MANOS

Written by

Randy Gordon-Gatica

WGA protected
R.G.Gatica@gmail.com
 FADE IN:

INT. GET AWAY CAR (MOVING) (FLASHBACK) - DAY

LOUIS sits next MANOS (Both 30’s) (Both LatinX). Manos is

built like a tank. Louis drives, and Manos sits shotgun.
Louis, is dressed in a slick suit, and he’s not as good
looking as he thinks.

ANGLE ON REAR WINDOW

They’re being chased by a Police car with the SIRENS

BLASTING. Both cars are doing seventy-five to eighty in a
narrow alley. The police car is about a block and half behind
but catching up quickly.

LOUIS
Why do they give cops fast cars for
fuck sake?

CLOSE UP - SPEEDOMETER

Almost hitting eighty.

The get away car, a not new American made four door sedan,
makes a loud noise, like a metal nut shooting into a coffee
can.

LOUIS (CONT’D)
Fuck me!

The vehicles are BOUNCING as if this was an off road chase

due to the state of the alley. In fleeting moment the
downtown skyline flashes by in the background. It’s mainly an
industrial area.

MANOS
What?

LOUIS
Something is wrong with the fuckin’
car now.

They’re HITTING trash containers, causing car damage, and

PEDESTRIANS are running for cover. Manos wears a classic,
tailored dark suit.

MANOS
What?

ANGLE ON HOOD
Manos/Randy Gordon-Gatica 2.

There’s some SMOKE and a strange noise like the last breath
on life support coming from beneath the hood.

LOUIS
I don’t fuckin’ know. I’m no God
damn mechanic. You need to be a
computer engineer to work on any
car built in the last twenty-five
fuckin’ years

The police car is getting closer and other SIRENS are getting
louder. Manos is calm.

LOUIS (CONT’D)
(screaming)
Why do I still go out on jobs?

MANOS
There’s nothing like the juice.
It’s better than coffee.

Manos’s voice betrays his physical presence. He’s clear

spoken, and intelligent.

LOUIS
I’m a fuckin’ boss! I should know
better.

The car STOPS without warning and LUNGES forward. Louis,

FLIES FORWARD even with the seatbelt on, he HITS his head on
the dash. Manos barely moves.

MANOS
(laughing)
You’re like the fuckin’ three
stooges rolled into one.

LOUIS
How can you make a fuckin’ joke?
We’re about to be popped.

MANOS
I’ve never been popped for
anything.

LOUIS
Do something!

Manos nods and then gets out of the car. He pauses for a
moment and then begins running toward the POLICE CAR that is
heading toward them. It’s the distance of two long jumps.

ANGLE ON POLICE CAR

Manos/Randy Gordon-Gatica 3.

Barreling toward Manos at full speed.

CLOSE UP - OFFICERS PURSUING

They’re immediately terrified at the sight of Manos.

OFFICER DRIVING
Do you see who the fuck that is?

OFFICER SITTING SHOTGUN

I do see who the fuck that is.

OFFICER DRIVING and OFFICER SITTING SHOTGUN (early 30’s) are

two average cops.

Manos picks up on this and begins running faster toward the

speeding Police Car. Louis is going out of his mind watching
this. For a huge man he runs fast. The distance is now a
single long jump.

LOUIS
Get-’em caballero!

The officer driving the police car SLAMS ON THE BRAKES. The
car SKIDS.

Manos stops a split second before the police car will strike
him.

CLOSE UP - MANOS’S EYES

He’s calm.

The police car STOPS less than an inch from Manos.

The Officers SLAM against the dash and steering wheel.

INT. POLICE CAR - DAY

The officers recognize they’re facing their possible death.

OFFICER DRIVING
Fuck, that’s him!

OFFICER SITTING SHOTGUN

What do we do?

They look at each other.

Manos SLAMS on the hood PUTTING A LARGE DENT IN IT. The

officers scream in terror.
Manos/Randy Gordon-Gatica 4.

OFFICER DRIVING OFFICER SITTING SHOTGUN (CONT’D)

Put it in fuckin’ reverse. Put it in fuckin’ reverse.

The officer driving PUTS IT INTO REVERSE WHILE FLOORING the

gas!

OFFICER SITTING SHOTGUN (CONT’D)

Fuck this! I’ll arrest mother
fuckers but I ain’t arresting
mother fuckers that are gonna
fuckin’ kill me when I try!

OFFICER DRIVING
I want to live long to enjoy my
pension and not just for my wife
and kids to enjoy when I’m not
there. Fuck!

Manos begins running toward the escaping police car.

OFFICER SITTING SHOTGUN

(full of tears praying)
Please lord don’t let me die by
being torn to pieces!

CLOSE UP - MANOS

He smiles.

OFFICER DRIVING
We were never here!

OFFICER SITTING SHOTGUN

Hallelujah to that.

The police car goes at full speed in reverse while being

chased on foot by Manos.

LOUIS
I love my job!

CARS traveling in other directions STOP IMMEDIATELY AT THE

SOUND OF THE BACKWARD POLICE PURSUIT

ANGLE ON MANOS

If he catches the car, and he almost can, he is someone who

is going to kill the car and anyone in it.

There is the sound of a FEW CARS SMASHING into one another

and REAR ENDING. When there’s enough room for the POLICE CAR,
it does a SKIDDING ONE HUNDRED AND EIGHTY DEGREE POINT SKID
with SMOKE SHOOTING from the TIRES.
Manos/Randy Gordon-Gatica 5.

OFFICER SITTING SHOTGUN

Suspect being pursued has eluded
us. I repeat, eluded us. Suspect
nowhere to be seen.

Louis is laughing.

OFFICER DRIVING
Oh... fuck...!

OFFICER SITTING SHOTGUN

(repeating)
Protect me lord, protect me lord...

The police car disappears. Manos looks disappointed.

POLICE OFFICER SITTING SHOTGUN

(repeating)
Thank you lord...

Manos is laughing now too as he dusts himself off.

INT. POLICE CARS (MOVING) - DAY

The two officers are relieved to have made a getaway.

OFFICER DRIVING
You know what I heard?

OFFICER SITTING SHOTGUN

His father was a famous Mexican
wrestler?

OFFICER DRIVING
Yeah...

EXT. OLYMPIC AUDITORIUM (FLASHBACK, LATE 70’S) - DAY

A BEAUTIFUL YOUNG WOMAN (20’s) waits outside. A BIG MAN

(30’s) EXITS. He kisses her. He looks around and is careful
to shield his face.

OFFICER DRIVING
He was a famous wrestler from
Mexico. He met Manos’s mother, and
was only in the United States long
enough to knock her up. He went
back to Mexico, and never came
back. He probably never knew he had
a son.
Manos/Randy Gordon-Gatica 6.

(END OF
FLASHBACK)

EXT. OLD BRICK BUILDING - DAY

It’s a factory from before the Depression. A DOOR opens,

Manos and Louis EXIT. Manos has four suits in suit covers. He
puts them into the trunk. Louis stares at him.

LOUIS
Going on vacation?

MANOS
Anything can happen. You always
gotta be ready.

They get into a parked Black Mercedes Sedan.

INT. MERCEDES (MOVING) - DAY

Louis drives.

LOUIS
This is a blind order.

MANOS
I like those better.

EXT. SUBURB - DAY

Well kept tract houses as far as the eye can see.

THE EMPEROR (O.S.)

This organization will survive
thousands of years.

EXT. THE EMPEROR’S HOUSE - DAY

It’s a well kept three bedroom tract house on a hill at the

end of a cul de sac. It has a view of the entire neighborhood
with hills behind it. A three bedroom home that doesn’t stand
out next to it’s neighbors.

KELLY (O.S.)
Father you need to come to terms,
this organization will not last
much longer.

In the drive way is an old Datsun pick-up and a new black

Tesla. The garage doors are closed.
Manos/Randy Gordon-Gatica 7.

INT. THE EMPEROR’S HOUSE - DAY

The inside is clean and sleek, air conditioned, nothing too

excessive but excessively comfortable. It’s a different world
inside. It’s a spare contemporary temple inside.

THE EMPEROR
The organization is perfect, able
to withstand anything.

On a comfortable designer couch sits the THE EMPEROR (80’s).

A serious simple man of few words.

KELLY
It organized like a large German or
Japanese corporation and the
reality inside is a kindergarten
class with no teacher.

KELLY (40’s), an Asian man who could easily be a lawyer and

suburban husband. He is dressed casually, Polo golf shirt,
chinos, and tennis shoes.

KELLY (CONT’D)
Their allegiance is an
unpredictable breeze.

Standing in the background are TWO MONKS. They are the

Emperor’s assistants.

KELLY (CONT’D)
Walk away with the money and enjoy
your life, whatever time you have
left. Enjoy it with your
granddaughter.

THE EMPEROR
I’m ready to hand over the reins of
a perfect enterprise to my only son
and you insult it?

KELLY
This enterprise is a time bomb. It
could explode at any moment.

THE EMPEROR
Your my son, and I’ve failed you.
You’re blind.

KELLY
This enterprise serves no purpose
except to enrichen you. Eventually
our partners will see this.
Manos/Randy Gordon-Gatica 8.

The emperor gets up, walks to Kelly, and SLAPS him. Kelly
doesn’t react.

KELLY (CONT’D)
Goodbye. Do what you want as you
were going to do anyway.

Kelly EXITS.

MONK #1
You did the right thing by making
the call.

THE EMPEROR
(to Monk)
It was easier than I thought.

FADE IN:

INT. SMALL OLD HOME, KITCHEN - DAY

Almost a hundred years old but well kept. A round old Mexican
Woman, MANOS’S MOTHER (80’s) speaks on her iPhone.

MANOS’S MOTHER
Mijo will you be home for dinner?

She has many pots and pans cooking on the stove. Through a
small window downtown is visible.

INT. BLACK MERCEDES (MOVING) - DAY

They’re on a fast moving freeway. Louis drives, Manos sits

shotgun.

MANOS
(on phone)
Don’t worry mama, I’ll be home for
dinner.

MANOS’S MOTHER
Bueno. I have many of your
favorites cooking.

MANOS
I’ll call you and let you know I’m
on the way.

He hangs up.

LOUIS
That’s sweet.
Manos/Randy Gordon-Gatica 9.

MANOS
Go fuck yourself.

EXT. WAREHOUSE - DAY

It is a sunny day. The place is newish, quickly built, and

from the outside seems unused.

Kelly drives up in his black Tesla. He slides the driver’s

side window down, and unlocks the gate using a code. He then
drives in.

His daughter, EMMA (age 10), gets out and closes the gate
entering a code into another device that stands on a pole
within the warehouse grounds.

It’s desolate in the large parking lot. Emma like her father,
is Asian. She is an average slim girl, a typical kid;
colorful hoodie, skirt, colorful Nikes, and a Hello Kitty
backpack.

KELLY
I just need to do a few things and
then we’ll have some fun.

Kelly parks the car. They get out. Kelly enters a code
opening an electric sliding gate. They ENTER.

EXT. FREEWAY - DAY

The Mercedes pulls onto an off ramp. It’s an area of endless

new warehouses.

INT. WAREHOUSE - DAY

It’s empty. It’s large, football field size. There is only a

simple desk with a computer. Kelly works at it while Emma
rides a scooter around. There are few windows, some closet
like store-rooms in the rear, and a ladder to the roof.

KELLY’S POV - PARKING LOT

The black luxury Mercedes driven by Louis ENTERS. He parks,

gets out. Manos sits next to him, gets out next.

MANOS
I can’t believe we got an order to
take out a king.
Manos/Randy Gordon-Gatica 10.

LOUIS
I know. I was in shock when I got
the call.

MANOS
I mean I’ve never seen Kelly even J-
walk.

LOUIS
You never know whose coloring
outside the lines.

MANOS
Alright, I just follow orders.

Louis smiles to himself.

MANOS (CONT’D)
This is sanctioned, and organized?

LOUIS
Oh yeah.

Kelly watches the men approach calmly.

KELLY
(to Emma)
Roof, now.

Kelly speaks louder than he has to, loud enough to be heard

but not out of control. Kelly keeps glancing out the window.

Emma hears this, she looks alarmed but maintains control like
her father. She moves quickly up the ladder.

Kelly goes to a loading dock and opens the gate for the men
to ENTER.

ANGLE ON LADDER TO THE ROOF

Emma disappears to the roof.

KELLY (CONT’D)
What’s going on?

LOUIS
An order has been made.

Manos stays in the background.

KELLY
...on me it looks like?
Manos/Randy Gordon-Gatica 11.

LOUIS
Yep.

