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EXT. DESERT. DAY.
SOUNDTRACK Desert Déjà Vu by Nassim
The Egyptian desert is peaceful. Dry sand dunes in every direction. No sign of vegetation. The silence is broken by the low sound of engines. It grows louder. Coming into view is a convoy of four Jeep trucks led by a Land Rover. The vehicles move slowly through the shifting sands.
END SOUNDTRACK
INT. LAND ROVER. CONTINUOUS.
At the wheel is a man in a beret (FRENCH STEWART) with a handlebar moustache. We will know him as FRENCHIE. An older PROFESSOR with glasses and a pith helmet (JEREMY IRONS) is in the passenger seat, eyes glued to a GPS device. He is dressed in clothing looking more suited to a 1920s archaeologist than a modern man. Seated in the backseat are a muscular man with cropped brown hair (MICHAEL ROSENBAUM) who we’ll call MARC SPECTOR and an attractive blonde woman (SARAH POLLEY) whose name is MARLENE. She is dressed in modern outdoor wear, well suited to the climate. Both Frenchie and Marc wear desert fatigues. Marc has a sub machinegun resting in his lap and a belt of ammunition strapped over his chest from left shoulder to right hip.
MARC
(terse)
Are we going to drive forever on this wild goose chase?
PROFESSOR
(good natured)
Indeed, no mister Spector. We are, in fact, quite close to our goal.
FRENCHIE
(thick, over-the-top, French accent)
Is it a restaurant? Maybe something with a nice steak tartar?
MARLENE
(also terse)
We’ve told you, our goal is our business.
MARC
(turning to her)
I don’t know what I’ve done to piss you off lady. But your backers are paying me and Frenchie a small fortune to keep you safe and the less you tell me the harder that is.
PROFESSOR
(to Frenchie)
Turn slightly to the right.
He does.
MARC
Frenchie, are we getting any signal out here?
FRENCHIE
Non. The communications are completely out. Unless somebody was broadcasting from five miles away we’d never get anything out here. I am afraid no downloading porn for you tonight.
Marlene gives a snort of disgust.
MARC
(defensive)
I wouldn’t… I mean I don’t… I mean-
MARLENE
My father and I do not care how you get your rocks off.
PROFESSOR
Language!
MARLENE
Sorry dad.
PROFESSOR
And do try to be nicer to these men. They are just doing their job.
MARLENE
Do we really need armed mercenaries on an archaeological expedition?
MARC
These deserts are not safe. There are terrorist cells aligned with Al Quaeda who kill or kidnap any foreigners they come across out here.
PROFESSOR
Let’s not alarm my daughter.
MARLENE
I’m a big girl dad.
PROFESSOR
Yes Marlene, but some things are too terrible for even grown-ups to have to think about.
FRENCHIE
Like a fat woman on a French beach.
Marc laughs but Marlene just rolls her eyes. Suddenly, the professor’s GPS starts beeping madly.
PROFESSOR
(urgently)
Stop the car.
MARC
You mean we’re actually here? Wherever here is.
PROFESSOR
Most definitely, my good man.
Frenchie stops the Land Rover and sticks his arm out the window to signal the rest of the convoy to stop. The GPS is still beeping.
EXT. DESERT. CONTINUOUS.
SOUNDTRACK Desert Ecstasy by Nassim
The four get out of the vehicle. Marc, Frenchie and Marlene put on sunglasses. From the first of the trucks emerges an EGYPTIAN MAN (NAVEEN ANDREWS) in a head-dress. He is ASSAD. The professor presses a button on his GPS to silence it.
ASSAD
(calling to the professor)
Is this the place?
PROFESSOR
(yelling back)
Yes, have the men set up camp.
MARC
We’re staying here.
PROFESSOR
At least until midnight.
FRENCHIE
What happens at midnight?
MARC
Does your daughter turn back into a pumpkin? Or were you one of the rats?
MARLENE
How dare you?
MARC
Don’t dish it out if you can’t take it, lady.
PROFESSOR
I’ll thank you both to be civil. As for midnight, you’ll just have to wait and see. Marlene once our tent is up, be sure to move my things. I think I’ll take a nap in the car.
Pan up to the sun. Fast motion to sunset.
END SOUNDTRACK
EXT. CAMP. DUSK.
The camp has taken shape well with eight large modern military style tents in a ring. There are even two portapotties a short distance away. Eight Egyptian workers, all in headdresses or turbans, are unloading supplies from the trucks into the various tents. Zoom to the entrance of the largest tent.
INT. TENT. CONTINUOUS.
The inside of the tent is surprisingly nice. There is some high quality furniture, the sand underneath is covered by the tent’s floor. There are oil lamps lit to replace the fading light. The professor sits at a table with a rectangular case, the kind one would hold a telescope in, and a notebook he is studying. Marlene is resting on one of the two cots.
FRENCHIE
(O.S.)
Knock knock.
PROFESSOR
(not looking up)
Come in.
Marc and Frenchie enter. Frenchie now has a pistol strapped to his belt, Marc holds his gun at his side.
MARC
There’s no sign we were followed.
PROFESSOR
I should expect not.
MARC
We’re in the middle of the desert with nothing around. Nobody is likely to stumble upon us.
MARLENE
(sitting up)
So you’re saying you being here was a pointless waste of money?
Marc looks over at her. His eyes fall to her shapely legs. Then he turns serious.
MARC
(serious)
Don’t move.
MARLENE
(cross)
Are you telling me what to do?
MARC
(urgent)
Don’t move!
They exchange a look that convinces her this is serious. She freezes. The Professor and Frenchie look between them in confusion. Marc draws a knife and creeps slowly towards Marlene.
MARLENE
(whispering)
What are you-
He shushes her. He slowly moves to her left then his hand moves like a blur, the knife flying at Marlene’s feet. It just misses her, impaling the tent floor into the sand just under the cot. She gasps but stays still. Marc bends down and picks up his knife. Impaled on it is a yellow scorpion.
PROFESSOR
Oh my.
MARLENE
No need to be dramatic, scorpion stings aren’t that dangerous.
MARC
Usually true. This, though, is a Palestinian Yellow Scorpion. The one scorpion in the Egyptian desert that is potentially fatal. Still think I was a waste of money?
MARLENE
I’m sure I would have seen it.
MARC
Really? I’ve heard of eyes in the back of the head but I don’t think you have eyes in the back of your feet.
FRENCHIE
Could there be more?
MARC
Not likely. They’re territorial creatures. They only come together to mate.
FRENCHIE
What if that was a mommy?
MARC
Then we could have problems. Alert the men.
FRENCHIE
Oui, oui.
He gives a dramatic flourish before exiting the tent.
MARC
Now, care to tell me why we’re sitting in the middle of the desert waiting for midnight?
PROFESSOR
Not just any midnight.
MARLENE
(reproachfully)
Dad.
PROFESSOR
He’ll see for himself soon enough.
MARLENE
Then he can wait.
MARC
Not even a ‘thank you’ for saving your life.
MARLENE
Potentially saving my life. I can’t thank every driver who doesn’t run a red light and kill me.
MARC
You are impossible. Do you know that?
MARLENE
Oh? Does my attitude offend the hired killer?
MARC
Soldier.
MARLENE
Same thing.
MARC
I’m starting to think the scorpion would have been better company.
PROFESSOR
Enough. I wish you two could at least tolerate each other. Mr. Spector.
MARC
You can call me Marc, Dr. Alraune.
PROFESSOR
Could you ask Assad when dinner will be prepared?
MARC
Sure. Though I’m surprised your daughter’s not cooking.
MARLENE
I’m not some girly girl who likes Holly Hobby and Easy Bake ovens. I’m an archaeologist, just like my father.
Marc just turns and leaves without another word.
CUT. EXT. CAMP. DUSK.
SOUNDTRACK Desert Déjà Vu by Nassim
Assad is conversing with another worker (MAHMOUD ABDEL-MOGHNI) in Arabic. Marc approaches.
MARC
Assad.
ASSAD
Yes, sir?
MARC
Marc.
ASSAD
(smiling)
Yes, sir Marc?
Marc gives a look to show he’s in on the joke.
MARC
Egghead and the ice queen want to know when there will be grub.
ASSAD
We have the propane cookers set up now. We’re just unpacking the food.
WORKER
(in thickly accented English)
So we stay here for time?
MARC
The professor says something happens at midnight. Then we know if we stay or go. I’m still not sure the old coot is playing with a full deck.
Assad and the worker exchange words in Arabic.
