.

'BLOODDIAMOND''
oy
Edward Zwick & Marshall Herskovitz

Draft
JuIy 27, 2005
 THESE WORDSAPPEAR:
. ' S I E R R AL E O N E , 1 9 9 9 "

]. INT. - A HUT - BEFORE DAWN 1

A MAN's HAND, hardworking, rough, light.s twigs under a kettle.
Predawn light trickles Ehrough Lhe tin walls onto well worn
farming tools,..hoe, pick, axe, a yoke for an ox. AnimisU
Lotems and charms hang. we are in a typical Mende FARMER'S
HUT. Excepu for Che ENGLISH SCHOOLBOOKS on a she1f.
The HAND EhaE lit. Lhe ketrre t,akes Ehe books off the shelf
and gently nudges a 14-year-o1d BOy awake wiEh them. The
boy, Ota is his name, groans in sleepy protesE.

SOLOMON
VANDY smiles down at his son.

SOLOMON
(in Mende; subtitled)
Don't want to be 1aEe.

The boy sits up, harf asleep. sleepily pu11s a shirt over
his head. His English is more schooled than his faEher's.
h Y l

(in ltendli"suUti rted)

English boys go Eo school every day?
solomon fills a tin cup of powdered milk. lle is a rnan marked
by quiet pat.ience, in Lhe worn trousers and whiLe cotEon
shirt of a Mende farmer. He hands Ehe cup to the boy.

SOLOMON
(in Mende; subtiCled)
yes, Ehev do.

n7l

(in Mendli'"uu.iL1ed)
Not every day.

SOLOMON
(in Mende; subtitled)
Every day. Just like you. So you
can become a doctor. Not walk behind
an ox like your father.
T h e b o y c a t c h e s h i s M O T H E R ' se y e a s s h e b r e a s t - f e e d s his
TNFANT BROTHER. His twelve-year o1d sister, N,YANDA, snuggles
with them. she sticks her congue ouE at her brother.

soLoMoN (coNT'D)
Don,t worry. She will be joining
you next. year.

JASSfE sends both her men a kiss as Ehey head out.

 L.

JASSIE
(in Mende, subuitled)
Be carefuJ on the road.

Solomon gives his wife an "r know" look.

2 EXT. HUT - VTLLAGE - CONTINUOUS 2

Solomon and Dia emerge into the early lighc. Their huE is
in a hamlet amidsc cassava paEches eeked out of the jungle.

DIA
Don't want Eo be a doctor.
(of.f. Solomon's look)
f want. Eo be President.

Solomon puts his arm around him. They head into the fields.

CREDTTS OVER

3 S O L O M O NA S H E W O R K S I N T H E F I E L D S . IT IS A TIMELESS 3
PICTURE. ONE OF PASTORAL BEAUTY AND SIMPLICTTY.

4 AT NOONTIME, ,JASSIE AND N'YA}TDA GRING LUNCH. THEY STT IN 4

THE STADE OF A HUGE BEOBOB TREE.

5 DIA RETURNS HOME, CARRYTNG HIS SCHOOLBOOKS. NOW HE WORKS 5

BESIDE HIS FATHER.

o
a d
T.HE STIN IS ALREADY LOW AS THEY RETURNTO THE VILLAGE 6

CREDITS END

Solomon stands sEock seill, sensing someEhing A few

chickens flit away wiEhouE crowing. The oxen are skiccish.

SOLOMON
Go back insi-de... NOWI

Dia is confused. Solomon pushes him inco the huE as grinning

TEENAGEREBELS appear. One wears a Tupac t-shirt. He rakes
everything wich AX-47 FIRE. Huts. Animals. people.

Sofomon dives eo Lhe ground. VILLAGERS run screamj.ng.

Chickens sguawk, oxen bray. A rumble. Two mud-splat.Eered
PICK-UP TRUCKSwith sawed-off roofs crash through Ehe brush,
f u l 1 o f R . U . P . R E B E L S ,w h o g u i c k l y j u m p o f f - - s h o u t i n g ,
wielding machetes and automatic rj.f les, BAI{DOLIERSOF AIvIMo
criss-crossed on their bare chests, GRENADES on Eheir be1Es.

Solomon cowers amidst the gunfire, looks around francically.

Men and boys are being rounded up. Huts seE on fire.
Suddenly he is yanked up as t.wo REBELS pu1l him away--

.lassie exics cheir huc, infant in her arms, mad with fear --
 JASSIE
Solomon !

He shouEs back. Only one word'

SOLOMON
Drrn I

She doesn't. She just stands Ehere screaming his name. Now
Solomon's son and daughter come out of the hut.

DIA
PAPA!

Solomon, the rifle choking him, as he's dragged away.

SOLOMON
RUN!

Jassie grabs her son's arm, He resisEs, staring in anquish

at his father. BuE she tugs at hin. And with the ewo younger
children in tow, they join others. Running.

Solomon wacches them disappear inco che bush.

rN THE NEXT MOME}IT

he's rounded up with the oTHER I'IALES. only a few able-bodied

among thern. Most are old, skinny men and terrified boys.

R E B E L Sp r o d t h e m w i t h r i f l e s , makingr them form a line. Al.1

under the watchful sunglasses of an R.U.F. COLONEL.

The PIRST VILLAGER is shoved to his knees in front of a tree

stu:np. A muscle-bound, SHIRTLESS REBEL wich a gleaminS AxE
struLs over, his eyes qlazed from palm wine and marijuana.

A second rebel grabs Ehe village man's HAND and places iE on

Ehe stump. The man pu11s his hand away. Tupac E-shirt puEs
Ehe Ak-47 to his head.

The choice is clear. Your head or your hands.

The vj.11ager tries Eo scramble away. RAT-A-TAT! Bul1et

through his head. The choice is made for him.

The next man in line is made to kneel at the sEump.

T U P A CT - S H I R T
Long sleeve or short sleeve?

The other sEoned rebels find this hilarious.

O N S O L O M O Nw, i t n e s s i n g h i s m u t i l a t i o n as terrified WAILS

rise around him. The discarded limb is thrown into a bag.

The next in 1ine, A STRONGYOUNGMAN, is pushed to the stump.

 4.

R.U.F. COLONEL
Not bim. He can work.

The STRONGYOUNGI,IAN is herded into a waiEing Cruck. NexE

comes ADI OLD MAN. Shaking, he offers his withered hand.

ON SOLOMON. The "crunch" of the axe bores into his soul.

The o1d man is lifEed to his feet in clinicaL shock. BoEb

his forearms end in bloody sEunps.

R . U . F . C O L O N E L( C O N T ' D )
You are the messenger. Spread the
word. Guv'menE say da future is in
your hands? We say R.U.F. is da
fut.ure. Revolution is at hand.

Solomon is nexE. He cl,oses his eyes as his hand is placed

on Ehe tree st.ump slick with blood. The Colonel looks him
over. Motions Ehe henchmen to stop.

R.U. F. COLONEL
You will need your hands.

Solomon is herded into the cruck.

8 EXT. STERRALEONE -- (SEEN FROU ABOVE)

A seaplane soars above the bush. AE the scick, DANNYARCHER.

He has seen more in his thirty years than mos0 people have
seen in a lifetime of watching bad teLevision.

He scans Ehe landscape Ehen dips Eoward the esEuary of a

broad river, eventual-ly splashing Co a sLop.

9 NEARBY, ON THE SANDY BANK

sitcing in a lawn chair is COMI'IANDER RAMBO, a twenty year-

oId R.U.F. fighEer with a goaEee, wrap-around sunglasses,
and a Bob MarLey E-shirE. Arrayed behind him, several
B O D Y G U A R DcSr a d l e a u t o m a t i c w e a p o n s w h i l e e a t . i n g m & m , s . A
h u g e B O O MB O X t . h r o b s o u t T u p a c ' s " I f I D i e 2 N i t e . "

1O TNT. COCKPIT 1_0

FAWAZ, a Ehin Lebanese man, siEs beside Archer and eyes che
rebels waiting on Ehe riverbank. Murmurs a prayer in Rrabic.

ARCHER
Say one for me, ny friend.

Archer closes his eyes for a moment, then checks the clip on
his 9mmsig-sauer before rucking it. into his belt and pulring
his shirE-taiLs over it. Takes a deep breath
 5.

11 EXT. ON SHORE 11

Archer wades in and approaches Ehe group. Imagine Eeenagers

on a corner in Bed-SEy carrying AK-47's. Their menace is
palpable even as they laugh and pass around a big spliff-

ARCHER
You are Colonef Zero?

COMMANDER RA],IBO
I am Commander Rambo.

ARCHER
i{hat happened Eo CoLonel Zero?

No response. A few of the rebels gi-ggle.

COMI"LANDERRAIVIBO
He was noE comrniEted Eo Ehe
revoluEion. You are here to help us
in our struggle againsE the oppressor.

ARCHER
I'm here Eo do business.

They eye each other in silence.

ARCHER (CONT'D)
You have someEhing for me.

CO}OIANDER RAMBO
FirsE you will show me what you have
brought.

ARCHER
No. First @. will pay for chem.

Rambo looks aE him with dead eyes. Archer looks back with
eyes equally dead. A nasty stand-off. Until Rambo hands
him a smal-l, filEhy cloth SACK. Archer tips a few rough
diamonds inco his hand.

ARCHER (CO}M'D)
(in xrio; subtiEled)
Ihis i-s noE what was aqreed.

COI-,IANDERRAMBO
(in Krio; subElcled)
Eheweapons
and
;iY:'u:"'lll.iile
Archer closes his eyes again, looks back at Ehe seaplane.
The cargo door SLIDES OPEN, revealing the muzzle of a M-130
AssaufE Weapon. Fawaz racks its slide.

In response, che Rebeis slide the bolEs on their weapons.

 b.

ARCHER
(in Krio; subtitled)
Maybe I'11 just do my business with
Ehe governnent. At least E.he
oppressor pays his bi11s.

He turns and stargs back Eoward the plane.

COMMANDERRAI{BO
Wait... Wait...

Rambo smiles as if it has aff been a joke. He reaches into

a rusEy coffee can and pul1s out a huge handful of diamonds.

COI'S{ANDERRAI{BO (CONT' D)
This is what you wanE? tlere... So
many, I don't know whaE to do h/iEh
them all.

He gestures for Archer to hold ouE his hands and pours him a
handful .

COMMANDER
You bring a satellite dish nexL time,
yah? I want to watch NYPD BIue.

11A MOMEDTIS
LATER IIfI

As the seaplane takes off, we see the rebels unloading craLes

of RPGs with Ukranian markings.

12 INT. PLANE L2
Fawaz gleefully examines t.heir haul .

FAWAZ
I'm buying an elecEronics store.
SiL on my ass all day, drink sweet
Lea and watch dvd's. How abouE it.,
Danny?

Archer closes his eyes for a moment. He is free-

ARCHER
Fly che p1ane.

13 EXT. DIAMONDFIELD - SIERRA LEONE _ DAY 13

An open pit a1luvial mine carved beside a jungle river. Men
and boys toil knee deep in rnuddy water. They dig with their
hands, shoveling silt. into wooden troughs. A1I under Lhe
waLchful eyes and guns of R . U . F . R E B E L Sw h o s t a n d o n t h e
banks passing a fat joint rolled in newspaper.
MeanwhiLe, Eheir feader -- cAprArN porsoN -- spouts twisted
revolut.ionary dogrma to the diggers:
 t_

CAPTAIN POISON
The Freetown guv-a-ment and Eheir
white masters have raped your land
Eo feed their greed! We have freed
you! No more slave and masEer here!
We are all broEhers I

Solomon. his back straining under Ehe weight of a circuLar

si.eve, pauses to wipe sweat f rorn his eyes. He,s prodded
wiEh a rif1e, looks up into Lhe fierce FACE of CapEain poison.

CAPTAIN POISON (COIVT'D)

Back to work ! Your work is your
liberat.ion! Work harder! Diq harder!

Solomon turns back !o his sieve. AMTHER DIGGER, peers inco

his sieve, plucks someEhing out, hol_ds ic up in his hand.

DIGGER
Kunaa !

A11 work stops. A rebel comes over. The digger hand.s him
the Einy, milky crysEal. A diamond. WithouE. a word, Che
Commander wraps t.he st.one in a piece of paper.

As work resumes, solomon watches the piece of paper handed

off to a RUNNER, who runs it over to the SAI'{ECoMMANDER,who
sits under Lhe shade of a palrn frond umbrel1a read.ing a
Hustler magazine. He stuffs the diamond int.o his shirt pocket
without even looking at it.

Across from solomon, a 3RD DTGGERglances around. Furt.ively

picks a sLone from the sieve and slips ic inco his mouEh.
He meeEs solomon's eyes. solomon looks away, keeps working.
When he becomes aware of CapEain poison's eyes on him
solomon cries to shake off Ehe eyes by shaking Ehe sieve.

capEain Poison remains staring aE him, intently. Then, calmly

walks over co the 3rd digger wicn che diamond in his mouth.
AND SHOOTSHIM, ac poinE blank rangre.

Everyt,hing sEops. poison turns back co Solomon.

CAPTAIN POISON
You. Bring hirn ouE.
solomon puEs down his sieve. Looks at the BoDy floatinq
nex! to him, turning Ehe muddy waEer red

soLoMoN (V. O. )
Dear Jassie. I cannot. wriee well
enough to put in a letter aII the
Ehouqhts in my head.
 8.

14 EXT. R.U.F. DIzu'IONDCA],IP- SUNSET 1A

Solomon devours a meager porcion of rice gruel in a Lin cup.

Others sleep in their fetid clothes on Ehe ground.

so LoMoN( v.o. )
Even if I could, my quards would not'
let me send it.

15 EXT. DIA}4ONDCA],IP - NIGHT I5

Solomon sits shivering, looking out at the guards on watch.
Beyond, a 1it TENT where rebels drink and shout back aL a
saLellite TV playing, "Whs WanEs To Be a MiTTionaire. "

so LoMoN( v.o. )
I do not know where you are. I do
not even know where I am.

16 IN THE BINTUMANI FOOTHILLS

EXT. SOMEWHERE 15

Jassie and the children are among a group of homeless Mende.

Dia carries the infant. Hearing trucks cominq, they scatter
into the bush. An R.U.F convoy roars past. After a momenc,
they return to tne road.

so LoMoN( v. o. )
I only know that my thought.s f Iy
over the mount.ains to you.

71 EXT. BED OF GRASS - NIGHT l7

Solomon lays there. Eyes open in a living nightmare.

so LoMoN( v.o. )
I will find you. Jassie. ff it takes
my whole lif e. We will be t.ogether.

18 EXT. I"IOUNTAINS - DAY 18

A high pass. Misty peaks in the distance. A BRrLLrAIllf RED
SHAPE comes into view - the bright headdress of a HAUSA
SHEPHERD. He carries a spear as he leads a herd of GOATS,
be11s clinking around their necks.

Picking up Ehe rear is Archer. checking a handheld Gps. His

SATELLITE PHONEbuzzes. . .

ARCHER
We're two clicks from Ehe strip.
WhaE've you got?

19 EXT/INT. TWIN ENGINE TURBO PROP - FLYING - SAI,{E 19

Piloted by Fawaz. He speaks into his SAT phone, worriedly
looking down on the dense jungle canopy.
 q

FAWAZ

20 Exr.raom,r-rarrv:"1"il, 20
sure enough, over the hirr, comes an armed patrol
SOLDIERS. The TROOPLEADER approaches Archer. of ECoMoG

TROOP LEADER
papers.

Archer fishes ouc idencificacion. Hands it over.

ARCHER
pllioc Snirh, NaEional Geographic.

TROOP LEADER
you are crossing into
t iberia.
ARCHER
I have a letEer from Ehe MinisEer
of
InE,erior and a Liberian visa as-we]f
(as the Captain sEudies .
che papers)
Doing a sEory on the Hausa who,
y o u k n o w , a r e a l l o w e d t o c r o s s ' t h las
border to get Eo grazins
Si"u"A".'
Up above, the tiny plane drones pasE.
glances up, Ehen ar. Archer, The Eroop l_eader
,l? ;;;;;"";=iu'orr"rs an unopened
pack of cigaret.t,es from his
snrrt pockeE.

A R C H E R( C O N T ' D )
Ever read NaEional Geographic?
The Eroop leader. ignores him,. waLks
his hands down Ehe goaE,s UicL, over t,o a goaE. and runs
parE a rufr of hair __ reveali"s undei il=-Jfrir,. His hands
;-"ur;i;"iiy sEraishr line
o f S T T T G H E Si n E h e s o a E ; ; k i " .

Archer feer-s che shape of the gmm

under his shirt., 100ks
around at the rifles. Too many ot Ehem.
The Eroop reader takes ouc a KNrFE
and cuts into Ehe sEicches.
The goat squears a rit.re-rtta- k i c k s
goat,'s skin, he t,akes a angrily. From under Ehe
dozen smal_l, ,iuqh,DfAI{ONDS.
The t,roop leader draws his .45 on Archer.
TROOP LEADER
You are under arresE for smuggling.

Af(LHts.r(
Now you listen here, my man. I am a
good friend of ltinister
Somora. He
will noc be pleased you f."ru--
lnEertered wich his business.
 10.
Clearly Ehe name of Minister Sornora carries some weiqhE.
''
ARCHER (coNT'D)
You know who I am, don't you? WhaE
I am. . . ? I don't think you want Eo
mess wiEh me, Or my friends, eh?
(changes his t.ack)
How about I jusE look Ehe ot.her way
and you pocket one or Ewo of Ehose
sEones. Buy someLhing nice for E.he
wife. Or maybe Ehe mistress, eh?
(re the shepherds)
Who's going Lo te11? Thern?

The shepherds l-ook, uncertain, fron Archer to the soldier.

TROOP LEADER
No.

The Eroop leader FIRES. One of the shepherds fal1s dead.

rhe ot.her i-s cut down as he tries t.o flee, The leader frowns
aE Archer, whose worLd has suddenly t.urned upside down.

T R O O PL E A D E R ( C O N T ' D )
We will go back to Freetown and ask
Minister Somora how he wishes Eo
thank his business associaEe.

2I INI. AN AIVOIIn.IOUSROOM-_ DAY 2L

Archer is handcuffed Eo a chair. A largre, rotund FIGURE
enEers, silhoueLEed against t.he bright windows.

ARCHER
Mr. MinisEer, there seens to have
been a Eerrible misundersE-_

SOMORABACKHANDS
him. Archer's head rocks backwards.
MINISTER SOMORA
I thought. we were friends.

ARCHER
you ,re righE, you're righE..
.. I
Eook a 1itt.1e init.iauive buL__
Another SLAP.

MINISTER SOMORA
Have I noE been good t.o you?

ARCHER
(Iicks his sp1it. 1ip)
absolutely. And I was planning to
cuE you in. Haven,L f always been__
 This SLAP knocks Archer's chair backwards Eo the cemenE. He
lies there for a moment. Somora fooms over him.

ARCHER (COMI'D)
Look. .. if you wanted to ki11 me,
you would've done it already. So
what is it you want me to do?

Somora smiles. One of his Eeeth has a tiny diamond.

22 INT. THE TINITED NATIONS - NEW YORK - DAY ZZ

The SECRETARY GENERAL of Lhe UN Addresses a a fu11 ASSEI,IBLY.

SECRETARY GENERAL
We propose Ehen to prohibit the direct
or indirect import of all rough
diamonds from conflict zones to the
territory of Member States

He looks at the front row where TWO MEN fN SAVILLE ROw SUITS
sit among the Representatives. One is sandy-haired, 4Q, his
name is SIMMONS. He serves a distinguished-looking older
man, 60, with a shock of white hair. His name is DE WEltTE.

SECRETARY GENERAL (COI\lll' D)

As we know, these stones are only a
smal1 percentage of the legitimate

:,i:l:li"i:
:i$fi
support
;::rli:;5,
of
:3x"n:,
such
. a ban.

The well-dressed diamond indusEry reps smile back.

23 LATER - CHAMPAGNE I5 SERVED ZJ

in a reception ha11. The Diamond industry REPS and WIVES

mingle with IJN MEMBERSand other DIGNITARIES. US AMBASSADOR
WALKER approaches De Wente, holds out his hand.

AMBASSADOR WALKER
lilister De Wente. . . Judd Walker--

DE WENTE
Ambassador. Good to finally meet
you.

AMBASSADOR WAIKER
You don't. spend much tj.me this side
of the Atl.an: rc .

DE WENTE
f'm hoping to change that. Perhaps
wich your help.
 la
La.

AMBASSADORWALKER
Mr. De Wente, f'm afraid I don't
have much faith in any indusEry's
ability to police ieself.

DE WENTE
I assure you, sir, we both want the
same thing. These 'conf lict' st.ones
puE the legitimacy of our entire
business ac risk.

De WenEe's young blonde WIFE appears aL his side. It's hard

to decide which is more beauEiful, Ehe woman or the two-
million-doIlar D I A M O N DN E C K L A C Es h e ' s w e a r i n g .

D E W E N T E( C O N T ' D )
Dar1ing... This is Ambassador Walker.

D E W E N T E ' SW I F E
How nice to meet vou.

oe weNre
(his arm around her)
f C's my belief , Arnbassador, Ehat
diamonds should be associated with
romance and beauty. Not warfare.
Don't you agree?

How can the Anbassador not be d.azzled? From the glicCering

diamonds, we cut toi

24 EXT. DIAI{ONDFIELD - PIT - DAY 24

Solomon works in the muddy water, his eyes transfixed by the
sparkling reflections of the river and Lhe swaying trees
that seejn so unaffected by the brutality beneath.

so L oMoN( v.o. )
Dear Jassie. How can it be that one
sEone is worth more than another?

