Ghost Platoon

GHOST PLATOON Written by Mike Colonna Log Line: Log Line: A disgraced Plastic Surgeon joins the Marine Corps. He becomes the lone survivor when his platoon FADE IN: IPHONE ALARM BUZZES INT: Westwood - Los Angeles - Morning DaVinci’s apartment kitchen, the dining room table there’s two empty wine glasses next to an expensive, almost empty bottle of Cabernet Sauvignon. The setting reflects the events of the previous night. As the camera moves through the hallway, we see a bra hanging from a door knob. A pair of, white shirt, silk blouse, ladies underwear, the camera then pans to the bed where Dr. Joseph DaVinci is spooning with his girlfriend in bed, the screen goes black and white. DaVinci rolls out of bed naked, lies on the floor face down, starts doing pushups. Kathy Lansing rolls out of bed and climbs on Joe DaVinci back, he continues doing pushups, grunting and groaning while lifting Kathy up and down. DaVinci hits the floor lies for a second, rolls over on his back and she is now facing him. They kiss while rubbing their bodies together. DaVinci in the bathroom getting ready, Kathy catches him while he’s facing the mirror in her t-shirt, wraps her arms around him and begins nibbling his ears. KATHY LANSING That was wonderful. Want another shot at it? JOSEPH DAVINCI Later baby, this is a big shot Hollywood star, I can’t be late. KATHY LANSING I’ll show you what a big Hollywood Star looks like, give me five minutes in bed. JOSEPH DAVINCI Honey, you’re too much. Towel drops, he turns and they embrace, DaVinci is in a hurry. DaVinci dressed in a white shirt with a tie, rushes through the kitchen, the toaster pops, he grabs a slice of bread, check to see if Kathy’s looking, he pops open a bottle of pills. He takes two uppers. She meets him at the front door, hugs and rubs his body with hers. JOSEPH DAVINCI (CONT’D) Later baby, I’ve got to perform a Miracle. DaVinci flies by the elevators, rushes down the stairs, to the underground garage. He boards puts on his helmet, boards his Harley, heads out of the parking structure onto Santa Monica Blvd. DaVinci turns right onto Wilshire Blvd. Enters the parking structure. Parks, takes the elevator to “The Plastic Surgery Center.” DaVinci dresses in a gown, mask, head cover, walks into the operating room. Betty Gaynor, famous movie star, in her 50’s is lying on her back surrounded by two nurses with face masks. She’s ready for her face lift. DaVinci, looks at the bright light overlooking the operating table, it’s blurry. DaVinci watches the anesthesiologist’s needle jabbing Betty Gaynor’s arm. She’s in a deep sleep. DaVinci looks down at Gaynor, everythings blurry. He begins to cut, something goes horribly wrong. Doctor DaVinci collapses and is helped to a wheel chair. The nurses are in a “panic” mode, his assistant is confused. What could go wrong, goes wrong. Kathy Lansing answers the phone KATHY LANSING Hello HOSPITAL OPERATOR Doctor Gallo is in the ER. Please come as soon possible’ KATHY DAVINCI I’ll be right there. Kathy rushes to her car, speeds off, going faster than the speed limit allows, she runs a red light and a large truck T-Bones her car on the passenger side. The car explodes. Kathy is in a hospital bed, life saving liquids are piped into her arms, her head is bandaged. Doctor Joe DaVinci arrives. Dazed he attends to Kathy. Her pulse is weak. He bends over to console her bruised and bandaged body. A load beep from the her monitor indicates she’s flat lining. DaVinci yells for help, nurses rush in, Kathy Lansing’s heart stops beating. EXT. LOS ANGELES - STATE COURT BUILDING - AFTERNOON BAILIFF This court will come to order. EXT: U.S. DISTRICT COURT/DOWNTOWN LOS ANGELES - DAY The melting pot of downtown L.A. Lawyers, judges, law enforcement personnel and business executives, homeless, mentally ill, felons, ex-felons; illegals mill around the downtown. DaVinci drives into the parking garage across from the Courthouse. He takes an elevator up to the third floor. Takes a deep breath not knowing what to expect.He enters the courtroom, takes a seat and waits his turn. His attorney is sitting inside the inner courtroom waiting to be called. Judge Michael Nott, fifties, courtly, enters from the chambers and takes the bench. DOCTOR Joe DaVinci is standing behind the defense table. He stands with his attorney. BAILIFF The State of California Medical Board versus Doctor Joseph DaVinci. All rise. The United States District Court for the Central District of California, is now in session. All persons having business before the court, shall be heard. Please be seated. Everyone settle, including the Judge. The judge flashes a polite smile. NOTT Ladies and gentlemen, thank you for being on time this morning. We will begin our trial today with opening statements from attorneys. DaVinci, and his insurance company representative have pre-determined damages but a ruling on Gallo’s medical license has not been part of the settlement. NOTT Will Doctor DaVinci please stand before the court. DaVinci presents himself before the judge. NOTT I understand there are extenuating circumstances surround your case. I was sorry you lost your wife, but I have a verdict to grant the plaintiffs the amount you have approved through your attorney. A substantial amount I might add. I am also notifying you that your license will be suspended for a period of 20 years. At that time the court will consider reinstatement based on your behavior during this 20 year period. DaVinci Loses his license at a Board of Inquiry. DaVinci is devastated but accepts his punishment. Lost without purpose, DaVinci