A lonely road in a desert-like area. Empty as a Lexus’s soulchamber.
No vegetation apart from some bushes. An abandoned
gas-station can be seen somewhere in the distance. It’s dry.
So dry that J.R. Ewing would break down and cry upon seeing
it. Only wind’s blowing. It is Mad Max’s territory. But Max
is dead. Real dead. In fact he never existed. But this is
real. We ponder on this image suggesting that the world has
become somewhat dead. Vitality is missing.
Title card appears: “SOMEWHERE IN NEVADA”
As it fades out we hear some ancient noise. A noise this land
has not heard of for decades. A noise meaning life. Or rather
something larger than life. It’s getting louder and
transforms into a definite roar. As we start to realize what
the roar might be...
...a sunfire Dodge Demon rips into frame with its V8 thunder.
We have a very good look at the car until it disappears from
frame.
INT. CAR - DAY
A man in his early 40s at the wheel driving into the
vanishing point seemingly without destination. He wears
sunglasses like police officers do and has a white T-shirt
with a pack of Camel tucked into the left sleeve. He has a
cigarette in his mouth without being lit. He is VERY alone
but he has a name i.e.
WES
There are a bunch of stuff lying around in the car of which
we get to know him a little bit. Some old fast-food paperbags
from the early 2000s, wrenches at the passenger seat, a toy
car in the open glove box fixing an old newspaper cutout
saying: “Jalopnik vs. GM”. Old memories. But old memories
last as the world we know it.
Bruce Springsteen tunes in on the AM frequency letting
everybody know he was born in the USA. Wes travels. We keep
up with him. We have a long look at his face showing no
emotions at all. Bruce becomes annoying. Very annoying. As
Wes would hear our thoughts he lets himself a little grin and
reaches down to switch station. Static sounds fill the
passenger area as Wes searches for some different tune. A
radio announcer’s voice comes weakly through the air and Wes
turns it up. We cannot hear much of the talk but it feels
very important. He listens very carefully, but eventually he
gives up the fight as the V8 sound covers every other noise
possible. He reaches for a box of matches. He manages to
light his cigarette while fixing the steering wheel with his
left knee. Throws out the match and takes a good sip from the
cigarette. We travel on with the radio announcer’s voice.
Suddenly Wes looks down on the radio. Something was said.
Like the news of a relative’s sudden death. Wes steps on the
break hard.
EXT. DAY - THE ROAD
The Demon’s wheels screeching as it comes to a full stop.
Engine stops running. Camera pans down to cockpit as Wes
still holding the steering wheel pointing all his attention
to the radio announcer’s voice.
ANNOUNCER
...earlier this morning. All
communications were cut short and
interrupted for indefinite terms,
however it suggests the end of
further negotiation attempts
between the two oil companies. As
it was pointed before, no more
fossil fuel will be available for
the public for the remaining
resources will cover military needs
in the future on global level. This
marks a historical event in human
history as energy needs were
largely covered by fossil
materials...
Wes opens the door and steps out of the car. We don’t hear
the radio announcer’s voice. We only hear the end coming. He
looks into the distance taking his sunglasses off. He knows
it’s all over. Stunned and broken. We all knew it would come
but never really believed it. He walks a few steps forward as
it made any difference. But it doesn’t. A few beats as he
gazes into infinity and eventually he turns around jumps into
the car. An ignition and the beast comes alive again. Highrevving
and the car makes a U-turn accompanied with tiresmoke
leaving thick stripes on the ground. We know it’s late.
We know he’s gotta hurry. We know it’s the last chance. But
we just don’t know what for. As the car disappears...
FADE OUT
INT. NIGHT - COMPLETE DARKNESS
We hear steps. Someone’s coming. Door opens. Steps continue.
A big CLANK! as a metal can being kicked over in the dark.
Soft but angry mumble in the darkness. Steps continue. We
hear fiddling with a chain. A few beat and a garage door is
being rolled up. As moonshine’s weak light reaches into the
garage we realize we are sitting in a car looking out of the
facility. Man fixing the garage door steps out to the street.
He wears a shirt, fashionable trousers and shoes. Camera pans
around to frame his face with the car behind. It is...
PETER
2.
