The Introduction is a roughly twenty minute video, created with Grand Theft Auto: San Andreas' video engine, that details how the events in Grand Theft Auto: Vice City have contributed and indirectly led to events in GTA San Andreas, even though they are majorly unrelated by theme. It was available with the North American PS2 Special Edition of GTA San Andreas or the official soundtrack double CD. It is set in early 1992. The video ends directly at the beginning of GTA San Andreas, when protagonist Carl "CJ" Johnson arrives in San Andreas after hearing the news that his mom has died.
Frank Tenpenny and Edward "Eddie" Pulaski
The first feature in the video is a scene that depicts corrupt C.R.A.S.H. officers Frank Tenpenny and Edward "Eddie" Pulaski, who had just come back from a meeting with high-ranking Grove Street Families member and future gang defaulter Melvin "Big Smoke" Harris and the gang's sworn rivals and Tenpenny's gang allies, the Ballas, discussing rookie Jimmy Hernandez's assignment with them, and the threat betrayer Ralph Pendelbury poses. In a later scene, Tenpenny is overheard verbally harassing an unknown person, apparently Smoke, on the phone. When they go to pick up Hernandez, he appears to be a good, straight cop, and Tenpenny is particularly hard on him. In the last scene featuring this trio, Pulaski is kicking a downed officer, obviously Pendelbury. Tenpenny hands a pistol to Hernandez and tells him, "You cap him or I cap you." Hernandez shoots and kills the downed officer.
Michael "Mike" Toreno
Another scene features San Fierro Rifa leader "T-Bone" Mendez and his senior partner Michael "Mike" Toreno (who is sitting on a parked ZR-350), focusing on Mendez beating an unidentified person to death against a container crate. Toreno discusses with Mendez prospects of a buyer down in Los Santos.
Ken "Rosie" Rosenberg
A later thread of scenes documents Ken "Rosie" Rosenberg's path from Vice City to San Andreas. The first scene depicts Johnny Sindacco proposing to Salvatore Leone a three-way split between the Sindacco Family, the Leone Family, and the Forelli Family of a new casino, with Salvatore's five million dollar investment managed by the Sindaccos. Salvatore isn't pleased with the terms of this offer, and names his own terms; he gets control of the books. He then suggests to Johnny that he would be pleased with a "neutral" third-party to manage things, and tells Johnny to get rid of their guy to prove the value of his involvement.
The next scene shows Rosie walking out of the Fort Carson Medical Center, talking to himself about being sober, being disbarred from practicing law, needing a job, and needing a ride. Later, Rosie tries to call Tommy Vercetti from a pay phone, and realizes that he is avoiding Rosie's calls.
The following scene depicts two anonymous Sindacco Family thugs digging a hole for the body of Mickey and burying it, while discussing the rumor that the Leone family is lending their bosses some money. This scene is the reason for the famous "Mass Grave" myth within the game. The next scene shows Johnny Sindacco walking into Salvatore Leone's office to tell him they've gotten rid of their guy. Salvatore suggests a lawyer he's heard about that just got out of rehab; he used to work for the Forellis in Florida.
The final scene in this thread depicts Salvatore barging into Rosie's office, demanding to know why Rosie hasn't worked harder to earn his investment back. Salvatore implies that he got this job for Rosie so that he could be his man.
Kent Paul and Maccer
Another scene features record producer Kent Paul and lead singer Maccer of British band The Gurning Chimps in a recording studio in England. Their cryptic conversation consists of Paul becoming the owner of a band, buying Maccer out of his contract, and Maccer's excitement over going to America.
Carl "CJ" Johnson and Sean "Sweet" Johnson
The main thread of scenes in the video, focusing on protagonist Carl "CJ" Johnson and the members of gangs in Los Santos, begins with three Ballas members smoking a joint in an alley, talking trash about Grove Street Families, and discussing their planned murder of Carl's brother, deuteragonist and Grove Street Families leader Sean "Sweet" Johnson.