spends hours walking dreaming what could have been. A few days later he walks by a Marine Corps recruiting office. And enters. Walks into an Army recruiting center and joins the Medical Corps. Becomes am intelligence officer. One of the first people I ran into was Lt. General James Overman. He was the commander of the special strike unit that patrolled the roads from our camp to one of the hostile areas just miles from our base. OVERMAN Glad to meet you Lt. DaVinci. DAVINCI Yes sir. OVERMAN Welcome aboard. The General pulls DaVinci aside privately. OVERMAN I’ve read about all of your drama. You’ve got a great reputation. OVERMAN Thank you for the compliment General. DaVinci got a quick handshake from everyone around the General. Weeks later, DaVinci was assigned a small platoon of six men to patrol a small town near the base. These were regular daily missions. His convoy, somewhere in Afghanistan, drives over a huge roadside bomb hurling his Humvee 20 feet in the air. DaVinci attends to the wounded and is awarded a medal of valor. DaVinci is discharged, looks for work in LA but is turned down at every interview. With no future, DaVinci becomes a resident of skid row. A BRIGHT STARRY NIGHT - FULL MOON Billions of stars glitter behind a full moon. We pull back off the sky, and hear hustle and bustle under a street bridge in LA’s huge freight train yard. PANNING DOWN A lone soul, in a tent, nestled under a blanket beside 10 homeless people, snoring, arms folded behind his head with his eyes gazing into the sky. His thoughts are on times gone by. FLASHBACK INT. Beverly Hills - Operating room - Morning Three nurses prepare a female patient for plastic surgery. A face lift. Dr. DaVinci enters, seems disoriented, has popped pills to give him more energy. A famous movie star lies on an operating table waiting for Dr. DaVinci to do his magic face lift. DaVinci Loses his license at a Board of Inquiry. Walks into an Army recruiting center and joins the Medical Corps. Becomes am intelligence officer. One of the first people I ran into was Lt. General James Overman. He was the commander of the special strike unit that patrolled the roads from our camp to one of the hostile areas just miles from our base. OVERMAN Glad to meet you Lt. DaVinci. DAVINCI Yes sir. OVERMAN Welcome aboard. The General pulls DaVinci aside privately. OVERMAN I’ve read about all of your drama. You’ve got a great reputation. OVERMAN Thank you for the compliment General. All assignments were made with the General’s knowledge. It was called the human intelligence tent. DaVinci got a quick handshake from everyone around the General. Weeks later, DaVinci was assigned a small platoon of six men to patrol a small town near the base. These were regular daily missions. His convoy, somewhere in Iraq, drives over a huge roadside bomb hurling his Humvee 20 feet in the air. DaVinci attends to the wounded and is awarded a medal of valor. DaVinci is discharged, looks for work in LA but is turned down at every interview. With no future, DaVinci becomes a resident of skid row. EXT. Sixth Street Bridge - Midnight - Los Angeles Gallo hears an explosion on the bridge. Startled he rushes to the top of the bridge and sees a police car that appears to have hit some type of land mine. A lone female officer is dazed and trapped in the front seat. DaVinci jerks open the passenger side and pulls the police officer out of the car. DaVinci turns on her vest radio and shouts for help. DAVINCI Officer Down. Does anyone copy? 911 OPERATOR Sir, please state your name and where your calling from? DAVINCI I’m here with a downed Police Officer, we’re at the 6th Street bridge, Hurry! 911 OPERATOR Sir, I need you’re name, please! DAVINCI You’re wasting time. Get someone down here ASAP. The officer begins to regain consciousness. Police cars are racing toward the accident. Sirens blaring. The officer reaches into her shirt pocket and gives DaVinci her card. She pushes DaVinci away and signals him to leave before her fellow officers arrive. DaVinci moves quickly from the scene, as he does he notices a the moon catch some type of glass shinning from a six story building nearby. EXT. SIX STORY BUILDING - LATE NIGHT - LOS ANGELES DaVinci enters the slum looking building and rushes up to the fourth story where he detected the flash of moonlight off of glass. He quietly opens the door. A disposable cell phone, a cigarette butt are on the floor next to the window. The apartment is vacant. DaVinci pulls the officers card from his pocket. Two men are fast footing it down the back fire escape, they get to the alley, a black van moves quickly through the alley, stops, the side door opens. The two middle eastern looking men jump in and are immediately shot by the driver of the van. INT: Los Angeles - Hospital- Morning DaVinci walks through the hallway passes an armed police officer guarding the injured officer. DaVinci’s nodded in. Bruised but not in serious condition, the female officer gives DaVinci a slight smile of approval. EXT: SIX STORY BUILDING - MORNING - LOS ANGELES DaVinci walks the alley and picks up a spent shell. A nervous young homeless couple appear at the end of the alley. They have information. A license number, description of the van, a blurred description of the driver. DaVinci is returns home under the bridge. His confidant is Jack Corker, an 85 year old ex Navy Seal during the Korean War. DaVinci shares his information with Jack. EXT. PHONE BOOTH ABOVE BRIDGE - AFTERNOON. DaVinci dials officer in hospital bedroom. She answers. MONICA GOMEZ Who is this? DAVINCI Hope your feeling