ACT I
INT. HOME OFFICE - DAY
In an unassuming home office, JOHN sits at his desktop computer doing unassuming work.
SHOT FROM SLIGHTLY LEFT OF BEHIND THE PHYSICAL MONITOR
John looks frustrated, but only with his eyes, like he's glaring at computer for daring to go against his wishes.
OVER-THE-SHOULDER SHOT
John tries to move an image around a multiple-page Microsoft Word document, but it fucks the entire document up with the slightest movement.
END SHOT DIRECTION
A brick flies through the window. Broken glass is sprayed all over the room as the brick lands a few meters from John's feet.
John leaves his seat and walks over to the brick, standing over it and looking at it intently, before picking it up, revealing the words "we know".
John, worried but calm, walks briskly toward his nearby basement. Hidden behind an unassuming interior door is a high tech security door, which he opens, heading down the stairs to a dark room.
INT BASEMENT - DAY
John turns lights on to reveal a fortified bunker of a basement, complete with heavy defences, and weapons on the walls.
John walks over to a clear case on the far end of the room, containing a mcguffin.
JOHN
(puts hand on glass and sharply exhales) Don't worry, you're safe
Loud noises are coming from the door, increasing in volume and intensity. We hear the sound of high-end power tools beginning to break through the door.
JOHN
Merde
INT. WAREHOUSE INTERIOR - DAY
STEVE and MARK prepare for the exciting and dangerous mission ahead of them.
STEVE
So why do we have to do this again?
MARK
I don't know
STEVE
What’s so special about the thing
anyway?
MARK
I don't know
STEVE
But if...
MARK
Look, I don’t know what it is, I don’t
know why he wanted it, I don’t even
know whether it exists, but our boss,
your father, on his deathbed, spoke
about getting it as a matter of great
importance. He was a very intelligent
man, so if he said that we need it
then we need it. As for what it is,
we’ll find out when, not if, we get it.
STEVE
Will we be enough?
MARK
(scoffs)
He's a man, not a god!
Both men continue to prepare for their mission
PAN OUT
Dozens of operatives preparing for the same mission
ACT II
EXT. DESERT HIGHWAY - DAY - 3 DAYS LATER
John is riding a motorcycle. A siren blares and he pulls over to the side of the road.
POLICE OFFICER confidently exists his vehicle and walks over to John. He quickly realises who John is.
OFFICER
(Visibly shaken and taken aback)
Stay right here I have to go to my car
to, uh, check Something.
Police officer briskly walks back to his car
POLICE OFFICER
(On radio, whisper yelling)
It's him! I've pulled him over! I need
backup right now! I can't wait! He
might blow up on me at any moment!
Indistinct radio chatter
POLICE OFFICER
Okay! Okay! Affirmative. Over and out.
Officer walks back to John, who is still waiting patiently.
POLICE OFFICER
We need to take you in for
questioning. Off the bike and hands
behind your back.
John complies without a fuss.
A convoy of police cars, swat vans,
police motorcycles, and police
helicopters arrive on the scene, just as John sits down in the back of the police car.
JOHN
What's going on?
POLICE OFFICER
Oh, them? They're just here to make
sure things go smoothly.
Officer closes the car door.
SHOT FROM INSIDE THE POLICE CAR WITH JOHN IN-FRAME In the medium distance, a police helicopter spins out of control and smashes into another one. Smouldering, they land on a convoy vehicle, destroying it and creating a multi-car pileup. Another helicopter explodes and vaporises mid-air.
END SHOT DIRECTION
Another helicopter goes into evasive maneuvers, dodging an incoming rocket.
THE ORGANISATION arrives in full force - cars, SUVs, and even a flatbed truck with a machine gun turret hidden under a tarp, all can be seen in their convoy.
GENERIC ORGANISATION AGENT
(On a loundspeaker)
Hey, fuzz! Thanks for keeping him warm
for us, but we'll take it from here!
Let John go and we can all leave with
our lives. If not, well, you know how
it is!
