"Price Of Love" - screenplay by Derek Paterson.

This is an excerpt (first 20 pages) of a completed screenplay.

"Price Of Love" - screenplay by Derek Paterson. FADE IN: EXT. MANGROVE SWAMP - DAY A dense overhead canopy throws the swamp into shadow. The water hereabouts runs thigh-deep. Insects click loudly, then go silent as a GROUP of men and women move into shot. They're led by PATRICK HOOLIHAN, late 20s, cropped fair hair, wearing bloodstained camouflage fatigues. He's as tired as the rest but his eyes never leave the surrounding trees and he clutches his M-16 tightly. His FIVE men are mercenaries like Hoolihan. Their shoulder patches say "13" -- an unlucky number for the enemy units they've fought and killed. The rest of the group are a mix of medics and nurses, a dozen in all. They've been through hell. Some of the nurses clutch infants to their chests, pitiful bundles of humanity, survivors of a local conflict that's spiraled out of control. Hoolihan looks back to check on his men. One or two grin at him even though they're damn tired. Hoolihan's gaze falls upon NURSE HAZEL MURPHY, early 20s. She clutches a baby protectively to her chest. The dirt and sweat that covers every inch of Murphy's body can't hide what lies beneath, although if anyone tried to tell her how attractive she is Murphy would laugh in their face. She senses Hoolihan's attention. Despite everything, she manages a smile. The group trudges on... until MACHINE GUN FIRE erupts from the trees! The mercs are targeted first, executed at almost point blank range. Nurses and medics scream as they're blasted to hell by men with no conscience. Hoolihan returns fire but bullets spin him around and cast him down into the mud. Murphy is knocked over by a falling nurse. The baby bundle flies from her arms and splashes into the water. Bullets churn the water crimson. Murphy scrambles desperately to reach the little body. She thrashes around but can't find it. It's gone. She grabs hold of the nurse who knocked her over. The nurse is dead, eyes open, multiple holes in her chest. Murphy lets the body go... A shadow falls over Murphy. She looks up, bewildered. Sunlight blinds her, she can't see who the shadow is. Hands reach down and grab her, pull her up. TAYLOR, 30s, a cold-eyed merc with curly black hair, grins at her. His camouflage pattern is different to that worn by Hoolihan's men, and his shoulder patch depicts a grinning skull and crossbones instead of the number "13." TAYLOR Well, what do you know? Looks like I struck lucky. Murphy blinks, not understanding... sees other mercs moving around, firing single shots into bodies that are probably dead already... and realizes what's happened. MURPHY Bastard! She flies at Taylor trying to claw his eyes out. He slaps her hard. Murphy splashes down again, stunned and helpless. One of Taylor's men takes aim at her head. TAYLOR No. Bring her with us. We might need a nurse. The merc slings his rifle over his shoulder and grabs Murphy, pulls her up. She struggles but he's way too strong for her. Taylor looks around at the devastation he's caused, then marches out of there. His men follow him, bringing Murphy along. They disappear into the trees. A beat. Insects swarm, searching for a feast. Hoolihan groans and turns over onto his back. He's been shot full of holes but by some miracle he's still alive. He pulls himself toward the nearest semi-dry land. Manages to drag most of himself out of the water. He lies there with his eyes closed. Maybe he's going to make it... then again, maybe not. FADE OUT: Black screen. A beat. FADE IN: EXT. BORDER TOWN - DAY Baking in the hot afternoon sun. EXT JAILHOUSE - DAY A jeep pulls up in front of the jailhouse. The engine is turned off. After a moment the DRIVER climbs out, his back to us. He looks up and down the street, his identity obscured by his cowboy hat and sunglasses. He climbs the step and enters the jailhouse. INT. JAILHOUSE - DAY The DESK SERGEANT looks up suspiciously as the Driver enters and walks up to the desk. The Driver takes off his sunglasses. It's Hoolihan, very much alive. HOOLIHAN You got a prisoner here, name of Bergan. DESK SERGEANT Drunk and disorderly. Destroyed property. Resisted arrest. Not the first time, either. Six months if he's lucky. Two years if he's