ASSAD
A meal should be ready in an hour, probably a little longer.
MARC
Great. Have you seen Frenchie?
ASSAD
Behind the toilets.
END SOUNDTRACK
The camera follows the worker as he walks away.
SOUNDTRACK Pure Poison by Nassim
He moves away from the camp, makes sure no one can see him, then fumbles in his pocket. He pulls out a small signalling device, with large red on switch, looks at it furtively, then quickly hides it back in his pocket.
END SOUNDTRACK
EXT. BEHIND THE TOILETS. DUSK.
Frenchie is smoking a cigarillo. Marc creeps up behind him. He is as silent as a cat on the desert sand. He gets just behind Frenchie without his friend knowing he is there.
MARC
(shouting)
What are you doing with my daughter?!
Frenchie shrieks, jumps two feet in the air, and drops his cigarillo. He turns to see Marc, laughing like mad. He is shaken but he grabs his smoke from the ground, wipes off the filter and takes another long drag.
MARC
No matter how many times we’ve been shot at I can still get you with that angry dad crack.
FRENCHIE
I have bad associations.
He collects himself, retrieves his smoke, and turns serious.
FRENCHIE
(continued)
Marc what are we doing here?
MARC
I thought we deserved an easy job for a change.
FRENCHIE
I feel like an au père, not a pilot.
MARC
It’s nice to not have to kill people once in a while.
FRENCHIE
Then why do it? You’ve got a fortune saved up already.
MARC
You keep asking me that. I keep telling you I have no other purpose in life.
FRENCHIE
I keep asking you because your answer’s not good enough.
MARC
Well if you didn’t blow your money at the craps table you could retire.
FRENCHIE
I resent that. I do not blow all my money at the craps table.
MARC
True, there’s the roulette wheel and high stakes poker too.
FRENCHIE
You forgot about the women.
MARC
The prostitutes you mean?
FRENCHIE
When they charge that much they prefer the term escorts. Besides, I can’t leave you alone to get yourself killed. You really think we’re in danger out here?
MARC
Not really. Someone would have to tip off any threats as to where we were. They don’t have the manpower to aimlessly patrol the desert.
FRENCHIE
Which makes me ask, why are we here?
MARC
I guess we’ll find out at midnight.
EXT. EDGE OF CAMP. NEAR MIDNIGHT.
SOUNDTRACK Crescent Moon, Omar Faruk Tekbilek
It is dark. Lanterns approach. A group of people: MARC, ASSAD, the PROFESSOR, MARLENE, FRENCHIE, the WORKER from earlier and two others, the last three the lantern bearers, approach. All are in heavy clothing to protect them from the chill of the desert night. Marlene carries the long case from the tent earlier. Dr. Alraune carries his GPS, which he is watching intently. The group moves away from the camp, directed by the professor.
LATER
The camp is a small pool of light in the distance when the professor’s GPS gives off a loud beep.
END SOUNDTRACK
PROFESSOR
Stop here.
He walks in a small circle, ever shrinking, turning to face different directions as he moves around. The other form a circle around him. He finally stops and sets the GPS carefully down on the sand.
PROFESSOR
(with barely contained excitement)
Marlene, the case.
She brings it to him. He opens it. Everyone looks to see the contents. Inside are two copper poles, one with an ornament on the top. The Professor removes them from the case and slides one into the other to form one long pole. Then he carefully moves the GPS and plants the pole in the sand facing in the same direction.
MARC
What the Hell is happening here?
PROFESSOR
We’re just in time. We should know in a moment.
FRENCHIE
Know what? How fast one’s ass can freeze in a desert?
The professor points to the WORKER, Assad and Frenchie, gesturing for them to move to the side. Not sure why, they do. The professor’s watch beeps.
PROFESSOR
Now.
The moon crests the horizon just at that second. A beam of moonlight falls on the ornament at the top of the rod. The crystal in the ornamental head focuses the light so that a crescent shaped light appears on the ground about four feet away. Both the professor and Marlene scream with joy. Marlene is right beside Frenchie, who winces at the noise right beside him.
MARC
What’s that? What does that mean?
PROFESSOR
(to Assad)
Mark that spot!
Assad plants a pylon in the heart of the moon.
PROFESSOR
Mr. Spector that light means we are in the right place. It means a lifetime of work is about to come to fruition. And it means every penny we’ve spent will be worth it.
MARC
Because of light on sand?
PROFESSOR
Tomorrow, we dig. Now, I’m exhausted. Let’s get back to camp.
MARC
But-
The Professor and Marlene start walking back to camp, one of the men accompanies them with a light. Marc turns to Frenchie and Assad.
MARC
Dig? What does he expect to find?
FRENCHIE
Oil?
MARC
From a light on a stick?
(to Assad)
Do you know anything?
ASSAD
This part of the desert is said to be cursed. But my men are not superstitious, backward primitives. I do not believe in such things.
MARC
Good on ya. Well let’s get some sleep.
ASSAD
Yes, those of us who will be lifting shovels need it most.
(shouting to the workers)
Mussef, set up some flags around here. The rest of you get to bed.
Mussef, the worker from earlier, starts to work as the others head back to camp, leaving one lantern behind. Mussef puts up a few flags then looks to ensure the others are gone. Then he pulls the device from earlier back out of his pants. Nervously, he presses the on switch. A red light begins flashing on the device.
INT. BUILDING. NIGHT.
An Egyptian man sits at a computer in a small dingy room. Suddenly, the computer pings. He checks something on the computer then picks up his walkie talkie.
EGYPTIAN
(into walkie talkie)
Mister Bennett.
BENNETT
(Paul Levesque, O.S.)
What?
EGYPTIAN
The signal has come through.
BENNETT
(O.S.)
Good. Trace it. I’ll tell the boss.
EXT. DIG SITE. MORNING.
The workers are excavating a pit. They have dug down about four feet. Marlene and her father watch on. Frenchie and Mark also watch, from further off. One of the worker’s shovels hits something. Everyone notices and stops. The Professor and Marlene come closer. Both are filled with nervous excitement.
PROFESSOR
Alright, time to be careful. Let’s clear around that.
The men use their bare hands to scoop away sand. Soon what looks to the ornate trim of a flat roof is revealed. Marlene helps her father into the pit.
PROFESSOR
Let me see!
Marc and Frenchie come to the edge of the pit. Professor Alraune bends down to examine the find. He uses a small brush to clear the sand off the façade of the edge of the roof. Looking closely he sees an image carved into the brick. A half moon.
PROFESSOR
(quiet, overwhelmed)
It’s true. It’s real.
MARLENE
You did it dad.
Frenchie and Marc approach.
MARC
So this has been about finding an old building?
PROFESSOR
So much more.
FRENCHIE
Un moment, is this place filled with gold?
PROFESSOR
There may be a few trinkets. But that’s not the point.
MARC
Then what is?
The Professor stands and turns to him.
PROFESSOR
I doubt you’ll appreciate this but you were just a part of discovering the only temple to the Egyptian god Khonshu to ever have been built.
MARC
Who?
MARLENE
Khonshu.
FRENCHIE
Bless you.
MARLENE
Idiot. The god Khonshu. One of the least understood gods in the Egyptian pantheon.
MARC
I don’t need to understand it to know if there’s any gold at all in there people will want it. We should alert the authorities.
PROFESSOR
No! The Egyptian government will never let me excavate a site of this importance. We need to do it now, on our own.
MARC
Too risky.
MARLENE
Mister Spector. My father has spent his life trying to prove this temple wasn’t just a fairy tale. Are you going to rob him of the chance to be the one to open it?
PROFESSOR
Please, help an old man fulfil his dream.
Marc and Frenchie exchange glances.
MARC
What do you think?
FRENCHIE
Like you said, no one knows we’re here.
MARC
Fine Professor, we open it. Then we send someone back to let the authorities know we’re here.
PROFESSOR
Oh thank you, good man. Good men, both of you. All of you in fact. Now, let’s dig it out.
SOUNDTRACK Mystery Oasis, The Mystic Sound Orchestra
The men set to digging. Fast motion shot of the dig. The roof is partially uncovered. Just below it are two large double doors. As the hole gets deeper and deeper we reveal the doors are twelve feet high and six feet across. All around the frame of the building are carvings of the moon’s various phases, following a consistent pattern around the frame of the building. End fast motion as the sun is starting to set. The six workers, Assad, Marc, Frenchie, Marlene and the Professor are assembled around the doors.
