METAL GEAR: APOCALYPSE
A Treatment by Joseph C. Jukic
Logline: An aging Solid Snake is pulled from exile for one last mission: infiltrate North Korea and, from a precarious vantage point, paint a nuclear EMP missile with his rifle’s laser designator, calling down a kinetic strike to destroy it without triggering a global blackout.
Director: Guy Ritchie
Starring: Joseph C. Jukic as Solid Snake
Voice Cast: Troy Baker as Otacon, Cillian Murphy as Kim Jong Un
TONE: A tense, psychological sniper thriller fused with Guy Ritchie’s hyper-stylized, non-linear action. The majority of the climax is a battle of wills and steady hands, underscored by philosophical voiceover.
SYNOPSIS
ACT I: THE CALL TO ARMS
FADE IN:
A remote monastery in the mountains of NEPAL. SOLID SNAKE (Joseph C. Jukic), weathered and weary, sharpens a blade with monastic focus. He reads from Marcus Aurelius’s Meditations. “You have power over your mind—not outside events. Realize this, and you will find strength.”
His peace is obliterated by a stealth drone. A hologram of OTACON materializes. “Snake. The world’s about to go dark.”
The threat: KIM JONG UN, a tactical genius with a messiah complex, has unveiled METAL GEAR CHŎLLIMA, a colossal mobile launch platform. Its payload is a Super-EMP missile. One high-altitude detonation would not just cripple a city—it would erase the global electronic age forever. A permanent apocalypse.
The solution: OPERATION: SLEEPING GIANT. A clandestine kinetic bombardment satellite, a “Rod from God,” is in orbit. Its tungsten rod can destroy the missile in its fortified hangar without an EMP backlash. But its targeting systems are blind to the mountain’s alloyed rock.
Someone must get inside, find a direct line of sight, and paint the target with a ground-based laser. It requires a marksman of impossible skill, operating under unimaginable pressure.
Snake refuses. He’s done. Otacon plays his final card: the AI core of Metal Gear Chŏllima is built from the remnants of LIQUID SNAKE’s psyche. This is the final ghost of his past.
Snake closes his book. He whispers, “The supreme art of war is to subdue the enemy without fighting.” He takes the mission.
ACT II: THE INFILTRATION
Snake HALO jumps into North Korea. The infiltration is a Guy Ritchie montage: split-screens show thermal views, radar sweeps, and Snake’s silent, brutal takedowns of patrols set to a pounding, eclectic score.
He links with a desperate resistance cell. The intel is clear: the only vantage point with a possible line of sight to the missile is a maintenance gantry high in the cavernous ceiling of the mountain hangar. It’s a sniper’s nest with no escape.
His journey to the nest is a masterclass in tactical espionage:
- Creating a diversion by sabotaging a generator, he quotes Sun Tzu: “In the midst of chaos, there is also opportunity.”
- When forced to kill a young, fanatical guard, he crouches in the shadows, the weight heavy on him. He recites a line from Psalms: “Deliver me from mine enemies, O my God: defend me from them that rise up against me.”
- Discovering a trap set by the elite “Sons of the Sun” guards, he doesn’t flinch. He remembers Aurelius: “The best revenge is to be unlike him who performed the injury.” He bypasses them entirely, leaving them confused and fighting each other.
He reaches the control center and has a cold, holographic comms confrontation with Kim Jong Un. Kim rants about his divine right to cleanse a corrupt world. Snake listens, then cuts him off with a verse from Revelation: “…and I looked, and behold a pale horse: and his name that sat on him was Death.” He severs the link.
ACT III: THE SHOT
Snake ascends to the gantry. It’s a narrow, rusting latticework of metal, 200 feet above the cavern floor. Below him, the monstrous METAL GEAR CHŎLLIMA powers up, its movements causing the entire structure to shudder. The EMP missile is raised into launch position.
He assembles his custom sniper rifle, the SOCOM “Divine Right,” and attaches the high-power laser designator. He lies prone. The crosshairs dance over the missile’s nose cone. The distance is extreme, the air in the cavern thick with heat haze and dust.
Otacon’s voice is tense in his ear. “I have your link! Signal is weak, Snake. You need a steadier lock. They’re initiating launch sequence!”
The Sons of the Sun, alerted to his position, pour onto adjacent gantries, opening fire. Bullets ricochet around him. He cannot move. He is the tripod. The mission is the shot.
His breathing slows. The world narrows to the circle of his scope. The echoing gunfire, Otacon’s frantic warnings, Kim’s triumphant countdown over the PA system—all fade into a dull roar.
In this moment of ultimate pressure, his mind turns to his texts. It’s not panic, but focus.
“He maketh my feet like hinds’ feet, and setteth me upon my high places.” (Psalms)
“Our doubts are traitors and make us lose the good we oft might win by fearing to attempt.” (Shakespeare)
“The mind adapts and converts to its own purposes the obstacle to our acting.” (Aurelius)
His finger rests beside the trigger. He is not going to pull it. He is going to hold it. He activates the laser.
A tiny, invisible dot appears on the warhead.
On the satellite, a light turns green.
“TARGET LOCK CONFIRMED. KINETIC PAYLOAD RELEASED.“
A guard’s round tears into Snake’s shoulder. He grunts, but his hold on the rifle doesn’t waver. The laser dot remains perfectly steady.
Kim’s voice crackles, screaming, “NO!“
FINAL SHOT: From Snake’s POV through the scope. We see the missile, the laser dot burning on its tip. Then, from directly above, the Rod from God slams into it with impossible, silent speed. The screen erupts in a blinding white light, then instantly cuts to black and silence.
POST-CREDITS SCENE:
Blackness. The sound of labored breathing. Rubble shifts. A single beam of sunlight pierces the dust—the hole blown open in the mountain roof. A bloody hand, Snake’s, reaches into the light.
A boot steps into frame beside it. A familiar, gravelly voice speaks:
“Not quite the hell you expected, is it, little brother?“
FADE OUT.