The next scene shows Smoke and childhood friend and high-ranking Grove Street Families member Lance "Ryder" Wilson in a house, having a cryptic conversation about "destiny" and "choices". The scene that follows features Sweet, Smoke, aspiring rapper and part-time gang affiliate Jeffrey "OG Loc" Cross, and some other Grove Street Families members shooting craps on the sidewalk. Smoke is warning Sweet that "standing by [our] principles" may be the reason they're "losing the streets". Loc explains that he's a "gangsta rapper", and asks them to stop calling him Jeffrey. Smoke and Sweet tell him he should avoid a life like theirs and go to college, and "make something of yourself". Smoke asks Sweet if he's heard from his brother Carl, and Sweet explains that they're not speaking.
The following scene shows Carl in Liberty City, attempting to steal cars parked on the side of the road until he pulls a man out of his stopped car and steals it. He then speaks on the phone to his friend and business partner Joey Leone, and asks where to take the car, as he needs to get it off the street soon. There is a quick cut-scene of a green Sabre pulling out of a garage, then the next scene depicts Carl mugging a man in an alley.
There is another shot of a green Sabre cruising down a road in Ganton, then the final scene features the Sabre driving down the street Sweet's house is on, and then gunfire coming from the car, riddling Sweet's mother's house with bullets. As the car drives away, Sweet rushes into the house, then backs out to stop his sister Kendl Johnson, who was just about to enter. As Kendl weeps on the steps of the porch, Sweet calls Carl to tell him that his mother Beverly is dead.
The opening cutscene of Grand Theft Auto: San Andreas continues the storyline from this point on.
(Tenpenny and Pulaski are walking out of a house towards the police car.)
Tenpenny: I knew that fat fuck would see it our way.
Pulaski: Yeah, always do, once they understand the choices we're offering. Say Frank, what the hell we gonna do about this Hernandez coming on board with us?
Tenpenny: Exactly the same thing as last time. He's either gonna play our way, or he's gonna have a problem like that oversized asshole back there. Look, I ain't worried about that, Pulaski, Pendelbury is more of a concern. If he does what he's threatening, then shit's about to get real interesting.
Pulaski: Yeah. Hey Frank, how about passing me a Smoke?
(They drive off.)
(The scene cuts to some Ballas smoking in a driveway.)
Balla 1: Hey, lemme hit some of that, homie.
Balla 2: For sure, homie.
Balla 1: Man, what's this cess bullshit? Man, you ain't got nothing real to Smoke?
Balla 2: That ain't cess, homie. That's that hydro.
Balla 1: Man, whatever!
Balla 2: Man, you sure about this thing?
Balla 1: Man, I'm telling you, dude, Grove Street's gone to shit, man. They done.
Balla 2: But we copping off of one of they O.G.s man. You sure this is cool, or this some kinda trap?
Balla 1: Be cool, man. And if anyone tries shit...
(Pulls out his gun.)
Balla 1: We blast 'em.
Balla 2: For sure.
Balla 1: Man, Grove Street ain't even no real gang no more, homie. They perpetrators, now they even know it. Shit changes. And this shit...
(A member pulls out drugs.)
Balla 1: Changes everybody, man. Even O.G.s want a slice of this... And loyal customers.
Balla 2: Guess you're right. That shit changes everything, don't it.
Balla 1: For sure. Let's bounce, homie.
(The scene cuts to inside Ryder's house. Ryder is ironing.)
Ryder: The way I see it, man, I need to be in charge of my destiny, homie.
Big Smoke: This way you will be, homie. This is all about destiny. You know I got your back, right homie?
Ryder: Cool. How my shit look, fool?
Big Smoke: Yeah, yeah, it's cool. Now, the way I see it is that we don't have a choice. Ain't nothing to feel bad about. You put a gun to a brother's head, brother's gonna do what he's told, no matter if he's a fool or a wise man. You don't want a bullet in the brain, but if you can make it work and make some benjamins while you at it, then that's cool.
Ryder: It's gonna take more than a bullet in the head to stop me.
Big Smoke: I don't doubt that, homie.
(The scene opens in an abandoned lot.)
(Mendez is beating the crap out of some guy.)
T-Bone: You gonna tell me right now, homie. Tell me! You better tell me what I want to know.
