英语剧本《逃出洛杉矶》

DARKNESS



A pounding, metallic beat begins. Twists of sound in a tightrope 

rhythm. The snap of a military snare drum. 



SUPERIMPOSE: "1998"

                        

FEMALE NARRATOR

Forces hostile to the United States grow 

strong in the late 20th Century. 



A DARK TABLEAU - CITY STREET - LOS ANGELES - NIGHT



Graffiti-smeared walls. Fires raging. Automatic weapons fire. 

Shadowy figures dash through the southern California night. 



FEMALE NARRATOR

A great moral crisis grips the nation as 

social revolution and a breakdown of the 

criminal justice system threaten society. 



A LINE OF POLICEMEN - NIGHT



They stand like sentinels. Black uniforms. Battle helmets. 

Gleaming military assault weapons. Bullet-proof shields with large 

emblems: the American eagle against a red background, and in bold 

letters underneath, "THE UNITED STATES POLICE FORCE".



FEMALE NARRATOR

To protect and defend its citizens, the 

United States Police Force is formed. 



A GLOWING HOLOGRAPHIC MAP



Of Los Angeles, on the coast of southern California. 



SUPERIMPOSE: "1999"



FEMALE NARRATOR

The population of Los Angeles grows to 40 

million. The city is ravaged by crime and 

immorality. A Presidential candidate 

predicts a millennium earthquake will 

destroy the city in divine retribution. 



The map of L.A. now glows a dark red. 



EXT. DOWNTOWN LOS ANGELES SKYLINE - DAY



A hot summer's day. Heat ripples distorts the towering shadowing 

buildings in the dense smog. 



FEMALE NARRATOR

An earthquake measuring 9.6 on the Richter 

scale hits at 12:59 p.m., August 23rd, in 

the year 2000. 



Suddenly we are hit by the loudest, booming, rolling concussion 

you have ever heard. The buildings begin to shake, swaying wildly. 

The Bonaventure Hotel implodes, collapses inward in the thudding, 

slamming freight train of an earthquake. The 4-level Interchange 

as the Santa Monica Freeway shatters, crumbles, pulling exit 

ramps, cars, trees, and nearby buildings with it. 



SEQUENCE OF RAPID CUTS



Buildings shaking. Streets buckling. Cars rolling, crashing. 

People running. Gas mains exploding. Buildings convulsing and 

dropping like tinder against an inferno. 



THE SANTA MONICA PIER



As the tsunami sweeps in from the ocean, smacking into the 

shoreline like the hammer of God, plunging us into darkness. 



FEMALE NARRATOR

After the devastation, the constitution is 

damned, and the newly elected President 

accepts a lifetime term of office. 



HOLOGRAPHIC MAP



Of the United States. A line tracks along the Mexican border, like 

the Berlin Wall. 



FEMALE NARRATOR

Fearing a massive terrorist invasion from 

South America, the United States prepares 

for war. The Great Wall is built along the 

southern border, cutting off the flow of 

illegal aliens. 



WHAM!



A TORCH-LIT LANDSCAPE - NIGHT



The ruins of L.A. Rubble, smoke, a lethal wasteland. An army of 

terrifying figures climbs atop a mountain of debris. They raise 

their weapons into the night sky. 



FEMALE NARRATOR

Street gangs, South American terrorists 

and the criminally insane capture Los 

Angeles, the once-great City of Angels. 



ZOOM INTO A HOLOGRAPHIC MAP OF L.A



An unrecognizable L.A. After the big one. Surrounded by water, 

L.A. is now an island off the new western shore, tilting on the 

edge of the continental plate. 



FEMALE NARRATOR

Now an island on the border of 

civilization, L.A. is a no-man's land of 

chaos, anarchy and darkness. 



A red line tracks along the mountainous areas surrounding the 

island, defining the perimeter of the armed fortress. Police 

firebases and gun emplacements are indicated in the San Gabriel 

Mountains. 



FEMALE NARRATOR

The United States Police Force, like an 

army, is encamped in the San Gabriel 

Mountains. 



ZOOM INTO L.A.



From the glowing, outlined canyons come the cries of rage of a 

million lost souls. 



FEMALE NARRATOR

The President's first act as Permanent 

Commander-in-Chief is Directive 17: 

protect and defend the United States from 

this island of the damned, Hell on Earth. 



BLACK SCREEN



SUPERIMPOSE: "2013 - NOW"



EXT. DARK OCEAN - NIGHT



TRAVELING SHOT low, across the top of the water's surface. Climb 

up the side of a massive, rusted supertanker, abandoned, years 

ago. Break over the railing to reveal a gigantic neon sign which 

screams "NEW LAS VEGAS." The supertanker has been transformed into 

a floating resort. 



The camera increases speed, moves past huge billboards displaying 

gigantic glitzy ads: 



"NUCLEAR NIGHTS IN HAVANA" - an extravaganza with fabulous 

showgirls and laser recreations of Fidel's final night. 



"MUSEUM OF NIGHT CLUB ARTS" - a virtual reality tour featuring 

legendary Vegas entertainers. 



"FREE ENTERPRISE WORLD" - a virtual Disneyland for the whole 

family. 



Now camera flies low through glittering streets and back alleyways 

filled with gamblers, neon and glitz. 



EXT. ALLEY - NEW LAS VEGAS, 2013 - NIGHT



An alley strangled with tourists, gamblers, hookers, hustlers, and 

con men - professional expatriates from the West mingling with 

excited visitors from all over the world. 



SUPERIMPOSE: "NEW LAS VEGAS OFF THE COAST OF SEATTLE THURSDAY 0330 

HOURS G.M.T. "



A Salesman with a chin-mike speaks non-stop, unintelligible 

Chinese. A frenzied crowd gathers around him, waving money, 

placing bets. 



Two men sit at either end of a long table. They are in deep 

shadows, facing each other. We only get glimpses of them: One fat. 

Mirrored sunglasses. Chinese. His fingers tap on the table. A 

cockroach scurries past. Ammo belts. A sheathed combat knife the 

size of your arm. .45 automatics in holsters. 



The other, dressed in black. An eye-patch. Dangerous. A flash of 

two six-guns in holsters. A futuristic gunfighter. The cockroach 

dashes past his fingers. WHAP! He squashes it. 



The crowd goes nuts, placing bets, yelling and screaming in a 

dozen languages. 



The salesman places three different shaped, clear shot glasses in 

front of the two men. Then he leans over to... 



A VAT OF POISONOUS SNAKES. He reaches in, grabs a cobra, pulls it 

out. The cobra hisses and squirms. Deftly, the salesman continues 

to talk non-stop into his chin-mike as he milks the cobra venom 

into the first glass. 



He pulls out an ice-pick, jabs it into the snake's throat, and 

bleeds a thick green-white liquid into the second glass. Finally, 

he slits open the cobra with a large knife, and cuts out the heart 

and liver. Tossing aside the dead snake, the salesman squeezes the 

heart and liver with his fingers. The juice drips into the third 

glass. 



Now the salesman stirs the glasses. The poison is clear. The blood 

is milky-green. The heart and liver are red. He places the glasses 

on the table between the two men. 



The two men stare at each other, motionless. The crowd continues 

placing bets at a fevered pitch. A titanium white tube floats 

above the center of the table. A laser beam of light shines from 

one end. 



The salesman leans over and flicks on side with his finger, 

sending the tube spinning on its axis like a bottle, the light 

circling the room before stopping on the fat man's forehead. 



The fat man reaches slowly toward the glasses. His hand shakes 

slightly. He hesitates. Finally he takes the glass with the red 

liquid (the heart and liver), lifts it to his lips, pauses, then 

gulps it down. 



The crowd explodes. More bets. 



The salesman leans over and spins the light tube again, this time 

it lands on something black, an eye-patch. Pull back to reveal a 

man with an eye-patch. 



The man with the eye-patch reaches forward, his hand paused 

between the remaining two glasses. He takes the one filled with 

milky-green blood and downs it fast. The crowd roars. 



One glass left. The two men stare at it intently. 



The salesman spins the light tube with more force than before. It 

circles again and again, slowing down, speeding up, finally 

stopping on the fat man. 



The salesman begins yelling over the din of the crowd, shouting at 

the fat man. The fat man reaches for the glass of clear poison. 

His trembling fingers hover above it. Then he quickly withdraws 

his hand. 



The crowd reacts, boos, as... 



The man with the eye-patch smiles. A slightly, cynical smile. And 

without hesitation, he reaches out, grabs the glass of poison, and 

drinks it down. The crowd surges forward, but the salesman stops 

them with a sweep of his arm. All bets are off. 



The two men stand from the table. Take several steps away toward 

the end of the alley. Stand facing each other. Two gunfighters. 



Flashes of the two men. A piece of a black military boot. A hand 

positioned over a six-shooter. Mirrored sunglasses. A sweaty, 

trembling lip. And the eye-patched man's one good eye, blue and 

clear, staring - hard and calm as a sunny day... 



The draw. It happens in an instant. The alley thunders with 

gunfire. The guns buck and flash. Then silence. The two men stand 

there for a beat, until one of them, the fat man, slumps, falls 

face first into the alley, dead. 



The crowd goes completely ape shit as SNAKE PLISSKEN emerges from 

the shadows of the alley, holsters his guns, grabs his take of the 

money... 



SNAKE PLISSKEN. Long hair. A black eye-patch. A tight-lipped 

grimace. The impression of coiled aggression and intense cynicism. 

The toughest, most dangerous man on planet earth. A legend. 



PLISSKEN strolls out of the alley into the crowd. He counts his 

money, pockets it, as a cigarette girl approaches him. PLISSKEN 

stops her, pays for a pack of cigs. As she eyes him... 



CLOSEUP OF PLISSKEN'S ARM 



... the cigarette girl touches him, pricks his skin with her 

fingernail. A drop of blood appears. 



PLISSKEN turns, stares after her, as the sound of helicopters 

rises from above in the night sky. The crowd suddenly starts to 

disperse. 



Helicopter searchlights blast down on the street. PLISSKEN is 

suddenly caught in the glare. He starts to move away... 



KACLANG! 



Out of the blackness above a huge steel net drops out of nowhere. 

The net slams down on top of PLISSKEN, trapping him, driving him 

down to the pavement with its weight... PLISSKEN struggles inside 

the net as black figures - United States Police Force Officers - 

rush toward him, grab the net, tightening it. More cops move for 

him as we SLOWLY FADE TO BLACK... 



SUPERIMPOSE: "L.A. FRIDAY 1900 HOURS"



EXT. CONTAINMENT WALL - FIREBASE SEVEN - L.A. - NIGHT 



Searchlights sweep down across a column of policemen marching past 

a concrete wall. Camera begins to crane up the wall. Sound of 

roaring turbines. The howl of the Santa Ana wind. 



Camera reaches the top of the wall. Armed police troops stand on 

the battlements. Across what looks like an ocean is L.A. The view 

is from the Newhall Pass. 



Hidden by the Santa Monica Mountains, L.A. glows in the distance 

with a hundred fires. Smoke surges from the jagged horizon. Above, 

the sky is an angry orange. 



ANOTHER ANGLE - TOP OF THE WALL 



Res sensor lights glow in evenly spaced intervals. Searchlights 

sweep into the darkness. Cannons are in place every 200 feet, 

manned by police guards. 



EXT. SAN FERNANDO SEA - NIGHT 



Water stretches into blackness. This was once the San Fernando 

Valley, but now it's all underwater. Pieces of debris - tops of 

buildings, the tail of an airplane, a radio tower - stick up above 

the surface. We can make out the letters of an old, half-sunken 

sign: "SAN FERNANDO VALLEY MALL"



EXT. THE WALL - NIGHT 



The wall stretches to the northwest up to the Santa Susanna Pass. 

Portions of the 118 Freeway arch up out of the water. 



EXT. FIREBASE SEVEN - BEHIND THE WALL - NIGHT 



Firebase Seven is a fortified base camp in the San Gabriel 

Mountains. It is a sprawling police complex with low concrete 

bunkers, gun emplacements, satellite communications, vehicles, 

troops, the works. ON A LARGE ASPHALT FIELD, opposite the main 

complex is Rotor City - row after row of black, multi-bladed, 

totally evil police battle helicopters parked like giant bugs on 

the ground. 



A throng of policemen gather at the edge of Rotor City yelling and 

cheering, their fists in the air. Cops with camcorders videotape 

the event. A police anchor reports... 



POLICE ANCHOR

He's been the Force's Most Wanted Man for 

10 years. Convicted of 27 moral crimes. I 

can tell you, the excitement around here 

is...

(a great roaring skyward)

Here he comes! 



A MASSIVE 7-ROTORED, 40-BLADED HELICOPTER TRANSPORT comes slamming 

down out of the black sky and lands. The growing crowd of cheering 

cops goes nuts like fans at a football game. They slap hands, 

dance wildly. 



INT. COMMAND HQ - MAIN CONTROL ROOM - NIGHT 



A mammoth room filled with high-tech instrumentation. A glowing 

holographic map of L.A. fills one wall. Most of the control 

personnel have left their work stations and gather around TV sets 

all showing the Police Channel: a view of the helicopter transport 

sitting on the asphalt and the cheering crowds at the edge of 

Rotor City. 



A tall, steel-faced officer sits at his desk. This is Firebase 

Commander MAC "BIG DOG" MALLOY. Hard, battle weary features. 

BRAZEN, a section Lieutenant, comes up. 



BRAZEN

Commander Malloy. They're bringing him 

out, sir. 



Malloy rises from his chair, steps to a nearby TV set, watches the 

scene from the Police Channel. 



MALLOY

So we finally got him. 



EXT. ROTOR CITY - NIGHT 



The crowd of cops is growing to a frenzy of wild anticipation. 



POLICE ANCHOR

Hold one! The door is opening! 



The door of the helicopter transport slowly lowers like a 

drawbridge. Out of its black belly comes... 



SNAKE PLISSKEN. A steel collar is clamped around his neck. Eight 

lengths of chain stretch to eight armed guards who escort Plissken 

down the ramp. Plissken is bruised, badly beaten and tortured, his 

face a mess, but he doesn't seem to care. A line of battle-ready 

cops stand with their guns aimed right at Plissken's head as he is 

marched into camp. An army of camcorders move ahead of the Police 

Anchor as he scampers along in front of PLISSKEN, interviewing 

him. 



POLICE ANCHOR

Hello, Plissken. Welcome to L.A. 



Celebrating cops cheer as Plissken is lead to... 



A SIGN ABOVE A CONCRETE BUNKER - DEPORTATION CENTER



The bunker has one large opening, into which hundreds of deportees 

march. Guards in towers monitor the condemned as they trudge out 

of fenced-in containment areas, down walled corridors to the 

bunker entrance. 