END SOUNDTRACK
MARC
So how do you propose we open this? Dynamite?
MARLENE
Don’t be absurd.
FRENCHIE
I think we can pry it open. Eight men with crowbars can move the Eiffel Tower.
ASSAD
We have crowbars back in the trucks. We can-
MARC
(cutting him off)
Shhh.
SOUNDTRACK Approaching Danger, James Clarke
They all listen.
MARC
Engines.
ASSAD
It must be the men we left at camp coming out here.
MARC
Unless the two men back at the camp learned to drive four vehicles at once, it’s not them.
PROFESSOR
Oh my.
ASSAD
We need to get to the camp.
MARC
They’re coming from the camp.
MARLENE
Which means they already found it.
The workers begin to panic, talking amongst themselves in Arabic.
FRENCHIE
(to Marc)
Any ideas?
Marc looks around.
MARC
We’ve got no cover at all. We’re going to have to try to talk our way out of this.
(to the others)
Everybody stay back, let me talk to them. If it goes badly… you could try running.
(pulling Frenchie close)
Remember, the professor, and his daughter, are our responsibility. The rest can rot.
Marc finds a small pair of binoculars in the gear he carries. As Frenchie leads the others back Marc scans for the approaching vehicles.
POV Binoculars.
Four Jeeps are approaching, but Marc’s view falls on one of the passengers, an African man (Harold Perrineau Jr) with clothing and gear quite similar to Marc’s own.
MARC
(O.S.)
Bushman! Shit!
He lowers the binoculars and slings his gun behind him. He raises his hands as the Jeeps close in. Bushman’s jeep pulls up first. The driver, like most of the ten people in the Jeeps, is an Arab man in desert fatigues, but a cap instead of any sort of turban. Bushman sits in the back of his Jeep. In the passenger seat is a woman (TIA CARRERE) in a black body suit riddled with a huge assortment of knives. In one of the other Jeeps is a huge man in a Strikeforce t-shirt (PAUL LEVESQUE). Bushman is grinning as he recognizes Marc. He steps out of the Jeep and the others follow his lead. Several of the soldiers point rifles or pistols at Marc.
END SOUNDTRACK
BUSHMAN
(perfect English, false joy)
Marc! My dear friend. So nice to see you again.
MARC
There’s nothing here you’d want, Bushman.
BUSHMAN
That is simply not true. I see a number of foreigners desecrating this country. I have friends who will pay a nice bounty for exterminating you all.
MARC
I can pay you more.
BUSHMAN
I suppose you could. But there’s also the small matter of a lost temple.
MARC
You’re not the religious type.
BUSHMAN
No, I’m the greedy type.
MARC
How did you even find us?
BUSHMAN
A fair question.
(he yells to the crowd behind Marc)
Mussef, come here.
The worker, Mussef, breaks from the group and boldly walks towards Marc.
BUSHMAN
Whoever is paying you is not the only one interested in this place. And when Professor Alraune started recruiting men for a trip to the desert it wasn’t hard for them to figure out what he was looking for.
MUSSEF
I do like you say.
BUSHMAN
So you did. And you will receive your just desserts.
With incredible speed Bushman draws the Desert Eagle from his hip and puts a bullet through the center of Mussef’s forehead. A number of the workers yell in terror and Mussef sinks to his knees them slumps forward, blood mixing with sand.
BUSHMAN
I just hate traitors. I hate deserters too, Marc. You were my right hand, my black knight. What happened?
MARC
I got tired of washing the blood off.
MUSCULAR GUY
He doesn’t need you anymore.
Marc looks him up and down. Then he turns back to Bushman.
MARC
You replaced me with a lughead?
MUSCULAR GUY
(angry)
Who you calling a lughead?
BUSHMAN
Calm down.
(to Marc)
Well, it appears I hold all the cards. But, I’m willing to spare your life if you come work for me again.
MARC
I have a counter offer.
BUSHMAN
What’s that?
MARC
I take on your ‘roid junkie over there in hand-to-hand combat. That’s more your style, isn’t it? If I win you let all the people here leave in peace.
BUSHMAN
And the temple is mine?
MARC
Yes.
PROFESSOR
(yelling)
No! You can’t!
BUSHMAN
Keep that old fool silent!
Marlene tries to both quiet and comfort her father at the same time.
BUSHMAN
Hank, what do you think?
MUSCLED MAN/HANK
I can kick his ass easy.
BUSHMAN
What if he wins?
MARC
Then you can kill me.
BUSHMAN
I can kill you now. I fail to see the incentive.
MARC
Kill me now you’ll never know if your new guy could have taken me.
BUSHMAN
I’ve seen Hank do many things in the past five years.
MARC
He can’t beat me.
HANK
Bullshit!
BUSHMAN
Very well, Marc. You can die tired. Put your guns down, both of you. And I have my eye on you Spector, don’t try to go out in a blaze of glory. I’ll drop you before your finger reaches the trigger.
Both men set aside their weapons.
SOUNDTRACK Fight Music – Instrumental, D12
MARC
Ready?
HANK
Your funeral.
Hank lunges forward, driving his right fist at Spector’s head. But he calmly weaves to the side and avoids the blow, landing a punch of his own to Hank’s back as the big man stumbles past him.
FRENCHIE
Kick his ass, Marc!
MARLENE
(to Frenchie – quiet)
Our lives are on the line. Can he win?
FRENCHIE
He used to box professionally.
MARLENE
So yes?
FRENCHIE
Je ne c’est pas, the other guy isn’t wearing gloves. And I don’t think it’s Marquees de Queensbury rules.
Hank spins back at Marc, sweeping his arm at his opponent’s throat. But Spector ducks the blow and hits two quick jabs into Hank’s kidneys before backing off. Bushman’s soldiers, other than the woman, are now cheering on Hank while Frenchie, Assad and the remaining workers are yelling for Marc.
HANK
You think that hurt?
Marc throws a right – only to have the big man catch his fist. Grinning, Hank squeezes Marc’s hand. Marc grimaces in pain, then rakes Hank’s eyes with his left hand.
FRENCHIE
Good one, mon frère!
Hank clutches at his eyes and Marc backs off, rubbing his hand.
BUSHMAN
You’re not impressing me so far, Marc. Have you gone soft?
MARC
(to himself)
I just raked a man’s eyes and I’m going soft.
Marc punches Hank in the Adam’s apple. Hank chokes but manages a wild upward swat that collides with Marc’s jaw, jerking his head back at a sickening angle. Both men take a moment to recover as each side cheers their man on. Hank lunges at Marc, trying to grab him, Marc catches his arms but, as the big man bears down on him, he finds himself being overpowered. Marc jumps up and plants his legs in Hank’s midsection. Then he pushes backwards to flip over in mid-air and land on his feet.
HANK
Stay still and fight!
The big man charges. Marc crouches then, as Hank reaches him, he steps to the side and drops low, extending his leg in Hank’s path. Hank hits the outstretched leg and trips, face planting into the hot desert sand.
MARC
(shouting to Bushman)
Still not impressing you?
Before Hank can rise, Spector steps over his back and punches him hard in the back of the head. But Hanks rolls to the side and takes Marc off his feet. The two end up rolling over each other, struggling to take control. Hank manages to come out on top and he drives his elbow into Marc’s chin. Marc tries to punch him with his right hand but Hank catches it and pins it under his leg. Hank smashes his fist into Marc’s left eye socket and there is a crunch of breaking bone. A cut is opened and blood starts seeping into Marc’s eye. Frenchie grimaces. Marlene sees this.
MARLENE
He’s in trouble, isn’t he?
FRENCHIE
(unconvincing)
He’ll think of something.
Hank lands a right, then a left. Marc’s side looks worried. Marc tries to get his left arm up, and to free his right, but Hank easily avoids his punch and smashes his nose with a hard left. It bends at an unnatural angle and begins bleeding as well.
BUSHMAN
(shouting)
Over so soon? I’m bitterly disappointed.
HANK
(to Marc)
Should I beat you to death? Or do you want to quit and get shot instead?
Marc fumbles to his side with his left hand and grabs a handful of sand. He launches it straight into Hank’s eyes! Hank stumbles away clutching at his blinded eyes. A cheer goes up from Marc’s side as the mercenary gets to his feet. His face is covered in bruises and his left eye has swelled shut, but in the kingdom of the blind, the one eye man is king.
HANK
You fucker! Where are you? I’ll tear your head off.
Hanks swings his arms around wildly, trying to find Marc. But Marc creeps behind him.
