BARABAC
2007-08-21
Second Draft
By Annie
Open with black screen.
BARABAC (V.O.)
It’s easy to pull the trigger. It’s easy to take a life. It’s protecting life that’s a bitch. Some people seem meant for disaster.
INT. WAREHOUSE – NIGHT
It’s dark. It’s vast, but almost empty. A few cars stand scattered around the space.
JAMES BARABAC (42), lean, but tough, wearing a nice suit and loosened tie, has dark hair, blue eyes, a handsome face. He is ducking behind one of the abandoned vehicles.
TESS (28), wearing pants and a shirt, her brown hair tied in a strict ponytail, she has green eyes and a pretty smile. She’s slim and athletic. Currently she is, also, ducking behind an abandoned vehicle, a few yards ahead of Barabac.
Both of their weapons are drawn.
Tess looks back at Barabac, raising her eyebrows quizzically.
He raises his meaningfully, signalling for her to stay while he moves forward.
She shakes her head, gesturing that she should go right, while he goes left.
He disagrees, insisting she stays put.
She gives him a look before she moves off to the right.
He gnashes his teeth in frustration.
They proceed stealthily, checking behind the other vehicles and keeping a keen eye out for anything suspicious that might try to kill them.
Finally Tess stops, looking over at Barabac across from her, on the other side of the warehouse.
TESS
He’s not here.
Barabac stares at her.
BARABAC
What the hell.
TESS
He’s not here!
BARABAC
Have you lost your mind completely?
Tess holsters her gun and closes the distance between them.
TESS
This is turning into a witch hunt.
BARABAC
If he learns to do magic I will be seriously pissed off.
TESS
You see him everywhere because you want him to be everywhere. Not every crime leads to him.
BARABAC
He was here.
She takes him in for a moment, before shaking her head.
She begins to walk to the exit in the far wall of the warehouse.
Suddenly a car explodes to her right, and she is thrown through the air, hitting the cement floor harshly.
Barabac has instinctively ducked.
The fire is spreading. The floor has been patterned with gasoline.
Another car explodes.
Barabac is on his feet. He runs toward Tess, who is getting up as well.
Smoke is billowing from the wrecked cars.
BARABAC
Are you okay? Good.
He grabs her hand and starts for the exit.
Another car explodes. And another. The fire is roaring its path around the two fleeing humans.
They reach the exit. They stumble outside, coughing, and are unceremoniously pushed down on all fours by unseen culprits behind them, guns clicking themselves against their temples.
Tess sucks in a breath of surprise.
LEON (O.S.)
Agents! I am pleased I could persuade you to join us.
Barabac looks up slowly.
LEON (35), Brazilian, tanned and toned, clad in Armani from top to toe, stands before him. A small smile displayed on his thin lips. This is not the kind of man you toy with.
Next to him stands RED (32). He has pale skin, white hair, white eyes and is dressed in a white suit. He is embracing being albino.
BARABAC
(to Tess)
He’s not here?
TESS
Well, clearly, I was wrong.
BARABAC
Just so long as it’s clear.
Tess rolls her eyes at him and Barabac focuses ahead again.
Leon crouches down, looking Barabac straight in the eye.
LEON
If you fail to do precisely what I tell you (pause) she dies.
Barabac’s eyes widen.
A black bag is put over Tess’ head and she gives a yell of protest.
CUT TO:
BLACK SCREEN
LEON (V.O.)
You led a raid on one of my more lucrative business ventures. Something was taken that is of import to me. You are going to get it back.
INT. POLICE HEADQUARTERS – EVIDENCE – LATER
The room is narrow, crammed with shelves that are bursting with boxes as well as carefully displayed and tagged plastic bags.
Barabac reads the tag of one of them. Discards it. Reads another.
His movements are calm and controlled, but he’s pale and his gaze betrays the stress he’s under.
Finally his fingers grasp what they’ve been looking for.
He grabs the bag and stuffs it in his pocket, heading for the door.
INT. POLICE HEADQUARTERS – HALLWAY – SAME
The hallway is broad and well-lit. A stomach-high desk is placed right outside the door. An OFFICER stands behind it.