KELLY
This is an embassy zone.

LOUIS
I got my orders.

Manos stands in the background.

CUT TO:

EXT. WAREHOUSE, ROOF - DAY

Through a square EXIT window that gives roof access, Emma

watches what’s happening, cracking the window open just
enough.

KELLY
Who gave the order?

LOUIS
You know I can’t say, and you
probably know anyway.

KELLY
You’re lighting the match that will
burn down the world.

LOUIS
The world began in fire.
(referring to Kelly)
Manos, now.

MANOS
(to Louis)
This is an order?

KELLY
(to Manos)
You know the rules. I know the
rules. Do what you gotta do.

Manos walks up to Kelly. Kelly gets into a Martial arts

position.

LOUIS
This shouldn’t take long.

MANOS
(to Kelly)
I’m sorry for this.
Manos/Randy Gordon-Gatica 12.

KELLY
Nothing to be sorry for. You’re
doing your job.

Kelly’s martial arts are excellent. He is fast and able to

connect many BLOWS and KICKS upon Manos but Manos is
indestructible. Manos feels nothing.

CLOSE UP - MANOS

He seems to wish Kelly’s action took a greater impact on him.

ANGLE ON LADDER TO ROOF

Emma has climbed down. She wants to scream but doesn’t. It

somehow comes across she was raised in this way. No one
notices her, yet.

Louis looks at Manos and taps his Rolex. Manos nods, GRABS
Kelly by the HIS NECK to BREAK It. Emma cannot help herself.
She screams.

MANOS
There’s a kid here!

He drops Kelly who hits the GROUND. Louis SHOOTS KELLY THREE
TIMES, killing him. Emma rushes to him.

LOUIS
Kill the kid.

MANOS
We don’t kill kids. I don’t kill
kids.

LOUIS
What?

MANOS
You heard me.

LOUIS
It’s her or you.

MANOS
WE DON’T KILL KIDS.

LOUIS
There was an order for him and how
much longer is the old man going to
last. I ain’t gonna be taking
orders from no kid.
Manos/Randy Gordon-Gatica 13.

MANOS
I don’t kill kids.

LOUIS
This is a direct order from a
superior.

EMMA
(in tears)
Daddy, daddy...

MANOS
Ain’t happening.

LOUIS
We could be in charge of all of
this. You’d be my number two.

MANOS
I’m happy as an employee.

EMMA
(eyes full of tears)
Daddy... Daddy... Why?

LOUIS
God damn it!

Louis POINTS the GLOCK at Emma.

MANOS
You don’t point cuétes at kids.

Manos KNOCKS the weapon out of Louis’s hand while KNOCKING

him to the ground.

LOUIS
You just signed your death
sentence.

MANOS
I’ve been dead for years.
(to Emma)
Run. Now!

Emma looks at Manos.

MANOS (CONT’D)
...run

Emma does.
Manos/Randy Gordon-Gatica 14.

LOUIS
I’m going to throw the world at
you. She’s a witness. Think of
that.

MANOS
I’m gettin’ the kid and I’m going
to the Emperor.

LOUIS
You’ll never make it.

MANOS
Stop me.

LOUIS
You’ll have to get past me, and
passages through every kingdom.

MANOS
Happy to see the world.

LOUIS
Alright, let’s do this.

Manos gets into the Mercedes and drives off.

LOUIS (CONT’D)
(repeating)
...I can control this ...I can
control this

CUT TO:

INT. BLACK MERCEDES (MOVING) - DAY

He’s looking for Emma. It’s an industrial area. There are

endless large warehouses with a freeway in the near distance.

MANO’S POV - EMMA BARELY ABLE TO RUN

Manos pulls over and opens the door.

MANOS
Get in.

With no other option Emma does. They drive off.

THE EMPEROR’S POV - SUBURBS

It goes on in every direction, seeming forever. A breeze can

be heard.
Manos/Randy Gordon-Gatica 15.

INT. THE EMPEROR’S HOUSE - DAY

The Emperor stands in the air conditioned living room

drinking tea. The air condition system is quiet.

THE EMPEROR
What is it?

MONK
The job on Kelly has been completed
but your granddaughter was there.
She has gone missing. That is all
the information we have at this
time.

THE EMPEROR
Give me every update as it occurs
whether confirmed or not.

The Emperor doesn’t respond.

INT. TESLA SEDAN (MOVING) - DAY

Louis drives while screaming into phone.

LOUIS
Gather every soldier. Manos has
gone off the farm. I repeat, Manos,
off of the farm. We’re going to
throw the world at this animal.

Louis stops to think for a brief moment.

LOUIS (CONT’D)
He disobeyed a direct order.

INT. BLACK MERCEDES(MOVING) - DAY

Manos and Emma drive in silence. Emma looks at him, takes off
her seat belt, moves to the driver’s side.

MANOS
Hey kid, what are you doing? Keep
your seat belt on.

Emma begins trying to BEAT UP Manos despite the fact that he

is driving.

EMMA
You were trying to kill my father
and now I’m going to kill you!
Manos/Randy Gordon-Gatica 16.

MANOS
I stopped. I didn’t pull the
trigger.

Manos hits the BRAKES causing some skidding. Emma FLIES

toward the window but Manos catches her.

The car is stopped awkwardly in the middle of the street. He

opens the door and gets out of the driver’s side with Emma
attached to his head like a BUG. Manos pries her off and
holds her away like a small critter.

EMMA
I’m going to kill you!

MANOS
You won’t have to.

EMMA
Why?

MANOS
I’m probably going to get murdered
for saving you.

EMMA
Why?

MANOS
I didn’t follow the immediate
orders.

EMMA
Why?

MANOS
I don’t kill kids.

EMMA
...why?

MANOS
You don’t kill kids. That’s it.

EMMA
What do you do?

MANOS
I murder people.

EMMA
Why?
Manos/Randy Gordon-Gatica 17.

MANOS
It pays a lot money and I’m too
stupid to do anything else.

EMMA
Why were you there to murder my
father?

MANOS
I was ordered to.

EMMA
You follow every order?

MANOS
As long as it follows the rules.

EMMA
So killing me didn’t follow those
rules.

MANOS
It didn’t follow those rules or my
own.
(exasperated)
Any more questions?

EMMA
Who ordered my father murdered?

MANOS
The person in charge, The Emperor.

EMMA
Is that my grandfather?

MANOS
I think so. I’m sure of it. He’s
the only one who could have given
the order.

EMMA
I can’t believe it. My father...
His own son...

MANOS
It’s a tough business.

EMMA
Why?
Manos/Randy Gordon-Gatica 18.

MANOS
No idea. Maybe your dad wanted to
take over, maybe he took more money
than he was supposed to. I’m not
paid to ask questions.

EMMA
(crying)
He was a good daddy. I loved him.

MANOS
Where’s your mama?

EMMA
She left us... when I was little...

MANOS
Jeez... I’m sorry...

EMMA
Sorry is not good enough.

MANOS
I’ll never stop being sorry for
this.

EMMA
Was he a bad man?

MANOS
Sorry to tell you, he was involved
in bad things. All the people you
saw today are involved in bad
things.

EMMA
(confirming to herself)
That’s why mama left.

MANOS
It sounds like the guy I work
directly for didn’t want to be
taking orders from you. If the job
was done properly, you wouldn’t
have been there.

EMMA
Me...?

MANOS
Your grandfather is old. You’re the
next The Emperor.

Emma is silent.
Manos/Randy Gordon-Gatica 19.

MANOS (CONT’D)
Now you know everything you need to
know for the moment.

EMMA
What are we going to do?

MANOS
We’re going to go see the Emperor.
We’re going to go see your
grandfather.

Emma is speechless for once in her life.

MANOS (CONT’D)
He’s in charge of everything. Not
like we can go to the police.

EMMA
...grandfather does bad stuff?

MANOS
Yes.

EMMA
But he is just nice little
grandfather.

MANOS
Nothing is ever what it seems.

EMMA
Where is he?

MANOS
Don’t you know?

EMMA
He only ever came to see us.

MANOS
In lives in a house where no one
sees him. It’s the only way to save
your life, I hope. I think...

EMMA
Oh.
(momentary pause)
Why are you going to die?
Manos/Randy Gordon-Gatica 20.

MANOS
I’m already dead, I’ve been dead a
long time. Get in the car. We gotta
go. No more questions.

They get into the car and drive off.

INT. CHARGER (MOVING) - DAY

Manos drives. Emma let’s everything she just heard soak in.

EXT. MC-MANSION (FLASHBACK) - DAY

A large new five bedroom room in a comfortable Los Angeles

suburb. It is surrounded by similar large homes.

The old Datsun pick-up pulls up and parks. The Emperor gets
out. He walks to the front door and rings the door bell. He
is dressed casual in full grandfather mode.

INT. MC-MANSION (FLASHBACK) - DAY

Emma runs and answers the door. The Emperor stands there. He
is not in The Emperor mode at all.

EMMA
Grandfather.

She hugs him. He hugs her.

GRANDFATHER
Hello my little cookie.

Kelly ENTERS.

KELLY
Father.

The old man ENTERS.

OLD CHINESE MAN

Let me speak with your father and
then you and me go have some ice
cream sundaes my little cookie.

EMMA
Excellent idea grandfather.

Kelly opens a door to an office. The Emperor ENTERS.

Manos/Randy Gordon-Gatica 21.

KELLY
(to Emma)
This won’t take long.

Kelly closes the door. Emma smiles and then goes to her room.

(END OF
FLASHBACK)

EXT. WAREHOUSE - DAY

It’s desolate. A plain PATROL car painted a dark color drives

by. It has no visible siren or PD logo.

HEISER
So the Revelations are occurring
before our eyes but they’re
controlled by big business.

KRISS
You see this on the History channel
or something?

They drive by the open gate. KRISS (40’s), is an African

American woman who was born a hardened detective.

HEISER
No, not the History channel or
Ancient Aliens-

KRISS
Who said anything about Ancient
Aliens?

HEISER
This is all happening everywhere
before our eyes.

KRISS
Oh... okay...

The open gate catches Kriss’s attention.

KRISS (CONT’D)
Stop. Turn around.

INT. PATROL CAR (MOVING) - DAY

Heiser drives. Kriss sits shotgun.

HEISER
What? Why?
Manos/Randy Gordon-Gatica 22.

KRISS
Just do it.

Heiser driving, stops, and then turns around.

HEISER
...this warehouse

Kriss nods. The drive onto the parking lot.

INT. WAREHOUSE - DAY

The gate is open. They ENTER with their weapons drawn. They
both use a GLOCK.

HEISER
Have you always been able to smell
a murder?

KRISS
Unfortunately, yes...

They begin walking carefully toward Kelly’s remains.

KRISS (CONT’D)
We got some heavy duty gang shit.

HEISER
How can you tell? He’s looks like
Mr. Average.

KRISS
Someone has left a hidden door
open. This is sloppy, abandoning
the crime scene.

HEISER
What do we do?

KRISS
We gotta think if we’re going to
step through this open door.

EXT. EL RANCHO MEXICAN FOOD - DAY

It’s a typical corner place on some busy streets.

Louis parks haphazardly making it hard for others to enter

and exit.
Manos/Randy Gordon-Gatica 23.

Louis walks to a rear table covered by an awning. PERRO

(30’s) and half a dozen LATINX GANG MEMBERS, baggy pants,
large shirts, bandannas, all in shades of black and grey;
wait. Perro is thin, muscular, with face tattoos.

LOUIS
Manos has gone off the farm. Manos
has kidnapped Kelly’s kid. I
thought I knew Manos. No, I did
not. He’s some sort of molester.
He’s an usurper. It’s a coup
d’etat. Stop him. Trust me, this
comes from the Emperor.

Everyone cannot believe these words. They all look at one

another speechless. They’re all terrified. Louis senses this.
One GANG BANGER speaks up. He is heavy set.

GANG BANGER
Shit, I ain’t going near Manos.
That’s like picking a fight with
Godzilla.

Everyone agrees with this sentiment, “yeah...” and nodding.

LOUIS
I am personally putting up a
million dollar bounty.

They all cheer.

LOUIS (CONT’D)
Get Manos, and bring Kelly’s kid
back to our kingdom. Manos is only
a person made of flesh. I trust you
guys to take on anyone.

They rush out like a Viking tribe.

LOUIS (CONT’D)
Perro. Find Manos, follow him, and
let me know what’s up.

Louis puts a roll of cash in his hand.

PERRO
Bueno.

LOUIS
Call me first and then we call in
the air strikes.

They fist bump slowly, cholo style.

Manos/Randy Gordon-Gatica 24.