Solomon wi11s himself back to the soul-ki11ing work.

Suddenly, a WATERPUMP BREAKS-- gushing like a fire hose --

knocking over Solomon and several diggers. Solomon,s sieve
is swept down river. He swims after the SfEVE. Grabs it.
sloshing his way back, when he stops...

There, underwater, by the riverbank, is something SHINY ENOUGH

to reflect. the sun. As the silt washes away, the objecE
remaj.ns underwater, A ROCK of a st.artling pink color.

Solomon blinks down at it.. The DIAI'IONDsparkles up at him.

 13.
so LoM oN( v. o. ) ( coNT' D)
And how can a Ehing E.hat comes from
our moc.her t,he eart.h be so beauEifuL
a s E , om a k e p e o p l e w a n t t o k i I I ?

Solomon looks around. Rebel guards are fixing Ehe pump,

shout,ing at. digrgers E.o geE back to work.

solomon scoops the diamond inEo his sieve, covers it with

silu. His heart is pounding as he wades back t.o Ehe bank.

REBEL GUARD
You daydreaming? Get back t.o work!

solomon nods. Quickly submerges his silt-heaped sieve.

25 EXT. I'IIDERNEATH THE MUDDY WATER - COMIINUOUS t)

solomon overt.urns t,he sieve. His BARE Foor catches E,he

diamond.

26 EXT. ABOVE THE WATER - SAI'{E 26

solomon raises his hand Eo get. t,he guards, attent,ion- He
cluEches his abdomen, painfully.

SOLOMON
I musE go badly.
(pleading)
Can'E hold iE in, boss.

The guard motions him out. solomon climbs ouE, sliding his
second foot carefully. He shuffles to the edge of the jungre.

CAPTAIN POISON
SEop.

solomon freezes. poison searches solomon. sEarting with

his hair, his ears, nose. squeezing his cheeks to 6ee inuo
his mouEh. Frisking his panEs, unrolling his cuffs.

CAPTAIN POISON (CONT'D)

Lift your fooE.

Solomon rifts his righE foot. They check between his Eoes.
CAPTAINPOISON (CONT'D)
The ot,her.

solomon, looking inEo poison,s eyes, lifts his left fooE,.

Poison checks between Ehe Eoes. Sacisfied.

CAPTAIN POISON (COMrD)

Make it guick.

cl,osE oN soloMoN's Foor, as he lowers it. The Eoes curl

lnto Ehe soft muddy earth, obviously ret.rieving someEhing.
 1A

2'7 EXT. EDGE OF JLTNGLE- MOMENTSLATER 21

As Sofomon sguats behind a falLen tree, he eyes the guards

through the broad leaves.

Quickly, his toes release the rnuddy gob under his fooL. He
rubs the mud off it. rt's raw beauty is almost unnatural,

He glances back to make sure he is unobserved and then rips

the cuff off his pants.

A CLICK at his head,

SoLonon sIowly looks up into t h e B A R R E LO F A C O L T . 4 5 .

CAPTAIN POISON
Give it Lo me.

Solomon doesn't move. What difference does it make? He

awaits the crack of the gun, when:

A MORTARROUNDCOMES SCREAMINGOUT OF THE JUNGLE.

THE EXPLOSIONknocks Solomon to the ground.

MOREMORTARS. ECOMOG government troops appear, fi.ring

auLomatic weapons. Solomon scrarnbles over to Poison's bleeding
body, removes the MACHETEfrom the belt.

As shrapnel shreds the greenery, he furiously digs with the

machete. Wraps the DIAI{OND in his ToRIv GREENCUFF and plants
it in the hoIe.

When he is STRUCKIN THE HEAD BY A RIFLE BUTT.

He falls. ECOMOG S O L D I E R Sa r e s h o u t i n g a t . h i m i n M e n d e .
S o l - o m o nr e a l i z e s h e s t i 1 1 h o l d s t h e m a c h e t e , l e t . s L t . d r o p .

SOLOMON
Don't shoot! I am not R.U.F!

Around him ECOMOG soldiers beat the rebel prisoners with

sti.cks in the distance, o t h e r s a r e E X E C U T E Da L r a n d o r n .

28 - DAY
ExT. FREETOI^IN 28
A c o n v o y o f M I L I T A R Y T R U C K Sr o l l s through teeming streets.
W o m e nw a l k w i t h b a s k e t s o n t h e i r h e a d s , t r i b a l bel1s jingling
around their ankl-es. "Businessmen,' in white suiCs sip Coca-
Colas outside a hote1. A UN helicopter circles overhead.
29 ExT. BACK oF A MILITARY TRUCK - SAME 29

Solomon sits chained to other rebel prisoners. He's never

been to a city, never seen so many people. It's overwhelming.
 1:.

He sEares aE the BEGGARSwho run alongside. War orphans,

the same age as his own son. He searches every face

30 TNT. FREETOWNPRISON (PADEMBAROAD) -_ DAY 30

Archer looks up from a game of soliEaire as REBEL pRrsoNERS
are marched past. his dank ce1l.

REBEL #1
R.U.F. is eoming! OperaUion Chop
Hands I GeE ready, my brothers !

Archer curns his actention back co his game as Ehe ce11 door
nexE Eo his is opened and Solomon is E.hrown in.

SOLOMON
f arn noE R.U.F. My name is Solomon
Vandy! famafarmer!

Archer assesses him. Solomon grives him a hard stare.

MOREPRTSONERS are broughc in, one carried on a streccher.

A bandage covers half his face. But when he turns his head,
we see that it's capE.ain poison. Solomon turns away.
Poison lifcs his head, sguinting Ehrough Ehe CELL BARS.

CAPTAIN POISON
What. did you do wirh it?

Solomon doesn, E acknowledge poison.

CAPTAIN POISON (CONT'D)

I'rn t.alking to youl you hear mel?
Where is uhe diamond! ?

Archer pricks up his ears, buE, goes on playing soliEaire.

CAPTAINPOISON (CONT'D)
A pink diamond. f saw you uake it! I
Archer's hand-, flipping over a card, stops. Lisuening
int.enCly now buE careful not to show iU.

SOLOMON
you are mad. I do not. know you.

CAPTAIN POISON
I saw iu wiEh my own eyes | !

Poison reaches int.o his sweaE sEained shirt., an rVoRy CHARM

from around his neck. Holds it up for all to see.

CAPTAIN POISON (CONT'D)

Thj_s big! Biggest I have ever seen!!
Solomon just shakes his head, absurdlv.
 r9.

B U ? A R C H E R ' SE Y E S . . . a r e o n c h e i v o r y c h a r m , e v e n a s h e k e e p s
playing solitaire. Poison ca11s to the guards.

C A P T A T NP O I S O N ( C O N T ' D i
I will give a t.housand dollars Eo
the man who cuEs it out of him!

These words do somet.hing to Solomon. He stands and rips off

his shirt. Then his torn pants. Everyching. Until he st.ands
completely naked, facing Captain Poison Ehrough the bars.

SOLOMON
Where is a diamond? Do you see a
diamond!? You devils have taken my
farnily. My home. Everything! Here!
Look! What is lefrt? What. is left.!?
If Ehere is a dianond, then you are
the one who has taken it ! !

Poison lifts his upper body from Ehe stretcher.

CAPTAIN POISON
Liar! He's a LIAR!

The army guards have had enough. They silence Poison with a
rifle butt to the face. As they drag him away, Ehey give
Solomon a "goE my eye on you, Eoo" g1are.

Archer lays out a new hand of solitaire. His eyes move to

SoLomon, then away. He's heard all he has Eo.

Solomon begins putting his clouhes back on. The fury sti11
in his eyes. Through Ehe bars, he gives Archer a final g1are.
Archer turns away, just keeps playing cards.

But then ever so carefully he picks out the ACE OF

DIAMONDS. Folds iE in ha1f. He gets up and goes ro his
ce1l door. W a i t s u n t . i 1 a p R I S O N G U A R Dp a s s e s b v .

ARCHER
Excuse me, brother. Think you could
get a message Eo Minister Somora?

The prison guard sees the PACK oF CTGARETTES- and the folded
card - that. Archer holds through the bars.

3]. EXT. PRISON GATE _- NEXT DAY 3J.

Archer walks out into the street, blinks in the sunliqht.
ACROSSTHE STREET - THE SA}TESCENE

is observed in uhe REARVIEWMIRROR of a parked car by a man

wit.h a reddish crewcut. His name is ,JOOST-
FAWAZ appears and hands Archer his hat.
 '1 1

FAWAZ
How on earth dld you get Ehem to 1et
you go?

f|llLN.gK

Ihere's a farmer in there. He

. might've found a Plnk.

FAWAZ
you'd geE
rold Somora
iliur|?.1.r"o.
fII1L11.E.r(

I need to contact our friends in

London.

FAWAZ
I thought we were working for Somora.

ARCHER
0lho needs Somora if the pink is real?

Archer can t.el1 thac Fawaz is holdi.ng sornething back.

ARCHER (CONT'D)
- -What ?

FAWAZ
London wanEs nothinq more to do with
vou.

Fawaz hands him a newspaper clipping.

Al(Ln.gK
( reads )
"The arrest in Sierra Leone on June
One of Daniel Archer, former mercenary
and smuggler with Eies Eo the De

u:::;,:iil;"S,:;lH'ollflnii:l';,:l:,,
(crumples it)
Fucki.nq hel1 .

He starts off down the sEreeL, calling over his shoulder.

A R C H E R( C O N T ' D )
His name is Solomon something.. ,
MorEgage the plane i.f you have co --
just gec him ouc.

32 INT. A SHABBY ROO}TIN AN APARTMENTHOTEL -- DAY 32

Drippi.ng wer from a shower, Archer is working the phone.
 ARCHER
(on the phone)
We1l, can you t.eIl Mr. De Went,e
Danny Archer called? Archer.
A...R...

JUMP CUT -_ LATER -- ANOTHERCALL

Archer smokes his tenth cigarette_

A R C H E R( C O N T ' D )
(on the phone)
What time did he say he'd be back?

JIIMP CUT -- LATER -- ANOTHERCALL

Archer pounds his fist inco a wafJ.

ARCHER (CONT'D)
Yes, he definitely knows what this
is in regard to. . . yes. . . .
Yes.. ..f've been ho1ding....

In frustracion, he throws the phone across the room.

33 STREET --
EXT. FREETOV,IN DAY ??
Archer leaves the shabby hotel, having changed clothes. He
is mobbed by che inevitable swarm of beggari who carr him by
name. . . . "Arrr-cherrr, Arrr-cherr. "

ARCHER
piss off.

He pushes his way pasE, without a t.race of compassion.

)A
MEANWHILE-- THE DOORTO ARCHER'S HOTEL ROOMIS KTCKED OPEN 34
.roosr, the man we saw surveilring Archer, ent.ers and begins
t o S E A R C Ht h e r o o m . . . H e i s p r o f e s s i o n a r - a n d . b r u t a l -- rlpping
apart bedding, smashing the phone machine, even sricting-[r-r"
.
carpee into chin strips with a razor blade.

It is clear he is looking for something quite small.

35 EXT. BEACH BAR -- DAY 35
Every ra/arzone-has a place like this. Soldiers, smugglers,
opporcuniscs of,every stripe stand shoulder to shoulder
at a
bamboo bar. Bad guys and do-gooders, uN workers and eco-
backpackers drink overpriced, watered-down liquor, irade
gossip, and hook up for desperate expatriate sex. ,,Sierra
Afrigue" blends African drums and el6ctric bass.
Every now and !hen, in ghe distant hills, the muted souND oF
AN EXPLOSIONand a rising COLUMNoP SMOKE. No one pays any
at.tent.ion. There is serious drinking Eo be done.
 19.

As Archer shoulders his way pasc, we OVERFIEAR brief snippets

of conversaEion. A Nigerian peacekeeper hiEs on a tipsy
blond Red Cross Worker.

PEACEKEEPER
this place is noEhing but husElers
and dopers. I will t.ake you back to
Nigeria. Show You Ehe real Africa.

RED CROSSWORKER
Is Ehat, so?

He whispers in her ear and she giggles. NexL to Uhem, Ewo

SUITS from Ehe Chemical Bank:

SUIT #1
Fif t.y Ehousand in cash. And EhaL's
jusE Eo get a meecing with him.

SUIT #2
The only difference beEween the crooks
who run the country and t.he R.U.F.--

The AFRICAN BARTENDER(M'ED) serves Cheir drinKs.

AFRICAN BARTENDER(M' ED)

--is fifty mi1es. Word on de screeE
dey took Marampa yesEerday,

He poinEs up into t.he hil1s where anoEher explosion rises.

A F R I C A N B A R T E N D E R( M ' E D ) ( C O M T ' D )
Time to reconfirm dose fliqhc
reservations, maybe.

Archer approaches the bar. His arrival is cause for several

whispered remarks among those in Ehe know.

AFRICAN BARTENDER(U' EO1 (CO}flI'D)

How de body, 1"1r. Archer?

ARCHER
Every day above ground, M'ed...
(Iooks Eo the hills)
Your rebel friends planning co visic
us one of Ehese davs?

AFRICAN BARTENDER(M' ED)

Oh, I 'magine dey come do some
shopping verrry soon.

He laughs darkly. Archer salutes him wiEh his drink. Nearby,

an ATTRACTfVE WOMANEaps her sw:-zzle seick on Ehe bar as
Oasis' "ParCy Like It's '99" ends:
 AA
zv.

RADTO AI{NOUNCER (V.O. )

This is Ehe Voice of America. AnoEher
good day on WaI1 SEreeE,, Ehe Dow
lTones up twenty-f ive point.s, t.he
Nasdag up forty... In the Whit.e House,
President Clinton again defended his
reLaEionship with Monica Lewinsky--

The woman near Archer speaks up:

WOMAN
Are you listening to this? The
worl-d's fal-Iing apart and aLl we
hear about is Blowjobgace...

Archer turns to MADDY BOWEN. Maddy's a 'handful' whose beauty

belies the kind of fierce intelligence that sends most men
running for Ehe door. Archer likes what he sees.

ARCHER
When's the last time the world wasn't.
fallrnq apart?

MADDY
Oh. A realist, Been Ehere, done
that, goE the t*shirt. Is that. it"

ARCHER
Danny Archer.

MADDY
Maddy Bowen.

ARCHER
(appraising her)
American.

MADDY
Guiltv.

ARCHER
Americans usually are.

Maddy raises an eyebrow. He plays rough. She likes it.

MADDY
Ouch.

ARCHER
Don't. t.eII me, you're here t.o make a
di f ference .

MADDY
And you're here to make a buck.

Archer smil-es. It's been a long time since he was interested.

 2I

ARCHER
See that guy? Government miniscer
caught pockeuing disaster relief
money. Bad move, know why? Wasn't
giving a big enough cut uo his boss. . .
(poincs nearby)
Thac one. . . ? Se1ls AK-47's Eo che
rebels and waiEs for a cease-fire co
buy 'em at a discount, then afcer
the f ight.ing starts again, se11s
them back at a profit.

MADDY
And your point is?

ARCHER
The point is, it's Africa. There is
no point. You want. anocher?

MADDY
Vodka. Rocks.

Archer catches Med's eye -- who nods approvingly at Maddy.

ARCHER
M'ed. Same aqai.n.

MADDY
You were born here?

ARCHER
Rhodesia.

MADDY
You were there during the war? Musu
have been rouqh.

ARCHER
(o:iering nothing)
Loved ic.

MADDY
And you're a smuggler.

ARCHER
Arn I?

MADDY
Somehow I don'E take you as che UNICEF
c)&e.

Archer jusu smiles.

M A D D Y( C O N T ' D )
T was going to say 'sol.dier-of -
fortune' buu it's such a cliche.
 ARCHER
How about hired grun. People seem to
like thaE one.

MADDY
Diamonds?

ARCHER
What if I told you I was a missionary.

MADDY
( laughs )
For De Wente?

ltt{'LrlE.t{
It's not just rude to ask those kind
of questions, Ms. Bowen, it's also
dangrerous.

MADDY
1'11 take my chances.
(1eans closer)
So... te11 me about blood diamonds.

And then, suddenly, Archer gets it. His face turns to stone.

ARCHER
. . .You're a journalist.

MADDY
That's right.

Archer sEands up from his stool.

AJ1LrlEt(
Piss off.

He Ehrows some money onto the bar. Maddy follows him out.

36 EXT. BEACH BAR __ COITTINUOUS ?6

MADDY
De Wente Diamonds closed its buying
offices here to avoid U.N. sanctions.
But they're using cut-outs to buy
sEones from Ehe rebels on the cheap.
That way nobody accuses them of
profiEing from Ehe war --which they
clearly are.

ARCHER
I'm shocked.
 23.

MADDY
- I::.::'=:"if;:$
:il';3"'i":3.'::5-r..
you roE in jai1.
(grabs him)
Don't you want a chance Eo get even?

He keeps walking.

MADDY (CONT'D)
Hey, waic a second.

She qrabs his arm. Moves closer.

MADDY (CONT'D)
(the slightesc sexual
promi se )
Help me out here...

He can't help but give a bitter laugh.

ARCHER
Maddy, righC?
(she nods)
...Usua11y I liked to be kissed before
I get fucked.

He wal-ks off, leaving her to the inevitable swarm of beggars.

JI INT. A R C H E R ' S H O T E L R O O I ' {- - AFTERNOON (MUSIC OVER) 5t

Archer walks in and sees che wreckage of his life.

]N THE BATHROOM _- MOMENTS LATER (MUSIC O\rER)

Archer stares ac himself i.n che remains of his mirror. He

opens a boeEle of vodka and chugs ic.

38 A FLASH CUT -- GRAINY BLACK & WHITE 3B

Souch African Security Forces BREAK DOWN a door and roust a
sleeping middle-aged ANC supporter from his bed. His wife
S C R E A I " I Sa s A r c h e r puts a bag over the man's head.

39 BACK TO THE BATHROOM 39

Archer takes a long pu1l of vodka and Losses the boEcle.
With a pliers he grips a fal-se crown atop A BACK TOOTH.

40 FLASH CUT - -
A.TVOTHER GRA]NY BLACK & WH]TE 40

The Bl-ack prisoner is naked, tied to a chair. we do noE see

what is being done co him. Instead, we sLudy Archer's face
as he watches.
 z4

A'1
BACK TO THE BATHROOM {l-L

BrighE drops of blood drip into the sink. Ignoring the

incredible pain, Archer rips ouE Lhe crorrrn.

Int,o his pa1m, he Eaps a bloody ROUGHDfAMOND.

A'>
EXT. RAWDONSTREET (FREETOWN)-_ ST'NSET (MUSIC OVER) +z

A crowded street of lit.cle STOREFROI{TSwit.h hand-painEed

signs of diamonds. StreeE merchants lick t.heir palms and
hiss as Archer passes.

43 INT. FAST EDDTE'S -- LATER (MUSICOVER) 43

LiECle more than a corrugated shack. We QAA Archer haggling,
and rel.uctantly accepting less cash Ehan his st.one is worEh.

INT. FREETOWN- STREETS _ LATER THAT DAY 44

Joost is waiting in Ehe road, making no aEEempt Eo hide.

A\II'U T! E T1

Joost,.

JOOST
Long t.ime, mate.

ARCHER
How's AIice?

JOOST
We11, Ehanks.

ARCHER
Tirn must be in co11ege.

JOOST
Big kids, big problems... you know.

ARCHER
Company's doing well?

JOOST
Can'E complain. Eleven wars on the
continent., business is brisk.
(looks ar him)
Heard you had a bit. of E.rouble in
the bush.

ARCHER
Somora cal1ed you.

JOOST
Minist,er Somora and the Colonel are
old friends.
 25.

JoosE smiles. Archer Eakes out a pack of cigarettes, offers

one. JoosE demurs. Archer pats his pocket.s for a maEch.

ARCHER
coe a light?

Joost reaches into his pocket., t.akes out a lighEer. As he

leans in co lighE Archer's cigareEEe--

ARCHERGRAES HIS HEAD AND SMASHESIT DOWNONTO HIS UP-THRUST

KNEE, LOW-PUNCHES HIM IN THE GROIN, SWEEPSHIS LEGS OUT FROM
L'NDERHTM, AND THEN STOMPSHIM IN THE KIDNEYS.

A R C H E R( C O N T ' D )
NexE Eime the Colonel has a quest.ion.
A11 he has co do is ask.

He walks away, leaving Joost. wriChing in che st.reeE.

45 EXT. CAPE TOWNAIRPORT -- DAY (MUSIC OVER) 45

Archer pays cash for a round-trip ticket Eo London.

45 STREET) -_ DAY (MUSIC OVER)
EXT. LONDON (CHARTERHOUSE 46

The global nexus of the diamond Erade. A cab pu11s up and

Archer gets ouE, wearingr a suiE.

ACROSSTHE STREET, a small group of PROTESTERS wirh signs

thaE read, "No Blood Diamonds, " and 'DTC Funds Torture.',
One sign has a drawing of a diamond ring on a severed finger.

4'7 TRADING COMPANY(DTC) --

TNT. DIAITIOND DAY (MUSIC OVER) 4'7
Archer passes Ehrough securit.y: fingerprint. reader, scanner,
the works. He is buzzed rhrough an ANTI-BAILISTIC DOOR.

48 INT,IN A WAITING ROOM 48

He glances at Ehe well-lj-E display cases -- one of which

feaEures a replica of ehe 530-carac "SEar of Africa".

A FLAT-SCREENMONITOR

plays a Ridley ScoEt commercial for De WenEe diamonds.

