The Fog At Dawn

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Status: Finished  |  Genre: Horror  |  House: Booksie Classic
in the dying days of world war 2, a band of filipino and american guerrillas headed by an amazon form an unlikely alliance with a japanese "kempetai" officer to quell a deadly onslaught by a horde of elite soldiers, turned into mindless killers. the result of a failed "human subject experimentation" conducted by the infamous unit 731, the biological/chemical research unit of the japanese imperial army in their desperate bid to win the war.

Submitted: October 18, 2016

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Submitted: October 18, 2016

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"The Fog At Dawn"

by:

Eric Garingalao



























? 2011, Eric Garingalao (416) 520-5027
WGS1104520 eric.garingalao@gmail.com












IN BLACK:

A big SPLATTER. Then, a STIRRING SOUND of someone making a
strenuous effort underwater.

FADE IN


EXT. UNDERWATER - DAY

MARIO, 12, skeletal in figure is struggling through cycles
of bubbles.

Suddenly, two successive MUFFLED EXPLOSIONS can be heard in
the surface.

A strong undercurrent SWOOSHES. It sweeps the boy violently
as the water runs RED WITH BLOOD.

FADE OUT


IN BLACK:

The FLAPPING of a flag mixes with DISTANT ARTILLERY
EXPLOSIONS and AIR RAID SIRENS.

SUPERIMPOSE: "MANILA BAY, FEBRUARY 1945."

FADE IN


EXT. THE DOCK - DAY

The "HINOMARU," the Japanese Imperial flag, stands on the
deck of one of the destroyers. The half torn symbol shakes
violently amidst the strong HOWLING wind.

The air is smoggy and the water murky.

Smoke is billowing and fire is burning from every direction;
in the buildings, in the ships and in the wharf.

On the harbor are tightly tucked cruisers and destroyers
along with commercial ships and fishing trolleys.

On the dock, men of the Japanese Imperial Navy scurry to
perform their duties on and off the ships.







2.



INT. INSIDE A MILITARY TRUCK - MORNING

CLOSE: A white armband with the Japanese characters "hei"
(meaning "soldier") and "ken" (meaning "law") in red. It is
the official seal of the "Kempeitai," the dreaded Japanese
military police.

CLOSE: A collar badge with a white star against red and
yellow stripes. It is known as "Rikugun Shosa," a rank as
Major in the Imperial Army.  

KAITO HARADA, 35, a bony and lanky officer wears his "Socho"
uniform with pride. He sits emotionless on the front seat.
His face catching occasional light as the truck moves along.


EXT. THE DOCK - DAY

MOVING: A ROARING JAPANESE ARMY TRUCK approaches, it spews
dust from it’s tracks. It heads towards a platoon of
soldiers who are loading supplies on a patrol craft.

The engine blows smoke as it stops in front of them.

From the platoon, a Japanese DISPATCH OFFICER greets Harada
on the side of the vehicle.  

Note: This dialog is in Japanese with subtitles:

DISPATCHER
(saluting)
Major Harada!

HARADA
(looking at the craft)
Is that our boat?

DISPATCHER
I’m sorry, Sir but you can’t board
here. You have to go south and take
another one in Lucena.

Harada reacts curiously as the DISTANT ROARS of artillery
and it’s impact can be heard and felt.

DISPATCHER
Corregidor is under attack and
American ships are blocking the
bay.

HARADA
Where is Colonel Iyashi?


(CONTINUED)

CONTINUED: 3.



DISPATCHER
He and his men have been ordered to
abandon ship and make a defensive
stand in Intramuros.

HARADA
Those are not General Yamashita’s
order.

DISPATCHER
It was an order from General
Iwaguchi, Sir!

Harada pauses to think.

HARADA
It’s true then, we are in  
disarray...Okay, what are our
instructions?

The dispatcher takes out a handwritten message by Colonel
Iyashi and hands it over to Harada. Urgently, he reads it...

DISPATCHER
(while Harada is reading)
There’s a platoon waiting to send
you off in the harbor, Sir. You
must also travel quick...the area
is swarming with guerrillas. Take
the Avenida on the 8th, it’s the
only road that we have full control
of. You will get your instructions
once in Lucena.

...and puts the paper aside.

Harada sticks his head out of the front seat and looks up.

HARADA’S POV: The air is tainted with smoke.

DISPATCHER (O.S)
You have to go, Sir!

The hesitant Harada slowly taps the roof of the truck
signaling the driver to go. The truck speeds away.


EXT. STREETS - DAY

MOVING along the dilapidated remains of an Allied bombing,
the truck negotiates it’s way through a chaotic avenue in
Manila.


(CONTINUED)

CONTINUED: 4.



Japanese soldiers on foot are escorting the truck through
the crowd while civilian evacuees litter the streets. The
truck HONKS its way through them. The soldiers are SHOUTING
orders as they FIRE SHOTS in the air to clear the crowd.

CLOSE: Amidst the chaos, Harada looks on.

HARADA’S POV: From inside the front seat of the truck:

1. A Japanese officer brandishing a pistol SHOUTS at an
elderly couple who cannot get out of the way fast enough.

2. A woman is crying on her knees with a dead child in her
arms.

3. Shops being looted by both the soldiers and the
civilians.

WIDE: Carelessly, the TRUCK accelerates through the scene.


EXT. CITY OUTSKIRTS - DAY  

WIDE: A line of refugees fleeing the city congest the road
as the truck finds it’s way out of the capital.


EXT. COUNTRYSIDE - DAY

The Japanese truck passes through several treacherous
roads-muddy, rough, rocky and narrow.


EXT. THE LUCENA DOCK - DAY

Finally, the truck finds it’s way along rows of coconut
trees where the beach can be seen behind it.

The makeshift dock is at the end of the road, guarded by
platoon of Japanese soldiers.

QUICK CUTS: Sandbags with machine guns, soldiers patrolling,
a skinny dog scrounging for something to eat, an armed
military vehicle, a water buffalo with a cart load of
supplies and a hut serving as a shelter and a communication
center.

At the end of the dock is the patrol craft "INOUE."

The truck approaches and is greeted by a few soldiers.

TAKESHI ITO, sits on one of the rocks by the shore. A 50-ish
doctor in glasses with a short, stout structure.

(CONTINUED)

CONTINUED: 5.



The truck pulls in a few meters behind him. A cloud of dust.

He glances back to see...  

...Harada jumping out of the front seat while his troops
dismount from the back.

Note: This dialog is in Japanese with subtitles:

HARADA
Hurry up! Double time! Double time!

Fifteen soldiers find their spots to form a line in a hurry.

SERGEANT YOSHIDA, the young commanding officer, comes out
from the hut and greets Harada with a bow.

YOSHIDA
Staff Sergeant Yoshida at you’re
service, Sir!

HARADA
Are you in charge here?

YOSHIDA
Yes, Sir!

HARADA
Is there anything that I need to
know?

YOSHIDA
Our instructions are to send you
off smoothly and quickly, Sir.
There will be another platoon
waiting to pick you up in Panay in
0600 hours tomorrow. We don’t have
enough time, the Americans are
sealing off every access to the
south. You have to go along the
coastal route from island to
island. Avoid the open sea at all
costs. The boat’s captain knows
what to do.

HARADA
What else?

YOSHIDA
We have to take somebody with
us...a civilian.



(CONTINUED)

CONTINUED: 6.



HARADA
We...a civilian? I thought this is
purely a military mission.

KAZUKI
Yes Sir, I am going with you and we
have to take Dr. Ito. That was the
order from above and I have to make
sure that you do it.

Yoshida looks at Doctor Ito. He is staring at the sea.

Harada feels intimidated.  

HARADA
Make sure that I do it? Are you
trying to threaten me, soldier?

YOSHIDA
No Sir! I’m just carrying orders.

HARADA
Where are the papers?

YOSHIDA
There are none, Sir! I just know
that those are my orders. It should
be carried out under any
circumstances.

Harada looks around. A machine gun perch on a circular
sandbag is directly aimed at him.

HARADA
Very well, who is he again?  

YOSHIDA
Doctor Takeshi Ito. You are  
responsible for his welfare.

HARADA
Do not give me orders again,
soldier!

YOSHIDA
Sorry, Sir, but it has to be done!

Note: Dialog resumes in English unless noted.

Harada looks at Yoshida for a moment, then moves along his
soldier’s line. He walks slowly with a samurai on the left
waist and a pistol on the right.



7.



Soldiers stand at attention. Their dirty uniforms and rugged
faces show weariness and neglect.


MOMENTS LATER

The soldiers move quickly as they load up the "Inoue."
Yoshida supervises them.

Doctor Ito walks pass Harada and gives him a stare. Harada
stares back at Ito’s expressionless face. A face riddled
with questions and mysteries. His blank stare suggests
something unnatural, something cold.

Harada is the last one to climb on board the craft. With the
help of shirtless sailors, the "INOUE" is ready for the sea.

Amidst the tranquil scenery, the patrol boat’s engine ROARS.

The "INOUE" slowly glides out of the harbor and discreetly
makes it’s way along the coastal route as the "Hinomaru"
flag is lowered.

CLOSE: Harada stands at the end of the boat. Trickling with
sweat, his face is showing signs of concern.

FADE OUT/FADE IN


EXT. OFF THE COAST - DAWN  

WIDE: Heavy fog settles on the beach. Only the top of the
towering coconut trees can be seen, a perfect cover for the
discreet "INOUE" to land.  

The craft moves slowly towards the shore. With engine off,
she glides with ease in the calm water.

Harada is in the front deck, he surveys the area with his
binoculars. Yoshida is beside him.

HARADA’S POV: On the shore, flashes of a signal light can be
seen. Clearly a coded message to the "INOUE".

Harada lowers his binoculars.

Note: This dialog is in Japanese with subtitles:

HARADA
The fog...very unusual. It’s more
inland than on the sea.



(CONTINUED)

CONTINUED: 8.



YOSHIDA
The natives think that it’s the
ghost of thousands...trying to find
a place to settle.

POV FROM THE "INOUE": The signal light from the shore
continues to flash.

HARADA
They’re right on schedule. Prepare
to land.

Yoshida acknowledges.

SUDDENLY; from a distance, a BUZZING SOUND of an aircraft
can be heard.

Harada looks up. First to the sea, then inland. The BUZZING
gets LOUDER and LOUDER, obviously the plane is flying low.

Harada points inland.

HARADA
There!

VROOM, the plane flies over the "Inoue." It is a U.S. Navy
Grumman Avenger.

Harada’s head turns, his sights follow the plane as it
passes with a strong gust of wind.

HARADA
Anti-aircraft! He’s coming back!
Get Ito somewhere safe!

Note: Dialog resumes in English unless noted.

Yoshida begins CALLING OUT orders as his men scurry along
the deck. Anti-aircraft guns at the ready.

SILENCE engulfs the air. The sailors wait.

The BUZZING of the aircraft can be heard again, this time
from an undetermined position.

Suddenly at 2 o’clock high, the diving AVENGER opens fire
with a LOUD BURST of 12.7 mm machine gun.








9.


INT. THE PLANE - DAWN

LT. HENRY BURROWS, 29, a sturdy U.S. Navy pilot is flying
the plane with his two crewmen in the back. His thumb
pressing the machine gun trigger.

HENRY’S POV: A hail of tracer bullets from both his plane
and the anti-aircraft guns of the Japanese can be seen in
patterns. The "Inoue" is getting closer and closer until...

...a thick FOG hovers between the plane and the boat.

The Avenger shifts from machine gun to 20mm cannons. BOOM,
BOOM, BOOM!

It’s now just a matter of who can hit first over the dense
cloak of the fog.

The "Inoue" responds. Black smoke packets from anti-aircraft
fire surrounds the plane.  

CLOSE ON Henry as sweat trickles down his aviator goggles.
Suddenly, a succession of CRASHING SOUNDS hit the plane. It
rocks and shakes intensively.

HENRY
Fuck! Fuck! We’ve been hit boys.
I’m losing grip.

He turns around to see...  

HENRY’S POV:...smoke from the back cockpit. Bullet holes
litter the panels and the lifeless bodies of his crew are
covered in blood.

The Avenger tries to pull up but shimmies out of control.
The "Inoue" continues firing until it blows off the right
wing of the plane. A trail of smoke comes out as the Avenger
swirls inland and back to the sea where it crashes.


EXT. THE DECK OF THE INOUE - DAWN

Harada delegates his men as they scamper all over the place.
The dead, all torn up by the big guns of the Avenger, litter
the deck. Blood and oil mixes.

This dialog is in Japanese with subtitles:

HARADA
(looking around)
Yoshida! Yoshida!

Harada grabs a sailor by the arm.

(CONTINUED)

CONTINUED:   10.


HARADA
Where’s Yoshida?

SAILOR
He’s downstairs with Doctor Ito,
Sir!

Note: Dialog resumes in English unless noted.

Harada breaths a sigh of relief.


EXT. HILL OF THE COAST - DAY

Two boys in tattered shirts and over-sized military shorts
are scurrying uphill. They are carrying backpacks made out
of nylon parachute fabric. Grass HISSES as they move.

Mario is leading PAULO, 11, his stouter, shorter and over
exhausted friend. Both are panting.

Note: This dialog is in Ilonggo with subtitles.

MARIO
Hurry!

Paulo is catching his breath and falling way behind.

PAULO
Y-y-you think they’ll let us have
guns now?

MARIO
I don’t know. Just hurry!  

PAOLO
Just ask your aunt. I’m sure she’ll
let us have one.

MARIO
She’ll kill me when she sees
me...Hurry, fat ass!

Gradually slowing from exhaustion, they follow a path
between rows of bushes and thick coconut trees. The path
becomes narrower until it is lost in the thick foliage.

Mario stops in the middle of the dense tropical flora.

MARIO
Wait!

Paolo, who is trailing from behind, almost stumbles.


(CONTINUED)

CONTINUED:   11.



PAULO
What?...You’re scaring me.

A moment of silence; both are edgy.

MARIO
(pointing at the trees)
Right there!

A series of SHUFFLING SOUNDS from the top of the trees.

PAULO
(whispering)
We should just go.

Mario crouches and slowly heads to the area where the trees
are RUSTLING.

PAULO
(almost whispering)
Hey! Where are you going?  

Note: Dialog resumes in English unless noted.

Mario proceeds, Paolo follows with hindrance.

The trees RUSTLE frequently; a movement, a struggle.

SUDDENLY, IT STOPS!

SILENCE...except for the SUBTLE GUST of the wind. The boys
are cautious.

MARIO’S POV: From behind the bushes, Henry hangs from a
tree. His parachute entangled with the branches, 30 feet
above ground.

Henry is leery. Anticipating danger, he aims his .45 pistol
to where the boys are.

With a big cut on his forehead and a bruise on his cheek, he
slowly wipes the mixture of sweat, blood and oil off his
face. Branches CREAK as he moves.

Mario’s face turns from fear to exuberance.

MARIO
Americano, Americano!

They approach Henry.




(CONTINUED)

CONTINUED:   12.


HENRY
(almost whispering)
Shhh! Keep quiet!

The boys LAUGH.

HENRY
Hey, quiet!

Henry motions the boys to come closer.

The boys nod. They move closer to the hanging Lieutenant.

HENRY
Do you speak English...English?

MARIO
Yes Sir! We’ll get help for you.

HENRY
Lower your voice...okay! No...
don’t get help. Listen to me.

Henry takes out his jungle knife.

HENRY
Listen carefully. I’m gonna give
you this knife. You gather as much
grass and thick leaves and lay it
under me...okay. Get a lot...can
you boys do that?

MARIO
Yes Sir, you jump?

Henry throws the knife down. It sticks on the ground, right
beside the boys.

HENRY
You got the idea! Now go, stay
quiet and don’t let anybody see
you...understand?


INT. INSIDE A HUT - DAY

A dressed chicken on an oval hardwood chopping board gets a
blow from a small machete until it is in bite size pieces.

STATIC NOISE from a radio can be heard in the background.

QUICK CUTS: On an aluminum plate; chopped garlic, annatto
seeds, sea salt and bay leaves. On top of four iron bars and
large rocks, a military pan heats up on CRACKLING firewood.

(CONTINUED)

CONTINUED:   13.



The NOISE from the radio switches frequency intermittently.

The top of the pan receives a small amount of oil. It heats
up. The ingredients are tossed in with the chicken.

An aluminum cup of coconut vinegar and a little water from
the canteen is added to the mix. A wooden spoon mixes it.

DOLORES, 35, aka "Commandera," is cooking the chicken
adobo.  A slim yet muscular Filipina with straight black
hair in a ponytail. She is dashing yet dangerous with a
Thompson sub-machine gun strapped on her back.

To the right; SANTI, 29, is seated on a rock with a portable
two-way FM radio on a small bamboo table. A short, skinny
Filipino with round glasses, he looks more like a university
student than a guerrilla. On his army fatigue coat, a red
Communist star patch.

The radio is solidly built with a harness, belt strap,
cords, antenna and body painted in military olive drab
color.

With the radio’s handset on his ears, Santi works the KNOBS
to get a clear signal. On a table beside him are pieces of
paper, a map, a pencil, a compass and a ruler.

SANTI
Echo 8 to Alpha 3, over...Echo 8 to
Alpha 3, over.

STATIC response.


EXT. JUNGLE - DAY

CLOSE: A knife is tied to a long bamboo pole. Being pushed
from below, it elevates slowly towards Henry.

WIDER: With the knife within reach, Henry unties it from the
pole.

HENRY’S POV: Mario lowers the bamboo pole. A thick cushion
of grass and coconut leaves lay beside Paolo and directly
beneath him.

HENRY
Good job, boys!

The boys nod in approval.  




(CONTINUED)

CONTINUED:   14.



