This action might not be possible to undo. Are you sure you want to continue?
a screenplay by David Mamet
copyright (c) 2002 by David Mamet
FADE IN: EXT. WOODED HILLSIDE. DAY. We see the drawn face of a young woman. Camera tracks with her as she runs through the thick woods. She is exerting herself heavily as she moves up a steep hillside. She looks behind her quickly, and continues. ANGLE, we see a young man, and then another, running through the woods, out of breath. They are dressed in filthy BDU’s, and show several days growth of beard. The leader stops for a moment, and looks around. The two men separate. ANGLE, the young woman, who has come to a small ledge, over a ravine. She stops, panting, and bends over, to attempt to catch her breath. She looks around, and looks back, her back to a steep wall, a steep drop before her. ANGLE, the first young man, having come up to the spot vacated by the young woman. In the BG we see his colleague. He looks down, and sees movement in the brush below him, in the ravine. He starts to descend, and then looks up. ANGLE, the young woman, pulling herself up the steep rockface. The young man regains the ledge and looks up. Camera takes him around a bend in the ledge. Standing here we discover ROBERT SCOTT. He is somewhat older than the two men, he is very fit, also dressed in filthy BDU’s. He is making a note in a small notebook, which he closes. Now, the two men look across the ravine at the young woman, seen disappearing over a ridge. SCOTT (quietly) ...you better catch her... The man looks around, and begins climbing up the rockface behind him, pulling himself up, hand over hand by the roots of trees. Several feet up, he falls on his back. He tries to work himself to his knees and winces in pain. He looks to Scott for help. SCOTT ...your Dad’s napping on the sofa, your Mom’s watching Let’s Make A Deal, and God is Dead. What do you expect me to do...? YOUNG MAN (very weakly) ...I’m tired, Sir...Sir, there’s no way...
2. SCOTT There’s always a way...Don’t You tell me there’s no way... A pause, as the man tries again to get to his feet. Scott looks up at the young woman on top of the ridge and gives her a "hold" gesture. She stops, at his command. Scott nods, as if to himself, and then kicks the young man in the ribs. The man starts, his eyes grow, and he gets to his feet. SCOTT How ’bout that? That’s called ’Adrenaline’. You said you Wanted In. He moves into the now-standing young man, and hits him, not heavily, but convincingly, several times. SCOTT This is where you get in. The mugger don’t care. The shooter don’t care...get up...Or I will beat you to death on this fucken hill...Now: you better Catch her... He motions with his head. In the BG we see the young woman nod, and begin running again. We see her, for a moment, breast a hill, and disappear again... ANGLE, on the young man, as he looks at Scott, empty, now, of self-pity, as if he just realized something. SCOTT (responding to his look. As if to say "That’s right.") There’s nothing but the mission... The young man begins to climb the rockface. HOLD on Scott for a moment. INT. TRAINING FACILITY. DAY. A large, hand-painted sign hangs on the cinderblock wall of the rough building. It reads: These are the precincts of pain. A goddess lives here. Her name is Victory. In front of the sign walks the young woman we saw earlier. She is exhausted, she has a towel wrapped around her neck. Camera takes her to Scott, who is holding a cup of coffee, and making notes in the small notebook we saw earlier.
presses a button and the blade emerges. as Scott enters the mess tent. acknowledging him. Sergeant. Scott enters the tent. creased cardboard: It reads. as a uniformed man brings him a tinfoil tray with some food on it. US 24191489. boldtype rules for fighting guerilla style. beneath it. United States Special Forces. Several of the young men react to him. and walks off. Anton. JACKIE BLACK Sir: Day or Night. sir. 1782". who rises and comes over to Scott. ANGLE. Scott shows the notebook to Blane. He begins to use it to cut up his meat. 3149584. and Blane refers from the notebook to what we see are a group of eighty young men. waiting. YOUNG WOMAN (JACKIE BLACK) A signal honor to work with you. ANGLE HIS POV. US. . mismatched jacket and trousers. He is joined by George Blane. Among them.3. SCOTT Thank you. "SGT. She nods. in the mess tent. He starts away from her. SCOTT Well done. "Rogers Rangers. You reach out for me. on Scott. Black or White. Scott takes out a stiletto from his pocket. He wears an informal fatigue outfit. we see the young man Scott berated on the hill. as she finishes his note. Jaqueline A. The young man from the hill." The young man (Anton) shows the card to Scott. Sergeant. to indicate she has something more to say. as they walk toward the mess tent. There is a line drawing of a man with a musket. He nods to them. Rules for Engagement. "Black. stands sheepishly near Scott. till Scott turns. on the card. Scott is greeted by him. without insignia. Anton. in old faded ink." SCOTT I’ll remember. a very military-looking figure of an older man. Written on the card. He turns back to her. Anton takes a card out of his pocket. two of them the men we saw on the hill. M. and we read. She stands. who sits. Blane takes the notebook and walks off. and she raises her hand slightly. the size of a credit card. old. Scott walks toward a mess tent.
there is an army depending on us for correct information.4. "Rule 4: Tell the truth about what you see and what you do . ANTON I just wanted to say.. or something. SCOTT (nods. sir.. sir. sir. we see. (Anton nods) ...You could use it to light a fire. SCOTT You carry that card. It might save your life. . The men start to come to their feet. You can lie all you please when you tell other folks about the Rangers. and leave the mess tent. He did. ANTON Yes. sir... to meet you. so. son. SCOTT He carry it Over There? As they speak..That.. and sense of occasion. in an insert. SCOTT He come back? ANTON Yes. BLANE’S AIDE The Candidate Cadre will fall in on the White Line. who is obviously unable to express his gratitude. As he looks at the young man. SCOTT (of the card) What’s this then? ANTON It was my father’s. but don’t never lie to a Ranger or an Officer". Blane’s Aide calls the men to order. Pause) Well. Scott pauses again. the printed rules "Dated 1759"...
cause.. SCOTT Make sure you can’t imagine it. The exhausted men come to their feet. ANTON (looking after the departing. and looks up to see Anton standing next to him. sitting apart. They are happy. You’re seeing Snakes. file onto a bus which has just pulled up.I can’t imagine how they live with it. ANTON My name is. as he gives the Ranger card back to Anton) You never met me.. SCOTT (pause) . failed men) . and joking with one another. it’s just one step to doing it. ANGLE HIS POV.. As he thinks a very brief moment. on the young man. ANGLE on a young man... Twenty or so similarly exhausted men..5.. You’ve been up for a week. Anton shakes his head. who looks out of the window. He withdraws a small dufflebag from the front seat. and then turns back to Anton. ANGLE. outside the tent. if you can. Scott stands next to an old.they’ll be back where they came from by Morning. SCOTT (rising. . who stands next to Scott.. are being shuffled onto the bus. as he exits the tent. sadly. at the spectacle of the failed men.. Anton. and into a line. ANGLE on Scott. and all this is just a Bad Dream. but pristine Mustang Cobra.. as if reluctant to become philosophical. In the BG we see those who failed the course. with dufflebags.
off to the side... ANGLE. I’ll join the Masons.. Anton steps away. summing it all up:) There’s just the mission.You going home? SCOTT . Bobby. Beyond them. ANGLE.... BLANE Thank you. Then. BLANE’S AIDE (as he glances down at his clipboard) Congratulations on completion of this evolution. Anton. filling up. Sir.. on Anton. The camera pans over the smiling faces of the eight very proud young men. BLANE .. SCOTT Not at all..as I call your names: (he consults his clipboard) Grossler.weather permitting. CU Scott.6. looking at him. but I do not think you’d mind sparing ten minutes for Induction. we see the bus holding the failed candidates. BLANE’S AIDE (in the distance. Beat. As camera tracks with Blane and Scott) . (pause.. ANGLE on Blane and Scott. . These two men steps forward. nodding to himself at the proudest moment of his life. Sir... SCOTT Do I need to know? (pause) If I want Camaraderie. I know you would probably like some sleep.
Grossler starts to advance on Anton. and targets. throws it away.yeah.. interrogating the two men.. in a fighting crouch.. on Scott. smiling. and smiles at Scott. sadly. A long table along one wall holds a coffee urn. please. We see various housefronts. SCOTT (to himself.. drains his coffee cup. Anton comes into the room. Blane gestures to Scott.7..are you tired. Through the open door we see Anton and Grossler...would you bolt the door. BLANE (to the candidates) . BLANE (over his shoulder. entering the building. He shares a look with Blane. as they get the picture.. as Blane steps forward to address the two candidates. Beat. Beat. ANGLE. . Scott gestures to the Aide that that was what he wanted to see. ANGLE. He gestures at a far door in the room. as they look at each other. FOCUS.. "Shall we begin?" Scott hesitates for a moment. "One Moment".? Scott gestures to the Aide. on Scott. weighing them. quietly) . CU Scott as he looks. Blane draws two cups of coffee. as he looks at the candidates. We see Scott look away. in the BG. Camera takes Blane and Scott into a cinderblock building which houses a shooting range.you wanted to know the ’secret knowledge’. crumples it.. and then nods. to an Aide) . Gentlemen? (the two young men smile) This is the completion of the evolution: (beat) Only one of you may join the unit. The first man through that door will be inducted... and storefronts. meaning.
ANGLE HIS POV. We see the young woman from the first sequence. CINDERBLOCK BUILDING. A squad of exhausted men is marching past.Frontgate. He opens the trunk.. in civilian clothes. comes around a bend. We see his face grow serious. Scott. and opens a cabinet which we see contains several assault rifles. We see a sign "McGarrity Construction Company" on the gate.. as he begins to write on a pad. Another phone. . now in civilian clothes. He is standing by a high chainlink fence topped with barbed wire. MUSTANG. The young worker opens the lock on the chainlink fence and swings it open. its red light blinking.. She nods at him. at which we find several earthmovers. Scott. DUSK. DRILL INSTRUCTOR (to that man) What the hell are you looking at? There ain’t nobody there. conferring with a colleague.8. DAY. He closes the trunk.. We see a red light blinking on a telephone on top of a littered desk. driving. yellow duffle-bag. the Mustang. and grenades. YOUNG WORKER (into phone) . EXT. DAY. and he responds. He takes the yellow bag. showered. As he starts to get into the car. a lumberjacket and jeans.. The Aide lets Scott out of the back door. is found in the cabinet. EXT. heading in his direction on a rough road. carrying a small.old levels and planes and saws. The young worker picks up this phone quickly. The young man walks back toward a construction trailer. A young worker in a hardhat. comes out of the building. and puts it into the trunk which we now see contains woodworking tools . CONSTRUCTION TRAILER. INT. idle. Some half-mile away. The young worker enters the trailer hurriedly.. by a large gravel pit. As they come to a halt one of the men turns in the direction of Scott.
ANGLE INT. We see the young worker run up to him and hand him a sheet of paper. Above him. the sheet of paper Scott holds. NIGHT. A Crewman shakes him awake. As the helicopter banks low over the Charles River and Harvard College. HELICOPTER. ANGLE Scott. We see scaffolding being erected outside the main entrance.9. ANGLE HIS POV. Scott. his body language saying "That’s all I know. A black suburban is waiting. CHARLES RIVER. a black. to ask a question of the young worker. Is reads: "All hands. and takes off. the helicopter goes into its turn. asleep. ANGLE HIS POV. THE HELICOPTER. on the ground." Over the throbbing of the helicopter. Seen through the windshield of a car. on Scott. which he opens. over the worker. and begins to descend in a field some fifty yards away. to the helicopter. He hands the keys to the young worker. Scott takes the paper and begins to read. A helicopter. We see Scott bring the Mustang to a stop." As he starts to speak his words are drowned out by the sound of a helicopter. and stand in the road giving a "Stop" signal to the car. inquisitively. Camera takes Scott to the trunk. We see the young worker come out of the trailer. EXT. and from which he retrieves his gym bag. EXT: the helicopter descends into the field of a football stadium. as he is pulled up aboard. and get. THE CAR. We see the worker begin to respond. to the Pilot. and the helicopter takes off. The helicopter goes into a tight turn. out of the car. government Suburban pulls outside the boathouse. ANGLE. INT. ANGLE. we see Scott giving directions about the car. ANGLE. ANGLE. NIGHT. flying low. running. to the young worker. He looks up. watching the helicopter disappear. ANGLE EXT. ANGLE. . A man in civilian clothes points out Scott. BOATHOUSE. The construction trailer up ahead. Through the canopy we see Scott and the construction canopy down below. Scott looks up.
that he is "okay". Miller gestures to Scott that it will just be a moment. his suitcoat off. INT. and points to an entry. has hair of red for Harvard. Around him we see communications equipment being hurriedly assembled. ANGLE. Through the door we see a young government type. AIDE It seems she got a makeover today.. now and then. paint-spattered drape. obviously her father. holding assault rifles. We’re working on it. over which is hung a large. and proceed toward the door. as he reads) ".Betty Coed." AIDE (of the top photo) It’s not current. and glances up... The group pushes through the drape. Scott looks down the entries. As Scott talks. We see the long skiffs up on their rests. he leafs through the sheets to reveal several photos of her and a man. SCOTT (of the photo. the Charles River beyond. his shoulder holster empty. ANGLE INSERT. One is a print of a glossy magazine article. Gaines. The top sheet shows a color photo of a phenomenally lovely redheaded girl in her teens. and leads him through the boathouse.. Scott and several types in suits get out of the Suburban. . nodding to himself. holding her hand. An older government type. beyond which we see several men in suits.? ANGLE on them as they arrive at a small equipment room. SCOTT Why not. ANGLE on Scott. THE BOATHOUSE. followed by an AIDE. walks up to meet the group. being interrogated by several colleagues. the Aide motions to the armed guards that Scott is to be admitted.. at the man being interrogated. MILLER. A sign on a stanchion reads "Temporarily Closed For Repairs".. He hands a small log book to Scott. The Aide hands Scott a sheaf of papers.10. As Scott looks through the papers.
Michael Blake. SCOTT .. SCOTT (reads) 4PM.. "That’s it. SCOTT .. passing photos to Scott... (Scott is passed another photo) Professor Gerald Sloane.? The Aide shrugs.? We are shown a photo of an Ivy League preppy chap around 18. He is on a sailboat.11. AIDE ... meaning.? Miller gestures to an associate. AIDE Gave her a crewcut....where is he. as Miller goes to look through the glass at the young man being interrogated..... we’re shaking the trees.. of which she was one.? . Martha’s Vineyard." SCOTT .. Cut n’Curl. SCOTT Who else you got. notably chummy with his female students......... AIDE Was not in his dorm last night. Weekend home.. Then. SCOTT (glancing up at the man in the chair) Met with her boyfriend at ten....for sure.. dyed it platinum blonde..we got the boyfriend..And.? AIDE He says he was.he’s on Post until he turned her over to the Nightwatch.. who comes forward.
I need an overwatch on the boyfriend. of a youngish bearded man.. SCOTT Are you kidding. Bobby.. He puts down his head for a moment. in front of a blackboard. AIDE Been there since Friday.? An Associate comes over and hands him a piece of paper. MILLER How long since you’ve slept? SCOTT Not significant. Sir." MILLER Thank you for coming. We see a photo.call em in. I’m light. . as he looks over the materials he has been given) Sir. Miller shakes his head. Call em in. trying to clear his head. MILLER I don’t have the bodies.. and blinks his eyes. sir. Are you up for it? SCOTT (absently. MILLER You take a team.I need another team on the Professor. The Aide hands him a sheet of paper... obviously from a school catalogue. people. Scott. MILLER I’m light. obviously a roster. and Bulldog.. looking at the board...12.. We see Miller in the BG finish his meeting and turn to the group.. MILLER You just come from the Cadre. SCOTT Yes sir. "this Marine pisses av gas and farts blackpowder.
and walks into the equipment room. I had her all day. and shaking his head. and we see that it shakes.uh. ANGLE on Scott. CU. down his shirtfront. who is obviously their superior. INTERROGATOR Lunch with her father . Uh. inadvertently.you just had her. sir. She had lunch with her father. ANGLE on Scott. The young man begins to pick up his coffee cup.. across from her dorm." ANGLE on Gaines. on Miller in the interrogation room. Tucked her in. And she. Scott exchanges a glance with Miller. the interrogators step back for Miller. I just had her. with the suspect and questioners seen reflected in the glass of the door.. as he gestures to Miller to look through the glass. He motions them to continue. the government type. He is sweating and obviously frightened.you seconded to that detail? GAINES No. meaning "You know what to do.. As he watches the interrogation of Gaines in the next room.. INTERROGATOR ". AIDE (whispering) His post was Harvard Yard. An Aide comes and stands by Scott. at the young man being interrogated. Northeast Corner..13.. to the interrogation. INTERROGATOR Once more: GAINES She. ANGLE. as Scott enters.. Harvard Yard.. . Miller nods to Scott. Camera holds Scott throughout the following interchange. The man being interrogated. Gaines. and spills it. Nightwatch relieved him there. At Ten. uh..." GAINES I. The young man tries to take a sip of coffee. who is now seen to be wiping his brow. is in his early thirties. Midnight. Lowell House.
.? GAINES No.14...... we’ve got a little problem.. . GAINES (shaking his head in denial) I was there.her.. INTERROGATOR .. (pause) And then I. (he gestures at his notebook. (Gaines nods) So it wasn’t a serious. "she had a tiff with her boyfriend. as if to support him) Miller motions at Scott..yeah.. MILLER Well. (he makes gestures of haircutting) MILLER Her haircut.. no. (he covers his mouth as he speaks) I held the post until relieved.. INTERROGATOR Michael Blake (he holds up a photo of a preppy fellow) MILLER What was it about? GAINES I think it was about her. I. then...." GAINES Yes. (pause) No.
.don’t you tell me you were there.Don’t you tell me you were On Post! Miller gestures to a couple of the types who take Scott out of the room and sit him forcefully. 23. reveals. and lie away my Pension.cautioning him to stay still. Gaines slightly averts his head... MILLER (to Gaines) Who’s lying? (pause) You or him? (pause.... SCOTT (as he moves towards Gaines seriously) .. (he looks through his notes) . SCOTT .30.. I’ve got fifteen years in..you lying swine.. Northeast Corner. reveals no Secret Service Presence. in a chair. neither this post nor adjacent. who gives an infinitesimal sign to Scott who steps forward and slaps Gaines across the face. MILLER (reading) 23. GAINES I was On Post.. Sir..12 Hours...a second tour.15. and three kids.... He makes a move toward Gaines..) ANGLE on Miller. SCOTT You son of a bitch.. . GAINES I.. 19 May. GAINES I was there. Lowell House. and you’re gonna sit there.. Harvard Yard.. similarly.
I.... in conference with several government types. .. GAINES No. of the Professor.. I. He picks up another glossy magazine showing the redheaded girl ... MILLER We’ve got until her Monday Morning Class. Scott leaves the room.um...Where Is She? Scott turns.Uh.? AN AGENT Martha’s Vineyard.the caption reads "America is Seeing Red".. HOLD on Scott who uses the pause to review the documents he holds. INTERROGATOR . toward the windows.. of the Boyfriend..? Where is he.. INTERROGATOR Shall I tell you what’s gonna happen to you... (he gets up and walks.... to Miller... and turns) I. and "Where is she. MILLER Who’s got him? AN AGENT Jones and Shannon. the photos of the girl. Miller now stands by him. who is seen.? (pause) We’re gonna find out.. and then it’s Meet the Press. beyond the door. INTERROGATOR Were you fucking her.?" (he shakes his head) Who’s got the Professor.. on the outskirts of the conference.. wearily. when we find you out? GAINES ..16. and is seen.