better. I’m the guy who found you on the bridge. MONICA GOMEZ I owe you my life, you and the others that helped me, I can’t thank you enough. DAVINCI I would visit you but I’m sure you have a 24 hour guard at your door. MONICA GOMEZ When I’m out of here, we have to meet. DAVINCI Fine with me. Weeks later. WATCH CAPTAIN Officer Gomez, the Captain wants to have a few words with you. Officer Gomezenters the Captain’s office. CAPTAIN MORRIS Glad you’re feeling better, that was quite a death defying event you went through. The reason why you’re here? I want you to head a task force to infiltrate two East L.A. Drug gangs. It won’t be easy but I will supply you with all the tools you need. Interested? MONICA GOMEZ I’m in Captain. Officer Gomez visits the Sixth Street Bridge location where she was rescued by DaVinci. She walks to the railing, looks down, sees a homeless encampment. Walks down to the encampment and observe more than 10 homeless men and women laying back on pillows and beach chairs. One of the tents seems off the beaten path, as she walks to the enclosure, a homeless man in his mid 30’s exits. MONICA GOMEZ Maybe you could help me. I’m looking for a man who rescued me about one month ago after an accident above this bridge. DAVINCI I guess you’re looking for me. MONICA GOMEZ Well then, we have a lot to talk about. Let’s meet tomorrow at the Echo Park Avenue Concession area. Need a ride? DAVINCI No, I’ll see you there 2pm. MONICA GOMEZ 2pm it is. EXT: AERIAL OF ECHO PARK, AFTERNOON 2PM Aerial of Echo Park lagoon, small concession canoe’s with families, couples enjoying paddling around the small lake. Officer Gomez dressed in civilian clothes, dolled up waiting for DaVinci sitting on a park bench overlooking the water. A mid-twenties male is sitting on a chair singing songs working for tips nearby. DaVinci approaches Gomez and sits next to her on the bench. MONICA GOMEZ Well, Well, we finally meet face to face. DAVINCI My pleasure, officer. MONICA GOMEZ My friends call me Lattie. Short for LaTisha. DAVINCI Glad to meet you Officer Gomez, again. Under different circumstances. MONICA GOMEZ I guess you could say that. Actually you saved my life. How did you get there so fast? DAVINCI The explosion woke me out of a dead sleep, good thing I was close by. MONICA GOMEZ If I recall, you pulled me out of the patrol car, I’m not sure if I was seeing things, but you looked like you had help. DAVINCI You were imagining things. You looked dazed. MONICA GOMEZ No I’m serious there was a lot of commotion, voices, fading in and out, invisible figures that faded in and out, moving quickly and methodically. DAVINCI Well it’s a long story Detective. MONICA GOMEZ Please call me Monica. DAVINCI Ok, Monica, I spent three years in the Middle East, lot’s of issues I don’t want to talk about, everyone in my platoon was killed by a roadside bomb. I had a serious brain injury, when I came to in the hospital, I was surrounded by what I thought was a dream, or hallucination, shit, I don’t know what to call it, but the guys in my platoon surrounded my hospital bed, they follow me everywhere, I don’t know, sounds crazy but it’s as if they never died. MONICA GOMEZ Interesting. Maybe they were the figures I saw, helping you after my car exploded. DAVINCI Who knows? DaVinci focuses in on the guitar player who has a waist high cast on his right side. He has two tip jars, one on each side of his chair. Planted next to the tip jar on the right is a small shopping bag, as people walk by they would dump a few coins into the right tip jar. Some young teenagers, strolled by, listened, then put dollar bills in the tip jar on the left. After they deposited their tip, the stuck their hand in the paper bag, and pulled out what seemed to be a small baggie. DAVINCI Detective, I mean Monica, check out that guitar player, he’s got two tip jars, looks like one’s for public, the other for druggies. After he finished dealing he hobbled off to a waiting late model Chevy Van. I got the license number if you’re interested and a picture of the van. MONICA GOMEZ Very astute of you to notice, you have an eye for undercover work. We’ve been watching him for months, he’s connected with a small time East L.A. drug gang, we’ve got eyes on him, he doesn’t know it, but his drug selling days will be over soon. DAVINCI What’s your plan. MONICA GOMEZ My plan is to recruit you to be my undercover connection with the street gangs. Are you interested. DAVINCI I don’t know, I’m a disbarred plastic surgeon, an officer that lost his platoon in Afghanistan, a bum living under an L.A. Bridge, what good would I be? MONICA GOMEZ (O.S.) Don’t be so hard on yourself Doctor. I can use you, you’ll be paid well, enough to buy some decent clothes, and maybe a nice little place you can call home. DAVINCI Let me think about this. I’ll need some time. MONICA GOMEZ Don’t wait too long, the streets are filling up with drug dealers, I need your help. DaVinci leaves the bench walks past the guitar player, and smiles. The guitar player reaches into the right jar to pick out the cash, DaVinci observes a three leaf black clover with 6’s in each leaf and the letters AB inscribed below the clover. DaVinci, nonchalantly walks to a bench close-by, so he can observe the guitar playing drug dealer. The drug dealer picks up his gear and hobbles off the a waiting white van. DaVinci snaps a cell phone picture capturing the van and a license plate. He walks to the Laguna Avenue bus stop where he boards a bus and heads back to his “palace” underneath the 6th street bridge. DaVinci realizes his brain has special