Barabac grabs a pen and writes his name on the list residing on the desk.
OFFICER
Find what you were looking for?
Barabac merely smiles and gives a nod before walking down the hallway.
INT. PUB – LATER
It’s decorated in dark wood and green. It’s quite small, but cosy. Not many customers litter the chairs at this hour.
Barabac sits on a stool at the bar, glaring into his untouched whiskey. A cell phone lies on the bar-counter next to the glass. His badge lies open close to it.
He’s looking at the contents of the plastic bag. It’s a portable hard drive. He’s twisting it between his fingers slowly. He looks thoughtful, glancing from the hard drive, to his badge.
A girl with long, brown hair takes the seat next to him.
TESS
Hey, stranger.
Barabac looks at her. There’s tenderness in his gaze.
BARABAC
How do, little darlin’?
DISSOLVE TO:
INT. PUB – NIGHT
The pub is filled with patrons. Lively, rather drunk patrons who insist on singing to the jukebox. Spirits are high.
Barabac’s are not. He is now wearing a gray shirt and black pants, his hair is in disarray and his chin sports a couple of days old stubble.
There’s still whiskey in a glass before him, but no cell phone, no hard drive.
Tess has a glass of bourbon put in front of her and she smiles her thanks to the BARTENDER (26) before turning her attention back on Barabac.
BARABAC
So, did they tell you?
TESS
You shouldn’t have done it.
BARABAC
I didn’t do anything. They did the doing. I simply reacted.
TESS
He died.
Barabac’s jaw tightens.
BARABAC
Good.
TESS
That’s the plan? Killing them off one by one?
BARABAC
If that’s what it damn well takes, I have no objection.
Tess observes him, skeptically.
TESS
It’ll turn you into something like him. Is that what you want?
BARABAC
Takes one to know one, doesn’t it? I need to get into his head.
TESS
You’re obsessed.
BARABAC
And you’re obsessed with my obsession. Nice moments to be shared thanks to it, no doubt.
TESS
I’m worried about you, James.
He rests his gaze in hers, then smiles a little.
BARABAC
There are better things to worry about than me.
He takes a swig of the whiskey.
She places a hand on his and squeezes lightly. Their eyes lock and he smiles briefly again.
DISSOLVE TO:
INT. PUB – NIGHT
The memory leaves Barabac in a slightly dreamy state as he looks at the once more vacant spot next to him.
The cell-phone goes off, playing “I Shot the Sheriff”, and he grabs it.
BARABAC
Got it.
LEON
Excellent. Go to the House of Commons. There is a package waiting for you there.
Barabac hangs up.
He leaves the whiskey untouched on the counter.
EXT. HOUSE OF COMMONS – LATER
Barabac climbs the steps taking him to the front door of the impressive building.
The night is still and quiet.
On the top step lies a thin envelope. It bears no marks. He picks it up, opens it, pulls out a car key.
He frowns, looking around. He presses the unlock button and a car parked in the street at the bottom of the stairs beeps and winks its lights at him.
INT. CAR – SAME
Barabac starts the car.
The car phone, positioned next to the steering wheel, begins to ring. He picks it up.
BARABAC
Yeah.
LEON (V.O.)
Well done. We don’t want any of your friends to drop by unwanted so I thought I would provide you with fresh transportation. I am inviting you to the Core. I assume you know where it is?
Barabac huffs, hangs up.
BARABAC
Shit.
He pulls away from the curb.
EXT. MOUNTAIN ROAD – NIGHT
Barabac drives fast and purposefully.
EXT. THE CORE – SAME
It’s a beautiful old, two story building that now hosts hotel The Core. Every window is lit up, spreading a warm glow on the gravel yard in front of it.
Barabac breaks his car to a halt, opening the driver’s door and getting out.
Three men are coming through the heavy, wooden front doors of the hotel.
TWO of them are wearing inconspicuous jeans and jackets, though both of them look larger than the average man, in the excess of muscle variety rather than the layers of fat one.