Toreno: Hey Mendez!
Toreno: Come on, enough.
T-Bone: Punk ass. I think this vato's a fucking rat, ese. I can smell it on him.
Toreno: I think that's something else we can smell. He ain't going to talk now.
T-Bone: So what do we do now, holmes?
Toreno: I think I got us a buyer down in Los Santos.
T-Bone: Por cuanto, holmes? How much?
Toreno: Not sure, yet. But they're talking big. Up to a hundred K's a month, low risk.
(Toreno's phone rings, he answers and T-bone goes back to work on the guy.)
Toreno: Hello. Yeah. Yes. Yes, you read it correctly. Well, I'm sorry it seems that way to you. Yeah. No. Yes. It's unconventional, yes.
T-Bone Mendez: (talking to half dead guy) Come on. Get off me, man.
Toreno: (still on phone) Well, when did your methods ever get results? When? Hey, I know people who are dead because of you, so don't mess with me on this one, okay? It's vital that it goes ahead. History will understand. (quietly) I've done a lot of work, they trust me now. Yeah. No, you can't play with shit and not get dirty. Everybody knows that. Even you, okay? Now look, I gotta go. I gotta go.
(Toreno turns back to Mendez who is still beating this guy.)
Toreno: Mendez! Now listen. That was a buyer. We gotta step up production. We're not thinking big enough here, okay? My connections in Panama can get is all the product we need, untouched! But you've got to arrange the market. So why don't you stop dancing with your boyfriend here and get on it, alright? Huh?
T-Bone: Man, fuck it, man.
T-Bone: I'm gonna get this piece of shit outta here. (to the now dead guy) You weigh a lot for a fucking dead body, man.
(The scene cuts back to Los Santos.)
(Some Grove Street members are playing craps.)
Sweet: Baby needs diapers!
(Sweet rolls dice.)
All Together: Oh!
Big Smoke: Hey, fool, we losing the streets, man.
Sweet: Nah. We just standing by our principles, homie.
Big Smoke: But our principles are making us bitches, man. Every day, Ballas get stronger, and you and I get weaker. You and I get poorer, man!
Sweet: Man, that shit'll blow over. It always does.
Big Smoke: Oh whatever, man!
(Loc walks right into the game.)
OG Loc: Man, whoever heard of a gangster rapper called Jeffrey, man?
Big Smoke: Hey Jeffrey, man, you're messing up the game, man!
OG Loc: OG Loc! Now that's a gangster name, man. Like Sweet, or Big Smoke.
Big Smoke: Jeffrey, you ain't no gangster.
Sweet: Man, you ain't never put in no work for the set. You a friend, but you ain't no gangster.
OG Loc: Man, I'm for real, homie. For real!
Sweet: Okay, cool! Now kick rocks, you messin' up my game.
OG Loc: You know what? I'm gonna prove to y'all how real I am. Watch me!
Sweet: Jeffrey, go to college, man! Make something of yourself. Me and the fat man, we messed our lives up. We fucked up in the game, man. We products of the environment. Don't be a idiot, man. Make us proud. Do shit different, baby.
OG Loc: But I'm a gangster rapper! It's my calling, homie!
Big Smoke: Look man, do whatever you want, but get the fuck outta here.
Sweet: (laughing) No, man, go be a gangster someplace else, baby.
OG Loc: (walking away) Forget y'all!
Big Smoke: (to Sweet) This ain't a playground craze, man. This is the biggest money-making opportunity that guys like us will ever see.
Sweet: I got all the shit I need. Man, I thought we was in this for the hood, not destroying the family, man. This Grove Street, nigga. Roll the dice!
Big Smoke: Talking of holding families together, you heard from CJ lately?
Sweet: We ain't speaking. He got his own life. More than he deserves.
Big Smoke: What-- what-- what, Brian been dead, what, five years now?
Sweet: Yeah, CJ have five years when he should have been dead. Man, I lost two brothers, man. One got killed and one showed himself, old perpetratin' ass bitch.
Big Smoke: You real gangsta, man, but you gotta lighten up. See, CJ, he's...