unlucky. HOOLIHAN How much to make it go away? DESK SERGEANT He insulted the Alcanté's daughter. And then the Alcanté's wife. And then the Alcanté himself. HOOLIHAN How much to make them go away? DESK SERGEANT The judge is the Alcanté's brother. Nothing can make this go away. As much as I would like to help you, your friend is staying here until the judge summons him to answer to the charges. HOOLIHAN When will that be? DESK SERGEANT Sometime next month, or perhaps the month after. I am sorry. The Desk Sergeant grins. He's not sorry at all. HOOLIHAN Well, thanks for letting me know. DESK SERGEANT It is my pleasure. Hoolihan turns and exits. EXT. JAILHOUSE - DAY Hoolihan stands for a moment squinting up and down the street. He puts on his sunglasses. He goes to the jeep and lifts a blanket, revealing a pump action shotgun. He picks up the shotgun and goes back inside. INT. JAILHOUSE - DAY The Desk Sergeant looks up. Hoolihan points the shotgun at his heart. The Desk Sergeant slowly opens his holster, takes out his pistol and lays it on the desk. Then he gets up and uses a keyring to open a door that leads into... INT. CELL BLOCK - DAY A row of barred cells, some occupied by locals sleeping off the night before. In one cell, NICK BERGAN, 30s, asleep on his cot and looking pretty rough, like maybe someone's worked him over. Hoolihan and the Desk Sergeant enter. Hoolihan wrinkles his nose. HOOLIHAN Don't you guys ever open a window? DESK SERGEANT For what reason? The Desk Sergeant unlocks Bergan's cell door and opens it. HOOLIHAN Sergeant Bergan. Front and center. Bergan moans and slowly comes out of it. BERGAN What the hell...? He sits up. Blinks owlishly. Looks at the Desk Sergeant, then at Hoolihan. Wondering which is which. HOOLIHAN You gonna just sit there all day? I got the meter running. BERGAN Go away. The Desk Sergeant gives Hoolihan a sympathetic look. HOOLIHAN Would you be so kind? The Desk Sergeant enters the cell, grabs Bergan and pulls him to his feet. Bergan swings at him but the wild punch misses. The Desk Sergeant pushes him out of the cell. Bergan stumbles into the opposite wall and bangs his head. BERGAN Oh, God. Pain can be sore... Hoolihan closes the cell door. The Desk Sergeant locks it from inside, then gives Hoolihan the keys. HOOLIHAN I'll leave them on your desk. DESK SERGEANT Gracias. Va con Dios. INT. JAILHOUSE - DAY Hoolihan drops the keys on the desk on their way to the door. BERGAN Why are you here? HOOLIHAN I need you. BERGAN Not in a sexual way, I hope? HOOLIHAN I'd sooner strip naked and mount a cactus. BERGAN I hope the opportunity presents itself. Hoolihan opens the door, admitting sunlight. Bergan winces and shields his eyes. BERGAN (CONT'D) Patrick, please tell me, where are we going? HOOLIHAN You heard of a place called Matadero? BERGAN Does it have a bar? HOOLIHAN Probably. BERGAN Take me there. They exit. EXT. JAILHOUSE - DAY As Hoolihan and Bergan exit outside, a jeepful of cops pulls up. The cops get out as Hoolihan and Bergan climb into Hoolihan's jeep. The cops don't even look twice -- if they did, they'd see the shotgun Hoolihan holds flush against his leg. The cops go inside. Hoolihan backs away and turns so he's alongside the cop jeep. He aims at the tires. BLAM! One tire gone. He reloads. BLAM! Another tire gone. He floors the gas and gets the hell out of there. The cops pour out of the jailhouse with guns drawn. By then Hoolihan is just a cloud of dust. The cops board their jeep to pursue, but one of them sees the tires and points this out to the others. Much cursing and swearing. I/E. HOOLIHAN'S JEEP (MOVING) - DAY Bergan takes his fingers out of his ears. BERGAN Next time, warn me. HOOLIHAN I will. He gives the shotgun to Bergan, who drops it on the back seat. BERGAN They have telephones and radios, you know. HOOLIHAN I know. But they'll think we're heading north for the border. We're going south. BERGAN To Matadero, the town with the bar. HOOLIHAN That's right, but you're not going to see the inside of it. You've got two days to dry out, get cleaned up and become respectable. BERGAN What happens in two days? HOOLIHAN We meet a guy called Grumman. He's got a job lined up for us. He wired me ten grand just to meet him when he gets there. BERGAN Ten grand... HOOLIHAN That's like those