HENRY
Okay, here we go.

Henry breaks off a branch and bites it between his teeth. He
grabs the parachute straps above him, and with his left
hand, quickly cuts it with the knife.

A RUSTLING noise follows as he falls, feet first on the
makeshift cushion.

Henry GRUNTS in pain. Trying to prevent himself from
screaming, he bites the branch even harder. He lays down on
the cushion for awhile. Breathing profusely, he spits the
branch out and LAUGHS subtly.

The boys LAUGH with him.


EXT. OUTSIDE THE HUT - AFTERNOON

A makeshift antenna hangs from a tall coconut tree.

SANTI (O.S.)
Echo 8 to Alpha 3, over...Echo 8 to
Alpha 3, over.

PANNING DOWN from the antenna’s wire,...

SANTI (O.S.)
Echo 8 to Alpha 3, over.

...the hut stands beside a cave in a secuded cliff. The
hideout is hidden by massive trees and rough terrains.

A group of eight men and women, clearly guerrillas, are
settling in groups. The seven Filipinos and an American G.I.
are lazing in the humid afternoon.

This unit is under the command of Dolores and her...

...U.S. Army combat adviser; WILLIAM KNOX, 52, a tough
USAFFE 61st Division Sergeant of Scottish descent. He is
relaxing under a coconut tree with a cigarette in his mouth.

He takes a drag when suddenly,...

...from the radio, a GARBLE mixed with STATIC NOISE.

U.S. Navy CAPTAIN TURNER’S fading voice can be heard on the
other end.




(CONTINUED)

CONTINUED:   15.



CAPTAIN TURNER (O.S.)
Echo 8 this is Alpha 3. It’s good
to hear from you, over.

SANTI (O.S.)
(almost immediately)
Likewise, Sir!

Everyone slowly coverge to the hut, eager to listen.


INT. INSIDE THE HUT - LATER  

Santi quickly grabs the pencil and listens attentively. He
turns the volume higher.

CAPTAIN TURNER
(from the radio)
Operation Victor One is being
planned at 10?43’00"N and  
122?23’00"E. Pre-bombardment will
commence right away in strategic
areas.

Santi starts scribbling all the information.

QUICK CUTS: of the guerrillas-Old EMILIO, 61, completely
bald and wearing a straw hat is as sturdy as a rock.;
NAPOLEON, 36, Philippine Scout with a sniper rifle in tow;
ROSARIO, 22, an ex-nurse sitting on an olive drab RED CROSS
box. She is Emilio’s daughter.

CAPTAIN TURNER (O.S.)
We need packets of blocking units
in several points to prevent the
enemy from going uphill. If you are
around the premises where you were
48 hours ago, it is very important
that you stay there.

QUICK CUTS: The brothers-BATO and BALAS, Negrito pygmy
trackers, both 4"9 in height with dark skin and curly hair.

CAPTAIN TURNER (O.S.)
I repeat...hold your position and
patrol your area until Victor One
is launched. Panay will be
liberated soon.

Santi lowers down the handset in disappointment.




(CONTINUED)

CONTINUED:   16.



CAPTAIN TURNER (O.S.)
Echo 8, do you copy, over?

No response. Dolores takes the handset from Santi’s hand
and...

CAPTAIN TURNER (O.S.)
Echo 8, do you copy, over?...Echo
8?

...puts it on her ear.

DOLORES
Copy, Alpha 3.

CAPTAIN TURNER (O.S.)
Dolores, my favourite
guerrilla...good to hear your
voice!

DOLORES
Likewise, Sir.

CAPTAIN TURNER (O.S.)
Well, good luck to you and your
men.

DOLORES
Wait...Alpha 3!

CAPTAIN TURNER (O.S.)
Anything else?

DOLORES
Sir, we would like to be in the
city. Most of our men are there
already. It’s only us here.  

CAPTAIN TURNER (O.S.)
Negative, Echo 3. That’s the order
from General Arnold and Colonel
Peralta has already been informed.
It is very important that you hold
that position. We’re close to
wrapping this war up.

DOLORES
There are no enemies in this area
for the past month. Asking
permission to join the resistance
in the city, Sir?



(CONTINUED)

CONTINUED:   17.


CAPTAIN TURNER (O.S.)
Negative, Echo 3! Furthermore, we
have a missing plane 8 hours ago.
In all likelihood, it may have been
lost at sea. This is not your
responsibility but keep your eyes
open along the coast. A search
party has already been dispatched.
We pray to God that the crew are
alive. Over and out now!

STATIC.

Dolores slams the handset. She runs her hand on her face and
sighs in disgust.

William looks at her as he takes a long drag.


EXT. OUTSIDE THE HUT - LATER

The guerrillas huddle in a circle. They are having a late
lunch of chicken adobo and rice on banana leaves.

Napoleon, the Philippine Scout, patrols the right flank from
a distance. He is keeping watch while the others eat.

Emilio does the same on the left flank.

William finishes his meal. He stands up and walks towards
Napoleon.

WILLIAM
Go ahead, lots left!

Napoleon nods and heads to the group.


EXT. BY THE CLIFF - LATER  

William follows a path towards the edge of the cliff and
finds a small clearing. A perfect spot to survey the area.

WILIAM’S POV: To his right down below, the sea. The
afternoon sun shines golden sparkles on the waves. To his
left, a valley full of grass with packets of large trees and
rocky terrains.

He breathes the air and feels the moment as he reaches for a
pack of "I SHALL RETURN" cigarettes and lights one up.

William takes his binoculars and surveys some more. He
shifts his focus from area to area while taking long pauses
to ensure that he covers everything.

(CONTINUED)

CONTINUED:   18.



SUDDENLY, he sees something! He reacts by putting the
binoculars down, then back up again.

This time, slowly following something...a movement. He spits
his cigarette out, his mouth agape.

WILLIAM
(almost whispering)
Goddamn!


EXT. FARTHER FROM THE HUT - LATER

A HOLE on the ground receives amounts of garbage from the
lunch activity: firewood, cigarette butts, banana leaves,
tin cans and chicken bones.  

Bato covers everything with soil while Balas feathers the
tracks with leaves on a branch.

Suddenly, the bushes behind them move. It catches the
attention of the brothers. Their M1 Garand rifles, almost as
tall as they are, at the ready.

WILLIAM (O.S.)
It’s me.

From the bushes, William comes out with Henry, Mario and
Paolo. The Negrito brothers lower their guns.

Dolores turns and immediately meets Mario with a SLAP on the
face. He reels sideways.

Note: This dialog is in Ilonggo with subtitles.

DOLORES
I told you not to follow us.

MARIO
But...

Dolores slaps Mario again with her left hand, this time on
the nape.

DOLORES
Say a word again and I’ll kill you.

Dolores walks towards Henry.

Paolo approaches Mario.




(CONTINUED)

CONTINUED:   19.


PAOLO
(almost whispering)
What a loving aunt you have.

Note: Dialog resumes in English unless noted.

DOLORES
(at Henry)
We heard about you?

HENRY
We were goin’ back from a torpedo
run off the Visayan sea. Got hit by
a flak off the coast, two miles
south of Oton. My crew got hit...we
went down hard! They didn’t make
it.


INT. INSIDE A HUT - LATER  

Santi is working on the radio again.

SANTI
Echo 8 to Alpha 3, over...Echo 8 to
Alpha 3, over.

STATIC!

SANTI
Echo 8 to Alpha 3, over. We have
the airman...acknowledge Alpha 3.

Still STATIC!


EXT. OUTSIDE THE HUT - LATER

Balas gives the newcomers food while Rosario checks the
injuries of Henry. The two boys eat like starving animals.

ROSARIO
(at Emilio)
Pa, give me the bag.

Emilio hands her daughter the medic’s bag.

DOLORES
(at the two boys)
When you’re done...I’m waiting to
listen.

The boys ignore her while the rest of the crew watch
curiously.

(CONTINUED)

CONTINUED:   20.


MARIO
(with a mouthful of food)
Poblacion...they killed everyone.

Everybody listens eagerly.

MARIO
I can tell it’s not the Japs.

Mario looks at Paolo who’s concentrating on the food.

MARIO
Hey...tell them!

Paolo chokes. He spews out his food.

DOLORES
What is it?

HENRY
They were telling me earlier about
a village massacre...something very
unusual.

WILLIAM
There’s no Japs in the area  
anymore.

Dolores looks at Henry, then Mario.

DOLORES
(at Mario)
You have to tell me now.

MARIO
They killed everyone...men, women
and children. They tore them off.

DOLORES
Samurais and bayonets?

Mario falls silent.

PAOLO
No, like wild animals...

WILLIAM
When did this happen?

MARIO
We were there this morning before
we saw Lt. Henry, but...I don’t
know.


(CONTINUED)

CONTINUED:   21.



PAOLO
The place smells bad.

From the hut, Santi emerges.

SANTI
No luck. The fleet must be moving
way off course.

WILLIAM
We should take a look at the town.

DOLORES
(at Santi)
Resume all communications in
Poblacion. We got the airman, it’s
all that matters.

Dolores walks towards Henry and gives him a haversack.

Henry looks at it to see: a Sten sub-machine with four
magazines.

DOLORES
(at Henry)
I want it back after. (to everyone)
Poblacion is not too far away and
we’re on patrol...We have to move
fast. Let’s try to get there before
night falls.

The guerrillas quickly organize their gear.


EXT. BY THE JUNGLE - LATER

Dolores heads the pack towards the jungle. With eagerness to
join the group, Mario and Paolo follow.

Emilio is at the tail of the patrol. Quickly, he turns
around to prevent the two boys from following.

William is behind Emilio. He stares down at the boys.

EMILIO
(in Ilonggo while pointing at
the opposite direction)
Follow the path for 45 minutes,
you’ll see a hut with an old lady
inside. Tell her we sent you. It’s
safe there.



(CONTINUED)

CONTINUED:   22.



PAOLO
(in Ilonggo)
But...

MARIO
We told you about this.

WILLIAM
Get goin’, boys! If we see you
again we’ll hang you off a tree.

William grabs them both on each arm and throws them towards
the path.

WILLIAM
Now get going...quick!

Emilio and William follow the trail of the others. Slowly
they disappear in the jungle.

MARIO
Fuck you, fuck you, Americano!

PAOLO
(in Ilonggo at Mario)
What now smart ass?

MARIO
(in Ilonggo)
They think we don’t know the
jungle. C’mon let’s go!

Mario jumps into the deep jungle. Paolo is hesitant, he
shakes his head but slowly follows.


EXT. JUNGLE - LATE AFTERNOON

Moving stealthily and quickly in the thick jungle, the
guerrillas are silhouetted against the blasting rays of the
afternoon sun. The rays seep through small openings in the
dense jungle.

Feet RUSTLE on dry leaves and branches as the guerrillas
move in a V formation.

Bato and Balas; shirtless and in shorts are at point with
their Garand rifles in hands, bandoliers in chests,
backpacks and machetes in the back.

Dolores and William, are to their right and left
respectively.


(CONTINUED)

CONTINUED:   23.



Dolores carries her Thompson like an avenger. She wears a
sleeveless shirt, home-made ammunition vest and loose
military pants tightened with a belt holding a .45 pistol.

William, lanky but muscular in stature, carries a Browning
Automatic Rifle.

Henry, Emilio and Napoleon are following not too far behind.

Henry, in pilot outfit without the head gear, is brandishing
the Sten sub-machine gun that Dolores gave him.

Napoleon, the Philippine Scout sniper is holding a 1911 .45
pistol. Hanging on his back along with his gear is an M1
sniper rifle with a telescopic sight.

The others are at the end of the group.

Rosario, the daughter of Emilio is carrying a Thompson
sub-machine gun and a haversack with a RED CROSS on it.

Santi carries an M2 Carbine and a radio bag on his back.

Emilio is at the tail of the group with an M2 Carbine in
tow. He checks every spot that the group pass by. Looking
back, then left and right continuously.


EXT. OUTSKIRTS OF POBLACION - LATE AFTERNOON

A small clearing can be seen a few meters away. A field that
separates the village from the jungle. Only the SOUND of
nature can be heard...animal NOISES, GUST of wind and the
RUSTLE of swaying leaves.  

Bato signals the group to stop while...

...Dolores stretches her hand and signals them to get down
and spread evenly in a row.  

The guerrillas crouch and position themselves on the edge of
the bushes.

DOLORES’ POV: The town looks unusually empty. No sign of
activities can be seen.

A crouching William slowly approaches her.

WILLIAM
It’s too obvious to be a trap.

Dolores takes out her binoculars and scans the village.


(CONTINUED)

CONTINUED:   24.


DOLORES
Nothing.

She gives the binoculars to William. He takes a look and
gives it back to her.

POV OF DOLORES AND WILLIAM: Their attention shifts left,
where there is a bushy area with a creek. Then to the right,
where there are rows of coconut trees leading to the
village.

DOLORES
You go left and I’ll go right. The
usual team. You take the airman.

WILLIAM
(pointing to the right flank)
Okay, I’ll move my men around to
the front. Give us five minutes
headway, then you take the back.

DOLORES
We’ll meet up in the middle.
There’s a well there.

WILLIAM
By the well.

William moves back to his position and signals his team of
Bato, Emilio and Napoleon to move with him. He looks at
Henry and summons him to come. Slowly, they head right.

Dolores signals her own group of Balas, Rosario and Santi.
They head left.


EXT. IN THE VILLAGE - LATE AFTERNOON

Dolores’ team discreetly crosses the creek and heads towards
the bushes. In there, they wait.

POV: Bushes block their sights but they can see the empty
inactive village through it. No signs of people.

Note: This dialog in Ilonggo with subtitles:

DOLORES
We’re too far away to see anything.

ROSARIO
I know this village, I’ve work here
vaccinating children before...this
place is never dead at this time.


(CONTINUED)

CONTINUED:   25.



DOLORES
Let’s move! Stay within sight.

The group stealthily moves out of the bushes and into the
open. Dolores signals everyone to spread out. They rush to
the village, taking cover from house to house.

Dolores have Santi and Rosario on her left. Santi behind a
pigpen and Rosario behind a small hut.

Balas is behind her. They are nestled behind a nipa hut.

The distracting CREEPY SOUNDS of things moving from the
blowing wind can be heard: hanging baskets hitting each
other, window shutters BANGING and doors CREAKING.

Slowly, the group reacts to a heavy stench.

DOLORES’ POV: Something is along the path between two
houses. As she moves closer, the image becomes apparent.

A CORPSE lies in front of her with BUZZING flies circling
around it.

Dolores eyes WIDEN as she and Balas cautiously approach the
female body.

The TORSO is almost detached from the rest of the body.
Innards and dried blood scatter on the ground.

Then, they shift their attention to the center of the
village where...

WIDE:...several corpses of men, women and children are piled
up in the center of the town. PURE CARNAGE.

Rosario approaches the scene while covering her nose with a
bandanna.

Santi is close behind.

SANTI
(almost whispering)
Oh my God!...Fucking Japs!

ROSARIO
I still remember some of these
people. Everyone’s dead!

SUDDENLY, from behind one of the small huts, FATHER MAURICIO
appears carrying a dead child. With glasses and a clerical
collar on his civilian clothes, the 65 year old Spanish
priest is covered with the blood of the victims.

(CONTINUED)

CONTINUED:   26.



Santi and Balas aim their guns at the priest.

Immediately, Dolores raises his left hand and signals the
two to lower their guns.

The priest walks slowly and looks at Dolores in the eye.

Note: This dialog in Spanish with subtitles:

DOLORES
Padre! What happened here?

FATHER MAURICIO
I don’t know...I just went to the
city and then this...No one is
left.

DOLORES
Did you see anything...anyone?

No answer, instead, the priest walks to the pile of dead
people and lowers the child slowly between his parents.

FATHER MAURICIO
He was my "sacristan." His family
is very active in the community and
in the church.

Note: Dialog resumes in English unless noted.


EXT. TOWN CENTER - LATE AFTERNOON

Dolores’ team approaches the center of the town.

Encircling the perimeter by the well, William’s team is
waiting. A church stands in the background.

WILLIAM
What took you so long?

DOLORES
Did you see any survivors?

WILLIAM
No.

William looks at Father Mauricio.

WILLIAM
(at Dolores)
Who’s he?


(CONTINUED)

CONTINUED:   27.



DOLORES
He’s a missionary and a parish
priest here. He just came in from
the city...didn’t see a thing.

WILLIAM
Fucking savages!

ROSARIO
This is bad omen, I can feel it.

SANTI
They don’t normally kill like
this...no guns were used.  

William approaches Rosario.  

WILLIAM
How long did this happen?  

ROSARIO
Corpses decompose fast in this
heat...I say, early this morning.

Dolores looks up.

DOLORES’ POV: The darkest stage of twilight is approaching.

DOLORES
Okay, let’s secure an area and rest
for a few hours.

SANTI
The church looks like a fort.

The church is made of stone and concrete from the bottom
midway to the top, the rest is structured with hardwood. It
is fairly small and can approximately house 100 people.

It has a heavy hardwood door measuring nine feet tall and
four small windows on each side. It’s roof is made of
corrugated galvanized sheets.

WILLIAM
Fair enough but we can’t stay long,
this place is too open.

DOLORES
Okay...(at Napoleon in Ilonggo)
take the steeple, see what you can
find from up there. (at Emilio)
Secure the entrance to the village,
nobody comes in or out. (at Santi)
(MORE)
(CONTINUED)

CONTINUED:   28.



DOLORES (cont’d)
Resume communications inside the
church.

HENRY
What about the dead?

WILLIAM
What about them?

HENRY
We can’t leave them like this.

WILLIAM
We don’t have time for that.

William gives Henry the stare.

