THE ASSIGNMENT
Written by
Dan Gordon & Sabi H. Shabtai
7/2/1996
SHOOTING DRAFT
ESTABLISHING SHOT - EXTREME CLOSE - UP - COBBLESTONES - PARIS -
EARLY MORNING
TITLE SEQUENCE BEGINS
We OPEN with the screen filled with a dark gray, cut down
the middle by a black crevice. We should be unsure of what
we are looking at. Is it the surface of the moon or some
primeval canyon covered in volcanic ash? Just then a liquid
with a yellowish tinge finds its way down through the crevice
and further divides the screen in two, like a river border
dividing East from West perhaps.
CAMERA PULLS BACK AND UP to reveal that the dark gray gulch
filled the screen was in fact two paving stones on a Parisian
street and the yellowish river that ran down the middle of
the stones comes in two tiny streams that lead to two little
boys, who are peeing on the pavement, laughing at their
mischief. The boys are twins. They wear backpacks and are
set to go off to school. Just then we HEAR the voice of a
WOMAN shouting in French (with English subtitles).
FRENCH WOMAN (O.S.)
What do you think you're going?! You
ought to be ashamed behaving like
that!
CAMERA PULLS BACK AND UP to reveal ever more scenes of life
on this particular street. The woman shouts at the children
from her window and the children run off. At the corner,
fresh bread is being delivered to a sidewalk cafe, as chairs
are set out at tables by white aproned waiters who are
preparing for their morning clientele.
CAMERA PULLS BACK AND UP to reveal a taxi driver arguing
with a deliver man as a husband kisses his wife goodbye and
set off for work as we continue pulling back and across the
city over Montmartre, picking up an argument between two
drivers here, fresh bread being delivered to a cafe over
there. Chairs are being set up at sidewalk tables as the
city awakens and we float across Montmartre into a small
residential quarter. Husbands kiss wives who send school
children on their way as TITLES CONTINUE and the city comes
more and more to life and we hover across a small square
just up from the Place de la Opera, not far from the Boulevard
Saint Germain-des-Pres, with Montmartre in the b.g. The square
has a sidewalk cafe with tables extending out onto a peninsula
of pavement that stretches to the foot of a small hotel,
whose shuttered windows overlook the square. As we pull back
and back over the small square, we literally...
SFX SHOT
...Pull backwards through the slats of the shutter, going
from an aerial shot, being sucked in through the semi-closed
shutters into a hotel room where we continue ever so slowly,
pulling back.
INT. HOTEL ROOM - PARIS - EARLY MORNING
The first thing we SEE in this shot which should appear
seamless in its one continuous motion transition from the
preceding scene, is a spider-web. We are TIGHT on the web in
which a still-living insect struggles against his silky bonds.
The web begins to tremble as from up above the spider drops,
spinning thread lowering itself down on this latest victim,
soon to be lunch. As the spider makes this journey we become
aware in the b.g. of the panting sounds of lovemaking. It is
a woman's breathless sighs and gasps we hear, but under that,
perhaps a man's voice, perhaps not. The sounds build to a
climax as the camera continues to pull back until it discovers
the glistening body of a beautiful young Parisian woman in
post-coital dewy Nirvana. Then, the figure of a nude man in
silhouette enters frame and crosses over to the shuttered
window. His face and body are half-lit by the slats of light
that penetrate from the world outside the hotel room. He
lights a cigarette.
CUT TO:
ANGLE ON - CLOSE ON THE MAN
whom we will come to know as CARLOS. He lights the cigarette
and takes a thirsty drag sucking the smoke deep into his
lungs, glancing out at the street and alternately at the
spider who tiptoes down to her prey. He watches the spider
envelop the still-living victim with her spindly legs. Then
he takes another drag on the cigarette and the ash glows
bright, a burning ember which he touches ever so slowly to
the spider's body. It sizzles.
CARLOS
(whispering to the
burnt spider)
You lose...
He looks out through the shutters at the digital clock across
the square. Then he glances back at the girl whom we will
call COLETTE. The conversation is in French with English
subtitles.
COLETTE
What do you mean?
CARLOS
I mean get out.
COLETTE
You're a pig, you know that? How can
you be like that?
Carlos crosses to her slowly. He runs his hand across her
cheek, then down across her throat. Death is in his eyes.
CARLOS
(barely above a whisper)
Leave without saying another word.
INT. BATHROOM - HOTEL - DAY
Carlos stands in front of the mirror. The mirror is cracked
and in it we see the fractured face of Carlos staring back
at us from opposite sides of the cracked glass. He wears
surgical gloves. From a make up kit by the side of the sink
he removes a piece of false hair and spirit gum as TITLES
CONTINUE.
A. Carlos affixes a John Lennon mustache.
B. Carlos puts on a brown wig of moderately longish hair
such as one might have seen on a student in Paris in the
early seventies.
C. Carlos puts on a pair of John Lennon granny glasses and
the student look is complete.
D. Carlos stands in front of a full length mirror in jeans
and a blue work shirt over which he puts a worn grey jacket.
He now looks every inch the young French student dressing
down to look like one of the proletariat.
