EXTRAORDINARY RENDITION

Cody Lamie

beyondoasis@gmail.com

EXT. FLORENCE, ITALY - DAY Its a cool cloudy day. Beautiful barren cobblestone streets and empty Italianate houses surround us. Walls of stucco and granite with bullet holes are commonplace. Plumes of smoke rise above the tops of churches and watchtowers. Clucking chickens and distant gunshots can be heard. Without warning we see SGT. JERRY MALONE of the O.S.S. who runs through the streets. In his hand, he is grasping a Colt 1911 pistol. TITLE OVER: 1943 It begins to mist. He continues down the street and we see a large building in the distance. It is the Palazzo Vecchio, the citys fortress. Surrounding it is a waist high wall, which Malone ducks behind. He grabs a grenade and a KA-BAR knife out of his belt. MALONE (panting, sarcastically) And I thought Italy in the summer was supposed to be a nice time. Malone loads and cocks his gun, then peeks over the wall out onto the perpendicular street. Out of the mist running comes DAX AUERBACH, Malones partner. He takes a position about 50 feet away at the adjacent side of the wall. Running from the other side is MARSHALL EDWARDS, MI-5 agent and inside man to the operations of the Axis Powers. Malone signals to both men to be on their guard. He leaps over the wall and runs toward the entrance gun in hand. Both men follow his lead. They stop about 20 feet from the entrance, against the wall to regroup with each other. MALONE (CONTD) (to Edwards) So whos inside? EDWARDS Never was one to read the dossier, were you Jerry? AUERBACH Hey its great the family reunion is happening, but maybe Id like to get the fuck out of here before we end up in the ass end of a firing squad.

EDWARDS pulls a photo out of his pocket.

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EDWARDS (pointing at photo) Dietrich Schlitz. CUT TO: INT. OLD CHANCELLORY - DAY Schlitz is seen inside under heavy guard in the highest room in the fortress. He sits at a desk with a Lugar in his hand pointed at the door. EDWARDS (V.O) One of the Jerries more slippery characters, Schlitz has been on the run since he fled Tunisia. OSS managed to track his whereabouts to the city. SCHLITZ American scum. (Yelling to soldier, throwing shoe, in German) Get on the radio! CUT TO: EXT. PALAZZO VECCHIO - DAY EDWARDS However when the Yanks stormed the city three days ago they found no sign of him in the command. Its possible he fled the city, but command believes he successfully hid from the attack and managed to fall back to the fortress to await some kind of extraction. AUERBACH So why send us in? MALONE Someone has to be Uncle Sams bitch. Alright Dax you follow my lead. Marshall you get on the horn to the commander. Take the west entrance. Were gonna need immediate extract for this one. Malone pulls the pin on that granade.

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AUERBACH You crazy son of a bitch. MALONE I think its time we woke these boys up. CUT TO: INT. PALAZZO ENTRANCE - DAY SPFX: The front door violently explodes inward crushing a guard. CUT TO: INT. OLD CHANCELLERY SCHLITZ What is this!? Go check downstairs!! CUT TO: INT. PALAZZO ENTRANCE - DAY Malone and Auerbach come in guns in hand through the hole in the front door. They run through the main atrium through a partially outdoor courtyard. Malone and Dax split up. Malone spots a guard on standing near the edge of an oncoming hallway and sneaks up behind him and slits his throat. Another guard nearby spots Malone by the hallway. He points his machine gun at Malone. Malone kicks it out of his hand, punches him hard in the stomach, throat and then face. He sweeps kicks him onto the floor then shoves his knife into his chest. A third guard comes out of a stairwell and holds up Malone. GUARD (in German) Die you son of a bitch! Suddenly, the side of the guards head explodes outward. Dax is revealed as being the one who saves Malone. MALONE Thanks for that one. AUERBACH Wont be the last time.