RomanEic. Flashy. A young man proposes Co a beauEiful
blushing gir1. An older couple celebrate their anniversary.
Rappers wearing 'b1ing' on t.he Grammy Awards.

DTC CLERK
MisEer Simmons will see you now.
49 INT. DTC EXECUTIVEOFFICES *- DAY 49
R O L A N DS I M M O N ' So f f i c e is tasEeful and inoffensive. So is
Rol and Simrnons. We lasr saw him at. Ehe UN.
 zo.

S]MMONS
Come in. Come in. Tea?

ARCHER
No Ehanks.

SIMMONS
So. Whac brings you Eo London?

ARCHER
Reg... Spare me.

S i m m o n sa d j u s t s t h e E r o u s e r s o f h i s b e s p o k e s u i t . He'd raEher
talk about anything but business, but if Archer insisEs:

SIMMONS
A month ago, officers of this company
sat in front of the Uniced Nations
and pledged co uphold a ban on
"confIict" diamonds.
(looks out the window)
We are no longer accept.ing the stones
you supply. I'm truly sorry you've
come all this way, but our
relationship is officially over.

Archer Looks around. Realizes-

ARCHER
You're recording this.

S i m m o n ss m i l e s . Archer doesn't give a shit. Record this.

A R C H E R( C O N T ' D )
You're losing your hold on the global
market. BiS finds in Russia, Canada.
You need me more than ever.

S i r n m o n sg l a n c e s a t h i s watch.

SIMMONS
You don'c plan t.o lecEure me on the
trade, do vou?

AT(UtsItsK
The trade? Oh, that has such a nicer
ring to it than "cartel," "CarteL"
is for Columbian drug dealers and
oil sheiks. ft's so... unbecoming.

Archer stands and walks to a FRAI4ED WALL PHOTO of the

distinguished older MAN whom we last saw at t.he tJN.

ARCHER (CONT'D)
But since it's just the two of us,
Reg, let's cut the bullshit.
(MORE)
 zt.

ARCHER (COMr' D)
You've got eight-billion-dollars-
worth of stones gathering dust. in
those vaults downstairs.
(leans forward)
If you didn't keep 'em off the market,
that rock on your finger would cost
less t,han your shoes.

SIMMONS
Fine. Wrire a book. Tell the BBC.

ARCHER
(continuing over hirn)
--Which Ls why it would be a shame
if, stsy, anoEher company got all the
press, noL t,he mentiOn the prof its
from Ehe largesE pink ever Co find
its way to market*-

This pu1ls Simmons up short.

SIMMONS
you're bluffinq.

ARCHER
Probably. But if I'm not, /ou're
going to be the one having Eo explaLn
Eo Mr. De Wente how it happened.

He sEands and st.arEs ouE.

ARCHER (CONT'D)
Nice talking to you, Reg. Love Ehe
new hairline.

Simmons holds up a hand., as if Lo say, 'waiE a second.' He

flips a switch and MUSIC fills the room.

SI!&{ONS
What are you asking?

ARCHER
Ten percent of markeE as a finder's
fee.

SIMMONS
Fi_ve.

AR.HER
seven.

SI}O{ONS
Agreed.

ARCHER
ALways a pleasure doing business.
 28.
He t,urns and walks out. Simmons picks up t.he phone.

SIMMONS
Get me De Wente.

50 PRISON --
EXT. FREETOWN DAY

Solomon walks out of prison to find Fawaz waicing.

FAWAZ
Solomon Vandy?

SOLOMON
What, do you want?

FAWAZ
Some friends of mine Ehought you
look like an honest. man.

Fawaz hands him a wad of cash and walks away.

51 EXT. HIGH COMMISSIONFOR REFUGEESOFFICE - DAY 51
An abandoned school- l,Ien, women with babies swaddled in
t,ribal cloth. They are impatient, unruly_
solomon sees the line snaking around the block. He walks
casually Eoward t.he front., acting as if he knows someone.

SOLOMON
He11o my broEher. How's de bodv?

REFUGEE#1
Do I know you?

Solomon insinuaEes himself beside him in 1ine.

SOLOMON
Sure, sure. We meE at your cousin's
wedding. Don,t, you remember?

Another refugee, farther back in 1ine, calls out angrily.

REFUGEE#2
Back in line!

Ot.her ref ugees join in calling ,'end of the 1ine, ,' eEc.
solomon ignores t.hern, focusing on the man beside him.

SOLOMON
--and how is che happy couple?
The angry refugee GRABS Solomon by Che arm.

REFUGEE#2
Hey, mon, who you think you are?
 ,a

Solomon Eurns on him wich quiet menaee.

SOLOMON
If you don't let go, I will break
your arm. Then I will break your
head.

The wild look in Solomon's eye is Eruly terrifying. The man

recoils in fear. The oEher refugees stop their grumbling.

52 INSIDE THE OFFICE

Hundreds of NAMES, posted on reErms of paper cover Ehe waI1s.

Solomon searches the list methodically. Even as he's shoved

and pushed, he holds his ground. The names he seeks are noE
there.

soLoMoN (v. o. )
Dear Jassie. Can it be Ehat no one
in our country has a horne?

He looks around for someone in authority. Hears an African

S O L D I E Rs p e a k i n g M e n d e .

S O L O M O N( C O N T ' D )
(in Mende, subticled)
Please, f must tajk to someone- My
faniTy 's nane is not on the List.

The soldier, who is being ye1led at by five other people

simultaneously, replies angrily in subtiEled Mende:

MENDESOLDIER
Go to Kambe, there is another fist.

SOLOMON
I have been to Kambe, and Mombolo,
and Tibili. and--

MENDESOLDIER
Talk to che whites.

He poinrs t o a h a r r i e d R E D C R O S SO F F I C I A L w h o f i e l d s an
onslaught of questions. Solomon pushes his way to hj-m.

SQLOMON
Excuse me, sir, my name is--

RED CROSS OFFICIAL

- -Check the 1is[.

SOLOMON
I have checkeq the lisrs.

The Brit. shoucs Eo be heard over Ehe tumult.

 RED CROSSOFFICIAI
You have to f i1e papers with t.he
Office of Refugees!

SOLOMON
I have fiied papers!

RED CROSSOFFICIAI
Then God help you, man. Because I
can' t.

Solomon wants to scream at him, but the Brit is right.

53 E X T . O U T S I D ET H E F I E L D O F F I C E 53
Solomon sit.s in t.he rniddle of the crowded street. Beref t.

soLoMoN (v.o. )
They told us freedom would rnake our
country into a paradise. But it has
turned it int.o a sewer instead.

54 IN THE SIERFA LEONE HILLS --

EXT. SOMEWHERE CONTINUOUS 54
Dia, Jassie and his sister wait for food at an R.u.F. outpost.
e rebel wearing a DOO-RAGeyes then. Dia glares as the man
offers his twelve year-o1d sister a Milky Way bar.

Jassie pu11s her daughrer away bur ANOTHERsoLDrER puts his

arm around her waist -- pinning her arms behind her back.

R.U.F. SOLDIER
Maybe you are my new wifel

Doo Rag starts ro lead N'yanda away. Dia flings himself at

the rebel, bur OTHERSjump him and begin to bear him with
thei.r rif 1e butLs. Jassie's screans are drowned ouL bv t.he
laughter of their tormentors.

Dia, meanwhile, is lifted u p a n d T H R O W Ni n t o the back of a

truck with several other TEENAGEBOYS.

55 EXT. CAPE TOWNAIRPORT -- DAY 55

Archer walks to the curb- Joost is waiting beside a Mercedes.
His eyes are still black-and-blue behind sunslasses.
,JOOST
He want.s to see you.

f|t(Ln.Lt(
I'm going back to Sierra Leone,
actual 1y.

Two square-jawed MERCENARTES emerge from the Mercedes, the

oucline of handgruns obvious beneath Ehe tails of their shirEs.
 31.

A R C H E R( C O M I ' D )
I don'E suppose, 'I'm sorry,' would
suffice?

JoosE smiles Ehinly. The mercenaries unobtrusively hem in

Archer on both sides. He expects Eo be pummeled at any
moment. Inst,ead they politely open Ehe car door.

,loosT
Af E.er you.

55 EXT. CAPE TOVIIJCOU}i"IRYSIDE-- DAY 55

The Mercedes winds iE way into che South African Veldt,

passing elegant stables, grape orchards and crickec pieches.

57 INSTDE THE CAR 57

Archer expecLs to be beaten aE any momenE. It, doesn'E happen.

57A DRIVING DEEPERINTO THE VELDT 5?A

The landscape has grown barren. AL a gaEe lined wit.h barbed

wire, a sign -- "ExecuE,ive Outcomes" is flanked by armed
soldiers wearing crimson berets, who wave them on. They
fol1ow a deserted dirt road, unEil--

58 A RUSSIA}I ATTACK HELICOPTER 58

maEerializes out of nowhere. After making a perilously close

pass, ic flies away.

BESIDE A}J OLD VTCTORIAI{ FARMHOUSE

The Mercedes glides co a sEop beside a spreading acacia.

C O L O N E LT H E O C O E T S E E ,6 0 ,

Looks like he could still lead a platoon on a fifty mile

forced-march in hostile condit,ions. In facE, he stilI does.

THE COLONEL
HeIIo, Danny.

ARCHER
Sir.

THE COLONEL
You look beEt,er Ehan JoosE here.

ARCHER

rheco,o"",
:il:::""".':::,:'ff"" 1",",1";arrini.
 JZ.

THE COLONEL
(raising his glass)
Here's to us and Ehose like us--

ARCHER
(f inishing t.he toast )
--Damn few.

They sip.

THE COLONEL
I want you to come back.

ARCHER
Thanks buE I orefer noE Eo.

THE COLONEL
We'11 be coming your way soon. Our
lawyers are in conversation with Ehe
governmenE of Sierra Leone, such as
iL is.

Archer smiles darkly.

T H E C O L O N E L( C O N T ' D )
They wanE us Eo take back Ehe di.amond
mines and f need someone who knows
his way around up Ehere.

Archer just takes another sip. The Colonel studies him.

THE COLONEL ( COI\]II'D)

According to our Minister Somora,
you've got someEhing in Ehe works.
Someching...pink.

ARCHER
(disrnissive)
The fanE,asy of some Mende f armer. . .

THE COLONEL
There is the small maEter of paymenE,
on some RPG's. You haven't forgotten
who arranged that shipmenE from our
Ukranian friends...?

ARCHER
But who is iu, I wonder, who tipped
off Ehe ECOMOG to the goat routine?

The Colonel's t.one loses some of its warmEh.

THE COLONEL
Pay your debt. in cash or come back
Eo work. Your choice.
 33.
ARCHER
' i fu'=tii'"ol"3i'if,'3'3li'I::*:?'"*
THE COLONEL
( laughs )
Oh, Danny... You']L never leave.
You're African to the bone.
(disnrissing him)
.loost will" see you back to Cape Town.

ARCHER
I appreciaEe thaE. Thank you.

THE COLONEL
We'11 meet again soon?

ARCHER
No disrespect, sj.r, but I hope not.

THE COLONEL
You think selling weapons is beEter
chan using uhem? At least when it's
you pulling t.he trigger, lou know
you're not the Earget.

The Colonel chuckles, and gives JoosE a subt]e nod.

59 BEHIND THE FARMHOUSE 59

They approach Ehe parked Mercedes. Archer turns to JoosE.

ARCHER
Okay, just get it over with.

The Ewo mercenaries grab Archer's arms. .Ioost smif es

s)rmpathetically and then begins to beaE Ehe shit ouL of him.

60 - DAY
IIVT. THE "EXECUTIVE HOTEL'' - FREETOWN 60

I{alf of its SIGN has been blown away. A filthy red carpet
leads to a colonial facade.

Soiomon, in a red vesE chaE serves as a uniform, carries a

businessman's bags. As the businessman geEs into a cab, a
pack of I'larlboro 100's falls out of Ehe man's pocket.

soLoMoN (v. o. )
Dear .Tassie. It has been so many
weeks and I still cannot find you.

Sofomon waiEs until Lhe cab pu11s away. Then he kneels and
pockets Ehe cigarectes.
 34.
61 IN1" THE "EXECUTIVE" HOTEL - LATER 51

Solomon carries bags up a back stairs. He checks to see if

anyone is watching then rifles the bags for anything of value.

62 EXT. FREETOWNSTREET -- DAY

At an open-air market, Solomon exchanges the cigrarettes and

other stolen items for hard eurrency.

soLoMoN(v. o. )
The city is loud and crowded and
dirty. I miss the farm and cannot
help wondering what. has happened to
the cassava crop.

63 INT. HOSPITAL -- DAY 53

Sol-ornonbribes a LNICEF OFFICIAL with the curreney.

He walks pasE rows of civilian casualties, many of them

children. He forces hirnself to smile aE each face he casses.

64 E X T . S Q U A T T E R ' SC A M P - - NIGHT 54

Places like this define every ciUy in the third wor1d.

Sol-ornonhas Eaken residence in E.he rusted hulI of an old
ear. fE is bare excepE for an extra shirt folded neaEly.

soLoMoN(v. o. )
MosE of all I miss our family all
Eogether in Che hut. at ni.ghE, Ehe
sound of ehe childrens' breaEhing,
and your warmEh beside me.

He lighEs a candle before a wooden animist st.aEue.

soLoMoN (v.o. ) (coNT,D)

Whenever I feel myself losing hope,
I think of Ehese chj-ngs and I know
i E wi 11 be aI I right. .

55 IN THE BUSH -.- CONTINUOUS

EXT. SOMEWHERE 55
Dia sit.s in a dark hut. along wit.h several TEENAGECAPTIVES.
The door is flung open and GUARDSbrucally drive E.hernout Eo
form a line. Dia sEands, Eerrified, in a driving rain.

R.U.F. TRAINER
Your moEhers and fathers are dead.
Your broEhers and sisEers are dead.
You are dead t.oo. BuE. you will be
reborn wit.h us. We are your farnily
now.
 35.
66 ANOTHERDAY 55

Dia and ochers are being caughc eo fire an AK-47.

5'1 ANOTHERDAY 6'7

Dia carries a plastic jug of paln wine through the rebel-

camp. Handing it an older guerilla, he inadvercenEly SPfLLS
some on Ehe man's t*shirc. The man begins to BEAT him.

b U IrA J. trll 68

Dia is held down by two rebels as a cut. is opened in hls arm

and an unidenEified powdery drug is poured ineo the cut.

69 LATER 59

Dia is bouncing off the wal1s of the hut -- sEoned out of

his nind. Several teenage boys are similarly wasted.
.]O
E X T . F R E E T O W NS T R E E T ( A R C H E R ' S H O T E L ) - - NIGHT 1n

Archer gees oul of a cab, carrying his bag. His face is

swollen and sunglasses cover a black eye.

A MILITAR.Y ,JEEP is parked in f ront of his hote1. Several

E C O M O Gt r o o p s loiter, perhaps waiting for him, perhaps noE.

Not taking any chances, Archer Curns away.

E X P L O S I O N S L I K E D f S T A N T T H T I N D E Rr u n b l _ e Ehrough the stif ling

nighc as he walks. A car is on fire. A sense of things
grrowing out of control .

A Y O U N GA F R I C A N W O M A N , m i n i s k i r t . , big earrings beckons him.

HOOKER
You l-onely tonight, Archer?
{pul-1s down her top)
I'm safe. No HIV. You use condom.
.]I '7)
ExT. BEACH BAR -- NIGHT

Half of it is burnE. People crowd the remaining haff,

drinking as heavily as ever. The African Techno-BeaE throbs.
Archer gets Med's attention at Ehe bar, sets down his bag.

ARCHER
Mj - n d l o o k i n g af cer chis f or me?
(M' ed nods )
...Like what you've done to the pIace.

BARTENDER (M'ED)
F o k k i n g F . . U .F . r r y r o h i t the guv'ment
building 'cross da street.
ShiE,
mahn, half da people heah be R.U.F.
( M O R E)
 ?(

BARTENDER (M'ED) (CONT'D)

(halds hin the usual)
Good for business doh. Ever'body
drink much as dey can 'fore de rebels
come an drink uP de rest.

ARCHER
Mighc be time to get Your familY
ouL, my friend-

The facade of Med's prof essional jovialit.y disappears.

BARTENDER
And go where, mahn? .Jus' f ire uP de
chopper and f1y away like you people?
No, mahn, dis my counCry. We here
long 'fore you came and long after
you gone.

He stares at Archer, his eyes a tragic mask of defiance and

despair. He turns away.

Fawaz approaches. He is a nervous wreck.

FAWAZ
Oh, my God, are you all right.?

ARCHER
Where's the farmer?

FAWAZ
He found a job at a hotel. Spends
all his time at Lhe refugee offices.
Not exactly the behavior of a man in
possession of a priceless stone.

Another EXPLOSION in the distant. hi1Is. Fawaz flinches.

FAWAZ (CONT'D)
The main road to Masiaka is cut in
three places. The governmenE's gonna
fa11 any second, and I'm following
some delusional farmer.

Archer sees Maddy through t.he crowd. She's standing apart,

looking somewhat dazed as she moves sIowly to Ehe music.

FAWAZ (CONT'D)
The man was a digger. The odds of
him getting away with even a sma1l
stone is zero. They s1it. you open
alive just for sweating.

ARCHER
I think Somora is lookinq for me.
 ??

FAWAZ
(rea11y worried now)
Allah forfend...

ARCHER
(moving away)
Just. stay on the farmer.

FAWA'
But--

Archer has already begun heading toward Maddy. she sees him
coming and watches him walk t.oward her. They meet in the
niddle of a crowded dance floor. All around then, sweaty
bodies are swaying to the African beat.

MADDY
Am f supposed to kiss you or fuck
you? I can,t remember.

ARCHER
How about you dance with me.

MADDY
Should I ask what happened to your
face?

He takes her hand and leads her into the surging crowd..
M A D D Y( C O N T ' D )
f guess not-

They dance as best. they can in the crush.

M A D D Y( C O N T ' D )
This is insane. I,m drunk in an
African bar dancing with a mercenary.

ARCHER
Whar would they say in Ohio?

}4ADDY
Chicago.

ARCHER
...you can tell a loc about someone
by the way t.hey dance.

MADDY
Then you can probably te11 right
away t.haE f can' t dance.

They look at each ocher.

 38.
M A D D Y( C O M T ' D )
In Mozambigue, you were parE of a
search-and-destroy unit EargeEi.ng
ANC leaders. Then in Angola, you
hooked up with De Wente and started
trading guns for diamonds.

ARCHER
Is this on the record?

}4ADDY
But you blew it all getting greedy
and trying to go ic a1one. Why:

He doesn'E answer. They are looki.ng at each other. The

music is pounding. SweaE is pouring off boEh of then but
neither boE,hers to wipe it away.

I4ADDY (CONT'D)
So you're, what, a Nihilist.?
OpporEunist? Scumbag?

ARCHER
Maybe I just wasn,t breast-fed in
chi ldhood.

MADDY
You think I,ve never met people like
you?

ARCHER
I rhink you gec off on people like
mp

MADDY
Fuck you.

ARCHER
That, too.

They keep dancing, Ehei.r faces verv close.

MADDY
What T'11. . .never understand. . . is
how. . . you can. . . compartmental i ze. . ,
human suffering.

He stops dancing. Looks at her.

ARCHER
Thanks for the dance.
He walks away.
 39.
72 OUTSIDE THE BAR 72
He lights a cigareEte. she appears and sEands guietly beside
him. Together they watch the dist.ant explosionJ.

MANN\/
I didn'a -"..tIIV r,ura your f eetings?
He cakes a long drag. Exhales.

ARCHER
How long you been in Africa?

MADDY
Four rnonEhs. Before Ehat. Kosovo.

ARCHER
Okay. How many BJacks do you know
back in the States -- besides the
girl who cleans your house and the
rnan who picks up your garbage?

MADDY
What's that. got to do with it?
ARCHER
f know Blacks. Grew up with ,€Jn,
fought wiEh ,en. Behind the calm

burning with hate for what we,ire

done to ,€:rn.They haee you, hate me,
haEe each other and hace thernselves.
And your bleeding heart isn,t sonna
scop 'ern butchering each otherl
Half t.he continent is starvinq and
the rest is dying of eros while rheir
Ieaders selJ medicine ro build pali-es
and drive Mercedes.

MADDY
?hat doesn't make it riqhL.

ARCHER
No it doesn't,. But apart from a few
do-gooders who show up for a week
with their flak jackels, their
faptops, and their little bottles of
hand sanit.izer Ehe White world doesn,r
give a fuck about the Black world.--
Look at Sudan. Look aE Rwanda.
Your country loses thirty_four marines
in Somalia and then does noehing as
a nillion people die. except p it
-on
picEures of starving childrln rv
to flagellate their guilty conscience.
(MORE)
 40.

A R C H E R( C O N T ' D )
(shakes his head)
So someone's got to do Ehe dirEy
work-- you Ehink America doesn't
seI1 arms or hire professionals?
You call Ehern'contracCors'. I sell
guns. If I don't, somebodyelse will.

IIADDY
The 1aw of she jungle.
(sighs )
If only I had a nickel for every
piece-of-shiE. who uses ic to juseify
his existence.

He Eurns to look at her, her face radiant. wiEh sweaE.

ARCHER
I like your smell.

MADDY
Wel1, that makes me weak at the knees.

ARCHER
It's all gonna blow any minut.e. You
should get out.

MADDY
An ECOMOG relief colurnn leaves in
the morning. What about you?

A!(UtlEt(
Business to f inj-sh up.

MADDY
What could possibly be worth staying
and geccing yourself ki11ed over?

He looks at her, offers a grim smiIe.