17. of the ravishingly beautiful young girl with long red hair. As he looks through the file. and the headline reads "America is Seeing Red. red enamel crescent earring.... nor have we..The Photo. MILLER Where is he. MILLER (to the associate) You had him in his home. taking notes. We see him holding several newsclippings.. AN AGENT The Professor... at the back of the group. and an Aide puts some papers into it) Here’s what we have him doing with his Female Students. MILLER (to the group) Wake him up. We have not told Boston or Cambridge PD. One of them shows the girl.. AN AGENT Sir. and takes notes in as small pocket notebook. MILLER The lab ran it up.. and notations. shake him up." We see the photo blown up. It features a small... we were in Error. in the same pose. Throughout this section camera holds Scott.. An agent comes up and hands him a sheet of paper..? .? (one of the agents brings in two photographs) Here is the last known photo. but now her hair is short and platinum blonde and spiky.. He don’t want to talk. show ’em to his wife.of the girl. The agent opens two boxes and begins distributing the photos to the group. based on the testimony of the beauty shop. in which we also see the small cardboard card of "Rogers Rangers Rules of Engagement"... HOLD on Scott.. we. The second photo shows the same girl. the various photos.. (he holds out his hand.
EXT.. Two students. MILLER Find him. NIGHT. ..I’m 25 men light. Last seen out of West Tisbury. Get me an overflight. HARVARD YARD. She indicates something.. Put the guard on him. They acknowledge a uniformed security guard. people. back over her shoulder.. hurrying. and we HOLD on Miller giving orders to his group. AN AGENT Best guess puts him on his boat. Asian young woman.. A slight. An Aide comes in. (he points to an associate) Shake the Trees.I’ve got two days to run in. who is in front of the camera. Miller points at Scott. walks toward the camera.. Get ’em in. walking away..What’s the name of his boat? Professor Gerald Sloane. (generally) I’m light. walking through the yard. here.18. I’m light. with his back to us... and the guard.. Who’s got the Coastguard.. her arms full of books. I’m light. Martha’s Vine. SCOTT I’ve got him. who rises.. hurriedly. Scott exits.. veers off in that direction. MILLER (coming over to Scott) .. AIDE It’s the boyfriend. who walks. He’s moving. sir. SCOTT (as he responds to the inherent request in Miller’s voice) Whatever it takes. Before the Press wakes up... Miller nods his appreciation.
please.. SCOTT Could I see your hands.. VESTIBULE.. furtively. NIGHT.. son. Scott motions him away from the mailbox. Newton...? The Boy. SCOTT You a student here? BLAKE Yes. moves his hands away from his body.19. ANGLE HIS POV. SCOTT Could I see some identification.. please.. SCOTT L. BLAKE No. EXT. The Security Guard (Scott) standing just beyond a glass door. Mr. (pause) You lose your mailbox key. Newton? (Scott takes out a walkie and begins to talk into it) Ten-Twelve patrol. . It’s gonna be what it’s gonna be. and turns. Scott enters.. working on jimmying open one of a set of mailboxes. to show a screwdriver..? Mr..? (pause) BLAKE Um. SCOTT Calm down. HARVARD DORM. who draws a nightstick. Newton. (pause) Please.. He starts to advance on Scott..please. looking in at him. Blake. requesting. coming to camera. which we see is in the process of being demolished. Scott reads the name on the mailbox. Son. and keeps him at bay.. Oh. God. A young man (MICHAEL BLAKE) is. He senses something.
BLAKE You. that’s right. They know who I am.. now walking with a male friend. On Scott. (pause) Okay? Okay??? (pause) . and. (he rereads the nameplate on the mailbox) Laura Newton? (pause) Laura Newton? Is that ’the’ Laura Newton. as he watches Blake take a letter out of the jimmied mailbox...Look look look: I broke up with My Girlfriend. ANGLE INT. SCOTT Who? BLAKE The Secret Service. THE VESTIBULE. SCOTT (of the letter) Laura.They’ve "cleared" me. you hear me out... ANGLE EXT. SCOTT The Secret Service? BLAKE That’s right.. and moves to the mailbox and takes out a letter. as Blake motions to the mailbox. THE VESTIBULE. pass in front of the vestibule.20. Beyond them we see Blake and Scott... SCOTT (gesturing to the jimmied mailbox) They didn’t clear you for this. The young Asian girl. BLAKE One minute. They know who I am. could I please talk to you for one minute..? BLAKE We broke up. You. Then.. Alright? Laura Newton. if you want to.
...she.? (pause) Mz Newton. unable to see into the room. "miming" using a key. Please.. out in the corridor.. SCOTT .... BLAKE (as it dawns on him) Maybe she’s ill. SCOTT Mz Newton..this is Campus Security. reading "Dear Dad-Thanks for coming-signed %-)". Blake and Scott.. HARVARD DORM.. obviously involved in investigating the room.21. stop. Five minutes. We take him to her desk.She would.. unlocks the door.That’s all I want. opposite her room. He begins to fumble with keys at his belt. Scott knocks on the door. .Mzz Newton. CORRIDOR. NIGHT.. BLAKE Please... as they walk up to a door. (his face brightens at the new idea) Maybe she’s in her room! SCOTT You tried the bell.. a young girl comes down the hall and stops.. Please. We on he on see Scott enter the room. wearing plastic gloves. in the hall. and turn the light and look inside.and a note he desk. you called her. INT.. We see the boy. silently.. Blake.. ANGLE INT... as Scott and Blake stand there.. where finds several photos of her and her father . Several agents. SCOTT I have to call it in.. One. THE ROOM.? (pause) ANGLE.please.
sadly. You cunt. SCOTT (of the letter:) . (Scott shakes his head. on which we see this symbol %-) and begin to read: "This is a sham.22.. NIGHT. She smiles brightly and goes into her room.What was going to happen to her? (pause) You hurt her. Your view of the world is not cockeyed. on Scott..... YOUNG GIRL Hey. Blake and Scott sitting on a bench in the deserted yard.. Blake looks away) How old is this girl? BLAKE She’s..I.this is not very nice language. ANGLE.. SCOTT . Scott holds the envelope and the letter.? .. (he gestures to the note) I called her... as he looks at the letter... (smiles) That was some Vicious Performance." BLAKE . pause) I was mad.trying to retrieve the letter.... Scott looks at Blake. EXT."everything that’s going to happen to her".. but corrupt. HARVARD YARD.....just turned 18.? (pause) Did y’hit her.. I.. SCOTT Why. son.I was just... Sprised to see you there.? BLAKE Hit her? No. (pause... Mike.... And you deserve everything that is going to happen to you.I called her a whore.
. that is %-}. (pause) SCOTT Who called her that. we cut inside the van. quietly) Because the Secret Service... Through the windshield we see Scott gesture "Do Not Intervene. as he rises. The boy bangs his head.the "Picasso" sign. Scott... SCOTT (of the sign on the letter." ANGLE. brings Blake to his feet. SCOTT Why. (smiles) Cause she looks at everything cockeyed.. As they walk by a parked van.? . as they walk down the neardeserted Mass Ave.? BLAKE (gesturing around.she must have gone home.she said they called her "Picasso".. on Scott and Blake.. He turns the sign rightside up to show it is a ’cockeyed smile’) What is this sign? BLAKE It’s how she signs her letters.she must..Like Picasso ...23.. Where we see a Secret Service type. isn’t. SCOTT (as if realizing "This is the question") Where is she? BLAKE (as if the question had not occurred to him previously) She must...
THE VAN. uh.? Why’s that make her a slut. What’d you care how she dyed her hair? (pause) What’d you care..and..) I.. too...I was young once.O. Blake and Scott.... We’ve all seen her pictures.. SCOTT (V. son.. and see the tape machine moving.. ANGLE.. ANGLE EXT.She cut it off. she got her hair done.. Off-therecord. (remembering) He saw her yesterday! Maybe she’s... her. I said she looked like a slut. BLAKE You know.O. Son. SCOTT She seeing another fella. We hear the conversation. THE VAN. (pause) SCOTT Beautiful young girl like that. confidingly) ... (pause) Uh.24.) ....... .? (as he moves closer. her. She dyed it blonde.. BLAKE (V.maybe she’s with him! SCOTT Why’d you fight with her. INT.just between us.? BLAKE (pause) She.......? (pause) BLAKE She.
25. SCOTT I know that nothing hurts worse than that. She seeing another guy...? BLAKE I... (pause) There’s this, um...Teacher...I shouldn’t, I, I shouldn’t tell you this: She... SCOTT She sleeping with a teacher...? BLAKE She says she isn’t. I said she looked like a slut. She wants to fuck old guys, she should go to The Regency. Go all the Way. SCOTT The Regency, what’s that? BLAKE (as if everyone knows this place) S’the Club, by the Fenway...it’s like a joke at school, it’s like a rumor: this or that girl, made a thousand bucks, went with a businessman for One Night... Look: it’s a Lover’s Quarrel. I said something I regret. I sent her a note which I regret, and I assure, you, Officer. If... (pause) If you would... ANGLE. From inside the windshield of the van we see, through their body language, that Scott is "giving the boy a break", the boy is very thankful. Scott is admonishing him and the boy is contrite. Now Scott begins to walk away, and we see him minutely, signal to the van, we see the driver of the van pick up a phone and speak softly into it. ANGLE, Scott, walking down a sidestreet. The boy in the BG, we see the young Asian girl, take up a tailing position some half-block back of the boy, as a car glides to the curb. And Scott gets in. ANGLE, tight on Scott in the car, as he rubs his eyes, beyond exhaustion. The car pulls away.
26. He gives several instructions to the young man driving, and then leans back, eyes closed. He opens his eyes again, and we see him mouth, insistently, "The Regency". The driver nods. INT. BOATHOUSE. NIGHT. As Scott enters. The activity is more widespread than previously. An agent walks him into the fray. AGENT No morgue. No hospital. No note. SCOTT The parents? Agent, nods, shrugs. AGENT The mother, (makes a "drinking" gesture) You know where she is...He’s holding up... (as an afterthought) He was in town yesterday. To see her. SCOTT (as he shakes his head - to clear it) He was? AGENT ...we snuck him in, and out. We see Miller, in the BG, in a hurried conference, nod at Scott. MILLER (looking at a chart) "The Colophon - 36-foot sloop". Where is she...? They walk off, an Aide talking to him. AIDE ...the Coast Guard has a watch over this area: (he points to the chart) And they have scheduled the Colophon first... Scott and the Agent stop in front of the interrogation room, where we see the agent, Gaines, a guard over him. Gaines is sitting, looking as if he had been weeping. The guard addresses Scott and the other agent.
27. GUARD He copped to it. SCOTT He copped to what? GUARD (of Gaines) Off-post - punched out early to go boffing his girlfriend. Scott shakes his head as if to say "How about that..." The agent holds a photo of a very lovely Eurasian woman in a business suit, and shows it to Scott. AGENT Hope she was worth it... SCOTT Uh huh. Scott stands wearily, watching several large men berating the seated Secret Service Agent. An agent appears with a tearsheet showing the ad for "The Regency Club". We see the ad for exotic young companions, and the address is Boston. Scott gives instructions to the Aide. ANGLE INT. WASHROOM. Scott, having stripped off his shirt, is washing himself at the sink. The "Regency" ad, and a description of the club is pasted with water to the mirror before him. We read, in the mirror: "REGENCY. 243 Charles Street, Boston, Mass. Owners of Record..." Et Cetera. In the mirror we see the Aide bring a fresh shirt and a tie to Scott. Scott turns, as the door swings, and he sees, in the BG, ANTON, just entering the establishment. ANGLE INT. THE BOATHOUSE. A Swat team is laying out its weapons and assault gear, on a long table. HOLD on Anton, who is standing, unassigned, and looking it. We see, on an improvised bulletin board, photos of the Boy, Blake, the Professor, and the Girl, blown up from a newspaper shot, and in various photos. As we watch an Agent walks up with a box full of photos, and tacks one up on the board. It is an altered shot showing the young girl with short, spikey platinum hair. ANGLE on Scott, dressed in a clean shirt, a tie, as he takes a photo from the box. We see him put it next to the original, blonde photo, and look at both.
SCOTT No.. who glances at Scott.. who sits alone on a bench. SCOTT (to Miller) I need five thousand dollars. SCOTT How long do we have? Sir? MILLER (shakes his head) It hits the papers. meaning "Do It". ANGLE. He walks toward the door. gesturing around the room. and then waves to an Aide.. All the occupants of the room are engaged on some task. on Scott. AGENT We ran it up from a description of the colorist from the Beauty Parlor.28.note? No... We read ’The Colophon’ on its stern.. (to Miller) Can I have some backup? Miller. as he holds the photos. the Professor’s house. SCOTT (nodding) I’ve got it.. aren’t we? .. Miller gestures "Just a Moment". and the Regency description. meaning "what you see is what you get". and gives it to Scott. Scott looks at Anton. He stops by Miller. looking at a photograph of the Professor.. as a tech hooks up a video feed of a house on the water. he holds up the "Regency" note. A photo of a sailboat is tacked up. SCOTT Gimme your coat. The Agent takes off his suitcoat. through the mass of agents. SCOTT (to Anton) We’re scraping the bottom of the barrel here. Miller shakes his head. who puts it on. save Anton. trying to keep the appeal out of his glance.. who is on the phone. "Please take me". and we’re done.
Wallflower. Your eyes open. as he re-enters the building.. Scott turns to leave. ANGLE HIS POV. and motions to Anton) Come on.29. We hear the partner call "clear". . Scott and Anton instinctively take cover against the side of the building. He is summoned to the front of the room by a young woman. We see several of the Swat men. Scott comes over to her. There is the sound of a gunshot. On the floor. Sir.Here’s where we’re going. and the slip of paper. SCOTT You sign it. and proceeds. shrugs.. and form on me... She hands him the cash in the envelope. (He scans the room again. YOUNG WOMAN I need you to sign it. We see Miller turn to his team. and we see her filling out a slip of paper. drawing their sidearms. An Agent kneels to the fallen Secret Service Agent. ANGLE. on Scott. HOLD TIGHT on Scott. Scott looks at Anton and shakes his head. taking up positions. ANTON Yes. As he looks through the half-open door. (Anton rises and walks over to him) Scott turns to Anton. SCOTT Now: your mouth shut. and prods a small hideout pistol from his hand. and his partner enters. a pistol in his hand. toward the room. and sees Anton standing next to him. who is putting cash into an envelope. we see the dead Secret Service Agent.. Pause. pistol out. one of them kicks open a door..
. in a cab across the street. apparently... beneath which we see a couple exiting. Scott walks up to the bar. A garish neon sign. Scott. getting into their limo. he felt bad about it. EXT. The Bartender is beginning to ring out the cash register. ANGLE on Anton and Scott as they leave. TIGHT on Anton and Scott as they exit the building. meaning "closing up"...Who’s got the Coastguard. In the BG we see Miller et al. Don’t look at the Downed Man.... ANGLE. (beat) ANTON He was off-post when they snatched the girl? SCOTT (as he looks at the fallen agent) Yeah. SCOTT I’d hate to be the Lucky Duck who frisked him. A group of raucous. NIGHT... Well. He’s dead. and gesture to his watch.30.. walks up to the large and threatening bouncer at the velvet rope to the club..The girl he was fucking. looking on. . (as he turns his back on the scene) Kick the fool overboard. Several well-dressed couples are leaving. ANGLE INT. drunk businessmen types push past them. Anton. SCOTT Don’t look at him. REGENCY CLUB. We see the bouncer bar his way. Miller giving directions. In the BG we see a manager eye Scott. THE REGENCY CLUB..who is the girl he went to see? Get her in. ANGLE INS. Two one-hundred dollar bills are passed to the bouncer.... MILLER . and continue to direct the closing operations. in his sportcoat.
..? SCOTT "Curse of the Bambino".. (he points to his watch) Can’t sell you booze after 3 AM.ask... I was just looking for my Daughter. .. SCOTT (as he drinks) . lookin...... The Bartender swoops them up..that’s what you’re looking for.. I just came buy to pay you that money I owe you. you know..? SCOTT Yeah. Whaddaya gonna do. no.that’s right... BARTENDER You from out of town. the Bartender pours for him. because a lot of out-oftown guys.. actually. huh. SCOTT (laying money on the bar) No..? SCOTT . BARTENDER . BARTENDER (as he smiles) . BARTENDER ..31. meaning "What’ll you have?" Scott points to a bottle of Bourbon.I.how about them Sox.. BARTENDER Closing up. Uhh. come in.? BARTENDER Yuh... He gestures to the bills on the bar. someone else’s daughter. (pause) SCOTT Nice place you got here. and gestures to the back bar...
why would a. absolutely. . observing him.some rather ’younger’ girl. SCOTT (as he leans forward) Well.. no.? SCOTT Abso. ANGLE XCU on Scott as he looks incisively at the Bartender.. ANGLE on Scott. We see him eyeing the lovely young scantily clad waitresses.... The Bartender comes over and glances at it. The Bartender smiles.. come in here.I’m looking for a girl like that..... go home with some.. The Bartender.. who looks around the club. a lot of guys. What would they want to do with me. one of these ’younger girls’. with the photo of the platinumhaired girl... BARTENDER .? BARTENDER ..32.. BARTENDER (smiling) You sure.. SCOTT No.girl like that been in tonight.. comes back to him. He brings out his case... who displays no flicker of recognition. who return his looks with disdain.pretty girl.You’re sure it was your daughter. guys your age. SCOTT .. SCOTT Yeah....? The Bartender leans close and hesitates.? B’cause.. Scott takes out several more bills and passes them to the Bartender.. SCOTT None prettier.Oh... I...
we see a youngish man in very expensive casual clothes. Beat... "I am your man". Pard’. In this corner. Baby.my friend says that you’re. the club. the close and whispers to dark corner... sitting talking with the man we saw earlier was the Manager. He hesitates a second... ZIMMER Izzat what he says. and Scott falls into step with him. and tugs himself into neatness. The young man (ZIMMER) rises from the booth.. As Scott approaches. dressed like Eurotrash.. to Zimmer. an American. Zimmer starts for the front door.. ZIMMER ’Howdy.. SCOTT Hello. walking into a parking lot.? Camera takes the two out of the front of Zimmer tips the bouncer.... where we see employee’s cars. we see the Manager. . and stops.you’re sort of a ’matchmaker’.33.. Scott BOUNCER (as he walks away. indicating someone over in a "You wouldn’t fuck me.?" The Bartender signs. knowingly. ZIMMER (as he yawns and looks at his watch. Bartender takes the bills and leans Scott. as if to say would you.. Zimmer’s prime tags along.. where on his coat. Zimmer begins several run-down Mercedes.a young girl. SCOTT I was looking for a girl.. I wonder if you could help me.. drift off. but the season’s over.. of Zimmer’s car) I put her back in your space. who his putting preparatory to going away for the night. as the lights are flicked up. as he pushes past Scott) I love you. and his. as if bemused by Scott.. SCOTT (gestures at the Bartender) .
THE SMALL ALLEYWAY. ZIMMER Look. Zimmer reacts infinitesimally.. ANGLE XCU. Zimmer tries to raise the hand with the gun.. SCOTT Don’t touch the piece. Zimmer begins to speak slightingly. ZIMMER Aren’t we all. Zimmer’s POV. and begins emptying the pockets. Anton. ANGLE on Scott as Anton emerges from the alley. Anton thrusts his hand into the car and starts to reach for the dropped pistol. to the sight of Anton.. the pistol falls on the concrete. ANGLE CU. ZIMMER .. ANGLE INT. near a dumpster. Bub. SCOTT My. and Scott throws him to the ground. don’t touch the piece.. ZIMMER (of his arm) . and we see.34. my. Scott kicks him in the stomach. don’t touch the piece. ..I think it’s broken.. As Anton now pulls off Zimmer’s sportcoat.. He takes out money from his pocket. my. He turns back to Scott. my question was: why would a young girl want to go out with an older man like me? And.. Obviously backing Scott up. Scott interrogates Zimmer. Zimmer starts to open his car door.. and slams him against the side of the car. th’out your gloves on.. my. Scott. my. and comes out with an automatic pistol in his hand.I think you broke my arm.. at the doorway to an alleyway. SCOTT (as he shows the photo to Zimmer) You seen this girl before. dismissively to the ’hick’. standing behind Scott. Scott directs him to drag Zimmer into the alleyway.. sees him. Zimmer reaches through the half-open door. if you could "answer" that..