The other man is wearing a white suit. He has pale skin, white hair, white eyes. He is embracing being albino. His name is RED (32).
RED
Agent Barabac.
BARABAC
No need for Tweedle-Dum and Tweedle-Dumber. I’m unarmed. And invited.
Barabac looks up at one of the camera’s fastened to the front of the house.
BARABAC
Don’t want to keep him waiting.
He raises one hand in a small wave, smirking self-confidently.
INT. LEON’S SUITE – SAME
It’s decorated in red, gold and burgundy. Coming as close to tacky as is possible without crossing the line. A testimony to wealth, power and a professional interior decorator.
Leon, sporting Versace for the occasion, sits in an armchair.
Barabac comes through the door ungracefully, pushed by the two beef-jerkies. He gives them a glare before facing Leon, who smiles a dentally enhanced smile.
BARABAC
Leon, my man. (looks around) Spared no expense, huh? Is it the illegal drugs or the embezzlement funding this place?
LEON
Ah, Barabac. Always hunting for a confession. As if you were a priest.
BARABAC
Not at all. I am neither understanding, nor forgiving.
LEON
Then we have something in common.
Barabac removes the hard drive from his pocket, holding it up.
LEON
Splendid. I must confess, I was unsure whether you would comply. I was considering the possibility that you would rather let her die than aid me in any way. I am under the impression you would have me killed.
BARABAC
God, no, I wouldn’t have you killed. I’d want the pleasure for myself.
Leon observes him for a stretched out moment, but merely smiles again.
He gives a nod to Red, who takes the hard drive from Barabac and brings it to a computer.
He plugs it in and begins to tap in commands. The screen lights up.
BARABAC
Where is she?
LEON
In the dungeons.
BARABAC
In the what now?
Red looks over at Leon. He looks pleased. Leon gives him a small nod. Red approaches Barabac.
LEON
Good luck.
Barabac looks wondering, but before he can react, Red has emptied a needle into his arm.
Barabac collapses.
On a large screen on one wall of the room is shown an elaborate labyrinth. Many infrared spots show people moving in different parts of it. If they are captives or if they are guards wielding heavy machinery is impossible to say.
INT. LABYRINTH – LATER
Barabac’s unconscious, lying in a corridor made of brick. It’s ceiling, walls, floor. Brick.
He wakes, struggling himself into a seated position and looking around, slowly finding his bearings, whatever they’re supposed to be.
He gets to his feet, shaking his head and beginning to focus.
BARABAC
Dungeons. She’s in the dungeons. Who does he think he is, the bloody king of England?
He makes his way carefully forward.
A loud clicking noise makes him pause.
From the ceiling a large weapon comes down, aligning itself with his position matter-of-factly.
He stares at it for a moment.
Then makes a run for it, bullets hitting the bricks right by his heels for every step he takes.
There’s a niche in the wall and as the corridor seems to stretch on for eternity, he seeks refuge in it. Only the bullets are now aimed at the edge of the niche, chipping away at it, bit by bit, and his shelter is soon going to shelter him no more.
He looks around frantically for any means of escape, pressing himself tighter against the wall behind him, which suddenly swivels around, taking him with it, the noise of bullets disappearing behind the thickness of rocks.
He smiles in relief, looking at the new stretch of corridor before him.
He is about to take a step forward, but stops himself with an intake of breath. Sharp blades have been set in a six foot long hole in the floor before his feet.
He braces himself, then takes the leap. He lands on the edge on the other side, desperately trying to find his balance, flailing arms, widening eyes, before he takes a small step forward.
Safe.
There are a bunch of obnoxiously loud clicks coming from somewhere a little ways down the corridor.
He takes another moment, then rushes forward, bullets beginning to slam into the walls all around him.
BARABAC
Shit. Shit. Shit. Shit.
He reaches the end of the corridor where it merges with another, creating a T section, swirling around as the bullets stop, dust and bits of brick still settling on the floor.
He has a moment of triumph, and then another click is heard as a gun is put against his temple.
A GUARD.
He gives the other a look.