The deportees are minorities, the poor, prostitutes, pimps, 

thieves, adulterers, atheists - the Morally Guilty, outcasts of 

society. Single mothers carry babies. Teenage runaways huddle 

together. There are abortion doctors, drug dealers, pornographers, 

the prisoners of a massive cultural war. 



As Plissken is marched toward the entrance, a loudspeaker blares 

out: 



POLICE VOICE (V.O.)

You are now entering the Deportation 

Center. You have been found guilty of 

moral crimes against the United States of 

America. 



A great cheer goes up from the cops as the Police Anchor conducts 

his interview... 



POLICE ANCHOR

S.D. Bob Plissken. Special Forces, Black 

Light, Texas Thunder. Two Purple Hearts. 

Youngest man ever decorated by the 

President. 



Plissken's face remains so impassive as to be almost blank. 



INT. SODIUM VAPOR CORRIDOR - DEPORTATION CENTER - NIGHT 



A glowing, vaporous-orange corridor. More cops gather to watch 

Plissken as he is escorted into the bowels of the Deportation 

Center. 



POLICE ANCHOR

You've been convicted of 27 moral crimes, 

Plissken. The murder of an Internal 

Revenue agent. The kidnapping of a bank 

president. Gun fighting for profit. The 

list goes on and on... 



INT. CONCRETE HALLWAY - DEPORTATION CENTER - NIGHT 



Deeper into the Deportation Center. Camera tracks along the 

deportees, some bleeding, some wrapped in rags. Plissken, the 

Police Anchor, camcorders and the armed escort move through the 

dark, low concrete passageway. 



POLICE ANCHOR

You used to respect the law. Served your 

country like no man before you. Role model 

to a generation. 



The Police Anchor leans in as close as he dares to Plissken's 

face. 



POLICE ANCHOR

What happened to you, war hero? You were 

the best we had. 



STEEL-WALLED HALLWAY - DEPORTATION CENTER - NIGHT 



Steel walls. Deeper into the Deportation Center. The deportees 

here are in worse shape. Some appear to be dead. Plissken and his 

entourage continue along, as the speaker echoes a pre-recorded 

message... 



POLICE VOICE (V.O.)

You are sentenced to permanent expulsion 

beyond the borders of the U.S. You now 

have the option to repent of your sins and 

be electrocuted on the premises. If you 

elect this option, notify the Cleric 

Sergeant in your Processing Area. 



Plissken and his entourage pass deportees kneeling and praying in 

front of cloaked cleric cops, government holy men. Beyond, through 

opened doorways, see Death Row deportees being strapped into 

futuristic electric chairs. 



POLICE ANCHOR

The whole world's watching. Every good and 

decent person who works and hard and 

follows the rules. What would say to them? 



Plissken's expression is blank. 



POLICE ANCHOR

What would you say to all of us who 

believed in you, who looked up to you, who 

thought you stood for right over wrong, 

good over evil? Be my guest. What do you 

have to say, Plissken? 



PLISSKEN

(beat)

Call me Snake. 



The guards move Plissken through a doorway, and the huge steel 

doors slam shut on the Police Anchor and the camcorders. 



INT. CORRIDOR - PROCESSING AREA - NIGHT 



Malloy, Brazen, and a 3rd man, tall, charismatic, grim, move 

urgently along a corridor. 



BRAZEN

ComStat did a psychosearch on him. Used a 

database of 5 million sociopathic 

personalities. He hit the bottom of the 

curve. 



MALLOY

Perfect for the mission. Nobody else can 

pull it off - not an army, not a man. 



BRAZEN

Zero emotional developments. Total lack of 

compassion. A highly developed 

psychopathic instinct to survive. 



3RD MAN

Let's get this over with. 



INT. CONCRETE CELL - NIGHT 



The cell door slams shut. Plissken turns around. Writ and leg 

irons. He looks around. 



In the concrete cell he sees a simple table with an overhead light 

above it. A watch lies on the table. Plissken shuffles over, picks 

up the watch, examines it. 



The cell door opens. Malloy, Brazen, and the 3rd Man enter the 

room unarmed. The door closes. 



Malloy and Brazen move forward, to the edge of the light. The 3rd 

Man stays back in the shadows by the door. 



MALLOY

How you doin' Plissken?

(no reply)

You like the watch? 



PLISSKEN

You assholes didn't bring me here to give 

me this for 20 years of dedicated service. 

What'ya want? 



Malloy looks back to the 3rd Man in the shadows... 



3RD MAN

Get to it. 



Malloy raises a control unit, pushes the button. The lights go 

down and a computer-enhanced image appears on the wall... 





INT. PROTOTYPE DEFENSE LAB - SURVEILLANCE CAMERA 



From the point of view of a surveillance camera. The lab is huge. 

Banks of processors, disk drives, test bays, prototype assembly 

areas. High tech. A group of government officials is being given a 

tour. Utopia, 17, the President's daughter is among them. Pretty, 

virginal, she wears a "True Love Waits" button on her flowered 

dress. 



MALLOY

At 1030 hours Wednesday, a group of 

government officials began a tour of the 

Livermore Defense Lab. The President's 

daughter, Utopia, was among them. 



Plissken continues to watch the image on the wall... 



MALLOY

An hour later, she boarded Air Force 3 to 

Washington. 



The 3rd Man reacts as the image in front of Plissken changes... 



INT. MAIN CABIN OF 747 - CAMCORDER 



From the point of view of a camcorder. Utopia stands inside the 

main cabin of a plush, government 747. In one hand she holds a 

black anodized box the size of a transistor radio with a button on 

top. In the other, a machine gun. 



UTOPIA

(to the camcorder)

To the American people - it is time to 

rise up and demand the surrender of the 

President and his corrupt theocracy of 

lies and terror. 



MALLOY

At 1140 hours, she hijacked the plane. We 

scanned the videotape on VR. Check it out. 



Inside the surveillance room the President stares grimly as Malloy 

presses a button. Suddenly the image in front of Plissken spreads 

out all around him. He is in a virtual reality re-creation. 



INT. MAIN CABIN OF 747 - VIRTUAL REALITY 



Plissken stands manacled in the main cabin. A group of secret 

service men and congressmen watch as a flight attendance operates 

a camcorder. He's videotaping Utopia as she rants into the camera. 

She's pent up with such anxiety she's like a panther in a cage. 



UTOPIA

Today is Day One of a brand new world. The 

days of the empire are finished.

(beat)

To the President - my father, you know 

what this is. 



She holds up the anodized box with the red button and thrusts it 

at the camcorder. 



UTOPIA

You know what it will do. Unless you 

abdicate your throne by tomorrow night, I 

will use it - on you. 



CONGRESSMAN

Utopia, please. Give us the prototype. If 

something should happen - 



UTOPIA

It will be in my hands - and the hands of 

my lover. 



She says "lover" with all the drama a 17-year-old virgin can 

muster. The others are shocked. 



UTOPIA

Yes, my lover. My man. The only real man 

I've ever known. I'm on my way to his 

arms. 



She moves to the rear of the main cabin, bends down, opens a small 

hatch in the floor, scrambles down... 



WHAM! The VR image suddenly disappears and Plissken is again 

standing inside the concrete cell. Malloy and Brazen stand in 

front of him. 



MALLOY

Somehow during the tour, she came into 

possession of a prototype transmitting 

device. We don't know how. 



BRAZEN

Utopia became depressed after her mother's 

suicide, began to withdraw into her 

virtual reality simulator. She'd punch up 

her own little world in cyberspace and 

stay in it for days at a time.

(hits a button)

Somebody else was in there with her. 



AN IMAGE APPEARS 



In front of Plissken: A computer-rendered VR picture of clouds and 

sunshine, green grass and happy animals frolicking. A Garden of 

Eden. There, coming toward us, is CUERVO JONES. South American 

terrorist. Fiercest warrior of the Third World. He wears a 

gleaming ancient Aztec battle helmet. Bandoliers strapped around 

him. 



MALLOY

Cuervo Jones. Shining Path. Peruvian 

terrorist. Runs the biggest baddest gang 

in L.A. 



Cuervo Jones takes off the helmet He is blindingly handsome, 

charismatic. He smiles, reaches out his arms to camera as if to 

embrace it. The image suddenly pops back to the beginning - it's 

on a loop. The image disappears. 



The lights in the cell come up. 



BRAZEN

Utopia made tapes of her VR experiences, 

then tried to erase them. She missed this 

fragment on the end of her last tape. 

Cuervo Jones must have tapped into the VR 

master data bank - and then went prowling 

around for innocent blood, someone 

vulnerable to corrupt. Utopia was lonely, 

looking for something to believe in. 



PLISSKEN

Sad story. You got a cigarette?



MALLOY

Shut up, Plissken. 



PLISSKEN

What's the little black box do? 



MALLOY

Top secret. Only on a need to know. 



PLISSKEN

And I don't need to know. So fuck you, I'm 

goin' to Hollywood. 



MALLOY

That's right, big shot. Unless you do what 

we want you're not coming back. 



PLISSKEN

So what's the deal, huh? Go into L.A., 

find the President's daughter, secure the 

box, and bring 'em both out - and I'm 

free? 



MALLOY

That's the deal. 



PLISSKEN

Tell the President to adopt. I think I'll 

like L.A. 



After a couple of beats, the 3rd Man appears next to Malloy and 

Brazen. He stares at Plissken for a moment, holds up some papers. 



3RD MAN

If you bring out the prototype, you'll 

receive a full pardon for every immoral 

act you have ever committed in the United 

States. Just like in '97. Remember New 

York, Plissken? 



PLISSKEN

(looks at him)

Who are you? 



MALLOY

It's the President, for Christ's sake! 



PRESIDENT

I give you my word. Put the prototype into 

my hands, and you're a free man. 



PLISSKEN

I can see you're real concerned about your 

daughter. 



PRESIDENT

Utopia is lost to me. My daughter is gone. 



PLISSKEN

Well, I'll think it over. 



PRESIDENT

You're running out of time. 



PLISSKEN

I've been doin' that all my life. Might as 

well do it in L.A. Everybody else there 

is. 



MALLOY

Well, enjoy it, war hero, cause you got 10 

hours to live. 



Malloy, Brazen, and the President turn to leave... 



PLISSKEN

Wait a minute, what are you talkin' about? 



MALLOY

Having second thoughts? 



PLISSKEN

Maybe. But you're not putting any shit in 

me this time. 



MALLOY

You don't understand. It's already in you. 



PLISSKEN'S FACE 



As an image of the cigarette girl in New Las Vegas flashes 

suddenly. Her fingernail scratches his arm. He tightens. 



MALLOY

The cigarette girl in New Vegas was an 

undercover cop. She injected you with 

incentive toxin. Right now it's swimming 

in your bloodstream. It'll start to take 

effect in 9 hours. 



BRAZEN

It's a strain of the Plutoxin 7 virus. 

Genetically engineered. 100% pure death. 

Complete nervous system shutdown. You 

crash and bleed out like a stuck pig. Not 

a pretty sight. 



Plissken takes a step toward him. Malloy holds up a large 

hypodermic. 



MALLOY

Of course there's an anti-toxin. 

Neutralizes the virus immediately upon 

injection.

(beat)

We'll give it to you, but you have to do 

us this little favor. 



TWO BEATS... 



...and then Plissken attacks the President, hurls himself across 

the room, throwing the chain around the President's neck... 



Plissken passes right through the President, causing his image to 

waver slightly, then falls on his ass. 



PRESIDENT

Didn't think we were that stupid, did you? 



INT. SURVEILLANCE ROOM 



The real Malloy, Brazen, and President stand in front of a laser 

camera in a small room offering a view of the cell through a 

transparent portion of the wall. 



MALLOY

We're holographs. 



INSIDE THE CELL



Plissken stares at the three images in front of him, then at the 

camera lens on the wall... 



PLISSKEN

Get this crap out of me. 



MALLOY

I guess we have a deal. Nice to be working 

with you, Plissken. 



PLISSKEN

(beat)

Call me Snake. 



INT. BRIEFING ROOM - COMMAND HQ - NIGHT 



Plissken checks through various tactical survival items and 

weapons laid out on a table. Brazen watches as Malloy show shim a 

high tech submachine gun. 



BRAZEN

Very sweet little weapon. Core burner. 

Magnesium ammo. 500 extra rounds.

(moves on)

Two 9mm handguns.

(holds up a silver pill)

Oral projectile. Mouth dart. Hold it in 

your mouth for ten seconds, the coating 

dissolves, it becomes a weapon. 



Malloy breaks open the silver pill. Inside is s small, lethal 

looking dart. 



BRAZEN

Urolite. It'll stun the enemy for several 

seconds. 



Plissken picks up a small, computerized compass. 



MALLOY

Tracer. Utopia has a kidnap chip implanted 

in her arm. You can locate her with this. 



Brazen hands Plissken a large black clip. 



BRAZEN

This clips right onto your 9mm. Ammo 

enhancers. Like miniaturized grenades. 

Blows through anything. 



Plissken snaps the clip onto his pistol, then unsnaps it. 



EXT. POLICE COMPLEX - NIGHT 



Plissken suits up. Submachine gun, handguns, six-guns. He, Brazen 

and Malloy walk quickly across the complex. 



MALLOY

L.A. is in a constant state of warfare. 

Gangs fighting for the right to rule. 



BRAZEN

Heavy Third World connections. They get 

weapons, drugs, fuel, choppers - 

everything is pumped into the island from 

the south. 



MALLOY

Some areas have power - they're on line to 

San Onofre. 



EXT. ROTOR CITY - NIGHT 



As Brazen's command helicopter takes off... 



INT. COMMAND HELICOPTER - NIGHT 



Plissken stares at a photo of the anodized prototype. 



PLISSKEN

I'll need to know more about this thing. 



MALLOY

Only a handful of people are aware of its 

existence. Let's just say it's the 

ultimate defensive weapon. 



PLISSKEN

Defense against what? 



MALLOY

There's a war about to be declared, or 

didn't you know? 



Plissken shrugs. 



MALLOY

Third World wants to live like we do - and 

they plan on taking what they want. The 

Cubans and Brazilians are ready to invade 

Miami. If the Africans and Colombians make 

a run at the border, we got a full scale 

attack on the United States. 



PLISSKEN

So what does this thing do? 



MALLOY

All you need to know is get it back here 

by 5 a.m. 



EXT. WALL - ACCESS TUNNEL - NIGHT 



The Command helicopter lands near a large access tunnel inside the 

containment wall. 



INT. ACCESS TUNNEL - NIGHT 



Plissken, Brazen and Malloy walk through the dark, dank tunnel. 

Armed guards stand at the ready. A hatch in the tunnel floor 

stands open. A ladder disappears down into the darkness. 



MALLOY

(points to the open hatch)

You're going over by submarine. One-man 

submersible. Nuclear powered. 



Plissken arranges his gear, climbs into the hatch opening. 



PLISSKEN

Where do I put ashore? 