Sweet: CJ running 'round like a fool on the east coast. He can rot in hell for all I give a fuck.
(The scene opens in the Red Light District. Carl is walking around to various cars trying to get into them, but they are locked.)
CJ: Damn, Shit!
(A car stops at a red light right next to Carl. He heads over to the driver side door and opens it quickly.)
(Carl lands a quick punch.)
CJ: Get out of the car!
(Carl throws the driver to the street.)
Driver: What the...
CJ: Out! Now!
(Carl gets in the car and peels out.)
(Carl is now driving towards St. Marks area talking on a cell phone.)
CJ: Yo. Hey, wassup, man? It's CJ. Yeah. I hear you. I never knew my dad, but my brother used to make my life miserable. yeah, well, that's what family for. Anyway, I got that thing you wanted. Want me to shoot it by the garage? No, no. I gotta get this thing off the street, man. It's way hot. All right, cool. Later.
(Carl hangs up.)
(The scene cuts to Salvatore Leone's office in his house in St. Marks.)
Salvatore: So, Johnny, you want five million dollars of my money?
Johnny: I want to help you make a fortune, Mr. Leone. My father wants to unite our organizations.
Salvatore: The Sindaccos and the Leones? That's impossible. That's been impossible since your associates whacked my cousin. Hey, you know me. Business is business. The personal stuff is nonsense. I'd like to see a way past this bullshit. Now where were we?
Johnny: Uh, you was... Seeing a way past this?
Salvatore: No, I was saying I'd like to, and you were asking me for five million dollars. So, let me understand it. I go in on your casino, take a third stake alone with your organization, and the Forelli's, then I let you guys manage my investment for me?
Salvatore: Yeah. Yeah. You must really think my mother, God rest her soul, fucked an idiot instead of my father. Are you calling my mother an idiot who goes with morons?
(One of Salvatore's bodyguards stands up and gets close to Johnny, who gets up.)
Johnny: No, of course not, Mr. Leone. I'm only making an offer. Clearly, I misinterpreted your intentions here. Look, I humbly apologize. Forgive me.
(Salvatore stands up, mad.)
Salvatore: Sit down or I'll slit your throat myself!
Salvatore: You little cocksucker. Ever since Sonny Forelli got himself pasted all over Florida, you think you run things in this town. You show me no respect. You insult my family. Your father? He ain't fit to wipe my ass. I'd fuck an elephant before I'd fuck your mother. How does that feel?
Johnny: Mr. Leone, I think you're just misunderstanding...
Salvatore: Hey, you're a good kid. Me, I'm just an old fool. What do I know? Nothing, really. Actually, less than nothing. You can have the money.
Johnny: We can?
Salvatore: If you give me control of the books.
Johnny: Yeah, you see, we can't do that, Mister Leone.
Salvatore: Then, I meant it. Your mother's a fucking transvestite. I got an idea. What about a third party? An independent guy. He runs the place, and together we run him.
Johnny: We can't do that, Mr. Leone. We got our guy in there already.
Salvatore: Get rid of him. Show me exactly how much you want my organization's involvement.
(The scene opens outside the Fort Carson Medical Center.)
(Rosie walks out of the building, talking to himself.)
Rosie: I don't need a bump. I don't need a bump. I don't need a bump. Coke is for the weak. Coke is for the weak. I am strong. I am strong! Winners win and losers hit the rails and nail hookers. I am in control of my own destiny! (sighs) I need a job. I've been disbarred from the law. But I'm in control. I've done it. I'm clean! I'm cleaner than a new toilet seat. I don't need a bump! Ha! Ha! Ha... (starts to hitchhike) I could use a ride. Ah, this sucks.
(Tenpenny is on a cell phone outside a donut shop leaning on their police car.)
Tenpenny: Listen to me, son. I don't give a fuck about you, I don't give a fuck about your principles, I don't give a fuck about your friends. People who get in my way get fucked with. Now, you got paid. You took the money.
(Pulaski comes toward the car from the donut place.)