MADDY (CONT'D)
Oh. Right.

He indicates the bare "wedding ring" finger of her left. hand.

ARCHER
TelI me you never dreamt of having a
sparkly dianond of your very own.
(as he walks away)
. . . Peace.

73 EXT. SQUATTER CAIIP -- NEXT DAy 73

solomon emerges from his rusted hulk to find Archer waiting.

Archer looks as if he's been up all nighc avoidingr the
Minister's troops -- which in fact. he has.
 4t.

ARCHER
Mrat did you do, bury it?

sofomon insEinctively looks to see if anyone is liscening.

A R C H E R( C O N T ' D )
r would have buried ic.

SOLOMON
(heart racing)
What are you calking abouc?

Archer removes his sunglasses, looks Solomon in Ehe eye.

At(\-tlEt(
WhaE a:n I galking abouE?

SOLOMON
I musE. go Eo work

Archer follows as SoLomon walks through Ehe shanEyEown.

ARCHER
t"Iy friend Fawaz paid an awfully large
bribe Eo gee you ouE of jail.

SOLOMON
I will pay Mister Fawaz back. He
has my word. And now you have my
word. And we have f i.nished speaking.

SoJomon runs for a crowded bus. Archer waE.ches him disappear-

14 INT. EXECUTIVE HOTEL -- LATER THAT DAY 14

Solomon is carrying bags for WesEern businessmen franEic t.o

gteE ouE of FreeE,own before it's Eoo late.

Deposicing t.heir bags in a t.axi, he walks back inEo ghe lobby

Eo f ind Archer leaning againsE a post., smoking a cigaret,E,e.

ARCHER
W h y w o u l d E . h a E .R . U . F . c a p E a i n wi t.h
che bandaged eye make up such a sEory.

Solomon again t,ries co ignore him.

whara'e u""T:T:; I:"5:;Dl"rr iE

yourself? To who? For how much?
You need he1p, friend, wheE,her you
w a n E ,i E . o r n o c .

AnoE.herporter is eavesdropping. Solomon escapes inEo E,he

aI ley beside t.he hot.el , aurns on Archer.
 42.
'15
15 EXT. AILEY - COTITINUOUS

SOLOMON
f know who you are. And what You
are. Men like You have Eurned mY
counEry into a land of Ehieves and
kj-11ers. I do nor need Your he1P.

Al(Lrllitl

Whau if I could help find your family?

At. Ehese words, something feral appears in Solomon's eyes'

SOLOMON
Whag do you know of my farnilY?

ARCHER
The relief agenci.es are useless, the
hospiEals are overwhelmed. There
are oEher ways.

SOLOMON
Li.ar !

ARCHER
f know people. t^IhiEe people.

Solomon LTINGES-- pinning Archer againsE the wall. Archer

could fight. He doesn'E.

A R C H E R( C O N T ' D )
The. . .right.. . . sEone--

Solomon want,s noEhing more chan Eo sErangJ-e him, but, he also

intuits Archer nrighE be his only hope. He relaxes his grip.

A R C H E R( C O N T ' D )
--can buy anyching. fnformaEion.
Safety. Even freedom. BuE a big
stone doesn't sEay secret.. The minuEe
you show iE, your l-ife j.s worthless.
I'rn guessing the onLy reason you're
sEi11 alive is because you haven't
Eold anyone where it is. Right?

Archer's piEch -- fueled by desperation -* is mesmerizing.

A R C H E R( C O N T ' D )
The lasE pink Eo come ouE of Africa
fetched Een million dol1ars. I know
because I carried it ouc. You know
whac I goc for ic?

He opens his shirt. A H U G ES C A R c r o s s e s h i s chesE.

 +5.

A R C H E R( C O N T ' D )
I was luckY. f learned that a man
will do anYthing for a diamond.

SOLOMON
fou would say anything. How can f
Erust you--?

OF AN EXPLOSION, FOLLOWEDBY THE CHATTER

NEARBY, THE CRUIVIP
OF AUTOMATTC WEAPONS...FROMA BLOCK OR TWO AWAY.

ARCHER
Hear that? IE's started. TheY
nust've snuck into the city overnight.
(1ooks at Solomon)
What's it gonna be, fri.end?

A BLOCK AWAY

Three cut-down trucks of Rebels SQUEAL into view and begin

spraying everything with automatic weapons.

A R C H E R( C O N T ' D )
Yes or no.

A whole life can change with a single sy11able.

SOLOMON
Yes.

A TRUCK COMESCAREENINGAROUNDTHE CORNER. Archer pushes

Solornon as Lhe wa11 behind them is stitched with bul1ets.

ARCHER
Go. GO!

They begin t'o run.

76 THEY RUN THROUGHTHE CITY 76

Their fates suddeniy joined by the need to scay a1ive.

And death lurks ac every corner.

Bands of teenagers roam the sEreels, FIRING AUTOMATICWEAPONS

at anything that moves. Signs, store windows, cars. Urban
Rap dopplers past as trueks wj.th boorn boxes speed by.

At an intersection, an impromptu ROADBLOCK. People are pu11ed

out of cars and beaten while their cars are set on fire.

Archer and Solomon double back and sprint pase the Executive
hotel where a gang of Rebels are entering. From inside comes
the sound of SCREAMTNG and more GUNFIRE.

People are being taken -- black and white alike -- and forced
into trucks. M I N I S T E R S O M O R Ai s 1 e d a w a y a t g u n p o i n t .
 44.

Women are dragged by the hair into alle)ruays. A man is Ehrown

out of a fourEh-sE.ory window.

In fact, it was much worse t.han anything we can ever show.

Archer, and Solo4on conlinue to run for their 1ives.

Storefronts are looced. ft's impossible to tel1 Ehe rebels

from the civilians. edults carry Lelevisions. T \ ^ / om e n c a r r y
a barca-lounqer. Teenage boys wear womens' wigs and Ehrow
molot.ov cockt.ails rnade from Swedish vodka. Rebel ceenagers
are sacking The Beach Bar -- drinking everything in sight.
Me'd lies dead, splayed across the bar.

Archer and Solomon run through t.he darkening streets as

rockets light up the sky.

They dive into a resLaurant doorway, taking refuge with others

huddled, terrified, on the floor. Windows are shot out. as
rounds rip in and plaster rains down on their heads,

After a deafeni.ng moment -- quiet. Archer watches t.hrough a

crack in the door as ECOMOGtroops are lined up against a
wal1 and executed.
'7'7
HOURS LATER - DARK AT LAST

Archer and Solomon set off aqain

They do their best to stay in shadows, hugging the wal1s of

pock-marked buildings, as Lhey try to sneak past the roving
patrols and trucks f i11ed wit.h men, and out of t.he citv.

SOLOMON
How. . .much. - . . farther?

ARCHER
Sooner, . .or. . .1ater. . .we, 11 be in
the bush.

/6 AN HALF-HOUR LATER t6

Thev are stili rLrnninq.

Both men are exhausted, filthy wich soot and shreat, their
chests heaving. But neither even considers stopping. Around
t.hern, the houses are becoming fewer-
'79 '79
UP AHEAD _ AN OPEN FTELD

And then anocher. Nothing beyond except a t.angle of banana

Erees, ruined cassava groves, and the densely-covered hi11s.
 ARCHER
There-- !

With renewed energy, they pick themselves up and run:

THE SOTINDOF VOICES -- CLOSE AT HA}ID

Sends chem DIVING into a ditch.

Three R.U.F. soldiers are seEEing up a machine gun. Solomon

looks around wi1d1y. There is nowhere to go. If they are
scill there by daybreak, Ehey will be discovered. If Ehey
try Eo run, they will be shot.

A look of resolve sEeaLs over Archer's face as he reaches

into his boot for his knife. Without a backward glance, he
slithers out of Lhe ditch.

80 THE KTLLTNG OF THE THREE SOLp{ERS 80

Is a deadly baI1et. one's chroat is s1it, the second is

gutted. But his weapon FIRES -- alercing Ehe third soldier,
who whirls just in time for his body to be scirched by
rounds from the dead man's M-47 -- which Archer now holds.

It has all happened in a matter of seconds. But the gunfire

has alerted more soldiers from nearby.

ARCHER
COMEON!

Archer and Solomon take off into the field -- as TRACERS

soon begin co streak past.

81 AT LAST THEY BREAK INTO THE BRUSH 81

Vines whipping againsE their faces, rhorns ripping Eheir

hands and clothes -- until long after the gunfire has stopped.

aE last chev stop.

Bent over double. Gaspj.ng for breath in the humid night.

A 1i v e .

The two men look at one anot,her. They could never arciculace
it, bur borh inruirively know rhis will be rhe defining
journey of their lives.

82 EXT. MAKENI ROAD -- DAWN (FROM HIGH ABOVE) 82

In Carnbodia, in E1 Salvador, in Sudan as in Sierra Leone,
the image of a downErodden, dispossessed multitude traveling
on foot coward an uncert,ain end has become Ehe signature
image of our cime. It is the Age of the Refugee.
 46.

Archer and Solomon Erudge amidsg the Ehrong. Ox-drawn carts

and thousands of shuffling feeE churn up a sea of dusc.

SOLOMON
Where are we going?

ARCHER
There's a relief camp in Port. Loki.
,-lournalisLs will have access co a
SAT-phone. I'11 have Fawaz meeE us
wich che p1ane.

SOLOMON
I have agreed to nothing.

Archer looks straighE. ahead as he walks.

ARCHER
You wiLL.

83 EXT. ECOMOGSTAGING AREA - MASIAKA * DAY 83

In a soccer sEadium, ECOMOG soldiers distribute stacks of

GRAIN bearing rhe UNICEF srencil, BOXES of MEDICAI, SUPPLIES.

Archer is ouEside the fence, talking to a guard. He is

buffeted by hordes of refugees crying to get Eo the food.

flrlLtlt r(
--I work for E.he Cape Town Herald.
My wa11eE, my credentials,
everything's sti1l in Freetown. We
barely goE out wit.h our lives...

GUAR.D
Back away from t.he fence--

Archer gives up. Solomon has been watching.

SOLOMON
You are not a journalisc.

AI(LltEr(
f 'm crying Eo get us out of here.

SOLOMON
IE. is as I said. You will say
anything.

Archer sees 'JOURNAI,ISTS- He waylays an Austral-ian CAIVIERAMAN.

AJ1LNE.t1.

Hey, mate. I'm l"ooking for somone

you might know. Nane's Maddy Bowen.
American. If you've met her you
wouldn't forget it.
 4 " 7.

AUSSIE CAMEFAMAN
f know her.

ft-K\-nf. 11-

Could you te1l her Archer's here and

I've got the story she want.s.

AUSSIE CA}4ERAI'IAN
I'm out of here in an hour. If I
see her before Ehen, f'11 tell her.

ARCHER
Thanks. Cheers.

84 LATER -_ 84

Archer and Solomon are broiling under a relenEless sun.

Solomon searches every passing face. Archer dozes.

}IADDY (O. S. )
V^li ^^F rrf
f vs :rvL vqe.

ARCHER
He110, I"laddy. This is Sol0mon Vandy.

I{ADDY
How do you do?
(to Archer; all
business )
I'm on deadline and I've been waiting
four hours to use a SAT-phone- What
do you want Eo tefl me.

Archer moves her out of So]omon' s earshot.

ARCHER
An outfit named Scar Mines is buvino
blood diamonds.

MADDY
Ano. /

ARCHER
De Wente has no visible ties Lo Star --
but through a maze of crossholdings

;H,::p lfe:1":;
dged
:;:ni;.ln:I"3l-"if;,n:"
they uo uphold.

MADDY
You have proof of chis.
(he nods )
And ou'J-1 go on record?
y

He looks at her.
 48.

Al:(u.rl.trt(
ff you help me out.

!4ADDY
f knew it.

trJLLIl.Cll,

Before you say anyEhing -- Ehe man

is a Mende farmer. His village was
burned to the ground. He was forced
Eo work the mines, buE his fanily
fled -- wife and three children.
He's been crying Eo find Chembue
he's drowning in red Eape.

Maddy looks again at Solomon.

MADDY
How do you even know t.his man?

l+I.Lrl.LK
I know him.

Maddy looks back at Archer.

MADDY
You're using me.

AIILTtEI(
And you're using me. Isn,E ehac how
i- t works ?
(leaning in)
You r.,rant.Eo make a dj_f ference, Maddy?
Starc wich this man. you,ve got
access Eo U.N. databases, you know
all che N.G.O.'s.

MADDY
Look around, Archer. What difference
does helping one man make?

He looks aE her.

M A D D Y( C O N T ' D )
Jesus. Did I rea11y say EhaE?
Maddy's eyes remain on his, conflicted, as we HEAR t.he BEATTNG
O F H E L I C O P T E RB L A D E S . ..

85 EXT/INT. UNHCRHELICOPTER- DAY 85

LooKrNG DowN on a su/eep of grassland on which a sea of
flapping white Eents suddenly appears...thousands of them...

M A D D Y( V . O . )
There it is.
 49.

85 INT. HELICOPTER- SAME 85

Solomon, Archer and Maddy have hitched a ride on a U.N.

chopper. Solomon's never been up in one. He sEares down at
the sprawling tenE ciuy below.

MADDY
At the moment, the second largest
refugee camp in Africa.

SOLOMON
My wife is here? In Guinea?

Maddy reads from Ehe computer manifest in her hand.

MADDY
Jassie Vandy, Kono District. Crossed
j.nto Guinea six weeks ago.

SOLOMON
Six weeks. And rny children?

Maddy hesitates. folds the manifest, then just nods.

MADDY
You would have found them. Somecines
it takes a year before new manifests
reach che field offices.
(glances at Archer)
I was lucky t.o gec access Eo the
UNHCRdatabase.

SOLOMON
f do not know how to thank you.

What can Maddy say? She nods.

B'7 EXT. REFUGEECAr'{p - DAy g7
Archer, soromon and Maddy step off the chopper to find-- A
SEA OF HUMA}JITYbehind a CHAIN FENCE SLret;hing for miles.
WORXERSwith worrd Food program armbands unload supplies as
REFUGEESrush the fence, pressing forward, shoucin!-.
I'{ADDy
Ihis is what a million people look
like.
Solomon stares. These are his people.
c l o s E o N A R C H E Rt . a k i n g i c a l l in. He,s seen preccy much
everything there is to see in 1ife. But no one is-unaffected.
 M A D D Y( C O M I ' D )
You might catch a minute of this on
CNN somewhere between weather and
sport.s.

As they approach the fence, Solomon sees that many of che

refugees are A]'IPUTEES. Some reaching through the chain link
with stumps of arms. Solomon's heart is pounding.

M A D D Y( C O N T ' D )
f L says they're in Sector T\,vo.

Solomon follows as Maddy shows her BADGE to a UN GUARD, who

reads her slip of paper and points out the right direction-

Archer stares through the fence at two KfDS, each with one
1eg, yet nanaging to kick a plastic jug back and forth.

OEher amputees stare su11en1y. a sign reads, " N O P H O T O SF O R

JOURNAIISTS WITHOUTSSS'

A WRINKLEDOLD MAN blows his lips at Archer through the fence.

Archer walks on. The old man shadows him. Until ercher
realizes the fe11ow is gesturing to the cigarettes in his
shi-rt pocket. Archer takes out a cigarette, is about to
slip one through the fence --

When he sees the man has no hands.

Grimly, Archer sticks the cigarette j.n the man's mouth.

Then moves on.

88 EXT. REFUGEECAMP - SECTORTWO GATE - LATER 88

A FRENCHUN GUARDrelays Ihe paper Io an AFRICAN WFP MONITOR.

FRENCH GUARD
Stay at the fence. Quarantine.
Solomon grips the fence, waLching the WFPmonitor as he
disappears into che teeming mass.

Archer has rejoined thenr. He notices Maddy,s expression.

ARCHER
What'" *rorrgi^'-
Maddy shakes her head. But Archer can tell she's keeDinq
something from him.

Solomon catches sight of the WFp monj.tor. He has a woman

with him. A woman carrying a litt1e boy and a young girl.

SOLOMON
Jassie . . .?
(and then he's sure)
J a s s i e ! J A S S I EI
 f,],

.lassie hears her name, looks up through t,he hordes of people.

JASSIE
Solo! SOLO!

SOLOMON
. ] A S S I E! !

Solomon's face morphs frorn disbelief t.o joy as ,Jassie runs

Ehrough a crush of bodies t,o him --

Their fingers GRASPeach oEhers Lhrough Ehe fence. They run

their hands over each ot,hers faces, unable to speak.

Solomon l-ooks at the one-year-old in her arms, an infant

when last he saw him- He t.ouches hirn Ehrougrh the fence,
The girl , silent., of fers a weak smil-e, She's seen t,oo much.

Then Solomon looks around, puzzled.

S O L O M O N( C O N T ' D )
Dia?
(to .lassie, in Mende)
V'lhere is Dia?

The boy is nowhere in sight.

(CONT'D)
SOLOMON
Where is my son?

Wagching this, Archer Eurns Eo Maddy.

ARCHER
He has a son who goes to school,
reads English.

MADDY
There were only two children list,ed
on t.he manifesE..

ARCHER
--Whar.?

Maddy turns away, her eyes brinnring.

A T T H E F E N C E . S o l - o m o nr e a d s . l a s s i e ' s eves.

soLoIlON
Where is he ! ?

She rubs her cheek against his hand, her body trernbling.

JASSIE
They...took him.

Solomon looks at her, incomprehensibly. And Ehe words come

out in a flood of Mende - Ehat breaks into a WAIL of grief.
 Solomon d,rops Eo Ehe ground as if every muscfe in his body
had been cut. He struggles for breat.h.

Archer cannot waEch their grief yet cannot turn away.

ARCHER
Fuck this

A GUARDtries to pry Solomon's hands from the fence, buE he

won't let go. Sensing trouble, the guard cal-l-s ANOTHERGUARD
over. Both of then cry to pu]l Sol-omon from che fence.

SOLOMON
Let thern ouc.

,Jassie doesn't fet go of her husband's hands.

LJAJJT r
Solo Sol-o

S o l - o m o ns t a r t s shaking the fence.

SOLOMON
Let thern out !

The guards begin Eo beat his hands with their rifle butts.
But Solomon keeps shaking the fence as if to uproot the steel-
posCs.

S O L O M O N( C O N T ' D )
LET THEI{ OUT!

Archer puts himself between Solomon and Ehe guards.

ARCHER
Get of f hin!

A guard points his rifle and shout.s in an unknown dialecc.

A R C H E R( C O N T ' D )
Fj.ne! ,Just get of f him!

89 INT. HELICoPTER - LATER B9

Archer and Maddy ride in sil-ence. SoLomon sLares out Ehe
chopper window. His knuckl_es bandaged. Devoid of emotion.

MADDY
They're afraid some of the refugees
might be rebel s . They won ' t. be
rel-eased until Chere's a cease-f ire.
I'm sorry.

Solomon sEares out. aC the distant fog-shrouded mountains.

 SOLOMON
What you wanE, Mist.er Archer, is
beyond those hills. That is where I
buried iL.

Archer's heart skips a beat. Whac was only spoken of is now

rea1.

Maddy looks ac Solomon, his face knotted in grief. And then

back at Archer. She is putting the pieces together.

90 EXT. ECOMOGSTAGING AREA - MASIAJ{A - EVENING 90

Maddy marches away from the helicopter.

.f{J(L.FtE,F(
Maddy, waic...

He grabs her arm. She wrenches free of his grip.

ARCHER (CONT'D)
I didn't take his son! Don't Din
EhaE on me !

MADDY
I pin ic on all of us. Especially
you.

ARCHER
Yah, we fucked the black man. My
father did and my grandfather before
him. Now the black man fucks himself.
Tell me something I don'E know.

Tired, f urious, done wich sparri.ng, she walks of f .

91 EXT. E C O M O GS T A G I N G A R E A - - MASIAXA -- NIGHT 91

solomon and Archer huddle beside a fire. Around them are
hundreds of fi.res, each wiEh huddled figures silhouetted.

solomon's sharpens che blade o f a M A C H E T Ew i t h a whecstone.

Archer pores over a MAp wich a flashlight.

Al1Ln.CK
You say che mine j.s near t.he Moa
River. Where exaccly on this map?

Solomon's eyes remain on t,he machete blade.

SOLOMON
I do noE need a mac.

ft.I1'\- n.L K
ttre11, I do.

We fo11ow his finger ON THE MAp as he La1ks.

 ARCHER (CONT'D)
/ We're here.... The press convoy is
going to Kaifahun. Diamond mines
are here. Where did you bury it?

a line upone
currrNG
:il';:l; :il:',::i.i3i"ui3iiJ"ii3:n.is
ARCHER (CONT'D)
You understand, when we get to
Kailahun, w€'re gonna have to go
overland. You better damn well be
able to find it.

Solomon is lost in a worl-d of ritual.

SOLOMON
(almost to himself)
My son is a very good studenE. He
walks f ive miles Eo the Sist.ers'
school every rnorning to study English.
He is going to be a doctor one day.

The pain of self-injury is an attempt to inure himself to

the pain of Loss. He turns away to scare inEo the fire.

Archer has to walk away.

92 NEARBY - AN ASANDONEDBUTLD]NG 92
houses the palcry assortmenc of journalists. Archer waLks
past the guards wit.h a wave of Ehe finger. They assume --
because he is white -- that he belongs there.

MADDYis hunched over a portable tlpewriter, tlping with Lwo

f ingers. Archer l_eans over her shoulder t.o read.

ARCHER
"...in the ninety degree heat, farmer
Solomon Vandy drops Eo his knees
against the chain-link fence--',
Maddy whi.rls around. Archer finishes the senr.ence.