MALLOY

Cahuenga Pass. Make your way up through 

the mountains toward the Hollywood Bowl. 

You should be able to pick up Utopia's 

tracer there.

(beat)

Once you go inside, you're on your own.

(beat)

You know what you have to do with the 

girl, don't you?

(beat)

We have to spare this nation her trial - 

for treason. 



PLISSKEN

So you want me to take her out?

(Malloy nods)

Is that an order from the President? 



MALLOY

Let's just say it's what's best for the 

country. 



PLISSKEN

By the way - who gives me the anti-toxin? 



MALLOY

A medical team will be standing by. 



PLISSKEN

Not you? 



MALLOY

No. 



PLISSKEN

Good. 



KABLAMM! He fires, ripping hellish blasts at Malloy. There's no 

damage. Malloy laughs. 



MALLOY

Thought you might try that. First clip is 

filled with blanks. Goodbye, Plissken. 



Malloy kicks the hatch and it slams down on top of Plissken. 

Brazen pushes a control button, sealing it shut. 



INT. SUBMARINE BAY - NIGHT 



Plissken climbs down the ladder into a small submarine bay. Below 

him on a launching rig is a sleek, black one-man submarine shaped 

like a dart. The submarine's hatch is open. Plissken climbs 

inside. 



INT. SUBMARINE - NIGHT 



Plissken seals the hatch behind him. He has to lie flat on his 

stomach to operate the sub. He quickly hits various switches and 

buttons, powering up the cockpit. 



INT. COMMAND HQ - MAIN CONTROL ROOM - NIGHT 



Malloy and Brazen move to a surveillance-command post. 



PLISSKEN (V.O. RADIO)

Com check. 



Malloy picks up the microphone. 



MALLOY

I'm here, Plissken. 



INT. SUBMARINE - NIGHT 



Plissken looks at the wrist watch. It ticks down ominously. Eight 

hours and counting down... 



MALLOY (V.O.)

Stand by for launch. Ignitor.

(Plissken pushes a button)

Fuel rod injection. 



Plissken pulls a lever, watches his dials. A deep humming sound 

grows louder inside the sub. 



PLISSKEN

She's in the green. 



MALLOY (V.O.)

Lock fuel rods. 



PLISSKEN

(hits a switch)

Locked. 



MALLOY (V.O.)

Nuclear turbine to 75% power. 



Plissken turns a throttle-like control with his left hand. 



INT. SUBMARINE BAY - NIGHT 



Out of the rear tubes of Plissken's sub comes a roaring blue glow. 



INT. SUBMARINE 



PLISSKEN

75% power. 



MALLOY (V.O.)

Hands on switches and counting. 

5...4...3...2...1. Launch. 



INT. SUBMARINE BAY 



The rear tubes roar. Suddenly the sub is shot forward through a 

long, circular tunnel. 



INT. SUBMARINE 



Plissken braces himself as the cabin lurches, vibrates with the 

force. 



EXT. THE WALL - NEWHALL PASS - NIGHT 



A door in the wall opens, revealing the circulator tunnel. In a 

roaring explosion, the sub rockets out of the tunnel, shot from 

the wall like a cannonball. The submarine is airborne for several 

seconds, then drops down, and slams into the San Fernando Sea. 



INT. SUBMARINE 



Plissken is rocked with the impact. He guides the sub with hand 

controls. In front of him on a screen is a schematic diagram of 

the underwater landscape of the San Fernando Valley. 



EXT. UNDERWATER - 405 FREEWAY - NIGHT 



In the underwater darkness, see the broken remains of the 405 

Freeway, as the subs creams past, its nuclear wake churning in the 

water. 



INT. COMMAND HQ - MAIN CONTROL ROOM - NIGHT 



Malloy, Brazen and other cops follow Plissken's course on a 

gigantic computer screen. 



MALLOY

Plissken, watch your speed. Lots of 

obstructions down there. 



EXT. UNDERWATER - VAN NUYS CITY HALL - NIGHT 



As the sub rockets past the ruins of the Van Nuys City Hall, 

barely missing it. 



INT. SUBMARINE 



MALLOY (V.O.)

Plissken... 



Plissken ignores him, carefully maneuvering the sub with his 

controls. 



MALLOY (V.O.)

Plissken... do you copy? 



EXT. UNDERWATER - THE VENTURA FREEWAY - NIGHT 



Camera follows the sub as it streaks along just above the 

submerged ruins of the Ventura Freeway. See the ghostly shapes of 

cars, trucks, busses below, smashed and overturned. 



INT. COMMAND HQ - MAIN CONTROL ROOM 



They watch the sub, a red blip on the screen, move along the 

freeway. 



INT. SUBMARINE 



Plissken twists his hand throttle, pouring on the power to 90%. 



EXT. VENTURA & HOLLYWOOD FREEWAY INTERCHANGE - UNDERWATER - NIGHT 



The sub rips through the water, faster and faster, goes into a 

hard bank to the right as the Ventura Freeway turns into the 

Hollywood. A sign at the edge of the Hollywood Freeway reads: 

"SPEED LIMIT 55". The sub screams past. 



INT. COMMAND HQ - MAIN CONTROL ROOM 



Brazen points to a readout showing the submarine's engine status. 



BRAZEN

His reactor's starting to overheat. 



MALLOY

Plissken, slow down the sub. You're 

overloading the power plant. 



INT. SUBMARINE 



Plissken glances at the gauge. His nuclear turbine readout: green, 

moving to yellow, into red. He pushes it up to 102%. 



MALLOY (V.O.)

Plissken...? 



Plissken's eye turns back to the computer map in front of him. One 

the screen: the red blip representing the sub is headed right 

toward a building. Plissken pulls hard on the controls. 



EXT. UNDERWATER - UNIVERSAL CITY - THE BLACK TOWER - NIGHT 



The sub smacks into the side of the Black Tower, powers through 

it, blasts out the other side through a window, tilting and 

wobbling. The sub rights itself momentarily but is slammed 

downward out of frame by a huge, dark, slimy object. 



KING KONG looms overhead - his fist rising and falling with the 

currents. Plissken has maneuvered himself into the wreckage of the 

Universal Studios Tour. 



The sub zips through the King Kong ride into Back To The Future, 

passing 1950's signage from that film, dodging a rusting Delorean. 

It slams into the open mouth of JAWS, shattering the model into a 

million pieces. 



The sub continues on, bouncing through the narrow openings of the 

Earthquake Ride - broken pipes, cracked sidewalks, split walls - 

hard to tell what was the ride and what was The Big One. 



INT. SUBMARINE 



Plissken hangs on, as small jets of water spray into the cockpit 

through tiny cracks in the hull. 



EXT. UNDERWATER - MOVING WITH THE SUBMARINE - NIGHT 



The sub suddenly tips upward, rising for the surface. 



EXT. SHORELINE - CAHUENGA PASS - NIGHT 



The sub explodes out of the water, lands belly first on a hillside 

with a hard thump. 



INT. SUBMARINE 



Plissken presses the hatch controls. The sub begins to slide 

backwards down toward the water. 



INT. SUBMARINE 



Plissken struggles, then rips open the hatch, scrambles out. The 

sub slowly slips backwards, down into the water. As the rear 

exhaust tubes hit the surface, a blast of steam. Plissken leaps 

out of the hatch. The sub sinks faster and faster. He scampers up 

the side, leaps for ground... and lands on the hillside, as the 

sub sinks into the sea, bubbling, churning, hissing. 



A bleeping sound. He takes out his pocket walkie, raises the 

antenna. 



MALLOY (V.O.)

Plissken...? 



PLISSKEN

I'm here. 



MALLOY (V.O.)

Where's the submarine? It's disappeared 

off our screens. 



PLISSKEN

It's history. I gotta go. 



Plissken clicks off the walkie, pockets it, turns to climb up the 

hillside when... 



WHAM! Standing above him is a dark figure. Hooded. Carrying 

something huge and rounded at the ends. 



Plissken raises his submachine gun... 



... as PIPELINE steps closer. He's a surfer in a black wetsuit. 

Carries a surfboard. A rifle is slung across his shoulder. 

Pipeline's face is raw, burned - too many hours surfing in the UV. 



PIPELINE

Too bad about your boat, man.

(Plissken doesn't move)

Supposed to be some swells out here 

tonight. Big ones.

(beat)

You like to surf? 



Realizing Pipeline is no danger, Plissken moves past him up the 

hillside. 



PIPELINE

You look kinda familiar.

(beat)

You hang out around here much? 



But Plissken's moved off into the darkness. 



EXT. MULHOLLAND DRIVE - NIGHT - RAIN 



Plissken reaches old Mulholland Drive, now dark and desolate. 

Shells of houses stand nearby, black and empty. It has begun to 

rain. 



The sound of gunfire. Plissken ducks behind a tree... 



Two old cars come zooming up Mulholland, side by side. Windows 

down. Guns blazing at each other. They pass Plissken, continue 

down Mulholland, ripping each other apart with gunfire. Plissken 

darts across Mulholland, down the mountainside. 



EXT. MOUNTAINSIDE - NIGHT - RAIN 



The rain pours down as Plissken makes his way down a steep 

incline. 



CRACK! A dark figure steps out from behind a tree. Plissken spins, 

submachine gun ready. It's Pipeline. 



PIPELINE

Hey, man. I know who you are. You're Snake 

Plissken. Man, I can't believe you're 

really here. 



More gunfire from above on Mulholland... 



PIPELINE

Kind of a bad neighborhood, Snake. 



PLISSKEN

Which way to the Hollywood Bowl? 



PIPELINE

(points)

Down that way. 



Plissken starts down. 



PIPELINE

Be careful. Some real strange dudes 

hangin' out there these days. 



Plissken continues moving, now just a blurry figure in the rain. 



PIPELINE

Hey Snake - what're you doin' around here, 

man?

(as Plissken disappears)

I heard they busted you up real good in 

Cleveland... 



EXT. HILLS ABOVE THE HOLLYWOOD BOWL - NIGHT - RAIN 



The rain is coming down in a torrent as Plissken makes his way 

down the hillside. Then, all at once, the rain lets up, then 

stops. The trees drip with moisture. Suddenly, a huge KATHUMP from 

above him. Plissken looks back. A huge mudslide is roaring its way 

down the hill toward him. 



Plissken races down the hill, but the mudslide cascades downward 

like a freight train, catches up with him, sweeps him off his 

feet... and Plissken goes riding down the hill, rumbling and 

sliding in the mud. 



EXT. STAND OF TREES - NIGHT 



The mudslide hits a flat area near a stand of trees, spreads out, 

slows. A completely mud-covered, black Plissken climbs out of the 

goo. He's dripping with it. His one good eye shines in the 

moonlight. He takes a couple steps toward the edge of the treeline 

when... 



A VOICE (SPINAL) (V.O.)

Shut-up, fuck! Stop makin' noise! 



Plissken spins. He's standing right next to SPINAL, the leader of 

the Black Cowboy Gang. Dressed in black, boots with spurs, black 

duster, black cowboy hat, he carries an automatic rifle. He looks 

just like Charles Barkley. 



Plissken looks around, realizes he's in the middle of a small army 

of Black Cowboys, crouched behind the trees, waiting in ambush. 

Covered with mud, Plissken blends right in. 



SPINAL

Take cover, fool. 



Plissken jumps behind a tree, looks down the hillside. 



PLISSKEN'S POV - THE HOLLYWOOD BOWL 



Below his position is the Hollywood Bowl. A huge cross is on 

stage, and the cross is on fire. 



CLOSER - HOLLYWOOD BOWL 



A group of white hooded men, the K.K.K., stand in front of the 

burning cross holding a ceremony. Next to the cross on stage, a 

hooded K.K.K. string quartet begins playing a Hayden concerto. 



Plissken reacts. 



SPINAL

Let's take him. 



A Black Cowboy raises his M79 grenade launcher, as the others 

quickly race down the hillside. He fires. 



THE HOLLYWOOD BOWL 



A 40mm armor-piercing grenade leaves a blazing fire trail as it 

rockets toward the burning cross and - KABLAMMO! A fireball blows 

pieces of the cross into the air. The K.K.K. spin around... 



A blast of lightning illuminates the Black Cowboys attacking from 

the hills. They open fire. A K.K.K. Grand Dragon is picked off his 

feet, buffeted in mid-air, flesh and robe shredded by gunfire. A 

hail of bullets hits the K.K.K. They return fire, but are 

overwhelmed. They are hit, jerking and twisting. Fire from the 

Black Cowboys is withering, racking the hooded figures like bolts 

of lightning. The Black Cowboys keep advancing, firing, as it 

starts to rain again. 



Through the cloudy wash of dribbling rain water, the firefight 

continues. Four K.K.K. leap out from behind a row of seats and 

jump Plissken, knocking his gun to the ground. In a blinding 

flash, using hands, feet, and head, Plissken sends them flying. As 

he reaches down to pick up his submachine gun, he sees that the 

rain is washing the mud off his body... 



AND SO DOES SPINAL, who stands nearby, watching as Plissken is 

washed clean by the rain. Spinal raises his weapon, then stops. 



SPINAL

Hey. I know you. Snake Plissken. 



Plissken slowly stands, his submachine gun in his hand. Behind 

them, the firefight is almost over. The K.K.K. scatter into the 

rain... 



SPINAL

Hey, what's going down, Snake? 



PLISSKEN

I'm looking for somebody. 



SPINAL

Who ain't? 



Plissken pulls out his tracer. It is blipping red, just south of 

the Bowl. 



SPINAL

Say, is it true what they say about 

Cleveland, man? 



Plissken doesn't answer. He moves on through the rain... 



SPINAL

Later, Snake. Thanks for the help. You can 

always shift down and mojo with us 

anytime. 



EXT. VINE AVENUE - NIGHT 



The ruins of the Capital Records building. The rain has stopped 

again. Plissken is a lone figure walking along the street. In the 

distance, the sound of thumping music. 



EXT. HOLLYWOOD BOULEVARD AT HIGHLAND - NIGHT 



Pandemonium! Music blares. It's the old Supremes hit, "Love is 

Like An Itchin' In My Heart." Crowds dance in the street. It's 

like a block party. Black, Latino and Native American gangs 

celebrate. Plus the usual Hollywood Boulevard street traffic. 

Plissken moves through the carnival. Gorgeous hookers stand under 

the marquee of the ruined Chinese Theater. The marquee now reads: 

"SAFE SEX", "NO CONDOMS NEEDED", "POLYPROPYLENE ORIFICES", 

"SATISFACTION GUARANTEED" 



One of the hookers struts in front of Plissken. 



CLOSEUP - THE HOOKER 



Opening her mouth, she gives a sensuous puff. A polypropylene 

orifice attached to the inside of her lips expands outward like a 

small, pink balloon. She sucks it back in and puckers, kissing the 

air. Plissken turns, as the sounds of car engines rises. 