powers, communicating with his Ghost Platoon after they were killed in a horrific accident in the Middle East, they were considered heroes. Clean cut, raucous, superhumans that were all too human. Misunderstood by their actions but loyal to DaVinci their Platoon Commander. Later DaVinci calls officer Officer Gomez. DAVINCI We’re in, I mean I’m in. She nods with a puzzling grin. Later that night the drug dealer is settled in his apartment next to a window. A suspicious black four door sedan is driving by slowly. He begins to panic, grabs his cash calls 911 and frantically reports the scene and that he fears for his life. DRUG DEALER 911 Please help me, 911 OPERATOR Sir was is you name and where are you calling from? DRUG DEALER Hurry, they’re coming after me. 911 OPERATOR Who’s coming after you. I see where your at address near Echo Park. DRUG DEALER They’re getting out of their car, and coming into my building. 911 OPERATOR Sir we’re sending a unit out to your address. DRUG DEALER Hurry! The drug dealer, exits, walks down the second floor hallway looking for the fire escape. Pushes the handle, jumps down to the landing on the fire escape, he’s in pain, begins hobbling down to the first floor, then onto the street. The passengers, rival gang members, enter the building with drawn guns, they climb the stairs, first floor, second floor, move down the hall, look for the drug dealers apartment, Apartment 211, bust open the door, check the rooms, nobody, one of the rival gang members looks out the window. He sees a man trying to run with a cast on is right leg. He flags his fellow gang members, they see the guitar drug dealer hobbling, then ducking into an alley. They run down the stairs, the chase begins, the guitar player is at the end of the alley, sees an eight foot fence, he gasps, muttering expletives, starts climbing up the fence, there’s barbed wire at the top, if he doesn’t make it, he’s dead meat. Guitar playing drug dealer climbs to the top of the fence, tries to get over, he’s hears voices shouting, we’ll kill you “cavarone.” His cast get caught at the top of the fence, he pulls as hard as he can, nothing, muttering to himself, maybe I can crawl down the other side, his cast is caught in the barbed wire, he’s hanging upside down. Two squad cars come down the alley, the gang members flee, the guitar playing drug dealer is hanging. OFFICER ONE Ok buddy, we just saved your life. PACO Get me otta here man. Can’t you see I’m in extreme pain. OFFICER ONE What’s your name? (As they untangle Paco from the fence) PACO What’s it to you. Just get me out of here. Paco is now laying on the ground. Moaning. OFFICER ONE We’re taking you to a hospital. We here ambulance sirens approaching. PACO No man just get me up. I can make it home. Officer Two is on the two way with the Captain. OFFICER TWO Norm, the Captain says we have to let this character go. OFFICER ONE If that’s what they want, we have no choice. Let’s turn him lose. Weeks later. Two gangbangers are in a dark late model car in a residential neighborhood in East L.A. Smoking weed. DRIVER Hey man, this is good stuff. He hands the weed to his passenger. PASSENGER We should get back to the warehouse, the boss is waiting. DRIVER C’mon man he can wait. (inhales) A dark pickup truck drives up the block slowly. As he approaches the gangbangers, the passenger pulls out an AK 47, they come up to the car, the passenger in the car waves to the driver in the dark car, pulls out his AK -47 and begins spraying the dark car, bullets are flying, windows are breaking, the gangbangers are ducking, the gangbangers are shot dead. Collateral damage to homes and anyone standing in the line of fire are hit by the shooter. The burn rubber and race down the residential street. Neighbors come out of their homes to see the carnage. It was a Saturday afternoon and Angelina Perez was sitting on her front lawn trying to lure her cat out from the front porch. She rose to her feet from a crouched position and a black pickup truck slowly drives by spraying passengers in the car parked in front of the Perez home. The front porch and windows in front of the house are blown out. The ten year old was in the line of fire, she would be the latest victim of a drive-by in the L.A’s, Bario. The victim of a stray bullet, her little body held the promise of an Olympic medal someday. All of this gone in a flash, a crumpled lifeless body, gone from life to limp. Oscar Perez heard the gunfire, a familiar sound, and charged out of his house to see his child who lay motionless. She was gone and he knew that his life no longer had any meaning. When the police arrived they attempted to console him. OFFICER ONE Mr. Perez, we can’t tell you how sorry we are. Did you see anything that could help us find these murderers? Oscar Perez is holding his daughter in his arms. Officer one is trying to calm him down. OSCAR PEREZ These sons of bitches, assholes, murderers, will pay for this. Why would God let this happen, she was a beautiful little girl, her future was bright. (Looking up to the sky.)There is no God, why would he let this happen. (Drowning his tears on Angelina’s limp body.) Two plainclothes officer approach Oscar and asked if the could speak to him. The were assigned to the gang squad, Detective Gomez was in radio contact with them. DETECTIVE DIAZ Oscar, this isn’t the time and place we are very sorry, whatever your plans for your daughter, were available to help. Let’s talk tomorrow. DETECTIVE BALLANTE We’re going to comb the area for anyone that either saw something or had their front porch camera’s recording this