crumpled little pieces of paper you sometimes find at the bottom of your pockets, except ten thousand of them all in the same place at the same time. BERGAN Is this guy insane? You'd show up for nothing. HOOLIHAN He doesn't know that. Only my friends know that. BERGAN He wants you to know he's serious. HOOLIHAN By taking his money I showed him I'm serious, too. BERGAN Do you have anything to drink? HOOLIHAN There's a canteen under your seat. BERGAN If it contains any of that filthy transparent stuff that doesn't have alcohol in it, I don't want to know. HOOLIHAN You're sober until this job's done. BERGAN I think better when I'm drunk. HOOLIHAN But your aim is terrible. BERGAN Is it just me you're torturing, or are there other parties involved? HOOLIHAN I left a message with Ryker. Jase and Boom Boom, too. BERGAN Holy shit. Strike Force 13 rides again. HOOLIHAN What's left of us. The sadness and regret in his voice is unmistakable. EXT. HOTEL MATADERO - NIGHT Hoolihan's jeep is parked around the side of the building, away from the street. Music and voices from the hotel bar. INT. HOOLIHAN'S HOTEL ROOM - NIGHT Bergan sits on a chair and uses the bed as a table for a game of solitaire. He's clean-shaven and wearing clean clothes, hasn't had a drink in two days. FOOTSTEPS in the hallway outside. Bergan's hand dips below the bed and comes up holding the shotgun. He points it at the door. A KNOCK at the door -- one single rap, then one-two-three. Bergan lowers the shotgun but doesn't let go. Hoolihan enters, followed by GRUMMAN, 50s, heavyset and confident, carrying a metal attaché case. HOOLIHAN Nick Bergan, my operations chief, and the best long-range sniper in the business. Grumman offers his hand. Bergan stands up and shakes. GRUMMAN My pleasure. I did my time with the Marine Corps. Met some snipers in the Delta. Quiet bastards, you couldn't help but have respect for them. Hoolihan pulls up chairs. They sit down. Grumman puts his case on the bed. Unlocks it, takes out a brown envelope. Inside, photographs of CORTEZ, 40s, slick and dangerous looking, plus long-range shots of a big house surrounded by walls, fences and trees. GRUMMAN (CONT'D) You'll forgive me if I get right down to business. It's my daughter's twenty-first birthday and she's having a party. If I'm not there tonight, my wife will qualify for the national butt- kicking championships. Hoolihan and Bergan look at the photographs. GRUMMAN (CONT'D) The guy's name is Cortez. He's supposed to be working for me. A few weeks ago he decided he could do better on his lonesome. Now, don't get me wrong, I've nothing against people wanting to better themselves. Good luck to them. But when someone reneges on a deal and tells me he owns the assets I gave him when he had absolutely nothing, I get pissed and mean. HOOLIHAN You'll forgive me for asking what it is that Mr. Cortez did for you. GRUMMAN I'm an exporter. Sometimes I'm an importer. Depends who wants what. Cortez represented me when I had to deal with a certain type. Because of the dangers involved there's a high commission. Cortez must have saved hard because next thing I know his place is a goddam fortress with guards and dogs and, would you believe it, minefields. I call him and ask him what he's playing at. He hangs up. I pay him a visit and his guards won't even let me past the gates. Well, excuse me, but I seem to remember paying for that house and everything in it, and putting up a generous stake that got Cortez into this business in the first place. HOOLIHAN What do you want us to do about it, Mr. Grumman? We're not a debt collection agency. GRUMMAN I want you to take Cortez out, take all his people out. Total annihilation. Reduce the house to rubble if you want to because I won't set foot inside it again, that man betrayed me and if there is one thing I will not abide, it is betrayal. BERGAN You want us to hit him? GRUMMAN I want you to hit him hard, so hard he won't get up again. Same goes for those who decided they'd be better off in his camp instead of mine. I want them to realize, in their final moments as they die screaming, that they made the wrong fucking choice. HOOLIHAN How many guards are we talking about? GRUMMAN By my reckoning, maybe twenty. Could be higher. Is there some kind of limit to the size of force