A police helicopter opens fire, from a chaingun, onto one of the SUVs, shooting a line of bullets up the bonnet and across the windshield, killing the driver. The driver slumps forward and leans his foot on the accelerator, propelling the SUV into a police bike and sedan, driving up onto the bonnet with the left two wheels, crushing the occupants in the front, the SUV flipping onto its side off of the sedan.
Organisation agents scramble for cover behind their vehicles, a few uncover the machine gun turret on the truck. Others speed their vehicles to outflank the opposing side. Grenades thrown, the machine gun turret is live, shooting the last helicopter down on a few police officers and their cars.
John, still in handcuffs, escapes the car by taking advantage of the window that was shot out during the carnage. He is met with multiple organisation agents, and knocked out with the barrel of a rifle.
INT. CAR - MOVING - DAY
John, restrained, is being driven in back of an unassuming car, unconscious. Mark is driving and Steve is in the front passenger seat.
MARK
(Driving, looking between Steve and and road)
So I sez to the guy; look pal, I just
don't think that that is a reasonable
assumption to make of the individual
or of society at large. Your assertion
that the faux regulatory relationship
between firms and customers negates
the need for formal regulatory bodies,
is frankly, simplistic and laughable.
John wakes up
STEVE
Well well well, look who's finally up!
Could’ve used more beauty sleep though!
John struggles in his seat
MARK
Nice try, Johnny boy, but we aren't
about to lose you so easily this time.
We equipped our cars with high-power
restraints, just for you. We could put
a bear in the back and it couldn't do
a thing ab- hold on.
Mark looks at the side car mirror, revealing two police motorcycles gaining on the car
STEVE
We got company! Do we call for backup?
MARK
Nah, there are only two of ‘em.
Steve grabs a grenade launcher from next to a restrained John, leans out the window, and lets a few go.
MARK
(Looking rear view mirror)
That's got ‘em
EXT. ORGANISATION COMPOUND - DAY
Steve, Mark, and John arrive at the Organisation HQ. Mark and Steve get out of the car, Leaving John in the back.
STEVE
Look at this place. Somethin's... off.
MARK
(Motioning to get John from the car's back seat) What? I didn't notice anything. Now
help me with John boy, will ya?
A large truck with a ramp on the back breaks through a nearby large wall in the side of the compound. Police officers on motorcycles ramp off of the truck into the compound, circling the area and killing anyone they come across. More officers scale down the compound walls. Organisation agents try to combat them, but are repelled.
Guards are physically overwhelmed by police officers at the entrance of the compound.
John, Steve, and Mark find cover from the chaos, nearby
JOHN
(Screaming over the chaos)
Get me loose!
MARK
What, so you can you can just take
off? Steve, we need to
JOHN
You wanna make it out of this, don't
ya? Come on!
MARK
Arrrggg!
Mark unlocks John's restraints.
Organisation agents rush out of buildings and a few agents on raised balconies launch teargas into a crowed of police officers. Other agents, wearing gas masks, walk toward and into the teargas with weapons drawn, searching for officers.
One agent screams and is thrown across the compound. Another is punched to the ground with a thud. The teargas clears to reveal a pair of lumbering, mechanically-armoured officers.
Agents open fire, and some use tasers, to no effect.
The officers punch every agent on the ground with them, before starting toward the compound's main building.
From off screen, a car speeds in and hits one of the officers, who is stuck to the grill by the force of the car still speeding forward. The car hits a brick wall and pins the officer between them for a moment, before the officer launches a projectile into the drivers head, killing him instantly. The officer pushes the car off of him, barely injured by the collision, and slams his fist into the bonnet of the car like a hammer, crushing the vehicle and causing it to burst into flames.
On the balcony, agents are taken out by highly-trained snipers. They try to find the shooter as, one by one, they are taken out in rapid succession.
More officers rush into the compound through the compound entrance and rush the main building.
An armoured SUV breaks through a loading bar door, full of higher-up organisation members trying to save their own lives. It hits and kills a few officers but the driver fails to see the barricade set up at the compound entrance. The SUV crashes and is quickly surrounded. Officers pepper it with a hail of bullets and shotgun shells.
ZOOM OUT SHOT The organisation compound is overrun with officers. The last of the organisation members are being executed by police officers. Smoke is coming from a few areas of the compound.