assassination. The Detectives arrive to the station hours later, their flagged into a room with Detective Gomez. DETECTIVE DIAZ That little girl had no chance. Her father’s a mess. He’s ready to go to war to avenge his daughters murder. DETECTIVE BALLANTE We’re checking the neighborhood to see if anyone has this on camera. DETECTIVE DIAZ Officer Degner just messaged me that one of the neighbors has a video of the pickup truck that the two gangsters were in. Detective Gomez’s mind is the brainstorming mode. She calls DaVinci, and fills him in. OSCAR PEREZ This is bullshit. I want revenge, we’ve been under this cloud for years, ignoring the killings. Marcella Perez is crying in the kitchen. MARCELLA Oscar, our little baby is dead. Watch what you say, you could be next. OSCAR PEREZ Marcella, we have to take a stand. I promise you I will not take matters into my own hands. MARCELLA We have to move out of this area, Oscar, I’ve had enough of the killings, the rapes, the drug dealing. Oscar is sobbing on the couch, nodding his approval. Oscar didn’t know that he was about to become a part of something that would profoundly affect his community. On an evening after the funeral, Oscar answered the phone and agreed to meet with the detectives after midnight. OSCAR PEREZ Hello, who is this? DETECTIVE ONE Oscar, this is Detective Diego, my partner and I want to pick you up and meet some people that could help in finding the people that murdered your daughter. OSCAR PEREZ It’s after midnight, what will I tell my wife. DETECTIVE ONE Tell her the LAPD has got some leads on your daughters murder, and they want to talk to me right now. MARCELLA I’m coming with you. OSCAR PEREZ They want to see me alone. I can handle it Marcella, trust me. It’s approaching midnight Oscar is waiting patiently looking out his front window waiting for the officers. A car arrives, the two detectives flash their lights on and off, Oscar opens the passenger door. Detective One is driving, the other detective is in the back seat. DETECTIVE ONE Oscar we know you’re hurting. And we hear that you want revenge. OSCAR PEREZ I’m moving out of this hell hole. As they drive off. Oscar looks back and sees Marcella looking out of their living room window. DETECTIVE ONE We need to talk to you in a safe place. The meeting place is in a warehouse in the rear of a junkyard filled with dismantled cars, not to far from the Sixth Street Bridge. The two detectives escort Oscar into the warehouse. Detectives Carlos Diaz, and Eddie Ballante are making sure nobody’s eyes are on their meeting. Oscar is looking around, what’s next? The light was poor but Oscar could see men, some faintly, seated at a long table. DETECTIVE DIAZ Oscar, not sure if you’ve haven't met our lead Detective Gomez. Next to her is a neighbor that lives six houses away. Oscar focuses and recognizes Johnny Solario. OSCAR PEREZ I’m surprised to see you here Johnny. I think the last time we saw each other was at your son Antonio funeral. Antonio was one of LA’s finest, a rookie cop, murdered by gang members. EXT. L.A. Downtown apartment district DaVinci is sleeping on a park bench activity in an apartment building, he sees a black van making a left turn toward the two story apartment building. Van stops, three middle east looking men open the back doors and begin removing file size cardboard boxes and entering the building. Two gang members, their early thirties with backpacks enter the building. DaVinci is wired, he describes the van, the activity, a few minutes later a SWAT team has the building surrounded, they rush the entry, get to the apartment and all hell breaks lose. Smoke bombs, explosions, bodies flying out of windows, suicide vests, the whole nine yards. Waist hi cast. Parked RV EXT. LA Freight Yard - Sunset Aerial of the vast train yard, panning down to two freight trains passing, in opposite directions,, engines roar. a closer look, Gallo is standing between the trains as they pass, his image turns into a shadow as it dissolves into the Sunset. Jonah stumbles into the clearing to find himself face to face with Max. Max immediately strikes the side of Jonah’s neck with all his fingers held straight and tightly together. Jonah responds by using the heel of his palm to strike up under Max’s nose. He throws the whole weight of his body into the move causing Max to cry out in pain as his nasal bones CRACK. But Max rallies and brings up his knee and swiftly turns his hip over, snapping his right leg outwards from the knee to deliver a strike to Jonah’s head with the ball of his foot… Macro:• “The two men tiring now”• “Bourne has the upper hand now. Desh’s reaction’s slowing”• “No longer the match he was”• “He’s finished. Bourne’s won” Micro:• “Desh grabbing for the bag. The pills. Bourne kicking them away”• “Bourne drags him to the ground”• “Desh — shivering — convulsing”• “In the struggle, Bourne strangles Desh” camera shots:• Shot #1: A wide-angle as the four SEALs make their way to the side of the ambush• Shot #2: A reverse angle on the Taliban• Shot #3: A closeup on Axe getting hit in the shoulder 1. Two people fight without waking or disturbing a third person. 2. Someone uses an object that isn’t usually considered to be dangerous as an effective weapon. 3. It’s impossible to tell the real opponents from the ones who are illusions or holograms. 4. People fight in zero gravity. 5. People fight underwater. 6. People fight in a building that’s on fire 7. Two people fight, and an unlikely bystander saves our main character. 8. Two people fight, but when a third person attacks our main character, his other opponent saves him. 9. Fortunately, his blood is also a weapon. 