HIS POV - COMING DOWN HOLLYWOOD BOULEVARD 



... is a caravan of vehicles. The crowd parts to let them through, 

cheering insanely. Plissken ducks into an alley, watches... 



The caravan passes Plissken's position. Two men on horseback lead 

a convoy of rumbling, fuming old cars, buses, motorcycles - all 

scarred and ripped and jerry-rigged - bumps down the Boulevard. 



Plissken watches from his spot in the alley, as a blonde-haired 

hooker joins him, rubs his arm. She has no polypropylene, at least 

none that we can see. 



BLONDE HOOKER

It's winnin' time, baby. How about you and 

I do some celebrating? 



PLISSKEN

What's going on? 



BLONDE HOOKER

You must be new around here.

(beat)

You look familiar. Have I done you before? 



Plissken grabs the hooker. 



PLISSKEN

What's happening? 



BLONDE HOOKER

Easy, man, easy. It's Cuervo Jones' gang. 

Mescalito Justice. He's the big boss man 

'round here tonight. 

(whispers)

He's gonna take down the police and make 

'em kiss his fine ass. 



Plissken lets her go, stares... 



HIS POV - A CADILLAC 



... is perched ten feet off the ground on monster truck wheels. 

Severed doll heads are glued all over the hood, and a large 

glittering disco ball spins atop the roof, catching shards of 

light and flicking them back into the night... 



Behind the disco ball stands the real Cuervo Jones, at least. And 

there next to him is Utopia. She's dressed in black lace underwear 

and bra, garters and stockings. A Playboy fantasy. She holds the 

prototype. Delgado, Cuervo Jones' second-in-command, stands behind 

her. He is huge and evil. Dressed like Pancho Villa. 



Plissken stares as the Cadillac passes. The hooker cheers along 

with the rest of the crowd, and doesn't notice that Plissken's 

moved off... 



Several motorcycles bring up the rear of the caravan. Mescalitos 

ride with their women slung behind them. As the last bike passes, 

Plissken darts out of the alley, yanks the woman off the back of 

the cycle, jumps on. 



ON THE MOTORCYCLE 



The Mescalito biker turns to react...



WHACK! Plissken takes him out with a head-butt, shoves him off the 

bike, hops up on the seat. 



KAVROOM! Plissken guns the motorcycle and it roars off, around the 

other bikers, toward the head of the caravan. Plissken zooms 

along, makes the turn onto La Brea Avenue with the caravan... 



EXT. LA BREA AND SUNSET BOULEVARDS - NIGHT 



As the caravan turns west onto Sunset, Plissken blasts around the 

corner. 



ON PLISSKEN 



Coming right behind him are four Mescalitos on Harleys - chains, 

iron bars, and swords in their hands. Plissken stares up ahead. 



HIS POV - THE CADILLAC 



... is just a few feet away. Cuervo Jones and Utopia. 



Plissken guns it when suddenly two Mescalitos pull up on either 

side of him. One of them swings a chain. Plissken grabs it with 

one hand, and with his other hand, aims his submachine gun and 

fires! The Mescalito and bike go flying, and Plissken holds on to 

the chain. 



Atop the Cadillac, Cuervo Jones reacts to the sound of gunfire. He 

turns to see... 



PLISSKEN



As the other Mescalito riding behind him swings a chain. Plissken 

swings his. The two chains snap together, intertwining. Then 

Plissken squeezes his hand-brake. He screeches to a stop. The 

Mescalito keeps going, and is yanked over backward by his own 

chain, off the Harley. Finally the Harley flops over, skids, 

explodes. Plissken guns it again, takes off after the Cadillac. 



Two more Mescalitos pull up on either side of Plissken. They take 

aim at him with their automatic rifles. Plissken pulls a sudden 

wheelie, lifts the front of his bike up into the air, rides on the 

back wheel. The two Mescalitos fire - directly into each other. 

They fall and their bikes go crashing to the pavement. 



Plissken surges the bike forward, coming up on a Mescalito on 

horseback who turns and fires. Plissken ducks and the bullet rips 

through the rear tire. The tire blows and the bike swerves out of 

control. Plissken leaps from the bike and grabs the back of the 

saddle. 



THE HORSE 



Plissken pulls himself up behind the Mescalito and wrestles for 

control of the mount. Plissken grabs the reins and wraps them 

around the Mescalito's neck, squeezing until his eyes burst. 

Plissken slams his arm against the Mescalito, throwing him off the 

saddle, bouncing onto the pavement. 



Plissken gallops ahead, circling a lasso high above his head, 

pounding down on a biker. The lasso takes flight and finds it 

mark, the biker's neck. Plissken pulls the lasso taut, ties the 

end to the saddle horn, rides his mount parallel to the biker. 



THE BIKE 



With one quick yank to the lasso, Plissken pulls the biker off, 

jumps on the bike and smacks the hell out of the horse's rump. 



THE HORSE 



Takes off down the street, dragging the biker by the neck. 



THE CADILLAC 



Speeds up as Plissken moves up to the Mustang five cars behind. He 

swings off the bike and jumps onto the trunk. Plissken climbs up 

to the roof, leaps on the hood, then jumps to the trunk of the car 

in front - leapfrogging, jumping to the next car, the next car... 



MESCALITOS 



Lean out their car windows, firing at him, but Plissken keeps 

moving toward the Cadillac... 



SUDDENLY A HAND 



Reaches out a car window and grabs Plissken's submachine gun. 

Plissken turns to snatch it back - 



WHEN CUERVO JONES 



Leaps from the Cadillac and takes Plissken down to the roof. 



CUERVO JONES

Snake Plissken. 



They struggle. Cuervo raises his machete. Plissken grabs his 

wrist, flips him over, knocks the machete off into the street, 

smacks Cuervo in the face. 



A BOLAS-SWINGING MESCALITO 



Comes roaring up on his bike, throws the bolas... 



PLISSKEN 



As the bolas hit him, wrap around his neck, the balls thunking him 

in the face, sending him flying... 



KAWHAP! Plissken hits the pavement hard. He skids, rolls, and at 

last slams into the edge of the sidewalk. The caravan rumbles away 

down Sunset. The hand in the car window still holds Plissken's 

submachine gun. 



Cuervo crouches on the roof, hissing at Plissken. 



CUERVO JONES

Later, Snake. We finish it later. 



PLISSKEN 



Lies there for several beats, then climbs to his feet. 



HIS POV - THE CARAVAN 



... disappears up Sunset. 



PLISSKEN 



Stands alone in the deserted street. The ruins of a supermarket, 

cheap motels, liquor stores - all empty, desolate. 



He looks over to see the broken remains of his pocket walkie. 

After a beat, he starts moving up Sunset, checking his two 9mm 

handguns, slipping them into their holsters. 



EXT. SUNSET AND DOHENY - NIGHT 



On the border of Beverly Hills, Sunset stretches off into the 

darkness beyond the intersection. A slight wind blows litter 

aimlessly along. There are occasional sounds: Creaks, distant 

clangs. 



Plissken approaches the intersection. He carries Utopia's compass 

homing device. It is silent. The small screen's blank. Then 

Plissken glances at his wrist watch. 



CLOSE - WRIST WATCH 



Three hours gone. 



Plissken stands for a moment, staring off down Sunset... 



VOICE (V.O.)

Snake Plissken, right? 



He spins around. 



MAP TO THE STARS EDDIE 



Sits in an old beach chair on the sidewalk, a map to the stars 

sign in front of him. In his late 50's, he's a petty thief, con 

man. He's been hustling tourists and everybody else all his life. 



MAP TO THE STARS EDDIE

Wow! Snake Plissken! 



Map To The Stars Eddie listens to WAYWARD WIND by Gogi Grant on a 

small, metal-plated portable radio. He clicks off the radio, 

rises, walks over to Plissken. 



MAP TO THE STARS EDDIE

You're a star in your own right, you know 

that? Hey, I'm Map To The Stars Eddie. How 

you doin'? 



PLISSKEN

Where'd they go? 



MAP TO THE STARS EDDIE

Man, I'd love to have your autograph, 

Snake. 



He searches around in his pockets, comes up with pen and paper. 



MAP TO THE STARS EDDIE

I've been hearing about you ever since 

that New York deal back in the 90's. 

You're one smooth operator. 

(offers pen and paper)

Could you sign one to Wolf, one to Death's 

Head, one to Slasher Smith...? 



Plissken grabs him by the throat. 



PLISSKEN

Where are they? 



MAP TO THE STARS EDDIE

Who? You mean Cuervo Jones? He's the man 

with the juice, Snake. Got the President's 

daughter. Setting up a citywide truce. Big 

doings. 



Plissken draws a 9mm and points it at Map To The Stars Eddie's 

forehead. 



PLISSKEN

Location. 



MAP TO THE STARS EDDIE

Cuervo's got a place near Venice, where 

the big birds fly. Nice digs, too. I've 

been there, y'know. 



Plissken releases him, as suddenly the tracer beeps. On the device 

Plissken sees a small red pulsing dot. West. 



MAP TO THE STARS EDDIE

Nice little gizmo you got there.

(whispers conspiratorially)

Look, Snake. I've got connections in this 

town. You need something, I'm your man. 



Without a word Plissken turns, walks away down Sunset Boulevard 

toward Beverly Hills. 



MAP TO THE STARS EDDIE

Hey - you can't go there, Snake. You can't 

walk through Beverly Hills. 



Plissken's figure disappears... 



EXT. SUNSET - SIGN - NIGHT 



The old Beverly Hills sign. It's been painted over in dripping red 

letters: "QUIET - SURGICAL ZONE - STAY OUT"



Plissken ignores the sign, keeps walking down a completely dark 

Sunset Boulevard. 





EXT. SUNSET BOULEVARD - BEVERLY HILLS - NIGHT 



Plissken walks past the once-beautiful mansions along Sunset. Now 

they are dark, ruined. 



CLOSER - BEVERLY HILLS MANSION 



As a twisted, mechanical hand sewn awkwardly to the flesh of the 

wrist pulls aside a window curtain. The face behind the window is 

in shadows, but we can just make out its pale, discolored 

features. The other hand brings up a walkie-talkie... 



SENTRY

(into walkie)

Specimen moving west on Sunset. 



EXT. BEVERLY HILLS HOTEL - SUNSET AND BEVERLY DRIVE - NIGHT 



Plissken moves into the intersection of Sunset and Beverly Drive. 

The ruins of the old Beverly Hills Hotel are ahead and to his 

right. He stops, stares down Sunset... 



HIS POV - A FIGURE 



Emerges from the shadows. This is the gatekeeper. Strange, 

mismatched body parts. A black-skinned arm attached to a pale 

white body. His face is unnaturally smooth - too many face lifts. 

He carries a torch. 



GATEKEEPER

Halt!

(beat)

Where are you going?

(no reply)

Are you here for the auction? 



BEHIND PLISSKEN 



Figures have suddenly moved out into the street, all with 

mismatched body parts - heads too large for their torsos, female 

body parts mixed with male heads, all sewn together with large, 

uneven stitches. Plissken is surrounded. 



GATEKEEPER

Welcome to Beverly Hills. 



Plissken raises his gun, starts to move, when suddenly a figure 

rises behind him out of the shadows... 



A MULTI-COLORED FLESH HAND 



Raises a lead pipe, brings it down hard... 



ON PLISSKEN'S HEAD 



THUNK! He goes out like a light. 



As Plissken slumps unconscious to the street, the figures move for 

him. Their arms lock around him, drag him away with amazing speed 

- a pack of wolves on a deer. 



CLOSEUP - PLISSKEN - NIGHT 



Plissken bolts awake, to find himself tied to a cross. It's 

lurching back and forth as though the ground is moving. 



EXT. RODEO DRIVE - BEVERLY HILLS - NIGHT 



Plissken is being carried down Rodeo Driveon the cross by a throng 

of surgical failures. They carry torches. Dressed in tatters. 

Their faces look only partially human sewn together raggedly. 



Rodeo Drive is a bizarre marketplace of body parts. The once 

beautiful storefronts of famous designers are now in shambles. 

Human body parts are on display like filets of fish on ice. 



Gucci now offers body pieces fashioned from spare car parts and 

Armani displays more eclectic, high priced pieces sewn together 

like sculptures in their windowfronts. A giant rift runs down the 

street's center. Acrid smoke rises. 



The throng stops at an intersection, and Plissken's cross is 

anchored in the middle of the street. Surrounding the intersection 

are patients of every size, age, sex. 



Plissken looks over, sees another cross being carried up and 

planted right next to his. A beautiful girl is tied to this cross. 

This is TASLIMA, 20's, Iranian, the face of a Persian princess. 

She's dressed in black leather, and basically has an IQ of around 

50. 



TASLIMA

Hi, Snake. It's so great to meet you. My 

name's Taslima. I'm a fan of yours. 



PLISSKEN

Are you crazy? 



TASLIMA

A little bit. But pretty soon I'm gonna be 

dead. So are you, Snake. 



Plissken looks across the street. Our of the ruins of the once 

famous red door of Elizabeth Arden come an arm of women facialists 

with acid-burned faces from one-too-many skin peelings wielding 

knives, saws, horrible-looking carving instruments... 



TASLIMA

I can't believe I got caught.

(sighs)

I run with Midnight Jihad. Iranian gang. 

Only they kicked me out, cause I screw up 

sometimes. I forget stuff. 



Plissken struggles with his bonds. 



TASLIMA

I left my boyfriend's place tonight, took 

a wrong turn...

(sighs again)

Oh, Snake, I'm really kind of out of it 

sometimes. 



OUT OF THE RED DOOR come more interns and nurses carrying surgical 

pans and pushing gurneys to collect dismembered body parts. 



The throng of facialists, patients, interns and nurses surround 

Plissken and Taslima on the crosses. They move back to the 

sidewalks as the auction for body parts cut freshly from Plissken 

and Taslima is about to begin. The gurneys are wheeled into place 

and set up as large cutting tables. The facialists take their 

positions behind the tables waiting to carve fresh meat. 



PLISSKEN

What are they? 



TASLIMA

They live here, used to be like us. But 

after too many silicon implants, their 

muscles turned to jelly. The only way they 

survive is to have body parts transplanted 

over and over again.

(whispers)

Snake, nobody who comes into Beverly Hills 

gets out alive. 



PLISSKEN

No screamin' shit. 



TASLIMA

Oh no, it's the Doctor. 



PLISSKEN

Who? 



TASLIMA

The Surgeon General of Beverly Hills. 



THE DOCTOR, THE SURGEON GENERAL OF BEVERLY HILLS 



Steps out into the street. He appears incredibly gorgeous, a hunk 

of a man, put together by the finest body parts available in 

Beverly Hills - a millennium Fabio - but upon closer examination, 

he's got no lower jaw. Instead, there is a rusting metal grid-work 

attached beneath each ear. It never moves. He can actually speak 

through a metal box attached to his windpipe. 