DOLORES
The rest of you...scout the village
perimeter only. (looking at Henry)
We’ll pile all the dead in one
spot, there’s too many to bury, we
don’t have time. We’ll burn them
before we leave. Emilio and Napo
maintain positions, everyone else,
rendezvous by the church in 30.

Santi approaches Dolores and William while holding a piece
of cloth in his hand.

SANTI
Look what I found.

Martin hands it over to Dolores. She looks at it.

DOLORES
A "Senninbari."

The "SENNINBARI" has a tiger design made of a thousand
stitches. (Note: The "senninbari" is a belt that the
Japanese use to bring them luck. It is made by their
mothers, wives, daughters and/or sisters before they head
out to serve their country during wartime).

DOLORES
It’s their amulet...to ward off
bullets and bad luck.

WILLIAM
It doesn’t work...that we know of.



(CONTINUED)

CONTINUED:   29.


DOLORES
They don’t take this off their
bodies, especially when they go on
a rampage like this. It’s strange.

Dolores throws the belt on the ground and walks away.

CLOSE ON the ""senninbari."  

 FADE OUT/FADEIN


INT. INSIDE A TRUCK - DAY  

CLOSE: A ""senninbari," though different in design is
clearly on the lap...

MEDIUM:...of a soldier sitting...

WIDE: ...inside a truck with other soldiers. Looking tired
and weary, their bodies shake from the bumpy road.

In the middle of the truck lay the victims of the plane
assault...in five body bags.


EXT. A CITY ROAD - DAY

A convoy of a jeep and two trucks enter a Japanese road
block guarded by a machine gun on a sandbag.

The jeep leads the way with Harada in the front seat and
Yoshida and Ito in the back.


INT. JEEP - DAY

POV FROM THE JEEP: The grandiose and elegant Spanish mansion
awaits the convoy. A slanting Japanese flag sways with pride
in one of it’s balconies.  

A Toyota AB car, a service truck and an armored car are park
in front of the mansion while Takamura stands by the door to
welcome the visitors.


EXT. MANSION GROUNDS - DAY

The convoy stop a few meters in front of the mansion’s door.

Harada gets off the jeep as Yoshida and Ito follow.

The remaining men disembark the truck, helping the injured
and carrying the body bags out.

(CONTINUED)

CONTINUED:   30.



HARADA
(to his men)
At ease.

A guard approaches and bows to Harada.

GUARD
Welcome to Iloilo, Sir!

Harada acknowledges.

GUARD
Colonel Takahashi is waiting for
you and Doctor Ito.


INT. MANSION LOBBY - DAY

The interior is not as appealing as the outside. It is dusty
and shows signs of neglect. Walls with painting marks look
like ghosts in the massive space.

A sofa set from the 20’s, a long hardwood dining table and a
winding stairway contributed to the dullness.

A sign of pillaging or evacuation perhaps.

Yoshida guides Harada and Ito.

YOSHIDA
Upstairs gentlemen.

They proceed with TAPPING boots on hardwood floor.


INT. INSIDE TAKAHASHI’S OFFICE - DAY

A quick knock on the door, then Yoshida opens it. He holds
it for Harada and Ito to enter before closing it behind him.

Lieutenant Colonel TAKAHASHI, 62, a staunch individual who
is frail due to the pressures of war, is seating and writing
a letter on his desk. He looks smart in his Imperial uniform
and his stern posture and rigid looks exemplifies pride and
discipline.

He looks up at his guests and takes a sip from a glass of
whiskey.

Harada, Yoshida and Ito greet him with a bow and a salute.




(CONTINUED)

CONTINUED:   31.



TAKAHASHI
Have a seat and stay at ease.

The visitors sit on the couch while Yoshida stands behind
them. A side table full of drinks in the midst of statues of
Catholic saints catches attention.

Takahashi takes another sip from his glass.

TAKAHASHI
Help yourselves with Filipino rum,
Scotch whiskey, wine...sake.

HARADA
Thank you, Sir.

TAKAHASHI
Hmmm. Doctor?

ITO
No, thank you, Sir.

Takahashi reaches for a BOTTLE and opens it.

TAKAHASHI
(at Harada)
I’ll choose for you...a fine aged
scotch.

CLOSE: He pours a shot on a GLASS. Golden liquid SPARKLES.

Harada accepts the drink and...

...TAKES A SIP.

TAKAHASHI
We heard about the incident  
earlier. Sorry for your casualties.

HARADA
For the Empire, Sir!

A moment of silence. Harada is waiting for his superior to
lead the conversation. Takahashi looks at him and grins.

TAKAHASHI
Major Harada...hmmm. I’ve fought
tooth and nail to have you here,
some against very powerful and
influential people. People who
wanted you elsewhere, from hunting
down wireless radios to
assassinating important people.
(MORE)
(CONTINUED)

CONTINUED:   32.


TAKAHASHI (cont’d)
There is quite a demand for you out
there.

Subtle reaction from Harada.

TAKAHASHI
(reclining back in his chair)
This won’t be long now. Luzon is
falling, we lost Manila...MacArthur
has made his way up the
gutter...with his army and minions
of pesky Filipinos.

Takahashi looks at Harada as if trying to extract his
opinion on the subject matter. Harada is careful.

HARADA
We can still hold the Visayas and
Mindanao, Sir. Up north, we can go
to sea and block them south of
Okinawa.

TAKAHASHI
Ha! With what Major? On the north
with the mighty Yamato and an
amateur squadron of tokkotai (note:
tokkotai is a "kamikaze" unit)
bombers and on the south with a
ragtag, malnourished army? Right
now...it’s just a matter of pure
survival. The most primeval  
instinct of humans...or any animal
for that matter.

Takahashi smirks a bit.

TAKAHASHI
You do have a family, Major. We
checked on that.

Harada nods.

TAKAHASHI
Imagine this...if you and your
family are having a picnic...a nice
relaxing day by the river when
unexpectedly a grenade explodes a
few feet away.

Harada feels like Takahashi is baiting him. He waits...and
waits...not deciding to crack by uttering the next
conversation piece.


(CONTINUED)

CONTINUED:   33.



TAKAHASHI
Your instinct is to duck
first...split seconds ahead of
thinking about saving your family.
You think of surviving first.

Harada holds himself to speak, almost swallowing his tongue.

TAKAHASHI
Now...after that instinct has been
purged...is where we define our
attitudes and values. To be a
savior or a coward, a hero or a
traitor.

ITO
The Major has a point. We (circles
his hand around the room) have
withstood the blast and have
survived. Our moral obligation is
to defend Japan, bring it back to
it’s feet.

TAKAHASHI
(at Harada)
Which leads us to you being here.

HARADA
Why am I called here, Sir?

Takahashi relaxes a bit.

TAKAHASHI
You started your heroism this
morning.

HARADA
We lost five men. It was a close
call...if not for the...

TAKAHASHI
(interjects)
...the fog. Things like that happen
everyday...wherever you are and
whatever you do. There is always
something unpredictable that would
alter everything you expected.

HARADA
It settles mostly on the ground.
It’s unusually dense...yet,  
harmless.


(CONTINUED)

CONTINUED:   34.


TAKAHASHI
It’s been like that every morning
for three days now. What a sight to
behold! But maybe we should talk
about the weather some other time.
We have some business to attend to
right now. (looks at Ito) Doctor?

Ito reclines on the sofa. He looks at Harada and takes off
his round glasses. He wipes them clean while taking deep
winks to refresh his eyes.

ITO
(puts his glasses back on)  
Unit 731, Major...that’s our ace.

Ito and Takahashi wait for Harada’s reaction. There is none.

ITO
I am part of Doctor Kitano’s team
under General Ishii’s "Togo Unit."
have you heard of it, Major?

HARADA
Partly.

ITO
We have to be ahead of the
Americans and the Russians on this
matter.

HARADA
Biological warfare?

Takahashi reaches for the photograph of his family standing
on his desk. He looks at it for awhile.

TAKAHASHI
More than that, Major. A chance for
Japan to finally emerge over all
these adversities.

HARADA
By unleashing germ warfare? It did
not work in World War I.

TAKAHASHI
I said more than that, Major. Ito
is from the Neuro-Science  
department of 731. He is a
geneticist, neurologist and an
anatomist. (At Ito) Make it simple,
Doctor.


(CONTINUED)

CONTINUED:   35.


ITO
My pleasure, Colonel. (turns to
Harada) At 731, one of our projects
is how to enhance the Imperial
Army. Not in equipments or weapons
but more on...let’s say...body,
spirit and mind. This would set our
army above any other in the world.

Harada shows a sign of eagerness by changing positions on
his seat.

ITO
Through science, we believe we have
achieved it.

HARADA
Is that why we’re here?...My
soldiers?

ITO
No, not your soldiers, they are
just escorting you on the boat
trip.

TAKAHASHI
We already have a company of 85
soldiers on the move as of now...in
the southern part of the island.
They are the first to be launched
on this pilot project, codename
"Operation Baku." We have received
reliable reports that the Americans
are going to land in that area.

ITO
You see, Major, this is the  
experimental stage of the  
operation. The recipient company is
composed of the best fighters that
we have. "Baku" was applied to them
four days ago in Manila before they
were dropped off where they are
now. The results should be
promising.

HARADA
Should be?

TAKAHASHI
We don’t have much time in this
war, Major. We want to implement
this operation fully...to more
soldiers.

(CONTINUED)

CONTINUED:   36.



HARADA
How did you "implement" it?  

TAKAHASHI
Major, you have to remember the
importance of this mission. Even
I...am not allowed to know that.

SILENCE.

TAKAHASHI
You will accompany Ito on a  
mission.

HARADA
What’s my objective?

TAKAHASHI
Ito’s objective, Major. Yours is to
make sure he succeeds.

ITO
I only monitored the soldiers for
36 hours in Manila, then they were
dispatched. I need more time to
study them...mentally and  
physically. Their behaviors and how
they react to various situations.
You see, in those 36 hours, there
are a lot of unanswered questions
that is vital for the success of
this project.

HARADA
...And what are those questions?

ITO
The long term effect of "Baku" on
the individuals. Will it wane,
maintain or become stronger. And,
the duration of it’s effectiveness.

TAKAHASHI
(looking at Ito)
Ito will study the progress of "The
Baku" company. We haven’t heard
from them in the last two days.
They are, should we say, "lost" in
the jungle.

Harada thinks for a moment.  



(CONTINUED)

CONTINUED:   37.



HARADA
Baku...(hesitates to think) the
devourer of nightmares. Like the
being in Japanese folklore.  

ITO
(smiling wryly)
A perfect name for the mission. I’m
sure when you were a kid you called
out the "Baku" to take your  
nightmares away.

HARADA
Did they engage yet?

TAKAHASHI
We don’t know.

HARADA
So...no radio contact?

Takahashi reclines with no response. A brief silence.

HARADA
Sir?

TAKAHASHI
You are to go to the area with Ito
and a "hojin"(note: a "hojin" is a
Japanese migrant). She will be your
navigator. You will go as  
civilians, Ito as your friend and
the "hojin" as your wife. You will
bring nothing except a compass.
Find the soldiers so the doctor can
monitor them. They are under the
command of Lieutenant Daisuke Sato,
he knows you.

Harada falls silent and ponders for a moment.

HARADA
(thinking)
Sato...Sato. Yes, I remember him.
we were in training school
together...in Keijo and Formosa.

TAKAHASHI
The area is crawling with guerrilla
activities. It is wise to abandon
your military self and become a
civilian for this mission. In the
meantime, the rest of your men will
(MORE)
(CONTINUED)

CONTINUED:   38.


TAKAHASHI (cont’d)
help fortify the city. We need all
the help we can get here.  

HARADA
Of course...Sir.

TAKAHASHI
Very well, that’s why we chose you.
Because of your resiliency, track
record and good command of English.
The Empire depends on you. This may
turn the tides of war in our favor.

ITO
We only need a few days, Major.
Four days of utmost secrecy.

HARADA
I need more details, Sir.  

TAKAHASHI
You will be briefed downstairs by
and travel by foot immediately. The
guerrillas have started punitive
raids inside the city and out. Be
discreet and smart. No forms of
communication will be used. When
Ito is satisfied with his findings,
you will lead him to a specified
area where somebody will be waiting
to pick you up. You have four days.

HARADA
Yes, Sir!

TAKAHASHI
If you don’t to show up in four
days, we will consider this mission
a failure...and, you know what to
do.

HARADA
Yes, Sir!

TAKAHASHI
We have a room for you to rest for
a few hours. That will be all, you
are dismissed.

CLOSE: Harada finishes his DRINK and...

MEDIUM:...stands up. He gives Takahashi a bow before walking
towards the door. Ito remains seated.

(CONTINUED)

CONTINUED:   39.



TAKAHASHI
Major!

Harada turns around.

TAKAHASHI (CONT’D)
One last thing...the fog. It might
not be on your side the next time
around.

Takahashi’s SMILES CYNICALLY.

Yoshida shows Harada the door and follows him out.

FADE OUT/FADE IN


INT. A SMALL JAPANESE DINING ROOM (DREAM) - NIGHT

POV: Candles flicker on a small table with miso soup bowls,
a half stale milk loaf and two cans of Japanese military
rations. An EERIE and DEPRESSING surounding.

On the left, a BEAUTIFUL WOMAN is sitting on the floor and
starts to play the SHAMISEN (note: a Japanese three-stringed
instrument.)

Across her are...

...two MALNOURISHED BOYS, ages 7 and 9 in ragtag clothes.

The woman smiles as the Shamisen’s sad but beautiful SOUND
echoes in the room.

POV (FAR): The OLDER BOY turns as he moves close.

POV (MEDIUM): His pleasant grin trying to cover his
unhealthy state.

POV (CLOSE): His skeletal face is pale, his eyes watery, the
LOOK OF THE LIVING BEFORE THEY DIE.

The Shamisen’s SOUND slowly dies down, instead...

...HEARTBEAT and HEAVY BREATHING.

POV (TIGHT): The boy’s grin turns into a frown, the face of
intense anger and despair replaces the look of innocence.

HAUNTINGLY, he mutters:




(CONTINUED)

CONTINUED:   40.



OLDER BOY
(in Japanese with subtitles)  
Father...

His voice ECHOES and gets lost as the...

...HEARTBEAT and HEAVY BREATHING drown it.

And then...EVERYTHING STOPS as...


INT. ROOM IN THE MANSION - DAY

TIGHT:...Harada’s EYES QUICKLY OPEN.

MEDIUM: He JERKS upright, sits and...

...finds himself in a room, sweating half naked on a bed. He
catches his breath in relief.

HARADA
(whispers to himself)
Baku...(ponders for a moment)
Fucking war!

A KNOCK on the door. BOOM, BOOM, BOOM.

Harada looks up.

HARADA
Come in.

Yoshida enters.

YOSHIDA
Are you okay, Sir?

Harada nods.

YOSHIDA
You passed out earlier, Sir. Heat
exhaustion, it’s pretty normal
here.

Harada massages his head and sighs.


EXT. A COUNTRYSIDE ROAD - AFTERNOON

A civilian truck appears and musters all it’s power on a
dirt road in a hilly area. It’s engine ROARS as it’s tires
kick massive amounts of dust.


(CONTINUED)

CONTINUED:   41.



Harada, Ito, and MICHIKO, a 36 year old Japanese woman are
sitting on top of piled lumber. Dressed in civilian clothes,
they hang on to the rails in the shaky and bumpy ride.

The truck pulls over in a discreet area.

The three hastily jump out and head into the jungle.


EXT. DEEP IN THE JUNGLE - DUSK

Mario and Paolo are crouching in the bushes. Trickling with
sweat, they move slowly in the humid and mucky environment.

They are stalking something like rats in the gutter. The two
boys are following...

BOYS’ POV:...Harada and his group. Bushes and branches block
their sights.

Wary of their presence, Harada raises his hand and signals
Ito and Michiko to stop. He looks around.

POV: Nothing but thick foliage.

Suddenly, he runs and lurches toward a thick parchment of
bush. He clears it in haste but finds nothing.

Slowly, Harada heads back to the group.

HARADA
(in a low voice)
Somebody’s following us.

MICHIKO
There’s guerrilla activities in
this area.

HARADA
We proceed with caution.

MICHIKO
It’s almost dark, we need to find a
place to rest.

Michiko looks at the compass.

MICHIKO
We’re seven kilometers north from
the five kilometer radius of
objective.

Note: Dialog resumes in English unless noted.


42.


Without hesitation, Michiko heads north. The two follow.


EXT. THE DIRT ROAD - DUSK  

From a narrow path within the bushes, Mario and Paolo are
running out toward the dirt road. They stop in the middle
and breath heavily with hands on their knees.

Suddenly, Emilio emerges from a thick foliage directly
across them. He runs towards the boys and pushes them away
into the ditch. They fall down hard.

This dialog in Ilonggo with subtitles:

EMILIO
You stupid brats! Stay off the
road. I could’ve shot you.

Emilio crouches with the boys.

EMILIO
Did anybody see you coming here?

Panting heavily, the boys remain silent. Emilio slaps both
of them in the nape.

MARIO
(nervously)
I-I-I don’t think so.

PAOLO
We saw people.

EMILIO
What people?

MARIO
"Hojins."

EMILIO
"Hojins." What the hell are they
doing here?

Emilio grabs Mario by the throat.

EMILIO
Where and how many?

MARIO
(coughing)
Three of them and they’re heading
this way.


(CONTINUED)

CONTINUED:   43.



EMILIO
Are you sure?

MARIO
Did we lie about the village?

Emilio releases his clutches on Mario by pushing him.

EMILIO
How far away?

MARIO
Not far, they’re just behind us.

EMILIO
Okay, show me.

Without warning, Paolo runs in fear and heads to Poblacion.