you gentlemen are willing to engage? BERGAN I know some people who'll take out the house with a surgical airstrike for five million dollars. GRUMMAN And who might that be? BERGAN Some friends of mine, they work for the U.S. Navy. GRUMMAN Something like that would be hard to keep under wraps. You'd have some hot-shot pilot boasting to his buddies about how he came down at this angle and released his payload at this altitude and punched twelve gees reaching for the clouds while the world below turned crimson. I want this to be hush- hush, need to know only. Which means a small number of hand-picked, trusted personnel, most of whom don't even know who financed the operation. Grumman sits back and smiles like a shark. GRUMMAN (CONT'D) That's why I came to you, Mr. Hoolihan. Took me a while to track down the right kind of man with the right kind of experience and contacts, who can mount a raid upon a target without anyone getting a sniff of it until everything's over and done with and you're clean away. With all due respect to your suggestion, Nick, nobody's going to say they heard a jet flying around a few seconds before a bomb came sailing down out of the sky. That kind of event prompts awkward questions. BERGAN It was a dumb idea, but I wanted to know if you'd prefer the simplest solution. GRUMMAN Thank you for asking but I'll stick with what I know. What are you thinking, Mr. Hoolihan? HOOLIHAN Twenty-plus guards. Let's assume no more than half will be on duty at any one time. One-third is more likely, three shifts rotating every eight hours. That means eight to ten men on the outside, the rest will be inside the house. BERGAN We need a diversion. GRUMMAN A diversion? BERGAN To pull the rest outside so we can kill 'em. Where's the nearest town? GRUMMAN You're sitting in it. Hoolihan and Bergan look at each other. Not good. Hoolihan taps the photograph of Cortez's fortress. HOOLIHAN Just how far away is this place? GRUMMAN About ten miles that-a-way. He points out the window. BERGAN When they're off-duty, do Cortez's men come into town? GRUMMAN Hell yes, some are probably in the local bordello at this very moment contributing to the world's AIDS problem. Now, I know what you're going to say. Maybe someone saw me coming in. Maybe they recognized me, and sent word to that bastard Cortez. Uh-uh, didn't happen. I'm very careful when it comes to my own ass. BERGAN We're very careful about ours, too. (to Hoolihan) I say we walk away from this. HOOLIHAN We're in no danger. BERGAN You don't know that. GRUMMAN Do I detect a note of dissent? BERGAN Cortez's men could come through that door at any moment if someone saw you and reported back to him. The operation is only at the initial discussion phase and you've already compromised our security. GRUMMAN I told you, no one saw me. I also have men downstairs and across the street watching the bordello. My bodyguards might not have your reputation, but they're competent and well-armed. Nobody's coming through that door. So if you don't mind, I'd like to continue our little pow-wow. Grumman takes a bundle of notes from his case. Tosses it onto the bed. GRUMMAN (CONT'D) One hundred thousand dollars just to take a look. Let's call it a feasibility study. HOOLIHAN You're very trusting. GRUMMAN Well, see, that's part of your reputation too, Mr. Hoolihan. If I thought you and your buddy were going to go on a legendary drinking and whoring binge with my hundred grand, we wouldn't be talking. I know there is honor among mercenaries because without honor, no one would ever come near you. You'd all be out of business overnight. He stands up, snaps his case shut. GRUMMAN (CONT'D) I expect to hear from you again within a week, at the latest. If not... well, I'll be disappointed, and a little wiser perhaps. But you, Mr. Hoolihan, you will have to look over your shoulder from now until the day you die, which will be very soon, because I will set the Angel of Death on your ass. HOOLIHAN I believe you, Mr. Grumman. Bergan lifts the shotgun into view, aims at Grumman's belly. No reaction at all from Grumman. BERGAN Alternatively we could kill you and skip town with your money. GRUMMAN And make me miss my daughter's twenty-first? Then you'd have my wife on your tail, and you wouldn't want that either, believe