. some ’pal’ of yours? Where is she Now. ZIMMER ... SCOTT You seen her tonight... SCOTT Now it’s broken. tossing Zimmer’s coat..? (pause) Izziz Rohypnol? Is this "Rho"? (pause) IZZIZ A ONE-SIDED CONVERSATION.. He holds it up to Scott.. Zimmer screams. looks at it. ZIMMER I DON’T KNOW HER NAME.. SCOTT (to Anton) Pull him up. (pause) Oh no..? (pause...? Zimmer turns away from the photo. Pause.. SCOTT (to Zimmer) Oh no. SCOTT You don’t know her name....35. then who is she.? ZIMMER Some.. (of the picture) What’s her name..? (to Anton) Whatzisname? .... comes up with a small medicine vial... some ’girl’.. Who takes it. sniffs it. He strikes Zimmer in the face) WHAT’S HER NAME.? Anton.this isn’t Rohypnol.. SCOTT Some ’girl’.. (pause) Is it. Scott puts a lock on Zimmer and breaks his arm.... (to Anton) Break his other arm..I think it’s. Anton pulls Zimmer to his feet...
Donny. SCOTT Where’d you take the girl.? ZIMMER I never saw that girl. To Anton) You touch his piece? ANTON No. SCOTT Donny. ZIMMER THAT’S NOT THE GIRL.? (pause) You dose her.36..... SCOTT Oh.THAT’S NOT THE GIRL! . then we’ve got to let you go.. Scott takes it..? (pause) Where is she? Donny. and leafs through many bills.what is this? Ten. SCOTT ... knowing he must not move. Fifteen thou. ANTON (looking at his driver’s license) Donny Zimmer... Scott holds the photo to Zimmer’s face.... Donny: where’s the girl...? Anton tossing Zimmer’s clothes comes up with an envelope. alright. Scott....? For what.? (pause. ANGLE CU.. SCOTT Good. Silence. Scott gestures to Anton to let Zimmer go. Zimmer hesitates. what is it..
? (Scott points to Zimmer’s pistol. Anton looking at Scott.... the other elbow. at the sight of a man walking across the street.? (pause) Where’d you take her.. on Anton. THE CAMARO. Scott and Anton. where he retrieves a small black bag . A large Mercedes in the courtyard driveway. we see a dark van pull up. Zimmer begins screaming. (he points to the head) Mozambique. NIGHT.. To Anton) Put your glove on.we take him to a garbage pail. ANGLE Scott and Anton pulling up in a Camaro. "Really".. nodding back. adjusting his clothes as he walks. He looks over at Anton. when Scott gets out of the car. SCOTT .37. then.Wait. as he turns off the motor. motioning Anton toward the Mercedes. As Scott walks nearby . who holds a piece of paper. as used to transport dog shit.. getting out of the Camaro. We see a middle-aged Businessman coming out of a side entrance. NORTH END. A chauffeur reads the paper. SCOTT That’s not what girl. to say "Really"? ANGLE XCU Scott. ANGLE INT. ANGLE THEIR POV. as a door starts to open. ZIMMER Wait. sleepily.Wait. SCOTT You bet your life. ANGLE XCU.. Two knees..that is. Scott and Anton watch. around the corner. Scott starts to walk away. Anton begins to respond. ANGLE. A townhouse across the street. THE TOWNHOUSE. EXT.. Anton motions the van to hold....okay. ANGLE EXT... he half turns. BOSTON QUIET STREET.. A large Mercedes is parked outside on the quiet street. Behind him. Beat. Pick up his pistol. He walks up. .
beyond him we see Anton taking his Chauffeur out of the car.. ANGLE TIGHT on Scott as he flicks open his switchblade. Scott hands the Businessman over to an Agent..they got some young girls up there. is silent.. SCOTT .. sounds of breaking. He motions for Anton near him to hand him a cigarette. There is a beat. SCOTT . at the bottom of the stairs.beautiful night. looks down. Scott holds out the photo of the girl in the black hair. We hear a female voice answer. yells. ". BUSINESSMAN (nods) ’Less you got hayfever..you left something back inside..?" ANGLE on Anton. after a beat. . Beat..? Beat. SCOTT . and holds his knife up to the Businessman’s throat and whispers. Scott lights up.. ANGLE.yes. As he walks up toward the Businessman. The Businessman.. and camera holds on Scott. who takes charge of him. commands being shouted... and shakes his head. Beat. Beat. standing.. Scott turns and finds the handcuffed Businessman in his field of vision. on Scott. BUSINESSMAN . holding a machine pistol. And the far door in the vestibule is buzzed open.I left my case inside. behind a corner of the wall. An Agent comes to the top of the stairs.. holding the black bag. He whistles once or twice for his dog. and pushes him back into the vestibule. terrified. wearily. The Businessman looks frantically around.. and then turns to see the Businessman. As it opens several men in Swat gear stream through the vestibule and up the stairs.. The Businessman turns to the intercom and pushes a button.... Anton does so.38. (he gestures at the flowering trees) Scott walks up to him. From the top of the stairs we hear screams.
Scott gives him a beat.. as he enters what is obviously the "office" of the Bordello. he is hooking it up to another laptop. watched over by a Swat officer.. Terrified. on the ground. He turns to Scott.an escort service.she was trying to scrub the thing. and starts up the stairs. Beyond them we see Miller.. One of the Swat team nods to Scott. the Madam. and passes the photo of Laura Newton to Anton. Several Swat figures are being stood down. "streetclothes". SCOTT You see this girl. and there is no. as if to say.. WHOREHOUSE. and then strikes the Businessman. Camera takes Scott past a room where two female Agents are holding five young women. nods. as if unable to focus. who speaks with a middle-European accent.? (pause) The Businessman looks at the photo.. He looks back at Scott.. Scott moves back to watch Miller interrogating the woman. . changing out of "escort" wear.. ANTON Did you See This Girl... In a room beyond two bodyguard types are handcuffed.... "What would you expect". MADAM . and motions him to the direction he knows Scott wants to go. And then looks as if to say "In or Out?" Anton hesitates a moment. sharing a thermos of coffee. There is no impropriety. Scott enters the vaguely Japanese modern establishment. who are supervised. TECH . They sit. Scott gestures at Anton. One of the techs is sitting at a bashed-in computer.? ANGLE on the Businessman. NIGHT. and into jeans and sweatshirts. INT. And a very attractive Europeanlooking woman in her forties.39. ANGLE on Scott.
The girls pay us! We are just a MILLER They show you proof of their age.. in. .. In the BG we hear Nadya going on about the benefits of working as a Hostess...a contact for Personal Services. For the job.? NADYA We see a lot of girls..What do you think.. MILLER Have you seen this girl. who is trying to reconstruct the broken computer. Miller shows her the photo.. They are now alighted and we see the numerals twelve. The wastebasket.. ANGLE on Scott. Serb. who consults a computer) . MILLER (calling back to one of his techs. who looks down. I. and pours out what are revealed to be several polaroids of beautiful young women. ANGLE HIS POV.. Green Card. They apply.. of course. It prints out a file.. on which we see photos of various faces. as he walks back into the interrogation room.. ANGLE on Anton.40... Each girl holds a placard with a number on it. He uses his knife to rearrange them without touching them.you think I.... ANGLE on Scott.. NADYA ... He motions to Scott. holding the sheet printed out by the computer..who is she? TECH . as Hostesses. NADYA Of course. I. on placards which they hold up. Miller waves the rest of the information away. Scott squats to the ground.Nadya Tellich. thirteen..They pay us so much for each call. and.. who stands by the Tech. fifteen..
41.. SCOTT (showing her the printout) Where’s Number Fourteen? (pause) NADYA ......where’s Number Fourteen? (pause) NADYA (pause) I want my Lawyer...I don’t understand you. BUSINESSMAN (ON TAPE) .. Is that her.. MILLER .. wait. showing people in various sexual activities. .come over here. She was here. on Scott. On the screen for a moment comes the face of what looks like a very young girl indeed. forced to watch the video.. He turns his head away. I no.... ANGLE on Scott. camera swerves onto the face of the Businessman we saw outside the Whorehouse. himself... SCOTT ...is this the Girl? Is this her? Was she in here? NADYA I.. presided over by several agents.. He takes us through the Whorehouse. In the adjacent room we see a bank of video monitors..? ANGLE. get your sweet ass over here.. isn’t it.. who is seated in a chair. MILLER (of the platinum-haired girl) Izzat her? It’s her.I.I want to talk to my lll.That’s right. you little bitch. as he steps away. SCOTT (to an Agent) Make him watch it. he is disrobing. As he looks to the Businessman.. Miller takes the photos of Laura and shows the platinumhaired one to Nadya.
SCOTT (stepping in) "I-I-I" ..whatever it takes to. Anton stands on one side.. I am.. (he forces him to watch the video) ANGLE CU. turning from Anton to the "good" cop) Listen to me: I cannot. as he looks disgusted.... (he takes out a business card and hands it to Scott) .42. You write an amount on a sheet of paper. BUSINESSMAN I..I.... Scott nods to the Interrogator and Scott throws the card into the Businessman’s lap. This is a piece of cardboard. looking to Scott for a cue as to how to react.. (MORE) ...write it on my card.. in the Administration. BUSINESSMAN I.... Carmen Miranda. He shakes his head sadly..listen. Be caught here..listen: I’m a wealthy man.I.? He holds the photo of the platinum-haired Laura Newton... (he draws Scott close. sir. BUSINESSMAN I... INTERROGATOR (as the Businessman starts to look away) Don’t you look away. Scott holds the card.... you son of a bitch.. SCOTT This here..I. on Scott.What are you. One of the agents turns the Businessman’s head brusquely back. I am notwithout-friends in.
(he picks up the man’s business card) Come in here.. terrifying him) . ANGLE. on Scott...I. He gestures "shusshh" to Anton.. BUSINESSMAN (CONT’D) (he takes out his business card and hands it to Scott) SCOTT No. And you best pray to God you got something to trade.... (he takes out his wallet) SCOTT IT AIN’T MONEY. and shakes his head... you picked on your Daughter.. Anton succeeds in pulling Scott off the Businessman. ANTON . He moves back toward the Businessman.. meaning "It is all an act".. and easy. I’LL GET THE TRUTH OUT OF HIM. BUSINESSMAN I.Ain’t that what you rich people do...now you step off the Reservation and you want to buy me? (MORE) . SCOTT (as he looks down at the Businessman’s card. YOU SICK FATCAT FOOL.. and Anton pulls him off) LEAVE ME ALONE. as Anton tries to reason with Scott.43.maybe we’d. Baby. now appearing transformed.? (he slaps the Businessman. WHERE IS THE GIRL.... Today we got the Barter System.I thought when you wanted to pet little girls.. He drags him around a corner... We see the terrified Businessman in the background. In the BG we see the Interrogator browbeating the Businessman. try to buy me off? I’ve got Three Daughters..
. ANGLE on Scott.they gave her a shot.. (she draws the Female Agent closer. she shunnt be here... FEMALE AGENT Was she here? YOUNG WHORE I think that’s the girl..They took her...44..who was she. and I am entitled to a phonecall to my lll.. they took her.and. frightened) ... as camera takes him to where the Female Agent is interrogating the Young Whore.She was sick.? YOUNG WHORE I dunno.they... YOUNG WHORE (looking at the photo of Laura Newton) I.. He looks around the room in panic... The Businessman is terrified. two men... FEMALE AGENT Who took her? YOUNG WHORE I think that was her... .she was Not Very Well. I dunno. as he turns back to Nadya.. I told Nadya.some young girl. SCOTT (CONT’D) (he shows a photo of the platinum-haired Laura to the Businessman) Where Is This Girl... FEMALE AGENT .. She came in here...and.. NADYA I am entitled to my rights...... Anton follows. ANGLE on Scott. The two..they took her..
.. SCOTT (brusquely) Your lawyer ain’t going to help you. as he beckons Scott. who nods. from Miller and shows it to Nadya) Y’understand the picture. When they find out. Scott moves back to Nadya.. sharply.. "Go ahead"... (pause) .. Beat. ANGLE on Miller. She was here. as he and Miller retreat behind a door.? WHERE IS SHE? (Scott thrusts the Laura Newton photo at her) She was here NADYA . SCOTT She was here. where is she..want to guess ’why’? (he looks to Miller. Anton starts to come and Miller signals him to stay behind..... Miller nods and the three walk out of the room.. SCOTT She was here. MILLER (as it dawns on him) They don’t know who they’ve got. they’re going to have to..they just snatched "some Young Girl"..ohmigod..I. he takes the photo of Laura with the red hair.I don’t know if this is the.. NADYA .. SCOTT He’s with me.. ANGLE on Scott....45.
of Laura Newton. forcing and willing her to put down the number. ANGLE HIS POV. INT.. you have to take this call. and beckons Miller.. HOLD on Scott. as if to say "We’re getting there". Miller and Scott. across the field. not wanting to break the mood. There is the sound of a phone ringing. How did they know. steps down from the helicopter. SCOTT Who did you call. a powerful-looking older man in a suit. and moves toward the phone. Beyond him we see Anton. again. ANGLE. ANGLE on Scott as he pushes the paper toward her. and a cup of steaming coffee. We see the Aide indicate the two men running toward them. "No. as she looks around. Burch turns. STADIUM BUILDING. MILLER (softly. of the Regency Club. to come get her? NADYA I. NIGHT. On a table. The Agent indicates... the photos of the Eurasian businesswoman. looking at something. ANGLE TIGHT on Scott. Beat. Two men getting out of a Suburban... who join with Burch. off.they’ll kill me. as they all move toward the stadium building. A helicopter is settling onto the playing field. on an assembly of the information of the chase. As he looks on.. . run toward the helicopter. He nods." Miller steps back from Nadya. Miller pushes a pad of paper and a pencil across to her. BURCH. ANGLE.46. As he picks up the cup of coffee. Scott moves to stand by the girl.. LUNCHROOM.. broken. To phone) . INT. who waves him away. ANGLE. and an Aide greets him and leads him away from the helicopter.it’s just a number. and an Agent comes in. NIGHT. A disassembled machine pistol. NADYA (very softly. asleep in his chair. I. FOOTBALL STADIUM. for sympathy) ..hello.
stainless steel lunchroom. who nods his consent. let’s hear it: MILLER That she may have been....47. and lights it." (pause) ANGLE. and Miller are found in the empty..where’s the girl. obviously Burch’s assistant.. BURCH Come on. BURCH ....that she may have been sent down the pipeline and overseas. with them a clean-cut young man.. from this club. LUNCHROOM. MILLER Yessir. (pause) BURCH (pause) ". Stoddard takes out a cigar case... BURCH How certain are you she was the girl in the whorehouse? ..here in Boston.. Looks to Burch. ANGLE INT. STODDARD. Scott.. Burch. as he watches the two other men.. we believe she was abducted. (as Miller speaks he passes pertinent sheets of information to Burch) That she was taken to. and Stoddard takes out a black cigar... Sitting quietly..? MILLER Sir.that she may have been delivered for sale ..just some girl. HOLD on Scott.... BURCH .that she was taken to a bordello.that. and. that...
.sir.we just go where we’re sent and do what we’re told when we get there.. ANGLE on the two... BURCH You’ve got the fucken Service Agent. BURCH Was the girl in the whorehouse? (pause) What about your other leads?. meaning "be quiet".? MILLER ...Professor. He picks up a sheet bearing the Picasso symbol.. some cocksuckers nabbed her. Scott shakes his head. shot himself.48. .we. where’s his boat? MILLER The Coast Guard is on the. took her... SCOTT . ANGLE INT...and to pay attention to the drama in the next room. and starts to speak... STODDARD The Professor.. Scott gestures him to keep quiet. And they’re gonna sell her down the river... your best bet. MILLER (shakes his head. ANGLE on Scott and Anton.... As Burch and Stoddard interrogate Miller. THE STEEL LUNCHROOM. STODDARD WHERE IS THE FUCKEN BOAT? IS SHE ON THE BOAT.the Boyfriend. As Anton wakes up... took her.... As Anton comes awake to the sound of the shouting.. meaning "not positive") .? MILLER Sir. they don’t know who she is. the. He motions to be quiet ..you’re you’re telling me.
was he fucking Laura Newton.. BURCH The Detail Agent..you behave like a slut. Was he fucking her? MILLER The girl? BURCH The Secret Service Agent. this is who you like. the Boyfriend.. as if to say. ". What do they do... with his girlfriend. what do they do when they realize who she is. (pause) STODDARD (as he holds up the "Picasso" letter from the Boyfriend. Okay. to read it.. not realizing he’s speaking) They kill her.. He reads:) The Professor. (MORE) .fuck (he holds up the photo of her hair) She dyed her hair. Good.".? (he holds up the advertisement of the Regency Club) Aah.... "That’s the first sensible thing I’ve heard") You’re fucken A Right they kill her.? (pause) SCOTT (under his breath. her hair grows out. BURCH (reacting.49..? MILLER He was off-post..
S.. who comes forward. looks at Burch’s clean-cut and very fit assistant. To Scott) .50.? (Miller whispers to Burch.. Pause. Cause they will kill her. and then Burch motions Stoddard to leave the room. He hands it to Burch. and then Miller. and she’s red. (Scott comes and stands by Burch) Scott. with a white scrap of paper. between the Bordello. The jackals start a feeding frenzy.who is that.. (Burch nods) It’s a cutout... BURCH (quietly) . reports calls placed to that phone..A.I need it before the Press gets it on Monday.I need it now .you going to stake out the phone.. There is a pause. BURCH (CONT’D) Now: Let’s talk some commonsense: (pause) What can you do for me? (to Miller) ..? MILLER (nods) We have a watch on the phone... Help me.. A call is placed when they have a package to deliver.Get in here. BURCH They can track calls to a payphone? . Regularly.. Miller nods to an Aide. and the abductors. Stoddard.. which he does. More importantly: N.. BURCH . MILLER Sir: This is the number of a public phone in Downtown Boston.what can you do for me? What can you do for me .
. BURCH And where is he? MILLER He’s in Lewisberg.. He is a Lebanese National. BURCH How? MILLER They were made from a Federal Prison. Of photo:) This is Eli Assani. stands near the payphone. NIGHT.. COPLEY SQUARE. It is festooned with ads for escort services.51. (pause) I hesitate to. Beyond it.. in an expensive suit. MILLER They’ve got some action on the Payphone. a man. ANGLE HIS POV. He wipes his brow and looks outside. In the foreground we see a lonely payphone in the deserted square.. THE BANK. and the cleaners at work. Scott and Anton start to get to their feet. DOWNTOWN. One of the cleaners polishes the counter in the bank. serving life without.. (he gestures to the Aide. ANGLE INT. BURCH Give it to me. . We have a Plan. MILLER In this case they can. A sedan at the curb. In the deep background we see the lights on in a corner bank building. ANGLE. for kidnapping. who reads it and looks up. EXT. smoking a cigarette. who shows to Burch and the camera a photo of a smiling man in his forties. on an Aide who comes in and passes a piece of paper to Miller. He was the head man in a white slavery scheme...
. his head tilted back... The man looks at his watch. walking towards the car. as if to say "How did you know"? SCOTT (as he loosens his jacket.. and continues to pace. to himself. looks around. And then. Anton. In the Woods.always a reflective surface.D. Scott.who’s walking up on us. and then up.. in the backseat of a car. EXT.and in the Desert? SCOTT You don’t want to go into the desert.. putting Anton out of his misery. The Phonebooth in Copley Square." HOLD. as he digests this.. sitting in the front. as the man draws closer. looking through almost fully closed eyelids. We hear the phone begin to ring. as he looks around.. Always a sound. .. always a reflection.52.. ANGLE. Anton. EXT. ANTON . ANGLE.. On Anton.. BOSTON STREET. Scott. some thirty yards away. ANGLE.. XCU.in the city. down at Scott. BEAT. Anton.. apparently asleep. P. SCOTT . We see Scott. SCOTT . as if reciting a litany) ". in the bank the "Cleaner" whispers into a lapel mike.. at a man in a suit.? ANGLE. looks down at Scott. relax for a moment.. DAY. throws away the cigarette. over his pistol) . (then. Listening to the faint sounds from an earwig.who is he? ANTON Boston.