ARCHER (CONT'D)
"--rattl_ing Che wire with his powerful
hands... "

MADDY
(d e f e n s i v e )
. . .What?

ARCHER
Nothing.

MADDY
You think I'm exploiting his grief.
 55.

Archer just looks at her. She loses it.

M A D D Y( C O N T ' D )
You think f like being here? Do you
have any idea what I cou1d make back
in the sLates writing garbage about
movie stars--?
(righteous fury)
All anybody sees here are victims.
Noc people. With faces. And lives.
They deserve a voice.
(shaking her head)
And the world deserves to know where
the things they buy come from. And
how much they rea11y cost.
(Lurns away)
So get out of my face and let. me
work.

Archer watches her work for a moment. Rubs his eyes.

ARCHER
. . . Solomon thinks his son is going
to be a docEor one day.
(she looks up)
What's Ehe life expectancy for infants
in a camp like this? WhaU's going
to happen to a twelve year-old girl?
Thac diamond is the only chance he's
got of geEting his family out.

MADDY
You expecE me t.o believe you give a
rat's ass abouc his familv.

ARCHER
No. I'm just exploiting his grief.

She glares at him, then looks away. There are inherent

cont.radictions in both Uheir intentions.

A R C H E R( C O N T ' D )
f need co get to Kailahun. The only
way now is with a UN convoy. I'm a
TV journalist and he's our cameranan.

Maddy's shaking her head. She won't do ic.

MADDY
No.

ARCHER
f sewed R.U.F. diamonds into the
skins of goats. I was smugrgling
them across the border into t,iberia.

Maddy is taken by surprise. She's wary but ready to listen.

 ARCHER (COI\rI'D)
The stones go to a middleman in
Monrovia. . .

93 FLASH CUT -* THE BACK ROOI4 OF A SEEDY SHOP 93

Fawaz spills a bag of rough diamonds onto the counEer.

ARCHER (V.O. )
...who pays off a cuscoms official
who cerEifies the dianonds were rnined
in Liberia...so they can be
Legi timacely exported.

94 FLASH CUT -- A CUSTOMS DESK 94

where a CERTIFICATE OF ORIGIN bearing a Liberian seal is

signed, stamped and affixed t o a W O O D E NB O X N A f L E D S H U T .

ARCHER (V. O. )
Once they reach London or the Antwerp
cuEting houses -- no guestions asked.

95 FLASH CUTS -- IN THE BOWELS OF THE DTC - LONDON 95

A SOR?ER discards che cerEificaEe of orig,in -- spil1s the

DIAI'IONDS onTo a SORTING TABIJE, mixes Them wilh OTHER DIA.MONDS.

ARCHER (V. O. )
They become like any other diamond.

95 FLASH CUT -- WIDER 95

There are many sorting tabl-es, each wiEh PILES OF DIAMONDS.

Electronic surveillance cameras observe it all.

MADDY (V. O. )
And De WenEe knows about all this?

ARCHER (V. O. )
Supply and demand, Maddy. Control
the supply and you keep demand higrh.

91 FLASH CUT -- THE UN 91

Dewente and Simmons sit before Ehe General Assembly piously

accepting the congratulations for their righteous stand.

A_t(uttEf(
When African rebels flood the markeE
with a bj.l1ion dollars worth of rough,
De Wente can't afford to ignore it.
Technically speaking he's noc
promoting the war. He's just giving
Ehem the means to do it.
 /-
.)
98 BUILDING -.
BACK IN THE ABAI\TDONED NIGHT 98

Maddy's staring at Archer. He's gi.ving her Ehe biggest story

of her career.
MADDY
You'11 go on the record?

Archer gives her a long Iook. Nods yes.

AlLLrtE l.(
And if f come ouc with this stone...
Danny Archer -- such as he is
disappears from the face of Lhe earth-

99 INf. PRESSBUS - MORNING 99

Someoneis using sgrips of tape to write on the side of

the bus. ltboard Lhe bus, a Spanish reporter speaks into a
digiCal recorder. A CNN reporter chats with a French radio
type. A BBC crew plays cards across Lhe seats.

Solomon stands outside the bus awkwardly holding a video-

canera, a laminated PRESS rD around his neck.

SOLOMON
r cannot do chis--

ARCHER
Why noE?

SOLOMON
I am not a journalist.

tI]aL.NEf(
Of course you're noE.

SOLOMON
Then how can I say I am?

ARCHER
Because you do, because that's how
you get on the bus-..,fust do it!

Archer and Solomon make their way down the aisle, Archer
smiling co all like he belongs there, Solomon massively
uncomfortable. They nod to Maddy. Solomon takes a seac
beside a Spanish reporter.

SOLOMON
(utterly wooden)
I am...Ehe caneraman.

lOO EXT/IMI. J o U R N A L I S T ' S B U S ( T R A V E L I N G )- - DAY 1OO

The UNICEF convoy winds its way through Che Kanagari hilIs.
Solomon stares out aE Lhe passing landscape.
 58.
(v.o. )
soLoMoN
Dia. Yesterday I rode in a
helicopter. Oh, my God. You would
noL believe how big and beautiful is
this land of ours.

101 A MUDDYJUNGLE TRATL 101

A platoon of child soldiers trudges along, singing a

revolutionary song: "The peopJe wiTl benefiE from Ehe rjches
of Eheir land; R.U.F, js Ehe savior we need. " A ninet.een
year-o1d leader prods Dia to sing louder.

102 BACKTO THE BUS IO2

where Solomon is talking quietly to Maddy.

so L oM oN( v.o. )
f have been living in the white
people' s wor1d. Comput.ers, video-
caneras and satellite phones. you
wouLd like it verv much.

103 AN R.U.F. ENCAMPMENT TO3

The child soldiers prepare for battle. Under Ehe wacchful

eye of their older commanders, some fietd-strip weapons and
paint their faces, while oEhers sniff amphet.amines. Tvro
strong men hold Dia's arm and inject hinr.

so L oMoN( v.o. )
I hope you are able to keep up wich
your schoolwork. you must sEudy
hard if you truly hope to be a doctor.

104 A FIREFTGHT IN THE JUNGLE 104

a p l a c o o n o f R . U . F . i s A T T A C K I N Ga s m a l l hamlec. Older
fighters walk behind the child soldiers, threaEening to shoot
them unless they advance.

D i a f i r e s h i s A I < - 4 ' 7i n d j , s c r i m i n a r e J . y . He kills an ox and

then a man who tries to f1ee. Tears strean down his face.

so L oMoN( v. o. )
Your mot.her and sisters are alive,
Dia. You must keep yourself alive,
too. Unt.i1 I can find you. And
bring you home.

105 THE BUS COMESTO A SUDDEN,CREAKING STOP. 105

Everyone looks out the window. Up ahead, the road is blocked
by shouting VILLAGERS. ECOMOGsoldiers try to keep order.

IRTSH JOURNALIST
What's going on?
 59.
A RED CROSSTRUCK lies overturned on the road. Charred. A
hole in its si.de from the RPG thac hit ir.

I R I S H J O U R N A L I S T( C O M I ' D )
Chrisc. Must have been an RpG.

The word, "RPG" has a special resonance for Archer. Cameramen

rush to grab Eheir gear. Time to go to work.

ARCHER
Wait. No...

The journalists push past him.

ARCHER (COI{II'D)
The R.U.F. is out there, just waiting
for another target.., It's danqerous.

MADDY
(gives him a look)
Duh.

She pushes past him down the aisle.

]-06 OUTSIDE THE BUS ]-05

Maddy and solomon navigaEe the confusion of solders and
villagers. Journalises speak into recorders ,,. . . ,,these
peop)e, having come onJy to heLp, have now become targets.,,

A soLDrER eyes solomon suspiciously. why isn'E he using the

camera? Archer lifcs ic to sol0mon's eye and Eurns it on.
THROUGHTHE VIEWFINDER (VIDEO IMAGE)

solomon PAIIS rhe tragic scene -- coming to resr on a MoTHER

begging for someone to help her wounded son.

The sound of gunfire. ECoMoGtroops have seen somethinq in

.he tree-line and have begun exchanging fire.

ARCHER
Hurry ir up, folks ! Unless you wanc
to end up the same way!

solomon can'r move, just scares at uhe boy and mother.

A R C H E R( C O N T ' D )
Solomon--- let's go-

Solomon put.s down t.he canera and approaches the boy.

A R C H E R( C O N T ' D )
What. are you doing?

solomon picks up r.he boy and begins carrying him co the bus.
 50.
ARSHER (CO}IT'D)
No. . . What are you doing! ?

107 AT THE BUS TA]

.
Maddy helps the injured boy aboard. A JoURNAlrsr seops him.

FRENCH JOURNALIST
You can't do this -- there's no room!

AUSSIE JOURNALIST
Let 'sm on, you bloody
frog!
M O R EJ o u R N A L r s r s j o i n i n : " f e r c h r i s s a k e " "might as werl
do something!" "Make room" "who the hell needs this?
TV CAI'TERAMAIV
Lay him across che seat. Easy--
The boy's mot.her chatEers her thanks in Mende.

AUSS]E JOURNALIST
Where you blokes gonna sit?

Good guestion. Archer looks around. No seats 1eft.

ARCHER
Bo11ocks.. .

COCKNEY\TOURNALIST
They can ride wit.h me. Come on.

1OB LATER _- ARCHER, SOLOMONA.IVDMADDY 1nR

now ride in the Land Cruiser. A loquacious COCKNEYJOURNALIST

is driving. Ahead, the bus belches black diesel.

COCKNEY.JOURNALIST
--Like the fookin' M-4. Just what
this place needs, bit of environmenfaL
blight on cop of the resE of iE.

Fr9m. Ehe passenger seat, Archer looks back and sees Maddy
nodding off in the back, her head resting. against the wihdow.

COCKNEYJOURNAIIST (CONI' D)
--Diesel fumes, toxic chemicals,
pesticides, maybe a nuclear reaccor
cr two to melt down...

A TREMENDOUS
EXPLOSION AI{EAD

The lead mini*bus has Hrr A iJAIID M]NE. A f ireball rises

inLo a chirnney of black smoke.

AUTOMATICWEAPONSFTRE PROM THE BUSH

 51.

R.U.F. fighters are emerging from Ehe Ereeline.

JUST AHEAD

T h e b u s i s R A K E Dw i t . h f i r e . IT SKIDS TO A STOP, blocking

their way. Rebels, armed wit.h Ak-47' s, close in.

ARCHER
GET OFF THE ROAD!

But the Cockney falls against. Archer, SHOT in the head. The
car KEEPS MOVING as Archer t.ries Eo reach past. Ehe dead man
and grab Ehe wheel. Before he can gain conErol:

THE LAND CRUISER CAREENSoff the shoulder of Ehe road,

SMASHINGinE.o a Eree.

GUNFIRE shaEEers Eheir windows as Solomon THROWSHIMSELF on

Eop of Maddy, pushing her down Eo the floor of the vehicle.

ARCHERmanages Eo push the dead journalist out Ehe door and

Ehrow t.he Land Cruiser int.o reverse.

R . U . F . F I G H T E R S* - w h o h a v e b e e n r u n n i n g t o w a r d t . h e c a r - -
are forced Eo scaEEer or else be run over.

As Archer rarns Ehe shifEer inE.o firsE, a REBELruns up to

Ehe car from behind, his weapon held above his head, preparing
to shooE down inEo Ehe back seat. JusE as he FIRES, Ehe car
lurches forward and his bullets sEitch the carqo hatch.

THE LAND CRUISER

Swerves away, taking off the front. bumper of the lead Eruck.
A rebel raises an RPG Eo his shoulder, takes aim. Fires.

ARCHERswerves aE Ehe last moment. The RPG passes by, its

exhaust trail the only evidence of the near-miss.

They crashe headlong into Ehe brush. It's a bone-jarring

ride: jagged branches loom and penet.rate Ehe windows, Ehe
chassis groans as tires pound over roots and hidden boulders.

BACK ON THE ROAD

JournalisEs are rousted aE gunpoint. toward an uncertain faE.e.

109 EXT. DIRT ROAD -- AN HOUR LATER -* AT DUSK 1no

The Land Cruiser emerges from the bush. IE.,s a wreck. The
wheels grind against the wells, two E.ires are f Iat, srnashed
windshield. bu1leE holes along its length.

Archer stops and has to force the door open to get ouC. He
peers under Ehe bonnet. Bullet ho1es. It's hopeless.
 62.

ARCHER
Grab your things.

They have no choice but Eo seL off on foot.

110 LATER - THE NIGHT SKY ]S SPECTACULAR 110

As they Erudge along under a bright canopy of sEars. One

mighE even think of diamonds. Archer uses dead reckoning.

ARCHER
The SouUhern Cross. Long as we head
North, we'11 hit the main road.

They walk in silence for a moment.

MADDY
What do you Ehink happened Eo Lhe
people on the bus.

ARCHER
You rea11y want to think about i.t?

Up ahead, Solomon sEares up at a part.icularly bright st.ar,

SOLOMON
Kya kwayera taariq.

MADDY
We call it Venus.

SOLOMON
We say the moon's wife.
(pointing)
She follows him through the sky.
Two days before t.he new moon, she
comes out alone, looking for him.
The moon and his wife are never
separated for very 1ong.

He is thinking of .Iassie. Maddy is moved.

111 AT F]RST L]GHT - A BURNT-OUTCHURCH 111

Looms out of the jungle as they walk a narrow Lrack.

Pornographic GRAFFITf has been spray-painted on the church,
and "West Side Wiggaz." H E A D L E S SB O D I E S h a n g f r o m t h e t r e e s .

II2 SUDDENLY- OUT OF THE .]T]NGLE II2

Come a scary-looking band of semi-primiUive natives adorned

wi.th colorful amulets, she11s and talismans. They carry a
miscellany of handguns, macheces and spears.

SOLOMON
Be very sti11.
(MORE)
 oJ.

S O L O M O N( C O N T ' D )
Do not :.ook thejn in the eye.
(to Archer)
They are Kamajor.

The HEADSMAN gestures angrily at Archer. Sofomon lowers his

eyes and responds deferentially. Archer whispers to Maddy:

AKL.lttrK
Local militia. Protecting their
homes.

The Headsman qestures with his machece. Several of his men

prod Archer forward with an old double-barreled shoEgun.

1]3 LATER . THEY WALK A JI]NGLE PATH 113

Archer looks around for any means of escape. There is none.

114 EXT. MENDEVILLAGE -- DAY LIA

They emerge from the bush to discover a cluster of buildings

untouched by the ravages of war. Flowering gardens and neatly-
raked paths. After all chey have seen, it seems dreamlike.

A GROUPOF CHILDREN

Emerge from the buildinq and race toward them.

MENDECHILDREN
Where are you frorn? Have you come
from America? Do you have CD's?

A GENILE VOICE cal]s ouI.

GENTLE VOICE
Don't be bochering the people now.
Let them come in.

The children inscancly obey. BEN,JAIIINKAPANAYappears in

doorway. He is a EaII, sixty-five year-01d distinguished-
looking Mende with a trim whire beard.

BENJAI{IN
(in Mende; subtitles)
Thank you, Ubani. you can leave
thern here. I take responsibility.

KAMAJOR HEADMAN
(in I'lende; subtitles)
Good. Now they are your problem.

The Kamajors back away, vanishing into the foresE.

BEN.JAI{IN
If you're looking for money, weapons
or fueI, f don't have anv.
 54.

ARCHER
f{ow about food?

BENJAI,IIN
If you ask politely. My name is
genjamin Kapanay.

ARCHER
Danny Archer. And this is--

MADDY
--Maddy Bowen. How do you do?

BENJA}IIN
Very weI1, Lhank you. Chicago?

MADDY
How--

BENJAI'{]N
--I recognize the accent-
(Eo Solomon; in Mende)
Welcome, Brother.

SOLOMON
(in Mende; subtitles)
I am Solomon Vandy, from Bo.

BENJAI'{IN
(in Mende; subLitles)
Whac. should I make of your companions?

Solomon doesn't know how Co answer. He lies badlrr.

SOLOMON
(in Mende; subtitles)
Ihey are. . . journalist.s.

BENJAI.IIN
(in Mende; subtitles)
\h. And I suppose you are, too.

Solomon looks away, ashamed. Benjamin turns Lo Maddy.

BENJAMIN (CONT'D)
Might f incerest you in a glass of
lemonade?

]-15 EXT. MENDE VILLAGE -- LUNCH ].15

Under a covered porch, they eat l-unch -- served by Benjamin's

young Mende wife and his three children.

BENJAI'{IN
I don't undersLand why anyone
would willingly live in t.hat cold.
(MORE)
 55.

BENJAI{IN (COMT'D)
The wind off the lake. I cried every
night. rny f irsE winter.

MADDY
How did you end up ac NorEhwestern?

BENJAI,IIN
Because of PresidenL Kennedy, who
e] se?

MADDY
Excuse rne?

BENJA}IIN
By way of ,Jarnes McGrat.h, a young
Peace Corps vol-unE.eer frorn Winnecka --
who found a semi-Jicerace Mende boy
and was foolish enough Eo believe he
couJd benefit from higher educaEion.

ARCHER
How long were you in Ehe St.aces?

BENJAMIN
Whj.ch Eime? I ended up getEing my
MasCers aC Stanford -- betCer cJimaEe.

MADDY
Buc you came back?

BENJAI{IN
To show my people Che way. Hah.

They are served a pLat'Cer of vegeLables by a well-mannered

ten year-old boy. Benjamin's son, UCHENNA.

BENJAI{IN (CONT'D)
Thank you, Uchenna.

SOLOMON
You builc this school?

BENJAI,IIN
Scarcing in 1967. Children from all
over the district find Cheir way
here. Over five hundred graduates
since we beqan.

Y,ADDY
That's remarkabJe. r,alouldyou mind
if I Eurned on my cape recorder.

BENJA}4IN
I'll make you a deal, Miss Bowen --
I gi_ve you an interview and you teach
at my school for a monEh.
 MADDY
( l-aughs )
I'd like that.

BEN.JA}TIN
But you won't do it.

I'IADDy
No.

BENJAIqIN
An honest journalist., how refeshing.
The Eruth is, f have done well_ Eo
k e e p a J - o wp r o f i I e . This is a very
dangerous parE of Ehe country with
Ehe diamond mj-nes so close by.

Solomon, meanwhile, hasn't. been able to take his eyes off of

Benjamin's young son. The boy smil_es back at him.

SOLOMON
My son wanEs to be a docEor.

BENJA}I]N
Very good. Where is he now?

A sifence.

AJ(LNtsK
We don'E know.

BENJAMIN
I undersE.and. . .

]-15 A SERIES OF ]MAGES 115

Benjamin gives them a Eour: a group of eight year-o1ds crowd
around a single compuEer; a ten year-old girr is being taught
to use an arEificial linb; Ewelve year-old boys play cricket.

BENJAI.{IN
Many of these children were taken by
the R.U.F. We have taken them back.
(Jooks at Solomon)
Some of them have been made to do
horribl-e things. We are t,rying Eo
b r i n g t , h e mb a c k E o 1 i f e .

Solomon turns away to hide Ehe surge of emotion,

1.I'I LATER -- AT STINSET II7
They siE drinking wine. The African sunseE is inimitable.
BENJA},ITN
iE was al-1 very clear in 1954.
(MORE)
 BEN'JAI"IIN (Collll' D)
Political freedom plus economic
development equals happiness. But
sometimes revolut,ion leads to chaos
and economic opportunity doesn't
necessarily bring out t.he besc in
people. Certain personality tlpes
realized freedom could be another
name for greed.
(raises his glass)
And here we are.

MADDY
But Look what you've accomplished.

BEN,IAI'{IN
And Look what good it has done my
countrY. . .

MADDY
"There is no easy wa1k to freedom. "
We can only do Ehe best we can.

BENJA-I'{IN
Mandela. His best is a biE better
Ehan mine...

He Eakes a long look at his children.

ARCHER
Had manv attacks in the area?

BENJA}IIN
I've known mosC of the young people
in this district since they were
born. The local commander is still
afraid I'11 come af ter him wiLh nry
ruler -

ARCHER
You Ehink because your inEentions
are good Ehey'11 spare you?

Benjamin takes the question in stride.

BENJAI'IIN
My heart always told me Ehat people
are inherenEly good. My e)q)erience
suggests otherwise. Which to believe?

Benjamin t.urns his penetrating gaze on Archer.

BEN.]A}IIN (COMT'D)
What about you, I{r. Archer? In your
long career as a. . . journalist. ..
Would you say people are mostly good?
 hx

Archer scares back. T h e s o u N D o f A G H I L D R E N ' sc H o t R ' . .

'
118 rN THE cElrrER oF THE vTLLAGE -- THAT NrcHT 118

The children are singing "High We Exult Thee, Realm of the

Free, " the nat.ional anthem of Sierra Leone. Solomon and
Maddy sie wich Benjamin and his family.

Maddy sees Archer geE up and walk away.

119 AT THE EDGE OF THE COMPOUND 119

Archer sEands alone. He t,akes a lonq puII from a plastic

jug. Maddy steps out from Ehe shadows.

ARCHER
Palm wine. Sap comes right out of
the tree,

He offers t.o her and she takes a swig. Makes a face.

A R C H E R( C O N T ' D )
You geL used Eo ic.

He takes another long drink. He's pretty drunk.

A R C H E R( C O N T ' D )
Drank chis as a boy.

MADDY
Rhodesia.
(off his look)
I Eake noces.

