FALLOUT: NEW VEGAS

Episode #101

"Ain't That A Kick in the Head"

written by

Vincent Barksdale

Based on the video game by Obsidian Entertainment

4301 California Ave.

Sibley, MO 64088
(816) 529.9718
vincentbarksdale081@gmail.com
 TEASER

INT. LUCKY 38 CASINO / V.I.P. LOUNGE - NIGHT

'Blue Moon' by Frank Sinatra sets the tone, playing in a
slow, low pitch from a staticky jukebox.
The CAMERA holds on a framed and crooked portrait, depicting
the casino in which we are inside: the Lucky 38, a visually
stunning establishment where hundreds of thousands of
travelers and residents alike take part in all its glory,
including but not limited to gambling.
The CAMERA SLOWLY TILTS upright, and begins to slowly PULL
BACK for us to catch a glimpse of our surroundings. We exit
the V.I.P. lounge and down through the CASINO, the
inhabitants of which have obviously left in a hurry. The
Frank Sinatra tune's pitch gradually shifts to its original
sound, ECHOING as we pull out of the casino...

EXT. NEW VEGAS STRIP - NIGHT

The city's lights illuminate the New Vegas Strip, an almost
mythical location in its presentation. The CAMERA TRACKS down
the strip, revealing its several main HOTELS, a mixture of
New California Republic Army (NCR) SOLDIERS holding and
gulping from big WHISKEY BOTTLES, as well as CIVILIANS who
walk casually in the streets.
Three SECURITRONS chase a FRANTIC PEDESTRIAN, who makes his
way for the nearby Ultra-Luxe.

EXT. PERIMETER / OUTSIDE NEW VEGAS - CONTINUOUS

The CAMERA continues to PULL BACK, until it stops for a
moment. A GRUNT is heard, and into the frame pops a pair of
glowing red eyes below a green combat helmet. It's an NCR
VETERAN RANGER, who holds in his strong hands a massive .50
CALIBER SNIPER RIFLE that is nearly larger than his own body
size. He props it up against some platform, and the CAMERA
begins to PULL BACK once more, revealing the NCR Ranger has
taken a vantage point on top of the flashing sign which
reads: 'WELCOME TO NEW VEGAS!'
The Ranger INHALES, then squeezes the trigger...BOOM!
The muzzle flashes in SLOW-MOTION, and the CAMERA TRACKS
ALONG THE BULLET as it speeds through the air, past the EL
RAY MOTEL, and down the street, where a FIEND holding a dull
MACHETE stands behind a destroyed vehicle.
 2.

The .50 caliber bullet pierces his temple, and his head
EXPLODES ONTO THE CAMERA, painting it with blood and bits of
brain.
Still, it continues to pull back...
FADE TO:

EXT. HILLSIDE - CONTINUOUS

Overlooking the bright city of New Vegas as well as its
outskirts is a LEGION SCOUT, who holds a pair of BINOCULARS
to both eyes. Explosions BOOM faintly in the distance from
outside of the city.
Behind the Scout rushes seven armed LEGIONARIES. Beside him
is a flag's banner which bears the mark of CAESAR'S LEGION.
These men are led by a LEGION EXPLORER, who points in the
direction for them to sneak.
The Legion Scout continues to observe the city as we...
FADE TO:

EXT. GOODSPRINGS CEMETERY - CONTINUOUS

We PULL BACK even further. The distant city of New Vegas is
now only distinguishable via its glow amidst the cool, dark
air of the Mojave Wasteland.
A small group of GREAT KHANS stand in a circle while one of
them crouches in a six-foot hole in the sand, jamming a
SHOVEL into the earth and tossing clumps of it into a pile
beside him.
Lying on the ground with a BURLAP SACK covering their head is
the unconscious COURIER, and standing above him is a MAN
wearing a CHECKERED SUIT, who FLICKS a lighter and ignites a
cigarette between his lips.
The Great Khan continues to DIG.
FADE TO BLACK.
NARRATOR (V.O.)
War...war never changes.
FADE IN:
 3.