. Anton starts to put the car in gear. The helicopter. his hands on the seatback of the front seat..they’re moving. (pause. and turns it over. Anton and Scott in the backseat. Listening to transmissions on the radio.. not comprehending) . SCOTT . ANGLE. Anton listening on the earpiece. A shot of the helicopter. EXT. .. the city in the background. As we see Anton take out a machine pistol from his "Go" bag.. INT.it’s a wedding ring. Scott. A chatter comes over the radio. and gets into the car. and Anton. ANTON .53. Scott and Anton. onto a "feeder" road. and motions Anton aside. Anton nods.what is this. DAY.. the sedan speeding down the deserted highway. and you’re gonna get me killed.take it off. some sonobitch hears that noise.. an Agent comes jogging down the street. As they drive Anton leans forward. and Scott addresses the two men in the front seat. flying away overhead. Scott looks at him..the ring clicks against your riflestock. SCOTT (of the hand) . in the sedan. ANGLE THEIR POV.. hundred yards out. and then realizes the nature of the question) .. Far ahead. BOSTON STREET. BOSTON HIGHWAY. and begins to work the ring off his finger. A Driver... NIGHT... Scott picks up one of Anton’s hands. flying over the highway. the speeding sedan turns off the highway. EXT. Anton brightens. SCOTT’S CAR. out of an alley. and check it. While Anton hesitates.? ANTON (as he looks down.
. Everyone off.. Just me.. William Barak. relaying his instructions on the radio.sir..what sort of place is it. Softly) How you doing bright eyes.. looks down at the paper.. Call ’em off.where’s he going.... In Essex. The Driver nods) Put it out. SCOTT Get me there. AGENT Also..54. (to the Driver) Get on the net. Mass Reg. AGENT It. SCOTT . DRIVER . Somerville.? The Driver hands a printout to the shotgun man. (the Driver begins to speak softly. who reads. (to Anton) Just. (of Anton) Just me and him.. owner of Record. Beat. (beat...? The Agent looks at the piece of paper. (to the Driver) You indicate that you heard me.? (Anton nods. Scott turns to Anton. SCOTT That’s where he’s going? The Agent shakes his head.. Mass. Alpha Sierra..it’d be a Beach house... SCOTT Nobody out there... AGENT One Five Four Nine.... SCOTT Izzey going toward Essex? (Agent nods) .. Him. as Scott looks him over) ..
. ESSEX BEACH. NIGHT. We see he holds a small handful of torn-off grass before and over his face.. on the deserted highway. to break up his outline. EXT. He turns.? SCOTT (as he checks his weapons. Yes.alright.. HOLD. doing one-ten. We see another car come screaming up behind it. ANTON . in the dunes. A run-down beach house on a deserted cove.. ANGLE. Sir. Scott peering through some scrubgrass. ANGLE.breathe through your nose. not sure he has heard right. ANGLE INT.. To Anton. THE SEDAN. The margin of the scrubwoods. and disappear around a bend..) Don’t you go through the door without an Overwatch.. moving quietly through the woods. SCOTT It stills the heartrate. Scott’s POV.. SCOTT . going furiously fast. The blue light of a television flickering through the window. Scott points to Anton. who stands next to him.55. a red light on the roof. He takes the small handful of grass and throws it into the air. He points out a position to Anton. (pause) You got my back. ANTON Sir.. Scott gestures to Anton to take up a position beside a small run-down boat shed. Anton looks at Scott inquisitively. He shakes his head. A middle-aged man watches the other car come up. then. SCOTT (to himself) . Scott and Anton. holding a sniper rifle.. indicating where he should stop.you want me to Come Through the Door. . watching the way the wind takes it. ANGLE the Sedan. flashing.
and sights his rifle in on the beach house. entering the kitchen. It is empty. He stops. to a small skiff. and pushes it off. then Scott moves across the dunes. He removes his switchblade. and severs the line holding the skiff to the dock. as we follow him into the bedroom. He replaces it. coming through the door. on Scott. We see something beyond him. flickering in an empty living room. as he comes back into the living room. the television. where he looks down at the various dirty plates and cups on the table. ANGLE on Scott. ANGLE. and uses it to jimmy the screen latch. see a blue glow from a room or two down the hall. opens it. He opens his switchblade quietly. and begins to work on the door. We see Anton do so. THE BEACH HOUSE. as he moves across the lawn. ANGLE. HIS POV. covering the house with his rifle. A small boat some twenty yards from the house. Out near the water. beyond which we see the TV on low. ANGLE. Which lies just across a little cove from the beach house. ANGLE INT. beside the old boat shed. and assumes the prone position. ANGLE on Scott. and finds it empty. as he moves down the dune. and to a back door. We hear the sound of the TV and faintly. HOLD on Scott. Camera follows him past the doorway. INT. Through the sniperscope. to the skiff. as he assumes a prone position. surveying the beach house. acknowledging the command. ANGLE HIS POV. ANGLE on Scott. Scott looks in. ANGLE on Scott. THE WOODS. We faintly hear the sound of a television. and takes out a set of lock picks. ANGLE HIS POV. As he moves. looking around. He gets into the skiff. on Anton. and we see it begin to drift across the little cove toward the beach house. He finds a vantage point.56. kneeling. the house. flat to the wall. Anton. The dark beach house. ANGLE. . ANGLE on Scott.
there’s nobody here.. ANGLE.. coming up the stairs from what might be the basement of the beach house. Why would I hurt you? I just wanna know why the TV’s on. The faint traces of what might be the Picasso symbol..? (the man puts up his hands) I don’t wanna hurt you. so I came in. MAN FROM THE SEDAN (as he sees Scott) .I just wannit to know. in the house.. as we see him move the sniperscope and adjust its magnification toward the symbol. on Anton. SCOTT . ANGLE. as he sees something in the scope. . ANTON’S POV.. Through the sniperscope.. We see the scene in green. and Scott. as he starts to open the rear. past a half-open glass French door.what the fuck. and turns. SCOTT . Scott uses the moment to advance toward the man. ANGLE. looking through the scope.? SCOTT . and begin to enter. ANGLE. I just came to ask you that question. in a dirty white shirt.. and secrete himself behind a wall. We see this man take in the scene in the next room.I heard the TV. on Scott. The man backs up. Scott hears him. sliding glass door which will lead him out to the boat. Where we see the man.. as the comment makes no sense.. through a sniperscope. In a corner of the scope. on Anton. Scott advancing toward the man. ANGLE EXT. THE BUILDING.. emerge.. ANGLE.. as he advances toward the man. ANGLE CU Anton. ANGLE.. Behind him. we see another man.what the hell you got the TV on for.. (pause) The Sedan Man is put a bit off.. we see the MAN FROM THE SEDAN open the front door of the house.57.. on Scott.
. fetches down a small shotgun from the lintel over the door. Camera takes Scott warily into the next room. inside the house. THE HOUSE. . pal. We see a bare bulb hanging from the ceiling. Anton. in a covering position. screaming. WHERE IS THE GIRL. ANGLE. We see the man in the white shirt ready himself behind the opening through which Scott will come. We see a faint light. as he realizes he is behind the curve. Scott proceeds to the Sedan Man. Scott comes up the stairs. as he takes a deep breath. and a shadow moving across the light. and kicks the shotgun away.? You’re dying. He kneels by him. THE HOUSE. swinging slightly in the breeze from an open window. moving toward the Sedan Man. The Basement.. ANGLE on Scott. ANGLE. on Anton..58. SCOTT (to Anton) Call em in. unaware of the man around the corner..where’s the girl. Scott standing alone.. SCOTT I’m Coming Up. dirt-floored room. ANGLE INT. We see him raise a pistol.. whose vision is blocked . Scott takes a long look down the basement stairs. and bursts down the stairs.. Who draws and fires several rounds at him. We see Anton take out a walkie and talk into it. his hands raised. ANGLE through the sniperscope. where he sees the man in the white shirt sprawled on the floor. We see this man fall. and down to a door leading to the basement. Scott. ANGLE INT. Scott comes forward to the dying man. Even it up. Scott moves past him.. The man in the Sedan. WHERE IS THE GIRL. watching out. ANGLE Anton. INT. As the man goes down heavily. ANGLE.... SCOTT . A rough. As the man in the white shirt steps into the doorway Anton fires at him through the sniperscope.. and levels it toward Scott.Camera takes him to a position next to the white tool shed.
to see Anton. The man begins to shudder. ANGLE. INT. feeling Scott’s gaze. ANTON .. obviously dead. Scott gets up wearily." (and see. SCOTT (to himself) Yeah. by an old rolltop desk.. .. Everything for the boat... man. Beat. As Scott and Anton enter. and several men in BDU’s. Beat. Where is the girl. And Scott turns. Scott throws the dead man down onto the floor.. and proceeding toward the house... SCOTT . stylized drawing of an old chriscraft-like power boat). (pause. bloody man to him. Beat. you wanted to know. jumping out. Scott kicks the dead man viciously) Anton looks at Scott. A box half-full of yellowing stationary. DAY. who turns to look back. and starts to shake him. SCOTT . empty. STADIUM DRESSING ROOM. We hear the sound of a helicopter.. who is standing. everybody wants to know the Secret Knowledge.. Anton. and walks toward the door out onto the beach. looking out of the window. turns to look at him. in an insert: "Hanson Marine. Followed by Miller. on the envelope. Scott prods the stationary with his knife...tell it to the Chaplain.. violently. on Anton. He stares at the dead man. Burch and his Aide.I. old cigarette packets. looking down at the man he shot. SCOTT You’re dying.well. On the desk we see a bunch of junk. Beat.. We see a helicopter landing. and then stops. You’re dying. Box 38 Essex.59. Mass. an old fashioned. He then turns back. We read. Scott sits on a chair. Scott pulls the dying.
... shaking his head.. (pause.. shit. in effect.. Burch takes Scott aside.you’re covered in blood. to Scott) .here’s the deal: (pause. and cut today. His name.. our Newsteam interviewed her stylist. followed by Miller. (Burch looks at Anton. He is summoned. both in a suit.. As Scott comes in with Anton.He’s on the team..60. seeing his glance) On my team. . BURCH (looking at a TV in the BG silently.. this sums it up) .this is the man. BURCH How deep is he? SCOTT (saying. had her hair restyled.. By Burch et al. and they confer.. ANGLE. Burch and his Aide. He holds up a photo of Eli Assani. into the next room.apparently. and has reconstructed. showing photos of Laura as a brunette) . the Businessman. BRUNETTE TALKING HEAD . SCOTT Sir. an Agent is watching. sir. SCOTT Ah. as they stand by a television. on Scott and Anton... and "Lewisberg Federal Penitentiary") . with a number in front of him. it ain’t mine. and in his prison garb. Scott. ANGLE. Burch motions Miller over. looking at Scott and Anton.
questioning. Burch thinks for a moment. as they do not move. Sir. (he is hard-pressed to continue) SCOTT I am here to get the girl back. BURCH (pause) What about if we had to go "off the meter"? SCOTT . SCOTT The door’s closed. well. Burch thinks a moment. sir. To Ask You. in a mugshot marked "Lewisberg Federal Penitentiary".. And then draws Scott aside.man to man. (pause) Burch walks a few steps away.. And gestures him into a small room. Scott looks at Anton. Thinking. Burch glances over at the television. . and looks up as if to say "This is all we have.With the Mission.. He turns back to Scott. and another. (pause. BURCH . BURCH (to himself) . Need. He may have to be a little more than On the Team. he rubs his face. and closes the door.. Burch takes out a photo of a bearded middle-eastern looking man in a business suit. spewing information about Laura Newton. and shakes his head.61. BURCH I... To do something... BURCH Yeah. He nods. and shakes his head with disgust. Pause.. this is the best we have". After considering) I’ve been speaking to the father.I’m out of time..
Wednesday. carrying a full paper bag in his hand. When gunfire erupts from the restaurant. The roughly-dressed man returns fire. Yesterday. A Police Cruiser coming quickly down a two-lane.here it is: This man. with another convict. the middle-eastern man we saw in the mugshot. The roughly-dressed man drops his satchel. BURCH This man.. who falls. (he looks meaningfully at Scott. The Cruiser. a Heavyset Man and ELI ASSANI. . People are shooting at the fleeing man. who returns fire. Restaurant. and being taken on the wind.62. and the Trooper starts to get out of the driver’s seat. and moves to the fallen Trooper.. He is holding his neck. ANGLE INT. Gas-Diesel". is to be transported.. A Man on Death Row. Feeling someone gazing at him. The paper bag has fallen to the ground and burst. which is bleeding copiously. Rest Stop.Now: EXT. The roughly-dressed man runs to his car. Rest Stop. The roughly-dressed man frantically begins to try to scoop it up and into his jacket. A man opens the door of the restaurant and fires at the roughly-dressed man in a very urban leather jacket. A run-down rural gas station. A road sign reads "Just Two Miles To ’The Owl’. To the Copley Payphone. ANGLE EXT. deserted road. (pause) Here’s the cut-off-point. and the windshield of the Pontiac blows out and a tire bursts. The roughly-dressed man turns to see that the Trooper is out of his Cruiser. For their medical procedures. and looks up. Pause) . two convicts.. As a roughly-dressed man runs out of the restaurant. ANGLE HIS POV. and fires at the Trooper. THE OWL. Eli Assani. an 80’s Pontiac. and the man in the doorway falls. DAY. In the car. THE CRUISER. tomorrow. The man in the doorway fires again. He strips the keys from the Trooper’s keyring. who we now see is SCOTT. He stands around... pulls up to the gas pump.Placed a phonecall. restaurant. unseen by the man. ANGLE CU on this man. From the phonebank at Lewisberg. parked near the pumps. and is about to fire at him. and currency is spilling out of it. COUNTRY ROAD... Glass breaks in the windows of the restaurant. Off to the side we see the cruiser coming down the road.
) .. come back.. and sits to listen. POV. fired by Scott. You marked him Paid in Full.please come back with your Twenty.. shattered by gunfire. takes off his jacket and his bullet-proof vest and picks a slug.) . he done ate from the tree of knowledge. LOW ANGLE.. We see the back window behind him. monitoring the broadcast of the microphone in the Police Car. ANGLE INT. who gets into the car. ASSANI . ANGLE on Scott driving.. taking off his bullet-proof vest.yeah. He looks behind him..O. The Trooper comes in. Anton among them.Oh.you got to pull over.. you got to stop.. we have your request for Code Seven.help me. HEAVYSET CONVICT Yeah. whimpering. THE CAR. in the kitchen. HEAVYSET CONVICT (V. where we find Miller and his Agents. ANGLE on Scott. our Sierra Two Twelve. ANGLE INT. and begins screaming off down the highway.Two Twelve Sierra. showing the car taking a turn vastly too fast.63.O... Scott driving steals a look back at Assani.. and disappears in the distance. come back... you left him there. two twelve sierra took all the 20 he’s gonna take... out of the center of the vest. SCOTT Shut up.I’m bleeding. The ’Restaurant Owner’.. rights itself. THE POLICE CAR. The Police Radio chatters: "Two Twelve Sierra. the car careens up on two wheels." HEAVYSET CONVICT Yeah. ANGLE INT. in the back seat. In the rearview mirror. Various techies. fishtails.. .. THE OWL. takes the keys he took from the Trooper. who we now see is Anton. A dust cloud settling over the deserted highway. ANGLE. corrects. man.. ASSANI (V..
will assault in support when you have found the girl. and then two shots are fired. "The helo is standing by. ANGLE. The car comes to a panic stop. He takes his pistol and walks toward the farmhouse. Scott begins loading up his pockets with food. FARM ROAD.. SCOTT .64. The car comes quickly up a small farm road. We hear a woman’s scream. THE HOUSE.. On your command. and hands it back. who is pressing a blood-soaked shirt to his neck. Scott motions to Assani.. washing on the line. and a farmhouse.. various communications gear in front of her. and walks out of the house.drag him out. Inside the house we see a female techie. Scott nods. we see a rundown barn. and the Heavyset Man gets out. HEAVYSET CONVICT . Assani is holding a rag to his bleeding neck. and offers his manacled hands for release. ANGLE INT..yeah.help me. and writes on it. I heard yah.. as he walks past a clothesline heavy with drying clothes. The car is put in gear. EXT.. ASSANI . and takes the road. DAY. ANGLE. Scott. in large block letters. fifty yards beyond a turnoff onto a dirt road. Scott motions for them to be quiet) . next to an old pick-up truck. at a table by the wall.. we hear Assani in the backseat calling to him.. HOLD on Assani." Scott gestures for the slate. EXT.got some business to do. COUNTRY ROAD. (the man does so. Calling "Help me"... Scott opens the back door of the Cruiser. .. He gets out of the car. and the other Convict. SCOTT Shut up.. ANGLE. As Scott is found at a table in the kitchen next to which are various foodstuffs laid out. on Scott.. backs up. Scott pulls the car into the barn. The techie hands Scott a slate on which is written... he is seen to go into the house. as he turns to Assani.
65. ANGLE INSERT. The slate, on which we see Scott has written "Keep Your Distance!" ANGLE, on Scott, as he walks back through the yard, pulling clothes off the line. ANGLE INT. THE BARN. The two convicts, as Scott enters, and begins changing out of his clothes, and into the clothes he found on the line. HEAVYSET CONVICT Yeah, Baby. Pass some my way... SCOTT Sorry, my man...traveling light... He turns to the Heavyset Man, and fires his revolver at him twice. The man falls, dead. Scott turns his revolver at Assani, who begins to scream. ASSANI Don’t shoot me, don’t shoot me, I have what you want. I HAVE WHAT YOU WANT. I CAN GET US OUT OF THE COUNTRY TONIGHT. TONIGHT. NO PASSPORT. FLY OUT. TONIGHT...OH GOD, DON’T SHOOT ME! I SWEAR ON MY MOTHER. LOOK AT ME: AM I LYING TO YOU? A SEA PLANE. TONIGHT. HELP ME. I SWEAR TO YOU. SCOTT Why in the world would I believe a lying convict like you... ASSANI Oh, ah, ah, but you do believe me...I see it...you do. I can get us out. Help me. I SWEAR TO YOU. HELP ME...and I will treat you like a brother...I... Scott advances on him. SCOTT My brother used to beat me (he raises the cop’s service revolver and cocks the hammer) Nice guess, though. ASSANI OH GOD NO!
66. Scott pulls the trigger, which falls on an empty chamber. Assani whimpers, as Scott goes into the Cruiser, comes out with a box of shells, clears the empties from the cop’s gun, and begins loading it. ASSANI No, no. Listen to me...listen...make one call. One call - go in the house. Make One Call. ONE CALL. An Aviation Company. Tell...tell them...tell them the word I say, and they will say: THE PLANE WILL MEET YOU AT... (Scott hesitates for a moment, and Assani attempts to capitalize on it) Yes. Yes... INT. PICK-UP TRUCK. DAY. Scott is driving. The dash is littered with empty coffeecups, cigarette packs. He turns. ANGLE HIS POV. Assani, sitting in the shotgun seat, a map in his lap, looking at him. SCOTT You a fag my friend? ASSANI No. (pause) I am not. SCOTT Then why the hell you looking at me? ASSANI I was thinking...how fucking surprised you’re going to be. (pause) Because, Baby, you just did that fucken good turn, going to Make You Rich, Fat, and Happy... SCOTT ...just get me on that plane. ASSANI Didn’t they tell you...?