He gets the gun out of his hands skillfully before violently rendering him unconscious. He checks the clip. It’s fully loaded.
He continues down the hallway, rounding a corner and coming upon another GUARD.
They fight briefly, Barabac winning, kicking the other in the head and sending him into a wall, taking his gun as well.
He moves up to the next corner, pressing himself against the wall before moving around it, both guns in front of him.
He finds himself face to face with Tess, her arm outstretched and pointing a gun at his head as well.
Relief mingles with joy on his face.
Her eyes widen with surprise.
TESS
Barabac!
They lower their weapons.
BARABAC
Tess.
He puts a hand by her face, touching her cheek softly. But then seems to shake himself out of it.
BARABAC
How did you escape? Heard you were in a dungeon.
TESS
Don’t act all surprised. How did you get in?
BARABAC
Sorry, no time for trade secrets. Need to find a way out.
He moves past her and she follows.
TESS
I never thought you’d be stupid enough to actually do what he wanted!
BARABAC
No, no. I’m the rogue, over-adventurous, slightly suicidal hero of the story. Huge difference.
She is not convinced.
INT. LEON’S SUITE – SAME
Leon watches the screen, showing different camera angles of different parts of the labyrinth.
There’s an empty room with an empty chair. And his victory is slipping out of his hands.
He looks over at Red, who gives a nod and leaves his side.
INT. LABYRINTH – SAME
They round yet another corner, ducking down and moving fast.
They stop at a door. Tess examines it. It’s bolted shut.
BARABAC
I had to come for you.
TESS
No, you didn’t.
BARABAC
Yeah, I did. That’s what partners do. We watch each others back. You taught me that.
TESS
I in no way meant in a rogue, over-adventurous, slightly suicidal way.
They hear a ruckus down the hallway.
They press themselves into the niche which holds the door.
The group of men coming down the corridor are led by Red. They all pull their guns.
Barabac grabs Tess’ hand and they both start running.
Bullets reign after the fleeing agents. Tess swirls around and returns fire.
TESS
Where are we going?
BARABAC
Eh. This way.
He heads down a new corridor.
TESS
Eh. This way?
They round a corner, returning fire to keep their assailants off before getting themselves moving again.
Red leads the others in their wake.
Barabac and Tess round another corner and reach a dead end.
TESS
Eh. This way?!
BARABAC
That way was way back there!
He leans against the wall with all his might. It isn’t budging.
TESS
What the hell are you doing?
BARABAC
You wouldn’t believe me.
TESS
They’re here.
Red and his team slow down. They know their prey is trapped.
Barabac gives up on the pushing, facing Tess instead.
BARABAC
There’s something I have to tell you.
TESS
You have to tell me something?
BARABAC
Odds are we’re going to die.
TESS
Yes. Good. Keeping up the spirits.
He smiles, shaking his head.
BARABAC
I love you.
She is utterly astonished.
TESS
What?
The moment is sort of broken by the sound of guns being cocked somewhere not too far out of sight.
BARABAC
I love you.
(back to business)
How many bullets do you have left.
TESS
Six. You love me?
BARABAC
Have you noticed you repeat what I say? A lot.
He kisses her. She kisses him back.
They share a rather despairingly happy look before they get ready to face their attackers.
BARABAC
Wait.
He narrows his eyes.
BARABAC (CONT’D)
Would you look at that.
Tess frowns at him, lost.
He draws a breath, and then he runs forward, dragging her with him. Bullets seem to come from everywhere.
Barabac and Tess reach the other wall and he pushes on it.
It flips over on a hinge put in its middle, bringing them onto it, landing on their stomachs and sliding forward, further into a tube.
Red stares at the wall as it calmly replaces itself in its previous, upright position.
INT. TUBE – SAME
Barabac and Tess scream as they gain momentum, whizzing down toward an unknown destination.
EXT. THE CORE – SAME
They are spat out through an opening in the cliffs surrounding the hotel. They are a few hundred yards below the main building’s position.
They’re both rattled, but okay.
