSTY
I'd rather be out there, on my
back alive, than in here, on
my back dead.
BIG REBECCA
Be promised us safe passage. Fe
gave his word.
PAPPAGALLO'S VOICE
And just suppose he keeps it...
The DEFENDERS turn to PAPPAGALLO, standing on the
BATTLEMENT:
PAPPAGALLO
.and we walk out of here with
our lives. What then? Do we
wander the wasteland - scavenging.
Wake up one morning and find we're
just like them - savages.
He points in the direction of the MARAUDERS.
PAPPAGALLO
Is that what you want? I don't.
Sc. 57. Cont.
5!. cont. 57,
PAPPAGALLO Cont.
I came out here and I found that
pump. I built that plant and
ploughed that field, Why?
Because we are human beings.
We must maintain our dignity.
We are not barbarians...
The crowd is silent...
I made one mistake - I waited
too long... thinking we could
survive here. We can't.
But, as frightened as we all are
- let's not forget one thing.
He points to the tanker of fuel, propped up next tc the
cracking plant...
That is more than just a tank
of fuel. It's our lifeline, our
passport to a place beyond the
reach of men on machines.
He talks over several protesting voices...
No! I don't know how we're gonna
get there. But the first step is
to defend that fuel.
I won't surrender it to anyone.
I stay! Alone if I have to...
BIG REBECCA
Words! Just words. You're
going to die, for a pi,pedream.
BIG REBECCA moves over to join the CURMUDGEON and
the LUSTY GIRL.
WARRIOR WOMAN
No! We're going to fight for
a belief - I stay!
LUSTY looks straight at PAPPAGALLO,
Sc. 57, Cont..,
D r . I,UnL .
LUSTY
I really wished it had worked,
I'm sorry.
The MECHANIC'S ASSISTANT starts to push tha
MECHANIC'S contraption tows°ds the CURMUDGEON'S
GROUP, but the.-MECHANIC resists, grabbing onto the
catwalk.
The ASSISTANT leaves him there.
ANGIE takes the ASSISTANT'S place and pushes the
MECHANIC'S contraption over to PAPPAGALLO'S side.
ANGIE
We stay!
PISMO is left hesitating in the middle. After a terrible
moment of indecision he joins ANGIE.
The camp is now divided, mostly against PAPPAGALLO.
The two groups stare across at each other solemnly...
A voice is heard from the battlements,...
MAX
Two days ago I saw a
vehicle that'd haul that
tanker.
All eyes turn to MAX.
MAX
You wanna get out of here.
You talk to me.
58, INT. PAPPAGALLO'S TENT, DUSK. 58.
MAX faces PAPPAGALLO across a desk littered with plans
and equipment.
WARRIOR WOMAN, BIG REBECCA, the FARMER and the MECHANIC
listen in.
Sc. 58,. Cont.
58. Cont. 58.
MAX
So that's my offer. I
deliver a prime mover - in
return you give me my black
car and as much gas'as I
can carry.
All I need right now
is three jerry cans of diesel
and five gallons of petroleum.
They look at him quizzically.
Think of it as a down payment.
WARRIOR WOMAN
That's the last we'll ever
see of him.
BIG REBECCA
What have we got to lose?
PAPPAGALLO nods.
WIPE
59. THE COMPOUND DITCH - THE BRIDGE OF WRECKS. NIGHT. 59,
From the battlement, PAPPAGALLO watches as MAX,
accompanied by the DOG, emerges from a hole in the
wall. MAX has a pole across his shoulders,
supporting four jerry cans of fuel..
MAX'S knee brace"squeaks in the stillness.
The MECHANIC throws him a small can. MAX squirts
a stream of oil onto the metal and then moves off
across the bridge of wrecks, built by the Mohawk
Bikers the day before.
The FERAL KID watches with other camp people as MAX
and the DOG move out into the night.
60, NO MAN'S LAND. NIGHT. 60.
MAX emerges from the ditch, the heavy load weighing
him down. Behind him, the searchlight from the
compound plays over the wilderness. Ahead, he sees
the glow of the Marauders' campfires.
He moves forward silently.
61. NEAR THE MAHAUDL S ' CAM1'k i hLJ . NIGHT. 61,
Picking his way carefully across rugged ground,
MAX skirts close to a large campfire.
Around it, a GROUP OF MARAUDERS are carousing: some
are laughing loudly at a VICTIM strung up to a beam
by his wrists. A bottle passes among the MARAUDERS.
In the shadows, lit by the flickering flame, a MOHAWK
BIKER fondles TWO CAMP FOLLOWERS.
Closest to MAX a GAYBOY BERSERKER hones his machete
on a whetstone.
MAX skirts round him, not taking his eyes off him.
Suddenly MAX'S leg gives way, caught in a rabbit hole.
He pitches forward, the ferry cans thumping together.
The GAYBOY BERSERKER pivots.., listening.., knife ready.
MAX is spread-eagled on the ground. The DOG curls its
lip. The GAYBOY BERSERKER walks towards MAX, his eyes
searching the darkness...
There is a loud barking! MAX looks up...
On a rabbit warren close by, the FERAL KID sits on his
haunches, howling like a wild dog.
The GAYBOY BERSERKER takes a rock and throws it, curs-
ing all howling dogs, and returns to the camp.
The FERAL KID motions for MAX to follow. Keeping low,
MAX limps forward.
62. AN EROSION DITCH. NIGHT. 62.
The FERAL KID stops at the edge of the gully and
indicates the direction for MAX to take. He grins at
MAX and runs off into the night, back the way he came.
MAX drops down into the gully heading away from the
Marauders' camp.
DISSOLVE,
63. THE CLIFFTOP. FIRST LIGHT. 63.
MAX climbs up to the spot where he left the GYRO CAPTAIN.
Gone!... Just the canopy, a dog food can and a freshly-
dug hole where the tree stump used to be. A clear trail,
gouged in the dirt, leads back towards the sand dune
country. The DOG sniffs and lopes off,..
64, A CLAY PAN. DAY.
64..
MAX and the DOG crest a rise at the edge of the
pan.
About a hundred yards ahead, out on the
clay, is the CAPTAIN, still dragging the tree
stump behind him.
T h e DOG growls.
The CAPTAIN turns to see MAX, He picks up the log
and tries to run.
65. THE WASTELAND. DAY.
65.
The sun is much higher in the sky, The CAPTAIN has
been freed from the tree stump and now carries the
ferry cans, coolie-like, across his shoulders.
66. THE DUNES. DAY.
66.
The three travellers stagger over the dune. Tha
gyro copter is intact though the kite now rests
face dawn on the sand, At the crest of the dune
they sue the body of a lone Marauder. Foot and
tyre prints tell the story. Crossing the dunes in
his buggy, he happened across the gyrocopter. He
left his buggy, walked down to the abandoned
gyrocopter and fell victim to the snake, He
staggered around in circles before slumping face
down in the sand.
The CAPTAIN lets out a whoop as he and MAX half
stumble, half run towards the body.
CAPTAIN
I knew it. I knew it'd work.
Lethal, those snakes. Lethal.
Born killers. The snake's
fangs, my brains. Lethal I
TELL YA
The CAPTAIN stops, staring down at the body of the
snake, its head crushed,
Quickly he picks it up and begins to skin it,
muttering,
Sc. 66. Cont.
VU L , % 1 t
60
CAPTAIN
Don't think you're gonna get
any of this. Cos you're not.
It was my snake. I found it.
I trained it. And I'm gonna
eat it.
Keeping the gun trained on the CAPTAIN, MAX
rummages through the MARAUDER'S clothes. He finds
a necklace of spark plugs, bolts, teeth and two old
shotgun cartridges.
MAX removes the two cartridges. One crumbles apart.
The second, although dog-eared, remains intact,
The GYRO CAPTAIN looks up as MAX cracks open the
shotgun - both barrels are empty.
MAX shoves the dog-eared cartridge into the barrel
and snaps the shotgun shut.
The GYRO CAPTAIN gasps:
CAPTAIN
You mean? All this time?
Jesus, that's dishonest!
MAX nudges the CAPTAIN towards the gyrocopter.
The CAPTAIN stands fast, eyeing the shotgun...
CAPTAIN
How do we know that one's
not a dud.
4
MAX
There's only one way to
find out.
He lifts the barrel to the CAPTAIN'S head.
The CAPTAIN moves off towards the gyrocopter.
67. SAND DUNES- GYROCOPTER. DAY. 67.
One jerry can lies discarded by the gyro. MAX,
with the DOG on his lap, is settled on the chassis,
the three remaining cans strapped on beside him.
A flurry of sand whips back from the propellor.
The gyro, unaccustomed to the extra weight, lumbers
across the sand and slowly rises into the sky.
IN WTPF
66 . THE IN'li.:1..LLT1UN . DAY . 68.
The bloated fly-blown corpse of the driver lies
next to the abandoned road rig.
The bonnet of the prime mover is up and MAX is
working on the engine.
A chain passes from the bull bar up into the cabin where
the CAPTAIN sits behind the wheel, muttering into a
handkerchief.
The DOG watches him carefully.
MAX yanks on the chain.
The GYRO CAPTAIN tests the motor: nothing.
After two more attempts it splutters to life.
DISSOLVE.
:R
69 THE PRIME MOVER. LATER THAT DAY. 69.
The prime mover, disconnected from the rest of the
rig, stands in the middle of the road.