10. One of the fighters is drugged or drunk. 11. Someone’s trying not to hurt the person who’s attacking him. 12. Someone finds out that she’s fighting the person she meant to join forces with or save. 13. Someone fights while wearing something that makes them appear the opposite of tough or intimidating. 14. They fight naked. 15. They fight in Times Square on New Year’s Eve. 16. A protester and counter protester fight. 17. Someone shoves his opponent into a body of water, and then rescues him when it’s apparent he’ll drown. 18. Someone gets help from an animal. 19. A friend, co-worker, or ally suddenly attacks someone. 20. One person dumps a gallon of something over the other person’s head. 21. One person chokes the other with a computer cord. 22. One person chokes the other with a string of Christmas lights. 23. Someone defends herself from an attacker while driving at top speed. 24. They fight in a hospital, which makes it easy for the main character to patch himself up afterward. 25. Bullying the bartender or server was a mistake. 26. She knocks out two men with one move. 27. They fight in a locked closet. 28. He celebrates his victory too early. 29. Someone leaps from a considerable height to land on an opponent 30. Someone breaks the rules of the duel. 31. She accidentally wounds the person trying to stop the fight. 32. He accidentally wounds a bystander. 33. Someone was only pretending to be knocked out. 34. Her weapon gets stuck. 35. Priceless objects or valuable property gets damaged inthe brawl. 36. Someone uses a bed sheet in the struggle 37. The fight is a ruse to distract people from what’s really going on 3 Someone repeatedly tries to avoid the fight to no avail. 39. Someone takes refuge in a disgusting place. 40. He finds himself battling a creature he didn’t believe existed. 41. They fight on slick ice. 42. He fights three challengers in succession. 43. Her glasses get destroyed and she can barely see. 44. He steals his opponent’s car, not realizing his allies rigged it with an explosive. 45. Someone’s ridiculous move or antic catches an opponent off guard. 46. Someone loses an opponent in the crowd and then finds her again. 47. A garden tool becomes a deadly weapon. 48. Someone hurls a shopping cart through the air. 49. Someone gets bashed with a crown or tiara. 50. He accidentally kills his opponent. Setup: This is between two guys, one is named Soren, one of the two main characters in my book "A Scholar's Journey: The Divine Tempest". He is purely a hand to hand fighter. The other is Soka, an assassin who uses a long sword. I hope you enjoy it. To get you in the mood: Listen to “Trollhammaren” by Finntroll Soka and Soren faced off on the wooden dance floor of the bar. The area was wide enough for the two of them to fight and not hurt others. Soka threw off his dark cloak and revealed a man clothed in a black tunic and long tight fitting tan pants, bound together with a rope at his waste. His face was scrunched up in anger. He slowly drew a long sword from his belt slowly, the blade made a hissing whisper as it was removed from the sheathe. All the while, Soka was holding Soren firmly in his gaze. Soren was wearing a red sleeveless shirt and loose fitting black pants. On either hand he had sturdy metal gauntlets. Soren bent down and stretched his back. He turned his neck from left to right and popping it with a series of clicks in rapid succession. Then, he proceeded to do the same with the rest of his body as he loosened up the rest of his body. “Don’t hold back or I am going to break you.” Soka snarled at Soren. Soren shrugged his shoulders, smiled, and slowly brought one foot behind his back. He put his weight on it and brought an open palm up, “Wait.” he said and put his hand up to say “stop”. Soka turned his head in curiosity. There was a band of players to Soren’s right and they had an array of instruments. The jaunty toons that brought the bar to life came out of their instruments. They had everything from woodwinds, to percussion, to string instruments in their possession and were quick skilled with them. Soren looked over at a band of players. He reached into his pants, pulled out a coin purse, and tossed it to them. “Play something I can tap my foot to.” He said with a winning smile. The band leader grabbed the purse out of the air, “One two...” he tapped off, then his band began playing a quick, pumping melody. Soren turned his attention back to the fight, “Now, where were we?” and with a quick flick of his hand, as if to say. “Come on.” Towards Soka, the fight was on. Soka rushed at the Soren. He dipped and weaved right as he was about to reach him and slashed downwards with the sword. Soren parried with one of his gauntlets and the blade clashed against the metal strapped to Soren’s arms with a shriek that sent sparks flying into the air. The swordsman was quick and uppercut slashed at the hand to hand warrior, attempting to catch Soren from stem all the way to stern. Soren sidestepped to the right just enough and the blade passed a hairs breath from his face. Quickly, before Soka could respond with a follow-up, Soren swiftly punched Soka in the solar plexus, knocking the wind out of the swordsman, and stunning him for a brief moment. The fight had taken Soren and Soka dangerously close to the edge of the arena and Soren had his back almost to the wall, despite his counter offensive. Soka was still open for more attacks though and Soren was not done. The quick blow had opened Soka up for another attack and Soren obliged