67. SCOTT All I heard’s a voice on the phone... Assani grins, as if to say, "Just Wait". ASSANI ...you like girls...? SCOTT Better question, where you’ve been so long, do you like girls? Scott grins, and Assani shares the moment with him. ASSANI We have. You will have...the most beautiful... SCOTT ...most beautiful women, eh? ASSANI Not women, Baby. Girls. You got to trust me, I’m the Doctor here...All young. All blonde... SCOTT And this all takes place Where...? ASSANI In Dubai. In Yemen... SCOTT Well, that’s a long way from Tiperrary, pal... ASSANI ...what do you have here...? SCOTT Yeah, but I’m not cut out, to live in a fucken tent. (Assani laughs) ASSANI If you think you can imagine luxury...I am here to tell you, my friend... (he smiles broadly)
what do you say to that? SCOTT .. ASSANI When we get to Maskala..? How ’bout making me happy tonight. All the oil all the money in the world.. How do they get it.. Man.. and everybody’s happy. where it was cut by the glass fragment. better.. ASSANI If there’s a girl. What can’t they have? Booze and Pussy. Take it to the bank. what’s Maskala. He puts his hand to his neck.. then. we make them Smooth. you’re a philosopher.. SCOTT Ah. SCOTT And... The Arabs.... tonight.. ASSANI No. now..? ASSANI . .when we get to Dubai..... SCOTT Well. Assani joins with him in the joke. no baby. SCOTT Well.that’s where we clean them up. in the pipeline.? ASSANI . Hell. and it comes away covered in blood.. SCOTT What’s Maskala.I say you’re a stone cold whoremaster.? SCOTT You the candy man? Is that it? Assani begins to swoon.. you shall have her..... We ship them Rough.68. may it Just Be So. nodding his assent....huh.
SCOTT’S CAR. As he tries to staunch the fellow.. Holding Anton and several agents. dressed in the farm clothes that he took off of the line. no. INT.yo ho. A policeman enters from the police car.. I’m bleeding bad here. get us some morphine.. Sedan. As it increases speed. On the counter we see bandages. Assani crouches lower. ANGLE INT.. SCOTT (he looks over) Yeah.. (the screen shows a sailboat) With "person or persons unknown". Scott is buying supplies. ANGLE.. ANGLE EXT.? Scott ignores the screen. listening to the broadcast from Scott’s car. our "Little Red Riding-Hood". SCOTT Yeah.. showing two miles to a town. we had a drugstore. TV WOMAN . Assani is sitting in the pickup. In back.. SMALL TOWN PHARMACY. there is a shotgun in the rack by the rear window. some tailoring tools. We see it is Anton. etc.yeah. Behind the counter we see a newscast. DAY. in my wishlist. friend. a woman driving another beat-up pickup pulls into the lot. ASSANI Yeah.. hydrogen peroxide. some. Cathy. we just. in College. all we need.she "old" enough for that. And turns off the highway at an exit. ANTON’S CAR.America’s Number One Redhead. and she’s off for what her father’s office says is an "extended sailing weekend". "She Sets the Style. she’s Betty co-ed.69. ANGLE INT. .. THE STORE. As Scott is checking out. showing a picture of Laura Newton. ANGLE EXT. to prevent being seen. Scott. She Brings a Smile".. we got to get some. THE STORE. you need. Scott steers with one hand.... and a woman is doing a talking-head about fashion. in long blonde hair. yo Ho.
ANGLE on Anton and Scott. the first few minutes. then. and puts it in the small of his back. THE STORE.the helo just went down. Scott checks it. ANGLE EXT. SCOTT . "But this is the fleet". You’ve got no backup. And starts to strip off the rounds... in the pickup....just gimme the mags.. sees through a small window in the store. ANTON You know you deliver him in the door.don’t whisper to me. Anton takes out the magazines in the pouches on his belt.. ANTON (whispers) . SCOTT . SCOTT ..gimme whatever nine mil you’ve got. ANTON You said "Never go in without an overwatch". Scott looks inquisitively at him. and Anton puts a hand on him.. alone.. (Anton does so) . What helo? ANTON .the assault helicopter..70. . you know they’re going to waste you.. and turns him back. ANGLE... there you go. Baby.gimme your piece.... SCOTT Well. (beat. Anton takes the pistol from his belt. Assani.. it draws heat. Scott nods) You’ll be in there.. to meet Anton. at the house. lad.. SCOTT That’s all fine. Scott is walking away from him. On Scott. as he moves to the back of the store.
Scott draws and fires at him several times. ANGLE. turning to look at Anton. ANGLE.. He calls back.71.you better take care of yourself.. DAY. Scott screams "No". on Assani... who drops the packages. And. ANTON A.. who is crawling on his back. .. We see Anton bringing the ammunition.. and turns to Assani. ANTON (sotto) . ANGLE on Scott.. who kicks away the shotgun. In a waiting room.I’m alright. ANGLE on Anton. then. who looks up. THE STORE. back at the obviously dead Assani. as we see something occur to him. ANGLE. INT. He goes to the counter. who is jacking another round into the chamber of the shotgun.I’m alright. on Scott.. ANGLE on Scott. ANTON (calling) Mister. as Miller enters. and picks up the medical supplies.. ANGLE on Assani.. on Scott..mister: you forgot your change. at Anton and Scott. over his shoulder SCOTT Thank you.. SMALL TOWN HOSPITAL. and fires the shotgun at Anton.. as he turns back. He starts toward the back door. and we see the other officer hand Anton several magazines of ammunition. holding the shotgun. Scott waves. weak. out of the line of fire. who falls. ANGLE INT. ANGLE on Anton.. and turns back to Anton.. ANGLE on Scott.. he peers around the corner. He turns to the other officer with him. as he follows him. as he supports himself along the wall. Anton gestures Scott to wait a moment. Scott.. because. who comes around the corner. as he is coming out of the back door. and asks a question. it is not necessary.
... Sir. . Miller nods. MILLER (sits. as he looks at Scott) You did your part. MILLER Yeah..? Miller turns back... We see two white-coated medical types. MILLER Where are you going..sir. SCOTT I do not look at the downed man.72. and starts to walk away. and gestures to Miller that the copter is ready to go.. run toward the medical copter.. five minutes out.Air Force Assault is airborne. Scott stands wearily... a Citation? Out of the window we see a medical helicopter. SCOTT .. MILLER They’ll get her out.. sir. Its rotors just starting to turn. what the fuck do you want. Scott shakes his head sadly) Standing down’s a bitch..Sir.. Miller turns to leave. (pause. understanding Scott’s request. well. SCOTT I stand down when the girl’s back.. An Aide comes in. acceding to Scott’s request) . (pause. if she’s in there. MILLER Your partner’s going to be alright. SCOTT On the dustoff. carrying bags. AIDE .
can there be any doubt.. ANGLE. after a moment. sir.her father.. then inserts of "Our Redhead" Laura Newton.Jim. waving off reporters) Jim. TALKING HEAD WOMAN . SCOTT Sir. Scott looks inquiringly at Miller. We see an overturned sailboat. and. on the TV. MILLER Let him hear the assault on the Net. A "Breaking News" story. in the next room. Miller shakes his head . (we switch to a video shot of this man. the woman.? MILLER There’s no room. .. The television..the tragic. turns back for one last word to Scott.. who is transfixed by the television. as a shot of the political man we saw earlier in the newspaper.. comes on the screen... SCOTT I’m pleading with you. the Professor.? Sir. ANGLE... the. ANGLE the television. The. on the eve of the campaign. takes up the story.at the door. obviously very shaken. SCOTT I want to see the girl.. I don’t know what to say.. HIS POV.......the. ANGLE. the death of Laura Newton. just reported.. JIM (TALKING HEAD NEWSCASTER) The death. playing a news program. and the talking head narrating: "... On two bodies being taken from the water by medical technicians. and we see live footage of an overturned sailboat being towed into a harbor..." The woman’s co-anchor.73. the stunning. MILLER Forget it.. And then he stops...
On Scott.a Tragedy.particularly.. the... Professor.. on Tracey..? (the video shows the Professor) ANGLE. TRACEY . As he is found. JIM .74. and tries to steady herself. less than four hours.he was very close to his daughter. listening. she had just been in the water a scant.? JIM With her professor. JIM Tracey. we see Miller. his sportcoat slung over his shoulder. she TRACEY She was sailing with. as she is overcome.. near the television.. the.. Off to the side.. to Scott.. An insert of Laura’s father. fingerprints. Miller looks away from the screen. ANGLE. and. on Miller. intently. Tracey. behind him. and the Troopers in the room. coming.. Particularly. comes onto the screen. on the phone. such as this.... their records.. the DNA... the Secret Service.. TRACEY ... wasn’t he? .his grief.apparently the boat swamped.. TRACEY Will he delay the start of the Campaign? ANGLE... for obvious reasons. standing.. JIM . right at the start of his Campaign.
. MILLER Her boyfriend called her a slut. Miller walks in and sits next to him. the day.. as Scott turns away.... SCOTT (philosophically.. SCOTT ..that..Both bodies washed up naked.... and saw her then. he saw her. He walks back to the interrogation room.the boat capsized. and lights a cigarette.75...that would be... .. Miller looks down at the artifacts.. ANGLE.so much death. Her and the Professor. She went off to prove it. as if summing the whole thing up) . as if in a dialogue with himself.. the day before last. As he is looking at the television.. JIM Well. TRACEY (sadly) .. boat capsized. Coked up..... We see Miller leave. indeed..rock crushes scissors. On Scott. He was in Boston for the Strategy Meeting. he shakes his head minutely... Miller turns back. MILLER (shrugs.full of Ecstasy.. MILLER I’m sorry about your man. Coast Guard dressed ’em up. Scott sits heavily.and that would be the Last time. they’re stoned. MILLER (almost to himself) ...he killed her. meaning "who knows") He was fucking her.
. Pepper.but I was trying to help... in a bunk in the transport plane..76. Scott. Anton. Sir. ANTON ... Miller leaves the room. Beat. as he tries to move. and administers it to him. SCOTT He isn’t my man. INT. in a chair near him. ANTON . asleep. to draw closer to Scott) ..in what way was that? ANTON (groggily. a Dr.what time is it? SCOTT What do you care. as he comes awake.. Takes out a pill.. SCOTT . GOVERNMENT TRANSPORT PLANE.but I was trying to help.? (pause. Scott hangs his head with weariness. He’s a trainee. NIGHT.... in bandages. ANGLE on Anton.) SCOTT What? Do you want some more Dope? Whaddaya want.? Scott takes a pill vial from Anton’s jacket. We see that Anton is having difficulty formulating his thoughts) ANTON I fucked up. . (Scott reacts to Anton’s pain.
SCOTT The girl wasn’t there. and then. She’s dead... well. Scott turns away. that’s when people generally do fuck up. ANGLE XCU on Scott as he turns away.. ANTON (drawing him back.. (pause) You did what you could. he draws closer to Scott again. She fell off the boat.) You’re gonna take that fight to bed for a while... What sign? ANTON . Wait for that to kick in. In the House. ANTON (sotto) I saw the sign.. SCOTT .when I dropped the guy.. as if he is remembering something. She was on a boat. (pause) You did what you could.uh huh. Anton gestures Scott to draw close. The girl’s Picasso sign. The girl was there..at the Cape... SCOTT .. . SCOTT You saw-the-sign.77. At the Cape. You did what you were trained to do. (Anton starts to lay back. (he draws the sign in the condensation on the plane’s window) She was there. You don’t got to do it all now. as if saying LISTEN:) I saw the sign.yeah.
Several exhausted young men in sweat stained fatigues watch a lecturer...I saw the sign.. "These are the precincts of pain. drinking a cup of coffee.on a mission to Dubai. And to the camera. ANGLE EXT. A young man gets out. SCOTT (turning away) .. a compound? called Maskala. THE BUILDING. Scott... who has several notes in front of him." (pause) BLANE .78.from the house. INT.. SCOTT .. .. as if completing his presentation) As time passes.. Beyond.." Beyond. then stands. DAY. clean. we see the sign. TRAINING FACILITY. then pauses. to the . ANTON .. a holding facility.then you are Truly Blessed. (the Interrogator stands) You’ve heard this speech before. you may remember other aspects of. sir. rested. shaved.would be most grateful..Royale Hotel. A Godess lives here. The girls are taken from Maskala. Sitting across a desk from an Interrogator. training room.. Her name is Victory. ANGLE. demonstrating a manoeuvre with a trainee. THIS BUILDING. He extends his hand to Scott. They walk through the compound. Scott exiting. in Dubai. INTERROGATOR . a house. through the open doors. we see Scott’s Mustang driven up to a nearby building. with a knife in his hand. toward the Mustang. to be included on the mission.. as Blane comes out of his office... on the wall.. (he closes the notes.well. Scott looks inquisitively at him.. We see the Dojo.. "At Such Time. INT.
SCOTT Is it in contemplation. Bobby. Scott looks at the training facility. Scott starts to walk toward this facility.. who looks at him to say "you know better than to ask. She nods back.. The lecturer. He turns back. as he extends his hand) Thank you. LECTURER . as he turns. by an open double-door. (Scott picks up the duffle and puts the strap over his shoulder) ANGLE. and then turns back.. on Blane. Bobby. who holds a knife. Scott nods at her. to put it into the car.. as he sees the young man who drove in the Mustang pick up the yellow duffle." SCOTT Yes. in the BG. (pause) If and When. ANGLE HIS POV. . Sir.please don’t touch that. Scott’s POV... The lecturer puts the trainee on his back. which he drinks. and the lecturer gestures at the knife he has dropped on the mat. Jackie Black. and draws himself a cup of water. Scott puts down the small yellow duffle he carries. We see the young female sergeant. sir... As he watches the lesson.. as Blane and Scott shake hands.. He stands outside. SCOTT’S POV as the trainee on the mat gets up.pick it up. SCOTT . next to a water cooler. Scott starts to get into his car. ANGLE.? (pause) ANGLE. (pause. sir. walking across the area. BLANE You need a rest. next to his Mustang. executing unarmed combat moves against a trainee.79. The young man who drove it in stands by.
and your friend. Scott looks at the shamed Trainee. next to which Scott is standing. As the Trainee picks himself up the Lecturer turns to the class.. looking down at the ground. son. or you can fight to win. throwing him to the mat. The Trainee goes into a knife fighting stance. son. ANGLE.. You Learn to Kill. you can fight fair.. And then. in the direction the Lecturer has pointed. SCOTT Don’t you study knife fighting. The lecturer shakes his head. who calls another Trainee up.. The Lecturer nods his permission...? I’m talking to you. on the Lecturer. LECTURER There are two ways to fight. .. LECTURER Hold your ground. this Candidate is studying knife fighting. What are you studying? TRAINEE Sir. Beat. LECTURER Next man: A Trainee stands. The trainee picks up the knife. steps in. disarms the Trainee. LECTURER What are you studying here.80. son. f’you meet some other fellow. you send him to hell. studied knife fighting. and discovers he is bleeding. The Trainee lets his attention drift for a second.. LECTURER (pointing behind him) . LECTURER Now: I want to see some evil intent. The Trainee puts his hand to his head. And the Lecturer screams.you. and the Trainee walks to a water cooler. The lecturer pauses.
GRACE I heard he caught poison ivy. . who drives through. The Lecturer glances at Scott. Scott gestures for another round to the bartender. EXT. NIGHT.. INT.? SCOTT I’ve always thought so. huh. in a booth drinking. GRACE How’d the puppy like it out there? He piss in the punchbowl? SCOTT He did okay. Huh. DAY. Why? You goin’ out? GRACE What? SCOTT You recruiting? GRACE Why would I be recruiting? SCOTT You speak Arabic. and looks at Scott.81. who looks back at Scott.? GRACE That’s what the Arabs tell me.. ROADSIDE TRUCKERS BAR. The Lecturer nods back "yes". two of whom are at the bar with a couple of very attractive young women. and makes a small "have a drink" gesture. Pause. Scott walks toward his car.. The Lecturer (Grace) and Scott. Who is serving some rough trucker types.. "CONSTRUCTION GATE". The man inside the "construction booth" raises the barrier. fuck it. GRACE Hey. SCOTT He did okay. One is a stunning redhead.
(Scott nods minutely in acknowledgement. SCOTT You. looking at Scott. on the television.. on the bar TV talking about Laura Newton.? GRACE Ain’t you overdue for some Down Time? SCOTT I’m just saying: Scott is distracted. (pause) I was talking to the television. SCOTT (to himself) . We see the photos of her in high school..? ANGLE on Scott.... "own" something? (MORE) . You Marines are a weepy bunch of motherfuckers. One comes over to him.. And returns to watching the television) .. with her father in some African country. ANGLE. Mister. Caught in the image of Laura Newton. near the television. GRACE Yeah.. He is watching the talking heads.? SCOTT No.you get a chance to bowl in that tournament.. What are you "rich"? What do you. reason I ask: you going in the Sandbox. TRUCKER . ANGLE on the truckers. et cetera... I was looking at the television..beautiful girl. Who shakes his head very sadly.. (he turns to look at the girl) That girl’s too good-looking for you anyway..82.you say something. watching Scott. On Grace.
his switchblade. the redhead from the bar. open.83. SCOTT You peel the apple? She nods. on the floor.? (pause. SCOTT (as he starts to come down from the adrenaline rush) . Beat. on the confused face of the Trucker) Siddown. as the quarters hit the ashtray. Scott. ANGLE. comes awake. A sound of a truck. ANGLE. as he surveys the hotel room. naked. also naked. On a dresser. The quarters fall into the ashtray. We see several quarters stacked. Hold for a beat. He surveys the motel room. SLEAZY MOTEL ROOM. the quarters start to rumble. DAWN. ANGLE HIS POV. on the table next to it. coming down the highway.well. a cheap imitation pewter bowl.. and at the girl. and fall off the doorknob. As the truck sound comes closer. frightened. He looks at the knife. He has a pistol in hand. INT. and awakes with a start. looking at Scott. (MORE) . Lemme buy you a drink. a glass ashtray. ANGLE. not sure how to take Scott. on Scott.. taking in his new surroundings.. an orange and a banana in it. comes awake.. on the doorknob of the hotel room. and the remains of a peeled apple. ANGLE. SCOTT (CONT’D) (pause) Or are you "funny" or something. screaming. in bed. You should wipe off the blade. Next to him.
GIRL Was it a gift. SMALL RURAL VILLAGE.it’s an odd knife.? SCOTT No. The Proprietor. SCOTT (CONT’D) (pause.. (pause) EXT. it "rusts". (pause) It’s just a knife. EXT. A three store town. Scott’s Mustang parked next to them. .. cleaning the blade on a napkin) Or else.. SCOTT Yeah. Scott. comes up to the counter to check Scott out. a couple of pick-up trucks parked in front of the country store. SMALL TOWN RURAL MAIN STREET. is assembling various maintenance items on the checkout counter... to bridge the awkward moment. in his lumber jacket.. A large paintbrush. A couple of pickup trucks parked in front of the country store. DAY.. I got it from a Russian fellow. (a pause.. filled.. (as if explaining the simplest and most perfect axiom of the universe) Or else. MAIN STREET. he seemed rather reluctant to part with it. Pause) D’I scare you. a gallon of paint. The girl looks for some topic of conversation. A large. several boxes of nails. a good-natured fellow in his fifties.84. A large double log truck goes through the town. He smiles at her. Scott does so. double-length log truck speeds through the village. As I remember. A three-store town.. shaking his head to clear it) I’m sorry if I frightened you. DAY.? (he closes the blade and sits on the bed. GIRL .