MAX is in the cabin with the DOG, the engine running,
The GYRO CAPTAIN looks up at him, rattling his chains.
GYRO CAPTAIN
You can't just dump me!
Think of us as partners.
MAX tosses him a set of keys, shouting over the
engire.
MAX
It's up to you. Fly a kite,
or follow me back. Maybe
they'll throw some gas your
KAY
MAX eases the prime mover down the road:
Sc. 69. Cont.
hn.
69, Cont. 69.
The GYRO CAPTAIN, struggling to unlock his manacles,
yells after him:
GYRO CAPTAIN
What sort of deal's that?!
I'm running on empty!
WIPE.
70, THE LONELY HIGHWAY. DAY. 70.
MAX hurls the prime mover down the long empty
highway, eating up the miles.
WIPE.
71. HILL CREST NEAR PINNACLES. DAY. 71.
The'prime mover crests a bill. In the distance MAX
can see the pinnacles surrounding the camp. He
checks his shotgun on the seat beside him. MAX
tramps the accelerator.
The DOG climbs under the seat. The back wheels burn
rubber as the prime mover thunders down the road...
Suddenly the gyrocopter zooms over the rise behind him
spluttering and coughing like he's running out of
gas.
72. SIDE OF ROAD NEAR THE PINNACLES. DAY. 72.
In the Marauders' camp a MOHAWKER is shaving WEZ'S
head. At the sound of the approaching prime mover,
WEZ leaps to his feet, clambers over a tow truck on
blocks and straddles his bike...
Other MARAUDERS follow as we track to a SKINHEAD
lying under the tow truck making noisy repairs.
IN
73. THE ituiL. DA1.
MAX burls the prime mover towards the rise above
the compound.
A dune buggy comes up alongside the rear passenger
wheel. The SMEGMA CRAZY riding shotgun fires a
crossbow arrow into a tyre... which explodes.
WEZ appears on the road ahead as a road racer rockets
from out of the scrub in front of the prime mover.
MAX shunts it back off the road and into the rear of
the tow truck on blocks.
The tow truck crashes down, pinning the SKINHEAD
beneath it.
74, A RISE ABO'D'E rHE COMPOUND. DAY. 74.
The HUMUNGUS - his vehicle sitting in_the middle of
the road - turns at the sound of the crash.
75, THE GYR000PTER. (HELICOPTER MOUNT). DAY. 75,
The gyrocopter sputters along, staying out of range
of the MARAUDERS.
The CAPTAIN is shouting advice and instructions from
THE SIDELINES:
GYRO CAPTAIN
Watch your tyres! Turn left!
Down over the CAPTAIN'S shoulder we see WEZ'S bike
coming alongside the prime mover's rear wheels on
the driver's side.
76. THE ROAD APPROACHING THE RISE. tAY. 76.
WEZ lifts his feet onto the saddle, steadies himself
and leaps onto the back of the prime mover.
As the vehicle crests the rise, MAX sees the camp
below. He yanks the air horn lanyard...
J , 4 J L LL' 1 111:, , 'J LLL V 41 \ 1J , W n i . I ,
PAPPAGALLO'S people turn at the sound. From the
cracking tower PAPPAGALLO shouts:
PAPPAGALLO
Open the gate!!
The FERAL KID, astride the pump, is on his feet..
BIG REBECCA runs to the yellow school, bus...
78. ON THE RISE ABOVE THE COMPOUND - HUMUNGUS VEHICLE. 78.
DAY.
.The HUMUNGUS raises the magnum .44 aiming directly
at the oncoming prime mover...
79. THE RISE ABOVE THE COMPOUND. DAY. 79,
On seeing this MAX grabs the shotgun, shoves it
through the smashed front window of the truck and
fires,.,
The gun fizzes and pops - the cartridge was a dud.
MAX ducks and yanks down hard on the wheel...
The HUMUNGUS fires. The big gun kicks,,.
The front of the prime mover bursts with steam and
hot oil,
The big machine careers off 'the road, and through
a primitive tent. As the canvas rips away.,. we
glimpse two startled MARAUDERS in the throes of
hetereosexual love.
MAX recovers, the big machine keeps going, rocketing
down the hill 400 yards from the causeway...
Suddenly a powerful arm bursts through the driver's
window.,, and grabs MAX around the throat - its
WEZ!
The DOG attacks WEZ, clamping his jaw around his
gauntlet.
WEZ pulls the DOG out the window and flicks his arm.
The DOG sails through the ai.r...
6 +.
8U. t hIL Ak'Y1tUALii TU 1 1A LAUZ) W A 1 . DAY . SA.
MAX rams his elbow into WEZ'S `ace.
The big biker holds on, tightening his grip.
A dune buggy with a machine gun like crossbow - the
4-pak - fires four bolts into the t y'res. All but one
tyre on the driver's side blow out.
As the prime mover charges past, we track with the
Lone Wolf, who drives a two-engined assault car.
He yells to other Marauders behind:
LONE WOLF
The gate's open!
Follow me in!
A street car and a dune buggy surge up beside him.
In the background we see the DOG, running along
the road, trying to catch up to the tanker.
81. THE AIRBORNE GYROCOPTER. DAY. 81.
The GYRO CAPTAIN curses and screams.
GYRO CAPTAIN
Don't lose it now!
We need the fuel!
The CAPTAIN grabs whatever he can find - the two
ferry cans and his chains and throws -:hem at the
chase below.
82. THI_ APTP!OACf TO THE C.' ?1SEW"L Y . DAY. 8 2 ..
To of th':• objects fall across thr- path of the on-
rushing street car the third smashes into the
vehicleti windscreen - to no avail, the vehicle
continues in the chase to the causeway... converging
on the prime mover
The 4-pak dune buggy surges up to the driver's side
wheels, .. The SMEGMA CRAZ1E h4s reloaded the crossbow
and is taking aim on the critical last tyre.
TIT
83, THE AIRBORNE GYROCOPTER. 83.
The GYRO CAPTAIN is reaching down into a sack...
He pulls out two snakes. Clamping their jaws shut
he kisses them goodbye and hurls them down...
84. THE APPROACH TO THE CAUSEWAY. DAY. 84.
.The snakes land in the 4-pak dune buggy - one of
them between the DRIVER'S legs. Perplexed, he
reaches down for it... pulling it up to look...
He screams.., the snake has its fangs in his hand...
85. THr CAUSEW'.Y. DAY. 85.
The 4-pak dune buggy swerves out of control... up
and over the back of the prime mover,., and onto
the street car. Locked together, both vehicles
tumble down into the ditch.
I n th,! cabin of the truck MAX smashes the butt of the shotgun
into \EZ'S face, again and again. WEZ just grins.
86. THE COMPOUND GATE. DAY. 86.
The prime mover thunders through the gate.
PAPPAGALLO and WARRIOR WOMAN take their positions
on the battlements...
As soon as the prime mover clears the gate BIG
REBECCA plants her foot on the accelerator of the
school bus/gate. The Lone Wolf vehicle and the
dune buggy just make it inside.
The DOG scampers through the rapidly closing gap.
A road racer slides up to the gate.
The DRIVER looks up... to see PAPPAGALLO aiming
the flame thrower down at him... He slams the
vehicle into reverse...
b. r nu..: i hL 6A , i LS:h1Li� 1 `J LVVh l lvla UL, l . bA i . 6
PAPPAGALLO sends the torrent of flames down on the
retreating vehicle... as HUMUNGUS and the OTHER
MARAUDERS hover at the entrance of the causeway...
88., INSIDE THE COMPOUND THE CATWALK AREA. DAY. 88.
The prime mover slides to a halt underneath a
catwalk. -
As SEVERAL CAMP PEOPLE run towards him, WEZ swings
up onto the roof of the prime mover and onto the
catwalk.
The two Marauder vehicles stop in the middle of the
compound.
MAX jumps out of the prime mover assessing the
situation. In addition to WEZ there are FOUR
MARAUDERS inside the compound: the LONE WOLF,
the LONE WOLF'S PASSENGER and TWO SMEGMA CRAZIES.
89, THE BATTLEMENTS. DAY. 89.
Undei the direction of the HUMUNGUS - HALF A DOZEN
MARAUDERS come surging up the causeway on foot.
PAPPAGALLO stands up on the very limit of the battle-
ment and scares them off with a burst of flame.
A MARAUDER fires an arrow..
, .PAPPAGALLO is hit high up in the thigh. He
tumbles backwards, off the parapet and crE.shes to the
ground below.
90, INSIDE THE. COMPOUND - THE CRACKING TOWER. DAY 90.
Up on the catwalk WEZ is shouting at the FOUR
OTHER INVADERS.
WEZ
The gate! The gate! Move!!
MAX looks around as the LONE WOLF, the LONE WOLF
PASSENGER and the TWO SMEGMA CRAZIES start to sprint
across the compound towards the gate...
Thud! The LONE WOLF PASSENGER falls dead - an
arrow in his back...
9u. Cont. 90.
WEZ spins around to see the QUIET MAN, standing
on the cooling tower, reloading his bow.
WEZ starts running towards him.
