Red Scorpion - Plot

Plot

The plot centers on Lundgren's character Nikolai Petrovitch Radchenko, a Soviet Spetsnaz-trained KGB agent who is sent to an African country where Soviet, Czechoslovakian and Cuban forces are helping the government fight an anti-communist rebel movement. He fights with dedication for his Soviet commanders, until he is thrown in jail for drunkenly shooting up a bar. During his night in the cell, he meets an American journalist and a resistance fighter whom the Soviet command have designated both as an espionage/terrorist threat, and Nikolai learns the truth about the Soviet presence.

Nikolai is ordered to assassinate the movement's leader, but eventually turns against his government by switching sides. Disgraced and tortured by his commanding officers for failing his mission, he breaks out of the interrogation chamber and escapes to the desert, later to be found by native people. He soon learns about them and their culture, and after receiving a ceremonial burn scar in the form of a scorpion (hence the title), he rejoins the freedom fighters and leads an attack against the Soviet camp after a previous attack at the rebel stronghold. Nikolai steals an AO-63 from the armoury, fights his corrupt officers and hunts down General Vortek, who attempts to escape in a Mil-24 Hind only to be shot down after takeoff. Nikolai defeats and kills Vortek, as the freedom fighters finally defeat the Soviet oppression.

Read more about this topic:  Red Scorpion

Famous quotes containing the word plot:

    After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.
    Mary Kay Blakely (20th century)

    James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.”
    James Thurber (1894–1961)

    Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.
    Jane Rule (b. 1931)