THE DOCTOR 



Stands in front of them. He raises his hands to quiet the crowd. 

He walks around the cross, admiring the beautiful bodies before 

him. He tickles the fine flesh with his right hand, which is made 

up of 10 gleaming scalpels which form a 360 degree cutting edge. 



THE DOCTOR

I've never seen more beautiful specimens. 

There will be no auction tonight. These 

body parts will go to those who need them 

the most. 



The crowd gumbles. 



PLISSKEN



Turns his head sideways, to a small hidden pocket near his neck. 

With his teeth, he pulls out the silver mouth dart, slips it onto 

his tongue, closes his mouth. 



The doctor raises his gleaming scalpel hand and steps toward 

Plissken. 



THE DOCTOR

What a beautiful blue eye. It's a shame 

you only have one. 



A nurse brings over a small step-ladder. The doctor positions it 

in front of Plissken, slowly climbs up the rungs until he is face 

to face with him. The doctor looks ready to pluck Plissken's good 

eye from its socket with his scalpel tips. 



FFFTTT! Plissken spits the mouth dart! 



WHACK! The dark hits the doctor squarely in the forehead. He 

freezes, his scalpel hand raised, his eyes clouding. He falls 

forward. 



The scalpel hand swings, misses its mark, and instead hits the 

rope tied around Plissken's wrist. WHATCK! The rope's cut! 



Plissken grabs the scalpel hand with his free hand, cuts his other 

hand and legs loose in a flash and pushes the doctor backward off 

the step-ladder. 



WHUMP! Plissken falls to the intersection, almost at the same time 

as the doctor hits the pavement. 



The patients are stunned. Motionless. They stare at their doctor 

lying in the street, moaning, moving slightly. 



Snake starts to run... 



TASLIMA

Snake, help me. 



SNAKE

Why? 



TASLIMA

I don't know. 



Almost on a whim, Plissken cuts her free. Then he runs. Taslima 

follows him. 



Plissken heads toward a side street, looks over his shoulder, sees 

Taslima following... 



PLISSKEN

Don't follow me. 



TASLIMA

You need help. 



PLISSKEN

Like hell I do. 



Then Plissken comes to a dead stop. 



HIS POV - DOWN THE STREET



Comes a mass of patients right at him. Taslima grabs Plissken, 

pulls him with her. They take off down a dark cobblestone 

street... 



EXT. DARK ALLEY - NIGHT 



Plissken and Taslima run as behind them the patient horde gives 

chase. They stop at another small alley between two large 

buildings. 



TASLIMA

Down this way. 



They disappear into the small alley. 



EXT. SMALL ALLEY - CUL DE SAC - NIGHT 



It's long and narrow and completely enclosed by the buildings on 

either side. Suddenly Plissken and Taslima come to the end - a 75 

foot high four-story building blocking the passageway to Wilshire. 



PLISSKEN

This is a dead end.

(looks at her)

You took us into a dead end! 



TASLIMA

I just thought you wanted to get away. I 

didn't know you wanted to go someplace. 



KACLANK! They turn... 



The doctor staggers down the alley, the dart still sticking from 

his forehead. Behind him, the patients follow... 



Plissken shoves Taslima toward a broken window. 



PLISSKEN

Go! 



He follows Taslima through the window. 



INT. SECOND FLOOR BALCONY - NIGHT 



Plissken and Taslima climb dilapidated stairs, move along the 

balcony railing. A torn and tattered Roy Lichtenstein painting 

hangs crooked on a wall. Twenty foot high bright red letters - 

"CAA" - lie strewn across the marble floor. Various offices are 

wrecked and dark, scripts lay all over the place. 



They stop at a dark hallway. Taslima moves cautiously ahead. 



TASLIMA

Be careful of the bald cats. They live in 

these buildings. 



PLISSKEN

The what? 



Plissken reaches for his other 9mm in its holder, but his hands 

are trapped by the doctor's body. Closer and closer moves the claw 

dagger toward Plissken's good eye. 



Taslima scrambles, picks up Plissken's 9mm, then stares at the two 

men. 



PLISSKEN

(yelling)

Are you gonna stand there? Give me the 

gun! 



Taslima starts to hand it to him. Both Plissken and the doctor 

fight to reach it. Finally, it's in Plissken's grasp. He blasts 

three times - each one hitting. The doctor shudders, rolls away. 



Plissken gets to his feet. He blasts one more time for good 

measure, then follows Taslima down the hallway... 



INT. FIRST FLOOR - REAR EXIT - NIGHT 



They come down a flight of stairs, stop at the rear door. 



PLISSKEN

How do we get out of here? 



TASLIMA

Sewers. Come on. 



She pushes open the door... 



EXT. BEVERLY HILLS STREET - NIGHT 



Plissken and Taslima run from the building, as a chorus of wails 

rises. Patients swarm around the building in pursuit. 



Taslima stops at a sewer grate in the street. 



TASLIMA

Down there. 



Plissken lifts the grating. Taslima jumps in, followed by 

Plissken... 



INT. SEWER TUNNEL - NIGHT 



Dim, greenish light. Plissken and Taslima begin running down the 

sewer tunnel. Through the hole behind them drop patients, giving 

chase. Plissken and Taslima race through a half-filled storm drain 

seeping with slime. They turn a corner into another tunnel, and 

run smack into a horde of patients. Instantly, the patients 

overpower them. Hands reach out and drag them down... 



Suddenly, from down the tunnel comes an unearthly sound, a weird 

whispery screech like a demon unleashed from the underworld. It 

gets louder and louder. The patients freeze, then begin screaming 

and, as the sound gets louder still, they all disappear, escaping 

back down the tunnel. 



FROM DOWN THE TUNNEL 



An eerie light appears, coming nearer and nearer every moment. 



TASLIMA

Snake - what is it? 



PLISSKEN

How the hell am I supposed to know? This 

is your damn city. 



Slowly, the light takes form. It is a single, gigantic eye - 

floating in pitch-black darkness. It continues coming - growing 

larger and larger. Suddenly the sewer begins to echo with a 

blasting, ringing sound. Music! 



It's incredibly LOUD SALSA MUSIC! 



From out of the tunnel drives an ancient golf cart. 



On a metal pole in front is a huge, lighted eye such as an 

optometrist might use to advertise his services. Salsa music 

blares at top volume from loudspeakers strapped to the sides of 

the cart. At the wheel of the vehicle is a large man dressed in 

jeans, cowboy boots and a flak vest, wearing a gas mask. A lariat 

is hooked to his belt. 



He pulls up near Plissken and Taslima, shuts off the motor and the 

music, lifts a shotgun from the seat beside him, climbs down. He 

holds the gun on them. 



Removing his head gear, his face becomes visible. He is PENDEJO 

BOB, a Mexican wearing sunglasses under the gas mask. He takes off 

the sunglasses, and his apparently blind in one eye. He looks like 

Los Lobos' lead guitarist. 



PENDEJO BOB

What're you doing in here? 



PLISSKEN

Looking to get out. 



PENDEJO BOB

Good. I want you out. This is my sewer. 



PLISSKEN

Which way? 



With a grunt of curiosity, Pendejo Bob moves up to Plissken. 

Suddenly his blind eye flashes on like a tiny, built-in spotlight. 

With it, he examines Plissken's face. 



PENDEJO BOB

You're Snake Plissken. 



TASLIMA

Yes. Isn't he cool? 



There is a clicking sound and the lighted eye is extinguished. 

Pendejo Bob extends his hand. 



PENDEJO BOB

An honor, Snake. Amigo. They call me 

Pendejo Bob. 



Plissken doesn't shake. From down the tunnel the shouts and 

footfalls of the patients gets closer... 



PENDEJO BOB

Those damn patients are coming back. You'd 

better climb aboard. 



Plissken and Taslima climb into the rear of the golf cart. Pendejo 

Bob spins the cart, takes off in the other direction. 



INT. UNDERGROUND PASSAGE - NIGHT 



The golf cart streaks along through a dark sewer passage. The only 

light comes from the eye on the front of the vehicle. 



PENDEJO BOB

I use the eye and the music to scare em 

off. They're so whacked out, man, it works 

great. Chased a whole bunch of em right 

off the edge there a few months ago. 



He points to a sheer, pitch-black drop-off on one side of the 

passage. 



TASLIMA

(she peers over the side)

How far down does it go? 



PENDEJO BOB

Don't know - never do hear em land. 

Earthquake opened it up. 



The golf cart creaks into a narrow tunnel... 



INSIDE THE TUNNEL



Guards, Hispanics in biker denims, fatigues, with rifles and 

sunglasses, line the walls. They watch as the golf cart passes. Up 

ahead is a door marked: "SEWAGE RECLAMATION CONTROL"



INT. SEWER RECLAMATION CENTER - CONTROL ROOM - NIGHT 



The cart pulls into the remains of a mammoth underground control 

center. It's lined with ladders, catwalks, machines full of gauges 

and levers. A few are still working - most are broken and covered 

with dust and grime. 



Filling the room is an underground enclave: Men, women, children, 

all Hispanic, living in tents and lean-to's, cooking over open 

fires next to old rusted cars on blocks, lots of weapons, lots of 

sunglasses. Also, high-tech, futuristic rifles, cannons, grenade 

launchers - an amazing arsenal. Crates of explosives are stacked 

everywhere. 



The golf cart comes to a stop and they get off. 



PENDEJO BOB

I own this whole place. Used to work here 

in the old days. I was right in this room 

when the big one hit. What a mess. We were 

waist high in shit.

(turns proudly to them)

Everybody else ran, but not me. I stayed 

at my post. Now it's all mine. I brought 

my whole family, my amigos, down here to 

live with me. 



TASLIMA

Gun runners. 



PENDEJO BOB

Hey, it's a living, baby. 



PLISSKEN

Why don't you get out of L.A.? Take a boat 

to China, take an airplane to Brazil?

(looks at Taslima)

Earthquakes, death, shit. Why do you stay? 



TASLIMA

I don't know. Somehow, I just can't leave. 



PENDEJO BOB

Y'know, L.A.'s not such a bad place, 

Snake. We got our problems, sure - but 

this is paradise, man. 



Pendejo Bob leans in close and whispers conspiratorially to 

Plissken. 



PENDEJO BOB

Say, you need anything, Snake? Guns? 

Explosives? I can get you a crate of 

hellfire grenades, no problem - five 

hours. 



PLISSKEN

Yeah. So how do I get to Venice? 



PENDEJO BOB

All the sewers are collapsed under Venice. 

You have to go topside. Right up there. 



He leads Plissken and Taslima to a ladder that goes up into the 

darkness. A line of men steadily climb up, one after the other, 

carrying crates of weapons. 



PENDEJO BOB

Comes out near the Santa Monica Freeway. 

Just follow the signs. Get off at the 

Lincoln Exit, turn left. 



Pendejo Bob interrupts the line of men. Plissken starts up the 

ladder, followed by Taslima... 



PENDEJO BOB

Nice to meet you, Snake. You too, Miss. 

You're welcome down here anytime. Anytime 

at all. 



EXT. STREET UNDER SANTA MONICA FREEWAY OVERPASS - NIGHT 



Plissken, gun in hand, sticks his head out of the open grate. 

Taslima follows. The Hispanic men who have climbed up out of the 

sewers load their weapons crates into various low-rider cars in 

heavily-armed groups. They rumble off into the night. 



Taslima points to a freeway on-ramp. 



TASLIMA

The freeway's over there. But, Snake - I 

don't think it's such a good idea. 



Plissken starts toward the on-ramp. Taslima doesn't move. 



TASLIMA

The freeways are dangerous. 



He keeps walking. 



TASLIMA

Goodbye, Snake. 



Plissken stops, turns back, looks at her - a half-smile. It's as 

close to 'thank you' as he gets. 



TASLIMA

Sun's coming up in a few hours. 



She walks up to him. 



TASLIMA

UV's gonna be bad today. I have a friend 

who's got a place near here. We can crash 

there if you want, Snake.

(she moves close to him)

I'd love to take care of you. Make you 

feel good. 



Without an answer Plissken turns and walks away...



EXT. SANTA MONICA FREEWAY - NIGHT 



As far as the eye can see there are lines of rusting cars and 

trucks, bumper to bumper like a giant junkyard rush hour. 



Plissken walks up the on-ramp, onto the freeway. He strides past 

rows of junked cars. A few of them have people inside... 



There is a Mercedes rusted to its frame, its driver an 80-year-old 

in sunglasses, drinking from a bottle. A pickup truck full of old 

illegal aliens packed in like sardines. Someone cooks from a 

barbecue grill. An RV. An old man sits in the opened doorway, 

staring at Plissken as he passes. Two old ladies in housecoats 

stare at him through the windows. 



CLICK, CLICK! A sound behind Plissken. He spins, 9mm ready... 



It's Taslima, running to catch up with him. 



TASLIMA

I changed my mind. I'm going with you, 

wherever you're going. 



PLISSKEN

(gestures to the cars)

What the hell is this? 



TASLIMA

The freeway. 



PLISSKEN

I know that. There are people in some of 

these cars. 



TASLIMA

It's where they live. I guess after 

everything happened, they just needed to 

do what they'd always done before. During 

the daytime, they just pull down the 

shades on their windows and sleep. 



Plissken continues walking. Taslima catches up... 



TASLIMA

What are you gonna do in Venice? 



PLISSKEN

Find Cuervo Jones. 



TASLIMA

No! Stay away, Snake. He's mucho muerte. 



Suddenly a shot rings out. Taslima is struck and falls. Plissken 

drops between the cars and crawls over to her. 



TASLIMA

Run, Snake...They're coming. 



PLISSKEN

Who? 



She touches his hand and looks at him softly. 



TASLIMA

I don't know. 



Taslima dies. Plissken stares at her for a moment. 



More shots ring out - landing very close to him. 



FREEWAY EMBANKMENTS 



From out of the heavy bushes along the freeway storm a dozen 

Mescalitos moving quickly - firing as they go. Behind them grinds 

an ancient garbage truck mounted with a 50-caliber machine gun. 

Atop the truck is Delgado. He wears a flame thrower on his back. 



PLISSKEN 



Returns fire, rolls under a car and begins crawling. All around 

him people jump out of their cars, begin firing back at the 

Mescalitos. 



THE GARBAGE TRUCK 



Smashes through a rusting Volkswagen, heading straight toward him. 



PLISSKEN 



Reaches the edge of the freeway, dives for the bushes. 



AS THE GARBAGE TRUCK 



Roars past, firing into the vehicles on the freeway, the people 

running, screaming... 



EXT. SIDE STREET - NIGHT 



Clawing his way through the undergrowth, Plissken bursts onto a 

side street. Behind him come the Mescalitos on foot. Plissken 

runs, firing back every step of the way... 



AHEAD ON THE STREET 



Suddenly, in the blowing mist in front of him, a car screeches 

into view. It's a perfectly restored, 1966 Cadillac convertible. 