Emilio stares hard at Mario. He grabs him by the arm and
throws him back into the bushes.

EMILIO
(at Mario)
Don’t you dare. Go, show me!

Note: Dialog resumes in English unless noted.

Mario scurries into the jungle. Emilio follows.


EXT. POBLACION - NIGHT

The bright MOON illuminates the night.

The dirt road is the only serviceable access to Poblacion.
Around it are trees and tall bamboos.

Paolo is running fast. As he draws near the village, he
begins to cover his nose, a strong stench engulfs the air.
He coughs and belches.


INT. IN THE STEEPLE - NIGHT  

NAPOLEON’S POV: From atop the steeple Paolo is running,
gasping and almost falling on his knees.

Napoleon follows Paolo with a scope by aiming his rifle at
him.




(CONTINUED)

CONTINUED:   44.


POV FROM A SCOPE: He shifts his sight around the perimeter
of the boy, he sees nobody. Even farther, still nobody. He
focuses to the far left where his comrades are collecting
the dead and laying them in one spot.

Napoleon immediately puts down his rifle and blows a SHARP
WHISTLE to alert the guerrillas.


EXT. TOWN CENTER - NIGHT

Dolores, in the midst of gathering the dead with Henry and
Father Mauricio, looks up at Napoleon.

He gives her a hand signal. Understanding clearly, she cocks
her Thompson while signaling the others to spread out.

The guerrillas scamper into position, taking cover wherever
they can. Guns at the ready.

Paolo comes running into full view of the guerrillas. He
stops and looks around. Nothing but darkness.

PAOLO
(in Ilonggo)
I know you’re here.

Paolo is in the middle of the village, looking lost and
confused.

Dolores, hiding behind a hut, looks up at the steeple and
sees Napoleon signaling her that the coast is clear.

William on the other end, also sees Napoleon. He looks at
Dolores and gives her a nod.

Like ghosts, the guerrillas slowly come out of the shadows.
Their silhouettes are a sign of relief for the boy.

WILLIAM
I told you not to follow us.

PAOLO
No, Sir. You don’t understand. One
of your men, he...

WILLIAM
Where is he now?

PAOLO
Me and Mario saw some "hojins" in
the jungle. We told him and he’s
out to get them.


(CONTINUED)

CONTINUED:   45.



HENRY
(looks at Rosario)
What’s a "hojin?"

ROSARIO
Japanese migrants living in the
city.

DOLORES
(at Paolo)
Show us where!

Paolo nods.

DOLORES
(at William)
We gotta move!

William nods.

DOLORES
(at Balas)
You come with us. The rest of you,
perimeter on the road and the
church.

Dolores grabs Paolo by the hand and shoves him into the
road.

DOLORES
(in Ilonggo at Paolo)
Run!

The boy runs as Dolores, William and Balas follow. They
disappear into the bushes.


EXT. JUNGLE - NIGHT

A FULL MOON. A STARRY NIGHT. Upfront, are silhouettes of
tall trees. The SOUND of nocturnal animals fills the air.

MOVING: The "hojins" are trekking the jungle while making
paths in the dense thicket. Harada leads them; with every
branch, bush and leaf an obstacle.

HARADA’S POV: Suddenly, from a dark area upfront, among the
bushes and banana leaves, appears an obscure object.

Harada stops and narrows his sight on a dark area.




(CONTINUED)

CONTINUED:   46.



HARADA’S POV: Very slowly, a MUZZLE of a Thompson
sub-machine gun emerges. It is pointed at him. From the
shadows, it moves closer until the BARREL of the gun is at
his chest.

Looking up, he sees a face consumed by hatred. Harada stares
at EMILIO’S EYES...

...and slowly raises his hands. He looks back at Ito and
Michiko and nods at them to do the same.

HARADA
We are not soldiers.

Emilio slowly moves his gun from Harada’s chest to his
forehead.

Mario creeps out from the bushes behind Emilio.

MARIO
(in Ilonggo at Emilio)
He said they’re not soldiers.

EMILIO
(in Ilonggo)
Tell him to kneel.

Nervously, Mario translates.

MARIO
Sir, please kneel.

HARADA
We’re not armed. We’re only  
civilians.

EMILIO
Kneel!

Harada slowly kneels.

HARADA
(at Mario)
We’re running away from the war.
(looks at Michiko) My wife is three
months pregnant!

Emilio is not budging. His hatred is heating from the
inside, all feelings for compassion gone.

Harada knows it. Intently, he stares at Emilio’s eyes in
hopes of diffusing his action. Tension...until:


(CONTINUED)

CONTINUED:   47.



DOLORES (O.S.)
(in Ilonggo, at Emilio)
Put your gun down.

Dolores’ group appear from the left. All breathing heavily.

Emilio is not listening. He looks determined.

WILLIAM
Put the gun down.

DOLORES
Emilio!

No response.

DOLORES
They are civilians.

Emilio is cold.

DOLORES
We don’t kill them.

A long pause, then Emilio lifts his gun and rests it on his
right shoulder. He turns around quickly and disappears into
the bushes.

Harada breaths a sigh of relief.

Dolores approaches Harada, and with her Thompson sub-machine
gun gestures at him to stand up. William and Balas encircle
the "hojins" while Mario and Paolo look on from behind
William.

WILLIAM
(at Harada)
What the hell are you doing here?

The Japanese is silent.

WILLIAM
Great...no English!

Harada looks at William.

HARADA
U of C, Berkeley. Department of
Arts and Humanities, majoring in
Art History, class of ’32.




(CONTINUED)

CONTINUED:   48.



WILLIAM
Shit...so what the hell are you
doing here?

HARADA
I’m Harada and this is my wife
(looking at Michiko) Michiko and my
friend (looking at Ito) Ito. They
don’t speak English.

WILLIAM
Why are you here?

HARADA
We have a small eatery in Calle
Real...a ramen house. The news of
an American victory in Luzon...and
hostile Filipinos made us leave.

WILLIAM
No, why the fuck are you here...in
the jungle?

Michiko approaches Harada from behind and gently puts her
hand on his right elbow, as if looking for protection.

HARADA
We’re heading to Bucari, Leon.

WILLIAM
What’s there?

HARADA
We were told it’s safe to go there.

DOLORES
Who told you that?

HARADA
The Japanese high command in the
city.

DOLORES
Bucari is 30 kilometers through the
mountains. Also, you’re going in
the wrong direction.

ITO
(in Japanese at Harada)
Ask them.




(CONTINUED)

CONTINUED:   49.


WILLIAM
What did he say?

HARADA
We’re not safe being alone...can we
go with you?

William looks at Dolores and nods at her to go right. They
both part from the group to talk in private.

WILLIAM
It’s strange how they end up
here...they must know something.

DOLORES
It’s difficult to take them but we
can’t let them loose either. They
know we’re here.

Dolores ponders.

DOLORES
We’ll hand them over to "Checkpoint
Tango" first thing in the morning.

WILLIAM
Okay, let’s clear them. I want to
interrogate them in the church.

They both walk back to the group. Dolores checks Michiko for
weapons, starting from the waist down to the feet, then back
up to the arms. William does the same with Harada while
Balas on Ito.

Dolores reaches for Michiko’s pocket and pulls out the
compass. She looks at it and shows it to Harada.

DOLORES
You have this...but you’re way off
your destination.

HARADA
We were dropped off the road a few
kilometers back. We paid a lumber
truck to get us away from the city.
This is as far as he can take us.

Harada looks at Dolores straight in the eyes.

HARADA
Right now, we’re just looking for a
safe place to spend the
night...(looks at the compass) We
haven’t use that yet.

(CONTINUED)

CONTINUED:   50.



DOLORES
Did you know that there’s a village
nearby?

HARADA
No...even if we knew we would have
avoided it.

Dolores looks at William and ponders for awhile.

DOLORES
(at Harada)
Just for tonight, tomorrow we’ll
drop you off a checkpoint. I’ll
make sure you will be treated well.

Harada bows his head to Dolores.

SUDDENLY, ECHOING from the village: A LOW BURST of AUTOMATIC
GUNFIRE.

They all look up.

Birds and bats rattle their way blindly through RUSTLING
leaves and branches.


EXT. POBLACION - NIGHT

The group approaches Poblacion in a hurry. Evenly spread out
in two files, they run by the ditch on both sides of the
road.

Up ahead, Santi is running to meet them.

SANTI
Hurry...to the church!

DOLORES
Japs?

SANTI
Yes. (looking around) Where is
Emilio?

DOLORES
We lost him.

They all head to the church where...






51.



EXT. OUTSIDE THE CHURCH - NIGHT

...Rosario, at the right; Henry, at the left and Bato, in
the center are strategically crouching in the church steps.
Their weapons aim to cover all flanks.

WILLIAM
Bato and Balas...secure the back of
the church, quick!

The two scurry to the back.  

Santi looks at the Harada, Ito and Michiko.

SANTI
(in Ilonggo at Dolores)
Who are they?

DOLORES
(in Ilonggo)
We don’t know yet! Inside, hurry!

Dolores looks at Rosario.  

DOLORES
(in Ilonggo)
You, go with them. Don’t take your
eyes off the Japs.

Harada, Ito, Mario, Paolo and Michiko rush to the steps
while Father Mauricio guides them inside. Rosario follows.

Dolores, Santi and William crouch beside Henry.

WILLIAM
(at Henry)
What is it?

HENRY
Japs on the move.

DOLORES
Where?

Santi points in the dark with the barrel of his gun.

A gust of wind sways the BRANCHES high above.

A WOVEN BASKET rolls on the street from end to end.

The row of empty houses by the plaza looks like an obstacle
course.


(CONTINUED)

CONTINUED:   52.



The piling of dead villagers, a task carried out by the
guerrillas earlier are left half undone.

SANTI
This is not right.

WILLIAM
Who shot earlier?

SANTI
Me and Rosa. Strange...because
there is no way they could still be
alive...but...they keep on running.

DOLORES
What do you mean?

HENRY
We saw Japs in the dark...they took
shots but couldn’t bring ’em down.

WILLIAM
Bad shot, you missed...then.

HENRY
They didn’t miss. I saw it.  

HENRY
It’s a direct hit. I saw it too.

DOLORES
How many?

HENRY
Hard to tell. Seems like they’re
everywhere but we can’t see  
nothin’.

SILENCE brings a creepy presence in the air.

DOLORES(CONT’D)
(pointing at a row of houses)
Okay, we advance the perimeter
beyond those houses.

Abruptly, a DISTURBANCE from the distant bushes upsets the
silence.

SANTI
Wait!...They’re here again.  

Slowly, It gets LOUDER and closer.



53.


The guerrillas are paranoid, they flinch while aiming their
guns in the dark.


EXT. THE CLEARING BESIDE THE VILLAGE - NIGHT

MOVING: From the jungle, Emilio makes a run to the clearing.
With machete in one hand and a Thompson on the other, he
heads to the village.

He is being chased.

Behind him, a shadowy FIGURE emerges from the dark.

He runs as fast as he can but the GALLOP OF STRIDING FEET
move closer behind him.

Panting and sweating profusely, Emilio runs out of gas. He
stops and clenches the machete with a firm and steady hold.
He turns around to see...  

EMILIO’S POV:...a weaponless JAPANESE SOLDIER with a
disfigured face. Veins from the neck up to his face are dark
and visible. His extremely BLOOD SHUT EYES defines something
inhuman. He inches closer...and closer.

With precise timing, Emilio swings his machete hitting the
incoming attacker in the chest. The DRAGGING SOUND of sharp
iron against ribcage mixes with a GROWL of pain.

Emilio stares at the soldier’s face. A monstrously rabid and
defiant look stares back at him. Without hesitation, he
swings the machete at his enemy’s neck. The head falls as he
fires a SHORT BURST from his Carbine to finish the jerking
body off.


INT. INSIDE THE CHURCH - NIGHT

GUNSHOTS from outside ECHO.  

Harada looks at Ito and Michiko. They are fidgety.

Barging from the door, Dolores agrresively approaches the
three and points her gun at Michiko’s head.

DOLORES
What is going on...or she dies?

HARADA
Calm down...please. Like I said, we
know nothing about this.

More GUNSHOTS ERUPT from a distance. Dolores looks up.

(CONTINUED)

CONTINUED:   54.



She kicks Harada then shoves Michiko to the corner. She aims
her gun at Ito, who slowly walks over to join the two.

DOLORES
(at Rosario)
If they move, shoot them right
away!

Father Mauricio and Mario look on.

Harada embraces the scared Michiko.


EXT. FRONT OF THE CHURCH - NIGHT

Dolores looks up.

Rosario emerges from inside the church.

ROSARIO
What is going on?

DOLORES
Go inside, like I told you to.

From the distant darkness more GUNFIRE echo.

Rosario looks up to see...

...her father, running for his life.

She GASPS!

ROSARIO
No...no.


EXT. THE CLEARING - NIGHT  

Emilio runs, he is exposed. LOUD GRUNTS and GROWLS surround
him. He can feel the enemies but and their presence makes
him nervous.

He fires waywardly in the dark as he heads towards the
church.

Another SOLDIER is chasing him.

Shirtless, his skinny body is covered with streaks of blood
and his movements are discordant. His head shakes sideways
in twitching motions but his strides are powerful and fast.




55.


EXT. FRONT OF THE CHURCH - NIGHT

POV: Emilio is running with an ENEMY chasing him.

SANTI
There...there!

Santi is quick to react with a quick spurt from his gun. The
LOW and CRISP SOUND of the M2 Carbine emits a steady rhythm.
CLANKING shells fall on the church steps.

ROSARIO
Papa...Papa! No...

Rounds hit the ENEMY in the chest and in the torso. Blood
splatters. For a moment, he stops from the impact, then
continues to charge. Speed and determination unhindered, he
recklessly attacks again.  

Rosario runs towards her father but Dolores grabs her right
away.

She STRUGGLES to be free but Dolores tightens her grip on
her.

ROSARIO
Let me fucking go! Papa!

Henry helps Dolores in containing Rosario.

William opens fire at the charging soldier.

Rosario SCREAMS in frustaration.

With the firepower of William’s BAR, the attacker
intermittently stops from the hail of bullets. He GRUNTS as
the fury of his assault subsides.

The attacker is still standing even though his body suffers
fatal wounds.

William reloads.

The guerrillas gape and marvel, they look at each other,
baffled.

From out of nowhere, another assailant charges into Emilio.

Rosario continues to struggle under the clutches of Henry.

ROSARIO
Let go off me!

William is about to fire when all of the sudden...

(CONTINUED)

CONTINUED:   56.



...a shot ZINGS from above, hitting the soldier in the head.
He falls on the ground lifeless.

Dolores looks up to see:

DOLORES’ POV: Napoleon cocking his bolt action sniper rifle
from the steeple.


EXT. THE CLEARING - NIGHT  

Emilio continues running like a lost child. He is only a few
meters away from his comrades.

Suddenly, a RUSHING SOUND behind him. He turns around and...

...from out of nowhere, a rampaging SOLDIER mauls him. They
roll on the ground.

Emilio holds his gun across his chest to ward the amuck off.
His struggle only lasted a few seconds before the attacker
mangles him and tears his body with ease.

He SCREAMS.


EXT. BEHIND THE CHURCH - NIGHT

Distant SHOTS...Bato crouches. Cautiously, he inches forward
amidst the constant barage of GUNFIRE in the front.

Suddenly, a few feet away from him, branches BREAK from the
SOUND OF RUSHING FEET. Sensing danger, Bato quickly swings
his Garand and aims in the dark.

In a quick flash...an ATTACKER comes running at him. Bato
immediately fires but the enemy tackles him before he can
aim. Bato falls as the attacker pummels him to the ground
with his bare hands. The assault leaves Bato to a bloody
pulp.

Balas turns and fires his gun. His M1 Garand EXPLODES as the
enemy’s body shakes from the big .30-06 caliber bullets.

Still, he continues to beat Bato.

Without hesitation, Balas unsheaths his machete and runs
towards Bato’s attacker.

He swings the blade right to his neck; once, twice, thrice
before...

...the HEAD rolls on the ground.


57.



Balas grabs Bato’s almost lifeless body from the ground. He
heads to the back door and into the church. Dragging his
injured brother


INT. INSIDE THE CHURCH - NIGHT

Balas lays Bato on the floor and closes the door behind him.
He secures it with a HARDWOOD BAR.

Then, he kneels before Bato, lays him on his arms and
carries him to the altar.  


EXT. OUTSIDE THE CHURCH - NIGHT

Rosario is in a STATE OF SHOCK. She WHIMPERS.

Dolores drags the emotionless Rosario inside the church.

NOISE of enemy movements surround them but there are only
indistinct shadows quickly flashing by.

From the shadows, ENEMIES begin to appear. First there are
two, then a handful. They prowl in the dark like spectres.

William, Santi and Henry have no clear vision of them until
they are at close range.

GUNS BLAZE!

WILLIAM
Fall back...fall back!

William motions the others to retreat. They fall back in a
defensive line, covering each other’s back and firing
whenever necessary.

Muzzles light up the night with THUNDEROUS fire and EJECTING
bullets. They hit wide open bodies to no avail but those
that are hit on the head falls hard.

WILLIAM
Maintain positions, maintain
positions!

One by one they enter the church without letting their guard
down. Santi closes the huge CREAKING double door while Henry
and William bar it with a thick plank of wood.

A few seconds later, a LOUD CRASH hits the door. It shake
violently, then forceful POUNDINGS follow.


(CONTINUED)

CONTINUED:   58.



The guerrillas keep their distance away as they aim their
guns at the door.

DOLORES
Get ready!

Suddenly, the POUNDING STOPS, then the SOUND of FEET running
away can be heard.