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The two make their way up the stairs. CUT TO: INT. CONVERTED RADIO ROOM - DAY Two German guards are inside on guard against the door. EDWARDS (O.S.) Hey, chaps. The guards turn around to shockingly see Edwards perched in the window. He pulls out a Hi-Power and shoots both in the face. He runs over to the radio and gets on the horn to O.S.S. EDWARDS (CONTD) HQ, HQ, extract needed. 42 degrees 47 minutes north, 11 degrees 15 minutes east. HQ, HQ--CUT TO: INT. OLD CHANCELLERY - DAY Malone and Auerbach run near the archway of where Schlitz is being held. Malone throws a smoke grenade into the room. It fills up with smoke. MALONE (O.S.) SCHLITZ!!!!! Schlitz and 3 other guards shoot wildly into the smoke until all the chambers are empty. Schlitz signals a guard to look into the smoke. He reluctantly walks into it. A scream and a snap is heard. SCHLITZ Scheie.... At this point the entire room has filled with smoke. The Germans split up, but we stay with Schlitz. Another scream is heard. Then a gunshot and a scream. At this point, Schiltz is loosing his shit. He runs. Suddenly, he is held at gunpoint by Malone. MALONE Surprise, asshole. Youre coming with us.

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AUERBACH See that wasnt so hard was it? MALONE Lets get the hell out of here. As they start to leave, a guard pops out of a doorframe with a machine gun. He shoots Auerback. Malone wildly shoots back and kills him. Schlitz however, reaches for Malones gun and Alone shoots him in the chest. MALONE (CONTD) (screaming) DAX!!!!!!!!!!!! SCHLITZ (barely alive) Youll.....never....make it.... Schlitz laughs, coughs and dies. He notices that the other soldier has a beeping detonator in his hand. Edwards comes storming into the room. He sees Auerbachs dead body. He hears the beeping of the detonator. Edwards and Malone just stare at each other. The fear can be seen in each others eyes. CUT TO: EXT. PALAZZO VECCHIO - DAY The building is visible. SPFX: Then a flash of light and an explosion. The windows shatter outward. A fireball rises. CUT TO BLACK SUPERIMPOSE: EXTRAORDINARY RENDITION

FADE IN: EXT. HOLLYWOOD, CA - NIGHT Its a warm sticky Los Angeles night in Hollywood. Trollies and cars run up and down the boulevard. Dimly lit flickering neon signs line the sides of buildings. A Chevrolet Bel Air pulls up to the side of the Musso and Frank. The driver door opens and we close up on our hero, JERRY MALONE. His brown coat and fedora reveal a dark secret inside his.

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SUPERIMPOSE: 1957 The look in his eyes isnt one of hope. He appears broken and sullen, like at any moment he could crumble like a Greek ruin. He glances over the bar, clears his throat, and then slowly walks inside. INT. MUSSO AND FRANK - NIGHT The Musso and Frank on this Friday night is a smoky, cloudy mess of humanity. The upper echelon of society sip on vermouth. Hollywood businessmen chatter amongst themselves about guys like William Holden and Montgomery Cliff. A group of African-American gentlemen chatter about cutbacks at a sawmill in Pomona. Three women in a booth laugh at a joke the youngest womans stepmother told at a bachelorette party last Saturday. The jukebox is playing So Rare by Jimmy Dorsey. At the end the bar we see Malone, sitting alone. He looks down at his whiskey glass and finally takes the last swig before slamming his glass down on the counter. He looks around for the bartender. MALONE Can I get another one of these Jack? JACK Sure thing, bub. Malone looks around the crowd gathered tonight. He looks around at the crowd. He spies a young woman sitting alone at the bar. He staggers over and sits next to her with a big stupid grin on his face. YOUNG WOMAN Gary, vodka martini, extra dry. MALONE (interrupting, tipsy) Its on me. YOUNG WOMAN I dont think thats necessary. MALONE Hey cmon toots, its my birthday! YOUNG WOMAN Bake a cake and make a wish then. Malone grins and Gary brings him a fresh drink.

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MALONE They told me Im a fire hazard. The young woman smiles and laughs. Jerry laughs along with her. Suddenly another man comes up to the bar with a group of friends, laughing. They approach the bar and the tallest guy yells over to the barkeep. Unbeknownst to either the young woman or Malone, its none other than Marlon Brando, in a brown blazer with a tight t-shirt undernearth. BRANDO Hey! Sctoch on the rocks! (looking over at the young woman) Hey, how you doin sweety pie... MALONE Ay! Ay ay ay ay, fruitcake! I think I was talkin to the lady here first. BRANDO The fuck did you just say to me? MALONE I think you heard me, pal. Brando looks back at his friends. BRANDO You get a load of this guy right here? (to Malone) Now buddy, maybe you dont know who I am, but Im gonna let you go this time. Malone looks Brando straight in the face, before pointing toward a table in the bar. The song switches on the jukebox to Paul Ankas Diana. MALONE Hey, is that Kim Novak over there? BRANDO (looking behind him) Wait, what? Suddenly, Malone punches Marlon Brando right in the face. He grabs his head and slams it right down on the counter before punching him again in the chest then kicking him square in the stomach. Brando swings and misses before Malone counters with another punch to the nose. Meanwhile many people in the bar are rushing out in droves.