me. A beat. Bergan lowers the shotgun. No point in threatening a man who isn't scared. GRUMMAN (CONT'D) Gentlemen. He turns and exits, closing the door behind him. Bergan creeps to the door and listens. When he's sure Grumman has gone... BERGAN He's CIA. HOOLIHAN I know, but CIA money's as good as any other kind of money. Hoolihan picks up the bundle of notes. Instead of counting it he weighs it in his hand. Feels right. He tosses it to Bergan. HOOLIHAN (CONT'D) Just so you know, that's a hundred thousand of those crumpled little pieces of paper you sometimes find at the bottom of your pockets. BERGAN This Cortez guy is probably ex- CIA. A rogue agent. That's why Grumman wants him wiped out. HOOLIHAN A feasibility study, that's what the man said. We can do that. Bergan tosses the money onto the bed. BERGAN What's the bet Cortez is expecting something? We could be walking into a trap. HOOLIHAN A long-range feasibility study. There must be somewhere around here that sells big telescopes. BERGAN Probably the same place that sells bullets by the bucketload to Cortez and his men. HOOLIHAN Speaking of whom... BERGAN What? HOOLIHAN That place we passed on the way here could be the bordello. BERGAN No shit, I wondered why those girls were waving to us from the balcony. (beat) You're not thinking of scouting the place? HOOLIHAN I'd like to see the opposition. Preferably in a non-hostile environment where they're relaxed and taking things easy. BERGAN Sounds crazy, if you don't mind my saying so. HOOLIHAN Jesus, Nick, don't be so uptight. When was the last time you had a pretty woman? Bergan thinks about that... DISSOLVE TO: Black screen. Title: "Nick Bergan." FADE IN: EXT. NATIVE VILLAGE - DAY A younger, sober Bergan leads a FIVE-MAN PATROL out of the jungle. He looks around. The place is oddly quiet. Deserted, in fact... He slips the safety off his M-16 and gestures to his men. The young CORPORAL stays with Bergan, they cover their men as they spread out and search the huts. The men come out again shaking their heads. The place is deserted. CORPORAL Where everyone go? A beat, while Bergan considers this. He waves an insect away from his face. It doesn't take the hint, keeps coming back. Bergan snatches the insect out of the air. He opens his fist and stares at the splash of blood on his palm. The Corporal's eyes widen. BERGAN Too much blood... They move between the huts. Then into the trees. EXT. JUNGLE CLEARING - DAY The sound of BUZZING INSECTS grows louder. They emerge into a clearing among the trees where they find... A PIT filled with bodies. Men and women, children... The Sergeant covers his mouth and nose with his scarf. Bergan squats down and stares at the pile of hopeless humanity. BERGAN'S FLASHBACK: Bergan embraces and kisses a beautiful young native girl, SEETA, 18, who laughs with pleasure. Bergan is obviously infatuated with her. He pins a flower in her hair. Seeta's eyes widen with surprise. Engagement ritual. Bergan grins. He knows. She smiles, suddenly coy. Bergan kisses her. BACK TO SCENE: BERGAN They took the young women and older girls with them. The Corporal circles around the pit, examining the ground for tracks. CORPORAL Bandits. Fifteen, maybe more. They head back into the mountains. BERGAN They've got five, maybe six hours of a head start. The Corporal stares at the jungle, imagining what lies between them and the bandits. CORPORAL Bad terrain. BERGAN Bad for them, too. The prisoners will slow them up even more. Maybe they'll stop to rest. Maybe we'll catch up with them. The Corporal nods and exits back the way they came. EXT. JUNGLE - DAY Bergan leads his patrol in pursuit of the bandits. EXT. JUNGLE - NIGHT Bergan orders a halt. His men cover the surrounding jungle with their weapons. Bergan goes on alone with the Corporal. Moving very slowly and carefully. EXT. DESERTED VILLAGE - NIGHT Maybe a casualty of civil war, the huts are in disrepair, some have collapsed completely. The BANDITS have made camp here. A makeshift fire burns in the compound in the middle. The 15 or so bandits, tough- looking guys who don't know what soap is, stand in a circle facing each other. They're tanked up on jungle juice, drunk and full of mean. Bergan and the Corporal crawl to the edge of the jungle and settle down to watch. The