91. INSIDE THE COMPOUND. DAY. 91.
With the help of the DOG, MAX tackles the-FIRST SMEGMA
CRAZY who is running towards the gate. They land at
the foot of the pump. The FERAL BOY, bouncing up and
down on top of the pump looks down gleefully, as the
FARMER, the BUTCHER and the CURMUDGEON descend on the
MARAUDER.
MAX is on his feet running towards PAPPAGALLO, as the
second SMEGMA CRAZY is hit by the MECHANIC flying on
the end of his lattice-arm contraption. ANGIE and
PISMC, manning the other end, smile with satisfaction.
92. INSIDE THE COMPOUND - THE CRACKING TOWER. DAY. 92.
WEZ confronts the QUIET MAN who has his bow drawn,,,
The QUIET MAN fires - WEZ ducks - missed!
WEZ grins. The QUIET MAN is paralysed by indecision.
WEZ is on him.., head-butts him - once, twice, three
times,
The QUIET MAN'S face is a torrent of blood as WEZ
throws him of the cooling platform.
The QUIET MAIL lands, groaning, badly injured.
93. FROM INSIDE THE BUS. DAY. 93.
The LONE WOLF has made it to the gate and smashes his
way through the window - clawing at BIG REBECCA.
She shoves a boot in his face as WARRIOR WOMAN drops
onto him from the battlement above and buries a knife
blade in his neck.
Z7.
4 . AT 1H. 13A'1"i'L.MEN'1'J . UA . . 94
MAX has picked up PAPPAGALLO'S flame thrower.
PAPPAGALLO watches as he climbs the battlements,
A DOZEN MARAUDERS are charging up the causeway.
MAX appears above them,,, spraying fire. The
MARAUDERS retreat...
95, INSIDE THE COMPOUND. DAY. 95•,
WEZ grabs a cable and swings from the catwalk across
the cracking tower to Pappagallo's 'dinosaur tent'.
He slides down the tent, leaps onto some tyres, onto
a storage tank and then onto the tanker...
He hesitates a moment looking for some way to get to
the gate...
The WHOLE CAMP turns to confront him..-'.:'
He ducks, the gyrocopter swoops down over his head
and lands in the centre of the compound...
An arrow flies past WEZ, then the Feral Kid's boomerang
, , he decides to call it quits.
Running along the top of the tanker, be leaps the
barbed wire fence.
9G THE L-ITCH. DAY. 96.
WEZ lands in the ditch.
He clambers over a wreck out of the ditch and out of
range.
97, INSIDE THE COMPOUND. THE TANKER. DAY.
The GYRO CAPTAIN is up on the tanker, throwing a
stick and shaking his fist at the MARAUDERS - putting
on a show for the jubilant compound people.
Several people shake hands with the GYRO CAPTAIN,
The FERAL KID watches, puzzled, intrigued by this
strange ritual.
Sc. 97. Cont.
The MECHANIC is already examining the damage to the
prime mover,
PAPPAGALLO is propped up against the base of the
battlement. BIG REBECCA and the WARRIOR WOMAN tend
his thigh wound.
PAPPAGALLO
OK! OK! Let's go.
We leave tonight!
The MECHANIC lifts his head out of the engine:
MECHANIC
We got a hole through the
radiator - into the
timing case.
Gonna take at least 24
hours.
PAPPAGALLO
You've got twelve.
The crowd disperses.
The QUIET MAN is carried to the bread van/medical
centre; the bodies are removed; camp members load
vehicles; men are working on the tanker.
WARRIOR WOMAN climbs onto the battlement.
98. THE BATTLEMENTS% DAY, 98.
The MARAUDERS have regrouped on the rise.
MAX is watching them, the flame thrower in his hands,
as the WARRIOR WOMAN approaches him:
WARRIOR WOMAN
I want you to know... that was
a very brave thing you did...
He doesn't reply - just hands her the flame thrower
and descends the ladder.
49.
99. INSIDE THE COMPOUND. DAY. 99.
BIG REBECCA has just pulled the arrow out of
PAPPAGALLO'S leg as MAX moves into view.
PAPPAGALLO watches him walk towards the black-on
-black - its nose poking out of the pyramid workshop,
As MAX passes the gyrocopter we see the GYRO CAPTAIN
in conversation with the CURMUDGEON.
CURMUDGEON
.and tell me, son, this
machine of yours - it takes
two , does it?
The GYRO CAPTAIN glances over the CURMUDGEON'S
shoulder at LUSTY who is admiring the gyrocopter.
GYRO CAPTAIN
er... possibly.
The FERAL KID steps forward, holding his hand out
stiffly to MAX.
MAX hesitates, then shakes it briefly. The KID
laughs - be finds this hand shaking-business hilarious.
As MAX moves on to the pyramid workshop, the FERAL
KID follows in his footsteps, mimicing his squeaky,
stiff-legged gait.
1.00, INT. PYRAMID WORKSHOP. LATE AFTERNOON. 100.
Through the maze of pipes in the peak of the pyramid,
we have a high angle down on MAX working on the
black-on-black below.
The FERAL KID comes into view in the foreground,
climbing along the pipes.
The KID is softly humming a tune - approximating the
first few notes of "Happy Birthday".
On the workshop floor a small siphon pump is transfer-
ring fuel from a 44 gallon drum into the black-on-
black's fuel tanks.
MAX is re-arming the booby traps - connecting a
string of wires and fuses to the gas tank caps. His
utility belt and jacket are off and he has laid his
personal. effects on a nearby work bench.
In the background, through the arched doorway we see
Sc. 100. Cont.
1VU. i„uliL'.
the MECHANIC and his TEAM working on the truck with
arc welders, lights and so on.
MAX looks up:
The CURMUDGEON is leading PAPPAGALLO'into the workshop.
CURMUDGEON
See! I told ya. I said he
was leaving.
High up in the pyramid the FERAL KID starts to swing
down the pipes - towards the bench where MAX has laid
his jacket and utility belt. On the floor, PAPPAGALLO
CONFRONTS MAX:
PAPPAGALLO
I don't have time for thanks.
You know what you did out _
there and what it means to us.
Come with us, MAX. Drive the
tanker.
MA:. continues to work - muffling the four exhausts
by plugging them with rags.
MAX
We had a contract. I did
my job, I got my car and I
got my gas. End of story.
PAPPAGALLO
It doesn't have to be -
we'll make a new contract.
I can offer you a chance to
rebuild your life, I can
offer you a future.
The CURMUDGEON breaks in, excited.
CURMUDGEON
You gotta come. Look!
He produces a grubby souvenir postcard pack which
bears the heading:
GREETINGS FROM THE
SUNSHINE COAST
100. Cont. 100.
The FERAL KID's arm sneaks across the work bench
reaching out for the hurdy-gurdy.
MAX'S hand snaps out and clamps around the KID'S
wrist. The FERAL KID drops the hurdy-gurdy. As
MAX releases his grip the KID retreats into the
shadows.
The CURMUDGEON unravels the postcard pictures in
front of MAX'S face. -
CURMUDGEON
This is where we're going.
Two thousand miles away.
"Bloody paradise. Fresh
water... plenty of sunshine...
nothing to do but breed...
MAX starts to go back to his work.
PAPPAGALLO takes him by the shoulder.
PAPPAGALLO
What are you looking for
out there? How long do
you expect to survive,
scavenging day to day?
You're no different than them.
He points in the direction of the Marauders.,.
..,vultures, maggots.
Don't you see? There is
a better way!
MAX flares at him, angry:
MAX
Yeah. I tried it once!
Now forget it, 'cos I
never get involved.
I'm leaving. I leave
tonight.
PAPPAGALLO is about to reply when a scream echoes
through the camp.
They all turn to look: the men working on the prime
mover are running towards the battlement,
An ominous drumming begins in the Marauders' camp.
3GI.. INSIDE THE COMPOUND. THE CATWALK. DUSK. 101.
PAPPAGALLO climbs onto part of the refinery's cat-
walk which is close to the workshop area.
SEVERAL OTHER CAMP MEMBERS, including the GYRO
CAPTAIN, and LUSTY, are already there - looking
across no-man's land.
The MARAUDERS are raising two tall poles. TWO OF
THE CAMP MEMBERS captured that morning are nailed
to the poles screaming.
PAPPAGALLO turns to MAX, who is still down at the
black-on-black.
PAPPAGALLO
You see! That's the
alternative!
Men feeding on men.
MAX goes back to work.
The GYRO CAPTAIN slips his arm around LUSTY'S
shoulder.
GYRO CAPTAIN
I know you're afraid darlin'.
But I'll let you into a
secret, sweetheart. I'm
afraid too.
He squeezes her tight. She caresses his hand.
DISSOLVE.
1.02. NO MAN'S LAND. NIGHT, 102.
Silhouetted against a large fire, near the two
poles, a group of TWELVE !.MARAUDERS of various
breeds beat out a tattoo on the panels of their
cars. The HUMUNGUS watches as two more victims
are raised on poles. The beat becomes more
frenzied,
FADE TO BLACK.
Pouring with sweat, MAX tears up the first of a
series of metal plates which form the floor of the
workshop area.
He drags it.across the compound, passing the
MECHANIC'S TEAM working in a shower of sparks on
the prime mover.
The MECHANIC looks up:
MECHANIC -
Go on! Go! Just another mercenary!
He spits.
MAX ignores him, dragging the plate past Pappagallo's
tent. It is crowded with CAMP PEOPLE, laying their
plans for escape.
They fall silent, turning to watch MAX.