Indeed, her Iitt.le spiral notebook is already in hand. He

looks at her -- considering -- then, what the hell, . ,

ARCHER
I got sent Eo South Africa when the
muntz overran Lhe farm in '16-

MADDY
--After you lost your parenLs.

ARCHER
(dark laugh)
ThaE's a polit,e way of puct.ing ic.
Mum was raped. Dad was decapitated
and hung from a hook in che barn.

MADDY
You were, whaE, ten years oLd?

ARCHER
Nine. Boo-hoo.
 MADDY
Then at eighteen you joined the
:.m\t

Archer peers -a n"r.

ARCHER
Want to hear about the first time I
banged a journalist?

She just looks at him. He takes another long drink. Re1ents.

ARCHER (COIIT'D)
Yah, yah. First they had us doing
dirry 1itr1e jobs in Lhe rownships-

MADDY
With Ehe Security services.

ARCI{ER
You think you know about the SecuriEy
servi ces ?
(another dark laugh)
You don'E know shiEe. That was a
picnic compared Eo what we did on
Ehe Moz border. Sometimes I think.
'God will forgive us for what we
did-' Then r look around and f
wonder...what would God want with a
place Like this?

He takes another drink but the jug is empty- He tosses it.

A R C H E R( C O N T ' D )
By '94 I 'm a ten years vet. Then
poof. No more apartheid, no more
army. Thanks very much, see ya later.
Truth and reconciliation. Kumbaya.
He raises his middle finger in a universal gesture.

ARCHER (CO}TT'D)
They Lold us we were fighEing
Communism. protecting our 'way of
Iife.'
(a rueful laugh)
Tt's about who gets what. Oi].
Coltan. Diamonds- So one dav I
decided, fuck it, now I want tnine.

MADDY
Are you going to steal his diamond?

ARCHER
We have no chance rn heLl of getting
Che dia-nrond.
 MADDY
Doesn'E answer the quesEion.

ARCHER
That diamond -- wheEher I steal iE
or just Eake the commissj-on -- is my
ticket out of here.

I4ADDY
To go where?

Archer hasn'c gotten that far in his Ehinking.

I2O EXT. HILL COUNTRY- NEXT MORNING (SEEN FROM ABOVE) 120

Benjamin drives them down roads chaE. are 1itt1e more than
animal tracks. Bush pigs scamper. Chimpanzees chatcer above.

Solomon looks up into the canopy of forest as the sun darts

in and out of view.

soLoMoN(v. o. )
Dear Dia. I have found a place for
your studies once you return home.

Benjamin shows Maddy the hippos splashing in Ehe river.

BENJAM]N
Do not be fooled by the movie where
Ehey wear pink skirEs and dance on
Eheir toes. They are exEremely
dangerous, easily angered, and very
fast.

Benjamin's love of all Chac he sees is infectious. As he

plays tour quide, Ehey forget for a moment their dire
circumsEances and surrender to the joys of the natural wor1d.

so L oM oN( v.o. )
There is a man I want. you to meet.
He is a teacher. You will like hin.

nenjamin turns a wry eye to Archer.

BENJAHIN

1^3:";';:il
H'i"Yiln3i,'fiIl'ii3n:l;"
ARCHER
Thank you for your he1p, Mr. Kapanay.
I won't forgeE it.

BENJA-I,IIN
I hope Ehe sEory will end the way
you want it to.
 '7r.

I2I UP A}IEAD . A TEMPORARY ROADBLOCK I2I

guATded by TWO TWELVE YEAR-OLD CHILD SOLDIERS.

ARCHER
Keep going.

BENJAI{IN
What.- - ?

ARCHER
Drive righE at them. They'11 panic.

InsEead Benjamin slows Ehe car.

BENITAI{IN
Do you know where the word, 'infanEry'
comes from? IE means child soldier.
They are just children

THE TWO R.U.F. SOLDIERS

are indeed children. One wears a Michael tTordan jersey, Ehe

other has skateboard stickers on his Ingram submachine gun.
BUE Eheir eyes are glazed and deadened.

BENJAI{IN (CONT'D)
He11o, litE1e broEhers. WhaE are
your names?

CHILD SOLDIER #1
I arn Dead Body. Who dis mothafuckah?

BENJAI{IN
We are Eeachers on our vray Eo
Kai lahun.

CHiLD SOLDIER #2
Only R.U.F on da road!

BENJAJVIIN
I undersEand but we have Eo--

CHILD SOLDIER #2
ONLY R.U.F I

BENJAMIN
Now listen herel I am--

The boy FrRES Hrs wEApoN withouE warning. Benjamin is hic

in the chest..

ARCHER
JESUS FUCKING CHRIST!
 '72.

HC 1CANS OVCT ANd STOMPS ON THE GAS PEDAL. ThC CAT LURCHES
FORWARD,knocking aside the other boy. Archer has Lo
pracEically straddle the wounded man Eo speed away'

L22 IN THE CAR (TRAVELING) L22

Benjamin Eries Lo speak. Bl'ood bubbles from his lips'

*lj(uflEt(
Do NOT Ery Eo Ea1k. If You're not
dead, it's only because you're hiE
in the lung noL the heart.

Solomon is leaning over Ehe seat, opening Benjanin's shirE.

ARCHER (COMT'D)
(to Solomon)
Don'E worry abouE Ehe enEry wound.
Lean him forward, there's going to
be a big hole in his back. Press
your hand againsc it.. Keep it there-
(to MaddY)
If there's any wine lefE in chat
jug, pour iE al1 over everyLhing.
(co Benjamin)
How far Eo Kailahun?

BEIV.]AI{IN
(weakly)
You. . .said. . .noE Eo EaIk.

ARCHER
A fucking comedian.

He pushes Ehe old car's acceleraEor to its limit.

I23 IN THE CAR (TRAVELING) -- DUSK T23

Benjamin is slumped, unconscious, againsE the passenger door.

ARCHER
How's his pulse?

MADDY
IL's a pulse.

I24 ROUNDING A BEND L24

They are suddenly confronEed by ewo ARI'IORED CARS and a platoon

of whiEe mercenaries carrying Uzi's. The soldiers all wear
maroon bereEs wich che initials E.o.

725 MOMEIITS LATER _ TWO MEDICS ATTACH AN IV ?O BEN.]AMIN L25

Archer and Solomon help place him on a litt,er. He is

conscious again.
 You'11 be all right.

BENJA}ITN
(looks hin in rhe eye)
Will you?

He is hurried away as--

A}T ATTACK HELTCOPTER?AKES OFF NEARBY

Raising a cloud of dust. Joost appears out of the confusion.

JOOST
Archer...what the fuck--

'TKLr T,r(
Good to see you, too, Joost.
Maddy is furiously scribbling notes of all she sees.
JOOST
l V e 'r e e v a c u a t i n g a l l n o n - m i l i r a r y
personnel. Relief workers,
journalisEs.
(to Archer)
Shi te-bags .

ARCHER
How far's the tront line?

JOOST
There is no fronr line. Littie
buggers are everll^rhere.
(starts off)
Colonel's this way.
125 THE COLONEL'SHQ
I25
A large tent. The colonel pores over a map while tarking on
a SAT-phone. Archer and Joost enter.

THE COLONEL
(on the phone)
--but if we block their escape
by
cutting the bridge--
(sees Archer)
Wait One...
(covers the rnout.hpiece)
'r wanEro say r told
ilir:l
ARCHER
BuE you wil1.
 THE COLONEL

li:":l'"u
T:".:'::::ri;::'.fl:";l#:l5
ARCHER
In reEurn for a mining concession or
Ewo, no doubt.
/trlltr .\nT.n\]trT.
(a modest nod)
I've got a C-130 Eouching down aE
1400. Everybody noE prepared Eo get
dirty is on it.
(checks his waEch)
You've got thirty minutes to make up
your mind. You're either with us or
ouE of here.

He turns back Eo his conversation- Archer is dismissed.

727 EXT. A}IOTHERPART OF THE CAMP -- N]GHT I21

l4addy is waiting as Archer walks back.

ARCHER
How is he?

MADDY
They say he'11 1ive.

ARCHER
You're on a plane for Ghana in half
an hour.
(looks aE her)
Do me one last favor.

I.laddy just looks aE him. Archer indicates a young IiIERCENARY

sEanding guard in front of a large supply tent.

A R C H E R( C O N T ' D )
Go te11 that guard you wanL t,o put
of soldier of
F::,:i:'*:;":l:.:"ver
MADDY
You're going in.
(Archer nods)
You and Solomon-

Archer nods agaj.n. She shakes her head.

M A D D Y( C O N T ' D )
Now?
(anorher nod)
You're an idiot.
 15.

ARCHER
Help me or noE?

Haddy shakes her head sadly. She turns away, pushing t.he
hair out of her face as she approaches the YOUNGMERCENARY.

MADDY
Hi, there. I'laddy Bowen, VaniEy Fair.
You mind if I ask you a few questions?

YOUNGMERCENARY
Depends what they are--

I'IADDY
Oh, so you're faniliar with our
devious ways, are you?

She flashes a devastating smiIe. And while his back is

t.urned, we SEE Archer edge pasE toward the back of Ehe cenE.

T2B INSIDE THE SUPPLYTEMI I2B

Archer forages for whatever he can 1ay his hands on. lnEo
his pack he stuffs K-rations, a GpS, first-aid kiL-
He desperaEely looks for one more thing. And there ie is.
A SAT-phone. He sEuffs ic in. outside, t h e S O U N Do f a p l a n e .
T29 EXT. AIRSTRIP -- MOMENTSLATER I2g
A giant. C-130 Hercules Eouches down.

THE SWARMOF JOURNAJ,ISTS

Aid workers, and refugees surge onEo the t,armac. carrying

her bag, Maddy moves against. t.he tide, looking around
Solomon appears beside her, subEly caking her arm.

SOLOMON
Thi.s way.

ARCHERis wait.ing behind a Eent, t.he pack already on his

shoulders. She turns E.o Solomon.

l'lADDY
Good luck E,o you, Solomon Bo.
Solomon t.akes her hand in both of his.

soLol'10N
Thank you for all you've done.
MADDY
I h o p e y o u f i n d w h a E ,y o u , r e looking
for.

She Eurns co Archer. They look aE each ot.her.

 -7
6.

ARCHER
Yeah. Thanks.

I'{ADDY
-*Just keeping my end of the deal.

A moment of silence. She can be as touqh as he can.

ARCHER
Li s ten- -

t"lADDY
No, you listen--

And they just stare at each other.

ARCHER
In another life, maybe.

MADDY
Sure... Okav...

ARCHER
Find yourself a good man, Maddy.
You deserve to be happy.

She considers him -- wishing she were less affected by him.

I'IADDY
f have three sisters. A11 married
to "good men. " Long as their
prescript.ions are fi-11ed t.hey're
happy. No rhanks. I prefer my 1ife.
(hands him her card)
Office phone, home phone, ce11 phone.
I'm used to being pursued. but what
rhe he1l.

He smiles.

I'IADDY (CON?'D)
It's a world phone, by the way.

ARCHER
You should get on the plane.

MADDY
So should you.

He smiles and Eurns away.

I'IADDY (CONT'D)
Are you going to call me?

ARCHER
Soon as I'm near a phone...
 77-

MADDY
Yeah, right.

She Eurns Eoward Ehe plane. They head Ehe opposiEe way.

130 rN THE BUSH 130

Archer and Solornon begin co jog'

13]- BACK AT THE AIRSTRIP ].31

Maddy is abouE Eo board Ehe plane when JoosE waylays her.

,JOOST
Where is he?

MADDY
Where is who?

She cont.inues up Ehe sEeps Eo Ehe p1ane, ' J o o s E .l o o k s a r o u n d .

No sign of Archer. The wheels begin Eo Eurn in his head.

L32 ARCHER A}]D SOLOMONTREK I32

inEo the bush. They move guickly, puEEing disEance beEween

E h e m s e l v e s a n d E h e E . O . c a m p . A s t h e y r u n , T H E C A M E R Ar i s e s
up, higher and higher, unEil their ciny figures have
disappeaTed and Ehe PRAMEIS FILLED WITH NOTHING BUT GREEN.

We sense of the immensity of Ehe challenge chag lies ahead.

133 E X T . T H E B U S H- - LATER 133

Archer and Solomon have stopped Eo catch Eheir breaEh. Archer

digs out the SAT-phone, fires iE up and punches in a number.

ARCHER
(on Ehe phone)
...Fawaz? . -.1 know. No gime now....
That 's right. . . .Two days to geE in,
one Eo get ouE.. I'11 cal 1 when we're
headed for che sErip- Righe... 'Bye.

He looks up to see if Solomon has been lisrening. BUE Solomon

is scaring off inco che jungle.

soLoMoN (v. o. )
Dear Dia. I am coming. WiEh every
sLep I am closer. I can feel you
are nearby. I am coming soon.

134 EXT. A ruNGLE TRAIL ELSEWHERE 134

A column of R.U.F. guerrillas walk a jungle Erai1. We can

SEE by t.he gouges of earth EhaE Ehey are in diamond counEry.
Dia, looking much older, carries an AK-47.
 t6.

135 BACK TO ARCHERAND SOLOMON 135

as he stuffs the SAT-phone into his back. He sets off without

a word, knowing Solomon will follow.

136 THEY TRAVEL BY NIGHT 135

On narrow dirt roads, 1it only by the moon.
137 HEADLIGHTSAPPROACH 137
Archer and solornon take cover as TRUCKSpass fi11ed wich
R.U.F. teenagers, laughing, smoking ganja, music blasting.

Solomon studies each passing face. Almost invoruntarily he

rises to his feet -- trying ro get a better 1ook. suddinly
he thinks he sees a familiar face -- could it be Dia? He
moves closer -- but the truck is moving away.

SOLOMON
Dia! !

Heads turn in the passing truck. It,s not Dia.

suddenly solomon is grabbed fron behind and thrown to che
ground. Archer looms over him.

fulLnEl{.
What the fuck are you doingl !

SOLOMON
GET OFF ME!

Meanwhile, on the road, the trucks have slowed. Suddenlv__

THE BRUSH EXPLODESWITH GUNFIRE

Red and Green TRACERSshred the dense foliage around them.

BulleEs WHrZ by their heads, RrcocHET off ancient trees.

They scramble to their feet and race brindly back into the
bush. Behind them, the SOTINDof eheir pursuers.

soon the brush grows more dense. rn the pitch darkness they
are 1iLera1ly fighring their way forward, flailing with both
arms to rip holes chrough rhe thick foliage. thelr hands
and faces are soon cut and bleedino.

13 8 THEY RUN
].3 B
unt.i1 they can run no further. Archer st,urnbles and falrs.
solomon crump-1_esto the ground beside him. As they 1ie there,
winded, rhey HEAR VOICES:

They can see the GLOWOF CIGARETTESthrough rhe foliage only

a few yards away as R.U.F. soldiers approach.
 ON SOLOMONAIVD ARCHER

as the soldiers' boots pass wiEhin inches of gheir hiding

p1ace. They bury t.heir faces deeper in the mud.

139 DAYBREAK 139

finds them sti11 hiding. Cautiously, Ehey energe -- sEiff,

weE, and miserabfe from a night spenE on the jungle floor.

ftl(LrlEx,
( furious )
NexE t.ime you pu1l somet,hing like
EhaE I will shoot you rnyself .

SOLOMON
(equally furious)
Shoot me nor^r. IE is what you are
planning anyway.

ARCHER
what are you taLking about,?

SOLOMON
You Ehink I do not know che kind of
man you are? you buy diamonds from
Ehe same people who took my son.

ARCHER
--Maddy rold you.

SOLOMON
Is Ehis true?

Archer looks at him.

ARCHER
Yes. It is true.

SOLOMON
And all you have said... How the
diamond will free my family. ?his,
Eoo, is a lie. fs it not?

ARCHER
I don't know. Maybe.
(looks at. him)
BUE I'm not, Che only one who tells
1ies, am I?

SOLOMON
I do noc lie.

ARCHER
No? you don'E give a fuck abouc
finding rhe diarnond.
(MORE)
 .JU.

ARCHER(CONT'D)
You're ouE here looking for your
son. And you'd cut my hearE out in
a second if it means a chance to get
him back.

Solomon is shocked into silence. Archer is right.

SOLOMON
Yes. It is true.

The cwo men stare ac each other.

AKLI1Et(
Long as we understand each oEher.

He sets off into the brush, limping heavily.

SOLOMON
You are hurt.

ARCHER
(without looking back)
I'm f ine.

Solomon reaches to take Ehe heavy pack from Archer's shoulder.

Archer grabs his hand. They lock eyes for a moment..

SOLOMON
You ehink I'm going to steal it?

Archer turns and walks away. Solomon looks down to see BRIGHT
D R O P SO F B L O O Df r o m A r c h e r ' s b o o E s t a i n i n g Ehe grround.

140 LATER - THE UNMISTAKABLESOUNDOF APPROACHINGHELICOPTERS 140

forces them Co take cover. Two E.O. gunships streak past.

Are the choppers looking for them, or is it a coincidence?

]41 LATER THAT DAY - THE SUN HAS REACHEDITS ZENTTH T4T

as they trudge onward. Archer's limp is more pronounced.

He tips back his canteen and finds it empEy. Solomon notices.
He passes his canteen to Archer, who hesit.ates for a moment,
then laughs and puts his mouch to a black man,s canteen.

).42 LATER - THEY TRAVERSEA HIGH RTDGE I42

In t.he distance, we see Ehe receding peaks. Archer begins a
conversation, as much ouE of boredom as anyUhing else.

,+t1LT!L11
So you're a farmer...

Solomon looks aE him warily. Nods.

 A R C H E R( C O N T ' D )
What do you grow?

SOLOMON
. Casava.

ARCHER
I grew up on a farm.
(rernernbering. . . )
Hated every minute of it.

End of conversation. They walk on in silence.

143 STILL LATER - DEEP PITS IN THE EARTH 143

Begin to appear as Archer and Solomon climb through a hi11y

landscape. Solomon stares at Ehe diamond mines.

SOLOMON
It is like they are eating the earth.

He walks on. Archer labors to keep up with Solomon's pace.

144 ABANDONEDHOUSES :-44

caved-in and 1ist.ing, line a street where deep piLs have
been dug beneath Eheir foundations. rmpoverished SQUATTERS
fo11ow them with listless, hungry eyes as they pass.

Archer is jiccery Lo be observed. But in Africa, people are

everlruuhere. Blood squishes in his boot as he walks-
145 BY SUNSET 145
They have been walking for twelve hours. Archer has to sit.

ARCHER
How much farcher--?

SOLOMON
One day more.

He kneels before Archer.

S O L O M O N( C O N T ' D )
Let me see your leg,
AP'1JtrP
tt's f ine

Solomon touches it and Archer GRUNTSin pain.

ARCHER (COMil D)
It's infected. From lying there all
fucking night.

Solomon lifEs Archer's pant leg. Exarnines ic.

 oz.

SOLO}TON
Give me your knife.

A H ( H F K

In the other boot.

Solomon takes the K-Bar. Archer grics his teeth. We cannot

see what Solomon does -- but from tbe expression on Archer's
face, we can only imagine.

Solomon sEands. Archer tries to buE the pain is overwhelming.

SOLOMON
I will be back.

Archer pulls his Sig-Sauer 9mmfrom his beLt.

ARCHER
No--

Solomon sEarts walking away. COCKSthe weapon-

A R C H E R( C O N T ' D )
You think I won't shoot you.

SOLOMON
Shoot me, then. And try to find the
diamond yourself.
(keeps walking)
f wilL be back.

L46 LATER THAT NIGHT - A SMALL VILLAGE 146

has been Eaken over by CHILD SOLDIERS. They sit, throwing
bullets i n t o a b a r r e l f i r e a n d L A U G H I N Ga s E h e y e x p l o d e .

Solomon creeps to the edge of a huE -- peering aE the faces.

No Dia.

Six more teenagers are loading Ehe spoils of Ehe village

onto a truck. One of them could be Dia, He isn'E.
I47 HOURSLATER - THE MOONHAS RISEN I47
Archer awakens to see solomon walking Eoward hirn ouE of Ehe
bush. He carrj.es a poultice made of leaves and mud.

He kneels and begi.ns Eo apply it Eo Archer's wound.

SOLOMON
I thoughE about not coming back.
(1ooks at hinr)
f Ealked to my son abouE it.

Archer looks aE him. WhaE rhe hell is he ualking abouE?

 R?

SOLOMON(CONT'D)
f talk to him all the cime.
(works on the 1eg)
He says f must forgive what you have
done in the past. And trust that
you will help gec my fanily back.
Archer doesn't. know how Eo respond to this simple absolution.

Af(\-n.trK
You're fuckingr crazy.

Solornon finishes wrapping the poultice.

SOLOMON
f will go and find us water.

He stands agrain and walks away.

Archer can't bear feeling powerless. FighEing the pain, he

stands and tri-es Eo walk. rt.' s excruciat.ing. sti tr rre
continues hobbling -- unEil finarly he sics on the ground.
148 CAPE TOI^JNAIRPORT TERMINAL -- NIGHT 14g
Maddy de-planes with a conEingent of journalists. Like
everyone else who geEs off a plane chese days, she t.urns on
her ceLl phone to check for messages. There are none.

Archer hasn't cal1ed.

I49 DAWNIN THE JUNGLE L4g
is soft and ful1 of promise. Low crouds hang jusE above the
treetops as f i-rsE. light touches the moist greenery.
Archer's face is at peace as he wakes. solomon sleeps nearby.
Archer reaches to scratch his nose and realizes he is covered
wich BLACKANTS. scrambling co his knees, he frantica:.ty
brushes them off. They are in his ears, inside his shirc.
solomon awakens and begins Eo laugh at Archer,s frenzv.
ARCHER
r HATE FUCKING ANTS!