PROPRIETOR . how are you. John.you been lookin’ at my house.? Proprietor pours Scott a cup of coffee from the pot on the back counter. who is waiting to ask a question) That new saw blade come in? BILLY (as if just remembering) No. NEW FARMER . a farmer... Reese.? SCOTT .one gallon goin to do it....... PROPRIETOR How you been.. PROPRIETOR . It did not. and turns back to deal with Scott. SCOTT Mr.workin hard. ANGLE.I’m gone call them up and get Right On That.... John. Joking) . I know that’s your baby.. Billy nods in response to Scott’s question.bet you have.85.. who comes in.. Billy. SCOTT How you..... now you mention it.... (as he puts the cup down in front of Scott..? PROPRIETOR Nope. as he moves to a new customer..... He mixes in sugar and cream. On Billy.but...? (Billy goes to take care of the new customer.John. . and nods at Scott...? SCOTT (pointing at him accusingly) . I beg your pardon... just trine a sell you some paint..
his face creased by pellet scars.. EXT... SCOTT Could I see it.. And we see. by the wrist.. who has just snuck up behind him. GAS STATION. ANTON (not understanding the import of the question) .’spected you back a few days ago.. BILLY (as an afterthought) . ANGLE on Scott.. and turns it over.. who is looking. SCOTT Could I see your Right Hand. "what was that about"? Scott takes Anton’s right hand. absently) I took the Long Way Home. at something on the street. please. COUNTRY VILLAGE. who sees something out the window. ANGLE. his arm in a slig. his POV..yes. He turns. DAY. next to the rental car.. SCOTT (looking out the window.. which is next to the Mustang. meaning. and we see that it is Anton. We see the back of a man.86. We see a man getting out of the car. Scott relaxes. He explains: SCOTT You put your wedding ring back on. Anton gestures. ANGLE Scott. and comes forward. please.. Looking at Scott.? . over his coffee. his POV. and moves toward the front of the store.? ANTON There’s nothing in my right hand. a very city rent-a-car which is now across the street.? Anton holds up his right hand.
87.maybe he doesn’t know. DAY. (pause) ANTON I need to talk to you. Scott shakes his head. you coulda seen Jack Ruby. Anton and Scott walking down the street.. as if in a sad comment to himself..your first-time-out... they found the girl. RURAL STREET.. He sighs. You were up for a week. (pause) How did you find me. And beyond it. EXT.. reading "Mike’s Service Station". ANGLE. on Scott and Anton.then.. SCOTT "You saw the sign". the actual old.. I guess I’m not as smart as I thought I was. you don’t know what you saw.. ANTON I saw the sign. SCOTT Then I have to guess you’re not "on assignment". We see the sticker reading "Mike’s Service Station. ANTON I saw the sign. A beat. tin sign of the garage. baby.. PA". The Car. how is it.. . ANGLE from INT. SCOTT Well... Bradford.why would they do that. (pause) You’re in the wrong place. you tell me: you saw the sign.? Anton gestures at the "Oilchange" sticker on the Mustang’s windshield. the DNA. SCOTT ..? Her father? Her father would do that to her? ANTON .
are they going in? (pause) Are they sending you in... who’s your friend. in Dubai. THEY don’t go through the door..? ANTON I want a favor. John.? (pause) Ask them.. OLD LADY Morning.. Pal. it’s a Benefit. ANTON Ask them. WE don’t ask why. get over it.. (hold. with American girls there . How was it? Was it more fun than Miniature Golf.. (pause) ANTON Who’s going to Dubai. or get out. SCOTT Well. You’re seeing snakes.. .? (pause.. SCOTT Why would you want to know? (pause) Listen up. Scott hesitates) They’ve got a white slave ring. That’s not a COST.. To Leave it for your Betters. pause) You wanted to go Through the Looking Glass. SCOTT Why would I do you a favor? Two old ladies come down the small main street. You wanna lose sleep over it. You’re living in a fairyland of your Own Devising. Because we Got to Travel Light.88. (pause) SCOTT You Got.? SCOTT Fella wants to buy my car.
.. (pause) ANTON I saw the sign. SCOTT My name ain’t Bobby. Pause. SCOTT What would that be? ANTON The Secret Service Agent. At the beach house. SCOTT Well what were they paying you for. The old ladies walk on.. SCOTT . (pause) I’m going back. (Anton shakes his head) ANTON She was there. (he draws the Picasso sign in the dust on the window of the country store) I Saw it.? ANTON Bobby.he was off boffing his girl. SCOTT They took it apart with a tweezers. SCOTT Back? ANTON To the beach house.. (pause) I want you to do something. I’m going back.89.. The Girl was There.. ANTON I saved your life. I saw the Sign. . Offed himself.
. Number two. smoking a black cigar..90. STODDARD Well.? MILLER Sir. Scott is sitting at a conference table.and. then. GOVERNMENT OFFICE BUILDING. Beat. what the fuck are you doing here. he is here to apprise you of a security leak. obviously off-balanced by the question.. the girl’s dead. as is Miller. ANGLE.. Now: what the fuck are you doing here? SCOTT Sir... and several "Bureau" types in the office. Stoddard. Miller gestures to him to shut up. SCOTT . His name is none of your concern. STODDARD Number one. . as he said. The man who tossed him has been sacked... I am not here to question.. SCOTT Yeah? ANTON Who frisked the sonofabitch? (pause) You ask them. ANTON He shot himself with a hide-out pistol.. DAY. on Scott.. INT. Hold. the hide-out gun the Agent shot with’s registered in his 1020 for the past five years.. MILLER To call your attention to what may be a problem in discipline with this.
Thank you.. "Is that the way you want it?" MILLER Yes.. Scott shrugs.what the fuck are you talking about? SCOTT I am merely saying.. Fine. when STODDARD Forget it.. Granted.... SCOTT And....? MILLER He... STODDARD Yeah.. Walk away.. sir. STODDARD Your partner.you’re a pit bull.... (he stands) Granted. as if to say. How do we contact Anton? MILLER . STODDARD What is this.. Sir..91.If I may. STODDARD Granted..Anton.. .He’s gone to ground.. I said forget it.. STODDARD What is it? SCOTT When the operation is staged in Dubai.. STODDARD . SCOTT I...
what does this mean. The Aide hands Stoddard the phone. No less than had he died in Combat.92. SCOTT I’d like to finish what I started. Listens for a moment... Where’s the kid? (pause) SCOTT Is there no operation in Dubai. wait. .? Stoddard gestures to an aide to call a number. Scott.? Stoddard shakes his head in exasperation. a man who gave his life to service. wait. In the Service of his Country. I give you my word. an unmarked sedan. saying "I don’t believe a word of it") You impertinent motherfucker..it is an image of Gaines..? (of Scott) When and if. Looking on. Small suburban cemetery. Stoddard answers.in the Service. ANGLE. wait.. George Gaines. A small photograph on an easel . wait. PASTOR ... EXT. GRAVESIDE. any operation is staged which may require your talents. (Scott shakes his head. a small funeral. A Marine Honor Guard in attendance. STODDARD And. ANGLE on the Pastor... the dead Secret Serviceman.. and a Driver. ANGLE. you’ve got on your "thinkingcap" all of a sudden. to protecting those who.. and then points at Scott. DAY.. STODDARD And I’m telling you to Stand Down. What the fuck is with you.
ANGLE. just at the limits of the gravesite. Scott gets out of the car. back to the limousine. ANGLE. ANGLE Scott. DRIVER Nope. on Scott.. Scott takes a book of matches and starts to light a cigarette. ANGLE. DRIVER .. walking through the cemetery. rendering a salute. We hear rifle fire. on Scott. we see Burch emerge. he Ate the Gun. He shakes several hands. and Scott flinches. The Marine Honor Guard.rather you didn’t smoke in here. He motions the driver to pass him a phone and Scott looks at the number on the card and dials. DRIVER Punched out early. Burch shakes his head. and then moves off. who presents it to the widow. We see a Marine bear the flag to Burch. straightens a bit..sucker did the Dutch. and reluctantly begins. Didn’t you know? SCOTT I’ve been out of town. ANGLE his POV. visibly. on Scott. The young man turns at the sound of a limo driving up. his Principal wanders off. He beckons Scott over to him. ANGLE.. DRIVER . at the honor of Burch’s presence.93. We see Burch walk to the gravesite. Scott and Burch. and have a word with the widow. who takes out the Anton "Rogers Rangers" card. off with the girlfriend. as he sees something. winds up dead: hari-kari. Burch puts his hands on her shoulders and comforts her. Beyond him we see. He hands Scott the program from the funeral.. A young man in a raincoat. Out of the limo. There is a susurrus among the crowd. Holding himself apart. which. which stops near the grave.. looking at the man in the raincoat. SCOTT I heard it was a training accident. looking at the limo. .
(MORE) .. BURCH I reached out to you. I entered into a conspiracy with you. (pause) And now you’re all out-of-line. Scott? (pause) We’re dying." (pause) ANGLE.? SCOTT I do not follow you. How would you do it. sir.. We’re at war. sir. How Would you do it? How would you infiltrate their clan structure? Where is the interface? (pause) It’s at the whorehouse. (pause) There are things you have not been told. That’s where they go to get frisky. Because it needed to be done. And yet you cannot trust me. and that’s where we listen to them.94. And we have no intelligence. (pause) I trusted you with my life.. BURCH I put myself in your hands.. BURCH (waving his assurances away) I trusted you with my life. BURCH (almost as if against his better nature) There is an Arab World. That’s right. (pause) I put my life into your hands. Didn’t I. To commit Murder. To penetrate it makes trying to join the Mafia look like a walk in the park. "Play me or trade me. SCOTT I would never betray you. on the two.
She was not there. we see Scott hand a scrap of paper to Burch. of George Gaines. which stands by the head of the grave) That man a sworn office of the Secret Service. She got drugged up and fell off a boat. down the path. She’s dead.95.. You’ve got nothing to say to him. What the fuck have you got to say? SCOTT No excuse. And you are risking the lives of men and women in the field. and. (pause) Had the girl been there. we would have moved heaven and earth you know we would. went to get laid. submissively. . He’s gone to the ground.I’ll call him off. BURCH The fuck you will. Camera follows the Honor Guard.. nods at them. priceless hints that we get from that fucking sandpile. we would have got her out. to which Scott nods. sir. who makes one or two more points. BURCH You’re goddam right. Where is he. Burch walks off. You had best look sheepish. (Burch gestures at the photograph-on-theeasel. (of the funeral) That man. and she died. who. and drowned.. because you won’t take orders. the Secret Service man. BURCH (CONT’D) For the few. packing up. toward Scott. How are you better than him? Yes..? ANGLE. Where’s your partner? SCOTT . (pause) Now: where’s this new kid who got you all bothered. passing. Over the Honor Guard.
The gravediggers. some distance off from the funeral. Walks toward the mound of earth. and turns. HIS POV. As the gravediggers begin their work. ANGLE. pauses for a moment. and then walks off. DAY. On Scott.96. on Scott. He turns back to Scott. SEMI-INDUSTRIAL AREA. still sitting on the bench. He feels someone behind him and turns. and then turns away. Scott stands. BUS STOP. Scott walks up to the man. Each holds a copy of the program from the funeral. being walked away to a limo by the pastor. ANGLE. The raincoat man is standing waiting for a bus. half-hidden by a tree.? (Scott nods. DUSK. ANGLE. EXT. GRAVEYARD. The man in the raincoat. Portentiously:) Where did you know him from? . a rather slight young man in his thirties. He sighs. at the gravesite. He is obviously distraught. who is standing where last seen.. standing furtively. the funeral beyond him. weeping. EXT. Scott. He holds a program for the funeral. He stops for a moment. A man in a raincoat. DESERTED. looking at the burial. looking at the man. He looks at Scott for a moment. Beat. ANGLE. And moves to a bench and sits. joking with one another. still weeping. ANGLE on the man in the raincoat. finishing their work. at the bus stop. HOLD on Scott. and then up to Scott. outside a working man’s tavern. MAN Did you know him. Anguished. DISSOLVE. about to start out of the cemetery. As he watches the widow. SCOTT’S POV. begin to walk off. looking for sympathy. (the man nods) Did you know him? The man nods. The man looks down at the program.. Looking at the gravediggers. Pause. ACROSS FROM THE CEMETERY. SCOTT (beat) Terrible thing. As he turns back to watching the end of the funeral.
(pause) Oh. Because. Gaines. SCOTT (pause) . SCOTT Did she know? His wife. Nods) He wasn’t in the accounting office.. (he looks for sympathy) I. Scott puts his arm around him... MAN (pause...... MAN He was supposed to see me that night... (the man is now overcome) SCOTT I’m so sorry. He used to tell me..... .she didn’t know him...that’s all. (pause) The man takes out a small photo in a leather case .that’s all..... SCOTT A few of us knew.His wife... MAN I didn’t think.. You knew that... Scott nods his understanding..97. he told anyone what he did..After his "shift". MAN And all he cared about was doing his duty. I Did.you know.. the poor children. Did she know? MAN How could she? How could she. The man begins weeping heavily.because....we see it is a smiling photo of the Secret Service Agent.. SCOTT Yes.We.
after.. A few construction types enter. away from the other man...after....98.? BURLY MAN (as he puts a hand on Scott) I said.. MAN .. . MAN . SCOTT .. Scott and the man. He turns Scott around... on a Burly Man. pal but you’re in the wrong bar.. INT. after he’d finished driving him. speaking low.? Did you say "him"? (he reaches out to the effeminate man) BURLY MAN Yeah. in construction clothes.. SCOTT (as he turns to the man.after his shift. As Scott bends his head next to the man.. ANGLE.. and pushes Scott deeper into the room. MAN ....excuse me.yes.. Scott moves toward him and the Burly Man tries to stop him..him... SCOTT .. at the end of the bar. and Scott embraces him to comfort him. who is now going out of the door. who is standing next to them...driving him.... ANGLE.. THE WORKING MAN’S BAR. The man begins shaking.his shift .he was going to come to me that night. who is backing his way out of the bar) . DAY. BURLY MAN . It’s a man’s world.
? No... and move toward Scott. And draws his pistol.what the fuck did you do to my friend. The garrotte man falls. tell me in.. Look: LOOK: Forget the boat house. (MORE) . ANGLE... We hear the phone ringing.99... Scott shakes him off and starts after the bus... He sees something and bends down. Scott belts him again. and starts toward the door. He elbows this man as the other two men advance toward him. Scott headbutts this man. who hauls Scott off his feet.. and a second man from the bar is whirling Scott to face him. Standing.. As Scott’s back is to the alley we see a Third Man emerge from the shadows. and stomps on his instep. ANGLE.look: tell me when. He moves back to the fallen garrotte man. Look: (pause) Yes. SCOTT .. Scott strikes him several times.GET OUT OF THERE. Scott is now fighting the two men. Scott starts to move toward the bus. Scott kicks the garrotte man in the temple. The second man restrains him. Scott struggles to follow the bus. In the man’s backpocket is a program from the funeral. The men in the mouth of the alleyway retreat. There is a hand on his shoulder. We see them get into a van which has just pulled up..G.. where. ANGLE. Scott puts the phone to his ear. on the bus. On the street. when the second man assaults him. Shivering. Scott standing over the man. Beat. he sees the effeminate man. We see the first man rise from the sidewalk.tel. and pulling away. and throw a garrotte around Scott’s neck.where are you. as he exits the bar.? In the B. SECOND MAN . As he looks around the alleyway. And turns into him. who manoeuvre him toward an alley. ANGLE HIS POV. Tell me later. Scott standing. in the alleyway. looking at the program. ANGLE on Scott.
. Scott looks at his watch. looking at Anton’s gesture. SCOTT (CONT’D) GET OUT OF THERE RIGHT NOW. his POV. on Scott. aghast. Copley Square.ONE HALF-HOUR. and then proceeds toward the phone booth.100. One sees Scott. The street corner. The telephone kiosk. The figure of Anton. and he looks up. Scott. on Anton. as before.WHERE THE GUY MADE THE PHONECALL" . looking on. and motions to the other one. ANGLE. As Scott watches. and the car pulls away. out of a taxi cab. looking in the direction in which he was pointing.. Scott. scanning the square for Anton.. for a moment. MEET ME "WHERE. one slugs Anton. pointing back. Across the street. ANGLE. ANGLE. toward the streetside. as if confused. ANGLE. And begin to look around. his POV. It is festooned. and heads toward Anton. and he is whisked into the car. ANGLE HIS POV. Scott stops speaking. the van has herded him toward another car. Three men get out of the car. BOSTON STREET. walking from the far side of the square.. on Scott. and they both start in his direction. Coming into the square. toward the phone booth. and looks down at something. and retreats. ANGLE. . where we see. hurriedly. He looks down at the pile of trash on the shelf. ANGLE. with ads for escort services and phone sex. empty of Scott. Anton sees the van. They stop. as the car disappears. Scott walks into his POV. getting. as he looks around him. to the kiosk. EXT. their POV. and following. CU. ANGLE. TELL ME WHEN YOU SEE ME. ANGLE Anton. on the outskirts of the square. DAY. a van pulls into the plaza. ANGLE. on the far side of the square. We see an unmarked sedan pull up and two men get out of the car. in the backseat of the car. the open-air phone stanchion we saw in the earlier sequence. ANGLE Scott’s POV.
. At the small white toolshed.. Scott. Scott turns up the collar of his jacket. ramshackle dwelling." He then sees that there is something else behind the ad. Scott. and Scott stands. We read in an insert: "Rule #11: Don’t ever march home the same way. ejected by Anton’s rifle. has uncovered a bit of a sign. The wind blows up the dust. ANGLE. ANGLE. HIS POV. it is evident he has got a speck in his eye. on it. from which he took the matchbook. so you won’t be ambushed. He begins to walk toward it. Scott. His shoulder. the drawing of the old power boat. Beyond the property line. HIS POV. and gauging its proximity to the Essex House. ANGLE XCU Scott. He looks down at it inquisitively. Take a different route. He looks up at the various pornographic ads pasted around the interior. and we see.. It is printed "Hanson Marine Everything For The Boat". an old.. and squinting. We see his face. looking at the sign in the window. shake it. We see the house in the BG and Scott. He tears the ad off the kiosk partition. and he tries to extract it.101. and then pan down to see the object in the envelope was the red crescent earring seen in all photographs of Laura Newton. rubbing against the pollencovered window in the small white shed. He pulls it out of the ad to which it is stuck. EXT. We see him stop and kneel. He stoops. the small white toolshed. he takes out a small spotter’s scope. tear off the end. stuck in one of them is the "Rogers Rangers" card. ESSEX. ANGLE. SCOTT . A wind is blowing from the sea. walking along the patio. and pour something out into his hand. He sifts through the sand and gravel at the foot of the piling. drawn in the dust. ANGLE. the sea beyond him. He stands. and we see emerge. We see Scott feel the envelope.. We see that it is the old yellowed envelope from the beach house. He rubs the pollen off. on the inside of the window. to the piling. which Anton showed him earlier. the Picasso sign %-). He picks up the envelope. as a folded envelope falls out from behind the ad. He sees that. Beyond the hedges and on what is obviously the next lot. and he is rewarded.ohmigod. He turns his head. BOATHOUSE. ANGLE. blinking. DUSK. and we see he has picked up the shell. looking at the toolshed.
dangling off the bed toward the floor. Unshaven. an empty pint bottle of booze on the night stand. and comes up with an automatic pistol. down the hall. Scott shoves the Bellboy back away from the door. et cetera. America’s Sweetheart". In the doorway beyond. INT. the line of light under the door to the hallway is occupied by a pair of feet. SCOTT Why’re you screwing with the door. as he jerks open the door. the envelope. ANGLE on Scott’s hand. looking shocked.102. ANGLE HIS POV.. Scott drags him into the room. as it snakes quietly past the Rangers card.? BELLBOY I. both ways.. on the floor. "Our Redhead.. ANGLE XCU Scott. showing talking heads narrating the funeral of Laura Newton. as we see the door handle move slightly. on the bed. We hear the television on low. A hand.I. and glances.. his pistol at his side. SLEAZY HOTEL ROOM. Next to Scott. ANGLE the door. ANGLE. SCOTT What the hell are you doing? BELLBOY (showing the package) I.. holding a small paper bag. ANGLE on Scott.. We see his eyes come open. ANGLE.. wearing just skivvies. on which we read: "Rule #15: Don’t sleep past dawn Dawn’s when the French and Indians attack". is asleep on the bed. holding the same red crescent earring. . the creased ’Rogers Rangers’ card. NIGHT Scott. on the night table. and several days worth of newspapers. we see a Bellboy.I brought you.... We see a photo of her in her signature red crescent earrings. Below it.