PERRO
Sounds good to me to just have to
point where the monster is. You got
the other kings on board I assume?

LOUIS
Oh yeah...

PERRO
Just having that Monster around
changes the dynamic of whatever is
happening.

INT. BANK (FLASHBACK) - DAY

Typical bank. Manos and Perro are in line.

MANOS
I lost a bundle on the Dodgers this
weekend. I don’t know why I’m here.

PERRO
I made a bundle. I need to deposit
it for the money’s own safety.

MANOS
You bet on the Padres?

PERRO
Yeah.

MANOS
Trader.

A COUPLE OF YOUNG BANK ROBBERS (20’s) with AUTOMATIC WEAPONS

ENTER.

BANK ROBBER #1
This is a bank robbery! Put your
hands where we can see them. Get
down on your knees, drop your
wallets, purses, phones!

PEOPLE, a mixed bunch of YOUNG AND OLD, including children

and elderly are terrified, gasping and screaming.

BANK ROBBER#2
Or we’ll fuckin’ kill you.

Manos and Perro are unmoved. They don’t get on their knees.

BANK ROBBER #1
You two now! On your knees!
Manos/Randy Gordon-Gatica 25.

PERRO
Sorry. We can’t. It is against our
religious beliefs to kneel before
anyone.

BANK ROBBER #2
(bewildered but still
trying to be forceful)
We’ll kill you.

PERRO
You better get on with it. The cops
are gonna be here. With everything
else it’s a good score.

BANK ROBBER #1
No fuck that. Who the fuck do you
think you are? I don’t give a fuck
if you’re a big mother fucker. The
harder they fall.

Manos is calmly trying to let Perro handle this.

PERRO
Well with him we’re indestructible.

Bank Robber #1 gets into Manos face with AUTOMATIC.

BANK ROBBER #1
I’ll kill you man! I got the gun! I
don’t care how fuckin’ big you are.

PERRO
So shoot it pendejo.

He does. He gets about FOUR ROUNDS off and THREE STRIKE MANOS
and he doesn’t budge. He just grabs the weapon and BEATS the
BANK ROBBER with it. Bank Robber #2 drops his weapon and
runs.

BLOOD DRIPS down Mano’s chest, and he treats like a cut from
shaving.

(END OF
FLASHBACK)

INT. LOUIS’ MERCEDES SEDAN (MOVING) - DAY

Manos and Emma are silent as they drive down the freeway.

MANOS
We’re going to see your
grandfather.
Manos/Randy Gordon-Gatica 26.

EMMA
Where does he live?

MANOS
In a normal looking house.

EMMA
No one ever told me where
grandfather lived.

MANOS
So you’ve never been to his house?

EMMA
No. Grandfather comes to see us, I
told you.

MANOS
Got it. Everywhere we stop and even
where we go through someone, many,
are going to try and stop us. Each
place is a kingdom and each kingdom
must give passage.

EMMA
Will we see the other man?

MANOS
The guy I came with?

EMMA
Yeah.

MANOS
If we survive we’ll have to.

EMMA
Then survive because I’m going to
kill him.

MANOS
Christ you didn’t even know what
your father did twenty minutes ago-

EMMA
He was a business man.

MANOS
Yeah and now you know what kind of
business.

EMMA
I’m going to kill that other man.
Manos/Randy Gordon-Gatica 27.

MANOS
You learn fast.

Emma’s phone RINGS. She answers.

EMMA
(into phone)
Hello grandfather.

INT. THE EMPEROR'S HOUSE - DAY

The Emperor sits on his couch talking on the phone.

INTERCUT AS
NECESSARY

THE EMPEROR
Hello my little cookie. Are you
okay?

EMMA
I am safe but father has been
murdered.

THE EMPEROR
I know. Let me speak to the man
that is with you.

She passes the phone to Manos.

MANOS
Hello Sir...

THE EMPEROR
Is she safe?

MANOS
Yes.

THE EMPEROR
Did you do the job on my son? Did
you murder a king?

MANOS
I went to do it as I was ordered to
do but my superior finished it.

THE EMPEROR
I understand. Is she safe?

MANOS
Yes.
Manos/Randy Gordon-Gatica 28.

THE EMPEROR
There is a bounty on you. The word
is, you’re striking out against me.

MANOS
Couldn’t be farther from the truth.

THE EMPEROR
Get her to me safely.

The Emperor hangs up. Manos stares at the phone for a moment.
It’s in a Hello Kitty phone-case with fake diamonds.

EMMA
What did he say?

MANOS
I’m taking you to him.

INT. LAPD HEADQUARTERS, CHIEF’S OFFICE - DAY

The CHIEF is a big tall man, line backer. He makes his police
uniform seem like a generals. He’s as scary as Manos. Louis
sits across from him.

LOUIS
My apologies for any chaos my
involvement may cause in these
unforeseen events.

CHIEF
You’re gonna be sorry if it isn’t
all cleaned up and disappeared.

LOUIS
Price of doing business.

CHIEF
If this gets out of hand I hold you
responsible.

LOUIS
What are you talking about? I just
need to stop Manos, one man.

CHIEF
I don’t think you understand who
you’re talking about.

LOUIS
Shit. He’s one man. I know the
fool. You don’t believe all that
mierda about him.
(MORE)
Manos/Randy Gordon-Gatica 29.
LOUIS (CONT’D)
I’ve seen him do some incredible
shit but he’s human... I mean I’m
sure...

CHIEF
Don’t bullshit yourself. You work
side by side with him all the time.
Who you trying to kid? Don’t try
kid me or yourself.

INT. LAPD HEADQUARTERS, OUTSIDE CHIEFS OFFICE - DAY

Kriss and Heiser walk by.

KRISS
We can’t let anyone know how we’re
approaching this.

HEISER
Things here are never what they are
I’m learning.

KRISS
We follow this carefully we might
be able to make a little bit of
difference for once.

HEISER
I’m in.

KRISS
Today you begin to find out that
the people in charge are window
dressing and the people who were in
charge long ago, are still in
charge.

CUT TO:

INT. LAPD HEADQUARTERS, CHIEF'S OFFICE - DAY

Louis and the Chief are still talking.

CHIEF
You notice I don’t fuck with
certain people?

LOUIS
Like who?
Manos/Randy Gordon-Gatica 30.

CHIEF
Like the people you fucked with
today.

LOUIS
I got this.

CHIEF
I don’t know if I’d bet on you.

LOUIS
Hey, if you bring him down, there’s
a million dollar bounty.

CHIEF
Use that money to raise an army.

LOUIS
I got an army out there now.

The chief looks at his watch.

CHIEF
If you stop him, you stop him and
we continue tomorrow. If you don’t
stop him and then I have to stop
you. We all answer to the same
Emperor. We’re done. You can leave.

LOUIS
Ten-four.

CHIEF
And make sure you’re never seen in
the daylight around here again.

The chief SLAPS Louis. Louis is about to cry.

CHIEF (CONT’D)
You know the rules and you know I
know the rules.

Louis nods.

CHIEF (CONT’D)
Good, you’ve restored my faith in
how the world turns.

Louis begins to say something and then thinks better of it

and EXITS.

CHIEF (CONT’D)
You know I tried to fuck with him
once?
Manos/Randy Gordon-Gatica 31.

Louis is almost out the door.

LOUIS
You did?

CHIEF
It’s the day I met him.

EXT. COWBOY BAR (FLASHBACK) - NIGHT

A ROW of POLICE CARS are outside. Many of the officers are

wearing RIOT GEAR.

PEOPLE are FIGHTING INSIDE the bar. The sound of everything

breaking is heard.

A BLACK SUV PULLS UP with a SIREN. The chief gets out. He

goes immediately to the one who seems to be in charge.

CHIEF
What the fuck is going on?

OFFICER IN CHARGE
Someone name Manos is beating the
hell out of everyone.

CHIEF
One man is doing all of this?

OFFICER IN CHARGE
Yeah. He’s already sent a dozen of
ours to the hospital.

CHIEF
Has anyone tried shooting him?

OFFICER IN CHARGE
Yeah.

CHIEF
What happened?

OFFICER IN CHARGE
He shoved the gun up the cop’s ass.

CHIEF
He took a weapon from a cop?

OFFICER IN CHARGE
No, he took it and he shoved it-

CHIEF
Up his ass?
Manos/Randy Gordon-Gatica 32.

The officer nods slowly and speaks slowly.

OFFICER IN CHARGE
There’s an officer in the hospital
with a gun shoved up his anus.

CHIEF
The man in there-

OFFICER IN CHARGE
He shoved a gun-

CHIEF
Up his anus?

OFFICER IN CHARGE
Yeah, it’s still loaded.

CHIEF
So they have to be careful with the
surgery?

OFFICER IN CHARGE
Yeah.

More LOUD THUNDERING NOISE.

OFFICER IN CHARGE (CONT’D)

It’s the ugliest thing I’ve ever
seen.

CHIEF
Jesus Christ. We’re a hundred out
here. Let me fuckin’ take care of
this.

The chief marches in there. There is silence.

A moment later he is THROWN OUT with BLACK EYES, BROKEN

TEETH, and BLOOD DRIPPING from his head.

(END OF
FLASHBACK)

EXT. LARGE EMPTY PARKING LOT - DAY

Louis waits in the middle, standing alone, next to the Tesla.

LOUIS
(to himself)
Where are these fucks?

He looks around some more. He checks the time.

Manos/Randy Gordon-Gatica 33.

LOUIS (CONT’D)
Here are the fucks.

From three different directions three luxury cars ENTER and

park around Louis. The suited man appears emerges. He’s white
and he looks like a count or a duke. His name is KARL DÖNITZ.

From the second vehicle KIM emerges. He’s Korean.

Last is BOOKS, he African-American. All three men are in

their fifties, fit, wearing tailored suits.

SUITED MAN
So...

KIM
What the fuck is happening?

BOOKS
Exactly.

LOUIS
The emperor ordered Kelly gone. The
old man is old. That leaves his
grandkid next in line. I ain’t
workin’ for no kid.

Suited Man, Kim, and Books all stare at one another for a
moment.

SUITED MAN
Would we be working for a kid?

KIM
It’s how the rules would spell it
out.

BOOKS
Make this work, and it works for
me.

SUITED MAN
Sounds good to me.

KIM
I’m an American. I believe in
democracy and majority votes. We’ll
do our part when he passes through.

SUITED MAN
Otherwise this conversation never
happened.
Manos/Randy Gordon-Gatica 34.

BOOKS
What that mother fucker just said.

The three each get into their vehicles and disappear leaving
Louis.

EXT. GAS STATION - DAY

Manos is putting gas into the car. He keeps looking around.

Without warning FOUR MEN and FOUR WOMEN, all Korean, appear,
each holding an AUTOMATIC. They surround the gas station.
There is back to back traffic on every street.

MANOS
Keep your head down for the moment.

EMMA
What?

The figures with automatic weapons are fashionably and

threateningly dressed.

MANOS
You heard me.

Emma does it. Manos looks around.

MANOS (CONT’D)
Welcome to K-Town.

EMMA
What?

MANOS
Korea town ...nothing We’re in
Korea town.

EMMA
I know Korea town. Father brought
me her for skewers.

MANOS POV - STRIP MALL

It’s a multi level strip mall with various restaurants and

stores. The mall and neighborhood is lively. All of the signs
are in Korean.

EMMA (CONT’D)
Why do they call you Manos.

MANOS
It means hands, I do everything
with them. I don’t like guns.
Manos/Randy Gordon-Gatica 35.

EMMA
Why?

The men and some women with weapons are closing in slowly. No
one notices their weapons because each holds them discreetly.

MANOS
I’ll tell you in a minute.

EMMA
Why in a minute?

MANOS
Because we’re going to run in a
second.

An OLD KOREAN MAN (70’s) is filling a one gallon can at a

pump. He has a beatup pick-up with various tools to do
gardening, landscaping, leaf blower, and a law mower. His
COLLEAGUE, just as old but keeping his distance, smokes.

EMMA
Why in a second?

MANOS
Because that’s all we have.

Manos gestures Emma to move out of the car but keep his head
down.

MANOS (CONT’D)
(to Emma)
Run! Now!

Manos points toward the strip mall. Emma does what she is
told. The various figures with weapons move toward Manos.
Manos takes two big quick steps, grabs the gas can and the
lighter from the second man.

The figures with weapons begin FIRING. Manos steps behind the
old truck, LIGHTS the GAS can through the nozzle, and throws
it toward the ASSAILANTS. It EXPLODES as it FLIES taking out,
two of the ASSAILANTS.

