WANTED

by
1607498

ALTERNATE MAIN D3.2:

FADE IN:
INT. ROOM - DUSK
Footage from an old kids show is playing on a beaten up TV.
A young kid 'DANNY' (8yrs) is entranced by the lone cowboy
on the screen.
The walls of the room are a dull 'once upon a time' gold and
bleak like a desert scape. Any furniture is wooden and
splintered.
On the floor DANNY plays with his toys - the final showdown
of a spaghetti western is taking place. A lone cowboy vs.
The Mexicans, Indians and a T-Rex.
It's a massacre.
In reality his 'toys' are one shoddily painted cowboy
figurine facing off against a habdashery of dust bunnies,
twisted rubbish people and perishing woodlice.
In a forgotten corner of the 'wild west'
room) a balding, skinny failure of a man
slacks and a beige shirt. He's pasty and
The type of guy who's normally an extra,
of his own life.

(aka. The living

(CARL) sits in
curiously saggy.
even in the movie

His socked feet twitch against a carpet that is doggedly

settling into rigor mortis.
CARL watches the TV with a squint. It's intense. While we
can't read his thoughts, we can later take a guess at the
brilliant plan forming in his mind like a run-away train.
DANNY crunches a woodbug flat with his thumb. It leaves a
little brown stain.
INT. CAR - NIGHT
CARL sits alone smoking in a car. He is fiddling with
something out of view. Looking down, CARL fiddles with one
of DANNY'S small painted cowboys. Raising the figurine to
eye level, they stare each other down. CARL slams the
figurine onto the dashboard.
There is a constant buzzing sound. The figurine squats and
points it's twin guns at nothing.
CARL quickly exits the car. A cloud of cigarette smoke exits
with him. He tosses his cigarette butt.
CUT TO:
EXT. PETROL STATION - NIGHT

2.
An isolated petrol station. Sound of wind blowing in the
empty forecourt. There is buzzing bright lighting - like an
electric fly killer. The car (a tired Wagon with a little
horse dangling from the mirror) is parked out front. There
are clear no smoking signs. An 'open' sign flickers on and
off indecisivly.

INT. PETROL STATION - NIGHT

Despite the harsh flourescent lighting, it is darkened and
grimey. CARL mooches in the aisles towards the back, almost
trying to blend into the luridly packaged crisp stand behind
him. We see a glorious pair of tacky yet intriguing cowboy
boots squeaking on his too big feet.
An older man of foreign descent (compared to CARL) is stuck
behind the gritty counter. The men continuously glance up at
each other like awkward teens at prom as shitty disco store
music plays overhead.
Eventually CARL appraoches the counter, slaps down a
magazine and thrusts his chin toward the cigarettes, playing
tough. The WORKER raises an unexcited brow as a question.
CARL
Red Apples.
The WORKER carelessly reaches back grabbing the first pack,
barely looking.
The buzzing escalates. There is then a ringing sound. CARL'S
phone lights up in his back pocket. CARL winces but ignores
it. To the WORKER this is a bit weird.
Carl grins stiffly and the men stare at each other some
more. Now CARL means business.
WORKER
I can offer you a variety of dif-Cutting off the WORKER, CARL heavily places a revolver upon
the counter, as if to buy it, before tilting it up and
aiming at the WORKER.
WORKER
I -CARL
Just take it easy.
The WORKER jerks towards the phone. CARL interrupts -CARL
AH! Don't be a hero!

3.
CARL glares the WORKER into submission.
CARL
(Conversationaly)
You know there's a cure for
heroics.
CARL rifels in his pocket. He delicately places a bullet on
the counter.
CARL
Best taken in one straight-forward
injection to the face.
CARL reaches forward almost tapping the WORKER on the nose.
CARL
Still wanna be a hero -- (goes to
read a badge that isn't there) -Mr. ?
The WORKER pales a steps back.
He indicates the gun. It's a bit Bad Ass.
CARL
Money.
For the first time in CARL'S life there is a definite 'don't
fuck with me' vibe.
He twitches the gun as a gesture. The WORKER reaches for the
money drawer. The same ringing interrupts the tense action.
CARL twists to pull the phone out of his backpocket with the
other hand whilst still awkwardly holding the WORKER at
gunpoint.
Glancing down he has multiple missed calls. He quickly
returns his attention to the WORKER. The tension ratchets up
with each noisy interruption.
Suddenly, another WORKER exits a back room. He freezes upon
noticing the situation. CARL tosses the phone onto the
counter, and quickly whips another gun out of an
undetermined somewhere, pointing it shakily at the extra
worker. His cool is starting to melt. Everyone freezes
again.
A side shot reveals the shotgun the first WORKER has pointed
at CARLS balls during his previous distraction. CARL jerks
his head in acknowledgment, eyes bugging.
Tension builds as the men hold each other at gunpoint.
It is unfortunate that the phone between them rings again.
The tense men fire at the sound. CARL fires first, hitting

4.
the first WORKER whose shot is then off target. The second
WORKER is hit out of view into the aisles or stands. The
recently deceased now litter the shop.
Suprisingly CARL is not hit.
The buzzing continues in the red tinged silence.
CUT TO:

INT. CAR - NIGHT

CARL sits blinking alone in the car, dappled with blood
mist.
He clutches his phone. It now shows 10+

missed calls.

After a while he swipes the cowboy off of the dashboard and

tosses it out of the open window.
All is quiet on the forecourt. All sound has given up, even
the buzzing.
EXT. CAR - NIGHT
Abruptly CARL is wrenched out of his car by a VERY LARGE
POLICE OFFICER and pinned to the ground and cuffed roughly
like the start of some bad BDSM cop porn.
Sound returns like a whip. Sirens and yelling and buzzing.
From his viewpoint, getting friendly with the tarmac, CARL
can see the little figurine on the opposite side of the
WAGON.
It lies smiling in the red and blue lights.
CARL knows he's fucked. His last thought is of INT. ROOM - NIGHT
DANNY sits alone, clutching a phone. The cowboys and
mexicans and indians carry on dying in the background.
END.