They sneak their way back up to the gravel driveway, stopping just outside it and out of range for the cameras.
Barabac’s car is still parked where he left it. Barabac hands Tess the keys. She observes him penetratingly.
BARABAC
I have to finish this.
Finally she nods her understanding, pocketing the keys and checking her weapon.
BARABAC
What are you—?
TESS
Partners, James. You go, I go.
He smirks.
They move up the side of the building, getting in through a pair of large French windows.
INT. THE CORE – SAME
The room is fully lit, showcasing its spectacular wealth in lush sofas and armchairs. The interior is heavy and antique, gilded and red.
Barabac shudders.
BARABAC
Probably believes he has good taste, too.
Tess smiles.
They grow focused as they move up to the closed double doors, flanking them on either side.
They push them open and move into a wide hallway, which brings them into the large lobby. They communicate silently.
They cross the lobby just as Red appears, with his posse in tow, in the archway toward which Barabac and Tess are headed.
Bullets are immediately exchanged.
INT. LEON’S SUITE – SAME
The screen only shows the labyrinth and outside of the hotel.
Leon is looking for the rogue agents, but hears the bullets from inside, rising to his feet.
His beef-jerkie bodyguards are at the ready, drawing their guns and heading up to the door of the room.
LEON
Wait!
They halt.
INT. THE CORE – SAME
Barabac and Tess swirl around the corner of a different archway, Tess pressing Barabac up against the wall to avoid any wayward bullets.
He smirks a little at her nearness. She returns it.
They look down the hallway preluded by the archway, exchange a look and then head down it.
RED
Pursue!
Barabac and Tess run up a set of stairs, coming into a long hallway with numbered doors on either side. A few heads are peeking out.
BARABAC
(while running)
Go back to whatever illegal actions your were in the middle of, we’ll tend to you in a minute. Maybe two.
Barabac and Tess run up another set of stairs, coming into a corridor that Barabac recognizes.
Red is hot on their trail.
Barabac reaches the door of Leon’s suite, not hesitating for a moment before he kicks it open.
Tess raises her gun as well.
The bullets fired by the bodyguards fly around them, but Barabac and Tess accurately hit the two men in the chest. They fall and the agents enter the room without a pause.
Leon is aiming two guns, one at either of them, and he fires as Red and posse comes bursting into the room.
Barabac and Tess return fire. Sofa-stuffing is flying in the air, bits of wood breaks off the furniture, it’s mayhem.
When the smoke settles, half of the posse is dead, the other half is badly wounded, groaning on the floor.
Red is dead.
Barabac has his weapon trained on Leon, who has his trained on him.
Tess is out of ammo, lowering her gun with sudden fear in her eyes, looking at Barabac.
BARABAC
Lower your weapon. You are under arrest.
Leon smiles, then begins to laugh, shaking his head.
LEON
I will go to jail for a day. At the most.
Barabac considers this.
BARABAC
That would most probably be true.
He fires, hitting Leon in the shoulder, making him drop the gun with a surprised expression on his face.
BARABAC
If you hadn’t given me all the evidence I need.
He handcuffs Leon before removing the hard drive from the computer.
Leon stares at it.
Barabac smiles, one hand going to his stomach as his face fills with pain.
Tess watches him crumble to the floor, and is by him in a second.
She sees the wound in his side, and the blood soaking his shirt. She grabs his hand as she reaches for the cell-phone still in his inner pocket.
Leon takes a step forward and she grabs a gun off the floor, aiming at him.
TESS
Don’t even consider it.
She dials with shaking fingers.
TESS
Yes. I need backup! Oh, God. There’s too much blood.
Fade to black.
SUPERIMPOSE: ONE MONTH LATER
Fade in.
INT. PUB – EVENING
Tess sits at the bar. A glass of bourbon stands before her. It’s barely been touched.
A hand slams a newspaper down in front of her.
ARTICLE: Face Of Crime Gets Life With No Hope For Parol.
She smiles, looking at Barabac as he slowly takes a seat. He seems to be somewhat in pain.
She raises her eyebrows.
TESS
How long are you going to keep that up?