BUSHMAN
(yelling)
Behind you!
Hank spins but Marc moves with him and leaps on his back, locking in a choke hold! Bushman looks displeased as Marc’s side cheers him on. Hank tries to pry Marc off but fails. He throws himself backwards, crushing Marc under his considerable weight. But Marc not only keeps his grip he manages to scissor his legs around Hank’s hips. Hank manages to stand again, with Marc still hanging off him. Hank squints and is able to make out one of the Jeeps nearby. He staggers towards it, Bushman’s soldiers parting to allow him through. Hank reaches the Jeep, feeling it with his hand. Then he turns and slams Marc backward into the unforgiving steel. Marc grunts, but holds on. Visibly slowing, Hank again smashes Marc into the side of the Jeep.
WOMAN WITH KNIVES
(to Bushman, cold)
Should I help him?
BUSHMAN
He thought he could handle it. Let’s find out.
Hank’s face is purple as he tries once more to knock Marc free by mashing him into the Jeep’s door. The Jeep window gets smashed and Marc ends up with shards of glass in his arm, yet he still won’t let go. Hank’s knee buckles. On one knee he desperately claws at Marc’s arm. Frenchie and the others are cheering loudly. Hank’s other knee gives way as well. He stops struggling. Marc gets his feet back on the ground but only wrenches even tighter on the neck.
BUSHMAN
Enough!
END SOUNDTRACK
Marc looks to him then drops the unconscious Hank on his back. Marc staggers away from the Jeeps and the soldiers, to back in front of the temple.
BUSHMAN
Congratulations Marc. You proved you were the better man.
Marc looks at him. He doesn’t seem pleased.
BUSHMAN
You also proved you’re a threat to me.
SOUNDTRACK Music for the Funeral of Queen Mary, Henry Purcell
With the same lightning speed as before Bushman draws his Desert Eagle and plants two bullets in the lower right side of Marc’s chest.
MARLENE
No!
Marc goes down on his back, sucking air.
END SOUNDTRACK
Bushman motions for his men to pick up Hank and put him in the Jeep. Professor Alraune rushes to the temple before Frenchie can stop him. Marlene moves to follow but Frenchie is able to hold her back.
PROFESSOR
(angry, to Bushman)
This temple is not for the likes of you. It belongs to the scientific world not some-
He is cut off as Bushman shoots him in the center of the chest. Marlene screams and this time she is able to tear free of Frenchie and rush to her father’s side as he falls on his back. She kneels beside him and takes his hand.
PROFESSOR
(weakly)
Marlene…
MARLENE
I’m here daddy.
PROFESSOR
I’m dying.
MARLENE
(crying)
But you did it daddy. You found the temple. You fulfilled your dream.
PROFESSOR
(barely able to speak)
You… were… my dream.
He dies.
MARLENE
Noooooooooooooooooooooooooooooo!
Frenchie moves between her and Bushman.
BUSHMAN
Ah yes, Frenchie isn’t it?
FRENCHIE
I am a veteran of the French air force. My government will pay a ransom for my safe return.
BUSHMAN
True, I suppose.
FRENCHIE
If you leave the girl unharmed I will go along quietly.
Bushman ponders.
BUSHMAN
Very well. I am a mercenary not a monster. Take them.
Three of Bushman’s soldiers move forward, one grabbing Marlene and the other two taking Frenchie by the arms. They take the pistol from his side. Assad steps forward.
ASSAD
And what of us?
BUSHMAN
Are you French?
ASSAD
(resolute)
No, Egyptian.
BUSHMAN
(to his remaining soldiers)
Kill them all.
SOUNDTRACK The Funeral of Meerkunkhamen, by Phillip Glass
The terrified Egyptians make a break for it but the other four soldiers move behind them. One opens fire with a machine gun, the others target the more distant workers and open fire with single shots. Bullets rip through the men. Blood and chunks of flesh and organs spray through the air. Assad, the only one not to run, is cut to shreds by machine gun fire. Within seconds the workers are dead or down and wounded. The soldiers move in on the moaning wounded and put them out of their misery. One aims a gun at Marc’s head.
END SOUNDTRACK
BUSHMAN
No! Leave him to bleed to death, or freeze when night comes.
WOMAN WITH KNIVES
(cold and terse)
What now?
BUSHMAN
Back to their camp. We’ll secure the prisoners and open the tomb tomorrow.
(yelling to Marc)
Good bye Spector.
Close on Spector, bleeding on the sand. He is fighting to even breathe, his lung shredded.
FADE TO. DESERT. SAME SCENE. MIDNIGHT.
SOUNDTRACK Anthem to the Rising Moon by Jeffrey Goodman
Marc is unconscious but still breathing. He’s shivering from the cold. The bleeding seems to have stopped but he has lost a lot and now he is shivering in the cold of the desert night. The moon, still full, crests the horizon. The moonlight falls on the temple and, slowly, they rumble open under their own power! The noise wakes Spector, who turns to see soft light emerging from the temple. Summoning the little strength he has left Spector manages to get to his feet, crouched over. He opens one of his wounds again, a little blood flowing.
INT. TEMPLE. CONTINUOS
Marc stumbles through the temple hall. He is in a hall as wide as the doors. There is light coming from ahead. He slowly, unsteadily moves ahead. The hall opens up into a rectangular room with a sunken floor. It’s not large, 30X20, and there is very little in it. The walls are crude stone and are bedecked with images of the moon in all its phases and they are glowing with a soft light. At the rear of the sunken area is a statue. The statue stands eight feet tall. It looks like a man, or a pharaoh rather as it wears a shroud and headdress, but it’s eyes are blank, lacking irises. If it has a mouth or nose they are covered by the shroud. It holds a staff topped by a crescent moon, ends pointing up.
Spector just manages to make his way down the crude stone steps to the sunken floor of the temple. He looks up at the statue. Then sinks to his knees. He reaches for the statue, then slumps on his back. His eyes close… and his breathing stops. He lies, unmoving, on the stone floor when suddenly, the eyes of the statue begin to glow with soft moonlight.
END SOUNDTRACK
INT. TENT. NIGHT.
Two soldiers guard the entrance to one of the smallest tents. Inside, Marlene lies face down on a cot sobbing while an uncomfortable Frenchie sits a distance away smoking a cigarette.
MARLENE
(choking)
Are we going to die?
FRENCHIE
I’m not sure.
MARLENE
But you said your government would pay a ransom.
FRENCHIE
They might, but you saw how Bushman keeps his word.
(long pause)
I’m sorry about your father.
MARLENE
(turning to him with venom)
You were supposed to protect him.
FRENCHIE
I’d say Marc did his best.
The anger goes out of Marlene’s face.
MARLENE
I’m sorry; you’ve lost a friend too.
FRENCHIE
A friend, not a father. And I’m used to it. You aren’t.
MARLENE
Still, you’re the only thing that’s kept me alive this long. I should be thanking you.
FRENCHIE
You can thank me when we are safe.
MARLENE
(managing a weak smile)
Deal.
Frenchie looks to the tent entrance, out of Marlene’s sight. One of the soldiers is leering at the woman with lascivious eyes. Frenchie looks worried.
???
SOUNDTRACK Anthem to the Rising Moon by Jeffrey Goodman
POV shot of Marc’s opening on a clear view of space.
Cut to a shot of Marc laying on the surface of the moon. Yet rather than looking gray and dull the landscape is brilliant shades of silver and yellow. He is in the same blood stained clothes but shows no visible injuries or any sign of being in pain. Standing in front of him is the being from the statue in the temple. He too, is now silver and golden yellow, though his exposed skin is alabaster white. Behind him, a small crater full of water rises a foot above the surface. The Earth can be seen in the sky, as well as the sun. Looking amazed Marc gets to his feet and looks at the figure, KHONSHU.
END SOUNDTRACK
KHONSHU
(voice Omar Sharif)
Marc looks at him, confused, speechless. Khonshu speaks with a calm, fatherly tongue, but in another language. There are no subtitles.
KHONSHU
(beat)
(beat)
(beat)
MARC
I recognize that, it’s Hebrew.
KHONSHU
What do you call that language?
MARC
English, how can you not know its name when you are speaking it?
KHONSHU
I am drawing the words from your mind as I use them. It will take a moment to become fluent.
MARC
Who are you? Where am I?
KHONSHU
I am Khonshu, god of vengeance and the moon.
MARC
God? Am I dead?
KHONSHU
Yes.
MARC
And the Egyptian gods were the real ones?!