At the last moment Manos, pops open the trunk of the

Mercedes, and grabs his suits.

He then dashes to the mall, Emma looks back, and Manos runs
toward her while being chased by the remaining Assailants.

EXT. K-TOWN STRIP MALL - NIGHT

Manos and Emma disappear.

Manos/Randy Gordon-Gatica 36.

Six Assailants reach the mall with weapons drawn. A seventh

following the others, still BURNING, collapses, mid-step.

PEOPLE run and scream in every direction. Manos and Emma are
nowhere to be seen.

The lead assailant directs each to go to various floors into

the mall. It’s five stories high.

CUT TO:

EXT. K-TOWN STRIP MALL, SECOND FLOOR - NIGHT

ASSAILANT #2 walks carefully with his weapon drawn. From

above Manos JUMPS DOWN CRUSHING the man from above. Manos
then throws him over the side.

The assailant LANDS on the roof of a car being parked. Manos

tosses his weapon as he disappears.

The area is quiet. PEOPLE have dispersed in response to the

violence. The explosion smolders below.

CUT TO:

EXT. K-TOWN STRIP MALL, THIRD FLOOR - NIGHT

ASSAILANT #3 and #4 walk back to back with weapons drawn.

From inside a store MANOS RUSHES OUT BREAKING THE GLASS and
taking DOWN #3 and #4. While they’re on the ground he STOMPS
them like bugs.

MANOS
(screaming)
Fuckin roaches!

From a corner hiding is Emma, watching. She disappears after

a moment.

CUT TO:

EXT. K-TOWN STRIP MALL, FOURTH FLOOR - NIGHT

The city is visible. Manos walks up a stairs and the

remaining assailants #5 and #6 surround him from each side.
He puts his hands up. Manos looks over each and then makes a
defensive martial arts position.

The assailants understand. They put their weapons down. They

begin fighting.
Manos/Randy Gordon-Gatica 37.

They each are quickly able to deliver a multitude of blows

like automatic weapons. Manos is able to easily block but
mainly withstand whatever they hit him with.

Bored, he grabs one using him like a tool and SLAMS into the
other. He picks up each and throws them off the side. They’re
bodies hit the bottom with a THUD.

MANOS
Come on!

Emma comes out of hiding. They disappear.

EXT. K-TOWN STRIP MALL, FIRST FLOOR EXIT - NIGHT

A motorcycle is heard. Manos drives with Emma holding on.

Using the hangars he hooks his suits into a strap built on
the motorcycle’s seat. The suits fly like a flag. The suit
he’s been wear is torn and stained a bit.

Perro is parked in an old Chevy watching that is fully

restored to it’s original condition. He follows.

EXT. WESTERN AVE. - NIGHT

They head deep into K-Town.

EMMA
Are you alright after all that?

MANOS
I better be.

EMMA
What do you mean?

MANOS
That was just a warm up.

They race up the busy street full of nightlife.

EMMA
Why we stopping here?

MANOS
We just defeated the first kingdom.

ANGLE ON MOTORCYCLE (MOVING)

The zig zag through the traffic.

Manos/Randy Gordon-Gatica 38.

EMMA
What an awful business.

MANOS
Tell me about it.

EMMA
Why don’t you like guns?

MANOS
Honestly?

EMMA
Yes.

MANOS
I’m not sure you can comprehend
this.

They drive to the top of the Avenue. It is the edge of Korea

town.

There are many expensive cars parked in front.

Manos parks the motorcycle and they get off of it, and walk
toward the entrance to the club. SIRENS can be heard. Manos
grabs his suits.

EMMA
Have you seen what I’ve been
through today?

MANOS
Fair enough. If you take a life
with a gun, you can do it without
thinking about what you’re doing.
It takes less than a second to
point a gun at someone, and pull
the trigger. If I do it with my
hands, I really have to make sure
I’m doing the right thing for the
right reasons at that moment.

EMMA
...that makes sense

MANOS
I was shot once. Well a few times,
well more than a few times. Many
times actually.

EMMA
That much is clear.
Manos/Randy Gordon-Gatica 39.

MANOS
It does hurt... a little.... To be
shot... I only kill people when I
have to. Otherwise I don’t like the
idea of inflicting that kind of
pain on people-

EMMA
I can never forgive you for what
you’ve done.

MANOS
I know. It’s exactly, that kind of
pain I’m talking about. The pain
this business causes others. No
matter, I’ll protect you with my
life if I have to.

Emma nods.

EMMA
You’re trying to be a good person.
I can see that. I can still never
forgive you.

MANOS
If the shoe was on the other foot
I’d feel the same way.

EXT. - K-TOWN CLUB - NIGHT

They ENTER the club despite the SUITED DOOR MEN trying to
stop them. It’s tacky, what one conjures when you describe
something as eighties style.

MANOS
Park is expecting us.

The door men try to stop Manos. Manos hands the suits to
Emma. He then KNOCKS their heads together and knocks them
out. All the PEOPLE waiting in line to ENTER rush in.

EXT. K-TOWN STRIP MALL - DAY

Kriss and Heiser walk through the various bodies thrown from
the upper floors by Manos.

KRISS
Tell me this isn’t related to the
warehouse?
Manos/Randy Gordon-Gatica 40.

HEISER
...yep How could it not.

Kriss nods approvingly.

HEISER (CONT’D)
What do we do?

KRISS
Keep following the bread crumbs.
When we got enough they’ll tell us
what to do.

INT. K-TOWN CLUB - NIGHT

Music blasts, WELL DRESSED KOREANS DANCE, the bar is packed

with more WELL DRESSED KOREANS. Emma checks out everything.
There is FLASHING BRIGHT LIGHT.

Manos walks to the rear and ENTERS an office.

INT. KIM’S OFFICE - NIGHT

It is large, sparse, but well decorated. Kim sits behind a

large desk. The light in the office has a purple hue due to
the decor, carpet, and some of the lighting.

KIM
You owe me a platoon.

MANOS
I don’t owe you jack. You sent them
to collect on me and they got
crushed, end of story.

Kim shrugs.

KIM
What do you want?

TEN WELL DRESSED KOREAN MEN appear at the door.

MANOS
Do you want me to crush your army?

Manos steps toward the men at the door.

KIM
No. Leave me with something. Is
that the child?

Manos smiles.
Manos/Randy Gordon-Gatica 41.

MANOS
What do you think?

KIM
What do you want?

MANOS
Safe passage.

KIM
What’s your plan?

MANOS
Each kingdom gives passage to see
the Emperor?

KIM
You risk all that for the child?
(he thinks for a second)
I already made a deal with Louis.

MANOS
Take me on. I’m not taking out no
kid.

KIM
You should have become a priest or
a buddhist monk or something.

MANOS
Too late for that.

KIM
You are granted passage from this
kingdom. I never saw you tonight.

MANOS
I need a car too.

Kim looks at one of his men. They understand.

KIM
Good luck. I’m betting on you to
make up for my losses that you
caused. I’m going to see Israel and
Palestine next to make a large
wager on you.

MANOS
I’m sure I’ll be stopping by to say
hello to the two of them as well.

Manos and Emma EXIT.

Manos/Randy Gordon-Gatica 42.

EXT. K-TOWN CLUB - NIGHT

Manos and Emma EXIT. A black shiny Dodge Charger is parked in

front. Manos and Emma get in. Manos is wearing a second well
fitting suit. He puts the remaining suits into the trunk.

EMMA
Why not the motorcycle?

MANOS
Too dangerous.

EMMA
And the guns aren’t dangerous?

MANOS
I can only control what I control.
You want logic take a college
course.

They drive off.

EMMA
I’m too young for college. The
motorcycle was fun.

MANOS
Yeah, it was.

INT. CHARGER (MOVING) - NIGHT

They drive in silence.

EMMA
I’m hungry.

Manos just stares at her.

MANOS
(to himself)
That reminds me.

While driving he gets his phone out and makes a call. It

RINGS.

INT. SMALL OLD HOME, LIVING ROOM - NIGHT

Mano’s mother sits in an easy chair watching Mexican soap

operas. Her phone RINGS. She answers.

MANOS
Momma...
Manos/Randy Gordon-Gatica 43.

MANOS MOTHER
Don’t tell me, something came up.

They don’t notice or Manos pretends not to notice that he’s

being followed by Perro, and then Detectives, Kriss and
Heiser.

MANOS
Exactly. Lo siento.

MANOS MOTHER
Don’t worry all the food is in the
fridge to be warmed up when you get
home.

MANOS
Thank you mamma.

MANOS MOTHER
Be careful.

MANOS
Always.

Manos hangs up, then his mother does the same.

ANGLE ON PERRO’S CHEVY

Following more than a few car length behind.

ANGLE ON DETECTIVE CRUISER

Following more than a few car lengths behind Perro.

INT. DINER - NIGHT

It’s a classic Googie diner. Manos and Emma sit in a booth.

Emma eats a cheese burger. Manos eats a salad.

EMMA
Why you only eating that?

MANOS
I’m keeping healthy.

EMMA
What just happened?

MANOS
Each neighborhood is a small
kingdom. They’re all guided by your
grandfather. Someone took out your
dad. You’re next in line.
(MORE)
Manos/Randy Gordon-Gatica 44.
MANOS (CONT’D)
Everyone figures maybe they don’t
need your grandfather anymore, and
no one is gonna take orders from
some kid. They all maybe want to go
out on their own without risking
their survival, or take your over
your grandfather’s role.

EMMA
Sounds like they don’t know what
they want.

MANOS
...yeah

EMMA
They’d kill a kid?

MANOS
To get what they want? A few of
them, sure.

EMMA
What monsters.

MANOS
On a job, there shouldn’t be
children there. It’s one of the
rules. It’s one of the only rules
that’s mostly followed. Someone
would normally make sure a child is
not there.

EMMA
And my grandfather would order a
hit on my father?

MANOS
Yeah... If you’re in this business,
if the order comes in to take out
your mother, you do it.

EMMA
You’re in a terrible business.

MANOS
Tell me about it. I need to either
destroy each neighborhood or they
need to grant me passage. When they
know I can destroy them, they grant
me passage.
Manos/Randy Gordon-Gatica 45.

EMMA
This sounds like something from
when there were castles and
knights.

MANOS
The world never stopped being that.

EMMA
Why does each need to grant us
anything?

MANOS
The Emperor protects every
neighborhood. Each must also
maintain peace with it’s neighbor.
Without the Emperor there would be
constant warfare. One trying to
overtake the other.

EMMA
How did you become this?

MANOS
You ask too many questions.

EMMA
I’ve seen my father’s people.
You’re different.

MANOS
Oh yeah...?

EMMA
You look like you don’t think about
things. The others pretend like
they’re thinking about things.

MANOS
And you sound like a wise old
wizard.

EMMA
How did you become this?

MANOS
You could say I had no choice. I
was forced into it.

INT. EAST LA APARTMENT, KITCHEN (FLASHBACK) - NIGHT

It’s old and cramped.

Manos/Randy Gordon-Gatica 46.

Manos is a different man, happier, carefree. Spanish music

plays and he dances with his BABY while kissing her.

MANOS
Besos, besos, besos...

The baby laughs. His WIFE (20’s) is young, beautiful, and

Latina. She cooks.

WIFE
I don’t cook as good as your
mother.

MANOS
Why do you think we’re staying in
the neighborhood?

She gives him a taste. It’s shredded beef in a red chili

sauce.

MANOS (CONT’D)
That’s pretty good.

WIFE
Yeah?

MANOS
Si.

A HUGE BANG is heard at the front door. It’s been kicked

open. The ITALIAN, a Italian version of Louis steps in
followed by TWO SUITED MEN.

MANOS (CONT’D)
What the hell?

The baby is crying.

WIFE
Hermanito, what’s happening.

THE ITALIAN
Your husband owes us a dollar.

WIFE
(crying)
All this for a dollar...

MANOS
A thousand...

WIFE
Pay them, pay them dammit...
Manos/Randy Gordon-Gatica 47.

MANOS
I can’t. I don’t have it.

THE ITALIAN
It’s gotta be them. You’re too
valuable.

MANOS
What does that mean?

The ITALIAN SHOOTS his wife and baby. Manos goes to her in
tears.

THE ITALIAN
I’m getting tired of watching this
pathetic scene. Lets get out of
here.

Manos CHARGES the Italian taking him and his two men down.
They STRUGGLE. The Italian and his two are getting the worst
of it.

The living room is destroyed. Manos BREAKS the neck of one of

the men and then takes his gun and BEATS the other to DEATH
WITH IT.

#2 MAN
What the hell.