The guerrillas breath a sigh of relief.


INT. CHURCH HALL - NIGHT

QUICK CUTS of STATUES OF SAINTS and RELIGIOUS ICONS as
kerosene lanterns and candles imbue their eerie presence.

Dolores takes the first aid kit from the haversack and...

DOLORES
(looking at Bato)
He’s still alive.

...scrounges inside for a morphine syrette and bandages.

She hands it to the distraught Rosario.

DOLORES
(close to Rosario’s face)
We need you.

Rosario slowly takes the package. She wipes her tears amidst
her sniffles.

Breaking the seal of the syrette, she injects it into Bato’s
arm. She takes a deep breath, then applies some bandages on
his bleeding forehead.

Bato’s face is badly bruised. One eye is like a bulge that’s
about to explode. His lip swollen and cheeks brutally
disfigured. Clots of blood are on his neck.

ROSARIO
(sniffling)
Blood can’t circulate to the
head...this is serious.

Rosario controls her emotions. She continues to breath
heavily and sweat at the same time. Father Mauricio helps
her with the bandages but the steady flow of blood is
unstoppable.



(CONTINUED)

CONTINUED:   59.



ROSARIO
Presión, Padre...presión!  

The priest applies more pressure.

Rosario jitters. She takes another morphine syrette and
injects Bato again. Slowly, tears trickle down her eyes.

ROSARIO
(in Ilonggo)
Fight it!

Suddenly, Bato has a quick seizure and instantly stops
breathing.

Rosario pounds his chest in a desperate bid to revive him
with CPR. Bato remains lifeless.

ROSARIO
No...no...no!

She repeats the process three times until Father Mauricio
embraces her tightly. She struggles for awhile before
helplessly restraining herself.


INT. CHURCH HALL - NIGHT

Rosario...

ROSARIO
Hijo de puta!

...aggressively walks towards Harada while strapping her
Thompson on her back. She quickly draws her 1911 .45 pistol
and pistol whips him.

Harada’s HEAD spins as blood spews out of his mouth.

Rosario cocks her gun and aims it deep into his forehead.

Ito runs to help Harada.

Immediately, aims the gun with her at the incoming Ito. He
stops.

Note: This dialog in Ilonggo with subtitles:

DOLORES
Stop it!




(CONTINUED)

CONTINUED:   60.



ROSARIO
They know something! Why are they
here in the first place?

DOLORES
You want to know something...

ROSARIO
My father and Bato just died...

DOLORES
Do it the right way. (looking at
Ito) Take him to the back.

Note: Dialog resumes in English unless noted.

Dolores grabs Ito’s arms and drags him to the back of the
altar. William and Rosario follow.

Harada waits.

Suddenly, a GUNSHOT from the .45 pistol RESONATES followed
by Ito’s LOUD CRY.

Michiko jerks.

Harada watches as the group emerge from the back. Holding
Ito in the arms, William and Dolores drag his body into the
hall while Rosario is holding a .45 pistol.

Except for an undeliberate WHIMPER, Ito can’t barely make a
sound.

His KNEE CAP is busted. BURNT FLESH and SHATTERED BONES
leave a mess of blood on the floor.

Michiko is fearful while Harada shows concern.

MOVING: Dolores and William heads to the front door with the
wounded Ito. They lay him on the bench.

Dolores cocks her Thompson.  

DOLORES
(at Balas, in Ilonggo)
Open the door. (at Santi) Bring the
Jap woman.

Santi grabs Michiko by the arm and drags her to the door.
She struggles.




(CONTINUED)

CONTINUED:   61.


ROSARIO
(at Dolores, in Ilonggo)
Let me do it.

Dolores nods.

Balas opens the door. A flow of wind enters as Santi pushes
Michiko outside.

Rosario aims her pistol at Michiko.

HARADA
Wait!

Everyone ignores him. Rosario aims.

HARADA
He knows something...I can get him
to talk.

Immediately, Dolores intervenes.

Note: This dialog in Ilonggo with subtitles:

DOLORES
(at Rosario)
Rosa...put your gun away.  

ROSARIO
You can’t...

DOLORES
We need to get out of here...and
maybe they know something we don’t.

The distraught Ito looks at Harada.

Note: This dialog in Japanese with subtitles:

ITO
What are you doing? They’re  
bluffing.

HARADA
Shut up and trust me.

Note: Dialog resumes in English unless noted.

Harada looks at Dolores and William.

HARADA
Let me talk to him...please.

Dolores signals Balas.

(CONTINUED)

CONTINUED:   62.


The negrito pygmy pulls Michiko inside the church, then he
shuts the door tight.

DOLORES
(at Harada)
You have five minutes to do that or
the woman dies first.

Rosario sits beside Ito and looks him in the eye. She slowly
runs her pistol on his thigh.

CLOSE: Slowly, the BARREL goes down into his knee where a
protruding BONE from the bloody wound sits. Suddenly, she
double taps the bone with the pistol’s muzzle, squeezes it
into the flesh and pulls it out slowly.

Ito CRIES in pain. His SCREAM echoes inside the church.

Rosario walks towards Harada and shoves him beside Ito.

This dialog in Japanese with subtitles:

HARADA
(at Ito, calmly)
You okay?

Ito breathes heavily as he SCOWLS in pain.

HARADA (CONT’D)
You have to tell them something.

ITO
How sure are you that no one speaks
Japanese here?

HARADA
We’ll take our chances.

Ito spits blood.

ITO
Fuck...it hurts! Crazy bastards!

HARADA
Listen...you have to talk.

ITO
Takahashi is right...you are
resilient.

HARADA
Listen, we all need to get out of
here alive.


(CONTINUED)

CONTINUED:   63.


ITO
(looks at the guerrillas)
Not those bastards!

He spits again, this time with a HARD COUGH.

ITO
I’ll kill myself first.

HARADA
Listen to me...

Ito winces for a while.

HARADA
The truth will affect their  
judgment and maybe...just maybe, I
can get us out of here in one
piece. I need to keep you alive. Do
you understand?

Ito smiles again. This time in a sinister way.

ITO
(smiling wryly)
Fear of the unknown will affect
their judgement anyway. On the
other hand, I can make up a story.

HARADA
They’ll know it...and kill you in
seconds, and if they do...both of
us will fail.

Note: Dialog resumes in English unless noted.

FADE OUT/FADE IN


INT. BY THE ALTAR - NIGHT  

Santi is kneeling on the floor with his radio set up on a
church bench. Shadows imbued by a kerosene lamp nearby.

SANTI
Echo 8 to Alpha 3, over.

STATIC!

SANTI
Echo 8 to Alpha 3, over. This is
urgent...do you copy Alpha 3?

STATIC!

(CONTINUED)

CONTINUED:   64.


SANTI
Echo 8 to Alpha 3, over. We have
two men down Alpha 3...We need
assistance...


INT. CHURCH HALL - NIGHT

Harada approaches Dolores and William.

HARADA
He needs a smoke...and he’s  
talking.

William reaches for his chest pocket and pulls out a pack of
MacArthur cigarettes that says: "I SHALL RETURN." He takes a
couple and hands it to Harada.


LATER

Ito takes a long drag from the cigarette. His wound in the
knee is now bandaged with a TOURNIQUET on the upper leg. He
says something to Harada which the former carefully
translates in English.

HARADA
In 1939, He was one of the head
researchers at the vivisection
department of Unit 731...in  
northern Manchuria. A research
facility that experiments on
biological and germ warfare.

Ito continues his story to Harada who in turn translates it.

HARADA
One of us...in the vivisection
group felt merciful to one of the
"logs"... that’s what we call our
"subjects," because the facility is
covered up...as a lumber yard. We
operate the "logs" without
anesthesia because it would affect
the growth of certain bacterias.
But, a doctor injected it to
one...out of mercy. He was severely
punished for that.

Ito breaths in between drags.

From Harada, we shift to Ito directly talking.

Note: This dialog in Japanese with subtitles:

(CONTINUED)

CONTINUED:   65.



ITO
It turns out to be a redemption for
that man because the bacteria
thrive on...even with a foreign
substance polluting it. With a few
improvisation, we have come up with
a germ that, rather kill people in
big magnitude, tend to fortify
their systems. So, we applied it to
our troops instead. Thus, what you
see outside.

SILENCE.


LATER

MOVING: Dolores nods at William to follow her. She moves to
the far end of the church and walks in front of the statues
of Catholic icons. William and Henry walks with her. She
stops at the foot of the SANTO NIÑO, a statue of the infant
Jesus.

She looks at it, then blows off steam.

DOLORES
Human subjects...sick fucks! These
things outside...are what he says
they are.

HENRY
In Leyte...a few weeks ago...there
were suicide attacks on our fleet
by Japs on a plane. They caught us
by surprise. We took one fallen
pilot just to dissect who they
really are.

William and Dolores listen intently.

HENRY
Humans...that’s what they are. Same
as you and me...except that they’d
go to extremes for their Emperor
and country. Now, I don’t know what
those are outside but I’m sure as
hell they’re on the same team as
the suicide pilots.

Dolores looks at the "hojins" from a distance.

DOLORES’S POV: Harada grabs Ito by the collar.


(CONTINUED)

CONTINUED:   66.



DOLORES
This one is different. Humans don’t
take a barrage of gunfire and still
be alive.

DOLORES’ POV: Michiko joins the conversation of Harada and
Ito.

WILLIAM
What he didn’t say was how it
affects the brain...the central
nerve of the body. They act on
primitive instincts to kill, like a
pack of animals.

HENRY
Strange...indeed.

DOLORES
They’re very disorganized, we might
have a way out of here.

Dolores glances at the "hojins."

DOLORES
They’re on to something.

HENRY
What now?

Dolores walks towards Ito and Harada while Henry pulls
William aside.

HENRY
(nodding at Dolores)
What’s with her?

William looks at Henry blankly.

WILLIAM
What do you mean?

HENRY
Who is she?

WILLIAM
An amazon...and we need her on our
side after the war is over.  







67.



EARLIER

Harada and Ito watches as Dolores walks away with William
and Henry. They stop in front of the statue of SANTO NIÑO.

Rosario is seating a bench away from the "hojins." She
watches them like an eagle, her gun at the ready.

Harada moves closer to Ito. He looks at Rosario as if asking
for permission.

Note: This dialog in Japanese with subtitles:

HARADA
Is it the truth?

ITO
What do you think? Yes...I was the
one who injected the anesthesia. I
nearly got my head chopped off for
treachery.

HARADA
You said earlier that this
operation was a success.

ITO
"Promising"...the operation has
potentials, that’s what I said.
And, in the 36 hours of observation
that I did in Manila, everything
was going smooth.

HARADA
What is it...the substance?  

ITO
A mind enhancing bacteria...rampant
in rats.

HARADA
Rats?

ITO
It’s an accidental offshoot of our
main study...the bubonic plague.

HARADA
What have you done to these men?

ITO
You’ll never get it.


(CONTINUED)

CONTINUED:   68.


HARADA
And...they’re also after us?

ITO
I don’t know yet. That’s why I was
sent here...I wish I have one of
them on my lab.

Harada grabs Ito by the collar.

HARADA
You crazy bastard! We might be
victims too.

Ito pulls Harada’s hand but his grip tightens.

ITO
What do you think those Americans
will do if they discover something
like that? (looks at Harada hard in
the eye)...The same fucking thing,
maybe even worse!

Ito nods at Harada to look at Dolores, William and Henry.
Harada pushes Ito as he lets go of his grip.

ITO
Looks like they’re on to something.
(referring to Dolores) Who’s she?

MICHIKO
Dolores Crisostomo aka La  
Commandera. Most Filipinos think
she is a mythical
hero...Propaganda, that’s what...

HARADA
Born from a rich family in the
island of Negros. Story has it,
that the Imperial Army left her
entire clan in the middle of their
sugarcane plantation and burned the
whole field. She was rescued by a
tribe of negritos...the only
survior.

ITO
Quite a story, a bit exaggerated.

HARADA
She’s known to be responsible for
the deaths of hundreds of Japanese
soldiers.


(CONTINUED)

CONTINUED:   69.



ITO
(referring to William)
What about him?

HARADA
William Knox, sent by the O.S.S. as
a combat adviser to Dolores. But,
in reality, he’s here to match
influences with the communists over
her.

ITO
(smirks at Harada)
They’ve briefed you well, I can
see.

Note: Dialog resumes in English unless noted.

HARADA’S POV: Henry pulls William over and talks to him in
private while Dolores approaches him.

Dolores stands in front of Harada.

DOLORES
What about you?

HARADA
My wife owns a ramen house in the
city, Togitsu Ramen. I told you
about that.

William joins the interrogation.

WILLIAM
(loudly as he turns around)
Anybody heard about this place?

SANTI
Yes, it’s at Plaza Libertad. Good
place. I ate there a couple of
times before the war. Now, it’s a
hang out for Jap officials,  
collaborators and two-bit corrupt
politicians.

WILLIAM
(at Harada)
You said you were in Berkeley.

HARADA
Yes...I came here after the  
occupation. My father-in-law
recommended that I work in the
(MORE)
(CONTINUED)

CONTINUED:   70.



HARADA (cont’d)
office of one of the copper mines
because of my English. It didn’t
work out, ended up helping run the
eatery instead.

WILLIAM
What happened to the eatery?

HARADA
It’s been vandalized by Filipinos
two weeks ago. They threatened to
kill us...leaving us with no place
to go.

WILLIAM
(looks at Ito)
How did you know him?

HARADA
He’s a regular customer. He said
there’s a safe place for the
"hojins" to go...and that’s Bucari.

WILLIAM
Do you know any of this...this
"project?"

HARADA
Just about the same time you did.

William sits on a nearby bench and lights up a cigarette.

HARADA
If you let me...I can help.  

Dolores gives Harada a hard stare.

DOLORES
(looking at Rosario)
Rosario...there..she was raped by
Japanese soldiers and forced to
work as a comfort woman at 19.
Before we rescued her, she vowed to
kill your kind 10 times the men who
raped her. In the first year she
killed 23. The following year 68.
That leaves a lot of space for
you...(looking at Michiko)
including her.

Rosario looks on, determined to kill.


(CONTINUED)

CONTINUED:   71.


William moves closer to Dolores and holds her by the
shoulder.

WILLIAM
He might be able to help.  


INT. CHURCH HALL - NIGHT

The windows, four on each side is elevated at about five
feet from the ground. It measures three feet by two feet
square on limestone wall. It’s shutters are made of wood and
rattan.

A guerrilla guards each window.

Henry on the first window by the door watches the activity
outside.

Note: This dialog in Ilonggo with subtitles:

HENRY
Dolores...

Dolores walks towards Henry and shares the view with him.

POV FROM WINDOW: FIGURES are indistinctively moving in the
dark.

By the church steps HARADA is standing still, unprotected
and alone.

DOLORES
Now...we wait.

In the center of the altar, a CRUCIFIED CHRIST shows his
compassion through his tortured face.


INT. IN THE STEEPLE - NIGHT  

Napoleon is scouting the perimeter with his binoculars. His
rifle leaning on the balcony. Behind him, a church bell.

William and Mario come out of the staircase. They crouch as
they approach him.

NAPOLEON
(at William)
I can feel them moving, Sir.

William moves closer to the edge of the balcony.

POV: HARADA is standing in the dark.

(CONTINUED)

CONTINUED:   72.



Around the small houses and the bushes beyond, shadows
prowl.

WILLIAM
(at Napoleon)
Can you guess a head count?  

NAPOLEON
It’s hard in the dark, Sir. I was
shooting at shadows earlier...
maybe more than fifty.

Napoleon looks at Mario.

NAPOLEON
What’s he doing here?

WILLIAM
He’s staying here with you...he’s
gonna relay messages between us.

MARIO
I can load bullets too.

SUDDENLY!

NAPOLEON
Look!

Shadows move erratically.  


EXT. FRONT OF THE CHURCH - NIGHT

POV: From the dark, a Japanese officer suddenly appears,
clearly the commanding officer LIEUTENANT DAISUKE SATO. His
tattered uniform is covered in blood and mud. The samurai
sword on his waist is loosely attached, making a DRAGGING
SOUND on the ground. He walks towards the church in
twitching and erratic motions.

Slowly, one by one, his men start to follow until a small
group of soldiers rally behind him. They begin to surround
the church.

HARADA is exposed. Sweat runs down his face in buckets. He
breathes heavily.

HARADA
(whispers to himself)
Daisuke...

POV: Sato stops.

(CONTINUED)

CONTINUED:   73.



He looks at Harada as if trying to recognize him.

HARADA
Daisuke...Sato!

CLOSE: Sato’s eyes are blood shut red and the dark veins on
his face are overly visible against his PALE FACE.


INT. IN THE STEEPLE - NIGHT  

Mario’s jaw drops. He fearfully backs off from the balcony.

NAPOLEON
Jesus Christ!

POV: Sato turns around. Discordantly, he raises his hand and
summons his minions to spread.

WILLIAM
Somehow, they still have rational
actions. That fucker is giving
orders.

Sato’s men move like spectres in the dark.


INT. CHURCH HALL - NIGHT

Dolores looks around. Guerrillas line up their guns on the
windows.

Michiko is WHIMPERING.

DOLORES
We’ll see...two meters.


EXT. STEEPLE - NIGHT

Napoleon’s hand is on the trigger, right eye on sight.

NAPOLEON
Two meters?

WILLIAM
Yes, two meters. Let’s see if these
fuckers will kill their own.







74.



EXT. OUTSIDE THE CHURCH - NIGHT

Harada’s legs are trembling. From thirty feet away, the
transformed Sato looks intimidating and dangerous.

CLOSE: Harada’s eyes open wide, eyeballs roll left and
right.

A strong gust of wind.