Candy-apple red. The stereo blasts "Last Night" by the Satellites. 



And behind the wheel is Map To The Stars Eddie. 



MAP TO THE STARS EDDIE

Hop in, Snake! 



THE UNDERGROWTH 



As the garbage truck bursts through. Delgado is behind the machine 

gun, blasting away, burning up the street. Bullets are flying 

everywhere as Plissken runs to the Cadillac and dives into the 

back seat. He's still not fully inside when Map To The Stars Eddie 

roars away in a blaze of rubber and smoke. 



DELGADO 



Takes aim with his flame thrower... KAWHOOSH! 



A GIANT TONGUE OF FLAME 



Shoots out from the nozzle like a flaming spear. It streaks down 

the street, just missing the tail of the Cadillac as it swerves 

around a corner... 



INT. CADILLAC - NIGHT 



Map To The Stars Eddie races along a dark street. Plissken climbs 

into the front seat. 



MAP TO THE STARS EDDIE

Hey, Snake - that was great. They almost 

burned your ass off! 



Map To The Stars Eddie drives like Satan himself. Plissken is 

almost thrown out as they spin around curves, up onto sidewalks. 

Delgado and the garbage truck can't keep up with them. Finally, 

the Mescalitos are left far behind as Map To The Stars Eddie slows 

down to a cruise of 70. 



MAP TO THE STARS EDDIE

Too many people know where you're going, 

Snake. That's not good. Delgado and his 

men were back there waiting for you. 



PLISSKEN

Delgado? 



MAP TO THE STARS EDDIE

Cuervo Jones' right-hand man. One tough 

hombre. You don't understand, Snake. 

Cuervo Jones wants to unify the island. 

We're on the move, man. Big time. 



EXT. DARK INTERSECTION - NIGHT 



The Cadillac smashes through an intersection, knocking two old 

junked cars out of the way. 



INT. CADILLAC - NIGHT 



Plissken jams his 9mm into Map To The Stars Eddie's ear. 



PLISSKEN

Stop the damn car. 



MAP TO THE STARS EDDIE

No way. 



PLISSKEN

I said pull over. 



MAP TO THE STARS EDDIE

All right. Anything for you, Snake.

(beat)

Although I was going to take you to Cuervo 

Jones' place. 



Plissken lowers the gun. 



PLISSKEN

Where is it? 



MAP TO THE STARS EDDIE

Right over there. 



He points. Plissken looks off, as Map To The Stars Eddie hits a 

button on the steering wheel with his finger. 



ON THE DASHBOARD 



A small panel in front of Plissken flips down, revealing a two-

inch machine gun barrel. Before he can do anything, four rounds 

rip straight into his chest, blasting him into the seat. 



PLISSKEN 



Grits his teeth and gasps. His gun drops. Blood runs from four 

holes in his shirt. His face grows red as he fights for air. 



Map To The Stars Eddie pushes the button again and the panel 

closes up over the barrel. 



MAP TO THE STARS EDDIE

Pretty neat, huh? This is Cuervo's car. He 

lets me use it sometimes.

(looks at Plissken)

Not to worry, Snake. You were just shot 

with a fun-gun. You feel it? 



Plissken gulps for air. 



MAP TO THE STARS EDDIE

Pure mesh, man. 100-proof artery choker. 



Plissken slumps back, collapses in the seat. 



MAP TO THE STARS EDDIE

Like Cuervo says, when the hit pulls you 

down to one inch from death, that is 

living, man. 



PLISSKEN'S POV - THE DRUG 



Kicks in hard. Surreal colors float through the dark, devastated 

streets of Venice. 



Plissken fights desperately against the drug, but he can't move. 



MAP TO THE STARS EDDIE

You should've talked to me first, Snake. I 

could've set this whole thing up. I'm 

actually Cuervo's agent, you know. 



As Plissken sags, losing consciousness, Map To The Stars Eddie's 

voice begins to fade... 



MAP TO THE STARS EDDIE

And I'd love to represent you, too. We 

could make a bundle together. I know I 

could really help your career...I mean, 

you're a legend and all - but the last 

couple years, man, it's like you've fallen 

off the face of the earth. 



ON PLISSKEN'S FACE 



As the world crashes to black! 



FADE IN: 



EXT. INTERNATIONAL TERMINAL LAX - NIGHT 



Like a giant, scorched daddy-long-legs, the architectural identity 

of the LA airport rises above the empty parking lot littered with 

the skeletal remains of burned-out cars and airport shuttles. The 

wrecks of old 747s lie twisted and bent across the tarmac. 



BEHIND IT 



Surrounded by Mescalitos with torches and guns, sits the former 

Bradley Terminal defaced with graffiti, the sign now reading: 

"MESCALITO JUSTICE HALL" 



PLISSKEN'S GOOD EYE 



Opens. Looks around fuzzily. 



INT. MESCALITO JUSTICE HALL - NIGHT 



He is in Cuervo Jones lair. Huge. Torch-lit. Plissken lies in the 

center of the room, chained to a treadmill. He is surrounded by 

Mescalitos. 



In one corner of the room is lots of high-tech equipment. 

Computers. A VR simulator. Most of the Mescalitos are gathered 

around a big screen TV. They watch the 207th Annual Academy Awards 

from Carefree, Arizona. 



Cuervo Jones strides toward Plissken. Map To The Stars Eddie 

scurries along at his side. 



MAP TO THE STARS EDDIE

Come on, Cuervo. I delivered him, didn't 

I? All I'm asking for is what you 

promised. 



CUERVO JONES

We'll see. 



Cuervo Jones stops in front of Plissken. Sees that he's awake. 

Holds out a glass filled with red liquid. 



CUERVO JONES

Carrot juice?

(no response)

Laced with tequila, Snake. Good for you. 

No?

(no response)

Your health. 



Cuervo Jones downs the carrot juice. Plissken lifts his head, 

grimaces. Sweat pours down his face. He gasps for air. 



CUERVO JONES

You're coming out of it, Snake. It hurts 

real bad.

(beat)

That's good. 



He kneels down next to Plissken. 



CUERVO JONES

Dying isn't good enough for you. You need 

pain. You'll never make it to where you 

want to go without a little pain. 



He stands, considers Plissken for a moment. 



CUERVO JONES

Snake Plissken. American outlaw. So 

typical of American idealism. The old 

west, Snake. 



Cuervo Jones tosses the glass to Map To The Stars Eddie. He's 

beginning to enjoy the moment, performing for Plissken. 



CUERVO JONES

Man against the sky. The individual. 

Freedom. No wonder they hate you so much 

in America, Snake. You remind them of what 

they used to be. 



Cuervo Jones walks to a door, opens it. Beyond is a huge courtyard 

filled with people - families, teenage runaways, the elderly, 

illegal aliens, orphans - people with nowhere to go. They are 

being fed and cared for by Mescalitos. 



CUERVO JONES

Here is the real L.A., Snake. 



Plissken lifts his head to see. 



CUERVO JONES

The poor. The old. The lost. People 

without hope. 



He crosses back to Plissken... 



CUERVO JONES

Do you know what they want? One word. 

Liberation.

(beat)

They want a chance to live - before it's 

all gone. They've been hated for too long 

-

(smiles)

Now it's their turn. 



He gestures to his men, who move to Plissken and begin carefully 

unlocking him from the treadmill. 



Still wobbly, Plissken crawls to his feet... 



As Utopia comes bounding up from the big screen TV. Still dressed 

in her racy underwear, she gives Cuervo Jones a kiss. She still 

carries the prototype with her. 



UTOPIA

Cuervo! LaToya Jackson just won Best 

Actress. 



Cuervo Jones reaches out to take the prototype from her. She holds 

on to it. 



UTOPIA

You said I could hold it. 



He yanks it out of her hands, more violently than she expected. 

Recovering, she casts a contemptuous glance at Plissken. 



UTOPIA

Who's that? 



CUERVO JONES

You never heard of Snake Plissken? 



Utopia takes a couple steps closer, squints. 



UTOPIA

He doesn't look like his picture.

(frown)

I bet he's fake. 



CUERVO JONES

Now go get dressed. We have things to do. 



UTOPIA

Are we going to eat soon? I'm starved. 



Cuervo Jones gives her a slap on the butt, which startles Utopia. 



UTOPIA

Ooww! 



CUERVO JONES

Go on now. Do as I say. 



Plissken watches as Utopia walks away, out of the terminal. 



CUERVO JONES

I'm going to show her what it means to be 

a woman - for the first time in her 

pathetic little life.

(smiles)

Given her love, Snake. Everybody needs 

love. 



He moves slightly closer to Plissken - though not too close. 



CUERVO JONES

You want to hook up with us? Join the 

revolution? We're all getting out of here 

tomorrow night.

(holds up the prototype)

We're gonna rule the world. Come with us, 

Snake. 



Plissken says nothing. His good eye glares. 



CUERVO JONES

No? Too bad. Well, I told you we'd finish 

it later. So guess what? It's later. 



He motions to his men, who grab Plissken and drag him away... 



INT. BAGGAGE CLAIM AREA - NIGHT 



The baggage claim area is an industrial wasteland filled with 

machinery and hanging cables and wires. A door opens and Plissken 

is hurled in. The door slams shut. 



Plissken stands a moment, trying to get his balance, when a man 

steps out of the shadows. It is Delgado. 



DELGADO

You're mine now, Snake. All mine. 



Delgado slowly moves towards Plissken, swinging two huge gleaming 

machetes around his head. Plissken steps back, glances at his 

wrist watch. 4 hours and 20 minutes gone. 



PLISSKEN

Shit. 



Plissken looks up as Delgado flings a machete at him. He just 

barely dives out of the way, rolls on the floor... 



Delgado charges toward him, machete poised like a bayonet. 

Plissken rips off an edge guard from the baggage carousel and 

wings it at Delgado. The machete is blocked with a direct hit. KA-

CLANG! 



Delgado is thrown sideways. Plissken runs, launches himself 

through the air, twisting his body sideways, and lands a hard kick 

right in Delgado's face. Delgado goes sprawling. One of the 

machetes CLANKS to the floor... 



Plissken grabs the machete, just as Delgado rises... 



WHOOSH! Plissken's arm is a blur as he throws... 



THUMP! The machete sticks out of Delgado's chest. He looks down at 

it in horror, then crumbles to the floor. 



EXT. MESCALITO JUSTICE HALL - NIGHT 



The caravan is starting up again. Wearing hot pants, a tank top 

and full-length mink coat, Utopia is escorted up a ladder by 

Cuervo Jones to the opened door of the Cadillac perched up on 

those monster truck wheels. The other Mescalitos mount up in their 

cars and motorcycles, and roar away from the terminal. 



Above, on top of the terminal, see a figure move. 



TOP OF MESCALITO JUSTICE HALL 



It's Plissken. He grabs an electrical wire and throws it over the 

side... 



PARKING LOT - A MESCALITO GUARD 



Stands watching the caravan pull away. He doesn't see the wire 

dangling behind him, and Plissken shinnying down it. 



Beat. Beat. 



WHACK! Plissken takes him out with one blow, lowers himself to the 

ground, takes his rifle. 



Plissken quickly moves down the dark street after the caravan. 



EXT. THE FORUM - NIGHT 



Cuervo Jones' caravan comes rolling down Manchester, into a vast 

parking lot toward the Forum. Portions of the gigantic sports 

arena have been damaged in the earthquake, but crowds still pour 

into the entrances. 



The caravan pulls up at the Forum Club entrance. Cuervo Jones, 

Utopia, Map To The Stars Eddie and the others enter. 



AS PLISSKEN 



Approaches, ducks behind an old junked car. 



THE FORUM - DAMAGED WALL 



Plissken sneaks up to a crumbled, broken wall of the Forum, crawls 

inside through a large crack... 



INT. LOCKER ROOM - THE FORUM - NIGHT 



Plissken's in the backstage area, near the locker rooms. Hear 

cheering from the main arena. Slowly Plissken moves to a door, 

opens it, steps out... 



INT. FORUM HALLWAY - NIGHT 



The cheering is louder is Plissken makes his way along the dingy 

hallway. 



Now the sound of gunfire from someplace up ahead. Plissken tenses. 



Suddenly from down the hallway come two Black Muslims carrying a 

body on a stretcher. As they pass, Plissken notices the body is 

wearing a bloody basketball uniform full of bullet holes. 



He moves forward... 



INT. FORUM ARENA - NIGHT 



Plissken peers into the main arena. A basketball game is underway. 

The Korean Dragons sit on one side, the Black Muslims on the 

other. They cheer wildly for their respective teams. Pipeline is 

in the crowd, enjoying the game... 



Plissken moves closer, among the crowd along the baseline. The 

whole place is lit by torches and clumsily-wired lighting. Above 

his head is the shot clock, slowly ticking down. 



There's blood everywhere on the floor. The referees wear bullet-

proof body suits and helmets. Trainers with stretchers stand by. 



THE SHOT CLOCK 



Ticks down: 5 - 4... 



A BLACK MUSLIM 



Dribbles the ball towards the basket. 



THE SHOT CLOCK 



Ticks down: 3 - 2... 



A whole row of Korean Dragons with rifles stand and take aim. 





THE BLACK MUSLIM 



Pulls up into a jump shot, releases the ball into the air. It 

sails through the basket just as the horn goes off, beating the 

24-second violation. 



The Black Muslim crowd cheers. The Korean Dragons sit down. 

Plissken watches... 



CUERVO JONES, UTOPIA AND THE OTHERS 



Moving through the seats on the Korean Dragon side of the court. 

Map To The Stars Eddie stands near the baseline, listening to the 

game on his silver portable radio... 



THE REFEREE 



Hands the ball to a Korean Dragon guard. The Korean Dragon 

dribbles the ball down court, into the corner and passes it off. 

The Korean Dragons can't get a shot off... 



THE SHOT CLOCK 



Above Plissken's head ticks down: 5 - 4 - 3 - 2 - 1... HONK! 



THE KOREAN DRAGON 



Guard still has the ball - the shot clock horn has gone off - 24 

second violation. 



A whole row of Black Muslims with rifles stand up, take aim, and 

fire! 



BLAM! BLAM! BLAM! 



The Korean Dragon guard is riddled with bullets. He falls dead on 

the floor. The Trainers with stretchers quickly collect his body 

and hurry off the court. 



Ball boys quickly wipe up the blood with mops. 



ANNOUNCER (V.O.)

(sound of effect of breaking 

glass)

Shot clock! 



The Black Muslim crowd is cheering and screaming! "I Love L.A." 

begins playing on the loudspeaker. 



The players wear do-rags and black uniforms that look a whole lot 

like the black leather that Plissken wears. One of the players, 

JAMAAL, notices Plissken. 



JAMAAL

Hey - Snake Plissken, you knew my brother 

Abdul. He was with you in Cleveland. 