THE ITALIAN
You’re insane.

MANOS
You can’t imagine.

Manos PULLS the dead man’s HEAD OFF and then CHARGES at the
Italian and begins BEATING him with the decapitated head. The
Italian struggles to pull his gun out and point it at Manos
while covered in BLOOD and BRAINS.

The Italian is screaming in agony.

ANGLE ON MANOS

A GLOCK is POINTED AT HIS HEAD.

MANOS (CONT’D)
Do it! Pull the trigger! Do it!
Please!

THE ITALIAN
Enough! You’re too valuable to
kill.
Manos/Randy Gordon-Gatica 48.

MANOS
And you’re a waste of skin.

Manos CRUSHES his neck between his hands.

FADE OUT.

EXT. FREEWAY - NIGHT

The Charger moves fast.

MANOS
I’ve been a slave to the other
kings ever since.

EMMA
It doesn’t matter what you did or
owe, no one can keep you as a slave
doing those things.

MANOS
That sounds good but it’s not the
reality.

EMMA
They don’t care about you. They
only care about how they can use
you.

INT. CHARGER (MOVING) - NIGHT

Manos and Emma talk as two adults.

EMMA
So you killed one of the kings?

MANOS
Yeah.

EMMA
They let you?

MANOS
I was too valuable as a weapon.

Emma is silent for a moment but then can’t help herself.

EMMA
So you guys only follows these
rules when it’s convenient?
Manos/Randy Gordon-Gatica 49.

MANOS
I’ve had that thought.

EMMA
You haven’t had it enough. What’s
next?

MANOS
The white people kingdom.

Perro and the detectives, continue to follow.

MANOS (CONT’D)
I gotta thank you.

EMMA
For what?

MANOS
You’re forcing me to settle
everything in my life that’s
unsettled tonight.

Silence.

MANOS (CONT’D)
You want to say something else?

EMMA
I do.

MANOS
Spit it out.

EMMA
I’m sorry for your family.

Silence.

MANOS
Thank you.

EMMA
We’re like orphans now, both of us.

MANOS
...yeah

EXT. ST. VINCENT COURT - NIGHT

A large alley in the middle of downtown. It’s a place built

before the Depression.
Manos/Randy Gordon-Gatica 50.

A JEWISH ORTHODOX MAN and a MUSLIM MAN (70’s) sit at a table

drinking tea. They both could be mistaken for religious
figures.

They are known as ISRAEL and PALESTINE. The tea they drink is
something that is intricately made that one might have seen
in ancient Israel.

An official LAPD BLACK SUV pulls up with SIREN LIGHT on. The
chief gets out. He walks to their table. He indicates if it’s
okay for him to sit down. They indicate it is.

CHIEF
So, what are the odds that he makes
it through the night?

Israel and Palestine look at each other and smile slightly

with an understanding.

ISRAEL
He’s never going to make it.

PALESTINE
He could make it.

CHIEF
You both must be cleaning up with
the bets.

The nod maybe. Standing in the background are some LARGE

SUITED MEN who are all probably armed.

CHIEF (CONT’D)
Five hundred he doesn’t make it.

PALESTINE
Will you be protecting this wager?

CHIEF
What do you think?

The two old men look at each other, then each takes out their
phone and punches something in.

ISRAEL
You wager has been taken.

The chief gets up and gets back into his SUV.

Manos/Randy Gordon-Gatica 51.

EXT. A LARGE POST MODERN HOUSE - NIGHT

It’s an estate in the hills. Manos parks in the large parking

lot. He and Emma get out. They begin to walk toward the front
door. It’s as if the rest of the world has disappeared.

An old BUTLER appears.

BUTLER
The Sir will meet you in the
clearing. I will take you there.

Manos and Emma shrug.

CUT TO:

They follow the butler across the large grounds of the house.
It’s more like a university building than a home.

EXT. PROPERTY NEAR ESTATE - NIGHT

It’s beautiful and no one is around. Manos and Emma stop

where they are. The butler is still nearby.

Karl appears.

KARL
Let’s skip the small talk.

MANOS
Great.

KARL
I know why you’re here.

MANOS
Good, I hate that thing where you
gotta explain yourself every time a
new person enters the situation.

Karl smiles at Emma. Emma half smiles back.

KARL
Well said...

MANOS
So...

KARL
Yes... So...
Manos/Randy Gordon-Gatica 52.

Karl looks toward the house. TWO LARGE MEN appear. They can
only be described as ARYANS, right out of a history book.
They’re dressed in GQ casual.

KARL (CONT’D)
Get past my two best men and you
can have passage. I hope you don’t
mind my preference for here
outdoors. My wife would be angry if
there was any damage inside the
house.

MANOS
Great. I understand. I was married
once.

KARL
Splendid.

MANOS
Lets get it on.

KARL
...yes ...lets get it on

Manos takes the position. The come forward. They circle each
other.

EMMA
Get-’em Manos.

Karl smiles.

KARL
It feels like only yesterday you
did your first job for me.

EXT. ALLEY (FLASHBACK) - DAY

Manos walks down an alley. There’s dumpsters, some HOMELESS,

tall old buildings on every side. He walks to an old door and
knocks. It’s a special knock, tap-tap, tap-tap. The door
opens. Manos ENTERS.

INT. HALLWAY - DAY

It’s long and dark.

Manos walks to the end where there’s a double door. Manos

does the knock again. Both doors open, Manos ENTERS.
Manos/Randy Gordon-Gatica 53.

INT. ELEVATOR (MOVING) - DAY

It’s plush. It stops after traveling many floors.

INT. KARL’S OFFICE - DAY

The elevator doors open to the vast office with huge windows.
The city is visible. The office is plush and minimal. Karl
man sits behind a large desk.

KARL
Right on time.

MANOS
What can I do for you?

KARL
Nothing I say is to leave this
room.

MANOS
Sure.

KARL
My number two has become a
liability. I don’t want no
information on how it’s done.

MANOS
No problem.

Manos heads back toward elevator.

KARL
Where you going?

MANOS
To do the job.

KARL
Right now?

MANOS
Well yeah.

Manos closes the door on the elevator.

KARL
Not here... Not now...

MANOS
Now... I have the time... Just not
here.
Manos/Randy Gordon-Gatica 54.

KARL
Oh good, not here...

MANOS
Just below on his floor.

Manos disappears before the Karl can respond.

INT. ELEVATOR (MOVING) - DAY

It moves down one floor. The elevator opens to another

office.

INT. SECOND OFFICE - DAY

It’s not as big or as nice as other office. A man like the

Karl sits behind a desk. He’s like the Karl’s younger brother
but heavier and shorter.

OTHER SUITED MAN

Can I help you?

Without warning Manos PUNCHES HIM IN THE FACE, CRUSHING HIS

FACE and killing him instantly.

Manos gets back on the elevator.

INT. ELEVATOR (MOVING) - DAY

It moves back to the long hallway.

INT. HALLWAY - DAY OR NIGHT

Just as he reaches the door to EXIT, the Karl reaches him.

KARL
What did you do?

MANOS
What you asked.

KARL
I’ll get the money to you.

MANOS
I know.

Manos EXITS. Sunlight momentarily overtakes the hallway.

Manos/Randy Gordon-Gatica 55.

(END OF
FLASHBACK)

EXT. PROPERTY NEAR ESTATE - NIGHT

Manos puts his face forward tempting one to take a shot. One
of the two throws some PUNCHES and Manos purposely catches it
with his face. He nods and smiles. He respects the punch.

Karl man nods to the butler to come forward. He whispers

something into his ear. The butler nods and disappears for a
moment. He walks toward the house.

The three men pull into a tight circle and begin to PUMMEL
EACH OTHER. Anyone else would be dead from ten seconds of
this. It seems to go on for minutes and none of the three
flinch.

CUT TO:

Up above on a cliff is Heiser and Kriss. They’re watching.

HEISER
We’re not going to do anything?

The three men battling are now combining KICKS with their
PUNCHES. For such big men they’re flexible like dancers.

KRISS
You want to break that up, go
ahead.

Heiser understands.

Manos takes one down and begins PUMMELING his face allowing
the other to jump on his NECK attempting to break it up. No
matter Manos is able to keep PUMMELING.

The butler walks back down the beach holding a tray with a
drink in crystal tumbler. It is Coke with ice. The butler
brings it to Emma who accepts. Karl and butler smile.

KRISS (CONT’D)
If we go down there and try to
interfere right now we’ll end up
dead.

Impatient Manos SHOVES his two fingers into each eye of the
man that he has down. BLOOD SHOOTS EVERYWHERE.

ARYRIAN #1
(screaming in pain)
Ahhhhhhhhhhhh!
Manos/Randy Gordon-Gatica 56.

The second Aryrian is terrified. He gets up and backs away

from Manos. He begins running. Karl is disappointed.

SUITED MAN
Those were the two best I ever had.

The remaining one is still running. Karl pulls out a World

Two era LUGAR that’s in perfect shape, polished and shiny.

ANGLE ON RUNNING ARYRAN

He is scared and out of breath.

Karl pulls the trigger and SHOOTS HIM THROUGH THE HEAD.

Manos goes to Emma and turns her head away.

MANOS
You’ve seen a lot. No need to see
more.

Karl man walks up to Manos.

KARL
You are a worthy adversary. Your
passage is granted. Did you follow
an order or are you acting on your
own?

MANOS
You know me. What do you think?

Karl offers his hand to shake. Manos accepts.

KARL
Good display as always.

From another cliff Perro watches.

Manos and Emma walk back to their car. As Emma passes the
butler he puts the empty glass back on the tray.

KARL (CONT’D)
She was raised right. You can
always tell when a child is raised
right.

The butler nods.

INT. OLD CHEVY (MOVING) - NIGHT

Perro drives. Perro is talking on a hands off phone. The

restored car only has the most essential updated elements.
Manos/Randy Gordon-Gatica 57.

PERRO
I don’t know if this is your plan
or not but Manos is blowing through
every kingdom and they have no
choice but to grant him passage.

INT. LOUIS’S HOUSE, DINNER TABLE - NIGHT

He stands away from a large table where his family, WIFE

(30’s), TWO KIDS (8 and 10) are eating.

LOUIS
Fuck!

PERRO
Is this part of your plan?

LOUIS
I’ll talk to you in a bit.

Louis hangs up.

PERRO
Because if this part of your plan
I’m having a hard time seeing where
it goes.

INT. CHARGER (MOVING) - NIGHT

Manos and Emma drive in silence. Emma is never able to keep

from speaking for long.

EMMA
Did you know my father?

MANOS
Yeah. He did me a favor once. He
was a good man in a world of bad
people.

EXT. OLD BAR (FLASHBACK) - DAY

The Tesla pulls up. Kelly gets out and then Emma. He’s
dressed casually like a man doing errands, going to Trader
Joe’s or something.

KELLY
You can’t come in there. Wait out
here. I’ll only be a minute.
Manos/Randy Gordon-Gatica 58.

Emma understands. The neighborhood is like something from the

1950’s with every sign in Spanish and graffiti everywhere.

INT. OLD BAR (FLASHBACK) - DAY

It’s dark, a 1950’s style bar. It’s almost empty. At a rear

booth sits an OLD LATINO (70’s). Kelly walks over to him. He
is a man with a belly.

KELLY
Mind if I sit down?

The Old Latino gestures sure. Kelly sits down.

KELLY (CONT’D)
How long has he been like that?

THE OLD LATINO

About a year.

Los Manos is passed out in a booth in the rear. He’s not

fully visible because he’s laying down.

KELLY
I paid his debts.

THE OLD LATINO

I know. Gracias. Don’t mention it.
What does he need to do?

KELLY
Nothing. No man should ever have to
live through what he has to live
through. You watch out for him. Do
what you can.

The Old Latino nods.

KELLY (CONT’D)
As far as the world is concerned
he’s dead.

THE OLD LATINO

If you ever need him to do a job
I’m sure he’ll meet the obligation.

KELLY
I’m sure. Our world will be calling
him back from the dead.

THE OLD LATINO

Because of his skills they’ll work
him to death.
Manos/Randy Gordon-Gatica 59.

KELLY
I thought of that. Isn’t his mother
still alive?

THE OLD LATINO

Si.

KELLY
Take him there. It’ll keep him off
the grid for awhile to clean up.

THE OLD LATINO

Si.

KELLY
If I ever do need him it will
because I need him.

OLD LATINO
I understand. I’ll make sure he
understands.

They nod at each other. Kelly EXITS.

EXT. OLD BAR (FLASHBACK)

When Kelly EXITS Emma is STOMPING around playfully.