SILENCE, the wind passes.  

SATO ATTACKS, he charges at Harada in a fast LIMPING MOTION.

Harada closes his eyes, he flinches.

Sato moves closer, 20 feet...10 feet and coming.


EXT. STEEPLE - NIGHT

WILLIAM
Drop him!

Napoleon instantly squeezes the trigger.

BANG! The sniper’s rifle erupts.


EXT. OUTSIDE THE CHURCH - NIGHT

CLOSE: The shot hits Sato in the forehead. The bullet
penetrates with a CRACKING sound of the cranium.

His momentum carries him a FEW INCHES away from Harada.

He drops dead.

Harada moves back a bit, maintaining his composure.

MOVING: Scattered shadows move like flashes from side to
side; a barrage of single and automatic GUNSHOTS fill the
air. Flashes of fire are coming out of gun muzzles from the
church windows.

Harada remains still, a hail of bullets whizz by him.









75.



INT. CHURCH HALL - NIGHT

POV: Obscured by the dark, the attackers are very hard to
shoot at. Harada is in the middle of it all.

Guerrilla GUNFIRE erupts from the windows. It RESONATES.

Primeval CRIES and GROWLS can be heard from the unseen
perpetrators.

DOLORES
(at Father Mauricio)
The door, Padre!

The priest opens the door as HARADA comes running in.

He helps the priest shut the door tight.


INT. CHURCH HALL - NIGHT

William runs down the staircase amidst LOUD GUNSHOTS.

The guerrillas are firing from the windows. GUNFIRE and
CLANKING shells on marble floor ECHO.

Harada embraces MICHIKO as she winces while covering her
ears.

Father Mauricio cowers at the end of a bench. Beside him
Paolo is squatting and almost crying.

Ito sports a different reaction. He sits on a bench with no
emotion or discomfort troubling him.

William walks in the middle.

WILLIAM
(shouting)
Cease fire! Cease fire!

The order is lost in the OVERPOWERING NOISE.

DOLORES
(shouting even louder)
CEASE FIRE!

Slowly the GUNSHOTS starts to wane. Except for one...

Rosario keeps on FIRING.




(CONTINUED)

CONTINUED:   76.



WILLIAM
(at Rosario)
Who the fuck are you firing at?

Rosario turns around and gives William a hard stare.

WILLIAM
Everybody, listen up...don’t shoot
like fucking maniacs. Who knows how
long we’ll be stuck in here?
They’re vulnerable...but we won’t
get out of here if we run out of
bullets.

Dolores rests her gun. She breathes a sigh of relief and
looks at Harada.

He stares back at her.

HARADA
You happy now? Fucking maniacs!

Dolores avoids Harada’s stare and looks around at everyone
instead.

DOLORES
We wait ’til sunrise...then we go
and fight our way out. It’s easier
to shoot what you can see. These
Japs don’t have any weapons...not a
single gun was fired by them. They
would also kill anyone. (looks at
Harada)

SANTI
We can make a run to the beach...
at Commander Edgar’s checkpoint.
It’s seven kilometers through the
jungle.

Dolores walks back and forth in the hall before heading
towards Father Mauricio and Paolo. She is troubled.

DOLORES
(at Father Mauricio, in
Spanish)
Are you okay?

FATHER MAURICIO
(in Spanish)
We’re fine...don’t worry.  

William takes a peek at a nearby window.

(CONTINUED)

CONTINUED:   77.


WILLIAM’S POV: No movements except for RATTLING objects
being blown by the wind.

Dolores, quickly turns around and faces the priest.

This dialog in Spanish with subtitles:

DOLORES
You know...Padre...I really don’t
believe...

FATHER MAURICIO
That’s okay...my child.

DOLORES
This is why...

FATHER MAURICIO
I know you, Commandera. I heard
stories about you. People talk
about you. This may sound  
crazy...but honestly, I support
whatever you do. That is just my
opinion as a man. But...as a priest
it greatly differs.

Dolores pauses to think then, she changes emotions from
helpless to aggresive.

DOLORES
What difference does it make,
Padre? We may be acting accordingly
in our own rights but some other
fuckers across the world want to
kill us all. It really doesn’t
matter.

Note: Dialog resumes in English unless noted.

Dolores looks at Father Mauricio. A long pause before she
turns and delegates the action.

DOLORES
Block the windows. Those shutters
are not enough.

The guerrillas start to close the window shutters.

Henry and Santi block two windows each with church benches.

FATHER MAURICIO
(at Dolores, in Spanish)
I have a hammer and some nails.


(CONTINUED)

CONTINUED:   78.



DOLORES
(in Spanish)
Very well...we need them.  

The priest nods and scurries to the back.

Santi takes a statue of Saint Martin de Porres, a solid
piece of marble.

SANTI
Let’s see what this Saint can do.

With the help of Balas, Santi blocks the shutter with the
heavy statue.

Rosario walks past the priest and towards the statue of
Saint Francis of Assisi. She stands in front of it.

The STATUE is made of hardwood with a thick concrete base.
At the foot, a crudely carved dog looks up at the saint.

ROSARIO
(looks around)
Help me.

Harada and Balas slowly approach her.

She looks at Harada as he slowly moves the statue outwards.

Rosario checks the bottoms where the statue is attached. She
inspects it for a while then takes an M1 Garand rifle.

Rosario strikes the bottom of the statue with the heavy butt
of the rifle. The sound leaves a THUD that ECHOES throughout
the church. Concrete begins to crack. Harada pulls the
statue more.

She looks around.

Everyone stares at her. She stares back at them, then...

ROSARIO
What?

...hits the bottom of the statue once more. In successive
blows, she manages to topple it with Harada and Balas
holding the body to prevent it from falling.

They carry it to a nearby window and bar the shutters with
it.

Father Mauricio appears with a bag of nails, a hammer and a
box. He gives the bag and the hammer to Bato.

(CONTINUED)

CONTINUED:   79.



Then, the priest approaches Harada and hands the BOX to him.

Harada puts it on a bench and slowly opens it, revealing:

A SAMURAI SWORD and a Type 14 Nambu pistol. Along with the
weapons is a picture of a Japanese woman in a kimono holding
an infant.

Harada looks at the picture, then flips it over. Written on
the back:

Japanese characters with subtitles:

MIHO AND SEIJI OHAYASHI

HOKKAIDO PERFECTURE

OTARU CITY

28-3 CANAL STREET

WITH LOVE, ICHIRO

Harada flips it back to the image.

HARADA
(at Father Mauricio)
Where did this come from?  

The priest looks at Dolores instead.

FATHER MAURICIO
It’s from a young Japanese officer
who died in the city clinic last
month. I promised him that I would
turn this over to somebody who can
give it back to his wife.  

Harada eagerly picks up...

CLOSE:...the samurai sword and slowly unsheaths it.

FATHER MAURICIO
War can be deceiving. In the end,
it can make human beings out of us
all.

Harada looks at the priest and acknowledges his wisdom.

Suddenly,..

MEDIUM:...a muzzle of a Thompson sub-machine gun appears
behind his head. Harada is still.

(CONTINUED)

CONTINUED:   80.



WIDER: Rosario aims her weapon at Harada.

CLOSE: Her eyes shows hatred and determination.

Dolores walks toward Rosario.

DOLORES
Rosa....it’s okay.

Rosario breathes heavily, her hatred mounting.

DOLORES
Rosa!

Suddenly,..BOOM...a LOUD INTRUSIVE SOUND of a break-in
deflects the tension.

Rosario raises her gun away from Harada and turns around.

A THUNDEROUS BANG can be heard coming from the back door. It
is followed by a CRACKING sound of the wooden bar.


INT. BACK OF THE CHURCH - NIGHT

The wooden bar on the back door bends with a crack at every
impact from the outside.

GRUNTING, Dolores and William push their backs against the
door to quell the assault. Their feet move inches away
whenever a blow is delivered.

From the front; Henry, Santi and Father Mauricio appear
dragging the HEAVY CRUCIFIX.

The BANGING on the door is RHYTHMIC with a few milliseconds
in between hits.

Dolores is timing the gaps. BOOM, BOOM, BOOM! She is
intensely concentrating.

DOLORES
Everybody...okay? We’re gonna let
go.

QUICK CUTS of the men and their reactions as it coincides
with the BANGING.

The wooden bar is almost at breaking point.






81.



INT. CHURCH HALL - NIGHT

Harada is looking at a window. The shutter is shaking. The
statue of St. Martin de Porres blocking it vibrates as
attackers are breaking in.

Suddenly, he is distracted by a LOUD BANG. She turns her
attention to...

...THE MAIN DOOR in the front. It shakes with heavy blows
from the outside.

Another SHAKING sound catches his attention. He turns the
other way to see:

POV: Another window being pry open. The statue of Saint
Francis withstands the pressure as the shutters weaken.


INT. BACK OF THE CHURCH - NIGHT

BOOM, BOOM, BOOM!

The men are ready and in between blows...

DOLORES
Now!

...everybody helps in putting the crucifix up with massive
efforts.

The wooden bar BREAKS as the group is a few seconds too
late. The door opens up a bit while the group fights to
regain it’s closure.

Everybody pushes the crucifix with all their might.

Henry is in the middle opening with Dolores. Enemy hands
from the outside are trying to grab them. They repel and
avoid it in any way they can.

With the Thompson strapped on her shoulder, Dolores releases
a barrage of GUNFIRE through the opening. The assault
subsides for a few seconds.  

This enable the men to gain lost grounds as the door inches
forward. They continue to push as the opposition does the
same on the other side. Henry looks at Dolores. She nods at
him.

DOLORES
Together.


(CONTINUED)

CONTINUED:   82.


They both stick their guns through the opening and fire
while the rest push forward. EARSPLITTING!

The door is finally closed. Father Mauricio hammers the
sides of the crucifix to the wall with long nails while the
others hold it still.


INT. CHURCH HALL - NIGHT

A gust of wind enters from a shaking window.

Harada loads the Nambu pistol and cocks it.

Candles from an iron holder by the altar flicker. Their tiny
flames sway with the direction of the wind.

Santi is packing his radio in a hurry.

Rosario slowly walks away from the window. Hands firmly on
her gun.

ROSARIO
(signalling)
Everybody in the middle...quick!

Ito, Michiko and Paolo slowly converge in the middle.

Suddenly, Harada looks up.

HARADA
Wait!

Rosario looks at him. In the middle of their gazes, dust
falls from above. They both look up to see...

POV:...the roof shaking as if someone is crawling on top of
it. Debris and dust falls.

Suddenly, a GUNSHOT RINGS outside followed by the RUMBLING
sound of someone rolling on the roof.


INT. IN THE STEEPLE - NIGHT  

Patient and steadfast, NAPOLEON aims his rifle accurately.

A FIGURE on the roof is crawling the steep incline.

Napoleon fires. The enemy falls, making a DRAGGING sound on
the corrugated roof. A THUD follows.

Not too far away, a SECOND and THIRD FIGURE begin to appear
at the edge of the roof.

(CONTINUED)

CONTINUED:   83.



Napoleon cocks his bolt action sniper rifle for a second
shot. He fires in the dark without taking the proper posture
or time inherent for a sniper.

Bullets volley...DEAFENING!  

Mario is covering his ears as he cowers beside Napoleon.

From behind them, Balas emerges. He positions himself and
begins firing.

NAPOLEON
(in Ilonggo)
Where the fuck are they climbing?

Balas responds with a few shots from his rifle as more
ENEMIES appear.


INT. BACK OF THE CHURCH - NIGHT

THE CRUCIFIX on the door is hit to the point of breaking.

Dolores walks back and forth.

DOLORES
We go out the front door. We’ll
fight it out...We’re sitting ducks
here.

The impact from the blows is increasingly uncontainable.

WILLIAM
It’s useless.

The crucifix is slowly giving way and several attackers are
slowly squeezing their hands in.

WILLIAM
To the front...move...move!  

They move back in a hurry.


INT. IN THE STEEPLE - NIGHT  

Napoleon and Balas are firing their guns at the enemies on
the roof. Mario is beside them, reloading their clips.
Occasionally, bullets slip from his trembling hands.

Note: This dialog in Ilonggo with subtitles:



(CONTINUED)

CONTINUED:   84.



NAPOLEON
(at Mario)
Hurry up!

MARIO
I am, I am!

Finally, Napoleon realizes that the enemies are too many to
shoot at.

Balas keeps on firing.

NAPOLEON
Go down!...now!

Balas shoves Mario down the hole and into the staircase,
then he looks at Napoleon before quickly climbing down
behind Mario.

Napoleon inspects the top of the heavy wood where the ring
of the solid iron bell is attached.

He takes a grenade from his haversack and pulls the pin. He
looks left where:

NAPOLEON’S POV: Attackers from the the roof are slowly
closing in on the steeple.

Napoleon looks down the hole leading to the staircase.

NAPOLEON
4 seconds... fuck it!

Note: Dialog resumes in English unless noted.

Instantly, he lays the GRENADE on top of the wooden bar
which is holding the chain of the bell.

Quickly, he jumps into the hole and falls on a wooden plank
beside the staircase. He SCREAMS in pain while covering his
ears. He cowers, then...

...BOOM! The grenade explodes with a THUNDEROUS SOUND. The
bell RINGS from the blast. It ECHOES hard. A CACOPHONY of
destruction.

A CRASHING SOUND follows as the bell falls on top of the
hole, totally sealing it from the pursuing attackers.

Shards of debris fall on top of Napoleon as he scampers down
the staircase.




85.



INT. BACK OF THE CHURCH - NIGHT

The crucifix on the door finally breaks. Christ falls down
from the cross as hordes of attackers squeeze their way and
overwhelm the place.


INT. CHURCH HALL - NIGHT

From the back of the altar, the enemies come out.

Dolores and William are upfront.

WILLIAM
Move back and stay together.
Civilians in the middle.

They slowly move back as the enemies charge. Mario, Paolo,
Ito, Father Mauricio and Michiko are in the middle.

Michiko is behind Harada.  

A BARRAGE OF GUNFIRE!

Mario and Paolo are reloading magazines clips.

Rosario aims her gun at an ATTACKER. She pulls the
trigger...CLICK! CLICK! CLICK! The gun jams as the attacker
closes in. Immediately...  

...from out of nowhere, amidst the NOISE and chaos, a unique
pistol SHOT stops the enemy with a bullet in the head.

Rosario looks at Harada. He is firmly firing the Nambu
pistol.

She cocks her gun once...still jamming, twice...and it’s
cleared. She fires at the enemies!

The limping Napoleon gathers his strength. With his rifle
strap on his back, he fires his 1911 .45 pistol.

Bodies absorb bullets while head shots result to fatalities.

The group is now trapped as the front door behind them
continues to VIBRATE from the pummeling outside.

DOLORES
(Balas in Ilonggo)
On my signal, loosen the door.

Balas is waiting for the signal to lift the door bar.


(CONTINUED)

CONTINUED:   86.



Behind them, Santi, Rosario, Henry and Napoleon are shooting
at the attackers who are coming in from behind the altar.

William takes six military flare candles from his backpack.

He lights up two and gives one each to Mario and Paolo. The
inside of the church glares with a blinding yellow light.
Mario and Paolo hold the flares away from their faces.

Mario stuffs the remaining flares on his backpack and puts
it around his shoulder.

WILLIAM
(at Mario and Paolo)
Stay in the middle.

With their back against the front door and enemies in front
of them, there is only one thing to do now.

DOLORES
(in Ilonggo)
Santi, Napoleon...grenades...slip
them through the door when I say.

Santi turns around and nods back. He takes a grenade and
pulls the pins.

Napoleon does the same.

WILLIAM
Everyone stay behind the wall.

They all line up against the wall with Santi and Napoleon
upfront...grenade in hands.  

William looks at Dolores. She nods back. Gathering his
breath, he nods at Balas.  

Balas loosens the bar quickly. With the pounding force
outside, the door opens up a bit. The bar breaks in half but
still holds.

Balas runs for cover.

DOLORES
(at Santi and Napoleon)
Now.

Santi and Napoleon roll two grenades in between the gaps
before leaning by the thick concrete wall.

BOOM, BOOM! The door violently swings open. It is followed
by a surging mass of acrid smoke.

(CONTINUED)

CONTINUED:   87.



SILENCE as the smoke clouds the area.

FADE OUT/FADE IN


EXT. POBLACION PLAZA - NIGHT

MOVING: The group inch their way to the plaza while
maintaining a crude circular defensive ring. The yellow
flares illuminates the group’s inner circle. Outside of
it...DARKNESS!

GRUNTING AND WAILING SOUNDS together with FEET RUNNING from
a distance surround the area with an eerie atmosphere.

Suddenly, a COMMOTION!

SWISH...Mario swings his flare on it’s direction. The
disturbance stops. Nothing but darkness!

SWISH, the COMMOTION moves to the other side. Mario turns
around with his flare to see:

MARIO’S POV: A bloody face of a grotesque Japanese soldier
running towards him.

Immediately, Rosario fires a hail of bullets from her M2
Carbine. The soldier spins and falls head first, inches away
from Mario’s feet. Everybody jerks back.

WILLIAM
Stay put...don’t panic. Maintain
perimeter. Head to the jungle
slowly...make every shot count.

Slowly, a RUSHING SOUND on the ground can be heard. It moves
closer and closer.

Everyone is fidgety. Then...

...from out of nowhere, a FIGURE grabs the limpimg Ito in
the leg and pulls him into the dark. He SCREAMS as the
DRAGGING SOUND of his body slowly fades. Harada fires his
pistol while Henry his sub-machine gun into the pitch dark
night.

Ito’s DISTANT CRY continues for a few seconds, then the
SOUND of cracking bones ECHO in the night.