KHONSHU
There are many gods in the realms.
MARC
Then why am I here?
KHONSHU
You died in my temple, in need of vengeance. I chose to intercede rather than let you go on to the God of your father.
MARC
My father? How do you know about that?
KHONSHU
Your mind is open to me in this realm.
MARC
This realm?
KHONSHU
The plane of the moon.
MARC
You interceded? What does that mean?
KHONSHU
It means your life is in my hands.
MARC
My life? I thought I was dead.
KHONSHU
That can be changed.
MARC
You can send me back?! Then do it.
KHONSHU
It is not that simply. I must first know if you are worthy, and there will be a price.
INT. TENT. NIGHT.
Marlene has fallen asleep. Frenchie is watching the two guards at the tent entrance. They are sharing an unmarked bottle of some kind of brown beverage that, judging by their behaviour, is alcoholic. They are talking amongst themselves in Arabic. They are regularly casting their eyes at the sleeping Marlene and their intentions do not seem good. Frenchie lights a cigarette and smokes nervously.
MOON.
MARC
So what do we do now?
Khonshu turns and walks to the pool behind him. He motions for Marc to follow. Marc moves to the pool as well. Khonshu waves his hands over the clear waters of the pool and it begins to glow. Then an image resolves in the pool. The image is of a RABBI (James Caan – cameo) of about fifty.
MARC
Dad?
FLASHBBACK. INT. MODEST HOME. DAY. 1992.
The rabbi is angry. He is yelling at a boy of 16, YOUNG MARC (teen actor).
RABBI
(yelling, angry)
Fighting?!
MARC
(plaintively)
Not fighting father, boxing.
RABBI
It’s the same thing! And it’s nothing the son of a Rabbi should be doing.
MARC
There have been a lot of great Jewish boxers.
RABBI
And if their fathers are rabbis I’m sure they’re ashamed too! All my life I have taught peace. Now my son turns his back on it?!
MARC
(resolved)
Dad, I’m doing this.
RABBI
Not while you’re under my roof.
MARC
Then I guess I won’t be.
He turns and storms out, slamming the door behind him.
MOON. CONTINUOUS.
In the pool, we see the face of the rabbi fall, crushed, as the echo of the door slam fades. The image fades back to clear, glowing, water. Marc looks glum as he realizes again how much he hurt his father.
KHONSHU
You chose combat over your own father.
MARC
I had my reasons.
KHONSHU
You sought to be strong, dangerous. Not someone to be pushed around.
Marc nods.
MARC
Those were good times.
KHONSHU
Four years.
MARC
Yep, one as an amateur, then straight to pro.
KHONSHU
But that was not enough for you.
Khonshu gestures to the pool again.
FRENCHIE’S TENT.
Frenchie is watching the two soldiers outside the tent at the tail end of an argument. Finally one of them cows the other and it is he who enters the tent, eyes on the sleeping Marlene.
MERCENARY #1
(broken English)
You keep away.
FRENCHIE
I wouldn’t do that if I were you.
MERCENARY #1
(curses in Arabic and spits)
FRENCHIE
Your boss agreed she wouldn’t be harmed. He won’t be happy you messed with her just because you can’t hold your liquor.
MERCENARY #1
(insulted)
I drink like man. I drink more than you, French pussy.
FRENCHIE
Oh yeah? Prove it.
FLASHBACK. 2002. EXT. AFRICAN SAVANNAH. DAY.
A younger Marc (Rosenbaum with dyed blond hair) and the knife woman are facing off on an African savannah. Watching them through the sunroof of a 1998 Land Rover is BUSHMAN. Two African mercenaries.
MARC
(to Bushman)
Explain to me again why I’m fighting one of your people?
BUSHMAN
Mister Spector, you’ve amassed quite a reputation in the past two years. If your reputation is well deserved then I can offer you a very lucrative position working directly for me.
MARC
What if I kill her?
BUSHMAN
These things happen. But try to avoid it. But you’ll find Eva a formidable adversary; try not to die yourself.
MARC
(to the woman)
You ready?
She responds by drawing two blades. A long dagger with her right hand and a smaller throwing knife with her left. Spector has a gun at his side but he opts to close in without drawing it.
BUSHMAN
We’ll see if you can impress me, mister Spector.
SOUNDTRACK Mortal Kombat Theme - instrumental
The pair circle each other. Eva starts with a wild lunge to the right. Spector easily steps to his left to avoid it, but he walks right into a sharp kick to his stomach. He backs away, rubbing the spot. Eva rears back her left hand and hurls her throwing knife at Marc’s shoulder. He has to jump to the side to dodge it and, even before he does, Eva has drawn another to replace it. Marc decides to charge. As he approaches Evan launches a knife at his leg. Marc leaps high in the air, somersaulting clear over Eva and landing on his feet behind her. Before she can turn, Marc chops her in the back of the head. She moves away, turning as she does. She rubs her head for a moment before shaking off the pain and drawing yet another knife.
Marc reaches for his gun. Eva reacts quickly, lunging at Marc with the long dagger. Marc rolls to the side to avoid her, drawing the gun as he lands. He aims, then the gun is knocked from his hand by Eva’s throwing knife. It falls several feet away. Marc looks concerned. He reaches for the gun, only to have to pull his hand back, narrowly avoiding a knife, which slams into the ground. An idea hits Marc and he grabs the knife from the ground. He hurls it at Eva but with little skill. She barely has to dodge to avoid the throw but that buys Marc the seconds he needs to get back to his feet.
Eva slowly edges towards Marc, dagger extended to ward off attacks. Bushman watches with just the tiniest hint of a smile. The other soldiers are enthralled, but silent. Eva slashes at Marc’s right arm but he draws it back in time. With his left, Marc manages to slip past her defenses and sock Eva in the jaw! She is knocked back, stumbling, but she regains control quickly.
BUSHMAN
That’s the spirit, mister Spector!
Another throwing knife flies, and this one catches Marc’s side as he dodges. His shirt takes most of the damage but a small slice on his skin is trickling blood.
EVA
First blood is mine, amateur.
MARC
This isn’t first blood – it’s last man standing.
He surges forward and extends a foot at her head. She is just flexible enough to bend backward and let it sail over her. With her empty hand she thrusts a palm into Marc’s kneecap as he passes. Marc’s leg goes out and he falls on his chest. He rolls on his side to look back – only to see Eva charging, the long dagger held in both hands. He throws his rolling to the right and just avoids the deadly blow. Kicking to his feet (or kipping up) he grabs Eva by the wrist and twists it off the knife. But that leaves the knife free in her other hand and she swipes it at his midsection. He’s forced to let go off her to jump backwards. But he lands just behind his lost gun. He crouches to draw it, back to the sun.
Eva does not look concerned as she draws a smooth chrome cleaver from her arsenal. Marc points the gun right at her.
MARC
Surrender or I shoot you.
Eva holds the cleaver in front of her eyes, and tilts it. A blinding glare from the reflected sun hits Marc directly in the eyes. Blinded Marc fires wild but Eva is already in motion, breaking to her right then swerving back at the crouched, blinded Mark. She kicks him in the face, sending him to his back. She mounts his chest as he feebly swats at her. She puts the dagger to his throat-
BUSHMAN
(shouting)
Enough!
END SOUNDTRACK
Looking disappointed, Eva slides off Marc and begins collecting her weapons. Her disappointment is nothing compared to Marc’s. We get a point of view shot as his vision returns to see Bushman standing next to him with a Desert Eagle (the same one we saw earlier) pointed at his face.
MARC
I failed. So I die?
Bushman smiles, turns the gun around and hands it to Spector. Spector takes it, hesitantly and with confusion.
BUSHMAN
I asked you to impress me, mister Spector. Not win. Most men wouldn’t have lasted three seconds against Eva. She rarely needs to use that cleaver trick.
MARC
So I get to shoot myself?
BUSHMAN
Mister Spector, relax. For years, I’ve been looking for a man to take that gun and wield it at my side. You just may be that man.
FRENCHIE’S TENT
Frenchie and the mercenary are seated across from each other at a small table. Each has a shot glass, identical in size. The other mercenary enters the tent carrying a small crate of the same liquor bottles they were drinking earlier. The second mercenary sets them on the floor and puts one on the table. The first motions for him to go back to the entrance then screws open the liquor. Behind him we can see Marlene’s eyes open. She’s only been pretending to be asleep.
FRENCHIE
What is it?
MERCENARY
You scared to know?
FRENCHIE
Just want to know what to expect.