104, COMPOUND WALL. BRIDGE OF CARS. NIGHT. 104.
The black-on-black waits next to the fence, near the
place where the Mohawkers attempted to build the
"bridge of cars" across the ditch.
MAX has cut a hole in the barbed wire and is
manouevrin6 the metal plate on top of the first car
starting to build a ramp from thw,
compound, over the top of the cars and onto the far
side of the ditch.
DISSOLVE.
105, INSIDE THE COMPOUND. LATER THAT NIGHT. 105
The HUMUNGUS has stepped up his theatrics of terror.
His voice booms across the night - reciting dark
poetic descriptions of death and hell.
The CAMP PEOPLE, gathered in Pappagallo's tent, watch
as the GYRO CAPTAIN walks towards the spot where MAX
is working. PAPPAGALLO sits at his desk,flicki.ng an
egg timer: the sand trickling from one end to the
other.
E. fs
106. CUMI'OUNU WALL. BRIDGE OF CARS. NIGHT. 106,
MAX, who is locking the last metal plate into
position, looks up at the GYRO CAPTAIN.
GYRO CAPTAIN
I just want you to know that
I don't agree with them,
He indicates the people in Pappagallo's tent.
GYRO CAPTAIN
I don't think you're a coward.
A bit stupid - but not a
coward,
Where else you gonna find
what we 've got here?
Food... fuel... clean women.
MAX goes back to work, putting the finishing touches
to the ramp.
GYRO CAPTAIN
Men, too, if that's your
inclination.
Jesus! All we've got to
do is get away from that
Humungus. With you driving
the tanker we can do it.
I know you can. I saw you
out there. Stay with us
Max. Drive the tanker.
MAX gets up, snaking his head.
MAX
I haven't got time to explain.
Just believe me - I've got
everything I want.
The CAPTAIN starts to interrupt but MAX cuts him
short.
MAX
Good luck tomorrow.
I hope you make it.
Sc. 106. Cont.
106. cont. 106,
MAX puts out his hand.
• The CAPTAIN, a little surprised, shakes hands with
him.
GYRO CAPTAIN
Thanks. Thanks a lot.
The CAPTAIN walks back towards the GROUP watching
from Pappagallo's tent. He shrugs his shoulders.
MAX opens the door of the black-on-black.
107. OUTSIDE THE _OMPOUND. BRIDGE OF CARS. NIGHT. 107.
MAX eases the black car onto the metal plates.
The wide wheels rumble slowly across the makeshift
bridge.
MAX revs the motor to get over the last hump, the
plugs in the exhausts muffling the sound of the big
engine.
The Humungus's bizarre ravings continue to boom across
the wasteland.
108, THE WASTELAND NEAR THE COMPOUND.NIGHT. 108.
The black-on-black eases away from the compound.
The DOG is edgy, growling. MAX takes hold of his
shotgun,
There is a thump! Something lands on the roof.
The DOG flies at the window snarling. MAX jams the
barrel against the roof.
A face appears, leaning over the windscreen, peering
in at MAX. It's the FERAL KID,
He grins and tumbles through the passenger's window.
He grabs hold of MAX'S hand, shaking it.
The FERAL KID laughs, settling in to the seat.
The car continues to roll forward.
Sc, 108, Cont.
108. Cont. 1.08,
MAX
Get out.
Scat! Go back.
The FERAL KID looks at him, puzzled, then throws his
head back, howling.
MAX stops the car, looking round, nervous.
The first light of dawn appears on the horizon.
MAX turns to the FERAL KID:
MAX
You're a fine kid, but you
can't come. You've gotta
learn - don't get close to
people. It can churn you
up...
The KID can't understand a word, so just grins.
MAX thrusts his hand into his back pocket and produces
the hurdy-gurdy.
He shoves it into the FERAL KID'S hands, opens the
door and pushes him out.
109. THE WASTELAND. DAWN.
As the FERAL KID gets to his feet the black-on-black
accelerates away, surging up the rise towards the
Humungus encampment.
The rapid burst of power fires the four plugs out of
the exhausts. The big engine roars.
110. THE RISE ABOVE THE COMPOUND. DAWN. 110.
WEZ springs to his feet. His face covered in a
white war paint. His eyes searching out the
darkness. He starts running,.. towards the
Humungus machine.
Sc. 110. Cont.
11.0 .
no. Cont.
A GAYBOY BERSERKER is running with him. As they climb
into the vehicle, the HUMUNGUS - sitting on a rock near
the VICTIMS on the poles - gets to his feet,
He bellows with rage as WEZ drives the vehicle off in
pursuit of Max. The TWO VICTIMS, still strapped to the
front, lift their heads.
i11.. THE HUMUNGUS MACHINE. DAWN.
From the Humungus machine WEZ sees six other vehicles
stream across the landscape in pursuit of the black-on
-black. (One tow truck, two dune buggies, two street
cars and a bike).
The TOADIE emerges bewildered from where he has been
sleeping under the fuel tanks of the Humungus machine.
112.
112. A ROAD NEAR THE COMPOUND. DAWN.
The black-on-black achieves the road...
The DOG is looking back through the passenger window
as we see the first of the pursuing vehicles rumble
onto the road...
MAX hits the supercharger switch...
The big engine whines up.
Once again, the DOG climbs down under the seat.
The Humungus machine rockets onto the road... and
begins to overtake the other six Marauder vehicles
one by one...
WIPE.
113.
11.3, THE HIGHWAY. EARLY MORNING.
MAX is giving the black-on-black all its got...
In the Humungus machine WEZ, the GAYBOY BERSERKER
and the TOADIE have left the rest of the Marauders
well behind...
The big machine seems to be encroaching on the black-
on-black.
Sc. 1.13. Cont.
58.
♦ 1. ..I i t rv•A a.
WEZ shouts instructions to the GAYBOY BERSERKER who
comes to his side.
The GAYBOY BERSERKER slides behind the wheel as WEZ
clambers forward onto the front of the vehicle.
The GAYBOY BERSERKER reaches down. His hand rests on a
toggle switch next to three gas bottles marked:
NITROUS OXIDE
At the front of the vehicle WEZ grabs a huge exhaust
pipe jutting into the air. In spite of the heat he tears
the pipe off the mounting. He signals to the GAYBOY
BERSERKER.
The GAYBOY BERSERKER flicks down the toggle switch:
there is a mighty roar matched by a massive surge of
power in the Humungus machine...
The TWO VICTIMS on the front scream... MAX is bewildered
by the massive acceleration. ._
The Humungus machine leaps alongside the black-on-black.
WEZ swings the chrome pipe down through the front
windscreen -, into MAX'S face.
114. A CURVE IN THE HIGHWAY. MORNING. 1.14.
The black-on-black takes out a guide post and leases
the road... rolling over and over.
Inside the car MAX - his face bloodied - and the DOG
are slammed around in the cabin of the black-on-black.
It continues rolling, over and over again, into a gully.
115, THE CREEK BED. MORNING. 115.
What is left of the car comes to rest, upside down,
among the boulders of a dry creek bed. MAX is slumped,
dangling in his harness - his face and body bloodied
and broken. Somthing moves... it's the DOG pulling
himself out of the wreckage. He licks and paws at
MAX'S face. One eye flickers open.
AN
l lu . hUAU:,ILL . MORNING . 116.
WEZ stands looking down into the gully. Another vehicle
has arrived. TWO GAYBOY BERSERKERS and the TOADIE
scramble down towards the wreck carrying jerry cans.
WE-
Don't waste him. If he's
alive I want him.
117. THE CREEK BED. MORNING. 117.
By an enormous force of will, MAX frees himself from the
harness and - as the sound of the Marauders approaches -
pulls himself through the window of the wreck.
He falls to the ground, dragging his crippled body into
the shadow of a large boulder, hiding there.
The DOG confronts the MARAUDERS, snarling, standing
between them and the wreck.
One of the GAYBOY BERSERKERS raises his crossbow...
MAX watches, grim-faced, as the DOG falls dead.
The THREE MARAUDERS run to the vehicle.
While the TOADIE prepares to siphon off the gas, the
other two peer into the crushed cabin.
Perplexed, they examine the wreck more closely, looking
for MAX.. .
ONE of them sees the drag marks, leading down the
creek bed.
He signals to the OTHER MARAUDER... MAX prepares to defend
himself... the TOADIE prises the cap off the black car's
fuel tank.
The booby trap explodes... the petrol ignites... the
THREE MARAUDERS are engulfed by a giant fireball.
MAX looks pa3t the flames, staring up at WEZ,
not taking his eyes off him...
118, ROADSIDE. MORNING. 118.
WEZ and the OTHER MARAUDERS watch the great pillar of
smoke rise up into the sky.
They return to their vehicles.
119. INSIDE THE COMPOUND. MORNING. 119.
The GYRO CAPTAIN helps the LUSTY GIRL dismantle one of
the small tents.
In the background we see the camp vehicles standing
ready - fully loaded. The Mechanic's TEAM are still
working on the prime mover.
As PISMO shows from the tower, the GYRO CAPTAIN looks
up to see the smoke from the wreck rising into the sky.
The GYRO.CAPTAIN, mutters an oath and sprints towards
is machine.