. the television beyond him. who takes out a pint bottle of booze) You told me you wanted this at Ten. He hands some bills to the Bellboy. F’they saw me... I. some crumpled cigarettes.. BELLBOY I took the.. knocking on a door..I’m wrong. looking at the television.I figured. BELLBOY (pause) Sure. Thanks.f’they saw me.. He begins to look through his pockets. I’m wrong. . (Scott relaxes somewhat.. The Bellboy proffers the package) An. Hold on.. SCOTT Why’re you screwing with the door....... As the Bellboy stands..yeah.I don’t know why you. Pal.. As he goes through the pockets of his jeans. (pause) You had the sign on the door.... you needed. He then goes through the pockets of his jacket.I just wanted to help.. (he hands the package to Scott. The terrified Bellboy shows a "Do Not Disturb" sign.. SCOTT There you go. BELLBOY (begins to calm down a bit) . the sign on.. A book of matches..? Scott frisks him roughly.103..they’d...I took the sign off. I just. and throws various objects on the bed. which he holds. some scraps of paper. SCOTT You’re right.. Some coins... ANGLE on Scott. SCOTT .
He bends down and picks up Rogers Rangers card. Jackie Black. DARK.I’m about as frightened as I’m comfortable being. Beat. Scott picks up a cigarette and the book of matches on the bed. That.. PANELLED CONFESSIONAL. The waiter looks at her. She shakes her head.. (pause) And that’s why... And looks at it. SCOTT .. as a waiter comes. inquiring silently. Part of the pile shows a tabloid paper . Baby". was shameful. He makes a "another one" gesture. We see that we are in a very dark. He shakes his we see the Bellboy leave the room. As he rummages through the pile on the bed. Laura. in a mortar attack. if she wants anything.a photo of an insert of her father weeping at the funeral. INT. wearing her red crescent earrings. The TV shows photos of Laura Newton. (pause) And I have to confess.quite a while since my last confession. As .104. panelled bar. He smiles weakly) ’Nother "irregular Confession". SCOTT It’s been. quiet. I’m frightened now.. on Scott. then speaks. as he thinks for a moment. the the head. with a fresh drink.. and reveals. (pause) And I confessed that I was frightened. ANGLE. NIGHT. and drinks. On the rear face of a hill. beyond him.. (pause.I involved you. (pause) Which. smoky. and caption "Goodbye. ANGLE. the female Sergeant we met at the training facility scenes. He raises a shotglass to his lips. XCU on Scott. I suppose. Pause.that "transpired". The waiter leaves.
DAY. color photo of Laura. and determined. ANGLE HIS POV. and whispers to Black. but two people in Green. The newspaper shows "The Tragic Death of Laura Newton". concerning the death of Laura Newton. looking vaguely in his direction. his deepest secret. a large iron fence. as it pulls into the stop. beyond that. Scott leans over. obviously a semi-invalid. shaven.this girl’s alive.. and.105. SANITORIUM. SCOTT (pointing at the paper) . ANGLE. a vaguely institutional-looking Colonial building. We see it is a "funeral" edition. sheers away. neat. and. Behind him. in an insert. you’d better go get her. Scott moving through the area. THE PLAINCLOTHES CAR. Scott. We see various people start onto the bus. Baby". ANGLE on the bus. The caption reads "Goodbye. ANGLE on Scott. And a photo of a distraught woman in sunglasses. at the gravesite. with two people in it. at the back of the line. Surreptitiously. DAY. just asking directions of an older woman. her red hair. We see the large. INT. Now: you tell me how I might help. A nurses station. her father. SANITORIUM. and photos of the accident. he takes up a tabloid newspaper. ANGLE INS. the chainlink fence beyond it.. EXT. standing at a bus stop. A plainclothes car. Reading a newspaper. hiding his face. (pause) Scott. JACKIE BLACK Then. The bus pulling away from the bus stop.. As he looks across the street. JACKIE BLACK Now: you did me the honor to Call me. looks around. which has been resting on the seat of the booth. At the last moment Scott. (pause) There in’t nobody here.. INT. . being held up by two friends.
(pause) I always think it’s better to Leave Them Alone. (pause) Can we blame her.. . following her out onto a roofed porch. Scott nods his acceptance of her wisdom. The woman on the lounge chair sits up. but you don’t know how. The woman moves to the far end of the porch. grief.. and begins to start toward the woman... Newton. Scott begins to move toward Mrs. (pause) SCOTT Well. ANGLE INT. some yards behind her. As Scott walks up.. Scott turns to her.) . obviously weeping.? (he gestures. Beat. meaning.you want to comfort them. we get comfort where we can find it) WOMAN That’s right. Scott enters the porch. and starts out of the sanitorium. Newton.terrible thing.. Newton.O. SANITORIUM. and takes something from his pocket. SCOTT (of Mrs. Scott nods. He starts toward the weeping woman. indicating the weeping woman. and the woman. The woman is Mrs. but the other woman holds him with her voice.106. she wears sunglasses. a robe over her legs.. WOMAN ... to see a lovely woman in her late fifties. sitting on a lounge chair.. and stands for a moment. WOMAN (V. She walks with a companion. talking to her) A relative? WOMAN A psychic.
. asking.. SMALL SANITORIUM ROOM.... to take him tomcatting.. what it means. WOMAN Guess again. We see the demeanor of the woman in back of him change.107. she got snatched.. She looks up. WOMAN . The woman moves her blanket to reveal a pistol which she holds. and you follow my directions or I will shoot you dead. unable to stop her invective) .. DONNY (sotto. Spread your hands to your sides... He opens his hands to show the red crescent earring. (Scott spreads his hands to his sides) Open them.? SCOTT (moving off) United States Secret Service.who are you.. they pulled the Secret Service Detail off her. DAY.He was in town.. They turn the Secret Service into a bunch of pimps. FEMALE AGENT ...the motherfuckers pulled the Detail off of her.. and he turns around. mutely. He took her protection. please. Donny gestures that she has heard. That’s what they do..leaving the post. . INT. She comes up to Scott... The Agent leaves and the door is closed. Her father was in town. SCOTT He’d let her die? A female Agent knocks at the door and sticks her head in and Donny gestures "rotate". ’cause I’m the Secret Service. as she sees the earring. He’s been doing it for years.
ANGLE INS. Scott turns over the photo to read.? DONNY (pause.. DONNY (meaning. We see the empty place for holding two earrings. tattered.. DONNY (of Mrs. She takes out a small.. you can keep the box.. SCOTT . cheap earring box.? DONNY Who knows if he knows. Donny starts to weep.. SCOTT I need some money. She looks beseechingly at Scott) I’m her mother. and this woman. I need a lot of money.. "this is my surmise") The start of a campaign: Your daughter got kidnapped because you were out getting laid? SCOTT Her father would let her die... His ’people’ would let her die in a heartbeat. in a childish scrawl. Donny. Newton) I’ve been signing her checks for years. and a small arcade photo of a five-year-old Laura Newton. They are hugging. (Donny looks up at him questioningly) I’m going to get the girl back. . cause I’ll never take them off".her mother. fifteen years younger.108. She takes up the earring and she begins to weep. "Donny. DONNY What can I do? SCOTT I need money.
SCOTT You want to gossip.. and turns around..? Avi motions Scott to come with him. INT. I guess I wasn’t paying attention.. Scott comes forward. Scott starts to get out. their POV. He turns to face the front. gets in.. ANGLE. SCOTT Alright.. AVI Didn’t they tell you not to come? SCOTT Well. The doors open on a mezzanine.. ANGLE. DAY. and the girl tries to stop him. One of the Secret Service Agents. There are several men at the end of the mezzanine. (as the . her POV. ANGLE.I.109. ANGLE. They ride up in silence. . Does a double-take. Several of the men come toward Scott..is there else you. in an elevator. looking askance at Scott.I anywhere DONNY she looks down at figure on the paper) don’t. as she sees this. dressed in a suit.... (he scribbles a figure on a napkin) Can you go this high. and a large. The empty room.. or you want to do business. And begins to raise his cuff mike to his lips to speak.. Scott vanished. The doors open and Scott. that’s what I need. on Donny. He shoves her roughly back into the elevator. Both look to the side. (pause) AVI Five years ago they told me you were dead... NEW YORK CITY OFFICE BUILDING. A very beautiful young woman in a business suit. portly businessman in his forties (AVI) calls them off.
. AVI . .? What if I’m speaking for them... ANGLE.. SCOTT I know where I am. SCOTT Your intel. Avi’s hitters.. AVI Bobby.Avi waves him to stop ... AVI .. SCOTT Yeah.HOLD on the hitters. AVI Well. exfil.you’re at the Big Table here. that’s a good one.. One starts to take out a phone . and com.. Infil. AVI And com to what? I cannot give you.110. you better talk to me using the Decimal System.. meaning "yeah.. then.? SCOTT If that were so? AVI If that were so.? Avi nods. Two men.? SCOTT And what’s the answer? AVI The answer is Go Home.they send a hitter to negotiate. why don’t your people go and fetch her. this is an American girl. Avi and Scott.? (pause) My question is: have you forgot your catechism. as they sit.. ANGLE. near the edge of the mezzanine. sure". hardware..
with a cup of coffee.. You heard the private sector? SCOTT Yeah. AVI Well. that’s what it costs. And here’s what it costs. you’re out of your fucking mind.. AVI No. That’s where you found me.for this job.that’s what it costs... you could. and puts in a new number) . . DAY.. In disgust. Bobby. (pause. SCOTT . AVI Yes.111. She drives off. crosses out what we wrote. EXT. (pause) Go home. he picks up the paper..you’re out of your mind. A man comes out of the house.before some mercantile soul shops you. and you’re out of your league. He writes a number on a sheet of paper... hurrying out to kiss his wife goodbye.? AVI That’s what it costs you. when you where in the Boy Scouts. SCOTT (looks at the paper) .. He does so. in the vast gravel drive outside of an estate. We see a woman getting into a Range Rover. PALATIAL ESTATE. SCOTT Well... but I am not in the Boy Scouts anymore. and my advice to you:..
as he takes out the Businessman’s card. Of you in Carnal Congress with an Underage Girl.I mean here you are home.. (he holds up another videotape) There’s another.. Scott throws him into a chair. closes the door.. (he picks up now one. DAY. A PROSTITUE.what do you want? SCOTT I want what you promised me. A SUMPTUOUS STUDY. which smashes into the Jaguar. and hurries to his Jaguar. and smashes it to the ground) And now we’re gonna see if you also got all that money that you spoke of. who gets hurriedly out of the car.well. and toward the house.? ANGLE Scott. I guess you do have friends in High Places.? BUSINESSMAN . .you know how cheap it is to make a copy.. AND SOMEBODY’S DAUGHTER. and it starts down the drive. coming down the drive... and looks at it... A MINOR. ANGLE on Scott.... We see it is the Businessman from the whorehouse. and drags the stunned man from his car. He finishes the cup of coffee. ANGLE INT.. PALATIAL ESTATE.. SCOTT . ANGLE on another car... n’all..112.. on lighted shelves. Beautiful Greek and Roman artifacts line the walls. if you know what I mean. (he takes out a videotape box) This here’s a Short Subject. Scott drags the stunned and abraided Businessman into the study. and looks quickly at his watch. He goes out to the Jag. puts it down outside his door.. which he puts in gear. now another piece of exquisite statuary. SCOTT Remember me.
. Scott gets in. EXT... . in various poses.. Scott. but you haven’t made a deal with me. We see a car coming down this street. The Businessman pauses.. SCOTT (softly) You had your fun. HIS POV.. SCOTT (to himself) . ANGLE..? SCOTT Yes. rounds a corner. what Most Men only Dream of: You get to make Another Human Being Happy."how about that". cause you get to Do. SCOTT Yeah. with two young girls.do you know how much trouble you’re in. He looks down at photos of the smiling Businessman. rather quickly. Scott emerges from his doorway. DAY. The car blinks its lights three times..113. and gives it to the Businessman.. I’ve already made a deal with.So.I’ve.. He brings over a telephone. now pay for it. We’re going to transfer some money. THE STREET. WAREHOUSE DISTRICT STREET. We see the car slow almost to a stop. BUSINESSMAN (as if reluctant to impart the information) . getting out of his car.. Scott finds himself behind a large desk.. Get your bank on the phone. And that’s the difference between you and me. Jim. Scott retreats into a doorway. BUSINESSMAN . ANGLE EXT. then picks up the phone. As the car’s rear door is opened. today is Your Lucky Day. obviously his daughters.
INT. (he gestures at a photo of Assani) Operate there. Avi and Scott. if she is exceedingly lovely. For the young women they have induced..blonde. (MORE) .. Now and again. And take their purchases home. (he checks his watch and looks significantly at it) When the Merrymakers fly in to examine them. this is the watch plan. For some reason. a North American Girl. this is the security arrangements. until the end of the month. and sold.. Of late the girls have been.114. SCOTT . DAY. The Friends of your Friend. from the former Sov-Bloc. (he passes the photos of very beautiful young girls across the table. they are (he searches for the word) . unfortunately. usually blonde. (pause) The girls are generally held. at a small table. coerced or drugged into spending their short lives. to Scott) Will. in Dubai. WAREHOUSE OFFICE.."tidied up"... in the main. AVI Maskala is a suburban villa. As the whores of Arabian tourists. in Dubai. find her way to Dubai.. a "halfway house". (pause) This is a floor plan of the building where the girls are held. most of them are sold to Yemen. if you will.and then? AVI (shrugs) That is "and then". They travel drugged.
.. SCOTT (as he looks at the passport) Is that your experience. to the Royale Hotel. also Jameson Construction. I presume you will hit them in transit. It shows.? Scott opens another envelope which Avi has passed him. ANGLE.? AVI I hope not. AVI (CONT’D) (he checks his watch and raises his eyebrows) The girls are taken from the house in Maskala. a photo of what is obviously the platinum-haired Laura Newton. through a long lens.... Avi takes a photo from his desk and passes it to Scott.. (he shows documents to Scott) The conex container for the exfil. on Scott... in a barred room. (he shrugs) Between fifteen and twenty-five.. SCOTT Who took the photo? AVI (shrugs) How would I know.. AVI ..115..."Jameson Construction".. they all look alike. as he looks. blurry and grainy. sitting on a bed..? (pause) . we tried to match it to a Current Photo.. (he gestures at the materials on the table) A passport for the Young Girl. questioningly at Avi. It is.. SCOTT (reads) .? AVI Yes.. As he looks at the documents he pours out. Nonetheless.she was there twelve hours ago.They know we’re there.
ROOFTOP. We thought: if you see some of the Yemenins (he shows Scott candid photos of several middle-aged.? (pause) . earlier. Scott takes out a pair of binoculars.. AVI That’s not what I was going to say. bearded middle-eastern looking men) Any of these. "No. behind a raised elevator housing.. SCOTT What does the bonus cost? AVI (shrugs) A gesture of Friendship. on a rooftop. SCOTT The last third on exfil..." AVI Bobby: the world runs on manners. saw the photo takes on Laura Newton.the Last Third in Geneva.would you say Hello to them? Scott scoops up the documents. and stands.. and wags his finger.. ANGLE HIS POV. in Geneva.. and the ornate scrollwork bars. Scott takes an envelope.. in which we... . in particular. DUSK. But. and hands it to Avi. and Scott leans around the elevator housing. As agreed. Scott. who opens it. He opens his mouth to speak. SCOTT What were you going to say. the window. DUBAI. Me and the Girl. SCOTT Who else have you done a favor for. Across the way. as if to say.116. Beat. (he exits) EXT. in all sincerity. Avi? Avi shakes his head.
is Laura Newton. In the backseat. . untended. and her eyes begin to focus. DUBAI STREET. As the delivery truck pulls in. as he comes back behind cover. She turns to look back. as the gate guard ushers through the delivery van. ANGLE INT. beyond the gate. ANGLE EXT. on which we see scrawled. The street beyond it. ANGLE XCU. empty. in the dirt. and looks at her. The man starts to speak. and. driven by Jones. and is held up by the guard. And she stands. as she looks in his direction. Scott. her minder. She is obviously drugged. as the gate closes behind it. follows the direction of her gaze to the gate. who comes out of the building they have just vacated. picking up his yellow bag. as if trying to make sense of what she is seeing. and Laura. across the courtyard. As she does so. to let the truck pass. A delivery truck is ushered through the gate. for an instant. two Mercedes 600’s. ANGLE HIS POV. disoriented. As Scott walks past the trelliswork it begins to open. ANGLE on Scott. Laura Newton. and gets into a car. SMITH. dressed as a construction worker. by an armed guard.117. Walking from one outbuilding. ANGLE HIS POV. is taken back into the main house. beyond him a building with an ornate scrollwork barred gate over its courtyard door. we see the delivery truck pull up to the spot she just vacated. wonderingly. the gate open. He gets into a conversation with a woman. ANGLE HIS POV. THE CAR. and nods to himself. In the courtyard beyond. ANGLE. and is pushed into the door. at the street. the "Picasso" symbol. As he turns his head to the side. which comes to the curb. and Laura Newton stands several yards away. walking down the street. escorted by her guard. takes out a notebook and a pencil. Scott stops. groggily. And Scott shushes him. The delivery truck coming through the gate. ANGLE on Scott. and begins to make notes. and the delivery man gets out and opens a rear door. accompanied by a minder. dressed as a matron. another man sitting next to him. then. Scott turns the corner. ANGLE EXT. ANGLE INT. Scott. who reacts to a change in her attitude. THE COURTYARD. DUBAI STREET CORNER.
at the corner. (Jones nods his thanks) The charge takes the car out. He and Scott walk to a small passageway. Smith. ANGLE HIS POV. comes out of the shadows. the car ain’t going nowhere. a tight corner. JONES I understand. EXT. A deserted streetcorner.fourteen. we’re on to the airport. You hit the driver. (to Smith) We got the flashbangs fore and aft. the muscle gets out. .. (to Jones) It’s very good. DUBAI. He points to the car. (he points to Jones. as he walks. where we see Jones. Jones nods. SCOTT It’s good.. Various shuttered posh shops. as he paces. sixteen. ANGLE CU on Scott. tight on Scott. I go with the girl. and Jones.you walk away. He looks to his left. SCOTT . Scott walking across the street.. Camera takes them through the passageway. the sign of the "Royale" hotel. Scott beckons. follow down the driver’s side. Beyond him. we see. NIGHT. CAR. When you Seal Us In. The camera takes him to the middle of the street. ANGLE. in an alley... standing by his car.. A righthand turn. To Smith) You exfil on your own. When we hit the Conex. several streets off.118. I cap em. and the man. SCOTT At the airport. fifteen.
Scott takes out his switchblade and begins to hone it. INT. in the tweezers. ANGLE XCU on Scott. He walks toward the windows of the warehouse. and begins to clean the interior of his switchblade... and gestures at a tweezers as part of Smith’s cleaning kit. A small."If you say so". His face freezes.. eh? SCOTT . JONES I won’t look back. SCOTT I cannot have heat on it. generally. Peers intently. and looks inquisitively at Scott. And que sera. We see a small seed fall out.it’s an appleseed. As he turns his back on the group. SMITH (as he cleans his firearms. Scott reaches over to a box of Q-Tips. He holds the electronic device up for scrutiny. as he cleans the interior of his knife. ANGLE INSERT. WAREHOUSE ROOM. Smith nods as if to say. We see. as if speaking of the universe) "Johnny Appleseed".. Scott. NIGHT.. He looks out of the window. We hear a car driving up. . sera. wafer thin electronic device adhering to the interior. Scott looks into the mechanism of the knife.Scott leans over. SCOTT (as he picks the seed up.yeah. outside the warehouse. and dips one in the solvent bottle.. which sits on the table along with other cleansing paraphernalia. But: you have to walk away. ANGLE on Scott. Beyond him Smith and Jones are cleaning and assembling weapons. at a desk. in an insert. The interior of the knife. Smith nods "okay". turns it over and raps it on the table. answering Smith’s unspoken question) ..119. Now: I know: that you want to protect the package. Smith turns to the sound. A photo of Laura Newton on his desk.. looking over his plans. I’m just a Man of Peace.