Harada SCREAMS in rage as he empties his gun. He attempts to
run after Ito but Father Mauricio and Michiko hold him back.



(CONTINUED)

CONTINUED:   88.


MICHIKO
(in Japanese)
It’s too late...let it go.

Momentarily, the RUSHING SOUND starts again. This time from
a different direction. It’s coming closer once more.

WILLIAM
Get ready!

The group tighten their circle as they prepare for the
unknown. Closer and LOUDER, the SOUND approaches.

Suddenly, from the dark, another FIGURE emerges and hits
Paolo on the face. His neck CREAKS as he falls down
unconscious.

With quick reflexes, the guerrillas open fire into
nothingness. The assailant is too quick for them.

MARIO
(screaming)
Paolo!

Harada drags Paolo’s body inside the group’s circle.

Mario looks in disbelief at his lifeless friend. He
SHUDDERS!

Rosario runs towards Paolo. She sits on the ground and lays
him on her arm. She checks his pulse while sobbing.

Rosario shakes her head negatively.

Father Mauricio kneels by the corpse of Paolo and quickly
said the last rites in Spanish. The DISTRACTING UNKNOWN
SOUNDS in the background rattles him but he continues on.

William grabs Rosario and the priest by the arms and forces
them to move.

WILLIAM
Keep on moving. Go, go!


EXT. THE CLEARING - NIGHT  

MOVING: Darkness, even the flares of Mario are futile. They
are now in the clearing between the village and the jungle.
The enemies are felt, not seen. Paranoia grips everyone.

POV: The tall trees are casting shadows in front of the
jungle, making it impossible for anyone to see what’s ahead.


(CONTINUED)

CONTINUED:   89.



DOLORES
(low voice)
Everybody down.

They all crouch on the ground. Dolores looks at William.

DOLORES
What do you think?

WILLIAM
We know what’s it like in the
village. I’ll take my chances out
there.

She summons Balas to her side.

DOLORES
You lead us to the river but stay
within sight.

The negrito pygmy nods.

DOLORES
(looking back at everybody)
We’re making a run for the jungle.
Stay close and calm...don’t break
your positions.

The jungle looks mysterious but it’s the only option left.
Balas leads the way while Dolores moves behind him. The rest
follow and into the jungle they disappear.


EXT. THE JUNGLE - MINUTES LATER

The moon’s bright beam seeps through trees and tall bamboos
while thick bushes and mud cover the dense and moist jungle.
The SOUND of nocturnal animals engulfs the air with a chilly
ambience.

From out of nowhere, the RUSTLE of feet running disturbs the
nightly routine of the untamed jungle.

SILHOUETTES of guerrillas and civilians moving with
steadfast speed flash shadows against the dying flares.

Dolores suddenly stops running. The rest follow as the
flares of Mario wane.

WILLIAM
(panting)
All here?


(CONTINUED)

CONTINUED:   90.



She looks around. Faces flash before her. She turns her head
a few times.

DOLORES
Santi?

Everybody looks around.

WILLIAM
Shit!

DOLORES
Who saw him last?

HARADA
The guy with glases...he was behind
me earlier.

Reactions of empty faces.  

DOLORES
We can’t leave him behind.

William drags Dolores by the hand and talks to her in
private.

WILLIAM
The river...how far away is it?

DOLORES
(looking at Balas)
The negrito knows...I’m not leaving
Santi behind.

Cold reaction from William.  

From a distance, the trees begin to move.

ROSARIO
(panicking)
They’re everywhere...I can feel it.

Henry approaches her.

ROSARIO
They’re everywhere! We’re all going
to die.

Henry holds Rosario by the shoulders and shakes her a bit.
Rosario is sobbing.




(CONTINUED)

CONTINUED:   91.


HENRY
Hey...look at me.

Henry holds her by the chin and forces her to look at him.

HENRY
Look at me...listen! Nobody’s
dying. We’re getting out of here.

Note: Dialog resumes in English unless noted.

Dolores walks up to William and gives him a stare.

DOLORES
We’re not leaving without Santi.

Dolores signals Balas to head back into the jungle. He walks
back and disappears into the thick bushes. Dolores quickly
follows...then the rest.


EXT. THE JUNGLE - DAWN

MOVING: Slowly, the FOG is starting to appear. The jungle is
getting thicker and thicker as the wary group negotiates
it’s way through it. Balas head the pack as they use their
machetes to create a path. Sharp blades SWISH through tough
branches and heavy bushes.

Suddenly, from the hazy ground, Harada steps onto something.
It CRACKS.

HARADA
Wait!

DOLORES
What is it?

He picks up Santi’s glasses and hands it to Dolores.

Drops of blood are on it.  

Harada looks up to see:

HARADA’S POV: A NEW DAWN slowly rising from the pitch dark
night.

Low on the ground, Balas looks around and to his right, is
Santi’s haversack with drops of blood pointing east. He
points to that direction.  

Cautiously, they follow the trail of blood UNTIL...

Dolores looks up to see:

(CONTINUED)

CONTINUED:   92.



SANTI’S body, hanging from a tree, 10 feet up. A protruding
branch pierced on his chest and his RIBCAGE split in the
middle. BLOOD SOAKED! His pale body bloats from the bruises
inflicted.

DOLORES
My God! Santiago!

Some GASP, others look away.

Mario throws up.

A moment of SILENCE.

WILLIAM
We need to move.

Dolores nods slowly.


EXT. THE JUNGLE, CLOSE TO THE RIVER - DAWN

One by one the group pass by as tension and uncertainty grip
their faces. Their legs are obscured by the ghostly fog as
they trudge in mud.

Suddenly, Balas raises his hand and SLOWLY WAVES it down as
he crouches. The rest follow his signal.

The steady SOUND OF A FLOWING RIVER can be heard from a
distance. Dolores slowly moves towards Balas.

DOLORES
(in Ilonggo at Balas)
What now?

BALAS
(in Ilonggo)
Too quiet. No sounds.

He looks around, nothing but fog.

BALAS
(in Ilonggo)
The ghosts are looking for a place
to settle now.

Slowly, they move toward the river.







93.



EXT. CLOSE TO THE RIVER - DAWN

The river is wide and it’s stony bank is vast. Water runs
it’s course through a maze of rocks on the edge. In the
middle, where the water flows unhindered at a rushing pace,
is obviously deep.

William discreetly approaches Dolores and Balas.

DOLORES
He thinks it’s not right.  

WILLIAM
We’re better off in the open. We’re
gonna get hunted here.

William sticks his head out to survey the area.

PAN: From left to right, the river looks abandoned.

WILLIAM
Okay, let’s do a perimeter.  

He signals Henry and Rosario to go left.

WILLIAM
Rosario 20 meters, (at Henry) You,
10 meters.

Then, he signals Napoleon and Balas to go right.

WILLIAM
20 meters and 10 meters. The rest
in the middle.

Finally, William taps Dolores on the shoulder.

WILLIAM
We’ll take the front...on my
signal.

He slowly waves his hand to the left. Balas and Rosario head
left.

Then, he waves to the right. Napoleon and Henry go right.

William waits until they are in position.

WILLIAM
(at Dolores)
Let’s move.




94.


EXT. BY THE RIVER BANK - DAWN

MOVING: William stealthily heads to the river while aiming
his BAR rifle in the vast foggy openness. Dolores follows,
she aims her Thompson in the opposite direction.

They reach a huge rock where they stop and crouch to scout
the premises.

Henry and Rosario emerge from the left wing while Napoleon
and Balas from the left. They advance closer to the river’s
edge and establish their positions.

Harada, Mario, Michiko and Father Mauricio slowly come out
of the bushes and into the open.

William looks at his watch. It reads: 5:25 AM.

WILLIAM
Fucking fog won’t clear up ’til
sunrise...40 minutes maybe.  

Suddenly, the fog begins to rise and encompasses the area
like a smokescreen. Dolores and William turn their heads to
see...

...NO ONE IN SIGHT. Visibility is zero.

From the jungle, several WAILING and GROWLING sounds ECHO.

WILLIAM
Fuck! It’s a trap! They used Santi!

Dolores turns left, right and center. Nothing but fog.

DOLORES
I can’t see anybody.

WILLIAM
Shit! We have to get them in here.


MEANWHILE

Harada slowly walks with pistol in hand and the samurai on
his back. He breaths heavily and walks aimlessly, trying to
get a clear vision of what’s in front of him.

HARADA’S POV: The ground is paved with stones and pebbles as
he trudges the area.

Michiko is behind him.

This dialog in Japanese with subtitles:

(CONTINUED)

CONTINUED:   95.


MICHIKO
What madness is this?

HARADA
Calm down...don’t make any noise.

Harada slowly forces Michiko to crouch.

HARADA
(at Michiko)
Calm down!

MICHIKO
I can’t die here. Not like
this...at the hands of our own.

HARADA
Calm down or you’ll get us killed.

MICHIKO
You know something about this...do
you?

HARADA
Shhhh, easy.

MICHIKO
You bastard...you know about
this...yet you dragged me here.

Harada instantly slaps her. She is shocked. A brief silence
before Harada slowly rests her head on his chest.

HARADA
It’s okay, we’re gonna get out of
here.

Note: Dialog resumes in English unless noted.


EXT. BY THE TREES, RIGHT FLANK - DAWN

A very HAZY FOG. The bottom of EVERYTHING from the ground to
four feet up is obscured.  

Ten meters apart, Henry and Rosario are slowly moving to the
river bank. Rugged and exhausted, they cautiously move with
minimal energy.

SUDDENLY...in the trees behind Henry, a COMMOTION occurs.

Immediately, Henry turns around as...

...a FIGURE emerges from the jungle and heads towards him.

(CONTINUED)

CONTINUED:   96.


The attacker’s forehead trickles with blood. It drips all
the way down to his body.  

Suddenly, without reason, he stops!

TWITCHING, he grabs his head and shakes it violently. He
SCREAMS, drops to his knees and writhes like a worm on the
ground.

Slowly, the pain wanes as he GRUNTS. Without hesitation, he
rushes at Henry, this time in a more savage manner.

Henry watches, bewildered.

HENRY’S POV: The assailant is within a few feet away when
Henry FIRES his Sten. ECHOES of gun fire.

It blows the head of the charging marauder as he falls on
the ground, lifeless.

Rosario rushes to the scene.

ROSARIO
I can’t see.

ROSARIO’S POV: Rapid movements can be felt and seen as the
TOP of the TREES SWAY and RUSTLE.

Gradually, it becomes intense as...

MOVING:...Rosario FIRES her Thompson uncontrollably towards
the jungle. Emotions overcome reason. Shells eject from her
gun at blinding speed.

HENRY
Wait...stop!

Quickly, the Thompson Sub-machine gun runs out of bullets
from the reckless firing.  

ROSARIO
I see one coming.

ROSARIO’S POV: A BLURRY FIGURE comes charging from the
trees.

Rosario throws the empty Thompson and reaches for her .45
pistol.

She begins to fire SINGLE SHOTS while striding towards the
position of the attacker. She SCREAMS, a BATTLECRY!

Henry is a few feet behind her and aims his gun at the
indistinct target.

(CONTINUED)

CONTINUED:   97.



HENRY’S POV: No clear shot!  

Rosario continues her charge.

ROSARIO’S POV: The enemy is close...and, within a few feet
away, a convulsing MALFORMED FACE almost collides with the
barrel of her gun.

She FIRES and nails a bullet into the enemy’s head at close
range. He falls, back first from the velocity of the impact.

Henry approaches and puts his hand on her shoulder.

HENRY
C’mon, let’s get out of here.

She stares blankly into space.

ROSARIO
It’s meaningless now. We’re all
going to die.

Coldly, Rosario looks at Henry.

She grips her pistol tight and slowly lifts it towards her
head.

HENRY
No...whatever you’re
thinking...don’t do it.

TENSION! Before...

...she puts down the pistol, bows her head and WHIMPERS.

ROSARIO
I can’t...even if I wanted to.


EXT. LEFT FLANK (NAPOLEON AND BALAS) - DAWN

Michiko can be heard SCREAMING in the background. It echoes
with a shrill of terror.

Napoleon is looking around the area. A MUFFLED CRY can be
heard in the background.

NAPOLEON’S POV: From the hazy fog, Bato emerges and waves at
him. His stone black face, sweaty and anxious.

This dialog in Ilonggo with subtitles:



(CONTINUED)

CONTINUED:   98.



BALAS
(in a low voice)
Come...

Napoleon approaches.

NAPOLEON
Did you hear the cries?

Balas nods.

NAPOLEON
Thought I heard it back
there...but...there was nobody.

With caution, they wander aimlessly.

Suddenly, a RUSHING SOUND of someone running disturbs them.
Napoleon turns to his left, Balas to his right.

POV: Nobody is around except the eerie fog.

The RUSHING sound becomes frequent. Tension grips the two.

BALAS
(in a low voice)
Down.

Balas grabs Napoleon’s arm and forces him to stay down.

BALAS
(pointing to an area)
There...can you see?

Note: Dialog resumes in English unless noted.

POV: Heavy fog...until a silhouette of a JAPANESE SOLDIER
becomes distinct. He looks around for a moment before
focusing his attention at the guerrillas. As soon as he
notices them, he charges.  

Napoleon aims and waits for the attacker to come closer when
all of the sudden, from behind him, a second ATTACKER
charges at Balas.

Napoleon turns around and fires his gun, hitting the enemy
on the head as he falls on the small man.

Balas shoves the lifeless body off.

With little time, Napoleon quickly turns and awkwardly
shoots at the first attacker.


(CONTINUED)

CONTINUED:   99.



The burning projectile penetrates the body sending the
assailant to back off a bit. He continues charging as
Napoleon fires without form. He misses the head.

The assailant grabs Napoleon’s head and twists it with brute
force. With a CRACKING sound, it turns 360 degrees. His head
hangs from his body, held together only by the skin and a
few tissues.

Swiftly and with a SCREAM, Balas swings his machete. It
slices midway through the assailants forehead. He lifts it
and swings again, this time on the neck. The head spins
away, far from where the body falls.

From out of nowhere, another ATTACKER lunges at Balas. The
pygmy falls as the weight of a much larger man overpowers
him. Like a primeval beast, the SNARLING attacker punches
the negrito in a frenzy with both hands.


EXT. BY THE TREES, CENTER POSITION - DAWN

Harada signals the others to stay down.

Michiko, Mario and Father Mauricio are behind him.

Michiko is SOBBING uncontrollably, her lips trembling.

The more Michiko tries to prevent her emotions from coming
out, the more she WHIMPERS LOUDLY.

Suddenly, something comes flying and drops in front of them.
To everyone’s shock, it is the BLOODY BODY OF BALAS from the
torso up. His legs are missing. Reactions of SHEER HORROR.

Michiko SCREAMS


EXT. DOLORES AND WILLIAM’S POSITION - DAWN

Dolores runs to where she thinks the uproar is coming from
only to find...nothing.

DOLORES
Nobody here.

WILLIAM
It’s coming from the other side
now.

DOLORES
Where we were...earlier. Doesn’t
make sense.


100.


William looks at her, perplexed.


EXT. BY THE TREES, CENTER POSITION - DAWN

Michiko is losing her mind. She grabs her head and shakes
it. Her watery eyes show despair as she CRIES and LAUGHS in
intervals.

Harada shakes her shoulders a bit.

This dialog in Japanese with subtitles:

HARADA
You have to snap out of it.  

Michiko laughs.

HARADA
Listen to me...calm down or you’re
going to get us killed.

MICHIKO
K-k-killed? Death is all
around...soon it will be all
over...all over the place. Even in
mighty Japan...my home. In my
hometown. Take me home to Nagasaki.

She slowly stands up and starts walking waywardly through
the fog. Her dragging feet clears the pebbles and stones.

MICHIKO
(sobbing)
Mother...take me to the bay where I
used to play. Where the mountains
protect me. So, that’s how it is
and that’s what it should be.

Harada quickly holds the aimless Michiko as she continues
with her soliloquy.

MICHIKO
(smiling)
I belong to you...mother. So much
life and growth in my hometown.

HARADA
Damn it, woman! Keep quiet...stay
down.

Note: Dialog resumes in English unless noted.

Father Mauricio helps Harada in comforting Michiko.

(CONTINUED)

CONTINUED:  101.



Suddenly, Mario points to the trees.

MARIO
T-t-there.

Up ahead, A DARK FIGURE stares as if sizing the group up.
HARADA
Stand back.

Mario slowly walks back.

Father Mauricio drags Michiko as they slowly retreat.

The attacker SNARLS at Harada as he starts to move forward.

Harada aims his pistol and shoots...CLICK, CLICK, CLICK. It
JAMS! He tucked the pistol in his pants and...

...pulss the sword from his back.

He makes his stand. SAMURAI in hand, feet planted solidly on
the ground.

Harada’s eyes are sharp and his stance firm. He raises his
samurai.

HARADA’S POV: A fuzzy silhouette of the attacker charges.

Harada waits. Seconds feel like eternity. The attacker
approaches in full stride.

Finally, a COLLISION!

With perfect timing and quick reflexes, Harada SWINGS HIS
SWORD as the assailant passes by him. The force of the blow
sends the attacker’s head flying while the body continues to
finish it’s cycle of movements before falling down.


EXT. MARIO, FATHER MAURICIO AND MICHIKO - DAWN

CLOSE ON Mario.

DOLORES (O.S.)
(shouting)
By the river bank.

Mario hears Dolores. He looks at Father Mauricio, who is
holding the distraught Michiko in his arms.

This dialog in Spanish with subtitles:



(CONTINUED)

CONTINUED:  102.


MARIO
(pointing left)
Padre...Dolores. They’re there.

FATHER MAURICIO
Okay let’s go...help me.

Mario helps the priest with Michiko.