120. CREEK BED. DAY. 120,
Foot by foot, MAX drags himself alor:g the creekbed -
heading for the compound. Blood seeps from wounds on
his head and face. His legs are useless, his hands
heavily bandaged with strips from his leather jacket.
Behind him, in the distance, we see the still-
smouldering wreck of the black-on-black.
MAX struggles on, the pain growing, the sun climbing,
the temperature soaring. His mind becomes more feverish:
the wasteland dissolves into the heat haze; the buzz
of the flies around his face becomes the steady drone
of an engine.
The gyrocopter appears above him.
121. ON BOARD THE GYROCOPTER. DAY. 121.
MAX, strapped to the chassis of the gyrocopter, drifts
back to consciousness.
He sees the compound surging towards them as they come
in to land.
He drifts back into unconsciousness, the images
distorting, dissolving,..
122. INSIDE THE COMPOUND. THE BREAD VAN. DAY.- 122.
MAX'S eyes flicker open to a slow, distorted version of
'HAPPY BIRTHDAY"
As he fights to make sense of his surroundings, we see
that his wounds have been stitched and dressed.
He lifts his head, looking through the back door of
the bread van.
...1 - t f T
122. Cont. 122.
is sitting on the roof of the van, playing the hurdy-
GURDY
Then, beyond the KID, coming into clear focus, he sees
the prime mover attached to the tanker.
The tanker now sports a 'cow-catcher' on the front,
armour-plating on the bonnet, steel aprons on the wheels
and a barbed wire net along each side.
MAX'S vision clears. He sees PAPPAGALLO-on the catwalk
addressing the CAMP PEOPLE.
MAX drops his bead back and looks to one side: a bloated
faces stares back at him.
The QUIET MAN, is lying unconscious on a stretcher next
to him.
MAX lifts his head urgently and looks around. He realises
that he is in the bread van. The canopy has been removed
and his stretcher is supported by a collection of 44 gallon
drums.
123. INSIDE THE COMPOUND - THE CATWALK. DAY. 123,
PAPPAGALLO paces the catwalk as he gives final
instructions to the CAMP PEOPLE gathered below.
PAPPAGALLO
We're going to use the tanker
and the two assault vehicles to
punch our way out of here.
If I'm right, they'll all go
after the tanker. That'll give
the rest of you a chance.
124. INT. BREAD VAN. DAY. 12•x.
MAX is sitting up, binding his leg tight with
bandages, clipping on his metal knee brace.
PAPPAGALLO (v/o)
Split up. Go as hard as you
can. Two hundred miles north
there's a bridge. At Powder
River. If we make it, that's
our rendezvous...
As MAX struggles to haul himself out of the bread van,
the FERAL KID hands him his equipment belt.
11412 . 14,4au L � L 411
PAPPAGALLO (v/a)
It's defensible, We can refuel
there.
125. INSIDE THE COMPOUNDDAY 125.
MAX, grim-faced, starts to walk towards the tanker.
Blood seeps through the bandage on his leg.
PAPPAGALLO (v/o)
But! Only give us 'til sunset.
If we haven't made it by then,
keep going!
PAPPAGALLO swings down off the catwalk, heading for the
cabin of the tanker.
The meeting breaks up - the CAMP PEOPLE moving to take
up their positions on the various vehicles.
MAX
I'll drive the tanker...
Everybody stops, turning to look at him.
MAX is staring at PAPPAGALLO, swaying slightly, hands
clenched,
MAX
Until you're clear of
trouble...
The CURMUDGEON breaks in:
CURMUDGEON
He's gotta be joking!
PAPPAGALLO
Look at you.
MAX nods.
Sc. 125. Cont...
c,3
14z) . L.uLLL.
MAX
But I'm still the best
you've got.
PAPPAGALLO thinks for a long moment.,
PAPPAGALLO
You'll, need these...
He tosses MAX his sawn-off shotgun and a bandolier
containing six cartridges.
126. CRACKING TOWER. HIGH ANGLE. WHOLE SCENE.DAY. 126.
The tanker stands at the far end of the compound. Behind
it, the GYRO CAPTAIN is spinning the rotor of his machine.
A dune buggy and the Lone Wolf's car - armour-plated
since being captured by the camp - wait on either side
of the tanker.
Beyond the gate the MARAUDERS have formed an arc of
vehicles just out of crossbow range. The Hiunungus machine
stands at its centre.
127. INS ID THE COMPOUND. DAY. 127.
MAX sits in the tanker, checking out the controls,
familiarising himself with the machine...
WARRIOR WOMAN stands on the running board.
She turns as the MECHANIC clambers on board. He glares
at her, daring her to stop him:
MECHANIC
I sweated blood on this mother.
And no bastard's gonna make me
go in no lousy bread van.
MAX kicks over the big engine...
12£3 . oiY33IDh THE CUM UUNV . LM I .
WEZ stands on the back of a tow truck, beyond him
we see the arc of vehicles, engines gunning, straining
at the leash...
The Humungus vehicle eases forward into frame...
The TWO VICTIMS on the front of his vehicle have
their heads hooded.
129.
129. INSIDE THE COMPOUND. DAY.
MAX is revving the engine higher and higher.
WARRIOR WOMAN climbs up to the top of the tanker...
PAPPAGALLO starts the assault vehicle.
WARRIOR WOMAN finds the FERAL KI.D crouched down in
her position behind the protective plate. Holding
the KID by his arm, she passes him down to MAX who
passes him down to the ground... PAPPAGALLO yells
for someone to come and take him...
The LUSTY GIRL runs forward... the FERAL KID avoids
her. MAX engages the engine. The tanker rumbles
forward, gathering speed as it runs the length of the
compound. BIG REBECCA, at the wheel of the school bus
draws the vehicle aside - revealing the burnt out
wreck of the road racer on the causeway and the
MARAUDERS beyond.
130. OUTSIDE THE COMPOUND.__ DAY. 130.
The HUMUNGUS has opened his gun case and removes the
magnum 44. The remaining 4 bullets have been
placed in the revolving chamber...
131.
131, INSIDE THE COMPOUND. DAY.
The dune buggy and the Lone Wolf machine follow close
behind the tanker.
The FERAL KID leaps onto the back of Pappagallo's
vehicle.
Sc. 131. Cont.
131. Cont. 131,
The WARRIOR WOMAN and the MECHANIC lie low as the
tanker roars out the gate, ploughing through the
burnt out wreck,"knocking it into the ditch.
The HUMUNGUS, raises his gun, calmly taking aim at the
oncoming tanker...
As the tanker accelerates towards him, the gyrocopter
swoops out of the compound and over the MARAUDERS.
The GYRO CAPTAIN drops three burning molotov cocktails.
They fall in and around a road racer at one end of
the arc... the road racer bursts into flames...
The GYRO CAPTAIN whoops with delight.
1.32. THE BREAK OUT. OUTSIDE THE COMPOUND. DAY. 132.
With the Lone Wolf machine and the dune buggy close
alongside, MAX steers the tanker towards the burning
road racer.
The HUMUNGUS fires... once...
The bullet dents the protective plate mounted on the
front of the tanker but does no further damage.
Twice... three times!
Two more dents,
The tanker keeps going crashing through the burning
wreck... breaking the Marauders' cordon...
133. ON BOARD THE BYROCOPTER. DAY. 133,
The GYRO CAPTAIN has banked around and is swooping low.
Having swung around, the GYRO CAPTAIN, swoops down,
taking aim on the Humungus machine with another fistful.
of lighted bottles.
The HUMUNGUS looks up. He swings the revolver up,
taking aim at the approaching gyrocopter.
He fires!
The bullet hits, piercing the right rudder peddle.
Dropping his bottles, the GYRO CAPTAIN screams and
looks down: blood pours from what is left of his
right foot.
i J•x 1111: 411 JL' VV I JILL if1L LUBll'V441L. LNi. 134.
MAX glances up to see the gyrocopter, flying ezaatically,,
swoop over and bank away towards the horizon..
On top of the tanker WARRIOR WOMAN and the MECHANIC
prepare to fire their weapons.
Behind them, the HUMUNGUS and his HORDE power over the
rise, pursuing the tanker.
Suddenly, three of the Marauder vehicles skid to a halt,
They start to turn back towards the compound, where the
remaining camp vehicles are making their bid for freedom.
The bread van and three other vehicles have followed the
yellow school bus out onto the causeway.
They skirt round the back of the compound and head off
across country.
The HUMUNGUS screams at his men through the amplifier:
HUMUNGUS
The tanker! All on the tanker!
As the three Marauder vehicles turn to rejoin the
tanker chase... whoomp! a massive flash fills the
sky. The camp erupts in flame, followed by a series
of rolling explosions.
The camp people have destroyed what they cannot take ...
WIPE.
1.35. DUNE BUGGY INCIDENT. HIGHWAY. DAY. 135,
As the tanker surges towards us, we see the dune
buggy, the Lone Wolf' machine and the pursuing
MARAUDERS, surrounding it.
MAX grimaces as he changes gears. His leg is bleeding
freely now...
He looks to the passenger-side:
The dune buggy, driven by the BLACKSMITH and manned
by PISMO, leaps onto the road in front of=the tanker.
A tow truck, manned by SKINHEADS, converges on it from
the driver's side.
Sc. 135. Cont.
c.,
13S. Cont. 135 ,
On the back of the dune buggy PISMO lifts his crossbow...
unaware that, behind him, Wez's convertible tow truck
• is approaching fast.