KELLY
What are you doing?

EMMA
Smashing ants.

ANGLE ON SIDEWALK

There are ants.

KELLY
Never bother anything that isn’t
bothering you.

EMMA
Oh, I didn’t know.

KELLY
You bother something that isn’t
bothering you, it’ll come back and
bother you worst.

EMMA
What, like giant ants?
Manos/Randy Gordon-Gatica 60.

Kelly gives her a look.

EMMA (CONT’D)
I didn’t know. I’m sorry.

KELLY
It’s okay. Of course you didn’t
know. That’s why I’m here.

Emma smiles. They get into the car.

KELLY (CONT’D)
Now you know.

EMMA
Now I know.

(END OF
FLASHBACK)

INT. CHARGER (MOVING) - NIGHT

They drive fast down an empty freeway. Manos is wearing his

third suit.

EMMA
I was with my father that day.

MANOS
We were destined to meet

EMMA
He did that for you and you did
what you did?

MANOS
I swore an oath to do whatever my
superior orders are no matter what.
Your father knew that better than
anyone.

EMMA
These rules are crazy. Who made
them?

MANOS
I suspect your grandfather had a
great great grandfather and, well
you know the rest....

EMMA
And you believe all this?
Manos/Randy Gordon-Gatica 61.

MANOS
I’m beginning to question my career
choices, okay?

EMMA
What’s next?

MANOS
South side.

EMMA
What’s that.

MANOS
The heart of the black community.

EMMA
Is everything about what color in
this world?

MANOS
Yes and no.

EMMA
Is everything an issue of yes and
no?

MANOS
Yes.

They drive in silence for a moment.

MANOS (CONT’D)
Do me a favor.

EMMA
What?

MANOS
Get some sleep.

EMMA
I’m not...

Emma yawns. She smiles and closes her eyes. She unhooks her
seatbelt, and hops into the rear of the car.

ANGLE ON REAR VIEW MIRROR

Manos sees Perro and the patrol car following.

Manos/Randy Gordon-Gatica 62.

INT. PATROL CAR (MOVING) - NIGHT

Kriss and Heiser are silent. Perro is visible ahead of them.

HEISER
So whose the homie whose traveling
with us?

KRISS
Eyes for one of the kingdoms.

INT. CHARGER (MOVING) - NIGHT

Manos drives, lost in his thoughts.

ANGLE ON EMMA SLEEPING

DISSOLVE TO:

EXT. PIZZA PLACE (FLASHBACK) - DAY

It’s an old school place. Emma and Kelly eat a pizza and
drink from a pitcher of soda.

KELLY
One of the first things my father
taught me was-

EMMA
Any random moment could be the last
time you see someone.

Kelly smiles.

KELLY
You’re a much better student than I
was.

EMMA
And you were good, grandfather told
me.

KELLY
Oh yeah?

EMMA
He also told me you’re a much
better teacher than he was.

KELLY
He said that?
Manos/Randy Gordon-Gatica 63.

EMMA
Yes.

KELLY
You’ll use all this wisdom and
apply all to a different world and
job.

EMMA
Why?

KELLY
Because there are better jobs than
mine, way better.

EMMA
And what do you do?

Kelly sort of smiles at Emma.

EMMA (CONT’D)
You can’t talk about it, I know.
And whatever it is you do, you hate
it.

Kelly nods.

(END OF
FLASHBACK)

EXT. UNIVERSITY STADIUM - NIGHT

It’s empty as are all of the adjoining parking lots. Manos

pulls in and parks. He gets out of the car and carefully
opens the passenger side door.

The old classic stadium dominates the area. The skyline is in

the background.

INT. CHARGER - NIGHT

Manos carefully wakes up Emma.

MANOS
Come on sweetie... We need to do
this a couple of more times.

Emma slowly wakes up.

Manos/Randy Gordon-Gatica 64.

EMMA
(yawning)
Oh, that’s all...

CUT TO:

They walk toward the now aging structure.

INT. UNIVERSITY STADIUM - NIGHT

They walk through one of the tunnels. It’s a long dark narrow
walk way. When they reach the seats they still need to walk
down a long stairs to the field.

EMMA
Are we gonna watch a football game?

MANOS
I wish.

FIELD LEVEL

They walk onto the field.

EMMA
I can throw a football.

MANOS
Maybe you play in the NFL when you
grow up.

EMMA
That would be awesome. Girls can
play as good as boys.

MANOS
I agree.

They’re at the field level.

MANOS (CONT’D)
You sit there.

He points to the wall separating the stands from the field.

MANOS (CONT’D)
You’ll be able to see me on the
field.

The sun is beginning to rise.

EMMA
Okay.
Manos/Randy Gordon-Gatica 65.

Emma sits down. Manos walks to the center of the field. The
lights come on. Emma and Manos are blinded for a moment.

A DOZEN AFRICAN-AMERICAN men who are all built like football

players surround Manos. They’re thirty yards away from Manos,
each an equal distance from the other, in a perfect circle.
Manos stands at the twenty-five yard line.

EMMA (CONT’D)
Oh ohh.

Books walks down an aisle different than the one Emma and
Manos walked down. He joins Emma.

BOOKS
My feeling, exactly.

MANOS
Books.

BOOKS
Manos.

MANOS
Long time no see.

BOOKS
Long time.

MANOS
Sorry to get you out of bed for
this.

BOOKS
The price for the role life has
given us.

MANOS
Let’s do this.

Manos checks out each gentleman and they check out him. Books
sits near Emma.

BOOKS
Mind if I sit next to you.

EMMA
...sure

MANOS
What the fuck are you dumb fucks
waiting for?
Manos/Randy Gordon-Gatica 66.

BOOKS
Well I did warn them this was a
suicide mission and they’re my
people.

MANOS
I respect your honesty.

BOOKS
I respect you mother fucker.

They all let out a primal scream and come charging after
Manos in the center.

BOOKS (CONT’D)
Enough talk.

EMMA
You and Manos are friends?

BOOKS
Oh yeah.

EXT. EXPENSIVE BAR (FLASHBACK) - NIGHT

A Porsche pulls up. The doors open and Books gets out. He
goes to the passenger side. He helps his date get out. She’s
a BEAUTIFUL TALL YOUNG WOMAN in a slinky designer dress. A
PARKING ATTENDANT takes the keys from Books.

The couple walks toward the bar. A SMALL WELL DRESSED CROWD
parts like a red sea. The DOOR PEOPLE all know Books.

INT. EXPENSIVE BAR - NIGHT

The double doors open. Books and his date ENTER. Waiting is
ANOTHER BEAUTIFUL YOUNG WOMAN. As Books ENTERS with his date
she confronts the beautiful couple. The music is blasting and
everyone is dressed stylishly and expensively.

ANOTHER BEAUTIFUL YOUNG WOMAN

(to Books)
Oh, you had to work late?

Books is speechless. He looks around. A COUPLE OF OTHER WOMAN

lock eyes with him. WOMAN #3 and WOMAN #4 walk forward, each
gorgeous and well dressed. The bar is almost a private club.

WOMAN #3
I know you’re not fucking these
other woman behind my back.
Manos/Randy Gordon-Gatica 67.

WOMAN #4
I hope you didn’t give me something
besides a baby.

BOOKS
(stammering, stuttering
between their every word)
Ahhh...

All four women are in shock, angry. The music stops and
everyone is staring.

ANOTHER BEAUTIFUL YOUNG WOMAN

Ladies for once let’s unite for a
worthy cause-

She begins taking her high heels off. Manos is at the bar
trying not to watch what everyone else is watching.

ANOTHER BEAUTIFUL YOUNG WOMAN (CONT’D)

Let’s beat him to death-

The other three ladies begin taking their heels off.

ANOTHER BEAUTIFUL YOUNG WOMAN (CONT’D)

This low rent pimp fool...

BOOKS
Low rent...?

The women begin A BEAT DOWN OF BOOKS with their heels. He

does his best to defend himself. People in the crowd begin
laughing and hollering.

MAN AT BAR
Kill the low rent pimp... Kill the
low rent pimp...

Book’s face is getting CUT. BLOOD begins to flow. The ENTIRE

CROWD JOINS In. The DJ chooses some music to go with the
crowd’s chant. Manos can look away no more.

BOOKS
God dammit... He’s my friend.

CROWD
Kill the low rent pimp.. Kill the
low rent pimp...

Manos runs into the center of the beating and grabs Books,
throwing him over his shoulder and EXITING.
Manos/Randy Gordon-Gatica 68.

EXT. EXPENSIVE BAR - NIGHT

Manos saves Books with the barefoot heel swinging women

giving chase.

(END OF
FLASHBACK)

BOOKS
People told me he literally saved
my life.

EMMA
So now you’re doing this to him.

Manos takes his position. He moves in small increments to see

who to strike first.

BOOKS
What can I do-

EMMA
Don’t tell me, it’s the rules.

Emma turns away from. Books smiles.

The first to reach Manos gets PUMMELED by a perfectly timed

FIST to the FACE followed by a second body punch. As the
fellow goes down Manos picks him up to use as a wide sledge
hammer against three more who have reached the center.

Some of the remaining attackers strike one another in order

to slow the others down in order to have their chance at
Manos.

It is a battle that is somewhere between a free-for-all in a

WWF octagon and a martial arts battle to the death.

BONES are HEARD being crushed as a result of Mano’s blows.

Manos withstands vicious BLOWS in order to force his opponent
to be open in order to return with three or four more BLOWS.

In no time there are more men on the ground than still

FIGHTING.

BOOKS
Shit, I thought I brought my A
team, must have confused them with
my B team.

Manos in moments steps away from the carnage to catch his

breath. Then he’ll step back into the fray. It is not enough
to defeat an opponent, he seems to have the desire to crush
them.
Manos/Randy Gordon-Gatica 69.

Manos lets out a primal scream when there is only one

opponent left.

MANOS
Give me something I cannot defeat
and take me out of my misery. I beg
you!

LAST STANDING OPPONENT

Lets do this! I want the honor of
being the last man standing.

They bump fists. Both are breathing hard. They circle each
other. The last opponent charges a few times and leaps
throwing a SUPER MAN PUNCH. Each time he misses and hits the
ground. Manos allows him to get back up.

They circle some more. The other opponents are spread out on
the ground moaning, bleeding with broken bones. It’s a battle
field from the Dark Ages.

Manos and the last standing opponent stand in the middle of

the field WAILING ON EACH OTHER delivering BLOW after BLOW.
As always Manos finally grows bored and CRUSHES his FACE with
one FINAL BLOW. The man instantly dies.

Book high fives Emma.

BOOKS
Your man beat my best. Enjoy your
safe passage.

Emma walks to Manos. He grabs his hand and they EXIT the way
they came.

EMMA
How much longer can you keep
fighting?

MANOS
We’ll find out.

Up in the seats sitting separate is Perro and Heiser and

Kriss.

INT. CHARGER (MOVING) - DAY

The sun just rose. Emma sits in the front with Manos.

EMMA
How was each king chosen?
Manos/Randy Gordon-Gatica 70.

Manos is wearing a fresh suit.

MANOS
Good question.

CUT TO:

EXT. UNIVERSITY (FLASHBACK, 1980’S) - DAY

Classic university campus. FIVE YOUNG MEN (early 20’s), ONE

LATINX, ONE WHITE, ONE KOREAN, ONE BLACK, and YOUNG KELLY.

MANOS
The Emperor chose each king from
normal life plus his son.

Each of these young men is the younger version of each

neighborhood king that has been met tonight.

MANOS (CONT’D)
When they were younger each was on
a path to comfortable normal life.

EMMA
Normal life?

INTERCUT AS
NECESSARY

INT. CHARGER (MOVING) - DAY

Manos continues to tell the story of how the Kings were

chosen.

MANOS
They were law students, top of
their class. They were all friends
of your dad.

INT. DINING HALL (FLASHBACK) - DAY

The five young men sit around eating lunch when they’re
approached by a SUITED ASIAN MAN.

SUITED ASIAN MAN

You five gentleman are the top of
your class. I represent a large
private business. Would you each be
interested in a running a large
section of a huge private business
for enormous pay and rewards?
Manos/Randy Gordon-Gatica 71.

The five young men nod. It is a place that looks like it

could be a setting for Harry Potter.

YOUNG KELLY
Are you recruiting my friends to
work with my father?

SUITED ASIAN MAN

Yes. Your job titles will each be,
a king.

THE GROUP OF YOUNG MEN

(looking at each other)
A king...?

MANOS
Not even your dad knew what your
grandfather did. He just thought he
was a successful businessman.