MERCENARY
You French quack like hen.
FRENCHIE
Duck.
The mercenary ducks. When nothing happens he looks up, angry.
MERCENARY
No tricks! Drink!
He pours two shots. Both men pick them up.
FRENCHIE
To l’amour.
MERCENARY
Who dat?
FRENCHIE
Never mind.
They down the shots. Frenchie looks disgusted at the taste. The Arab is used to it.
MERCENARY
Again.
FRENCHIE
What, no fromage?
MERCENARY
No food! Eating cheating.
FRENCHIE
Fine.
Two more shots down. The third round finishes off the bottle, but there are plenty more…
MOON.
KHONSHU
You were willing to be a warrior.
MARC
(regretful)
For hire.
KHONSHU
You were not honored.
MARC
I told myself it was just a job. That if I didn’t do it, someone else would. And the pay… dear lord the pay. I put a new roof on my father’s synagogue without him ever knowing it was me. I have 27 cars, three villas, a condo and more military hardware than Iceland.
KHONSHU
Yet you always think of one day.
MARC
(angry)
No! Don’t show me that.
KHONSHU
If you wish to live you must see this.
MARC
Then I don’t- What happened to Frenchie and Marlene?
KHONSHU
They are alive and unharmed, though that may not remain true much longer. They, and those who have already died, cry out for vengeance.
MARC
Then why don’t you do something?
KHONSHU
My followers are few now. Once I had the power to level cities. Now I can only act through an agent.
MARC
An agent? Who is that?
KHONSHU
Will you look into the pool?
MARC
Is there any way I can save Frenchie and Marlene?
KHONSHU
It’s within the realm of possibility.
MARC
Then show me.
(beat)
Afghanistan.
FLASHBACK. AFGHANISTAN. 2006. DAY.
SOUNDTRACK Rubab, Humayun Sakhi
The settlement can hardly be called a village. Eight simple houses and a general store in the middle of nowhere. A few Afghani natives mill about in the summer heat. Others sit in the shade, drinking from jugs of water. An old man is telling a story to two younger men in the local tongue. Whatever he is saying the two men burst into laughter.
END SOUNDTRACK
Then one hears something. He holds up his hand. There is the sound of engines in the distance. The three men rise and look off in the distance, nervous. Looking down the road leading into the village they see dust clouds. An alarm is raised. People scatter. The approaching vehicles become clearer. Four Jeeps.
One of the villagers emerges from his home with a simple hunting rifle.
The Jeeps close in and we can now see that it is BUSHMAN, EVA and MARC along with six other SOLDIERS. All of them are armed, in fact two machine gun turrets are mounted on the back of two of the Jeeps. The Afghani with the rifle points it at the approaching jeeps. Bushman spots him through the scope of a sniper rifle and FIRES. The villager’s head explodes. The jeeps pull into the center of the community. The soldiers pour out. Eva, Marc and Bushman hold back. The other villagers have all taken cover inside. The six soldiers break into pairs and storm into three of the buildings. Gunfire and screams are soon heard from inside them.
MARC
(to Bushman)
They aren’t putting up much of a fight.
BUSHMAN
Hmm?
MARC
I don’t see any military equipment. That guy you shot only had a hunting rife.
The soldiers begin to emerge from the houses and move on to others. More gunfire, more cries of fear and agony.
BUSHMAN
(pointing to one of the untouched buildings)
That place looks larger than the rest. Let’s check it out.
The trio head for the building. Bushman replaces his sniper rifle with an AK-47.
MARC
(concerned)
Are you sure we’re in the right place? This just doesn’t look like a terrorist encampment.
BUSHMAN
Did you expect them to put up signs?
The soldiers have finished the other buildings and converge on the general store. Marc and the others reach the largest building. Bushman moves to the side of the front door. Eva draws two throwing knives. That leaves Marc to kick the door in. They move inside. It’s a simple kitchen, now in disarray. There is another door. Bushman motions for Marc to kick it open. He does and moves in…
Inside are a group of three women in burqas and eight children, all under 12. They are cowering against the wall in sheer terror. Marc takes another look around then turns to Bushman in anger.
MARC
Something is fucked here! These are women and children.
BUSHMAN
So they are.
SOUNDTRACK Akher Ayam El Tout (Last Days Of Mulberry), Rum Band
In slow motion, he sprays the Afghanis with machine gun fire, cutting them all to shreds.
MARC
(screaming but barely heard over the gunfire)
Nooooo!
END SOUNDTRACK
Bushman stops. He is smiling. He pulls a cigar from his jacket.
MARC
What the fuck?!
BUSHMAN
Come on, Marc. It’s time to grow up. I can’t keep coddling you forever.
MARC
You just murdered a room full of women and children! Do you think the Americans are going to stand for this?
Bushman moves close to Marc, steely eyes locked with his.
BUSHMAN
(cold)
Who says we’re working for the Americans?
Marc is dumbfounded.
MARC
We’re not?
BUSHMAN
The Americans are bankrupting themselves on this war. But they’re not the only ones with money.
MARC
We’re mercenaries, not terrorists!
BUSHMAN
We are whatever we’re paid to be.
Marc lets this sink in. Then he reaches for the Desert Eagle strapped to his side. Eva drops into a fighting stance, ready to put a knife into Marc’s head if he threatens them. But Marc takes the gun out and turns it around. He holds it, handle first, towards Bushman.
BUSHMAN
What’s this?
MARC
I’m out.
BUSHMAN
Don’t be a fool.
MARC
I’m taking one of the Jeeps. I’ll drop it at your safehouse.
BUSHMAN
And if I say no?
MARC
Then we have a problem.
Bushman sighs.
BUSHMAN
I never was sure you had what it takes.
MARC
I have what it takes. I’m just not willing to accept anything.
BUSHMAN
Then you’re no threat to me. Go, mister Spector. Try to find your world of lollipops and unicorns. When you realize it’s a fantasy, you’ll be back.
MARC
No. No I won’t.
Bushman takes the pistol. Marc brushes past him and out of the building.
FRENCHIE’S TENT
Half a dozen empty bottles litter the floor of the tent. Both FRENCHIE and the MERCENARY are very drunk. Marlene is still pretending to be asleep.
MERCENARY
You… you… look so… you don’t look so…
FRENCHIE
You’re… you’re no model yourself.
MERCENARY
Again!
With shaky hands he pours two more shots. He spills a fair amount.
FRENCHIE
You… I can’t let…
MERCENARY
Drink!
Both men down their shots. Frenchie squints at the mercenary.
FRENCHIE
No… no fair… there’s three of you.
He falls over backwards, passed out. Marlene springs to her feet.
MARLENE
No!
The mercenary grins at his victory, then turns to leer at Marlene. Marlene realizes just how much trouble she is in. The mercenary stands – only to topple over and pass out as well. Marlene breathes a sigh of relief.
MOON.
SOUNDTRACK Anthem to the Rising Moon by Jeffrey Goodman
Marc turns away from the pool.
KHONSHU
You walked away from those victims.
MARC
What was I supposed to do?
KHONSHU
I am a god of vengeance for those treated unjustly.
MARC
What does that have to do with me?
KHONSHU
I can give you new life. But you must agree to serve me.
MARC
Serve you how?
KHONSHU
You must become my fist. You must become a force for justice in your world.
MARC
Like one of those costumed superheroes?
KHONSHU
If you wish.
MARC
So I get to live again, to start risking my life for you?
KHONSHU
You risk your life regularly.
MARC
True.
KHONSHU
Now you will have a purpose. Is that not what you sought? And you will draw power from my realm.
MARC
So I just have to agree?
Khonshu gestures to the pool. It shows an image from earlier in the movie.
FLASHBACK
MARC
(pulling Frenchie close)
Remember, the professor, and his daughter, are our responsibility. The rest can rot.
END FLASHBACK
KHONSHU
You cared only for those you were paid to protect.
MARC
(ashamed)
I…
KHONSHU
This cannot be your way. Vengeance must go to those who deserve it, not those who offer silver and gold. Only if you swear to this will I let you become my fist.
MARC
I have plenty of money. Maybe it’s time to start doing what’s right.
KHONSHU
Then the choice is yours.
MARC
I can still save Frenchie and Marlene?
KHONSHU
Yes.
MARC
Then Hell yeah!
KHONSHU
Reach into the pool.
Marc puts both hands in the pool. He feels something in each hand and pulls them out. His right hand grasps a golden club in the shape of an ankh. In his right is an ivory boomerang.