The FIRST OF THE TWO SKINHEADS on the back of the tow
truck fires his crossbow.,,
The arrow sails past PISMO'S ear. PISMO fires.., He
hits the FIRST SKINHEAD but the arrow bounces off the
SKINHEAD'S protective armour. The SKINHEAD grins.
PISMO hurries to reload...
The SECOND SKINHEAD raises his bow, aiming at PISMO.
An arrow hits the SECOND SKINHEAD in the back of the
head.
PISMO looks up to see WARRIOR WOMAN reloading her
longbow.
PISMO grins at her... behind him, WETS arm reaches
down and hooks the jib chain around the roll bar of the
dune buggy...
The tow truck accelerates... the chain tightens...
PISMO screams as he is thrown through the air.
WEZ'S tow truck drags the dune buggy askew...
It rolls in front of the tanker... MAX has no choice.
The cow catcher shunts the dune buggy aside, sending it
tumbling off the road.
MAX struggles with the wheel,., managing to keep the
vehicle on the road.,.
He looks down in the side mirror: two road racers and
a dune buggy - followed by the Humungus machine - surge
up behind the tanker.
From behind protective plates on top of the tanker the
MECHANIC hurls a molotov cocktail...
The FARMER, stationed at the rear of the tanker does
the same...
The two bottles smash into the first road racer. It
bursts into flames... swerves in front of the other
road racer, ramps off the road and plunges into a
Marauder's dune buggy.
PAPPAGALLO, who has been forced off the road, narrowly
avoids the wreck.
136. MAX LOSES HIS DOOR. DAY. 136 .
The Skinhead tow truck draws alongside the tanker,
near Max' s door.
The SECOND SKINHEAD, twirling a grappling hook, lets
it fly.
It trails out towards the tanker cabin,.. flies through
the driver's window.., and lands virtually in MAX'S lap...
As the tow truck swerves away from the tanker the cable
tightens.
The grappling hook drags across MAX'S arm, tearing away
part of the sleeve and hooks onto the door...
The tow truck brakes... Max's door is ripped off its
hinges...
137. THE REAR OF THE TANKER INCIDENT. DAY.' 137,
A SMEGMA CRAZY riding in the cabin of the tow truck
is encouraged by this success...
He begins twirling his grappling hook as the vehicle
approaches the back of the tanker...
The FARMER pops up from behind a protective plate and
fires his crossbow...
The arrow-misses the tow truck, flies through the caged
window of a road racer armed with a 4-pak and lodges
in the driver's helmet.
The DRIVER pulls off his helmet... the arrow has barely
creased his scalp.
The S14EGMA CRAZY hurls his grappling hook...
It caches the FARMER by the leg and hooks on to the
lip of the back protective plate.
The cable snaps taut, the FARMER screams.
MAX feels the sudden tug on the tanker, He changes
down...
The tow truck is dragged along, veering out of control.
The strain pops the rivets off the tanker's back plate.
it comes away in one piece... carrying away the FARMER
and the steel aprons protecting the rear wheels...
The tow truck tumbles and rolls...
RN
138, THE MECHANIC DROPS THE BOTTLE. DAY. 138,
On top of the tanker, the MECHANIC has lit another
molotov cocktail...
He swings back to throw...
The road racer, armed with the 4-pak'swings alongside
and fires.
Three arrows rat-a-tat against the protective plates.
the fourth hits the MECHANIC'S upraised arm...
The bottle drops... and smashes on top of the tanker...
spreading flames.
The HUMUNGUS accelerates hard towards the now-undefended
rear of the tanker. He pulls a rope, whipping the hoods
off the heads of the TWO VICTIMS lashed to the front.
They scream as the back of the tanker looms in front of
them.
139. WEZ TAKES OUT THE FIRST TYRE.DAY. 139.
MAX looks in the passenger-side mirror...
Wez's convertible tow truck is drawing alongside the
left rear wheels of the prime mover.
WEZ fires an arrow into the first tyre...
It explodes,,. flailing cable and rubber.,.
As WEZ reloads, another MOHAWKER - wearing two bizarre
bear claws on his crossbow gauntlets - steadies himself
on the back of the tow truck... ready to jump aboard
the tanker.
Pappagallo's Lone Wolf machine appears in the background.
140, WARRIOR WOMAN IS SHOT. DAY. 1,40.
WARRIOR WOMAN turns to see that the MECHANIC is losing
the battle with the flames. In vain he tries to stop
his clothes catching alight,..
Rising to her feet WARRIOR WOMAN fires an arrow at the
BEAR CLAW BIKER... hitting him in his protective pads
throwing him off balance.
As WARRIOR WOMAN scrambles along the top of the tanker
towards the MECHANIC, TWO MARAUDERS fire at her,
Sc. 1,40. Cont.
140. Cont. 140.
She is hit, once in the protective plate around her
kidneys and once in the thigh.,,
From the Lone Wolf vehicle PAPPAGALLO and the FERAL
KID watch as she staggers forward,..
In the tow truck, WEZ has reloaded and fires at WARRIOR
WOMAN. The arrow hits her in the back... she buckles
and falls into the barbed wire.
MAX watches helplessly in the rear vision mirror as
she struggles in the wire.
141. CONVERTIBLE TOW TRUCK. DAY. 141.
As WEZ reloads his crossbow, the Lone Wolf machine
accelerates alongside the tow truck.
The KID throws his steel boomerang... Yiitting Wez's
crossbow gauntlet, preventing him from aiming.
The MASKED MOHAWKER driving the tow truck turns to see...
PAPPAGALLO firing his gauntlet crossbow.
The MASKED MOHAWKER screams as the arrow passes through
his neck...
The convertible tow truck swerves in and bounces off the
tanker.
WEZ is thrown off balance...
The BEAR CLAW BIKER grabs the barbed wire on the side
of the tanker for support...
The tow truck swerves away, out of control, leaving
the BEAR CLAW BIKER clinging to the wire,
WEZ scrambles over into the driver's seat, bringing
the vehicle back under control.
142. WARRIOR WOMAN AND THE MECHANIC. DAY. 1.42.
WARRIOR WOMAN, caught in the wire by her clothing,
struggles to remain conscious as she slips-closer to
the tanker's wheels.
The MECHANIC, who has managed to extinguish the flames,
crawls towards her. Her clothing tearing... his hand
reaches out... further... further... and grabs her.
A road racer draws alongside them.
Sc. 142. Con t ...
MAX yells as he sees the driver - a GAYBOY BERSERKER -
fire another arrow into the MECHANIC.
The MECHANIC shudders, the WARRIOR WOMAN slips - her
weight dragging them both off the tanker.
143, MAX ATTACKS. DAY. 143,
MAX, enraged, tears off the sling which supports his
wrist. He grabs the shotgun off the seat next to him.
He swings the gun around then pumps both barrels into
the road racer: the first blast shatters the windscreen
the second blows off the bonnet...
The GAYBOY BERSERKER is unharmed.
MAX hauls down hard on the wheel...
The tanker swerves into the road racer, taking it
through a guide post and into the 'rough'...
The tanker barrels over the road racer, rolling it,
tumbling it into another Marauder's vehicle.
MAX changes down and hurls the tanker back onto the
highway. The BEAR CLAW BIKER hangs on desperately...
MAX grabs two of the four remaining cartridges and
quickly reloads the shotgun.
143. BOARDING THE TANKER. DAY. 143.
The Humungus machine draws up behind the undefended
tanker.
A GAYBOY BERSERKER clambers to the front of the
Humungus vehicle - between the TWO VICTIMS - and leaps
onto the back of the tanker.
Further along the tanker, a MOHAWK BIKER with PILLION
RIDER has drawn alongside. The PILLION RIDER helps the
BEAR CLAW BIKER swing up above the wire...
Once he is on top, the BEAR CLAW BIKER hauls the PILLION
RIDER on board.
The MOHAWK BIKER accelerates alongside the leading set
of wheels - one of which has already been blown apart.
He raises his bow taking aim...
The flying steel belt of the shreaded tyre lashes around
his arm, dragging him and his bike beneath the rig...
Sc. 143. Cont...
143. Cont. 143.
The giant wheels trample the MAN and machine, spitting
them out the back... beneath the wheels of the Humungus
machine.
144. UNDER THE TANKER. DAY. 144.
On its way through the bike has ruptured a small hose
underneath the tanker. We see something trickling out
of the tank... streaming down the road.
It's sand!
145. THE MARAUDERS ON BOARD. DAY. 145.
On board the tanker, the GAYBOY BERSERKER scrambles
towards the cabin, leaping the gap between the tank
and the prime mover...
MAX looks up at the 'thump' overhead...
The GAYBOY BERSERKER braces himself, taking aim through
the roof... he fires...
The arrow rips through the metal and buries itself in
the seat between MAX'S legs...
The GAYBOY BERSERKER prepares to reload.
MAX brakes...
The HUMUNGUS, tailgating him, isn't quick enough. The
front of his vehicle smacks one corner of the tanker,
crushing the BROKEN MAN strapped to the front.
The GAYBOY BERSERKER on the roof pitches forward,
falling past the windscreen and out of sight over the
front of the tanker...
The PILLION RIDER and BEAR CLAW BIKER scramble and
fall..