EXT. VAULT 11 - DAY

The rusty and aged vault door suddenly BUZZES, and begins to
open.
NARRATOR (V.O.)
When atomic fire consumed the
earth, those who survived did so in
great, underground vaults.
FADE TO:

EXT. VILLAGE - DAY

FIVE LARGE TENTS scatter throughout the location, where
stands a group of several WASTELANDERS going about their
everyday business.
NARRATOR (V.O.)
When they opened, their inhabitants
set out across ruins of the old
world to build new societies,
establish new villages, forming
tribes.
FADE TO:

EXT. NCR CAMP - DAY

A flag dances in the wind. On it is the logo for the NCR; a
GRIZZLY BEAR standing on its hind legs and roaring.
NARRATOR (V.O.)
As decades passed, what had been
the American southwest united
beneath the flag of the New
California Republic, dedicated to
old-world values of democracy and
the rule of law.
FADE TO:

EXT. OPEN FIELD / MOJAVE WASTELAND - NOON

Tumbleweeds rolls along the barren landscape. The wind HOWLS
faintly under the Narrator's voice.
NARRATOR (V.O.)
As the Republic grew, so did its
needs.
 4.

NARRATOR (V.O.) (CONT'D)

Scouts spread east, seeking
territory and wealth, in the dry
and merciless expanse of the Mojave
Desert.
FADE TO:

EXT. OUTSKIRTS OF NEW VEGAS - DUSK

The city of New Vegas is visible from the perimeter of
Goodsprings. Its tallest tower, the Lucky 38, gleams
brilliantly.
NARRATOR (V.O.)
They returned with tales of a city
untouched by the warheads that had
scorched the rest of the
world...and a great wall spanning
the Colorado River.
FADE TO:

EXT. HOOVER DAM - DAY

The infamous dam is bordered on either side by manmade
protective WALLS. Currents of water spew from the dam like
geysers.
NARRATOR (V.O.)
The NCR mobilized its army and sent
it east to occupy the Hoover Dam,
and restore it to working
condition.
FADE TO:

EXT. LEGION CAMPSITE - DAY

The wind grabs hold of the Legion's banner, which depicts a
Trojan horse with horns upon its head.
NARRATOR (V.O.)
But across the Colorado, another
society had arisen under a
different flag. A vast army of
slaves, forged from the conquest of
eighty-six tribes: Caesar's Legion.
FADE TO:
 5.

EXT. NCR BASE - DAY

Several NCR TROOPERS draw their rifles and aim at selected
targets; a massive swarm of HUNDREDS OF LEGIONARIES.
NARRATOR (V.O.)
Four years have passed since the
Republic held the Dam-- just
barely-- against the Legion's
onslaught. The Legion did not
retreat.
FADE TO:

EXT. LEGION VILLAGE - DAY

This place is known as COTTWONWOOD COVE. Tents and metal
SHELTERS are scattered throughout. Red flags wave in the air.
NARRATOR (V.O.)
Across the river, it gathers
strength. Campfires burned,
training drums beat.
FADE TO:

EXT. NEW VEGAS STRIP - NIGHT

The city flashes brilliantly, illuminating its residents,
supply stores, and hotels with white, red, purple and blue
lights.
NARRATOR (V.O.)
Through it all, the New Vegas Strip
has stayed open for business under
the control of its mysterious
overseer, Mr. House, and his army
of rehabilitated Tribals and police
robots.
A Securitron glares at the still camera, the New Vegas Space
Needle standing tall and proud in the background.
FADE TO:

EXT. MOJAVE EXPRESS - DAY

Numerous PEDESTRIANS walk past the establishment.
 6.