him, putting a simple sidekick into the swordsman’s stomach, doubling him over. Soren followed that up with a quick rising uppercut. The crowd watching their fight let out a collective wince for the man. Taking the opening and using the environment to his advantage, back flipped onto the wall and pushed off towards Soka. The maneuver sent him front flipping towards Soka and just before he reached the swordsman, Soren flattened his body out, feet first. Instead of colliding with his adversary though, Soren opted to wrap his feet around Soka’s neck instead. The maneuver caught Soka off guard as he was recovering his wits, once again. Soren gave him an apologetic shrug, mid air. As if to say, “sorry” for what was going to come next. Soren used his momentum in a creative, instead of piling into his opponent; instead, he jerked to the right and swung around Soka. Then, when he was directly behind his opponent, Soren curled his legs into his body and angled his body towards the ground, changing the direction of his fall, putting the weight of his jump into a powerful throw. Soka was pulled off his feet violently and was thrown across the floor. He skidded and tumbled along the ground, uncontrolled. He was stopped by the other end of the dance floor, about five feet from the wall at the back of the dance floor.. A groan escaped his lips as the pain from the attack started setting in. Soka looked up and his eyes opened with surprise. As Soren was about to let go of Soka, during the throw, he had planted both hands on the ground. When he completed the attack, Soren sprang off his hands, throwing himself into a quick back spring, followed by another, another, and another to build momentum. When Soren was almost to Soka, Soren bounded off the ground and threw himself into a spin that would have made an expert gymnast jealous. Flattening out in the air like a sideways whirling tornado, so that his body was perpendicular with Soka’s as he neared the fallen swordsman, Soren’s spin got increasingly fast as he whipped his arms in and out, efficiently putting Soren into an almost uncontrollable rotation, arced at Soka. Just as Soren was about to reach Soka, the warrior threw one of his legs out, shin angled down. The entire force from the spin was pushed into his leg. The entire room was silent and it was as if time itself was holding its breath as Soren descended. Every person watching the fight was so enthralled, watching for the next move in the epic fight. Soka barely had time to breath, let alone dodge. But, it was a testament to his experience in battle that Soka kept the presence of mind to roll to the right in a desperate dodge, towards the wall of the dance floor. Just in time. Soren’s leg smashed into the ground, slamming into the ground with his knee and shin flat into the wood, crushing the floor into a torrent of splinters that rose up around him in the air. Seeing Soka dodge, most warriors would have allowed their opponent to stand up. That was the honorable thing to do. But, there are no rules in a bar fight. With the speed of a cat, while the splinters were still hanging mid air, Soren spun his body around and swept his foot towards his opponents head. The attack was so quick that Soka wasn’t hurt; it actually pushed the assassin a foot and a half into the air. Soka was curious, why had that not hurt? That was Soren’s intention. Swiftly, Soren rolled forward and halfway through, slid straight, so that he slid under Soka and stopped facing the rising assassin’s back. Soren cocked both arms back and double punched upwards into Soka’s back. Air whooshed from the swordsman’s lungs as he was pushed even higher into the air. The impact from the attack gave Soren a couple feet between him and Soka. Soren looked to his right and saw the lip of the dance floor, just an arms length away now, “This is going to hurt you, just as much as it is going to hurt me.” Soren promised Soka with a forewarned wince. Soren quickly performed a handspring to his feet, crouched just under Soka with his legs coiled underneath him. Soren exploded from the ground towards Soka's rising form. He grabbed the assassin around the waist, twisted mid air, and arched the two of them towards the wall, easily angling Soka head first, towards the raised lip of the dance floor. Soka collided with the raised floor and his head plowed through the woodwork with a painful cracking and crunching sound as the wood shattered under the enormous pressure from the attack. Soren let go and managed to aim himself towards the level below. He landed with ease and rolled to his feet. Then, Soren looked back at the assassin and a look of brief sadness flashed across his face. Soka's body hung vertical for the briefest moment, suspended in an ephemeral moment in time, then he collapsed, head still firmly stuck into the ground. The rest of him hit the ground in an uncomfortable position, but Soka was still breathing. "That had to hurt." Soren said to himself. He looked down at one of his hands and noticed one of his nails bleeding. "Dammit! I broke a nail!" He exclaimed in frustration. Jon snapped and swung at Bill. Full stop and break for effect. This draws attention to the initiation of action, gives the reader time to digest that this fight is happening. [Insert paragraph here - why did Jon snap?] a wild roundhouse punch that glanced harmlessly off the other man's shoulder [why? Is he drunk, is Bill's reaction fast?]