The BEAR CLAW BIKER catches hold of an outlet valve
and steadies himself..,
The PILLION RIDER totters... reaches... and grabs
the chromed exhaust stacks.., =
He screams as the pipe scorches his hand..; letting go..
tumbling over the side.
146, THE GYRO CAPTAIN AGAIN. DAY 146.
On the crest of a hill about 400 yards ahead, MAX
sees another vehicle.
The gyrocopter stands in the middle of the road
facing away from the chase...
The GYRO CAPTAIN has bandaged his foot and is trying to
repair the right rudder peddle...
As the chase looms up behind him he turns... we see
that the GAYBOY BERSERKER is clinging to the cow-
catcher on the front of the tanker.
Furiously, the GYRO CAPTAIN starts spinning the rotor
by hand, turning over the motor.
As the tanker bears down on him he takes off - so
steeply that he almost stalls.
Once he is airborne he looks down... assessing, cursing.
Down below we see Pappagallo's Lone Wolf vehicle draw
alongside Wez's convertible tow truck.
147. OFF ROAD. THE FERAL KID FALLS. DAY. 147.
WEZ looks over his shoulder...
PAPPAGALLO comes alongside... the FERAL KID, standing
on the back of the machine, hands him a crossobw.
WEZ wrenches down hard on the wheel... shunting into
the Lone Wolf vehicle... sending Pappagallo's arrow
astray...
The FERAL KID loses his footing, tumbling off the side
of the vehicle.
PAPPAGALLO turns in dismay... as WEZ comes in to
shunt him again...
148. MAX UNDER SIEGE. DAY. 148.
A bike with a side car accelerates alongside the tanker.
The SIDECAR RIDER fires and takes out another tyre...
The BEAR CLAW BIKER signals, calling for a weapon.
The SIDE CAR RIDER throws him a large, powerful
crossbow.
The BEAR CLAW BIKER catches it and starts to haul himself
onto the roof of the cabin.
Sc. 148. Cont.
74.
148. Cont. 1.48.
The SIDE CAR RIDER leaps onto the tanker.
At the rear of the tanker a SMEGMA CRAZY leaps off
the front of the Humungus vehicle and ontc the ladder
which leads to the top of the tanker.
149, OFF ROAD. THE KID ON HIS FEET. DAY. 149.
The FERAL KID staggers to his feet as Wez's tow truck
and Pappagallo's Lone Wolf vehicle continue their
shunting... the KID turns... a street car and a bike
are roaring towards him. The KID starts running..,
150. OFF ROAD. THE EROSION DITCH. DAY. 1,50,
In the scrub ahead - over WEZ'S shoulder - we see an
erosion ditch looming up. WEZ brakes and turns the
wheel...
The tow truck and the Lone Wolf machine go into a
slide...
WEZ manages to avoid the ditch and keep going but the
Lone Wolf machine's wheels plunge into the ditch,
bringing the vehicle to an abrupt halt...
151, MAX STILL UNDER SIEGE. DAY. 151.
As MAX looks back, a hand comes over the front bull bar
of the tanker, followed by the GAYBOY BERSERKER'S bead.
He sees the BEAR CLAW BIKER and signals for the crossbow...
the BEAR CLAW BIKER throws it...
The crossbow lands on the bonnet...
MAX turns, sees him... and raises the shotgun... the
GAYBOY BERSERKER ducks... MAX waits...
The BEAR CLAW BIKER works his way to Max's window...
The SMEGMA CRAZY jumps from the tanker onto the cabin
roof. =
MAX looks up as the man's feet thump on t-he metal above
his head.
The passenger's window shatters; the SIDE CAR RIDER
clings there, raising his crossbow...
Sc, 157. Cont...
1J i, <.Vil 6 , l J d..
On the roof, the SMEGMA CRAZY braces himself,
preparing to fire a crossbow bolt through the roof..
MAX raises the shotgun, firing point blank at the
SIDE CAR RIDER, blowing him away.
Immediately he fires the second barrel through the
roo4f. the blast hurls the SMEGMA CRAZY off the back
of the cabin.
MAX breaks open the barrel...
MAX grabs his last two shells as a muscled arm reaches
through the open door. MAX recoils. It is the BEAR
CLAW BIKER. The cartridges fall to the floor.
The BEAR CLAW rips the seat next to MAX'S right shoulder.
MAX zig-zags the tanker down the highway trying to keep
the BEAR CLAW off his balance.
Thud! The BEAR CLAW strikes again - this time - through
the rear window into Max's shoulder padding,..
The BEAR CLAW BIKER'S foot slips, MAX screams with pain
as the claws dig into his left shoulder.
The BEAR CLAW hangs there unable to move.
MAX tries desperately to reach the two cartridge shells
rolling around on the floor,
On the front of the tanker the GAY BOY BERSERKER pokes
his head up for another look...
152. OFF ROAD. THE EROSION DITCH. 152.
PAPPAGALLO spins the back wheels of the Lone Wolf
machine... frantically trying to pull it out of the
DITCH
It begins to move...
153, OFF ROAD, THE FERAL KID IS RESUCED. DAY. 153.
The FERAL KID runs.
WEZ streams in behind the MARAUDERS in the bike and
street car.
They are bearing down fast,..
When a rope drops from above, swinging past the KID,
The KID grabs it and is hauled up just as the
veh= !!s pass under him, The gyrocopter banks away...
1ni. Lont. 153.
The FERAL KID flies through the air,
A GAYBOY BERSERKER in a road racer looks tip to see
the gyrocopter and the KID...
He swings a 4-pak around on its axis and fires.
Three of the four arrows hit the gyrocopter in its
under-belly...
The aircraft makes a terrible noise and dips radically,
dropping down towards the tanker.
The KID clings desperately to the rope... looking up
and then down at the rapidly approaching tanker.
154. THE TANKER CABIN. DAY. 154.
MAX struggles to free himself from the=bear claws and
reload the gun...
The GAYBOY BERSERKER scrambles over the bull. bar
reaching for the crossbow...
MAX, lets go of the wheel and grabs the rear view
mirror, tearing it free and throwing it at the GAYBOY
BERSERKER. He slips back behind the bull bar...
15.5. THE SIDE OF THE TANKER. DAY. 155.
While the GYRO CAPTAIN struggles to keep his machine
in the air, the KID reaches out - trying to grab bold
of the tanker's exhaust stacks.
He can't reach.,.
The gyro drops a.gain...
The KID grabs the barbed wire but can't bold it...
156. THE TANKER CABIN. DAY, 1.56.
MAX is struggling to pull the bear claw out of his
shoulder when he sees the FERAL KID fly past the
missing driver's door.
MAX throws his arm out as far as it will go... grabbing
hold of the KID, hauling him into the tanker.
MAX and the KID look out as the gyrocopter bucks
wildly and crashes into the ground.
1a! AZAA Or 1nr. laitvlUi 116. tl111 .L7!
As the Marauders swarm around the tanker, a SMEGMA
CRAZY shoots out yet another tyre.
A MOHAWK BIKER fires... exploding another tyre.
156, THE TANKER CABIN. DAY. 155.
MAX shouts at the FERAL KID. indicating the cartridges
rolling around on the floor...
The KID recovers the cartridges, MAX hands him the gun...
The GAYBOY BERSERKER has crawled back onto the bonnet
and is reaching for the crossbow.
The KID tries to insert the first cartridge upside down.,.
MAX
No! The other way!!
The KID slips in the first cartridge, then the second...
He snaps the gun shut and tries to aim it at the
GAYBOY BERSERKER... but can't find the trigger.
The GAYBOY BERSERKER raises the crossbow...
MAX grabs the gun and fires...
The GAYBOY BERSERKER disappears over the side...
MAX rams the barrel into the left arm pit of the
BEAR CLAW BIKER.
He fires...
The BEAR CLAW BIKER falls away... leaving his arm and
crossbow gauntlet embedded in MAX'S shoulder.
159. THE REAR OF THE TANKER. DAY. 159,
Bellowing through his loudspeakers, the HUMUNGUS
organises the destruction of the tanker.
The 4-pak street car surges forward and discharges
its arrows..,
Two more tyres shred away..
.?a
1uv. aaaa. . as v... v. .a..r •. ✓.>•
The tanker shudders.
The FERAL KID looks out of the passenger window.
MAX struggles to control the tanker.
The FERAI. KID climbs through the smashed windscreen and
onto the bonnet...
MAX watches as he picks up the crossbow lying on the
bonnet...
MAX
Get back! For Chrissakes!
The KID doesn't understand...
He clambers onto the roof before MAX can grab him.
The tanker shudders again as another tyre is blown out.
MAX watches through the rear window as"the KID jumps
from the cabin to the top of the tanker and then
disappears from view.
161. TOP OF THi TANKER. DAY. 161,
The KID tries to load the crossbow as he clambers
along the top of the tanker...
The bow string is too powerful for him to draw.
162. REAR OF THE TANKER. DAY. 162•
Another tyre is shot...
Then another. One bogie falls down on the wheel
rims,..
163. TOP OF TANKER. DAY. 163.
The tanker lurches... the KID slips down into the
wire... the crossbow clatters onto the road...
164, BEHIND THL TANKER. DAY, 164,
PAPPAGALLO has got the Lone Wolf machine back onto
the road... starting to overhaul the pack, heading for
the rightand side of the tanker.
Up ahead on the left, we see Wez's tow truck drawing
alongside the tanker.