KHONSHU
I bestow these weapons upon you. They are enchanted, completely unbreakable.
MARC
And that’s it.
KHONSHU
No, you must also wear the garb of The Fist of Khonshu.
MARC
Garb?
KHONSHU
I return you to your world now, Marc Spector. My statue is my conduit to this world. Keep it with you. Keep it safe.
Khonshu spreads his arms and his hands begin to glow. Marc shields his eyes as the light fills the camera.
END SOUNDTRACK
EXT. TEMPLE ENTRANCE. NIGHT.
SOUNDTRACK Bark at the Moon, Ozzy Osbourne
The temple doors remain open in the full moon light. Then, from the temple, emerges MOON KNIGHT. His outfit is silvery white. A hood and a cape dominate the look. A dark face cowl covers his features under the hood. He wears golden bracers and a gold belt with a special notch that holds his ivory boomerang. Around his neck is the ankh club and, below that, an outline of the crescent moon. He takes a long look around at the bloody remains of Bushman’s victims, now attracting flies. He moves to Professor Alraune.
MOON KNIGHT
I’m sorry I failed you. I’m going to save your daughter. I swear.
He takes off running towards the camp.
END SOUNDTRACK
EXT. EDGE OF CAMP. NIGHT.
Two of Bushman’s mercenaries approach the portable toilets. They are laughing and talking. One enters the toilet while the other waits outside and lights up a cigarette. Suddenly Moon Knight is behind him, approaching in total silence. He grabs the mercenary around the neck, and in one quick twist, snaps it. He lets the dead mercenary drop to the ground and drags him behind the toilet. Then he crouches beside the door, draws his club from his neck and waits. In a few moments the second mercenary steps from the toilet. He looks around for his friend. He calls to him in Arabic. But Moon Knight springs up behind him and bashes his head with the golden club. The mercenary goes down, but looks to be alive.
INT. TENT. CONTINUOUS.
Bushman has taken over Professor Alraune’s tent. He is oiling a rifle on a cot as Eva and Hank play cards.
HANK
So boss?
BUSHMAN
Yes?
HANK
What’s going to be in this temple anyway?
BUSHMAN
I have no idea. But somebody wants it badly. Bad enough to pay more than our last three jobs combined.
Hank whistles in appreciation.
EVA
We should kill the girl and the Frenchman. What’s a ransom compared to what we’re being paid for the job?
BUSHMAN
Save your pennies, my dear girl. Besides, we’ll turn them over to our Arab friends and let them worry about the ransom. We’ll just take a price for their heads. And they may just decide to behead them as examples.
EVA
So how does it feel to have finally killed Spector?
BUSHMAN
Yes, I’m sure our old friend has breathed his last by now. How does it feel? I feel more complete somehow. Like I’ve finally rectified an old mistake.
HANK
(to Eva, laying down his cards)
Gin!
Eva scowls, then stands.
EVA
I’m going to piss.
HANK
Think of me.
EVA
You disgust me.
She leaves.
INT. MARLENE’S TENT. NIGHT.
Marlene is sitting on her cot biting her fingernails as she looks at the passed out mercenary a few feet away. Suddenly, the other guard from the door comes flying inside and lands on his companion. Marlene looks to the entrance in shock as Moon Knight steps inside.
MARLENE
Who are you? What do you want?
MOON KNIGHT
Relax. It’s me.
MARLENE
Marc? How? And where did you get that outfit?
MOON KNIGHT
You’re not going to believe me.
MARLENE
Try me.
MOON KNIGHT
Knonshu? The guy whose temple you’ve been looking for? He’s real.
MARLENE
You are joking.
MOON KNIGHT
How else am I alive?
MARLENE
He healed you?
MOON KNIGHT
He brought me back to life. And what’s more, I’ve never felt this strong.
MARLENE
But why you?
MOON KNIGHT
We made a deal.
MARLENE
What kind of deal?
MOON KNIGHT
I have to serve him.
He notices Frenchie.
MOON KNIGHT
What happened to Frenchie?! And the other guy while you’re at it.
MARLENE
Frenchie challenged that bozo to a drinking contest to keep him from raping me.
MOON KNIGHT
Are you ok?
MARLENE
I’m fine. The contest was basically a draw. Now about Khonshu.
EXT. TOILETS. NIGHT.
Eva approaches the toilets. As she reaches them she notices scuffs in the sand leading behind them. She follows the tracks and finds the two mercenaries in a heap. Her eyes widen.
INT. MARLENE’S TENT. CONTINUOUS.
MARLENE
The legends spoke of a Fist of Khonshu. A great warrior who delivered vengeance to those who had been wronged. Are you saying?
MARC
That’s me now.
MARLENE
This is amazing. This is like a dream come true. I wish father could have seen this.
MARC
Your father is one of the people who need vengeance. I’ll tell you more later.
He picks up the mercenary’s gun and hands it to Marlene.
MOON KNIGHT
Keep these two covered. I have to take out the rest.
MARLENE
Try not to get yourself killed.
MOON KNIGHT
You mean again?
MARLENE
Yeah.
INT. BUSHMAN’S TENT. NIGHT.
Eva bursts in. Three other mercenaries are with her.
EVA
We’ve got trouble.
BUSHMAN
What kind of trouble?
EVA
Someone took out two of the men.
HANK
There’s nobody for miles.
EVA
Apparently not.
BUSHMAN
(to two of the soldiers)
You two, check the prisoners. We’ll search the camp.
EXT. OUTSIDE MARLENE’S TENT. NIGHT.
SOUNDTRACK Those Who Fight from Final Fantasy VII
Moon Knight steps from the tent and immediately spots the two mercenaries approaching. They spot him two. One yells at him in Arabic. The other readies his gun. But Moon Knight pulls the ivory boomerang from his belt and hurls it. It slams into the mercenary’s gun and sends it flying. Then, magically, it flies back to its place on Moon Knight’s belt. Moon Knight charges the two mercenaries. He leaps, delivering a flying kick to the chest of the man who just lost his gun. He is knocked over as Moon Knight lands easily and whirls to face the second, club in hand.
The second mercenary draws a knife from his belt. He comes at Moon Knight with a thrust. Moon Knight blocks with the club then uses his left hand to grab his foe’s wrist. He twists the arm, flipping the mercenary off his feet. But the first is back up and he clubs Moon Knight in the back of the head with his clenched fists. Moon Knight stumbles forward from the impact while the mercenary helps his friend to his feet. They turn to face Moon Knight together.
The pair split up, flanking the hero. He reaches for the boomerang but the first mercenary charges. Moon Knight jumps straight up, clear over the head of the mercenary! The first mercenary almost collides with his ally as Moon Knight lands behind him. Mercenary two comes at him, still holding a knife. Moon Knight swings his club at the advancing mercenary, who manages to dodge. The mercenary stabs at his heart. Moon Knight sidesteps, but the mercenary manages to bash him in the face with his other elbow.
Moon Knight sweeps with his club, backing off the mercenary. Now the first mercenary joins the action again. He comes at Moon Knight kicking. But he grabs the incoming leg and twists it, throwing the mercenary off his feet. But mercenary two drives his knife at Marc and he barely manages to block with his club. He stomps on the mercenary’s foot, sending him hopping backwards. Mercenary one is back up and he leaps at Moon Knight, only to be flipped over onto his back. Mercenary two comes back with another wild lunge with his knife. Moon Knight again catches the wrist with his left hand. He twists it, not to flip his foe, but to force the knife from his hand. Then Moon Knight smashes the mercenary in the face with his club, shattering his nose and knocking him unconscious.
Spector looks for the first mercenary to find he has retrieved his gun. He fires at Spector who rolls to the side before the shots can target him.
MOON KNIGHT
(to himself)
Great, everybody heard that.
Spector continues to roll across the sand as the mercenary fires at him. Moon Knight freezes as an ASP slithers in front of him. Then, at lightning speed, Moon Knight grabs the asp and throws it into the mercenary’s face! The man screams in terror and flails the snake away. He hyperventilates in terror, then looks up to see Moon Knight’s boomerang coming straight for his face. It’s the last thing he will see for some time. The boomerang returns to Moon Knight’s hand and he returns it to his belt.
END SOUNDTRACK
HANK
(O.S.)
Nice toy, pajama boy.
Moon Knight turns to see Hank standing nearby, waiting for him.
HANK
Now what say we forget about toys and settle this like men?
Marc nods silently.