ACT III
INT. BAR - NIGHT - A FEW DAYS LATER
Steve and Mark find John at a bar, drinking alone. It's dirty and dimly lit. A real dive. They approach him together.
JOHN
(Not looking up from his drink)
I wondered how long it would take. You
two don't let up, do you?
STEVE
Come on, man! Don't be coy with us! We
have to get these guys! You saw what
they did, what they can do!
JOHN
No, you have to get these guys. They didn’t
do anything to me.
MARK
Are you kidding me? What about that
day in the desert? That didn't look
like “nothing” to me!
JOHN
(Turns to Mark and Steve)
Well get your eyes checked because
that's all it was. Nothing. They could
have done anything after taking me
away, but since you guys showed up,
we'll never know, will we?
Steve begins to interrupt
JOHN
But! I don't like the idea of all
these rouge actors out there, doing
whatever they want, and I know a
guy who owes me a favour... okay,
let's do it. They're as good as dead.
MARK
Now we're talkin'! So where do we get
our gear? I want a gun the size of
your fuckin' leg!
JOHN
(Taking a phone out of his pocket)
No, I know a better way. We cut off
the head and the rest of the snake
will die off.
John calls a contact of his.
JOHN
Yep. It's time. We've had enough.
They need to go. Tonight.
MONTAGE - with upbeat, old-timey music
Men in SWAT-like gear burst into a home and comb the hallway, shooting an older man as he gets up from a comfortable chair.
A woman in the shower as a grenade is thrown in from the top. The camera shows the outside of the shower as it goes off.
A man on the phone, hysteric at what he's hearing. We don't hear him. The phone goes dead and a mysterious figure appears. The man tried to fight back but is quickly stabbed to death.
An old old man is smothered to death in his bed.
Woman with her husband. The husband tries to fend off the multiple attackers in their living room but is shot multiple times in the chest. She is picked up thrown out of a highrise window after we hear her beg for her life.
Inside an office building, a uniformed police officer working ate drinks from his coffee and grabs his throat before quickly falling over dead. Coworkers gather around him as the camera zooms out.
END OF MONTAGE
John gets a phone call and answers the phone.
CALLER
It's done
John hangs up.
INT. TROPICAL-THEMED BEACH BAR - DAY
Mark, John, and Steve are sitting at a bar shooting the shit
STEVE
And the guy says to him "my wife
is your lawyer!"
Everyone laughs
MARK
So Johnny, remember when we went after
you because you had the do-hick? The...
badabing? The thing that does the
stuff? What ever happened to it?
JOHN
Oh, that! funnily enough, and you may
not believe it, but it was destroyed
in the fight you guys brought to me to
get it!
INT BASEMENT - DAY
Loud noises are coming from the reinforced door, increasing in volume and intensity. We hear the sound of high-end power tools beginning to break through the door.
JOHN (V.O.)
You guys were about to break through
and I needed to find a place to hide
it.
John breaks the glass case and takes the mcguffin, searching for a face place to hide it. He happens upon a small, unused metal box underneath a table. It isn't a safe but it should do while he deals with the threat.
The organisation are almost through the door. John takes in hand what he can - a large hammer - and dashes next to the door.
The door is breached and an agent enters forcefully. John smashes his head in with the hammer, takes him in his arms to use as a shield, and guns down a few of his fellow agents with his gun. John then pushes the dead agent into the others, sending them flying backward. On the floor, they explode, as John pulled a pin from the dead agent's belt.
John runs to retrieve a chain gun from the wall, but it was of no consequence. An earth digger ploughs its arm through John's ceiling - revealing the entire house has been destroyed, merely to go after one man.
A heavily armoured agent with a flamethrower appears in the doorway, scorching everything in sight with destructive hellfire. John finds cover from the flames and, once the flames slow down, takes aim at the flamethrower agent. Rather than wasting bullets on the agent himself, John pierces the fuel tank with a few well placed shots. The fuel tank doesn't explode but instead empties all over the floor, soaking the basement floor and setting alight once it meets the existing flames.
JOHN (V.O.)
I suppose that's when it was
destroyed. Fuel must have seeped into
the box and burned the whole thing up.
THE END