Tenpenny: I'm trying to set you up for life here, boy, and you're inadequate. You're no use to me at all, boy. Maybe I should kill you instead? (to Eddie) Eddie, organize a hit squad.
Pulaski: Not a problem.
Tenpenny: (back into the phone) You hear that? You feelin' me here? You about to wake up with your head fifty feet away from your body, son. Do what we agreed. Oh, you think you can put one over on me? Do you? I don't think so. So do it! This week!
(Tenpenny hangs up the phone.)
Pulaski: All good, pal?
Tenpenny: Pal? I'm your superior officer and don't you forget that shit! But yeah, all good.
Pulaski: So is he gonna do it?
Tenpenny: Didn't I say it's all good?
(They get into the car.)
Pulaski: So we gonna go get the kid?
Tenpenny: Yeah. Let's initiate the little bastard onto the force.
(The scene cuts to a slow shot following a green Sabre out of a garage.)
(Now the scene cuts back to Rosie at a payphone in Las Venturas.)
Rosie: Ah, yes. Tommy Vercetti, please. Tell him Ken Rosenberg called. Ken Rosenberg. You haven't heard of me? Who are you? Ken Rosenberg. Ro-sen-berg! Oh! Oh really? You told him I called? Look, I made that ingrate, and now he won't take my calls? Just put him on the phone right now! Hello? Hello? Damn it!
(He hangs up.)
(The scene opens to Paul hanging up a phone, with him and Maccer in a recording studio.)
Paul: I got the signature! I am now the proud and legal manager of The Gurning Chimps. (to Maccer) You're mine, Maccer, son. You're mine. Fifty grand it cost me to buy you out of your contract. You're like a race horse or a great little sloshpot. Guaranteed banker. This time, my son, this time!
Maccer: Fucking great, kiddo. Bowing in! Give us a hug!
Paul: Come here!
Maccer: I love you, lad. I love you. (still hugging) I've never felt like this before.
Paul: Fantastic, son. A bit of emotion never hurt no one. (still hugging) Err, great.
(Paul lets go, Maccer still hugging.)
Paul: Yeah, let me go now. You're sweating.
Maccer: Wow! These doves are blinding. I'm rushing me cock off!
Paul: How many have you done, then?
Maccer: Nineteen. Come on! Give it some! you got any B, Pablo?
(Maccer walks away.)
Paul: (quietly) Fifty grand for this northern prick.
Maccer: America! America! I can't fucking wait!
(Carl is walking down an alley in the red light district. A man walks by him going the other direction. Carl quickly turns around, pulls out a pistol and shoves the man against the wall.)
CJ: Give me your fucking money!
Man: All right, man. All right, man.
(The man gives Carl his wallet.)
Man: Here, man. Here, man, take it.
(Carl takes the wallet.)
Man: Come on, man, just don't shoot me.
(Carl hits the man in the head with the pistol, walks away.)
CJ: Punk ass motherfucker!
(The scene cuts to the desert of San Andreas. Two men are digging.)
Man 1: Hey, how's your woman?
Man 2: She's a ball buster. Ever since we moved to Venturas, all she wants to do... Spend, spend, spend. For Christ sakes, I got better luck on the tables.
Man 1: Yeah, I hear you. Hey, give me a hand with this guy, will you?
Man 2: Yeah.
(The digging stops, as one of the men walks over to a body on the ground.)
Man 2: I mean, why'd we whack Mickey anyhow? He was a standup guy.
Man 1: I dunno, something about money.
Man 2: Oh man.
(The man is getting out of the hole.)
Man 2: What, he was on the take?
Man 1: Nah, he was kosher. A little too kosher.
(They pick up the body.)
Man 1: That's why he had to go.
Man 2: Oh, I get it.
Man 1: Yeah, he was declaring too much money, so we gotta get a new guy in. You know, I hear the Leones are lending the bosses some money.
Man 2: The Leones?
(They put down the body on the ground.)
Man 1: Yeah.
Man 2: Get the fuck outta here. We hate the Leones.
Man 1: I know. That's what I said to Johnny, but he said they needed the money.
(They kick the body into the hole.)
Man 2: Buona notte,dirtball.