SOLOMON
I Ehink you are feeling beEter.
And then Solomon realizes thac he, too, is infested. He
reaches into his pant.s and begins to hop around. Now iE's
Archer's turn to laugh.

soon Ehey are bot.h sic:ing on the ground, L A U G H T N Gf o r n o

reason -* except.. of course, as a release from arl thaE has
befallen them.
 QA

150 THE ENDLESS HILLS 150

glow pink in the dawn as t.hey wa1k. A herd of anterope burst,

from Ehe brush and bound majestically away.

SOLOMON
...You are how o1d?

ARCHER
Me? ThirEy. One.

SOLOMON
And you have no wife?

ARCHER
No.

SOLOMON
No children?

ARCHER
r,^
l\u.

Solomon shakes his head. After a momenc, Archer can,t resisE.

ARCHER (COIUT'D)
.-whaE?

SOLOHON
Truly, I do not. undersEand whice
people.

ARCHER
That makes two of us.

AS THEY CREST A HILL

Solomon suddenly sLops. He looks around. Then he fa11s Eo

his knees. Archer climbs Eo where he is and looks around--

A I4ASS GRAVE

has been fashioned from an abandoned diamond piE. BODTES

piled high -- men, women, children. None of Lnem soldiers.

ARCHER (CONT'D)
Animals.

SOLOMON
No animal would ever do such a thinq.
IE makes no sense.

Solomon forces himself to walk among Ehe corpses, praying

t.hac his son is not. anong then. teirs stream down his cheeks.
 SOLOMON(CONT'D)
My people value life. The t'tende
find ic hard even to Eake the life
of a chicken. God gives l j.fe; only
he rnay Lake it back.
(a strangled cry)
How can they do Ehis?

Archer has no answer. Just looks at him.

SOLOMON(CONT'D)
(numblY)
Why is Ehere so much evil here?
What is wrong with us?

1 5 1 - H O U R SL A T E R 151

Archer uses a tree branch as a cane.

ARCHER
(feeling his forehead)
I've stopped sweaEing. We've got Eo
find water.

SOLOMON
Then we must move faster.

Archer nods and pushes himself pasE Ehe pain in his Ieg.
L52 HOURSLATER - THE ST'N IS SCORCHINGAT }{ID-DAY ]-52

Archer stumbles. Solomon offers a hand to lift him to his

feet. Archer ignores it. Ahead is a CLEARING,and in it:

A BULL ELEPHA}TT

stands tal1 and menacing. Beside him, on the ground, is his

male -- grievously wounded and BELLOWINGpiteously.

For a moment, Archer and Solomon are too stunned to speak.

ARCHER
Back away. And watch where you step.

Solomon freezes.

SOLOMON
Is iE--

ARCHER
A ninefieLd. Yes.

They scare at Ehe MAGNTFICENTCREATUREwho refuses to leave

his fa11en mate. 51ow1y they retrace their st.eps.

No sooner have they turned Eheir backs Chan AII EXPLOSION

shakes the ground and A FLOCK OF BIRDS rises over the field.
 ac

They know what it means. Grimly, t.hey keep moving.

'
153 THE JUNGLE AT NrcHT 153

is a freaky place at the bese of times with strange shapes,

shadows, and noises everpvhere. fn their state, it. feels
like a bad acid trip. Solomon hears the WHISPEREDVOICE of
his son. He carries on an imagined conversat.ion.

SOLOMON
....Why? The cows will do fine in
the upper past.ure. ..

ARCHER
Hey. . .

SOLOMON
(in a kind of trance)
-- Yes. And next year we will plant
coffee- -

ARCHER
HEY !
(Solomon is startled)
You're hallucinatinq.

SOLOMON
No. I am not.
.
I54 HOURS LATER - ARCHER 154

Archer is half-asleep as Ehey trudge chrough deep jungle.

He stops suddenly. A SNAKE hangs menacingly from a t.ree.

ARCHER
Do you see that?

SOLOMON
What?

ARCHER
The...snake.

SOLOMON
No.

ARCHER
Good.

Archer now sees ehat it is only a t.ree branch.

THEY WALK ON FOR A MOMENT

This Cime it is Sol,omon who sEops short..

 87.

SOLOMON
Wait. . .
(listening)
Can you hear it?

Archer listens hard. A weird croaking sound. Frogs?

ARCHER
Froqs ! !

SOLOMON
Y E S!

Frogs mean water. They stumble forward to discover--

A S]'IALL STREAJVIBED

They fling themselves onto their bellies and begin to drink.

ARCHER
What if...this water...is bad?

SOLOMON
You can wait for beer.

Good point. Archer drinks his fil1.

155 THE NEXT MORNING 155

Finds them siEting by the stream. Archer studies his map.

ARCHER
Thrs rnusc be the Meli. f t runs from
the North. The Moa runs from the
Easc. Where the rivers meet is where
the mine is, righc?

Solomon says nothing.

A R C H E R( C O N T ' D )
Righe ?

Solomon just glares at him.

A R C H E R( C O N T ' D )
You get that diamond, you can hire a
Eeam of people to find him. You can
buy the whole damn governrnent!
(Ieaning in)
What are you gonna do, spend the
resE of your life searching the bush?

Solomon looks aE him. Yes. If necessary.

I55 HOURSLATER _ THEY FOLLOWTHE STREA}I 155

now grown inEo a broad river.

 PR

T5'7 HOURSLATER - THEY CLIMB A STEEP RAVINE T5'7

Archer is sEruggling. Once again, Sol.omon offers a hand to

help him over a boulder. This time, Archer grudgingly accepts
the hand. The moment is underplayed buE deeply significant.

CresEing a hi1l, Solomon looks down on Ehe confluence of the

two rivers. A familiar gorge.

S POV - THE DIAMONDMINTNG CAI"IP

SOLOUON'

is spread ouE be1ow. HOLES and PITS pock the landscape.

Archer joins him at Ehe overlook.

ARCHER
That's it, isn't iE?

Solomon's face is clouded wit.h memory. IE's a place from his

nighEmares. A place he hoped never to see again.

A LARGE CONTINGENTOF R.U.F, TROOPS

is encamped near t.he mines. Archer can see dozens of tiny

f ires with trooDs huddled beside t.hem.

A R C H E R( C O N T ' D )
Christ..

He kneels -- trying to figure ouE Eheir next move.

A R C H E R( C O N T ' D )
Okay...

He digs inco his pack for Ehe SAT*phone.

A R C H E R( C O N T ' D )
The E.O. would want. to know about a
force this size. If I call Joost,
he'11 send in an air strike...
(the plan unfolds)
We use it as a diversion.

Below Ehen, TEENAGEREBELS play soccer in a ragged fie1d.

Is Dia arnong them? It is too far away to know.

SOLOMON
No air sE.rike.

ARCHER
How do we get. in Ehere withouE some
kind of diversion?

SOLOMON
No...air...sErike.

ARCHER
He isn'! down there.
 89.

SOLOMON
How do you know?

AJILI TK
(c o l d l y )
ilm calling iE in.
(turns on SAT-phone)
They'11 come in at firsu light..
Lor,r. Over Ehat ridge. That's how
rnueh Eime you've got..

Solomon turns and starcs down the hill.

A R C H E R( C O N T ' D )
HoId up Ehere, boy-- !

Solomon reacEs Eo Archer's inst.inct.ive use of "boy."

A R C H E R( C O N T ' D )
I'm noE letting you get yourself
killed unEiI I have Ehar fuckino
sEone. We wait. for dark.

A LIST OF CALL NUMBERSis Eaped Eo rhe inside of Lhe SAT-

phone's case. Archer punches in a nurnber.

A R C H E R( C O N T ' D )
(on che SAT-phone)
G e E ,m e J o o s t Archer. . . .He'11
know-- Ask if he's interesEed in the
location of a major R.U.F. canp.

158 LATER -- THE DIA}4ONDCAUP -- NIGHT 158

is jusE as we remember iE. Muddy and exhaust.ed SLAVE WoRKERS
try t.o keep ouE of A DRTVTNGRArN, sguaEt.ing under corrugraged
:in roofs while eaEing Eheir tiny poruion of rice gruei.

Rebel sordiers -- adults and teenagers alike -- eat. Red cross

raEions while Erying to keep warm and dry.

ARCHERAND SOLOMON

have crawled forward t.o the edge of the camp.

ARCHER
I can'c walk in L.here. you scay in

TIl:T:::."ifl::":"*"';:i"':::LI""
jl"oEBIl*erer. rhe air sErike happens
(racks the sli-de of
his Sig-Sauer)
You do exacaly as I say. And don't
miscake me for your friend. you
fuck with me and I,ll surely kiII
YOu.
 90.

A SENTRY

huddles miserably in the rain.

Archer SPRINGS out of the shadows and choke-holds him --

then drags him back into the bushes where Solomon is hiding.
Archer t.akes his weapon - an H&K assault rifle,

Solomon stands up and walks into Che camp as inconspicuously

as possible. Archer watches under cover of the brush as:

15 9 SOLOMON t_5 9

insinuaEes himself among the miserable workers, moving from

hut to hut -- trying !o see if Dia is among them.

He isn't. Solomon moves deeper into the vi11age.

AT(L11Er(

curses as Solomon walks out of his line of sight..

1 60 IN THE CA}IP 15 O

Solomon is about, to give up hope, when--

H E . S E E SD I 4 . Solomon blinks back his disbelief.

D i a ' s w i r h T W O O L D E RR E B E L S , w h o a r e w a t c h i n g h i m r . a k e a h i t
from a big spliff, laughing as he chokes on the smoke.

Solomon Eries to will Dia to Eurn in his direction.

1 61 ARCHER 1 51

Scuttles Ehrough the bush -- trying Eo get a line of sight.

I52 EXT. TWO SENTRIES 162

appear nearby -- carrying food for the sentry Archer has

killed. Unable t,o f ind him, rhey begin to CALL out for him.

163 IN THE CAI{P 153

Dia and the other soldiers separat.e. Solomon moves out from
the shadows -

SOLOMON
(whispering)
Dia- -

Dia turns -- uncomprehending.

Solomon takes his arm.

 91.

DIA
(suddenly fearful)
NO!

SOLOMON
Dia. iE's m e!

Three months of horror, of depravaEion, of lrauma, of

unspeakable acts have Eaken rooE in Ehe soul of Ehis young
boy. His face conEorts in struggle. Then--

lJI1{

GET AWAY FROM ME! GET AWAY!

( screaming )
FARMER! TRAITOR!

He tries Lo break free of Solomon's grasp. A few oEher

soldiers H E A Rh i m c r y o u t . They E,urn Eo look.

164 ARCHER 164

hears iE as we11. He steps fron his hiding place -- tryi.ng

to see what is happening.

165 AN R.U.F. SOLDIER 155

sees Solomon holding Dia by Ehe arm. He HITS HIM IN THE

B A C Kw i E h h i s r i f l e buEE. Sofomon crumples Eo the ground.

165 ARCHER 155

aims Ehe assault rif1e, buc the GUARDShave picked up Solomon

and -- at sixty yards, aE night, in the driving rain --
there's no way Archer can get off a clean shot- Then--

The SOUNDof a SLIDE being racked. The barrel of an AK-A7

is placed against Archer's head.

I5'7 EXT. THE REBEL CAMP -- NEXT MORNING 167

Solomon's arms have been TIED behind his back -- the rope
looped over a tree branch and re-Eied. He looks up Eo see--
DIA. standing with several guards. His face is hard and
withdrawn. He turns away from Solomon,s gaze,

A S H O V E Li s thrown at Solomon,s feet.

VOICE
I knew you would come back.

Solomon looks up into the disfigured face of CAPTAIN POISON.

A bruEal scar only adds Eo Ehe malice in his eyes.
Poison motions to the dozens of HoLES Ehat pock the landscape --
gianE scars of diamond fields thaE have been mined out.
 AA

POISON
See how I have dug. I have found
nothing.
(co solomon)
You will digr again for me. you will
dig up what you have come back for.

SOLOMON
No.

POISON
No? Do you think the white man will
rescue you?

He turns Solomon's head violently to the left, where:

r|I{L.'IE}{

Has been made to kneeL, arms ti.ed behind his back, head to
the ground, wich a gun held to the back of his sku11.

POISON (COIJT'D)
This white man is the cause of your
suffering. This white man, his
masters abroad -- and his black
puppets in t.he government.

Poison whips out a dog-eared manifesto from his army jacket.

POISON (COM| D)
Foday Sankoh say -- resisE and
overthrow t.hose who would exploit.
you! Shed their blood.

He slaps Solomon's head with Ehe book.

POISON (CON"'D)
Maybe some more digging will help
you learn this lesson.

The rope holding solomon is cuL. He fa1ls to the ground and

is prodded to his feec by several soLDrERs holding Ak-47's.
Solomon looks down at the shovel. But doesn,t move.
surrepEitious]y Archer glances at his watch. rc is 5:59.
PO]SON (CONT'D)
pick it uD.

SOLOMON
Why? you are going to ki11 me any*ay.
With a sigh, poison whispers in Solomon's ear:
 93.
POTSON
I do not need to ki1l you, Solomon
Vandy. Because now you have a natne.
And a family. If you do not give me
rhi c d'i =nanA I will f ind this fanily --
il;; ;; ;";;;" round your son.
He goes t,o Dia and puts his arm around him.

P O T S O N( C O N T ' D )
f will rape your wife in front of
you, then slit her t,hroat.
(smiles )
And I will keep your daughters for
mysel f.

It is Ehe first t.ime we bave seen the liqht go out of

SoLomon's eyes in part because of poiion,i words, buc
mostly because of Dia's look of indifference.

P O T S O N( C O N T ' D )
You think I am a devil. BuE only
because I have lived in hell. I
want to geE out. You will help me.
Curiously enough, Ehese words could have been Archer,s when
first we met him. He watehes as:

Solomon takes the shovel. Ar1 his hopes and dreams end here.
He is musr dig the earth one 1ast, timL uo save his family.

He looks out at the jungle. Nothing looks familiar -- the

trees SWIRLING. .making him dizzy.

SOLOMON
f don't remernber...

Archer, head to the ground, watches solomon crosely. Sneaks

another peek at his watch. 0500 hours. No air st.iike.

! l r rnA .i F r ^-o91to*
"'i u ! s , vr y\.,ur family will die!

As if sleep-walking; Solomon begins to walk toward Lhe pits.

Poison and severar armed rebels folrow close behind.

168 T H E F I R S T R O C K E TE X P L O D E S 158
in t.he middle of the carnp *- sending a corrugated hut sky
high. Everyone is knocked to the giound.

An E.O. HELICOPTERGUNSHIP sTreaks by overhead, THE SEcoND

RocKET hits a Eruck -- inst.antry turning iu into a firebalr.
THE GTINSHIP'S GATLING GUNS

fire. 800 ROUNDSpER sEcoND chew up everything in iE.s path.

 94.

ARCHER'S GUARD

is almosE cut in half by the devastaEing firepower. Archer

r o 1 l s b e h i n d a t r e e - - C H U N K SF L Y f r o m i L s b a s e .

SOLOMON,CAPTATNPOTSONAND AN R.U.F. GUARD

have been knocked into a muddy DIAUOND PIT. Solomon hugs

the ground as the jet SCREAI{Sover -- st.itching the ground.

ARCHERgets eo his feet and sprints toward Dia -- ignoring

E h e E X P L O S I O N Sa l l a r o u n d h i m . Since his hands are sti1l
Eied behind his back --he hurEles a BODYCHECK ineo che back
of the SOLDIER guarding the boy.

He THROWSHIMSELF on top of uhe boy -- as the gunships make

anoEher pass -* KILLING R.U.F. soldiers who Lry Lo escape.

159 EXT. AT THE BOTTOMOF THE DIA},IONDPIT 169

Solomon Eurns over Ehe body of a dead guard and finds A

MACHETEin his be1E. CapCain Poison looks up from Lhe muck
and reaches for his 9run -- only it isn't in his holst.er.
Frantically, he digs in ghe mud. It.'s nowhere to be found.

Solornon, meanwhile, geEs Eo his feet, and moves Eoward Poison --

who francically t.ries to climb out of t.he piE --

The sides are high and sli-ck. The closer Solomon gets, the
more frant.ically Poison Eries Co claw his way out. BuE Ehe
wa1ls are just too slippery.. .

He FALLS back -- sliding down -- aE. lasE finding his gun.

He raises ic, but. it's Eoo lace -* Solomon RAfSES THE MACHETE.

A11 we can see is the 1ip of che pit, buE we can HEAR Poison's
SCREAI{Sas Solomon's powerful arm RISES and FALLS.

Solomon's face is cont,orEed -- as E.he rage Ehat has been

buried for so long finds iEs expression, He brings the
machete down again -- and again witn all his night. Blood
spauEering him. Unt,i.1 he st.ops.

WiEh disbelief and horror aE whaE he's done.

170 TWO ARMORED

VEHICLES 170

appear wiEh .50 caliber machine guns FIRING from Eheir mount.s.
Behind them, MERCENARIESwearing Ehe red beret of Ehe E.O.

Joost organizes blocking posiCions around the perimeEer of

Ehe village -- cut,Eing down anyone who tries E,oescape.

It, is all over in a mat,Eer of minuEes.

 95.

171 A SILENCE 171

As the SMOKEand DUST clears, hardly a soul is moving, THE

COLONELstrides inEo camp followed by TWO BODYGUARDS.

ARCHERsquints int,o the sun as Ehe Colonel looms above him.

THE COLONEL
Thank you for calling in the location.

A}(Utttrt(
You're welcome.

THE COLONEL
fhen again, you had an ult.erior
noEive.

S O L O M O Ne n e r g e s from the pit, covered in blood. He is a

terrifying sight -- this gentle man transformed into some
kind of monster.

THE COLONEL (CONT'D)

fhis must be the famous Mr. Vandv.
(to Archer)
Introduce us.

AKL]:TEt(
Ihi.s is Colonel Coetsee. He wants
the diamond.

THE COLONEL
No more than rzou.

Archer nods. True enouqh.

THE COLONEL (CONT'D)

(calls ouc)
JooSE.

'' tJ^ .o. o s t a p p e a r s , holding a 9mm to Dia's head. Dia is shocked

D y Ln. :l s^ tr^ar l c n e r ' s appearance.

THE COLONEL (CONT'D)

(ca11s out.)
Lt. Gans.

A mercenar"y LIEUTENANT appears.

THE COLONEL (COMT'D)

You will organize the wirhdrawal.
We move out in thirty minutes.
(turns to SoLomon)
LeE's take a walk, shall we?

The Colonel's two bodyguards follow.

 96.

L72 MOMEMIS LATER - ARCHER AND SOLOMON T12

are led at gunpoinE inEo the diamond fields by the Colonel's

BODYGUARDS.The Colonel and Joost follow behind with Dia.

JOOST
How much fart,her?

Solomon doesn'c answer. They pass one pie afEer another.

A SAT-phone RINGS in the pack carried by one of t,he Colonef's

bodyguards. The guard answers it and hands i.t to The Colonel.

?HE COLONEL
(on che SAT-phone)
....No ...No transport, for

ffi:i'ffi:i';;;
i;'?ff:ifi: .:T:::
He hands E,he phone back t,o Ehe bodyguard.

I73 HAI,F A MILE ON _ IN A GROVEBY THE RIVERSIDE T73

Solomon sEops. The oEhers react,, expectant.

Looming out of the thick growt.h is THE RUBBERTREE. Vines

have covered iEs base, but it's definitely Ehe same tree.

Solomon measures Ehe distance. Takes another few steps.

He is about Eo raise Ehe shovel. Then sEops dead, Ehe rnuscles

of his arm tensing. Tnches from his fooE, unmist.akable --
i s t h e T R I G G E Ro f a l a n d m i n e - - p a r E i a l l y covered by vines.

Solomon glances back to Joost, who stands several yards away.

He doesn't see it,

Solomon looks back at Ehe urigger -- an idea forming- He

curns in Archer's direcEion...

SOLOMON
(looking around)
An elephant. graveyard.

JOOST
What? Keep digging.

Archer knows Solomon is Erying him someEhing -- in code.

Solomon carefully Eakes a st.ep sideways. Sinks Ehe shovel

into the earE,h. Swa11ows. He's sti1l in one piece.

He sinks Ehe shovel in again. And again. Digging.

The Col oneL watches , intent.ly.

 91-

Solomon throws uhe shovel aside. Gecs down on his knees,

digging with his hands now. Faster. Scooping out dirc and
rocks and sand. Uncil there is nothing left to scrape oue.

He stares int.o Che empty hole, confounded...

He looks to Joost, then Archer, then back into the ho1e.

Grabs the shovel again, starts digging Ehe hole larger, wider.

SOLOMON
Ic is noc here it is not here!

THE COLONEL
What do you mean?

SOLOMON
This is where I buri.ed ehe st.one.
In this pIace. But it is not here!
(beside himself)
Someone has taken ic ! Come see for
yoursel f 3

The Colonel motions Joosc over co Sofomon. Joost leaves Dia

by che Colonel's side.

As the mercenary ventures over --

SoLomon glances at Archer, his eyes convey someching. Archer

reads the look. Out of the corner of his eye, he sees:

The TRIGGER- IE lies between Solomon's hole and Joost.

Solomon Eries desperaEely not to look at Che Erigger as JoosE

comes closer. Closer.

JOOSE'S bOOEHITS ThE TRIC.GER. CLICK. A MiIIiSCCONd Of

realizaE.ion on t.he stunned mercenary's face before--

T H E E X P L O S I O Nb l o w s h i m E o b i E s .