CUT TO:

INT. STUDY HALL (FLASHBACK) - DAY

It’s an ornate private room in a library.

SUITED ASIAN MAN

You would begin at the top. There
will be peculiar requirements.

YOUNG BOOKS
Such as?

SUITED ASIAN MAN

You’ll never be able to speak of
what you do to anyone.

The five young men look at one another perplexed.

SUITED ASIAN MAN (CONT’D)

From day one you’ll be running a
company larger than any fortune
five hundred company.

YOUNG BOOKS
This sounds like a deal with the
devil.

YOUNG KIM
Exactly. Tell me your name?
Manos/Randy Gordon-Gatica 72.

YOUNG BOOKS
My friends call me Books.
(to Young Kelly)
Do you know what’s happening?

YOUNG KELLY
I’m learning about this as you are.

(END OF
FLASHBACK)

EXT. PARK ON A HILL - DAY

An old hilly park above the city. The Charger is parked with
Emma and Manos sitting on the hood.

EMMA
Why normal guys to do this stuff?

MANOS
They can be trusted and controlled.

EMMA
So what’s happening now?

MANOS
Eventually anyone can be corrupted
by the power and money. When that
happens they’re replaced. These
kings forgot they were normal guys
and started thinking they were all
really gangsters, except your dad.

EMMA
...oh

MANOS
Did your father ever talk to you
about anything?

EMMA
A little, but more about how to be
a good person.

MANOS
With your father gone maybe they
think you’ll be in charge because
grandfather is so old.

EMMA
I always wanted to be a princess
but...
Manos/Randy Gordon-Gatica 73.

MANOS
...yeah

INT. CAR WASH (FLASHBACK) - DAY

The Tesla is being washed. Kelly and Emma watch.

KELLY
When I tell you something you need
to do it.

EMMA
I know. It’s like when grandfather
tells you what to do.

KELLY
exactly...

EMMA
Every step.

KELLY
Every step.

EMMA
Because you wouldn’t lie to me.

KELLY
In every lie-

EMMA
Is a brick that builds your own
destruction.

(END OF
FLASHBACK)

EXT. CHINATOWN - NIGHT

Lively. There’s one in every city. Many cars and PEOPLE

traveling in every direction.

KIM (O.S.)
So gentleman, what do we do? Which
horse do we back?

INT. FAR EAST CAFE - NIGHT

It’s an old school Chinese restaurant with wooden partitions

surrounding every table.
Manos/Randy Gordon-Gatica 74.

Seated in the main back booth is Kim, Books, Karl and Louis.
With each of these gentleman is their armed contingent.

BOOKS
We back the horse mostly like to
win.

KARL
And that horse would be...?

KIM
In addition we need to back the
horse who is mostly likely to
respect our independence and inter
dependence.

Louis for once is keeping silent in the background.

KARL
And that horse would be...?

BOOKS
I think the choice is obvious
especially to the later factor.

They look at each other and nod.

KIM
What is the fuckin’ Emperor up to?

KARL
(no longer able to hold in
his frustration)
Fuck all this!
(referring to Louis)
You did this. You fucked this all
up. You lied to all of us, and who
knows what else you’re lying about.

BOOKS
Back the fuck up! I mean what the
fuck are we doing putting all of
our faith in some old man that we
never see or talk to.

Everyone is staring at Books.

BOOKS (CONT’D)
Did I just say all that out loud?
Did I just cross the Rubicon?

KIM
We’re all about to go to war with
each other-
Manos/Randy Gordon-Gatica 75.

It becomes silent in the restaurant. Everyone stares at each

other.

KIM (CONT’D)
and we don’t even know why.

KARL
Manos would never have done this
shit. What’s the God damn idea
behind everything?

Louis BANGS the table. The entire restaurant gets silent.

Everyone is staring at him.

LOUIS
(quietly)
Fuck the emperor... Fuck Manos for
going rogue and taking out our
brother Kelly.

KARL KIM
What? What?

BOOKS
...yeah, what

LOUIS
Fuck the The Emperor! We don’t need
his old pinche dumb ass. We can do
what we do without all his old
Chinese Buddhist bullshit.

The others are silent and not clear how to respond. Finally
the Karl.

KARL
Get the girl and that’s the key and
leverage. It’s the only thing the
old man will care about. I think.
Can you do that?

LOUIS
I can do anything.

EXT. ST. VINCENT COURT - NIGHT

The Charger is parked. Manos sits with the Orthodox Jewish

man and the Muslim man at a table.

MANOS
What are the odds of me making it
through today?
Manos/Randy Gordon-Gatica 76.

Emma stands near the car.

MUSLIM
Not good.

MANOS
How much do you owe me for the Rams
game?

ORTHODOX MAN
You got a couple of G in the bank.

Emma has walked up behind Manos. He doesn’t notice.

MANOS
Put it all on me not to make it and
give her the winnings.

EMMA
Put it all on him to win.

Manos stares at her for a long moment.

EMMA (CONT’D)
You’re the righteous one here. It’s
why you’ll prevail.

ORTHODOX MAN
(to Manos)
You know how to roll the dice.

MANOS
(to Emma)
No, she knows how to roll the dice.

INT. THE EMPEROR'S PALACE - DAY

The Emperor is drinking a cup of tea.

MONK
He has defeated everyone except for
Louis.

The Emperor nods. Monk number two stands nearby.

MONK (CONT’D)
It’s not clear if Louis will aide
or obstruct him returning your
granddaughter.

MONK #2
What is the end game?
Manos/Randy Gordon-Gatica 77.

The Emperor doesn’t respond.

EXT. 6TH STREET BRIDGE - DAY

The Charger sits at the foot of a classic bridge built before

the Depression. The area is desolate. A few SIRENS can be
heard in the distance.

EMMA
Where are we?

MANOS
At the foot of my home.

INT. CHARGER - NIGHT

Manos and Emma sit side by side.

MANOS
Once we cross this bridge we’re
there, East of the city. It’s
Mexico City in the middle of the
city.

EMMA
I’ve been here before.

MANOS
When.

EMMA
When my dad paid off your debt.

MANOS
Oh. Once we get past this bridge,
next will be your grandfather

EMMA
What’s stopping us?

MANOS
Louis and my old gang.

EMMA
Why are they stopping us?

MANOS
They’re behind everything going on.

The bridge is desolate. Manos begins driving over it slowly.

The skyline looms behind and a concrete River beneath.
Manos/Randy Gordon-Gatica 78.

EMMA
Why?

MANOS
I think Louis had impulse and no
plan. He somehow thought he could
take over, and you happen to be
there.

EMMA
Father told me once hiding an
impulse is like hiding an elephant.

MANOS
...yeah He justified all this chaos
by saying he thought you’d be in
charge.

EMMA
Me?

MANOS
Your grandfather is old.

EMMA
There is no point to any of this.

MANOS
...yeah

EMMA
You know what?

MANOS
No. What?

EMMA
Stop the car.

He looks at her and sees that she’s serious.

EMMA (CONT’D)
Stop the damn car.

He does. They look at each other.

EMMA (CONT’D)
This is stupid. These rules.
Everyone is just doing what they
want, killing each other, taking
what they want. You don’t have to
do this.

Manos is silent.
Manos/Randy Gordon-Gatica 79.

MANOS
It’s all I’ve ever done is follow
these rules. I’m not sure I know
how to do anything else.

EMMA
It’s not too late for you. You’re
going to be a good daddy for
someone. That’s what you’re really
good at. You’ve taken such good
care of me.

MANOS
Really?

She nods. Manos is silent for a long moment.

MANOS (CONT’D)
That’s the greatest thing anyone
has ever said to me about me.

EMMA
The best part is, it’s true. I’m
going to be empress just long
enough to take this all apart just
like it took my daddy away from me.

MANOS
That sounds like a good plan. I’ll
help you.

EMMA
You’re all just kidding yourselves
that you got some honorable thing.
You’re just organized in a way to
steal and murder people.

Manos has to let all of this soak in.

MANOS
I think you’re right.

EMMA
I’ll save you.

MANOS
How?

EMMA
Forget my grandfather. I know now
he’s bad. Let’s leave. Maybe I
could forgive you for what you did
to my father.
(MORE)
Manos/Randy Gordon-Gatica 80.
EMMA (CONT’D)
You could be a foster parent. It
won’t be long till I’m eighteen.

MANOS
You grandfather would scorch the
earth to find you. We have to
destroy his thing like you said.

EMMA
I’m no royalty. There’s no such
thing. I’m just some kid. But
you...

MANOS
...me what?

EMMA
You’re like a knight from long ago
with honor and all that stuff.

MANOS
Time to do this.

Manos drives forward.

MANOS’S POV - A BLOCKADE

At the EXIT to the bridge the street is blocked by a number

of COLORFUL CUSTOMIZED LOW RIDERS. A SMALL ARMY of GANG
MEMBERS are gathered and lined up with HIGH POWERED AUTOMATIC
RIFLES waiting for Manos.

Manos drives up, stops.

EMMA
What are you going to do?

MANOS
I don’t know. I never know what I’m
going to do until I do it.

Manos gets out of the car. He eyes Louis.

MANOS (CONT’D)
(to Louis)
Do you want to do this?

Louis is back there in charge of everything.

LOUIS
Obviously.
Manos/Randy Gordon-Gatica 81.

EXT. RIVER - NIGHT

Kriss and Heiser, each with binoculars watches.

HEISER
What’s going to happen?

KRISS
Pretty simple, either, they stop
him or they don’t.

INTERCUT AS
NECESSARY

Perro is next to Louis.

LOUIS
Give me the girl and this all goes
away.

MANOS
No. Come and get her.

Louis gets back into the car, burns some RUBBER by putting it
in reverse. He moves the car to midway on the bridge.

EMMA
What are we waiting for?

MANOS
The hounds.

A number of the homies have jumped back into their cars and
are racing toward Manos.

MANOS (CONT’D)
Now we swat them like flies.

INT. CHARGER (MOVING) - NIGHT

Manos is smiling.

MANOS
You know what you should never do?

EMMA
No. What?

MANOS
Get into a car chase with a low
rider.

Manos stops the Charger again at the foot of the bridge.

Manos/Randy Gordon-Gatica 82.

He waits for the flotilla heading toward him.

INT. LOW RIDER #1 (MOVING) - NIGHT

A CAR of FOUR GANGSTERS, THREE with AUTOMATIC RIFLES,

intensely ready for battle head toward Manos.

DRIVER
You heard about what happened to
that cop car that was chasing this
fool?

GANGSTER SITTING SHOTGUN

How he killed the car and everyone
in it?

DRIVER
Yeah.

GANGSTER SITTING SHOTGUN

You know what, fuck this shit.

DRIVER
Yeah.

The driver makes a U-Turn and heads back as do the other

Lowriders.

Manos can’t believe this.

MANOS
Are you fuckin’ kidding me?

Emma gets out of the car laughing.

EMMA
Your reputation precedes you.

Manos gets back into the Charger and races across the bridge.

MANOS’S POV - LOUIS IS SHOOTING ONE OF THE LOWRIDERS

LOUIS
You God damn pussies. What the fuck
do I pay you for?!

Manos drives half way across the bridge and stops.

MANOS
I’m going to leave you here. Find a
dark corner beneath and hide and I
will come back for you.
Manos/Randy Gordon-Gatica 83.

EMMA
Okay...

MANOS
We’ll each get out now and go to
different sides of the bridge right
here.

On each side of the bridge is a stairs to beneath. They each

get out and walk to each of the stairs on opposite sides and
disappear. Manos has his last spare suit.

ANGLE ON LOUIS

He’s unsure of what Manos is doing.

LOUIS
What the fuck is this fool doing
now?

ANGLE ON HEISER AND KRISS

They’re somewhat astonished.

KRISS
Where did he go?

ANGLE BENEATH BRIDGE

Manos runs quickly and carefully under bridge on the various

streets beneath where there are many old factories with the
River in background.

ANGLE ON EMMA

She sits low obscured by large shadows beneath the bridge.

ANGLE ON LONG BLACK LIMOUSINE (MOVING) - NIGHT

It’s moving quickly through Wilshire blvd.

INT. LONG BLACK LIMOUSINE (MOVING) - NIGHT

The DRIVER wears an early twentieth century uniform.

In the back is Kim, Books, and the Karl. All three are
stewing and unsettled. Books notices this.

BOOKS
(to Karl)
What’s up?
Manos/Randy Gordon-Gatica 84.

KARL
Are we out of our minds trusting
Louis? We’ve fucked ourselves
royally trusting Louis.

KIM
In a group of thieves and murderers
he’s the least honorable.