SOUNDTRACK Fight Music – Instrumental, D12
He puts his club back around his neck. Hank moves in. The two men put up their fists. Hanks punches Moon Knight in the nose. Spector fires back a jab to Hank’s kidneys. Hank lets out an “oof” from the impact but retaliates with an elbow strike to Moon Knight’s chin. But the hero grabs Hank around the hips and lifts the big man up over his head! Hank looks shocked as his smaller opponent manhandles him with ease. Moon Knight hurls Hank ten feet away to crash on his chest. Hank gets up, growing angrier.
Hank charges, slamming his body into Spector hard enough to send both of them sprawling. Hank ends up seated on Spector’s chest and he opens up with a barrage of punches to his masked face. But Marc gets his arms under Hank’s legs and simply stands up, lifting Hank to sit on Spector’s shoulder. Hank is again shocked at his foe’s strength. Spector then slams Hank into the sand. Hank rolls away, looking concerned.
HANK
Who the Hell are you?
Moon Knight is silent, motioning for Hank to get up and fight. Hank stands. The two close, and Hank kicks Marc in the groin! Marc sinks to his knees in pain and Hank races behind him to lock on a sleeper hold.
HANK
I don’t care how strong you are. You still need to breathe.
Hank holds the lock in place. Moon Knight still seems to be out of it from the pain.
HANK
When you’re dead I’m taking that club. I think I’ll give the boomerang to Eva.
Moon Knight clenches his fists.
HANK
Maybe she’ll like it enough I’ll finally get in her pants.
Spector grabs Hank’s wrists. Then he pushes and twists. Hank’s wrists audibly snap and he screams in pain. He staggers backward as Spector stands and turns to face him. Hank stares at his hands as they dangle uselessly from his arms. He doesn’t even notice as Spector races at him and leaps for a spinning back kick that knocks Hank’s head off his body and sends it flying like a soccer ball! Somehow his body stands for a few seconds before falling to the ground.
END SOUNDTRACK
BUSHMAN
(O.S.)
Amazing.
Moon Knight turns to see Bushman, Eva and the last mercenary standing fifteen feet away.
BUSHMAN
I don’t know who you are but you’re good. But I doubt you are made of steel. Eva, kill him.
SOUNDTRACK Mortal Kombat Theme - instrumental
Eva draws and hurls a throwing knife at Moon Knight. He just manages to lift his arm so the knife bounces off his bracer. Eva frowns and moves closer. She launches two more knives one after the other. Spector just sidesteps one and the second hits his belt. Spector readies his club. Eva draws her long dagger with her right hand and another throwing knife with the other.
MERCENARY
(to Bushman)
Why don’t we just shoot him?
BUSHMAN
Because my employees need to be tested. I need to know I’ve hired the best. Clearly, Hank was not the best.
Eva throws the knife. Spector bats it away with his club. Eva charges, dagger raised. Moon Knight circles to the left to stay out of the knife’s path. Eva draws another dagger with the left hand. She stabs at him – he jumps backward. She slashes with the right, just missing as Moon Knight springs sideways. He aims a kick at her head - ducked. She wildly stabs with her left hand, but Moon Knight blocks with his club and the knife goes flying.
EVA
Shit!
Moon Knight launches a left hook at Eva’s head and she just ducks it. She kicks him in the right knee then swings her dagger at him. Again it’s Spector’s bracer that blocks the blade. She draws yet another dagger with her left hand as Spector tries to grab her wrist. She’s quick enough to evade and she strikes with her left hand. Spector dodges, but the blade catches his arm, slicing through the costume and opening a two inch gash in his flesh.
EVA
So you do bleed.
The dance continues. Dagger swipe – blocked with the club. Kick at her thigh – dodged. The two circle around, moving, trying to out-position the other. Moon Knight starts wildly swinging his club in front of himself. Eva easily dodges but is forced backward. She retreats across the center of the camp until she backs up to the entrance to Marlene’s tent. She throws her left dagger at Moon Knight but it’s not balanced for throwing and it goes wide. She draws another throwing knife – and Marlene steps out of her tent and clubs Eva in the back of the head with the butt of her gun! Eva goes down in a heap. Moon Knight gives a nod of appreciation to Marlene, who smiles back.
END SOUNDTRACK
MARLENE
Get him.
Moon Knight turns back to Bushman and his mercenary. The mercenary looks dazed at the display he just witnessed.
BUSHMAN
(to the mercenary)
Now you can shoot him.
Coming out of his fog the mercenary fumbles for his rifle – and Moon Knight’s boomerang smashes him in the nose, breaking it. Blood starts pouring out and the mercenary turns and runs! Bushman looks at him in disgust.
BUSHMAN
If you want something done right-
He draws the Desert Eagle and aims at Spector. Spector breaks into a run as Bushman opens fire. A bullet clips the fleshy part of Marc’s side, drawing more blood, but he’s upon Bushman without taking serious damage. Moon Knight grabs the Desert Eagle and rips it out of his enemy’s hand. Taking it in both hands, Moon Knight crushes the gun, bending it into a piece of modern art. Bushman’s eyes go wide. Spector plants one hand in his chest and shoves him to the ground.
MOON KNIGHT
It’s time for you to pay for all your crimes Bushman.
BUSHMAN
(recognizing the voice)
Spector?! But how?
MOON KNIGHT
Now you die.
He raises his club – and Bushman throws a handful of sand into his eyes! Spector stumbles back, blind, as Bushman takes off running away from him.
MARLENE
Look out!
SOUNDTRACK Bark at the Moon, Ozzy Osbourne
The last mercenary, who had fled, now reappears, driving a Jeep straight at Moon Knight. We get a POV shot of Moon Knight’s blurry vision as the Jeep barrels down on him. Marlene gasps in horror. The Jeep comes right at Moon Knight – who catches it and flips it over his head! The Jeep crashes on its roof and explodes into flames. Moon Knight shields his face from the flames, then turns to see Bushman speeding off in a Jeep.
END SOUNDTRACK
MOON KNIGHT
Fuck!
Marlene rushes up to him.
MARLENE
Are you alright? You’re bleeding.
MOON KNIGHT
I’ll never catch Bushman now.
MARLENE
Maybe someday. You did a good thing here. You saved my life, and your friend’s. Now let’s bandage you up.
INT. TENT. DAY.
Frenchie, with an obvious splitting headache from his hangover, holds Eva and the surviving mercenaries, many of them injured, at gunpoint.
FRENCHIE
Now we sit here and wait for the authorities. And Mon Dieu, do it quietly.
INT. PROFESSOR’S TENT. DAY.
Spector, out of costume, is bare chested with bandages over his injuries. He is placing the Moon Knight costume in a box.
MARLENE
(O.S.)
Knock knock.
MARC
Come on in.
She enters.
MARLENE
You look alright for a dead man.
MARC
(kidding)
More than alright, I’m stunning.
MARLENE
I want to thank you again.
MARC
No need.
MARLENE
What now?
MARC
I’ll make sure your father and the others’ bodies are properly taken care of. But, I need to get that statue from the temple before the authorities arrive.
MARLENE
Why?
MARC
It’s Khonshu’s conduit. I’m taking it with me.
MARLENE
Taking it where?
MARC
Back to Chicago. I’m stuck acting as an agent of vengeance. I might as well do it in my home town.
MARLENE
So you’re the Fist of Khonshu now?
MARC
I was thinking of calling myself Moon Knight.
(beat)
What about you, what do you do now?
MARLENE
(definite)
I’m coming with you.
MARC
That’s crazy.
MARLENE
My father and I spent years searching for the temple of Khonshu. You actually talked to him. And could again. If you think I’m letting you get away then you’re the one who is crazy.
MARC
And if I refuse?
MARLENE
I know your secret identity. You have to keep me safe.
Marc takes a long look at her and realizes how determined she is.
MARC
Fine. You bandaged me up pretty good. Maybe I can use you.
MARLENE
There’s one other thing.
MARC
What?
MARLENE
Promise you won’t tell anybody.
MARC
Cross my heart.
MARLENE
I can fix your costume.
MARC
You can sew?!
MARLENE
Not so loud.
MARC
I figured that was too girly girl for you.
MARLENE
Mom died when I was young. I had to learn a lot of things.
MARC
So you can cook?
SOUNDTRACK Crabbucket, K-os
MARLENE
(almost flirty)
Maybe someday you’ll find out.
She turns and leaves, walking sexy, as Marc stares at her ass as she goes.
MARC
(to himself)
Gods and killers I can handle. Just save me from women.
THE END