NARRATOR (V.O.)
Traveling to the city with nothing
but his own gut to follow, the
Courier was hired by the Mojave
Express to deliver a package to the
New Vegas Strip. What seemed like a
simple delivery job had taken a
turn...for the worse.
FADE TO:

EXT. GOODSPRINGS CEMETERY - NIGHT

FROM THE COURIER'S POV --

The CAMERA TILTS DOWN, and reveals his wrists have been
secured tightly. He futilely tries to pull his hands apart.
Standing in front of the Courier (and, by extent, US) are two
Great Khans, and the man in the checkered suit from before.
His name is BENNY.
The Khan on his right is MCMURPHY, a rough fellow with a
white headband wrapped around his head. The Khan to Benny's
left is JESSUP, the one who has dug the Courier's grave. He
has a spiky red mohawk on his head, and still holds the
shovel in his hands as he stares at the Courier with disdain.
JESSUP
Guess who's waking up over here?
The CAMERA TILTS UP at the three men. Benny EXHALES a thick
cloud of smoke, then drops his cigarette on the ground and
STOMPS it out.
BENNY
Time to cash out.
The fellow in the checkered suit approaches the CAMERA, and
reaches into his checkered jacket. From it, he removes the
PLATINUM CHIP. The thing everyone in Vegas has been going
crazy over recently.
BENNY (CONT'D)
(to the camera)
You've made your last delivery,
kid. Real shame you got twisted up
in this scene.
He puts the coin away, and from his checkered suit removes a
custom model of the M&A 9MM PISTOL, which is GOLD-PLATED and
has an engraved image of OUR LADY OF GUADALUPE.
 7.

BENNY (CONT'D)
From where you're kneeling, it must
seem like an eighteen-carat run of
bad luck. But the truth is-
Benny aims his pistol at the CAMERA.
BENNY (CONT'D)
-the game was rigged from the
start.
The man in the checkered suit squeezes the trigger, and fires
a shot into the CAMERA...BLAM!
CUT TO BLACK.
END TEASER
 8.

ACT ONE

INT. GOODSPRINGS CEMETERY - LATER

A SECURITRON with a grinning COWBOY's face on its monitor
stands before the unconscious Courier who was just shot. This
robot is known as VICTOR.
There are not just one-- but TWO BULLET WOUNDS in The
Courier's head. The robot examines the body for a moment.
Though the Courier is unconscious, their eyes are daring to
open ever so slightly.
VICTOR
(Southern accent)
Heck, partner. You look like you
could use a Sarsparilla-- or a
Stimpak, for that matter.
No response comes from the Courier.
VICTOR (CONT'D)
I'll take you to Doc Mitchell's.
He'll fix ya up.
FADE TO WHITE.
FADE IN:

INT. DOC MITCHELL'S HOUSE - MORNING

The Courier, a large BANDAGE wrapped around his head, lies
upon a mattress inside of a surprisingly clean living room
inside somebody's house.
The mailman's eyes slowly open at last.
He attempts to sit up, but pain rushes through his skull like
a cold chill. He GROANS and rests his head back down.
An elderly fellow with a gray mustache and bald head strolls
in, carrying a MEDICAL KIT and a CLIPBOARD with him. This is
DOC MITCHELL.
DOC MITCHELL
You're awake. How about that?
The Courier GRUNTS as he eyes the good surgeon and sits up.
He GROANS with the pain that pierces his brain.
Mitchell pulls up a chair and raises a hand dismissively
towards the Courier.
 9.

DOC MITCHELL (CONT'D)