Solomon is already DIVING behind a Eree scump as--

Dia is thrown to t.he ground.

Archer seizes the momenE -- sending an OPEN-HANDSTRIKE Eo

Ehe throat of his would-be executioner, Ehen grabbing Ehe AK-
4J , and shooting him before ripping the gun out of his hands.

ARCHER
STAY DOWN!

SOLOMON
remains flat,tened behind the Eree sEump, head down.
Archer sprays GUNFIRE aE the mercenaries -- hiEting the
Colonel and the guards. He e>cpends the entire c1ip.
And no one is lefE standinq
 98.
He looks back aE the rebel canp -- knowing that other
mercenaries have heard che GUNFIRE.

ARCHER (CO}M'D)
Let's go !

S o l - o m o ng e t s u p , o r i e n t s h i m s e l f a n d b e g i n s to count steps.
Spears the shoveL into the earEh. Digs.

ARCHER (COIVI'D)
(admiringly)
You lying bastard...

Solomon throws Ehe shovel down.

THEREfN THE HOLE -- peeking out of the dirc is rhe rorn

green cuff of a pantleg. Sol0mon digs it out with his hands.
FAR OFF VOICES

can be heard -- coming their way. Armed E.O. mercenaries.

Archer rams a fresh clip into che nrachine gun, and reaches
i-nto the dead bodyguard's pack for his SAT-phone. But as he
looks up, he sees

ULA

holdingr The Colonel's 9mn. Aimed ac him.

SOLOMON
Dia__

Dia's eyes flicker from Archer to solomon and t.hen back.

S O L O M O N( C O N T ' D )
Dia, look ac me.

Dia looks into Solomon,s eyes.

S O L O M O N( C O N T ' D )
(in Mende)
You are Dia Vandy. Of the proud Mende.
Your mother loves you -- and she
waits by the fire making plaintains
and red palm scew with your sister,
N'yanda, and the new baby.
(moves closer)
The cows wait for you. And Babu Ehe
wild dog who minds no one but you.
(moves cl_oser sEill)
And f am your faEher who loves you.
And you will go home with me, and be
my son.

He walks right up to him, ignoring the gun, and wraps his

arms around him-
 99.

Dia goes limp, the gun hangs loosely aE his side -- as he

allows himself to be he1d.

BEHIND THEM, THE JUNGLE ERUPTSWITI] .GUNFIRE

Solomon Ehrows Dia to Lhe ground. Archer eakes cover,

FOUR MERCENARIESARE ADVANCING

across the river -- firing as Ehey come.

Archer R E T U R N SF I R E , h i t c i n g two, The others hit the ground.

ARCHER
MOVE, MOVE. MOVE!! !

He SHOVESSolomon and Dia t.o their f eeE.

ANOTHERSPRAY OP GUNFIRE pins Chem down.

A R C H E R( C O N T ' D )
When I sCart firing. You g!
(scands up)
....NOW!

He lays down COVERINGFIRE -- as Solornon and Dia head for

the brush. Archer wait.s unEil they are safe, then--

IE's his turn to make a run. He takes off.

Ic's only Ehirty yards or so, buE they seern an ecernity.

He is almost inEo the brush when--

He is HIT in Ehe baqk. He grunEs and doubLes over.

A R C H E R( C O N T ' D )
Fuck !

He fights the shock and Ehe pain -- adrenaline kicking in --

and stumbles into the dense cover.

I'I4 UP AHEAD - IN THE BUSH I'7 4

He finds Solomon waiEing. Solornon has no notion EhaC Archer

has been wounded.

SOLOMON
How far?

ARCHER
(Ehrough gritted teech)
Ihere's...a strip...on a ridge...
fifteen kilomeEers, . .souch. Fawaz
, . r i 1 1m e e t u s . . . . . G O !

They Cake off in chat direcEion.

 1n n

175 IN THE JTINGLE-- MTNUTESLATER 175

An eerie guLet., broken only by the calls of exotic birds.

Archer leads them -- paying for every step. The entry wound
in his back is sma11, a]mosc unnoticeable.

He stops and pulLs out the SAT-phone. Dials.

ARCHER
(on Lhe SAT-phone)
..Where are you? We're tweLve
clicks out...... Two hours at most...

F A W A Z( O . S . )
--You have it?

ARCHER
(on che SAT-phone)
...Roger that.

F A W A Z( O .S . )
Carrying a lot of fuel. Don't know
if I can handle three more onboard.

Archer looks up ahead to where Solomon and Dia are waiEing.

ARCHER
(on the SAT-phone)
f'11 get it sorted.

He punches the button and starts off again.

L76 THREE KILOMETERSLATER I15

SoLomon is STARING at the bloody exit wound below Archer's

arm pit -- the stain spreading.

Archer sees him see it. Looks at him.

SOLOMON
You must s i. t .

f|J(LrlE|(
Yeah, let's just have tea.

He starts moving again.

L11 THREE KILOMETERS LATER L11

Archer has to stop. His breathi.ng is Labored. He wipes his

rnouth. Looks at his hand. No blood.

AJILn-trt(
Missed. . . the lung. . .but it 's
sLi11....colLapsed. Could...
be. . . .worse. . . .f guess.
 J.UJ..

SOLOMON
ResE now. They will not find us.

Archer looks around. As if sensing Eheir pursuiE'

ARCHER
They're good.
(scruggles to his
feeE )
LeE's go...

iJe wills himself onward.

1?8 THREE MORE KILOMETERS 178

have taken their t.oIl. Archer is scunrlcling now. Solomon

says something Eo Dia in Mende.

SOLOMON
We will carry you.

ARCHER
No.

SOLOMON
Yes.

They each take one of Archer's arms over their shoulders.

Yoked Eogether, they st.ruggle on.

I'79 TWO KILOMETERS MORE I19

And Ehey have reached the base of a rocky ridge. Archer

E.akes ouE the binoculars and sees--

BINOCULAR POV -- OFF IN THE DISTANCE

T W O E . O . A R I " I O R E DV E H I C L E S c h u r n u p d u s t a s E h e y a p p r o a c h .
Behind them come a squad of inf anE.ry on f ooE.

IN THE SKY ABOVE

The Cessna appears, circling.

THE RIDGE ABOVE THEM IS VERY STEEP

with dense brush blocking their way. In order Eo make ic t.o

the landing sE.rip, they will have Co climb iU.

It. would be difficult enough Eo climb on one's own, but Eo

carry anot.her man -- as Solomon Eries as he hoisEs Archer
over h i s shoufder -- is beyond imagining.

ARCHER
 1n)

SOLOMON
No--

One step. Another sLep. And then another.

Solomon's st.rengLh is tremendous. They make progress. Hand

over hand. Rock by rock.

solornon's face conEorts with the ef fort. His legs trernble

but still he keeps going. The top of the ravine appears,
far away, but t.antalizingly in sight.

For a moment we might even believe they will make it -- but

Lhen Solornon loses his footing. He st.umbles.
Archer is slammed to the ground, grunting in pain. Solomon
reaehes to pick him up again.

ARCHER
STOPI DAI'TN.T!.

Archer's shirt-fronE i s S O A K E Di n B L O O D . H e i s p a l e a n d
gasping for breath. Solomon goes to pick him up again.

ARCHER (COI,IT'D)
No. LeE me...see it...

SOLOMON
Mr. Archer*-

ARCHER
You. . . .want it a1l. . . for yourself _

solomon shakes his head, smiles ruefu11y. This is the momenc

he realizes Archer is noE going to make it.
He hands Archer the wrapped st.one. Archer peels it open.
Even wrapped in-a dirty cloth, it takes the breath away --
like sonething from the Gods.

A R C H E R( C O N T ' D )
ft's real. . .

He holds it up to bhe warm afternoon light..

A R C H E R( C O N T ' D )
So. . . .beautifu1.

Archer looks up to see solomon sbaring at hirn. He wraps it

back in the c1oEh.

A R C H E R( C O N T ' D )
Take it.
 1 0 3.

SOLOMON
I thougrht you would steal it from
me,

ARCHER
It occurred Lo me.

Solomon smiles.

SOLOMON
To me, as well.

1BO UP ABOVE 180

The plane touches down.

181 D O W NB E L O W 181

The Armored Cars are getting closer.

182 ARCHER TB2

Looks over at Solomon -- who has his arm protectively around

Dia.

IN THE BEAUTIFUL AFTERNOONLIGHT

The boy looks like the same innocent child he once was.

ARCHER
Take. . . . .your. . . .boy. . . .home.

Solomon looks back at him, tears in his eyes.

He nods. In deep and simple gratitude.

Archer nods back. Then--

A R C H E R( C O N T ' D )
Help ne...

He struggles to pick up the machine gun. Solomon puts it

into his hands.

A R C H E R( C O N T ' D )
Put the strap...over my shoulder.

Solomon helps secure it in p1ace.

.50 CALIBER ROUNDSFROM THE ARMOREDCAR

Begin to land -- short -- but getting closer.

183 ARCHERFIRES A BURST PROMHIS MACHINE GUN 183

Momentarj.ly stopping their progress.

 J-U{.

ARCHER
. co Now.
SOLOMON
Goodbye. . . . Danny.

Archer's eyes flicker for a moment.. Smiles,

ARCHER
Te11 Fawaz if he tries t.o cheat. you,
I'11 be waiting for him in He11.

Solomon nods once more.

Dia meeLs Archer's eyes for Ehe firsE time, Ehen looks away.
Solomon leads his son up the ridge.

]-84 ARCHER 18 4
settles himself -- as cornfortably as he is able -- among the
rocks. He FIRES another burst -- to distracE them from
Solomon and Dia as they climb the ridge.

185 DoWNBELoW 195

The attacking mercenaries scramble for cover.

We SEE Solomon and Dia run for the plane. We CAI.{NOTHEAR

whau is said above rhe ROAR OF THE pROp.

187 BACK TO ARCHER I87

He has taken the sAT-phone from Ehe pack. rn his hand is
Maddy's card. He dia1s.
188 EXT. CAPE TOI,VN- AN oUTDooR CAFE -- INTERCUT 188
Maddy sits with a group of journalists. Her ce11 phone RINGS.

MADDY
uaddy Bowen...

ARCHER
Told you f woul-d ca1l.

Maddy is shocked co hear his voice. She immediately gets up

and walks away from the Lable.

MADDY
And I'm so glad you did. When am I
going to see you?

F\ ARCHER
LiEtle problem there.
 | {tl

MADDY
Whau do you mean--?

Above on the ridge, Archer HEARS the plane taking off.

ARCHER
Listen...Maddy.. .I want you.. .to do
me anocher favor.

By now Maddy can hear t.he weakness in his voice, the labored
breaching. Then, the SOUND of gunfire from below.

MADDY
Archer, are you all rigthc?

ARCHER
Listen, f need you to go to Guinea.

MADDY
Archer, what's going on--?

ARCHER
Will you just shuc up and listen--
Got to...meet Solomon aE the UN camp.
Found. . .his son. . .but they,re. . .going
to need. . .he1p.

MADDY
You're hurt. Oh, my God-- where are
you?

ARCHER
f 'm in a rea11y. . .beautiful place. . .
And...I wish you were here..,

MADDY
Archer, oh, shit. Let me get you
help- -

ftlLLl-t.gJ.(.

..you take care of Solomon....

Tell his scory f gotta go...
Maddy's eyes are welling up.

MADDY
Archer---

ARCHER
Goodbye, Maddy...

MADDY
Archer-- !

The connection has been 1ost. Archer has hung up.

 105.

189 ARCHER 189

pushes away the phone and siUs back against a mossy rock,
his face in repose. He looks up aE che shafts of sunlight
made visible bv the dust and haze.

In che quieu, birds flit, insect,s buzz, the leafy branches

of trees hundreds of years o1d sway in che breeze.

Ic reminds us of how Solornon experienced E,he nat.ural world

when first he found t.he diamond.

He looks down -- a half-smile o n h i s f a c e a s D R O P SO F H I S

B L O O Dm i x w i E h E h e r e d d i r t of Africa.

He looks up inEo Che sky -- where THE CESSNAgrows srnaller

and smaller as i! flies out of view.

190 A R M E DE . O . M E R C E N A R I E S 190

swarm up Ehe hillside toward Archer. We expecE him t,o reEurn

FIRE, buE he doesn't-

As Ehe firsE soldier reaches his posiuion, we SEE Ehat Archer

is dead. He siEs with hj.s back against. t.he mossy rock --
eyes closed. At peace aE lasE.

191 E X T . L O N D O N( T O E S T A B L T S H )- - DAy 191

From pasEoral tranquilicy to t,he chaos of urban 1ife. Solomon

sEands Eransfixed by Ehe noise, Ehe Craffic, Ehe crowded
sidewalks of t.he City of London.

He stands aE a st,reeE. corner, uncomforEable in a suit two

sizes E.oosrnall and sEif f new leather shoes.

Maddy is Ehere by his side. She gently touches his arm.

MADDY
Come on. We' re almost. t,here.

I92 THEY REACH THE EMBAI..IKMENT I92

Maddy stops beside che Hungerford fooEbridge.

MADDY
Just. walk t.o t,he middle.

SOLOMON
You're not comino?

MADDY
f 'm noE here.

S o 1 o m o nc o l l e c r s h i m s e l f . He has survived hosrile jungle,

mercenaries and the R.U.F.. yet t.his seems as daunEinq.
 1 . 0 1.
193 IN THE MIDDLE OF THE BRIDGE
193
Solomon waits. A man approaches. It,s Simmons.
SIMMONS
You are Solomon Vandyl
solomon nods. several paces behind Simmons are two B.D'GUARD..
SOLOMON
And you are?

SIMMONS
r am Lhe end of your journey.

simmons motions for a briefcase. one of the men brinqs

forward, unlocks rhe combir.,.tior,, it
oJJ"J ia.
194 THE IMAGE FREEZES. CLICX
Tg4
Maddy is behind a wa1l, taking pictures wirh a telephoco.
195 EXT. THE BRIDGE - COMIINUOUS
195
SIMMONS
You must understand, MisLer
Vandy,
Ehac your diamond coufd nive enOed
up no place else but wlth us-
Solomon stares ac the neat rows of pOUNDNOTES.

(coN'D)
rr,s ar,
Solomon looks
"o,rljYott
from the money, to Simmons.

rr is nor .":3;f;To*

r- assu5e is pounds
*::: E h a n".rltHStir,rion
anyone wilt offei you for
chat sEone, under the circurn"iarr""".

r.w?nr,^,nr.i3!o|?l*r""u ro meby
Mister Archer.

SII"DIONS
__ ( s w a l l o w i n g i r r i t a c i o n )
..What was promised to you?

SOLOMON
M y f a m . il v .

your f ami r"att*ot'

 108.

SOLOMON
They are in a refugee calnp. When
they are here, you will get the stone.

Simrnons takes a moment t,o diqest t.his.

S O L O M O N( C O N T ' D )
f wil.l take the money, too.

Sirnmons sees t.hat Solomon is serious.

SIMMONS
I"lay t see what I'm buying?

SOLOMON
You will get Ehe stone once my family
is here.

SIMMONS
How do I even know you have it?

SOLOMON
You have my word.

He Looks from Simmons, to t.he ot,her men, back Lo Simmons.

soLoMoN (co\It,D)
Mister Archer told me this business
is based on a person's word. And a
deal- is made with a handshake.

With a cordial smiLe, he ext,ends his hand to Simmons.

196 INT. SMALL LONDONHOTEL ROOM- EVENING (MUSTC OVER) 195
Solomon sits on the edge of the BED, waiting. The little
roorn is lit.t.ered with empty boxes of take-out,.

I9'7 LATER - TIFPA}IY'S ON BOND ST. (MUSTCOVER) Igl

solomon st.ares at a DrAI'IONDNECKLACE t.he window. He's never
seen a polished stone, let alone forEy in a dazzling set.ting.

WOMA}J'SVOICE (ENGLISH ACCENT)

Now that's what I call bling.

He looks up to find an atEractive E N G L T S Hw o M A N , b l a c k , 30,s.

SOLOIV1ON
I beg your pardon?

BLACK WOMAN
. . .You're African.
(off his took...)
I'm good with accents.

She offers her hand.

 1nq

BLACK WOMAN (CO}CT'D)

Elizabeth Sweet.

SOLOMON
I arn Solomon Vandy.

198 LATER - AS THEY WALK ALONG REGENT STREET 198

BLACK WOMAN(ELTZABETH)
--Ehen after unj-versiEy I went to
straight to work for Ehe bank. I've
always regreEted not having taken
more time off to Lravel. Africa
especially.

SOLOMON
It is verv beauciful.

BLACK WOMAN
I can only imagine. Te1l me about
Sierra Leone...

Solomon stops walking. Suddenly very afraid.

SOLOMON
How do you know where I come from?

BLACK WOMAN
You said--

SOLOMON
No. I did not say.
(steps toward her)
WHO ARE YOU? W}IAT DO YOU WAIVT?

BLACK WOT"IAN
(backpedaling)
Look--

SOLOMON
cEr AWAy FR9M UE!

BLACK WOMAN
Ihey only want t,o make sure you have
:ts

Solomon looks around, suddenly frightened, certain now they

are being observed- He turns and runs off down the street.
199 LATER - BACK rN SOLOMON'SHOTEL ROOM (MUSTCOVER) 199

He sics alone on the bed. The phone RINGS. He picks it up.

SOLOMON
H e l 1o ?

His eyes begin Eo we1l.

 11n

2OO INT. HEATHROWIIITERNATIONAL TERMINAL - DAY 2OO

Solomon watches the travelers corning through the cusEoms

gaEe, his eyes rnoving over every face.

Maddy is nearby, waE.ching from a respectful remove'

Then..,Ehere Ehev are'. ' Like a vision' Only real-.

JASSIE
Sola !

She runs to him. Solomon's daughter approaches more

tenCaEively. Solomon kneels down, scoops her in his arms.

Nearby, Dia sEands awkwardly, something damaged in his eyes.

S1owly he allows himself Co be drawn int,o his father's arms.

Maddy is crying as weJl.

The family remains in an embrace as the world moves around

Ehem, unaware of the moment's significance.

201 BRIDGE -_ DAY

EXT. WATER],OO 2AI

Solomon and Simrnons meet again. A Bentley idles nearby.

SIMMONS
You are saEisfied?

Solomon nods, starEs to reach into his pocket.

S I M M O N S( C O N T ' D )
Nol here.

He climbs inEo the waiting car. Solomon warily foflows.

202 IN THE CAR 202

S i m m o n ' s A S S O C I A T Eh a n d s o v e r t h e b r i e f c a s e . Simmons Eakes

the dirty, torn-off panEleg with some distaste, but when he
opens ic, his expression changes Eo wonder.

SIMMONS
Extraordinary.

The two associates stare at the stone in disbelief.

S I M M O N S( C O } I I ' D )
May I drop you somewhere. Mr. Vandy?

SOLOMON
No. Thank you.

Solomon opens the door, uses a phrase we have heard before.

 111.

S O L O M O N( C O N T ' D )
Always a pleasure doing business.

203 T- LATER (MUSIC OVER)

FOUR STORIES UNDERGROUND 203

The thick STEEL DOORof the VAULT hisses open. The DIAMOND,
now locked in a glass box, is wheeled in on a cart, Security
calneras foLlow it.. The box is placed in its own STEEL DRAWER,
amid a wall of sEeel drawers

2A4 INT. A S}4ALL OFFICE -. SAIUE (MUSIC CONT) 204

Maddy tl4)es away on a laptop.

205 EXT. FRONT OF DTC BUILDING - LONDON- DAY (MUSIC CONT) 205

As De Wente steps out of a shiny LIMO, he is met by several

TV CAMERASand REPORTERS.

REPORTER
Mister De Wente! Cary Wright, CNN.
Could you comment on allegations
that your company buys blood diamonds
from Sierra Leone?

BODYGUAF-DS
insist the reporters keep their distance.

DE WENTE
f 'm not going !o comrnenL on some
sensationalisU magazine art,icle. De
Went,e fnternational is as concerned
as anyone about diamonds from t,hese
regions reaching Ehe marketplace.

206 I}ilT. TIN HEARING ROOM 205

Superimpose: UN Sl:bcom4rittee. on Intefnat.ional Trade, 2002

AIVIBASSADORWALKER
--this situation is accountable for
unspeakable Cragedy. . .
(scans the room)
...The natural. resources of a nat.ion
are the sovereign property of its
people...

THE FACES OF REPRESENTATIVES,Ehoughtful and skeptical alike --

TO MADDY'S FACE as she siE,s among the reporters. The words

wash over her.

AI"IBASSADORWALKER (V. O. ) (CONT'D)

...They are not ours to sEeal, or
take by force, or exploit in the
name of our comfort., our corporations,
or our consumerism.
 J.72.

2O'I INT. OUTSIDE THE UN CHAMBERS- SAME 207

' sits
SOLOMON on a marble bench wearing his new suit.

AMBASSADOR WAIKER (V.O. )

The Third World is not a world apart
and the witness you will hear today
speaks on its behalf.

In Solomon's fap is a copy of Vanity Fair. It. is open to

l4addy's story on the diamond trade.

On a facing page are PHOTOGRAPHS: workers in a diamond mine;

Solomon at the refugee camp; child soldiers cluuching weapons,.

An4.g p_icture pf Arc4er. Vibrant, inEense, haunted.

A LIN PAGE opens the DOOR.

UN PAGE
They're ready for you, sir.

Solomon closes the magazine. Stands. And heads in.

WALKER (V.O. )
A-},IBASSADOR
Let us hear the voice of that world,
J.et us J.earn from that voice, and
let us ignore it no more.