BOOKS
I wasn’t going to say anything but
now that you’ve said something.

KIM
Driver, turn the car around.

KARL
Let’s call an air strike with our
armies united.

ANGLE ON HIGHWAY

From the darkness Manos is carefully getting to the other

side of the bridge behind Louis and his men crawling up a
dirt embankment.

ANGLE ON BRIDGE

Louis and his army are still looking for Manos every which
way.

LOUIS
How the fuck does a gorilla like
that disappear right before our
eyes?

Manos come charging up behind them and begins BEATING

EVERYONE SAVAGELY.

LOUIS (CONT’D)
Get the fool!

The immediate blood and carnage causes many to dessert.

LOUIS (CONT’D)
Come back you God damn cowards.
I’ll kill you myself.

Some of Louis’s men panic and shoot toward the pandemonium,

shooting their own because Manos is in the middle.

Despite doing a surprise attack Manos managed to hang his

last suit on a piece of abandoned fence.
Manos/Randy Gordon-Gatica 85.

In no time there is only Manos, Louis, and Perro.

MANOS
(to Perro)
You know what to do fool.

He does.

LOUIS
Well damn. What happens now?

There are BODIES everywhere, some moving and moaning, most

dead lying still. Blood flows. Manos is covered in it.

MANOS
I told you what I was doing and
where I was going.

Perro returns with TWO SOLDIERS. They’ve been seen

throughout. They each hold a weapon pointed at Emma.

LOUIS
We found her.

TWO MORE MEN come out from the shadows with automatics
pointed at Manos’s mother. She is terrified.

MANOS MOTHER
Mijo, I’m so sorry.

MANOS
What are you sorry for?

Perro gets into a nearby black luxury SUV.

MANOS MOTHER
(crying)
They told me you got hurt and they
would take me to you. They lied to
me. I should have known better.

MANOS
Mama, don’t worry, I’m going to fix
this whole thing.

LOUIS
Like you fixed it with your wife
and kid.

Manos LUNGES toward Louis and all his remaining men point
their weapons at Emma and Manos’s mother’s head.
Manos/Randy Gordon-Gatica 86.

LOUIS (CONT’D)
Stay where you are dog. Don’t move
dog.

MANOS
I will kill your entire family.

LOUIS
But right now you’re going to stay
right there.

A MOTOR is heard revving.

ANGLE ON MANOS

He is alarmed.

MANOS’S POV

The luxury SUV driven by Perro with lights on is headed right

for Manos.

Manos doesn’t flinch.

The vehicle RUNS HIM OVER in front of his mother and Emma.

Manos’s mother is crying. Emma is attempting to console and

steady her.

A PORTION of LOUIS’S army returns. A HUGE THUNDEROUS SOUND

MOMENTARILY OVERTAKES EVERYTHING.

ANGLE ON BRIDGE

Book’s ARMY OF A DOZEN comes charging over with weapons

drawn.

LOUIS (CONT’D)
Fuck.

PERRO
What?

A secondary wave is heard charging.

LOUIS’S POV - KIM’S ARMY CHARGING

A DOZEN of KIM’S ARMY charges from the opposite direction

squeezing Louis in between.

Mano’s is laid out in the middle.

Manos/Randy Gordon-Gatica 87.

LOUIS
This is going to be Custer’s last
stand and we’re Custer if we don’t
book.

From the road beneath, from a third direction is the Karl’s

army of a DOZEN ARMED and SUITED SOLDIERS.

LOUIS (CONT’D)
We gotta get the fuck outta here,
now!

PERRO
How about the old lady?

LOUIS
Keep her. We might need her for
leverage. The big son of a bitch
has a habit of rising from the
dead.

Manos’s mother standing nearby overhears this. She takes one

step forward and SLAPS Louis twice.

MANOS’S MOTHER
I’m no bitch and he’s not dead so
there’s no reason for him to rise
from the dead.

LOUIS
You’re definitely his mother.

Manos, Perro, and two gun men force Emma and Manos’s mother
onto a vehicle. The vehicle DISAPPEARS down the dirt
embankment along a freeway. It’s the only path out.

PERRO
What about our army?

LOUIS
Fuck them. We’re all that’s left.
Our fate lies with The Emperor.

Manos is left lying in the street among the men he took out.

SLOW FADE IN:

MANOS’S POV - KARL, KIM, AND BOOKS STARE

BOOKS
He’s alive.

As each speaks the sound is hazy.

Manos/Randy Gordon-Gatica 88.

KIM
Thank the lord.

KARL
Indeed.

BOOKS
He’s pretty shot up this time.

MANOS
Ahhhhhhhhhh!!!

It’s a primal scream. He leaps up like a man coming back from

the dead. Karl, Kim, and Books jump back. Manos is bleeding
and he has trouble standing.

MANOS (CONT’D)
Let me fuckin’ at them, now!

Books gets closest.

BOOKS
Okay my man. Let’s patch you up and
put you back in the game.

KIM
Anyone else would be dead.

INT. LUXURY SUV (MOVING) - NIGHT

Perro drives, Louis sits shotgun, two gunmen in the middle,

Emma, and Manos’s mother in the back. Emma is still trying
console Manos’s mother.

MANOS’S MOTHER
(crying, repeating)
Aye mi hijo.. Aye mi hijo...

LOUIS
Lady, shut the fuck up!

EMMA
You shut up, idiot!

Silence. Perro starts laughing, and then others. Louis can do

nothing.

EXT. FREEWAY - NIGHT

The luxury SUV is flying by every other vehicle moving at a

high speed.
Manos/Randy Gordon-Gatica 89.

INT. SIXTH STREET BRIDGE - NIGHT

The limo is still parked in the midst of the battle scene at

the foot of the bridge.

KARL
It’s Louis who has pulled the coup
d'etat.

MANOS
No shit.

Manos is laid out in the back of the deluxe vehicle. SOME

SORT OF DOCTOR is pouring whiskey on his wounds and PULLING
THE BULLETS out with some sort of medical pliers.

BOOKS
We’re banding together to hire you
to put a hit on him.

Each bullet fragment makes a noise when it is tossed and HITS

the interior of the car somewhere.

MANOS
This one is on the house. This one
has nothing to do with you. Escape
while you still can. Our world is
finished.

The doctor is simultaneously thin, overweight, balding, with

a thin mustache; what hair he has is greasy.

MANOS (CONT’D)
Just let this quack finish patching
me up. I just need the car.

The Charger is parked nearby.

INT. LUXURY SUV (MOVING) - NIGHT

It exits off of the freeway.

EMMA
Where are you taking us?

LOUIS
To the Emperor to square away this
mess. He’s the only who can spare
your lives now.
Manos/Randy Gordon-Gatica 90.

EMMA
Your life. You expect him to say
all is okay and go on as you were
before.

LOUIS
...shut up ...you’re giving me a
God damn headache.

INT. LOUIS’S SUV (MOVING) - NIGHT

Driving through endless suburbs. Everything is quiet.

EMMA
So this is where grandfather lives?

LOUIS
Apparently.

The sun is beginning to rise.

MANOS’S MOTHER
I use to clean houses like this.

INT. CHARGER (MOVING) - DAY

Manos is back in the Charger driving at full speed wearing

his last spare suit.

CLOSE UP - SPEEDOMETER

One hundred.

INT. LOUIS'S LUXURY SUV (MOVING) - DAY

Emma sits close with Manos’s mother.

EMMA
Your son will save us.

MANOS’S MOTHER
I know mija.

LOUIS
(annoyed)
You don’t know what the hell you’re
talking about?
Manos/Randy Gordon-Gatica 91.

EXT. SUBURB - DAY

Louis’s SUV pulls up in front of the Emperor’s house. It is

the secluded Cul De Sac with a view of the whole
neighborhood.

LOUIS
We’re here.

PERRO
This is the The Emperor’s house?

LOUIS
What did you expect a palace. Gotta
stay off the radar when you’re in
charge of the biggest organization
in America.

PERRO
You’ve been here?

ANGLE ON HOUSE - THE AUTOMATIC GARAGE IS OPENING

The monks are loading items into a luxury SUV.

LOUIS
Never. What the fuck. It looks like
mother fuckers are going somewhere.

CLOSE UP - ITEMS BEING LOADED

Large bundles of cash.

PERRO
That’s a lot of cash.

LOUIS
Yeah, that’s a lot of cash.

PERRO
Mother fuckers are getting out of
Dodge. What the fuck is going on?

LOUIS
For once I’ll admit to you I’m
figuring this shit out as we go
along.

Louis’s drives the vehicle the very short distance to in

front of the house to block the driveway with the vehicle
he’s driving. Louis and Perro emerge.
Manos/Randy Gordon-Gatica 92.

LOUIS (CONT’D)
(to the Emperor)
What the fuck?

THE EMPEROR
My son.

LOUIS
I ain’t your fuckin’ son.

Emma emerges.

EMMA
Grandfather are you making an
escape?

THE EMPEROR
No my little cookie.

LOUIS
Actually, that’s the right fuckin’
question right now.

EMMA
Grandfather you weren’t even going
to wait for me.

THE EMPEROR
No my dear.

EMMA
You lie.

THE EMPEROR
Don’t you dare speak to me like
that.

EMMA
Your voice, your eyes, your
actions, tell the truth.

LOUIS
what she said...

EMMA
You’re not my little grandfather.
You’re some stranger who cares
about no one.

LOUIS
Let’s see if this stupid old man
really cares about anything.

Louis grabs Emma and puts a gun to her head.

Manos/Randy Gordon-Gatica 93.

EMMA
(crying)
You’re not a leader to these men.
After what you did to my father,
it’s likely you’ll do it to anyone
of them.

THE EMPEROR
You don’t know what you’re
saying...

LOUIS
This organization has just been
hostilely been taken over.

Louis looks around, backed by Perro and the two gunmen.

LOUIS (CONT’D)
Guys take that cash and load it
onto our vehicle.

THE EMPEROR
Stay away from what is not yours.

LOUIS
(to the Emperor)
Back off, stand down, or she goes,
and then you.

The Emperor indicates to the Monks to do something. They step

forward and Louis, Perro, and the Two Soldiers point their
WEAPONS at the Monks.

LOUIS (CONT’D)
(to Monks)
Run.

The two Monks look at each other, and then run.

ANGLE ON CORNER

Manos parks down the street where no one can see him. He
carefully gets out of his vehicle. The Monks run past him.

Louis’s men load the cash into their vehicle. Louis holds his
weapon to Emma’s head.

Karl appears in one spot, Kim in another, and Books in

another. The Emperor sees he is surrounded.

KARL
That’s all of our money we kick up,
going from one SUV into another.
Manos/Randy Gordon-Gatica 94.

Heiser and Kriss are there as well. SOME NEIGHBORS begin to

appear in their doorways.

They all walk forward with Manos carefully the closest

without being seen.

THE EMPEROR
(to the Kriss)
Thank you for being my eyes but you
didn’t see enough fast enough.

Heiser looks at Kriss.

HEISER
You want to tell me what’s
happening?

KRISS
Isn’t it clear. Now, you have to
pick a side.

Manos continues to hide behind parked cars as he carefully

signals his mother to keep her head down and move out of the
way.

LOUIS
(to everyone gathered)
I’m now in charge.

Heiser pulls out a badge.

HEISER
Federal agent Heiser. You’re all
under arrest! Hands in the air now.

Karl, Kim, Books, and the Emperor look at one another.

Without warning they all pull out WEAPONS.

KARL
I don’t think so.

KARL (CONT’D)
Officer, let me warn you, next time
you place someone under arrest,
bring back up.

LOUIS
Fuck this family dispute shit. The
kingdoms, the universe. It’s all
clearly bullshit.

Louis POINTS a GLOCK at the Emperor and SHOOTS HIM.

Manos/Randy Gordon-Gatica 95.

Manos LEAPS out of nowhere SHOVES Emma out of the way while
guarding her. Louis, Perro, Karl, Kim, and remaining Gun Men
all SHOOT ONE ANOTHER. It’s a TSUNAMI of BULLETS.

MANOS
Let’s get out of here!

Manos gets Emma, and his mother into the vehicle that Louis’s
was driving now full of the money. As the wounded continue
SHOOTING EACH OTHER. BLOOD CONTINUES TO SHOOT UP.

INT. LOUIS’S LUXURY SUV - NIGHT

Manos gets in the vehicle last.

MANOS
Keep your heads down.

Manos carefully drives away.

MANOS’S MOTHER
Mijo, what about all this money?

EMMA
We’re going to give it all away to
help people.

MANOS
What she said.

They disappear.

THE END