Man 1: So, Mickey gets capped, so we get a new guy in, who everybody bullies. Then, when he misbehaves...
Man 2: We dig another hole.
(One of the men goes to get the shovel.)
Man 1: Exactly. Hey, you hear about Bobby back east?
Man 2: No, what?
Man 1: He's gone queer. Can you believe that shit?
Man 2: Oh Mother of Christ Almighty, I've seen everything!
Man 1: Minchia!
(One of the men starts to cover up the body with dirt.)
(The scene cuts to Salvatore's office in St. Marks.)
(Johnny walks in.)
Johnny: So, we got a vacancy. We kept our end of the bargain.
Salvatore: Then I guess we're on. You want something to drink?
Johnny: No, no, I'm good, thank you. So who's gonna run this casino for us?
Salvatore: Hey, we're gonna need a real idiot. A guy we can all push around. There's this lawyer, used to work for the Forelli's down in Florida. I heard he's sniffing around for a job. Just got out of rehab or something.
Johnny: Yeah, that'll work.
Salvatore: I'll make a call.
(They shake hands.)
Salvatore: Don't fuck this up, kid.
(The scene cuts to another slow shot of the green Sabre driving through an alley.)
(Now the scene goes to Tenpenny and Pulaski in their police car parked outside the Los Santos Police Department.)
(Hernandez walks up to the car.)
Pulaski: So you're the new kid, huh?
Jimmy: Yeah, been working on the streets three years though, and I realize there is only one kind of crime in Los Santos... Gang crime. That's why I joined CRASH.
Pulaski: Get in the car, kid.
(Hernandez gets in the back, they start to drive.)
Jimmy: I was called in on this domestic dispute case once. You got this young kid, okay? Can't be more than twenty years old, beating up his wife. So I figure, easy, right? No man hits a woman. Well, it turns out this woman spends all day freebasing and nearly let their kid starve to death. All right, so what do I do? I could take this guy in, and leave a little kid with a drug-addict mother, or I let a guy off with beating up his wife. I mean, it's difficult out there.
Tenpenny: Domestic violence?
Jimmy: Yeah, yeah. Serious stuff, man.
Tenpenny: Yeah, I'm sure. Eddie, pull over.
(They pull over.)
Tenpenny: Well, I deal with drug dealers, gang bangers and psychotics, all of them chasing after a lot of money, none of them scared to kill me, you, or all our families, if they think it will help them. Now this is a bit more serious than a domestic dispute, pal.
Jimmy: I didn't mean anything by it. I was just---
Tenpenny: I'm not really interested in what you meant to say. See, what you said was you found a woman on drugs a difficult situation. Now how the hell am I supposed to trust you if you're so easily confused?
Jimmy: Look, I'm a good cop.
Tenpenny: This ain't about being a good cop, Pepe.
Pulaski: It's about taking control of the streets from the fucking savages who've got it now!
Jimmy: I know!
Tenpenny: Then you'll do what it takes?
Jimmy: Yeah, whatever it takes!
Tenpenny: 'Cause this is a game of percentages, 24/7, 365. We're just trying to screw as many bad guys as we can.
Jimmy: Yeah, I know.
Tenpenny: That means letting some bad guys get away with things.
Pulaski: And sometimes it means doing shit that you ain't proud of, because you're strong enough and smart enough to understand the bigger picture.
Jimmy: Look, I know.
Tenpenny: You don't know shit. Get the fuck out of the car, ese.
(Hernandez gets out.)
(The scene cuts to another shot of the green Sabre driving down the street in Ganton.)
(Now it cuts to Las Venturas, inside the Caligula's Palace casino office.)
(Rosie is sitting at the desk. Suddenly, Salvatore walks in with a bodyguard, angry.)
Salvatore: Are you enjoying yourself, huh?
(Rosie is getting up.)
Rosie: N-no! I just-- you know, just getting a feel for the place.
Salvatore: So this is the way it is. You're sitting here already, having a good time. Me, five million in the hole to the Sindacco's, and you not doing a thing about it? Huh?
Rosie: No, not at all. I spoke with Johnny. He explained everything.