Whoa, now. Easy there. You been out
cold a couple of days now.
The Courier scans the room. His index finger instinctively
twitches, and his eyes dart toward the front door; the only
entrance or exit.
The good surgeon leans forward and examines the Courier
closely.
DOC MITCHELL (CONT'D)
Let's see what the damage is. How
about your name? Can you tell me
your name?
The Courier thinks for a moment, or tries his best to. He
still is processing everything.
He starts to speak for a second, then stops. He tries again.
THE COURIER
I d-don't like telling my name.
The friendly surgeon nods his head.
DOC MITCHELL
Very well. You can at least form
your own sentence, so there's a
start.
Mitchell jots down some notes on the paper attached to his
clipboard, and sets it down.
DOC MITCHELL (CONT'D)
I'm Doc Mitchell. Welcome to
Goodsprings.
Now, I hope you don't mind, but I
had to go rootin' around in your
noggin to pull all the bits of lead
out. I take pride in my needlework,
but you'd better tell me if I left
anything out of place.
The surgeon hands the Courier a big, technological mirror-
looking device known as a RobCo REFLECTRON, where the mailman
can get a good glimpse of the wound in his head. He sets the
device down, and slowly begins to unwind the bandage around
his head. With each layer, more and more red has seeped
through until it resembles stained paper from red marker.
He peels the remaining strip of the bandage off, and raises
the Reflectron to his face. He twists his head around and
eyes his reflection.
 10.

Two scars mark his head from where the two bullets entered,
but there are no remaining fragments of lead inside.
DOC MITCHELL (CONT'D)
How'd I do?
The Courier nods his head and hands Mitchell back the device.
DOC MITCHELL (CONT'D)
Well, I got most of it right
anyway. The stuff that mattered.
The good surgeon stands up and gestures for the Courier to
stand up. He extends his arms out.
DOC MITCHELL (CONT'D)
No sense in keeping you in bed.
Let's try and get you on your feet
now.
The Courier CLAPS Mitchell's hand and is pulled up to his
feet. He GROANS and grows dizzy for a few seconds, but his
head clears quickly. He wobbles like a loose spring; Mitchell
gently grabs hold of an arm to keep him up.
DOC MITCHELL (CONT'D)
You okay?
The Courier nods, and the good surgeon releases him. He
remains close to him in case he falls off balance again.
Mitchell points to the other end of the room, where there is
a small DOORWAY leading to the front door.
DOC MITCHELL (CONT'D)
See if you can make it to that
doorway on your own.
The Courier nods, and EXHALES. He clumsily inches his left
foot forward, and nearly stumbles. He catches himself, and
Mitchell stays back to watch. The Courier moves his right
foot in front of the other, and manages to step a little
smoother.
He reaches the halfway point between the doctor and the
doorway, and his walking slowly comes back to him. He smiles
a little to himself.
CUT TO:
 11.

INT. DOC MITCHELL'S LIVING ROOM - MOMENTS LATER

The Courier sits upon the couch, while Mitchell sits in a
chair directly across from him, wearing eyelgasses and
reading from his clipboard.
DOC MITCHELL
I've got a few statements. I want
you to tell me how much they sound
like something you'd say.
(then:)
First one-- "Conflict just ain't in
my nature."
The Courier thinks.
THE COURIER
No comment.
DOC MITCHELL
"I ain't given to relying on others
for support."
THE COURIER
Agree.
DOC MITCHELL
"I charge in to deal with my
problems head-on."
THE COURIER
Strongly agree.
The doctor nods, and marks the page with each statement.
DOC MITCHELL
Almost done here. Have a look at
these and tell me what you see.
Doc Mitchell removes a pile of RORSCHACH PHOTOS, and shows
the first to the Courier.
THE COURIER
Two thumbs up.
DOC MITCHELL
Okay. How about this one?
The Courier looks for a moment, and his face burns a little
red.
 12.

THE COURIER
(a beat)
I'm too embarrassed to say what it
looks like.
DOC MITCHELL
Okay. Last one.
The Courier examines the last photo.
THE COURIER
A bearded man.
The good surgeon puts the pictures away, and takes off his
glasses.
DOC MITCHELL
Very good. Come with me now, I'll
see you out.
The Courier walks with Doc Mitchell to the door.

INT. HALLWAY / DOC MITCHELL'S HOUSE - MOMENTS LATER

The Courier stops Mitchell for a moment.
THE COURIER
Hey Doc, can I ask you a question?
DOC MITCHELL
Shoot.
THE COURIER
Did you see the man who shot me?