. "Fucking sucker punch, huh?" said Bill, and drove his fist deep into Jon's gut, managing only to mash his knuckles on the oversized rodeo belt buckle his former friend was wearing [The last clsuse sounds slightly cumbersome and might be better off re-phrased. Additionally, there is a contradiction - the first part makes it seem like Jon is hurt, you say that he got punched deep in the gut, yet this is not actually true. Fight scenes in particular it is important to have absolute clarity what is happening]. How about: He drove for Jon's gut, and was rewarded only with the chink of the rodeo belt buckle as his knuckles connected with cold steel. Knew those things would come in handy. Bill reeled away in pain with a screech. NT. KICKBOXING RING The OPPONENT promptly walks into a blazing roundhouse kick that rattles his skull. He starts to fall until-- RAVEL'S other foot slams into his rib cage. Back and forth. Right leg, left leg. Lifting him with each kick and forcing him to remain standing. Ravel wraps his arms around his Opponent's head and holds him up as he thrusts wicked knee shots into the other fighter's ribs. Pain explodes in the Opponent's chest as his ribs snap. His breathing comes labored. His legs are Jell-O. He wobbles as Ravel punishes him with an uppercut that sends him into the ropes. He bounces between the ropes and Ravel's ruthless jabs. Ravel pursues his Opponent and fires foot and fist into him repeatedly, like he's exercising on a heavy bag rather than hitting a person. Cross. Roundhouse kick. Hook. Hook. Jab. Ravel shoots a back kick into his Opponent's midsection with so Also, if it helps to see examples, I have a scene in my screenplay which is a fight / chase scene. It's written like this (sorry for the formatting, but I don't feel like messing with pdf's, etc, you'll get the idea) EXT. CATHOLIC CATHEDRAL - NIGHT Pidge pulls up in the Bug, parks out front. He gets out, scurries up the walkway. Tries to open the door -- LOCKED! He BEATS on the door, yelling -- PIDGE John! John, you in there? Shit! He sees the old, blue church van, parked back in the street. Behind it, another van. Paranoia kicks in -- he looks around. MOMENTS LATER He approaches the van, tries to see inside -- blinded by the window’s tint. His face to the glass -- something, or better yet, someone’s inside -- beat -- SMASH! The window -- GONE! -- shards of glass like a swarm of gnats -- the grip of a .22 -- now a silencer, and -- Pidge knocks the gun away as -- POP! POP! -- bullets just miss his face and -- Pidge runs into -- CALVARY CEMETERY The van not far behind -- POP! POP! -- bullets cracking headstones. The driver’s side door opens -- the driver -- Hudak -- jumps out! And riding shotgun -- BUBLITZ Whataya... doing?! Shit! Bublitz jumps behind the wheel, pulls the door shut and is forced to back off as Hudak chases Pidge into the -- INT. MAUSOLEUM - CONTINUOUS Hudak shoots -- Pidge races through the long hallways, mixing in with WORKERS as they scatter, hiding behind corners. Hudak sees Pidge -- out the back door. EXT. MAUSOLEUM - CONTINUOUS Hudak now back on Pidge, the van catches up alongside them. INT/EXT. GANG’S VAN - MOVING - CONTINUOUS Bublitz swings the door open at Pidge. Dodging it, he grabs the door -- jumps -- finds his footing on the inside pocket of the door. Swinging back and forth -- body SLAMMING in the door, he GRUNTS, holding on -- SLAMS again -- the van does not stop -- As he swings in a third time, Pidge kicks Bublitz and swings back out -- kicks again, knocking Bublitz into shotgun seat. Pidge jumps in -- drives standing up as the van heads back through -- CALVARY CEMETERY destroying everything in its way. And what’s worse than heading towards -- A FUNERAL! The CROWD scatters as -- THE VAN plows through, Pidge and Bublitz trading punches. Pidge looks up and -- HIS POV: THE MAUSOLEUM -- growing closer -- NOW CLOSER! -- Pidge and Bublitz struggle, fighting in the speeding van. In a leap of faith and insanity -- -- Pidge relinquishes the driver’s seat, pins Bublitz’ head to the head rest, wraps the seatbelt around Bublitz’ neck, hooks it around the head rest and -- JUMPS... ...out the passenger’s side door -- BUBLITZ struggling to breathe -- struggling to move -- SEES -- HIS POV: THE MAUSOLEUM -- CLOSER AND -- BLACK. EXT. MAUSOLEUM SMASH! -- a serious impact -- windows BLOW OUT -- the makeshift noose SNAPS Bublitz’ neck -- Dead. Pidge covers his head, expecting an explosion, but instead -- POP! POP! -- bullets pierce the van. He takes cover around the driver’s side. Hudak arrives, gun trained on Pidge who knows he’s fucked as Bakhari and Brenner pull up in a second van. PIDGE Shit. A blue Thunderbird pulls up. Loopy gets out with a small, wooden club, similar to a mini baseball bat. He walks toward Pidge with no hesitation. PIDGE (CONT’D) Ah, shit, Lou. Shit. Come on, my time isn’t even up! THWAP! -- Pidge gets clubbed in the face -- THWAP! -- LOOPY I know you called him... THWAP! -- the back of the head -- he SCREAMS -- LOOPY (CONT’D) ...Tried to warn him. THWAP! -- in the eye with the end of the club -- serious force -- knocking Pidge back. LOOPY (CONT’D) You don’t fuck ME! THWAP! THWAP! THWAP! THWAP! Loopy beats and pounds him, mercilessly, like a steak with a meat tenderizer, with speed and force -- over and over -- imitating Pidge’s SCREAM as he laughs -- eyes wide open -- accenting with each hit, and when Pidge stops screaming -- BRENNER Come on, Lou, he’s dead. Brenner tries to grab Loopy’s arm to stop him. Loopy whacks Brenner in the face with the club. LOOPY GET THE FUCK OFF ME! He stares at Pidge. LOOPY (CONT’D) He ain’t dead. But that’s alright. I wanna see his face when we go get this other motherfucker. With one last THWAP! -- BLACK. A long beat.