...in his early 40s again. And it is written all over his
face. He heard it too. It’s done. He is disappointed but
somehow excited. Looks back at the car. It is a white Alfa
Romeo 2000 GTV shining.
CUT TO: GARAGE EXT. - NIGHT
Sound of ignition as a four-banger comes alive with lively
rapidity. Headlights cut through the darkness and the car
rolls out of its shelter and races out of frame. Dogs
barking. Several cuts as it rushes through the empty streets
of Budapest as an aerial shot reveals in a zooming in that
the there are jerrycans lying on the backseat.
CUT TO:
Peter smiling.
FADE OUT.
INT. HOTEL ROOM - DAY
Hot day. A man lying on the bed drinking sake. Sweating. Suit
and shirt unbuttoned. Moaning. He’s...
RAY.
Still a young fella but feels a lot older than he actually
is. Breathing slowly. Had a very bad night. Like Bruce Willis
after saving the world again. The problem is the world hasn’t
been saved. Then he finally forces himself to stand up. He
has a will at least. Wavers through the room going around the
bed. Parks down by the window staring down...
CUT TO:
THE STREETS OF TOKYO
The roads are packed with people. Everybody’s on foot. Some
electric scooters. It feels like Exodus. It’s not, actually.
It’s only a day like the others in the past few years. Cars
slowly disappeared through the times up to the point they
were virtually completely gone... and will never return.
CUT TO:
RAY’S FACE LEANING OVER THE WINDOW
CUT TO:
THE STREETS OF TOKYO AGAIN ZOOMING IN
CUT TO:
3.
EXT. WES ON THE ROAD - SUNSET
The V8 is screaming as Wes puts the metal to the pedal. Gotta
be there before sunset. Gotta go. The sense of urge is
killing. Wes’s every nerve is concentrated on the road only
to be brought out of balance by a warning signal on the
dashboard: fuel’s running lean. Wes pushes harder...
CUT TO:
EXT. ROAD DUSK
The Demon’s slowing down begging for some juice. Coughing and
trying as it slowly loses all kinetic energy. Comes to a full
stop. A beat.
CUT TO:
INT. WES AT THE WHEEL
Holding on the steering wheel tight. He can’t believe it.
Just not today! But again, this is real. Quiet. Moment.
Sadness. Finally he releases the steering wheel. All
tension’s gone. Leans back and turns on the radio. The
Spaniels’ ‘Goodnight Sweetheart’ fills the air. Wes grins in
irony as he falls asleep.
CUT TO:
EXT. ROAD - MORNING
Wes walks on the road as the car’s burning behind with the
song still played on. A sign by the road says: “San Francisco
10 miles”. We see him walking away until the song is over.
FADE OUT.
EXT. ITALIAN ROAD - DAY
Peter driving on the spaghetti lines in the hillside with the
perfect confidence being lonely on the roads. Several cuts on
the sunny location that feels like Top Gear at its best. No
wonder Mr. Ripley killed for this sight.
CUT TO:
WHEEL
Bang! Puncture in the worst moment. Car spins several times.
Peter countersteers wildly while braking. Car finally stops.
As the engine stalls we hear nothing but metal parts cracking
via cooling. Peter’s sweating and pale. Beat. Peter sighs.
Gets out of the car and looks around the wheels.
4.
Stops at the flat one. Looks at it close. There’s nothing he
can do about it. Stands up and looks around. There’s a
village in the not too long distance down in the valley and
fortunately he’s right on top of a hill. No other choice left
he gets back into the car and starts descending on the road.
CUT TO:
EXT. VILLAGE MAIN STREET - DAY
Peter rolling in slowly followed by a group of children
cheering. Other people start gathering around the car as it
comes to a stop. No word can be made out of the confusion
partly because it’s Italian but one thing’s for sure:
everyone is ultimately happy upon this phenomenon. Some
people are pointing at the flat tire. Peter attempts to
negotiate with the people without result for they cannot make
themselves understood respectively.
He then is being pushed through the street with a man
handling the steering wheel from the outside.
CUT TO:
INT. BICYCLE-REPAIR SHOP - DAY
Small garage in the street. The owner looks up from the daily
newspaper upon hearing the crowd approaching. He cannot
believe what he sees as the Alfa is being pushed into the
garage. Stands up from the chair and moves towards the car.
The crowd gets silent. Peter wants to say something but the
owner turns to the man handling the steering wheel.