The other players react, greet Plissken, slapping his hand, 

thumping chests, high-fiving each other. 



JAMAAL

Welcome aboard, Snake. 



But Plissken pays no attention. He sees: 



CUERVO JONES AND UTOPIA 



Sitting in the Korean Dragon section near the other end of the 

court. 



CLOSER - CUERVO JONES AND UTOPIA 



Sit next to Xi-Ping, the leader of the Korean Dragons, a fierce 

man with green and brown psychedelic camouflage on his face. 

Utopia watches the game while the two men confer. Cuervo Jones has 

a firm grip on the prototype. 



CUERVO JONES

The time is now. We are the strongest. If 

we go together, the others will come.

(beat)

We go for everything, Xi-Ping. But we go 

together. What do you say? 



Xi-Ping nodes. They clasp hands... 



PLISSKEN 



Realizes he's got to get to the other side of the court. He jumps 

into the huddle with Jamaal, peering at him with his one good, 

cold eye. 



PLISSKEN

Your brother died owing me, so I'm taking 

it out in trade. I need a favor... 



JAMAAL

Sure, Snake. Anything. 



PLISSKEN

I need to get across the court now... 

without drawing attention to myself. 



JAMAAL

Like you ain't gonna stick out like a sore 

thumb. But we'll do what we can, Snake. 

Use the clock. Screen and roll. Now let's 

kick some butt! 



The players knock fists. Plissken puts on a do-rag. Yelling, they 

move onto the court, creating a shield for Plissken. 



JAMAAL

(whispers)

You play much pick-up ball, Snake? 



Plissken's watching Cuervo Jones and Utopia at the other end. 



JAMAAL

Whatever happens, watch the shot clock, 

man. 



The referee blows his whistle. A Black Muslim guard inbounds the 

ball. The game is underway. 



Plissken ducks down the court using the rest of his team as cover. 

They go into a set play. 



The game is a cross between basketball and kung-fu. Players use 

slashing fists, spin-kicks, elbows and hard back-hands. It's full 

combat. 



The Korean Dragon guarding Plissken chops him. Plissken knocks him 

flat. No foul. 



Utopia sees Plissken, nudges Cuervo Jones. 



UTOPIA

It's that weird guy again. 



Cuervo Jones grabs her and heads for the exit... 



Plissken sees this, stops playing, moves after them... when 

suddenly the basketball lands right in his hands! 



JAMAAL

Snake! Shot clock! 



THE SHOT CLOCK 



Ticks down: 4 - 3 - 2... 



A whole row of Korean Dragons with rifles stand up, take aim at 

Plissken. Cuervo Jones watches expectantly... 



Plissken spins, executes a beautiful-looking jump shot. The horn 

sounds just as it leaves his hand... 



THE BASKET 



Swish. Nothing but net. 



The Korean Dragons sit back down, put away their rifles, 

disappointed. Cuervo Jones, Utopia, Xi-Ping and their henchmen 

quickly leave. The Black Muslims go crazy, and Plissken dashes 

toward one of the exits. He stops, sees... 



MAP TO THE STARS EDDIE 



With his portable radio, trying to get out of the arena, hiding 

behind a crowd of Dragons. Plissken races through the crowd, grabs 

Map To The Stars Eddie. 



MAP TO THE STARS EDDIE

Hey, Snake, man... Great shot! 



Without hesitation, Snake whacks him across the jaw. Map To The 

Stars Eddie goes down like a sack of laundry. Plissken grabs him 

by the collar, drags him off toward an exit...



EXT. FORUM PARKING LOT - NIGHT 



Cuervo Jones, Utopia, Xi-Ping and their men rush out to the 

caravan of waiting vehicles. Xi-Ping has his own armada of 

vehicles and an army of evil-looking guards. Cuervo Jones pulls 

Xi-Ping aside. 



CUERVO JONES

That man in black. He's very dangerous. 



XI-PING

One eye? 



CUERVO JONES

Yes. We gotta dump him. 



XI-PING

What does he want? 



CUERVO JONES

(glances at the prototype)

I'm betting the cops sent him in. Man, I 

do not need this. I got a war to win. 



ANOTHER EXIT - THE FORUM 



As Plissken drags Map To The Stars Eddie out into the night, 

crouches behind a row of cars, watches Cuervo Jones' caravan start 

their engines. 



Plissken shakes Map To The Stars Eddie, waking him... 



PLISSKEN

Where are they going? 



MAP TO THE STARS EDDIE

(groggy)

Oh, man... You didn't have to hit me, 

Snake. I can help you. 



Plissken shoves the barrel of his pistol up against Map To The 

Stars Eddie's temple. 



MAP TO THE STARS EDDIE

Bankrupt City. The Happy Kingdom.

(beat)

Snake, Cuervo's hooked up with Xi-Ping. He 

is primetime, man - Mister Bad News. The 

rest of the city's joining up with 'em.

(beat)

You're shit outta luck, Snake. 



Plissken reaches into a pocket, comes out with the large black 

clip, slips it on his 9mm pistol. 



PLISSKEN

Not yet. 



MAP TO THE STARS EDDIE

I could've helped you. We coulda made a 

deal with Cuervo. If you'd listen... 



Without looking, Plissken slams his elbow into Map To The Stars 

Eddie's jaw with a WHACK! He flops unconscious on the pavement... 



Cuervo Jones' caravan led by that huge Cadillac on monster wheels, 

moves away from the Forum toward an exit. Plissken moves after 

them, ducking behind the row of cars... 



FORUM EXIST 



The caravan picks up speed as it approaches the exit... 



Plissken appears behind an old truck, just as the Cadillac moves 

past him. He crouches on the balls of his feet, and as the rear of 

the Caddy drifts closer, he springs... 



And grabs on to the rear bumper. The monster wheels spin like 

huge, black scythes on either side of him. Plissken reaches under 

the Caddy, finds a purchase on the undercarriage, and swings under 

the Cadillac. He hangs dangling above the street by one hand as 

the caravan pulls out onto Manchester. With the other he raises 

his 9mm and aims it at the undercarriage, right about where the 

front seat should be... 



BLAM, BLAM, BLAM, BLAM! 



INT. CADILLAC - NIGHT 



The front seat explodes, bullets screaming upward through the 

leather seats, tearing and shredding fabric and flesh, killing the 

driver and Xi-Ping instantly! 



In the back seat sit Cuervo Jones and Utopia. The Caddy begins to 

swerve, the wheel spinning. Cuervo Jones lunges forward across the 

seat and grabs it. 



Under the Cadillac, Plissken continues to fire: BLAM, BLAM, BLAM, 

BLAM! 



The front seat disintegrates. Metal, leather, padding fly 

everywhere. Cuervo Jones ducks against the door, covering his face 

with one hand, still grasping the wheel with the other. 



KAWHUMP! 



The entire front seat and floor underneath it fall down out of the 

Cadillac and hit the street below. The bodies of the driver and X-

Ping flop under the monster wheels. 



Plissken swings over to the hole and pulls himself up into the 

opening that used to be the front seat. Cuervo Jones stares at him 

in total shock, but before he can speak... 



Plissken rips the prototype out of his hands! Then jumps into the 

back seat next to Utopia. Then grabs her and turns to the side 

door. Cuervo Jones releases the wheel for a moment, turns to grab 

Plissken... 



But Plissken opens the side door, kicks it wide, and with Utopia 

under his arm, slides across the seat... 



... and sails out of the Cadillac... 



CUERVO JONES

No! 



Plissken and Utopia fly through the air, and land with a thud on 

top of a Mescalito car as the Cadillac begins to swerve wildly. 

Cuervo Jones grabs the wheel, desperately tries to control the 

Caddy... but fails. The Cadillac careens off the street, slams 

into the palm tree, spins around and crashes into the remains of a 

hot dog stand. 



ON THE ROOF OF THE MESCALITO CAR 



Plissken and Utopia roll and tumble. He still has a hold of her, 

and she fights him tooth and nail... 



UTOPIA

Lemme go...! 



INSIDE THE MESCALITO CAR 



The driver swerves, hits the brakes... and the car hops the curb, 

slides along the sidewalk, burning rubber. 



PLISSKEN AND UTOPIA 



Are thrown forward. They tumble off the roof... across the hood... 

and land on the sidewalk in front of the car. They roll to a stop, 

as the car screeches to a stop, inches from their heads, as the 

caravan suddenly puts on its brakes. 



Screaming tires. Cars jackknifing, spinning in a massive traffic 

collision... 



Cuervo Jones emerges from the remains of the Cadillac. 



Plissken drags Utopia into the street, grabs the lid of a manhole 

in the street, pries it up... 



Mescalitos pour out of their vehicles, as Cuervo Jones charges 

into the street, pointing at Plissken... 



CUERVO JONES

Kill him, kill him...! 



Plissken lifts Utopia to her feel, hauls her over to the manhole 

opening, and dives inside... just as the Mescalitos open fire! The 

street around the manhole opening explodes with screaming hot 

lead... 



INT. SEWER TUNNEL - NIGHT 



Plissken and Utopia land in the half-filled storm drain. He gets 

to his feet, pulls her with him, and heads off sloshing through 

the water. The sound of gunfire echoes above them... 



EXT. MANCHESTER AVENUE 



Cuervo Jones and the Mescalitos charge the open manhole as Map To 

The Stars Eddie appears groggily shuffling up the street from the 

Forum... 



MAP TO THE STARS EDDIE

(grins to himself)

Good thinkin', Snake. 



He heads off down the street... 



INT. SEWER TUNNEL 



Plissken and Utopia race along through the water. He literally has 

to drag her with him. They turn a corner, go down another slimy 

drain away from the main tunnel... 



INT. UNDERGROUND PASSAGE - NIGHT 



The black belly of the sewer system. Plissken and Utopia move 

along, slow as they come to... 



THE SHEER, PITCH-BLACK DROP OFF 



One side of the passage, the same one we saw earlier on our 

journey with Pendejo Bob. 



Plissken spins Utopia around, pushes her backward toward the drop-

off, his eye burning into her... 



Her feet reach the very edge. 



Plissken holds her there. Utopia's face is a mask of sheer terror. 

She gulps air in staccato bursts... 



Beat. Beat. 



Plissken can't do it. He can't push her off. 



He releases her, backs up, looks at the prototype, then pulls one 

of his revolvers from its holster, cocks the hammer, aims... 



UTOPIA

My... father sent you... didn't he?

(beat)

He sent you to kill me... 



Plissken raises the pistol. She's dead in his sights. 



UTOPIA

Didn't he?

(begins to cry) 



But Plissken can't. He can't kill her. The toughest man on planet 

Earth can't kill this 17-year-old runaway. 



PLISSKEN

Shit. 



Plissken sags, clicks the hammer back, holsters the gun. He stares 

at her. 



PLISSKEN

Get out of here. 



Utopia wipes her eyes, confused, afraid. 



PLISSKEN

I said go! 



Slowly Utopia moves from the edge of the drop off, starts away 

down the tunnel, then stops, looks back at Plissken. She stares at 

the prototype in Plissken's hand... 



UTOPIA

Don't take it back. Don't give it to him. 

Please. Let me have it. 



Plissken glances at the prototype, then at her. 



PLISSKEN

What does this thing do? 



UTOPIA

(her eyes grow wide)

No! 



KABLAM! 



Plissken's shoulder explodes as a bullet tears through his flesh! 

He spins, drops the prototype... 



... as Map To The Stars Eddie emerges from the darkness of the 

sewer tunnel. He holds a gun in one hand, aims... 



KABLAM! 



He fires again, hits Plissken's leg. 



Plissken staggers backward toward the edge of the drop off, as Map 

To The Stars Eddie moves quickly forward... 



... and snatches the prototype from the wet floor. 



Plissken's gun hand is useless, numb from the shoulder wound. He 

slowly, painfully transfers the pistol to the other hand, tries to 

raise it... 



MAP TO THE STARS EDDIE

So long, Snake. 



Map To The Stars Eddie takes aim - a head shot ... 



Plissken spins, and dives off the edge... 



... down into the drop off... 



PLISSKEN'S BODY 



Airborne. Falling through black space. Down, down, down, straight 

to hell below, until we can't see him anymore as the darkness 

swallows him up... 



Map To The Stars Eddie steps to the ledge, looks down, as Cuervo 

Jones and his Mescalitos slog up through the tunnel. 



CUERVO JONES

Where is he? 



MAP TO THE STARS EDDIE

He jumped. Down there.

(beat)

He's dead, Cuervo. I did it. I killed 

Plissken. 



Cuervo Jones looks over the edge, at the silent blackness below. 

Then he turns to Map To The Stars Eddie. 



CUERVO JONES

Give it to me. 



MAP TO THE STARS EDDIE

You said I could be Vice-President, 

Cuervo. Your right-hand man. 



CUERVO JONES

(extends his hand)

Give it. 



MAP TO THE STARS EDDIE

Sure, Cuervo, but look here. I've done it 

all, man. I killed Plissken, I got your 

girl back, I got it all. Just for you, 

Cuervo. Just for you. 



Dead silence. Cuervo Jones stands with his hand extended. Finally 

Map To The Stars Eddie gives up, starts to hand Cuervo the 

prototype... 



... but slips on the wet floor... 



... and drops the prototype with a CLANK! 



CLOSE - PROTOTYPE 



A red light comes on, blinks urgently. 



PROTOTYPE VOICE

(tiny, filtered)

I am now armed and ready for use. Use 

extreme caution. The location of the 

effected blast area can only be determined 

by the orbital position of the SatStar 

Ring. 



Everyone in the tunnel is frozen, unable to move. Slowly Cuervo 

Jones picks up the prototype, stares at it, then breaks into a 

smile... 



CUERVO JONES

This is turning out to be my lucky day.

(stares coldly at Map To The 

Stars Eddie)

Get this asshole outta here. 



Several Mescalitos grab Map To The Stars Eddie, pull him back 

along the tunnel. 



MAP TO THE STARS EDDIE

Cuervo, wait. Please... 



Cuervo Jones turns to Utopia, who stands numbly staring off at the 

drop-off. He walks over to her, then slaps her hard, viciously, 

across the face. 



Utopia reacts to the stinging slap. 



UTOPIA

Cuervo...? 



CUERVO JONES

You're my woman, you understand? You don't 

let anybody take you away from me without 

a fight. 



UTOPIA

I tried... 



CUERVO JONES

(in her face)

Nobody leaves Cuervo Jones. Not unless you 

give your life. You fight till you're 

dead. Then I forgive you.

(screams)

Understand?

(shakes her)

Understand? 



UTOPIA

Yes... 



He shoves her down the tunnel... 



CUERVO JONES

Let's go. 



The others follow them... 



EXT. MANCHESTER AVENUE - NIGHT 



As Cuervo Jones and Utopia emerge from the manhole cover, hear the 

sound of hundreds of helicopters rise. 