Pieces of tyre are flailing everywhere... the tanker is
down on one side... slowing...
165. THE SIDE OF THE TANKER. DAY, 165.
The KID is trying to climb back onto the top of the
tanker. Wez's tow truck comes into view.
WEZ fires...
The KID is pinned by his dogskins to the side of the
tank...
He tries to free himself... he tears his dogskin off
the arrow and reaches up once more to the top of the
tanker.
WEZ fires again.
The arrow pierces the KID'S arm, pinning him to the
tank . . .
1.66. THE FRONT OF THE TANKER. DAY. 166.
MAX is fighting to bring the crippled tanker under
control... he changes down, wrestling with the wheel.,
stewing across the road.
PAPPAGALLO draws alongside his doorway, yelling:
PAPPAGALLO
Jump! Its finished. Jump!
MAX turns around, looking for the KID...
The tanker leaves the road and ramps up on the embankment,
rolling to a stop.
PAPPAGALLO
Jump!
MAX
The Kid?!
Cr 1AF runt
iou. Lont. 166.
PAPPAGALLO
Forget it! Jump!
MAX hesitates.
As the MARAUDERS swarm on top of the tanker, PAPPAGALLO
guns the engine... spraying dust,
MAX leaps, the arm of the BEAR CLAW BIKER still. embedded in
HIS SHOULDER
He grabs the rear roll bar of the Lone Wolf machine,
fighting to swing his feet clear... and finds a foothold
as the vehicle roars away...
167. THE CRIPPLED TANKER. DAY. 167
The HUMUNGUS draws up to the crippled tanker. WEZ and
a SECOND MOHAWKER are on top.
WEZ pulls open a hatch...
The SECOND MOHAWKER plunges in his hand and lets out an
ANGUISHED CRY-
He H e pulls out a handful of sand.
Below the HTJMUNGUS has opened the outlet hose.
Sand pours out onto the road.
Above him, the KID is hanging by his arm. Despite the
pain... he grins.
SECOND MOHAWKER
All this - and no guzzolene.
WEZ, pale with fury, speaks softly:
WEZ
I know where there's guzzolene,
WEZ whirls around and fires his crossbow,,.
The arrow buries itself in the HUMUNGUS'S mask...
The big man crumbles to the ground, dead.
The rest of the HORDE are arriving. As their vehicles
screech to a halt TWO SMEGMA CRAZIES and TWO GAYBOY
BERSERKERS leap out, waving their Jerry cans in the air.
WEZ, the SECOND MOHAWKER and TWO OTHERS, open fire.
The FOUR MARAUDERS crumple..
168. LU,NL i�oA.r VhHiLLI:. DAB . 168.
MAX makes his way over the back engine of the speeding
vehicle towards PAPPAGALLO, he tears the bear claw
arm out of his shoulder...
Through the screaming motor we hear Pappagallo laughing,
almost hysterical.
As MAX eases himself down into the cockpit.
PAPPAGALLO TURNS:
PAPPAGALLO
We've done it!
I thought it'd be impossible.
But we've done it!!
MAX YELLS:
:R
MAX
What about the Kid?!
PAPPAGALLO
We've won! Don't you see?
The fuel was with the others.
It's already at Powder River.
MAX reaches across and cuts the engine... the vehicle
rolls to a stop...
MAX g-abs PAPPAGALLO.
MAX
What happened to the boy?!
PAPPAGALLO
We've gotta keep going. It's
our only chance.
MAX raises the Bear Claw arm to PAPPAGALLO'S face.
We see that the crossbow strapped to the forearm is
still loaded.
MAX
The Kid?
PAPPAGALLO
I had to leave him... he was
pinned to the rig...
Sc. 168. Conc.
l6b. Cont. 168.
MAX
You left him there?
With them? Alive?
PAPPAGALLC
There was nothing I could do.
MAX throws PAPPAGALLO out of the vehicle and takes
the driver's seat...
PAPPAGALLO is left standing in the dust as MAX swings
the Lone Wolf machine around...
169. THE TANKER WRECK. DAY. 169.
WEZ is sitting at the wheel of the Humungus machine.
He and the THREE OTHER MARAUDERS - all on-.bikes -
accelerate away from the tanker. Dead bodies litter
the ground.
WEZ urges the OTHER THREE on - pursuing the Lone
Wolf machine.
As the Humungus machine winds around the bends, we see,
the Lone Wolf vehicle approaching over a distant hillcrest.
170. UNDULATING HIGHWAY, DAY. 170.
MAX guns the vehicle over the rise...
Over his shoulder we see the Humungus machine, 400 yards
away, approaching at terrific speed...
MAX steels himself... 300 yards.
The two vehicles are on direct collision course... 200
yards...
The two victims have been taken from the front of the
Humungus machine and something else is in their place...
MAX sees that it is the FERAL KID, lashed there - upside
down...
He throws the wheel, sending the vehicle into a slide,
spinning clear of the Humungus machine.
The Lone Wolf vehicle spins around... Thud! into the
bikes of TWO MARAUDERS flanking WEZ.
The third - a MOHAWK BIKER - follows WEZ,
As soon as MAX has the Lone Wolf machine under control,
he guns the two engines un,s is off after WEZ. He hits
171. HUMUNGUS MACHINE. DAY. 171.
As the vehicle approaches we see the KID, his head inches
off the bitumen... WEZ looks back to see MAX overtaking
the MOHAWK BIKER.
172. THE LONE WOLF MACHINE.DAY 172.
As MAX overtakes the MOHAWK BIKER, he twitches the
wheel... the big car swipes the bike.., sending the
MOHAWKER sailing off the road.
The Lone :Wolf surges away, catching up to the Humungus
machine.
173. HU1!UNGUS MACHINE. tAY. 173.
WEZ looks back at the approaching machine. He floors
the accelerator, "red-lining" the engine...
As the Humungus machine surges into camera we do a
track, in zoom, on the FERAL KID'S face, turning the
camera through 180 degrees.
174. THE KID'S UPSIDE DOWN POINT OF VIEW. DAY. 174.
We are upside down as we rocket along the curving,
undulating, highway, through a flock of birds...
towards a puddle of water... as the water splashes on
the lens...
CUT TO:
The Humungus vehicle as it roars through the water,
passing a startled PAPPAGALLO walking along the road,..
SAX rockets past moments later.
175. THE LONE WOLF MACHINE.DAY . 175.
MAX raises the Bear Claw arm as he closes in on WEZ,
drawing alongside the Humungus machine ... I.
ALL
I /b . '1.1 HUNIUNU ,a MACHI.NL. DAY . .176,
WEZ reaches down... to the toggle switch next to the
nitrous oxide bottles... waiting for the right moment, .
He flicks the switch...
He is thrown back by the massive acceleration... the
Humungus machine surges away from camera...
177. THE LONE WOLF MACHINE. DAY, 17Z.
MAX doesn't have time to aim the crossbow still attached
to the bear claw arm.
He fires, the arrow disappearing in a blurr...
The Humungus machine thunders away, rocketing along the
open highway... eating up the white line...
Upside down, the FERAL KID is terror-struck: the
Humungus machine roars straight into a wide curve,
leaving the road, continuing out into the wasteland.
The Humungus machine charges through the salt bush..
178, THE LONE WOLF CAR. DAY. 178.
Over MAX'S shoulder, we see that the vehicle is
slowing . .
MAX follows i- out into the wasteland...
The vehicle comes to a halt...
Cautiously, MAX draws alongside: WEZ sits stock still,
looking out at the desert beyond...
It is not until MAX is alongside his face that we see
the tip of the arrow protruding from his left eye...
On the front of the vehicle the FERAL KID starts to
sob...
FADE TO BLACK.
179. HILLTOP. POWDER RIVER. DUSK. 179.
MAX stands on a hilltop, overlooking Powder River.
• Below him, the convoy - led by the yellow school bus
- moves out across the plain.
A dust trail appears on the horizon,' racing to
intercept the convoy.
MAX lifts his broken binoculars: it's the GYRO CAPTAIN,
bumping along in the twisted, wreck of the gyrocopter -
its rotors gone, engine screaming.
MAX shakes his head and walks back to the Lone Wolf
machine on the top of the hill.
Once again we hear the Old Man's voice:
NARRATOR (v/o)
That was the last we ever saw
of him...
180. INT. SCHOOL BUS. DUSK. 180.
We see PAPPAGALLO, face set with determination, driving
the yellow school bus.
NARRATOR (v/o)
As for the rest of us...
Pappagallo led us north...
to safety - to a place in the
sun...
In the tenth year, nurturing
his vision of a new world,
he died felling timber.
The LUSTY GIRL rolls her eyes and sighs as the GYRO
CAPTAIN draws alongside her window...
NARRATOR (v/o)
The Captain and the Girl waged
war for years... together they
raised eight children...
And as for me...
Sc. 180. Cont...
180. Cont. 180
The FERAL KID, sitting in the back of the bus, turrs
to face us. His bright yellow eyes stare directly
into camera...
NARRATOR (v/o) '
in the fullness of time,
I became the leader - the
chief of the Great Northern
Tribe...
DISSOLVE.
181. THE NARRATOR'S FACE.
181,
For the first time we see the Narrator's eyes - they
are bright yellow.
FADE TO BLACK.
162, END CREDITS. 182.