OWNER
(subtitled)
What’s this?
MAN
An Alfa.
OWNER
I can see that, you stupid but what
is it doing here?
MAN
Got a flat tire. You could repair
it.
OWNER
(Amazed. Beat.)
Are you saying that it was actually
moving?
MAN
Si, si!
5.
OWNER
(Stunned. Reaches out a
hand to Peter.)
Mauro.
PETER
(Shakes hands with Mauro.)
Peter.
MAURO
(Heavily gesticulating
trying to make himself
understood)
...come?
PETER
Eeeer... Hungary? ...eeer...
MAURO
No, no, no, no... go?
PETER
Ah!
(draws a circle into the
air)
Targa Florio.
MAURO
Targa... Florio...
The crowd looks impressed. Mauro looks upon them and urges
everybody but Peter out of the shop. As he closes the door we
FADE OUT.
TITLE CARD: AN HOUR LATER
INT. GARAGE - DAY
Mauro is done with repairing. Smiles and seems very pleased.
Peter is impressed, too. Reaches to his pocket. Mauro grabs
his arm in motion. He looks dead serious. Peter looks
questioningly on Mauro. Beat.
MAURO
Go...!
Peter waits as he is scrutinizing Mauro’s face. Mauro’s lines
getting softer. Starts smiling again.
MAURO (CONT’D)
Go!
Peter understands. Nods. Seeing an Alfa moving in Italy these
days is almost a divine moment to these people.
6.
Mauro releases his arm and steps back. Peter sits back in the
car. Mauro goes back to the entrance and opens the entryway.
EXT. STREET - DAY
Huge crowd gathered around the shop. Peter looks back and is
amazed.
MAURO
(shouting in extasy)
GO!
The crowd starts applauding as Peter starts the Alfa. He
reverses out of the shop between walls of people. The
cheering doesn’t stop even after the car is gone. Only Mauro
seems sad...
CUT TO:
RAY’S SAD AND HUNGOVER FACE IN THE ELEVATOR
INT. ELEVATOR
Ray still looks pretty bad but a little better than the last
time we left him.
EXT. STREET - DAY
Ray wandering. Several cuts on the city as Ray passes it.
EXT. HARBOR - SUNSET
Ray heads for a container that seemingly has been there for
several years among many others, completely untouched. Pulls
a set of keys from his pocket and opens the locks. Removes
all the chains. Some big secret is to be revealed. But do not
be afraid - it sure is a car. Ray opens up the door and
enters. We cannot see what’s in there we just hear him
fiddling around - doors, hood opening, slamming, some moaning
due to using muscle power. Then everything goes silent. Sound
of ignition. Once. Twice. Three times. And by the 4th time it
fires up! A straight-6. And behold a mighty second-gen. BMW
M5 rolling out of the container. Ray still being tired.
Waits. Getting into the zone. Focusing on the flat harbor
lying in front of him. Slowly puts it into first gear. Left
foot still on the clutch pedal he revs the engine. Waits
until it gets warm. Beat. Suddenly he releases the
horsepowers. A burnout transforms into acceleration. He sets
off racing through the facility avoiding various obstacles.
He’s brave or senseless, we are not so sure.
7.
Various cuts to different parts of the abandoned harbor. We
cannot see the car, just hear it as it revs, brakes,
screeches.
The BMW slides into frame and stops. Ray at the steering
wheel still looks pale but his arms are shaking. He starts
smiling and bursts into laughing. Leans on the steering
wheels and laughs heavily. The horn goes on. We pan up to see
the sun finally set.
CUT TO:
EXT. ITALIAN ROAD
Peter watching a similar sunset on a mountain road leaning to
the Alfa’s side. Bittersweet moment, it’s over. He pets the
car’s side and starts walking.
CUT TO:
EXT. SAN FRANCISCO STREET
Wes walking around the hills and valleys. Looks pretty tired.
Stops on the top of the hill road and looks down. Stares down
there for a very long time. As the camera zooms down we see
two children chasing each other on the streets of San
Francisco on bikes as Lalo Schifrin’s Bullitt theme fades in
slowly. We watch this scene for a long time. Then we have a
look at Wes.
He smiles. The world is not dead ultimately.
SLAM TO BLACK.
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