DOLORES (O.S.)
(echoing)
We’re by the bank.

Mario and Father Mauricio are carrying the MUMBLING Michiko.

MARIO
Padre this way...the voices are
coming from...there.

They head to where Dolores is calling.

DOLORES (O.S.)
We’re by the bank...hurry.

MOVING: Dolores’s VOICE becomes louder and louder as Mario,
Father Mauricio and Michiko approach.

To their dismay, they reach the river bank to find NO ONE.

MARIO
Padre...they’re suppose to be here.

Father Mauricio looks at the boy and calls out.

FATHER MAURICIO
Dolores! Dolores!

DOLORES (O.S.)
(echoing from afar)
By the bank...Padre!

FATHER MAURICIO
We are at the bank.

Mario looks at the priest.

MARIO
It sounds like they’re back in the
jungle...where we came from.
Padre...I’m scared.

Note: Dialog resumes in English unless noted.

Father Mauricio looks around. An eerie feeling grips him.


103.



EXT. HENRY AND ROSARIO’S POSITION - DAWN

Dawn seeps through the fog and emits an unearthly glare.

Henry is aiding the distraught Rosario. Her arm around his
shoulder and his on her waist.

She drags her heavy feet on the ground.

HENRY
The river bank...it’s just up
ahead.

The fog drowns the subtle glare of the early morning sun.

Henry and Rosario stop dead on their tracks.

HENRY
Shit! It’s impossible.

ROSARIO
It can’t be. We just came here.

POV: In the haze, a row of trees appear before them. In
what’s suppose to be the river bank stands the JUNGLE.

SILENT and eerie.

HENRY
(almost whispering)
They’re here.

ROSARIO
No...no more running. There’s
nowhere left to go.

Rosario grips her pistol firmly. Henry does the same with
his sub-machine gun.

HENRY
(slowly)
Watch my back.

They face each other as their bodies inch closer.

Without warning:

HENRY
Get down!

He shoves Rosario down and lifts his gun over her shoulder.



(CONTINUED)

CONTINUED:  104.



HENRY’S POV: TWO FIGURES are running towards Rosario. His
sights shifts from left to right as he opens fire. The
enemies fall hard.

ROSARIO’S POV: Through the thick fog, an ATTACKER is
charging from behind Henry.  

She aims her pistol from the side of Henry’s hip. She fires
three shot with the final one right through the head. Then,
CLICK, CLICK, CLICK!

ROSARIO
I’m out!

Henry cocks his gun...empty!

The couple are left with no option. They turn their back
against each other in a defensive mode while drawing their
jungle knives.

More ENEMIES charge. Rosario runs and engages them first.

SCREAMING, she manages to sink her knife into an attacker’s
body but struggles to stab him on the head.

An ASSAILANT runs at Henry on the other side. He stabs the
incoming enemy with perfect timing on the neck. Blood spurts
as the enemy croaks. They fall and roll on the ground.

All of the sudden:

GUNSHOTS...automatic fire from out of nowhere hits the enemy
on top of Henry in the head.

Dolores runs towards the scene. Firing her gun with
composure.

On the other side, where Rosario is, more GUNSHOTS follow.

Henry turns around to see:

William tending to the fallen Rosario with a dead enemy on
her side. He shakes his head as he feels the pulse on
Rosario’s neck.

A flow of emotions grips Henry.

HENRY
Fuck...fuck!

Dolores approaches Rosario’s body.



(CONTINUED)

CONTINUED:  105.


DOLORES
Rosario...my God!

A moment of silence.

WILLIAM
C’mon, let’s get the hell out of
here.

Suddenly, from behind Dolores, a FIGURE appears. She spins
around and aims her gun at:  

HARADA...who suddenly emerges with sword in hand.

Dolores lifts her gun.

HARADA
They’re trying to isolate us...one
by one.

DOLORES
Where are the others?

HARADA
I lost them.

William points his gun at Harada.

WILLIAM
The way you used that sword, you’re
no ordinary "hojin." Speak up!

HARADA
Most Japanese know how to use the
samurai...even children.

WILLIAM
You know more about this...and I
can tell.

HARADA
I don’t. All I know is that there’s
more of them attacking soon.

DOLORES
What about the priest and Mario?

HARADA
I don’t know...they’re with  
Michiko. Now...I can be on my own
or you can take me.

Dolores and William exchange stares. A long pause.


(CONTINUED)

CONTINUED:  106.



DOLORES
(at Harada)
Okay, you take us where you saw
them.

William lowers his gun and picks up the PISTOL of Rosario.
He checks the magazine...empty. He takes out a magazine from
his own holster and inserts it in the gun.

He looks at Harada with an intimidating stare before handing
the PISTOL to him.

WILLIAM
I’ll be watching you.

Dolores unbuckles her holster and hands it to Henry.

Henry takes the holster and saddles it on his shoulder. He
reaches for the pistol and cocks it.

Dolores looks up to see...

DOLORES
We have to hurry.

...the FOG slowly dissipating with the rising of the morning
sun. It now hovers like a thin filament of silk.


EXT. RIVER BANK - DAY

MOVING: The four hastily run through the fog. Finally, they
reach the river’s edge. Panting, they continue to run along
it’s stretch until:

POV: Through the thin haze, obvious silhouettes of Father
Mauricio, Mario and Michiko appear.

FATHER MAURICIO
(shouting)
Dolores!

DOLORES
(shouting back in Spanish)  
Get in the water!

The civilians make their way into the river. Water RUSHES as
their feet SQUELCH in the shallow edge.

WILLIAM
(at the civilians)
Cross to the other side!


(CONTINUED)

CONTINUED:  107.



Catching up, Dolores, Henry, Harada and William position
themselves in shallow waters to protect the crossing
civilians.

Dolores glances at Mario.  

Mario looks back. The only thing he sees are...

...the almost teary eyes of Dolores.

DOLORES
Get out of here...now!

Father Mauricio, Mario and Michiko are farther through in
the water as it slowly rises to chest level.

This dialog in Spanish with subtitles:

MARIO
The water’s getting deeper. We
can’t swim with this current.

Father Mauricio instantly stops as he holds the battered
Michiko.

FATHER MAURICIO
I can’t swim at all...my son. This
is as far as I can go.

The current SWISHES through Father Mauricio and Michiko,
they sway and move with the flow. The uncontrollable current
and the weight of the distraught Michiko is steering the
priest into higher waters.

Mario is a few metres behind them but the boy knows how to
stay afloat and paddles himself into safer areas.

MARIO
(screaming)
Padre...don’t fight it. Padre!

Note: Dialog resumes in English unless noted.

Michiko is completely in a state of shock. Her blank stare
and pale face shows signs of resignation.

The priest GRUNTS. He struggles. In a few seconds, the water
reaches his neck. He is gasping for air while trying to help
the reactionless Michiko stay afloat.

Through currents, Father Mauricio loses balance as the
turbulent water slowly sweeps them away.


(CONTINUED)

CONTINUED:  108.



MARIO
Padre!

DOLORES
(low voice)
No!

HARADA
Michiko!

Harada SCREAMS. He runs straight into the middle of the
river in a futile attempt driven by blind emotions.


EXT. FLOWING RIVER - DAY

MOVING: Traveling at breakneck speed, the priest’s head hits
a rock. Blood spurts from it. Michiko’s face is down in the
water. The two float away and disappear with the current.


EXT. BY THE RIVER - DAY

Harada bows his head as water splashes on his body.

Mario who is beside Harada, looks at him poignantly.

GROWLING, GRUNTING and WAILING SOUNDS echo in the
background.

William cocks his rifle and looks at Henry and Dolores.

WILLIAM
You two...go with the boy...I’ll
hold them off.

DOLORES
No...I’m staying.

HENRY
Fuck it!

WILLIAM
Awright!

William strides towards the bank, then...

...in a quick flash, THUD, an ATTACKER lunges at him with
ferocious strength from a spot hidden by humongous rocks.

The enemy delivers a strong blow from his fist that
William’s head spins with agitated force. He drops like a
log in the stony water.

(CONTINUED)

CONTINUED:  109.



Dolores spins her sub-machine gun while firing a BURST. The
attacker falls down with multiple hits on the head.

Henry slowly walks towards William and picks up his rifle.

The light fog sets deeply around them. A deceitful moment of
calm, no movement nor sound.

Harada heads back to the river bank.

Slowly, the RUSTLE of feet running can be heard again.

Sensing an unknown danger looming, Harada stops dead in the
river. With water on waist level, he turns his head and
looks at Mario, pistol and sword firmly in both hands.

The wait is eternal and no one utters a word. They observe
and hope.

Henry turns towards where the SOUND is. His jaw drops as the
RUSHING SOUND becomes LOUDER.

HENRY’S POV: ENEMIES are moving. Quickly, they advance in
scattered positions.

HENRY
(whispering to himself)
Oh my God!

In a chaotic and savage charge, the current wave of
ATTACKERS are relentless.  

Retreating into the water, Dolores and Henry fire at the
them. DISSONANT GUNSHOTS!  

Dolores is picking her shots, every bullet matters now.
Then...CLICK, CLICK, CLICK, an empty magazine!

Henry continues firing until, he too runs out of ammo.

Dolores takes her last two grenades and hands one to Henry.

DOLORES
Stay with me on this, okay.  

He nods at her.

Henry and Dolores have nowhere to go. With their back
against each other, they pull the pins of their
grenades...hands tight on the safety lever.




(CONTINUED)

CONTINUED:  110.


HENRY
Whenever you’re ready.

She nods at him as the ENEMIES rush in increasing numbers.

Dolores and Henry are overwhelmed.

Henry glances at Dolores for the last time.

HENRY’S POV: Her face is determined and focused, her eyes
watery and beautiful, her body vulnerable and fragile.

The helpless Dolores looks back at Harada and Mario and with
her last breath she shouts:  

DOLORES
Get down...

Mario looks on, horrified.

MARIO
(to himself)
No...please.

Tears trickle down Mario’s cheeks.

More bodies pile up on them as they slowly release the
grenade in their hands.

DOLORES
(shouting louder)
...NOW!

Harada PUSHES Mario underwater.

UNDERWATER: (NOTE: Same as opening scene) Mario struggles,
then two successive MUFFLED EXPLOSIONS can be heard in the
surface. Instantly, a strong undercurrent sweeps through the
water. Mario’s body sways violently from the impact as the
river runs red with blood.

A few seconds later, he sticks his head out of the water.
Spitting water, he coughs hard and catches his breath.
Slowly, blood oozes down his ears.

Then, a LOUD BUZZING SOUND engulfs the air.

Amidst flesh and blood in the water, Mario looks around
clueless. He shakes his head and clears his ears.

MARIO’S POV: Blurry...then slowly clearing up, he sees
Harada with a bloody shrapnel wound in the shoulder.

He is clenching the SWORD with one hand while...

(CONTINUED)

CONTINUED:  111.



...the other is gripping the pistol and covering his right
ear. He grunts in pain as blood trickles down his ears.

The LOUD BUZZING SOUND drowns his screams.

Suddenly, up ahead, an ENEMY appears.

In anticipation, the deaf Harada moves closer to Mario.

With only his sight to guide him, Harada looks at Mario as
his lips utter:

HARADA
(muted)
Go!

Mario sees Harada silent scream but he only hears the
BUZZING SOUND. Quickly, he turns and looks around.

MARIO’S POV: Big rocks line along the river bank as the
rushing current slams through. He shifts his attention to
the middle of the river where a small OPENING, free of
rocks, is the only way he can swim through.

Mario walks with extreme caution towards the middle of the
river. One mistake and he can be carried away on a collision
course with the dangerous rocks. He stops nervously as the
pressure mounts. He looks behind him where...

POV:...the enemy is rushing at Harada. The Japanese officer
flinches as the attacker draws near. Quickly, he fires the
pistol...CLICK, CLICK...The gun jams.

He throws it away and waits for the charging enemy.

With no choice, he thrusts his sword at the body, then
swings it high to decapitate the assailant. All done in one
continuous textbook sequence.

More ENEMIES begin to surround him as he staggers in the
river. The torrential water slows them down but they
continue with fierce determination.

HARADA fights on!

With no other option, the apprehensive Mario jumps
prematurely into the OPENING.

 FADE TO BLACK

BUZZING SOUND.

FADE IN


112.



EXT. FLOWING RIVER, RAPIDS - DAY

Fighting to stay afloat and avoiding the dangerous rocks,
Mario swims with the current.

MARIO’S POV: Up and down the violent water.

Under water: SOUND swathed by muffles, sight BLURRED by
murkiness.

Above water: The sky and the rocks...GASPING for air.

The sequence continues in a routine as the current carries
him away in a rolling motion.

FADE OUT/FADE IN


EXT. THE RIVER BANK, CALM WATERS - DAY

WIDE: The sun’s rays sparkles in the calm river. The steady
flow of water slowly gushes like a garden stream.

The exhausted Mario reaches shallow waters. He stands up and
slowly walks to the sandy shore.

Dragging his feet and limping, he gasps for air as if on
life support system. Energy drained from him, he bows his
head and collapses on the ground.

FADE OUT/FADE IN


EXT. THE RIVER BANK, FARTHER INLAND - DAY

BUZZING SOUND.

MARIO’S POV: Flashes...the SUN is directly on top of him.
Slowly, a blurry FIGURE appears and covers the blinding
rays. It’s silhouette spins in a whirlwind.

A hand grabs Mario’s arm and forces him to stand up.

Clearing his eyes, Mario looks up to see:

MARIO’S POV: COMMANDER EDGAR, a staunch, balding guerrilla
in his late thirties.

He hands Mario a canteen of water. Mario drinks...bottoms
up.

Behind Commander Edgar are a band of guerrillas and a throng
of villagers. They converge around Mario.


CONTINUED:  113.



The weary Mario falls into the chest of the guerrilla while
spectators CHATTER away.

Commander Edgar embraces the exhausted boy.

PAN UP: The entire BEACHHEAD is revealed. A CROWD gather,
anticipating the landing of the U.S. NAVAL SHIPS on the
horizon.


EXT. IN A JUNGLE CLEARING - LATE AFTERNOON

The ruthless SUN emits a potent heat. The trees rarely sway
from the tranquil windless day. The SOUNDS of animals and
wild birds ECHOES in the jungle.

The badly wounded Harada is sitting in a "seiza" position.
He faces east where the rising sun, a symbol of the Empire
is about to set.

From his shirt pocket, he pulls out the crumpled and fading
PHOTOGRAH that was given by Father Mauricio.

He takes off his shirt and spreads it in front of him.
Carefully, he lays the photograph on top of it. Then, he
pulls the Nambu pistol from behind his pants and puts it on
top of the picture.

Harada looks at the image of...

HARADA’S POV:...Miho and Seiji Ohayashi, a picture almost
destroyed yet beautiful to look at.

HARADA
(in Japanese)
Forgive me.

He squeezes a damp bandana and wipes his face, his stomach
and his shoulder wound with it. He GRUNTS a bit.

Harada catches his breath and savors the tranquility, the
freedom and the honour.

He reaches for the SAMURAI beside him and places the tip of
the sword on his left abdomen.

A blinding GLINT OF LIGHT reflects quickly.

BLADE RESTS ON SKIN!

With a smooth thrust, he buries the sharp katana into his
body and quickly pulls it right. BLOOD slowly flows.


(CONTINUED)

CONTINUED:  114.


He GRUNTS for a moment, and with all his strength, he takes
the bandana and wipes the sword clean. RED on WHITE!

Catching his last breath, he rests the sword along with the
picture and the gun and wraps it with his shirt.

Without a sound, the disemboweled Harada bows his head and
the "hara-kiri" ritual is complete. He is LIFELESS.

FADE OUT/FADE IN


INT. OUTSIDE TAKAHASHI’S OFFICE - DAY

Harada walks out the door before stopping ABRUBTLY in the
hall. He shakes his head lightly and starts to massage it.

SUDDENLY, his left foot loses it’s balance.

Dizzy, he holds on to the railing.

Yoshida emerges from behind to help him.

YOSHIDA
I’ll take you to your room, Sir. It
must be the heat...you need to
rest.

The groggy Harada nods as Yoshida drags him away.

From the door of the office, Ito and Takahashi appear.


INT. OUTSIDE TAKAHASHI’S OFFICE - DAY

CLOSE: A NEEDLE being pulled from an arm.

Ito is sitting by the sedated Harada as he puts the
injection into his doctor’s bag. He sighs.

On the other end of the bed, Takahashi is looking out the
window with hands behind his back.

ITO
I hate doing this without their
permission, Colonel.

Takahashi turns around.

TAKAHASHI
He is a good soldier...a just and
brave one. In all likelihood that
this will work, he would be the
best candidate for it.

(CONTINUED)

CONTINUED:  115.



ITO
He will feel a hundred percent
better when he wakes up.


INT. A SMALL JAPANESE DINING ROOM (DREAM) - NIGHT

The Shamisen MUSIC echoes in the room again.

POV: The OLDER BOY stares, piercing eyes and angry face.

Slowly, from behind him, his YOUNGER BROTHER’S face comes
into frame.

The Shamisen slowly FADES.

SILENCE.

OLDER BOY
(gently)
Father!

Suddenly, the Younger Boy SCREAMS. It starts as a GROWL and
continues as a SHRILL......Until.....


EXT. THE RIVER BANK, FARTHER INLAND - DAY

CLOSE:...EYES OPEN WIDE. BLOOD SHUT, it almost explodes!

MEDIUM: Like wayward roots quickly spreading aground,
STREAKING RED VEINS encompasses Harada’s eyes and spreads
into his PALE FACE.

WIDE: He struggles to contain himself but twitches in a
CONVULSIVE MOVEMENT.

------ END ------


















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