HIS POV. ANGLE EXT.stay in your room. and we see Scott. drag the driver from the car. at the bottom of the stairs. a floor of the warehouse. coming from the interior of the house. DUBAI STREET. ANGLE. stealthily. when the door opens. . and removes the small wafer-thin electronic device from the top of the cistern. camera takes Scott to a small. and points at one of the doors. Laura Newton. Stoddard nods.120. He looks down an industrial staircase. look up. Stoddard. a black clad driver. INT. "MASKALA HOUSE" (THE HOUSE WITH THE ORNATE SCROLLWORK). ANGLE.. INT. which begins to drive off. NIGHT. followed by his men. which holds Scott. As he turns we hear glass breaking. The men kick down the door. exit the room. Stoddard. listless. ANGLE. DUBAI. Just seen. drugged. The door is wrenched open. watching the warehouse. One of the men consults a small hand-held ’GPS’ unit. ANGLE. One of them looks around. and see Scott entering through the window behind Laura. and addresses her. WAREHOUSE DAY. the small yellow duffle over his shoulder. who throws it down in disgust. and. He turns as another explosion is heard. She hears another explosion. He opens the door. The men take up position around this door. and sees the door at the bottom begin to open. to find the small cubicle-like room empty. with two henchmen.. We hear a large explosion. filthy bathroom. sitting on the bed in the small room. and sees. Scott gets into the car. around the corner. and Laura gets up. and they open fire through the door. NIGHT. As he. three men.. getting out of the car. He shows it to Stoddard. There are several closed doors. and moves toward the door of her room. Scott walking into the bathroom.. the nose of a small SUV. and shouts coming from outside her door. We see the small SUV parked around the corner from the warehouse. ANGLE. heavily armed. BODYGUARD . and one of her Bodyguards opens the door. sitting in the car. and his accomplices. coming up the stairs to the floor. and clout him to the ground. ANGLE. ANGLE THEIR POV. She is reaching for the handle of the door. THE BATHROOM. ANGLE INT. Scott walks into a corridor of the warehouse.
LAURA . Baby. THE CAR.? He uses the rope outside the window to improvise a sling.. THE BUILDING. as if to say "That’s what we’re waiting for".. reaching the ground.who. . SCOTT Stay by me. The Bodyguard falls. for Laura.. and Scott moves his pistol the window... two men come through the door. he nods. and holds her for a moment. and drags him inside the room. We hear another explosion. (pause) You dropped your earring.they said they were going to take care of me. He puts the car in gear. and begins lowering her to the ground.. Scott puts Laura into the SUV and gets behind the driver’s seat. and under her arms.. Scott. ANGLE EXT. You hold on.. He raises gesturing "shush" to Laura. on the rope. and moves her toward LAURA .121. Laura turns to face him. pistol. And he answers her question. THE BUILDING. as he turns to the sound of the door opening. SCOTT I’m going to take care of you. THE ROOM. to him. and Scott raises a silenced shoots the Bodyguard twice. Scott picks her up. ANGLE INT. we went to high school together. ANGLE INT. Laura. and passes her out of the window. and it begins to drive off... and he shoots them. The Bodyguard turns.you remember. now.. He hesitates for a moment.. ANGLE EXT. and drapes it over her head. (as Scott drives he reloads his weapons) LAURA (lazily) Who are you? SCOTT . She starts to speak.
He draws the Picasso sign on the windshield. LAURA . asleep.they’re going to send me to a Party. Out of the window we see an expanse of desert and scrub... (pause) You’re just taking the long way home. SCOTT You’re Picasso. SCOTT . THE CAR.you’re going travelling. moves to Laura. and extracts the last one.. right.what. We see her wake and look around. She takes out a match.put that away. Trying to make sense of the proceedings..122. BARE ROOM.. and closes the shutters to the window. Scott enters the room....? SCOTT . Her head is down. he moves a chair in front of the door. INT.? That’s who you are.. having trouble focusing.. She takes out a crumpled pack of cigarettes. Drugged.we’re going to take a little trip.I told you to stay on the bed. you’re going Home. Moving through the streets. ANGLE EXT.. The airport just becoming visible in the background. . ANGLE on Scott. NIGHT. DUBAI. Baby. Laura. SCOTT . She shakes her head. SCOTT No.. SCOTT . she looks at it. as he takes out a notebook and begins to make notes in it. trying to place herself..... and manhandles her to a small cot. at a small cardtable. LAURA ...
and crumbles it. Over your head. LAURA Whatsamatter. LAURA (as she tries to light the cigarette) I need a smoke. Smell... and nods.. you don’t like Blondes. Put the bandana on. SCOTT Put that on. American tobacco. He shushes her. ANGLE. LAURA . a Muezzin is heard chanting morning prayers. And.I need a smoke.. far off. . SCOTT Keep it together. He looks down his list. (He takes it away from her.? SCOTT Whole world likes Blondes.. and moves to the window. That’s why you’re here.. (he takes a small hypodermic kit) Keep it together. In the desert air.. He takes a bandana from his pocket and hands it to her. The first gleam of dawn. The window. EXT. SCOTT Y’can’t smoke it.123. unbuttoning her blouse. Carry. He slaps her lightly in the face.gimme the fucken smoke. she sits on the bed and cries self-pityingly. She reacts violently to the sight of the needle. Then.. or I’m gonna give you a shot and carry you out.) . Laura moves toward him. Beat. LAURA I could make you give me the smoke. LAURA Nobody Cares about me.
. you ever hear that? ANGLE. Beat. We read. LAURA Did my father send you? SCOTT (as he lights her cigarette) . SCOTT They sent me. The window. In the small.. and looks around.. .. Another man. which drives away. as he hears a car outside the window... SCOTT One riot. overfull with yellow-brown cigarette butts. She takes it. if Surrounded by Superior Force". As a peace offering.. using the reclaimed tobacco from the ashtray. LAURA (derisively) One man. Scott looks at the pile of tobacco. Beat. A man gets out. He takes down what we see is an ashtray.. you’ll be told where to Meet. He takes the cigarette to Laura.They wouldn’t even come get me. A car pulls up...that’s right. SCOTT . takes out his knife. Hold. and rolls one of the halves into a cigarette. as he very precisely peels the card into two thin halves. on Scott. and a woman. He draws a pistol and moves to the window. and two small children come out of the low house and get into the car. LAURA . one Ranger. and looks down. and gathering the tobacco into a pile. On Scott.. He extracts the "Rogers Rangers" card from his pocket and looks at it.that’s right.124... on Scott.I’m just a whore. And we take him back to a small shelf near the door. ANGLE. in an insert: "Rule #13: Every night. He gestures Laura to be quiet. deserted street.. ANGLE EXT. He takes the ashtray to the small table. and begins shredding the butts.
LAURA . Laura..I heard that one. Scott. sitting in the driver’s seat. ANGLE HIS POV. . Seen beyond the corner of an industrial building. and cries.. THE CAR.125. the airport. EXT. the King of Sparta.. a small delivery van we saw earlier.. alert. She hands him the cigarette. DAY. beyond a chainlink fence. I think we went to different schools. and passes it back. A long view of the airport. She turns away.put the bandana on.. there you go. Beat. He looks at her. watching. And he takes a drag. SCOTT . Beat. SCOTT I didn’t ask you. and looks around.I don’t want to go home.. dozing in the passengers seat. LAURA (softly) Did you hear the one about the king who turned his daughter into Gold? SCOTT Yeah . SCOTT . Parked in an industrial area. Would send One Man.. Laura wakes with a start. He checks his watch..well. ANGLE INT THE VAN. ANGLE. ANGLE INT. DUBAI AIRPORT.you ever hear that? SCOTT No. when a neighboring state would beg for Military Aid. LAURA Leonides. LAURA .
. on Scott.. LAURA (groggily) . Directly over their heads. Scott moves to a small locker and extracts a set of coveralls.. A pause. ANGLE Scott as he looks up to the sound of a plane. ANGLE HIS POV. and gestures him through. Stoddard begins giving this man directions.. the chainlink fence. on Scott and Laura.what. about to touch down. Scott and Laura. A car. Scott and Laura at the fence protecting the airport. ANGLE. Scott moves aside the pre-cut section of fence. . LAURA I don’t know where we are. Beyond this private plane.. and hands Stoddard a piece of paper. Laura and Scott moving to the protection of a small hangar. and turn.126. It comes to a stop by a private plane. Stoddard and several of his men.. on the tarmac.? SCOTT You. on its side. a small bizjet. "Global News". He turns to the sound of a car. We see blazoned. we see the "Global News" bizjet. inside the fence. and takes them to Laura. we see the bizjet come to a halt. ANGLE INT. SCOTT (of the coveralls) You put this on. get out of the car which has stopped by the private plane.. on final. SCOTT You just keep it together. who now has on the mechanics coveralls. ANGLE HIS POV. ANGLE. as he watches the tarmac. ANGLE HIS POV. A man in fatigues emerges from the plane. being directed to a stop. ANGLE. and a cap. beyond them. ANGLE. THE CARGO HANGAR. ANGLE. on the tarmac.. now inside the small hangar.
127. ANGLE Scott, as he looks out of the hangar door. To his right, the plane with Stoddard and his men, to his left, the "Global News" bizjet, its hatchway staircase, just descending. ANGLE on Scott, as he looks at his watch. He turns to Laura. SCOTT A little walk-in-the-park. (he points her to the News jet) See there...? ANGLE EXT. THE NEWS BIZJET. Where a man in a safari jacket, and a woman emerge from the plane, and glare at the sun. We see this man consult his watch. ANGLE, on Scott and Laura, as he walks her out of the hangar, and towards the news bizjet. In the B.G. We see Stoddard, and his men, at their plane. Another car pulls up to Stoddard, disgorging a man, who goes to conference with Stoddard. ANGLE, these two men. SECOND MAN (giving his report) ...all of the passenger terminals, and all access-points to the Cargo and General Aviation... LAURA (groggily, as in a dream) No, you know what my mistake was...? SCOTT (as he looks around) ...what was that...? He stops and picks up a pair of "paddles" from their position, leaning against the nose wheel of a plane. They walk on. In the BG we see Stoddard and his crew, searching. SCOTT ...what was your mistake...? LAURA (from a distance, as she begins to laugh, as at a great private joke; she stops walking) ...you think we bring our troubles on ourselves...?
128. SCOTT I’m certain of it. She starts laughing, getting hysterical. SCOTT No, no...come on baby...come on, come on girl: just walk to the plane: Just Get On the Plane...WALK TO THE PLANE... She starts to break free and Scott manoeuvres her into a small hangar area. She is struggling mightily. Scott has his hand over her mouth. ANGLE. We see their feet moving through a pool of oil on the concrete floor - we see she loses her footing. We see Scott tighten his grip on her, and is furiously trying to calm her. SCOTT Shussh, baby... shussh... shussh... it’s going to be alright... We see him work a small hypodermic kit from the pocket of his jacket. We see Laura see it, and her eyes grow wide. SCOTT This’s going to make Everything Allright... Laura reacts to the hypodermic, which Scott is bringing toward her. And screams. LAURA No! EXT. THE HANGAR AREA. We see Stoddard, and his men, about to get into their Jeep, stop, and turn at the sound. ANGLE INT. The Hangar Area. Signs all over marked in Arabic and English - "Petrol - No Smoking!!" As Scott lunges after Laura, the door, behind her bursts open, and Stoddard and an accomplice enter, placing Laura, in the midst of the hangar, between Stoddard and Scott. Who stands in front of a large tanker labelled "Aviation Gasoline".
129. STODDARD Leave her Alone. (to his men) Don’t shoot him, don’t shoot, you’ll blow the thing sky high... SCOTT Laura... STODDARD Thank God we Found you. You know me. I work for Mister Burch. I’ve met you... ANGLE on Laura, standing between the two men. She is completely confused. She looks from one to another. LAURA (drugged and groggy) He said that he came to get me... (she shakes her head in disbelief. Then she starts to walk a step toward Scott, then turns, and proceeds toward Stoddard.) STODDARD That’s right, Laura...Walk away from him. Walk to the Plane...He can’t hurt you now. Walk to the plane... He points at his bizjet, outside, on the tarmac. Laura walks, unsteadily, in the direction pointed, and we see a female attendant, in a vaguely military getup, get out of the plane, and begin to walk toward Laura. SCOTT (screams) No... He starts toward Laura. And Stoddard and his two men interpose themselves between Scott and Laura, who is approaching the plane. Stoddard’s two men approach Scott. One draws a knife. ANGLE on Scott, who hangs his head, wearily. He looks down at his empty hands. ANGLE on the man with the knife, approaching him.
slightly. DON’T SHOOT HIM IN HERE. as he now struggles to his knees. as the man with the knife draws closer. He goes down heavily. ANGLE on Scott shaking his head to clear it. who is attempting to rise to his knees. to get a better view of the girl) .. He makes a thrust.130.well. and Scott disarms him.why can’t the Girl Go Home? STODDARD (CU) Because she’s dead. take him outside and shoot him. The man handcuffs Scott behind his back. SCOTT (as he speaks he moves. his POV. Scott steps toward him and spits at him. and covers. Didn’t you? . he slips on what we see is a large pool of oil on the floor. Scott bends to pick up the knife the man has dropped. The man with the knife recoils for a moment. As he does so.. SCOTT Let the girl go home.....wait till she lifts off. Laura Newton. straightening himself. STODDARD Cuff ’im. behind the ear. as if submitting to the inevitable. DON’T SHOOT.. walking toward the bizjet. STODDARD DON’T SHOOT. ANGLE. drawing his pistol. ANGLE on Scott.. and turns to face the other man. And the second man steps into him as he falls. (pause) You had to know the Secret Knowledge.. throws him viciously to the concrete floor... continuously. full in the face. STODDARD (to Scott) Yes. Scott falls. The man uses the pistol to cuff Scott. and stomps on him. (pause) STODDARD (to his henchmen) ..
to look at Laura. to show that the stewardess.I’m going to ask you to do Just the One More Thing. And the Gods Are Angry. Laura begins shaking her head pathetically. We see a vaguely military uniformed woman fall into step beside her and take her arm. Laura. Laura looks at her questioningly..I’m so tired. and come with me. ..I don’t know you. walking toward the plane. the young female sergeant we met earlier. walking toward the plane) You went Beyond What Was Permitted. INT. and just the shoulder of the woman escorting her.. Laura looks at her.. and that the woman who is walking and talking with Laura is Jackie Black. ANGLE. now. ANGLE. (turns over his shoulder. who descended from the bizjet (the vaguely military clad young woman we saw earlier) is still on station outside of the bizjet. and protesting. SCOTT What is the Secret Knowledge? STODDARD The Secret Knowledge is: There Is No Secret Knowledge. to walk away from this plane. No . LAURA No.. WOMAN . the petroleum storage hangar behind her. Laura looks at her uncomprehendingly. The Petroleum Hangar. WOMAN I’m going to ask you.. On the tarmac...leave me alone. Beyond them we hear the engine of the bizjet start up.. We see Laura full face.. drawing away from Jackie Black. ANGLE.131. Day. LAURA .
and then back) Alright. A female reporter. (the henchman hoists Scott to his feet) ANGLE. Inside the hangar. and. on Jackie Black’s hands. his POV. her face transfixed. ANGLE. and does a double-take. STODDARD (yells) Wait. cause I will never take them off. that Scott has killed. struck by a bullet. the fallen man.. in it. she goes down. around the "global news" jet. and Scott. Stoddard goes back inside. looks over in the direction of Laura and Jackie. Standing immobile. casts a glance outside. ANGLE. his man." ANGLE XCU. walking with Jackie Black. walking toward the plane. on Jackie Black and Laura. my God. Laura looks down at something. STODDARD (to his men.. as she looks at Jackie.. He looks up. toward the Global News Plane. . She then looks up.. who are on the tarmac. take him outside. And. who now moves Laura away from the bizjet. EXT. on Stoddard.. FEMALE REPORTER Oh. she holds the cheap jewelry box we saw earlier. on Laura. on Stoddard. as he. ANGLE. ANGLE. and fires toward Laura and Jackie. where we see the crew hurriedly setting up a camera.. As they leave the hangar. on Laura and Jackie Black.. Stoddard. gossiping. and towards the assemblage of newspeople. Stoddard looks around.. ANGLE. he sees Laura. ANGLE. The photo of Laura and Donny.! ANGLE. as he does so. and then. with some of her crew. as he draws his pistol.132. We see Jackie move to shield Laura. JACKIE BLACK (to Laura) Keep walking. in the grip of Stoddard’s henchman. The Global News Jet. on Scott. and the legend: "Donny you can keep this box. to drag this man away.
SCOTT The girl ain’t dead. He takes a pistol from the henchman. The Petroleum Hangar. you’re dead.... HENCHMAN (to Stoddard) . reloading his pistol. trying to reload his pistol. and his arm..do you want me to. We see Laura stumbling toward the bizjet.. Behind her we hear the crew shooting commands.who is fumbling.. On her. ANGLE.. GET IT ON THE SAT. and one switches from an innocuous travelogue. get it on the girl. Beyond them we see Jackie. ANGLE. fallen to the tarmac. We see Stoddard. and move her to safety inside the cabin. and kicks him to the ground. that is.Get us Out of Here.... You brought her home.133.? Is that what you want? . going out live. He raises the pistol and shoots the henchman. STODDARD WAIT: WAIT.. He knees the man. The girl’s home. and see the female reporter run out of the plane. The Global Jet. and see the door to the Global jet close. The news crew reacts to the shot. Now... FEMALE REPORTER Gimme an uplink Gimme an uplink. The camera shifts to the image of Laura Newton... FEMALE REPORTER (to the unseen cameraman) On her. baby. In the BG we see Scott step through his handcuffs. and the caption "Live".? In the moment he is distracted. He walks toward Stoddard. Now Now Now. You see: that’s the difference. because I am going to tell you. you wanted to be "inside". Scott breaks the man’s grip. as the jet begins to taxi.. He turns on Stoddard.now.. INT. listen to me. and Laura. Inside the jet we see various monitors. bring them in front of his body. We see the shot is taken from inside the plane. is walking toward the newspeople. to the scene at the airport.. who is writing on the floor. INT.I am going to take you as far inside as you can go: Z’at what you want.
she’s safe.well. JACKIE BLACK (weakly. FADE OUT. bleeding. Jackie Black. as Scott kneels to her. SCOTT No. then. her POV. Scott. ANGLE. cradling her. ANGLE. I just wanted to bring the girl back. and cradles her. on the tarmac.. Laura Newton turns her face to the sound of the shot. JACKIE BLACK .. Baby. and obviously expiring. Black is weakening. INT. He shoots Stoddard. as he smoothes her hair.. running. Scott looks down. as it taxis. on Scott. and is releasing his handcuffs.is she safe? SCOTT That’s right.. ANGLE. and then running out of the hangar toward her. who falls. ANGLE Jackie Black..that’s right.. ANGLE on Scott. kneeling to the fallen Stoddard. as we see he has the key he has taken from Stoddard.134.. Weeping.. SCOTT .. The Bizjet.. almost whispering) . SPARTAN A Screenplay by David Mamet Copyright c 2002 By David Mamet AUGUST 2002 .
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