Salvatore: Oh, you spoke with Johnny?
Rosie: Yeah, he came by--
Salvatore: You spoke with him, huh?
Salvatore: Did you suck him off as well, you little fucking weasel? You're my man, not his! I got a good mind to end this here and now, you Judas, you rat!
Rosie: Come on, sir! I thought that was the job.
Salvatore: Oh, you thought that was the job? Mike, (to bodyguard) get the door.
(Mike shuts the door.)
(Salvatore pulls a gun on Rosie and grabs him.)
Salvatore: I'm the job! Me and my money. And I want it back, and I want it back fast. Johnny fucking Sindacco even so much as blinks at you, I want to hear about it. You find a way to get me my money and fast. Understood?
Rosie: Yes! Yes! Understood! Understood.
(Salvatore puts the gun away, Rosie sits down.)
Salvatore: And cheer up. Have some fun around here. This is supposed to be a casino, not a monastery. Christ, I've had more fun taking a crap than I've had here. Come on, go get me a drink.
(Rosie gets up.)
Salvatore: Smile, schmuck!
(The scene cuts to Los Santos; Pulaski is kicking a downed police officer, while Tenpenny and Hernandez are standing and watching.)
Pulaski: (yelling) Who you gonna tell now?
Tenpenny: (stopping Pulaski) Eddie, chill out, man.
Pulaski: The prick's still breathing.
Tenpenny: That's good. Officer Hernandez... Finish him off.
(Offers Hernandez a gun.)
Jimmy: Come on. Please. Don't make me do this!
Tenpenny: Say what?
Jimmy: I can't.
Tenpenny: Hey, I thought you understood.
Jimmy: He's a fucking cop, you maniac.
Pulaski: Not no more he ain't.
Tenpenny: We went over this. It's about percentages.
Jimmy: I know!
Tenpenny: So who's side you on, his or mine?
Jimmy: Yours, Frank! Yours!
Tenpenny: Then be a fucking man. You cap him, or I cap you.
(Hernandez takes the gun but is reluctant to shoot.)
Pulaski: Come on, do it! Pull the trigger!
(Hernandez shoots the cop.)
(The scene cuts to another shot of the green Sabre driving down the street Sweet's house is on. There are two Balla's in the car. They circle around to Carl's and Sweet's mother Beverly Johnson's house and open fire with a big drive-by. As they flee, a GSF member fires at the car but doesn't get anyone.)
(Sweet rushes into the house.)
Sweet: No! Oh shit! Hell!
(Kendl runs toward the house.)
Kendl: Oh Momma! Momma! No! No! No!
(Sweet comes back outside and stops her from going in.)
Sweet: Come on, girl! Momma!
Kendl: No! Damn! Damn. No!
(The scene now cuts to Kendl sitting on the front porch. Sweet is standing above her talking on a phone.)
Sweet: CJ, it's your brother.
CJ: (on the phone) Okay. What you want?
Sweet: I think you better come home. It's about Momma. She's dead, bro.
(The scene cuts to Carl looking sad in a car, shaking his head.)
Welcome to San Andreas
- All of the scenes with the exception of Liberty City were shot in Grand Theft Auto: San Andreas locations despite the fact they are meant to be somewhere else. For example, Paul's studio in England is actually the studio interior of Madd Dogg's mansion, which also features in three storyline missions.
- One of the possible reasons Tommy Vercetti does not talk in this machinima is that Ray Liotta, the voice actor of Tommy, had a dispute with Rockstar North about how much "effort" he put in to GTA Vice City.
- The appearance of Sex Club Seven in the Liberty City scene is a canonical error. Before 1998, it was called Paulie's Revue Bar. This happened because Rockstar wrote GTA Liberty City Stories after GTA San Andreas.
- After the Ballas do their drive-by on Sweet's house, a member of the Grove Street Families is seen running towards the Sabre and returning fire on them. However, no gunshot sounds are heard.
- Over the last dialogues of the machinima, when Sweet calls Carl, the latter says, "Okay, whatch you want?" However, in the opening cutscene of the game he says, "Sup Sweet, what you want?"