kidnapped girls from the other village huddle terrified in one of the huts, guarded by two bandits. Their moans and crying suggest something unpleasant is happening in the compound. The bandits push a half-naked girl through the fire. Every time she runs through the flames she gets burned more. They push her back and forth, catching her, turning her around the throwing her into the fire. Laughing like lunatics while the girl gasps and winces with pain. Bergan and the Corporal look at each other. Jesus! The girl is caught by bandits on this side of the circle and just for a second she looks directly at Bergan. Her eyes widen in surprise. Bergan's eyes widen too. It's Seeta! The bandits throw her back at the fire. Bergan makes to get up but the Corporal's hand on his shoulder stops him. The Corporal silently tells Bergan to use his eyes. The bandits' weapons are close to hand. If Bergan starts shooting, they'll have a bloodbath. What about the prisoners? The BANDIT LEADER, bigger and meaner than the rest, catches Seeta. He laughs as he tears away what's left of her dress, exposing her. The bandits stop laughing. Every man is affected by Seeta's naked body, glowing in the firelight. They lick their lips in anticipation of another kind of sport. Seeta looks around the circle, and knows what she can expect. Bergan crawls backward. The Corporal follows him. The Bandit Leader fondles Seeta roughly. She winces and tries to see outside the circle, but the bandits block her view. EXT. REAR OF PRISONERS' HUT - NIGHT Bergan and the Corporal circle around and come up behind the hut with the prisoners. Bergan draws his knife. For a moment the Corporal fears he's going to kill one of the guards, but Bergan uses the knife to scrape away earth at the bottom of the hut. INT. PRISONERS' HUT - NIGHT One of the girl prisoners sees the knife appearing under the back of the hut and opens her mouth to scream, but another prisoner clamps her hand over the girl's mouth. Bergan makes the hole bigger and wider. He takes the knife away and puts his hand through, beckoning for the prisoners to come this way. EXT. REAR OF PRISONERS' HUT - NIGHT The first prisoner squeezes under and out. The Corporal kneels down and whispers to her, pointing at the jungle. Go that way! Be very quiet! The girl nods and exits into the jungle, not making a sound. INT. PRISONERS' HUT - NIGHT A couple of prisoners remain where they are near the hut door in case the guards look in. Behind them, the other prisoners get out through the hole. EXT. PRISONERS' HUT - NIGHT The guards crane their necks to see what's happening with Seeta in the circle. The Bandit Leader is all over Seeta, grabbing and pinching her roughly, his idea of foreplay. Seeta endures the pain silently -- then breaks away from him. His face twists with rage... but then he gapes in astonishment. Seeta dances in the middle of the circle, arms raised above her head. She has their undivided attention. She sways seductively, rotating her hips. She moves around the inside of the circle, looking at each man in turn. Then she steps lightly into the flames and out again, not missing a beat. The bandits are too aroused to do anything except stare. She looks past the bandits and sees Bergan looking around the side of the hut. The last of the prisoners escapes into the jungle behind him. Bergan raises his rifle to his shoulder... But Seeta shakes her head. Telling him no, don't shoot. She dances around, looks back at him. Shakes her head again. Do not shoot. EXT. REAR OF PRISONERS' HUT - NIGHT The Corporal touches Bergan's shoulder. Telling him they have to go. Bergan doesn't want to. The Corporal insists. Slowly, reluctantly, Bergan moves away from the hut. The Corporal watches him carefully. Guides him into the jungle, making sure he doesn't change his mind. They exit into the jungle. EXT. JUNGLE - NIGHT Bergan directs his men to escort the freed prisoners back the way they came. They leave, taking the girls with them. Bergan turns to go back for Seeta but the Corporal blocks his way. BERGAN Out of my way, Corporal. CORPORAL They kill her as soon as shooting starts. You know that. BERGAN I can't leave her. CORPORAL You have to. She buys us time. EXT. PRISONERS' HUT - NIGHT One of the guards looks into the hut. He gapes and sticks