CUERVO JONES

(looks up)

Look, baby. They're all mine. 



POV - THE SKY 



Above Manchester and the Forum is filled with helicopters. All 

models, all makes, mostly the older, discarded military Blood 

Phoenix 14-bladed attack choppers that scream through the 

blackness like scythe-slashing robot bugs. They are on their way 

southeast, toward Orange County. 



EXT. SKY VIEW OF L.A. BY NIGHT 



Looking out at L.A. from above Mount Lee, see the Hollywood Sign, 

and wave after wave of helicopters thundering across the city. 



ANGLE ON THE TWIN TOWERS OF CENTURY CITY 



They're like buck teeth, sheered off and crumbling, stuck up in to 

the sky. Chopper roar overhead. A group of vagrants cluster around 

a camp fire on the top floor of one of the towers. They're 

watching a futuristic big-spin lotto on a large screen TV. The 

sound of the choppers brings them to the edge of the building - 

the walls of the floors beneath have been torn away. Desk, 

furniture, rugs, everything hangs out over the empty space. 



EXT. FIREBASE SEVEN - NIGHT 



Pandemonium. Troops, vehicles, helicopters, everything is in 

urgent motion. A loudspeaker voice blares: 



POLICE VOICE (V.O.)

Full stage battle alert. All personnel to 

battle stations. 



INT. HALLWAY INTO COMMAND HQ - MAIN CONTROL ROOM - NIGHT 



Malloy, the President and Brazen charge down a hallway into 

Command HQ. The place is jumping. Full scramble alert. 



MALLOY

A sky full of enemy choppers on radar. 

Moving over the city to the southeast. 



A COM Officer rushes up to Malloy... 



COM OFFICER

Commander - massive vehicle and troop 

movement on the ground. All major streets 

leading to the southeast. 



PRESIDENT

What're they doing? 



Malloy looks at the President grimly. 



MALLOY

Getting ready to invade. 



PRESIDENT

(beat)

So where's Plissken?



DARKNESS 



Creaking. The WHOOSH of something swinging through the air... 



A huge blue eye opens. Looks around. 



DARKNESS 



Plissken's boot is hooked in a twisted wire mesh... 



DARKNESS 



And then Plissken swings like a pendulum, hanging from a long 

strand of wire mesh attached somewhere above in the blackness. 



Plissken's eye blinks. 



THE DARKNESS 



Begins to reveal details: slimy walls. Below, a black pit of hell. 

Wind gushing. 



And then a light stabs across the void... 



CLOSE - PLISSKEN 



... The light hits Plissken's good eye... 



The light is from inside the eye of Pendejo Bob. He stands on a 

small ledge, at the mouth of a cave leading into the howling pit. 



PENDEJO BOB

Hey, Snake. You okay?

(unhooks the lariat)

I heard gunfire down here...

(begins to swing the rope)

Never been down this far before...

(swings the rope in a huge 

arc)

Grab this. 



Pendejo Bob tosses the lariat. The noose flies across the pit, and 

Plissken grabs it with his good hand. 



PENDEJO BOB

Now hang on. 



Plissken wraps his good hand and arm in the noose, as Pendejo Bob 

jerks the line hard. Plissken is in mid-swing, and the rope 

jerking pulls him abruptly in the opposite direction... 



Plissken's boot slips out of the wire mesh... 



And Plissken falls like a brick, stops abruptly as the line 

catches, and swings against the side of the pit. He dangles with 

only his one good arm holding on to the rope. 



Pendejo Bob pulls the line upward, straining against Plissken's 

weight. Slowly Plissken rises, a tug at a time, hauled up the edge 

of the pit toward the cave above... 



... when suddenly he passes another opening, a storm drain below 

Pendejo Bob. He swings into the drain, grasps the side with his 

hand, and pulls himself in... 



Pendejo Bob stares down at his rope disappearing into the side of 

the pit. 



PENDEJO BOB

Hey, Snake...where are you? 



Plissken crawls into the slimy drain, pulls the rope off of him. 

Ahead in the darkness is the rushing of water. He turns on weak 

legs, back toward the pit behind him. Bleeding. Numb in one hand. 

His leg on fire. 



PLISSKEN

(yells)

I'm in another opening... Storm drain... 

There may be another way up to you... 



Plissken crawls along the drain. The sound of rushing water gets 

louder. 



He comes to the edge of the drain. Right below him is another 

drain filled with water rushing through it like a river. 



Plissken is stuck. He turns, in great pain, and starts back toward 

the pit... when suddenly everything starts shaking. Booming. It's 

a small earthquake, a pre-shock. 



SNAP! 



Suddenly the concrete bottom on which he stands gives way, cracks, 

disintegrates... 



And Plissken falls backward into the rushing water, and is pulled 

suddenly downstream into the drain, disappearing from sight... 



PENDEJO BOB 



Stands silently above, listening... 



PENDEJO BOB

Snake...

(no reply)

Snake! 



Booming. The whole pit shudders, shaking. Another earthquake. 

Pendejo Bob drops the rope, turns and dashes away down the 

vibrating storm drain... 



EXT. STORM DRAIN - WILSHIRE CANYON - NIGHT 



Black oil-slicked water rushes in the moonlight, out of a huge 

opening in what appears to be a canyon wall. 



CLOSE ON THE EDGE OF THE DRAIN 



As an arm shoots out, clutching the edges of the drain. 



PLISSKEN 



Emerges from the hole, slides out, tumbles down to a water-filled 

canyon bottom. He lies there for a moment, trying to focus his 

eye. Stabbing pain in his shoulder and leg. Finally he rises 

unsteadily to his feet, looks around, trying to get his bearings. 

He finds himself at the bottom of... 



THE WILSHIRE CANYON 



Straight down Wilshire Boulevard is an enormous canyon, a river 

bottom gouged out of concrete in the big earthquake. At least 30 

feet deep, it is a vast trough leading past skyscrapers and 

buildings above, off into the distance. 



Plissken warily glances at his watch: 1 hour 10 minutes to go. 



Suddenly Plissken is struck by a pair of headlights. Pipeline's 

dune buggy comes bumping along the canyon bottom, sloshing through 

water, pulling up next to Plissken. 



PIPELINE

Snake. Saw you at the game tonight. Great 

shot.

(stares at him)

You look like shit. 



Plissken hobbles over to the dune buggy as Pipeline gets out. 



PIPELINE

You feel those pre-shocks, Snake? 



Pipeline unties the various surfboards he has lashed to the rear 

of the buggy. He lifts one down and slings it under his arm. 



PIPELINE

Could be a big one comin' any minute 

now... 



PLISSKEN

Where's... Cuervo Jones...? 



PIPELINE

Long gone. You'll never catch up with him 

now, Snake. 



PLISSKEN

Where? 



PIPELINE

Anaheim. Headquarters for everything. The 

whole town's gonna be there. Things 

changin' fast around here, Snake. It's not 

the same as the old days, man. 



A thumping sound skyward. More choppers thunder over them, on 

their way southeast. Plissken grabs Pipeline with his good hand... 



PLISSKEN

Take me there... 



But he's too weak. His hand slides off. Plissken sinks to his 

knees. Pipeline stares at him. 



PIPELINE

You ain't doin' so good, Snake. You need 

help.

(bends down, helps Plissken 

to his feet)

You should talk to Hershe. She hates 

Cuervo. They used to be partners, but they 

split up. 



PLISSKEN

Who? 



PIPELINE

Hershe. She lives downtown with Mojo 

Dellasandro in the big boat. Down that 

way. 



Pipeline points down the canyon to the east. 



PIPELINE

She's connected with the Black Cowboys, 

and they don't take shit from nobody... 



Suddenly that booming, shuddering rumble begins. The canyon starts 

to shake. The water in the canyon floor sloshes wildly. 



PIPELINE

Yo', man. It's a big one. 



And the earthquake hits like a roaring sledgehammer. The walls of 

the canyon crack. Plissken and Pipeline are thrown to the ground. 



Skyscrapers above them on Wilshire rock and tremble in the quake. 

Pieces of the building sheer off, fall. A parking garage caves in. 



Thunder shakes the earth around Plissken and Pipeline. The canyon 

floor splits open. Water pours into the cracks. Huge boulder-sized 

chunks of concrete tumble down the canyon walls. 



And then suddenly it all stops. 



The booming subsides. The earth stops shaking. Plissken and 

Pipeline get to their feet, look around. The water around them 

continues to slosh about violently. 



PIPELINE

Tsunami, Snake. 



His eyes wide, a smile on his face, Pipeline hurries over to the 

dune buggy, grabs another surfboard from the back, hands it to 

Plissken. 



PIPELINE

Surf's up big time. 



Now there is another deep sound rising, coming from the west 

behind them: A bass roar that slowly climbs from the very bottom 

of the register upward, as if some massive wall of doom were on 

its way... 



Pipeline kneels, positions his surfboard in his hands. 



PIPELINE

Get ready, Snake. It's gonna be some kinda 

ride. 



Plissken looks behind him... 



POV - THE FRONT EDGE OF THE TSUNAMI 



Is blasting down the Wilshire Canyon, coming right for them. It is 

a 25-foot wall of ocean water, moving fast, bellowing like a 

thunderclap. 



Plissken sees he can't climb out of the canyon in time, moves over 

to Pipeline, kneels down... 



PIPELINE

Let the front edge pick you up. Don't get 

on your board till it peaks. 



Behind them, the tsunami slams along the canyon, coming right for 

them. 



PIPELINE

Don't lose it, man. You slip off your 

board and it's the Big Wipeout, you know 

what I mean? 



The roaring is so loud it's like being on the inside of a cannon 

barrel. The tsunami is 100 feet away... 75 feet... 50 feet... 25 

feet... It rolls up right behind them... 



PIPELINE

Hang on, Snake!

(yells)

YAAAAAAA!!!! 



THE FRONT EDGE 



Of the tsunami sweeps under them. Pipeline and Plissken push off 

from the canyon floor just as the water shovels them upward like a 

cow catcher on a train. The water sweeps them up until they 

disappear under the blackness... 



Until suddenly Pipeline pops up on top of the tsunami, riding on 

his surfboard, arms outstretched, feet braced. 



And then Plissken pops up beside him, surfing clumsily on top of 

the tsunami wave, kneeling on his surfboard. 



They blast down Wilshire Canyon at 80 miles an hour. Plissken is 

wobbly on the surfboard, but he manages to stay on top of the 

wave. Finally, he gets the hang of it, glances over at Pipeline, 

who grins from ear to ear. 



PIPELINE

Awesome, Snake. AWESOME, man! 



Plissken looks up ahead... 



HIS POV - MOVING THROUGH WILSHIRE CANYON 



Five feet from street level. An old van speeds along what's left 

of Wilshire Boulevard, right on the canyon's edge. It veers around 

debris in the street, changes lanes suddenly, hell bent for 

leather. 



Plissken and Pipeline move closer and closer to the van as the 

tsunami sweeps them along. 



Now they move alongside the van and Plissken stares over... 



CLOSER - THE VAN 



Behind the wheel is Map To The Stars Eddie, driving like a 

lunatic, his teeth bared and set, madder than shit. 



Plissken's eye widens, burns. 



PLISSKEN

(to Pipeline)

See you later. 



And suddenly Plissken shifts his weight, and the surfboard tips 

and slides sideways, across the surface of the tsunami all the way 

over to the edge, right next to the van. Map To The Stars Eddie 

glances to his left... 



HIS POV - PLISSKEN 



Is surfing the tsunami not 10 feet away from him. 



Map To The Stars Eddie stares in absolute horror. Plissken tips 

the board again, and slides another 5 feet closer... 



AS MAP TO THE STARS EDDIE 



Jams the pedal, and the van screams forward... 



AS PLISSKEN 



Stands up and leaps from the surfboard... 



For a moment he is airborne, leaping across the gap to the van... 

and slams into the side of the van. He grabs on to the roof, hangs 

on with one hand, his body whipping against the rocking, bucking 

side. Map To The Stars Eddie starts swerving, trying to throw 

Plissken off. 



EXT. VAN - WILSHIRE BOULEVARD 



The van shoots back and forth across Wilshire, Plissken dangling 

inches from the tsunami-filled canyon. Plissken pulls himself up 

and crawls onto the roof... 



INSIDE THE VAN 



Map To The Stars Eddie pulls his gun, cocks it... 



When suddenly Plissken's hand snakes down from the roof, reaches 

in the driver's window, grabs his hair, and slams his forehead 

into the steering wheel with a THOCK! 



Map To The Stars Eddie goes out like a light. He slumps over in 

the seat... but his foot is stuck on the accelerator. 



Plissken grabs the wheel with his left hand, and manages to steer 

the van from the roof. The van lurches wildly, hits a chunk of 

concrete in the street, skids, fishtailing violently from the 

impact. It smashes against the curb, screeches and bumps along 

concrete. 



Map To The Stars Eddie's foot is bumped right off the accelerator, 

and the van slows to a wobbling, grinding stop. 



Plissken slowly climbs down from the roof, opens the driver's 

door, shoves Map To The Stars Eddie out of the way, and jumps in. 



INT. VAN - NIGHT 



Plissken pulls out into the street and speeds off down Wilshire. 

Map To The Stars Eddie starts to come around. 



Plissken grabs his gun, cocks it, puts the barrel up against Map 

To The Stars Eddie's temple just as he comes to. 



PLISSKEN

Listen up. I need directions. Downtown. 

Somebody named Hershe. 



MAP TO THE STARS EDDIE

Sure, Snake. No problem.

(groggy)

You gonna kill me? 



PLISSKEN

Later. 



MAP TO THE STARS EDDIE

I couldn't help it, Snake. I had to shoot 

you. Cuervo made me do it, I swear to God, 

man. 



PLISSKEN

Cease fire with the bullshit. 



MAP TO THE STARS EDDIE

Right. Keep goin' straight. Two blocks 

down, turn right. 



CLOSE ON A TV SCREEN 



Cuervo Jones' image fills the screen. He addresses the camera, 

holds the prototype in his hands. 



CUERVO JONES

Abandon your firebases by 0500 hours. Have 

the news media standing by for my 

coronation. I'm arriving in style. 



PULL BACK from the TV screen to reveal we are in... 



INT. MAIN CONTROL ROOM - COMMAND HQ - NIGHT 



Malloy, the President, Brazen, and the other Controllers and 

Police Personnel stare silently at their TV screens. 



BRAZEN

He must be bouncing the signal from one of 

our communications satellites. 



PRESIDENT

That means CableNet has already picked it 

up. This thing's going live all over the 

country. 



CUERVO JONES

(on the TV)

It's a brand new day comin' up this 

morning, and I'm just so proud to be 

leading the parade. See you soon, putos. 



SSSZZZ. The image blinks off into static. 



A grim silence. 



MALLOY

The prototype appears to be armed, Mr. 

President.

(the P