BARABAC
Oh, just until the pain actually wears off.
TESS
Weakling.
BARABAC
Harshness undeserved here.
She smirks.
A glass of whiskey is placed before Barabac. He gives the bartender a nod of thanks.
Tess raises her glass. Barabac does the same.
TESS
To the crime fighters in the world.
BARABAC
Isn’t it in bad taste, toasting yourself?
TESS
I’m toasting you.
BARABAC
Well, there are better things to toast to.
TESS
That is true.
He smirks.
TESS
Hey, stranger.
She smiles as they clink their glasses together.
BARABAC
How do, little darlin’?
They drink.
Fade to black.
BARABAC (V.O)
In case it was unclear despite the bullets flying and hitting me, when I said people meant for disaster I was talking about me. Ah, what’re you gonna do?
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I like how you start and finish with a voice over, this is a neat touch and you could play on the structure to show how the character has changed between the film’s beginning and end.
The characterisation was well delineated but the seemed a little flat beneath the surface. I guess with the genre that you’re writing in this can’t always be helped though.
Nice sequences and action.
Thanks for the read.
I really enjoyed in particular the characterisation of Barabac. You have captured the essence of the do-or-die anti-hero in this piece and managed not to fall into the trap of genre-specific convention. You kept it alive and engaging not just through the use of action but through subtle wit between your lead and Tess.
Since it was a screenplay it was hard to visualise, however, I think as it stands you should be pleased with this strong and accessible piece of work. I would recommend perhaps that you iron the areas of the dialogue where characters say things that are occasionally clunky (although these moments are few and far between).
Harold_P
First off I think your format is fine. I don’t really understand the difference between types of scripts, I found an example of one and stuck with it for all my screenplays. Anyway, the review…
I like this, shorts are very hard to write but you pulled it off here. The dialogue is great and does everything it should- its beleivable, its entertaining and its original.
And because of the dialogue your characterisation works. In something like this, especially short films, dialogue is the very dna of characterisation.
Reading it it is easy to visualise and it is brilliantly entertaining. If you have a high enough budget this will look fantastic! good luck.
The relationship between Tess and Barabac is an interesting one. I found it a very engaging and successful characterisation, even if the events in the play became a little claustrophobic at times and the directions blurred with the dialogue to the extent I was little confused.
As for the action, the relationship between these two people caught in this extraordinary situation was well rendered. I feel that you managed to keep the reader with these two despite the action taking place around them.
Which is all you need for a screenplay to work.
Laura
I really, really enjoyed this piece. It is so strong in not only the story, but also the way you describe each scene, and allow the reader to take what they want from your descriptions, as well as then make up the world for themselves. You have also written the action scenes so well, and we as readers are able to follow seemingly very intense and improvised action along very easily. The dialogue between all the characters is great, and I love how the “bad guys” have a very creepy, and cold tone to them. It is very well done. As far as suggestions, I would maybe write what kind of shots you are envisioning, but that is not really something you need to do on the draft of the script, but it’s really the only thing I would like to know after reading it. Great job, and I’d love to see this made.
i thought this was fucking HILARIOUS. i was seriously laughing throughout. it’s like a james bond meets shawn of the dead type story. hysterical dialouge. i like how you poke fun at the stereotypes of the main characters as well. i want to see this on the screen. i don’t know proper formatting, so i have no suggestions. you accidentally introduced Red twice (same description). only problem. loved it.
very unique structure,but it goes it some taste, and i like it, but i thunk this piece is extremely well, well written, well directed, throughout. There is so much going on, not a bad a thing, i believe plays should alll be respected due to the sincere amount of time that goes into writing one, and the surplus of excitement and joy flowing from it, very fun to read, thanks!!!!!!
Carson Leonhardt
i liked it very much. theres nothing to really say-it’s all written very well and does not need much changes. the story wrapped me in and i couldn’t stop reading it. very interesting. i liked it. keep on writing. structure is good. there is nothing i would change. keep doing what you are doing! good luck! p.s. i would love to see this in the theatres, very nice!
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