his head inside, looking around for the missing prisoners. He SHOUTS at the Bandit Leader. Seeta stops dancing. The Bandit Leader looks at her, and knows she had something to do with this. He pulls out his machete and hacks Seeta to death, raining blows upon her in a mad frenzy. She doesn't stand a chance. The Bandit Leader shouts to his men. Get your weapons! Find out where they went to! A bandit finds the trail at the back of the hut and the bandits set off in pursuit. Maybe if they knew they were dealing with soldiers, they'd think twice. But they don't. EXT. JUNGLE - NIGHT Bergan and the Corporal follow the rest of their men and the freed prisoners. Something, a sound maybe, makes them stop and look back. They know the bandits are coming. BERGAN This is as good a place as any. The Corporal nods agreement. They set to work rigging Claymore mines along the jungle path. Then they retreat into the undergrowth and set their weapons up to cover the path. Time passes and they wait, sweating. The unsuspecting bandits come into view, running. The mines explode, cutting them to pieces. Bergan and the Corporal open fire at point blank range, mowing down the survivors. The Bandit Leader makes a tempting target and Bergan catches him in his sights, spins him around, nails him to a tree and stitches bloody patterns across his chest and stomach. He only stops firing when he runs out of bullets. The Bandit Leader topples. Surviving bandits turn and flee back down the track. Bergan slams in a fresh magazine, switches his M-16 to single shot and SHOOTS the bandits one by one, working mechanically, without emotion. Each bullet takes a bandit through the head. A sizzling display of sniper skills. Not one bandit escapes alive. Bergan lowers his M-16. He and the Corporal look at each other. Bergan nods. Good job. EXT. DESERTED VILLAGE - NIGHT Bergan enters the village. He walks around, searching for Seeta. He finds what's left of her on the other side of the fire. He squats down, bows his head. Stays that way for a while. The Corporal enters the village. He finds a dusty old blanket and covers Seeta. Then he helps Bergan up and leads him away from the village. EXT. NATIVE VILLAGE - DAY A team of Red Cross MEDICS treat the freed prisoners. Bergan sits on a hut step, cradling his M-16, staring at the ground. One of the team, bandaging a girl's arm, notices him. When the girl's done, the MEDIC goes to his jeep, rummages around in the supply boxes and pulls out a bottle of whisky. The Medic taps the bottle against Bergan's shoulder. Bergan looks up, puzzled. MEDIC I don't normally prescribe Jack Daniels... but in your case I think I'll make an exception. We heard what happened. You did good. Bergan takes the bottle. The Medic exits, leaving Bergan just as numb as before. Bergan twists the top, puts the bottle to his lips and tilts his head back... DISSOLVE TO: EXT. BORDELLO - NIGHT "La Caliente Soltera." Soft music from inside. Hoolihan and Bergan walk up the street. Hoolihan tilts his hat up and looks the place over. HOOLIHAN I may find love here. BERGAN The kind of lingering love that itches for months after. Bergan looks up the alleyway at the side of the building. He waves Hoolihan over. Two jeeps sit there. Machine guns have been fitted to the rollbars, turning the jeeps into gunships. BERGAN (CONT'D) What else do you need to see? HOOLIHAN A suntanned butt would be nice. Bergan unfastens his belt, getting ready to drop his pants. HOOLIHAN (CONT'D) I swear to God, I will put a bullet into each buttock. Bergan fastens his belt again. INT. BORDELLO - NIGHT A reception area with a wooden counter. A stairway leads up to "guest" rooms. Three girls in flowery dresses laze on couches fanning themselves. A little bell above the door rings as Hoolihan and Bergan enter. Hoolihan tips his hat. The girls smile. HOOLIHAN Ladies. CARMEN enters from the back. A formidable and attractive woman, ample in all ways, maybe 40s. She takes up position behind the counter. CARMEN Gentlemen, welcome to "La Caliente Soltera." What will be your pleasure? HOOLIHAN Ma'am, we're looking for company. CARMEN Cash or credit card? Hoolihan shows her his money clip. HOOLIHAN I hope cash won't inconvenience you. End of excerpt.

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