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Brando clenches his nose before 4 of his posse members step in and rush Malone. Malone tries to fight then off. He manages to hit one in the face and then kicks another into a table, breaking it. Malone picks up a bar stool and starts to swing it around. MALONE Alright whos next? Suddenly, one of Brandos posse members takes a beer bottle and cracks Malone over the head with it. Malone stumbles then falls against the bar. Brandos group holds him down. MALONE (CONTD) (barely conscious) Man, the room is spinning a lot more than before. BRANDO (O.S.) Shut the fuck up! A fist hits Malones face. Brando is standing over him with another fist cocked. Between each syllable Brando punches Malone. BRANDO (CONTD) Dont....ever....fuck...with me... again. Another fist hits Malones face and he blacks out. CUT TO BLACK CUT TO: INT. MUSSO AND FRANK - NIGHT VOICE Malone.....Malone....? Malones vision is blurred as above him looking down is a man in his mid 50s, greying, with a pipe in his mouth. MALONE Goddammit, my head hurts. Malones vision clears to reveal COLONEL ARTIMUS RILEY, Malones old commander officer in the O.S.S, now a senior director of the CIA in Washington. MALONE (CONTD) .....Art?

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RILEY Looks like you missed me, kid. SMASH CUT Malone and Riley are now sitting back at the bar, which is empty. The bartender looks less than thrilled about handing Malone an icepack, after the damage he did to two barstools and a table. The bartender throws it down onto the bar, glares at Malone, and goes back to polishing a glass. Malone takes the icepack and puts it against the back of his head. MALONE So do I have you to thank for the fact Im not sitting in a jail cell? RILEY (pulls out badge) I managed to talk the owner out of calling the cops, and after I flashed this Brando said he wouldnt press any changes. MALONE (confused) Wait....Brando? RILEY Jesus, Jerry, what the hell happened to you? Barfights? MALONE Hey cmon, he started it. Riley just shakes his head. The bartender sets two glasses down on the table. RILEY So you actually made it out to the coast like you said you would... Jack pours two whiskeys. MALONE Haha, yeah and on the dime of government retirement. Malone picks up his glass and toasts. MALONE (CONTD) (cynically) Heres to the taxpayers.

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RILEY Jerry.... MALONE You know Art, you can drop the act. I havent seen you in what, 5 years, and suddenly you come to L.A. out of the blue for a drink? By the way what the hell are you doing here anyway? (laughing) Dulles got you hunting the reds in Tinseltown? RILEY Jerry, we need you. Malone finishes his glass. He looks over and keeps laughing at Riley. MALONE I got nothing you need anymore. RILEY Cmon Jerry, I just watched you smash 3 guys faces in half-cocked. I know you still got it in you. MALONE Listen Art, thanks for getting me out of this one, and congrats on the promotion, but Ive gonna go pass out now if you dont mind. Malone grabs his hat and heads toward the door. RILEY Malone....you want some peace of mind for Dax? Malone looks back toward Riley. MALONE Heres my peace of mind, right here pal. Malone gives Riley the middle finger and walks out the door. CUT TO:

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EXT. MUSSO AND FRANK ENTRANCE - NIGHT The streets are completely barren. The sounds of crickets can be heard, while steam rolls out of manholes on the boulevard. Malone stumbles out of the bar and walks toward his car. He puts his key into the door and gets inside. Malone sits in the drivers seat, with a look of confusion and anger on his face. He punches the steering wheel, setting off the horn 4 or 5 times. Malone screams out in anger and regret. He calms down though, still grasping for breaths. Finally he puts the key in the ignition, puts the Chevy in gear and slams his foot onto the accelerator. Unfortunately, he put the car in reverse. Malone slams the car into a lightpole 20 feet down the road. Malone looks up to see Riley standing by the side of the road. MALONE Fuck my life. Riley walks over to the car and peeks his head into the window. RILEY Having some car trouble, Jerry?

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