END OF TITLES
E. Carlos takes an M26 hand grenade and puts it into an inside
pocket of his coat. He puts a machine pistol and snaps its
ammo clip into it and puts it in his student's shoulder bag
and then takes a Walther PPK and places it in his jeans at
the small of his back. All the while that he is doing these
things he sings: "ALL YOU NEED IS LOVE."
CARLOS
(singing)
All you need is love...
Rum da, da da da
All you need is love
Rum da da da da
All you need is lo-ve
Love is all you need.
Love is all you need.
SUPERIMPOSED: Paris, September 15, 1974.
EXT. / INT. SIDEWALK CAFE - DAY
It's a hot Sunday afternoon and the complex of shops and a
cafe in St. Germain-des-Pres is bustling with young clientele.
Inside the cafe, there is a second floor with a balustrade
overlooking the tables inside. Outside, there are tables set
up on the sidewalk.
JACK SHAW, a tall, husky American in his late thirties, sits
at one of the front tables outside. He reads the International
Herald Tribune. The headline is, "Terrorists Seize Embassy,
Issue Demands And Threaten Attacks." Jack sips his espresso.
ANGLE ON CARLOS
dressed as in preceding scene. He enters. Just then Jack
looks up and sees him. For an instant, Carlos looks at Jack,
tenses just slightly. Jack looks back at his paper paying no
attention. Carlos pulls out a cigarette, pats his pockets
for a light. Then he crosses to Jack.
CARLOS
Pardon monsieur...
He mimes flicking a match and Jack looks for a match. He's
out. He offers the lit end of his cigarette. Carlos cups
Jack's hand.
CARLOS
Merci.
He crosses away from Jack, smiling and goes inside the cafe.
Jack follows him absentmindedly, tracking his progress through
the windows, though his view is obscured somewhat by
reflections of the street. Carlos steps casually to the
railing overlooking the tables inside as Jack sees the double
image of Carlos and the reflected street scene. Carlos leans
over, pulls the pin from an M26 grenade, and lets the "spoon"
come off in his hand. We HEAR the timing fuse hiss as Carlos
nonchalantly counts to himself.
CARLOS
(counting)
One thousand one... one thousand
two... one thousand three...
ANGLE ON - JACK
He looks up just in time to see Carlos drop the grenade
casually into the crowd below. Their eyes lock for a beat;
then Carlos smiles, turns and bounds away. Jack's eyes widen
in horror. He gets up, about to cry out a warning.
CUT TO:
ANGLE ON
the crowd below as the grenade EXPLODES, filling the air
with smoke and flying glass, its metal ripping through flesh
and bone. People are wounded, bloody and writhing in pain
and screaming in panic.
ANGLE ON JACK
disheveled, covered with the shattered glass of the window,
but not but not seriously hurt, he struggles to his feet. He
looks around for Carlos who has vanished, now realizing who
he was. As he looks around, he sees a SMALL BOY staring at
his left arm with heart-rending disbelief.
The boy has no hand.
CUT TO:
EXT. SIDEWALK CAFE - PARIS - DAY
There are throngs of ambulances, police and military
personnel, wounded survivors are being tended to. All is
confusion and off in a corner we SEE Jack, standing with a
man in a suit. The man's name is DU FOLTIERE. He shows Jack
an I.D.
DU FOLTIERE
Du Foltiere, Monsieur, intelligence
liaison officer. DST. My understanding
is that you are the Deputy Chief of
Station, CIA, Paris, and that you
witnessed by coincidence this attack.
JACK
That's right.
DU FOLTIERE
And you have told my subordinate
that you recognized the terrorist as
Carlos?
Du Foltiere pulls out a small notebook to take notes.
JACK
That's not what I told him. I said
he recognized me. Afterwards I
realized who he was. By then it was
too late.
DU FOLTIERE
(writing in his
notebook)
Ah yes... The deputy chief of station
did not recognize him... But he
recognized you.
JACK
I wasn't the one wearing the disguise.
DU FOLTIERE
Yes of course... But then how are
you sure it was him?
JACK
How often do you see someone holding
a live grenade listening to the fuse?
Besides, the arrogant son of a bitch
bastard smiled at me.
EXT. INT. OPEC HQ - DAY
SUPERIMPOSED: Vienna, December 21, 1975
It's a cold Sunday morning with a light snow just beginning
to fall when SIX YOUNG MEN and ONE WOMAN enter the
headquarters of the Organization of Petroleum Exporting
Countries -- a modern, seven-story block of concrete and
glass. They all carry Adidas sport bags over their shoulders.
Their leader, Carlos, with dark beret and sunglasses, sports
a long white raincoat -- the kind that was very much in
fashion that winter. Next to him is KOJ, a Japanese terrorist
and his most trusted Lieutenant.
CARLOS
(singing)
I shot the sheriff...
But I did not shoot the deputy...
CUT TO:
INT. CONFERENCE ROOM - THIRD FLOOR
At a long oval table TWELVE OIL MINISTERS. Miniature national
flags in chromium holders in front of them. Behind, sitting
or standing, the SECRETARIES, ADVISERS, INTERPRETERS AND
BODYGUARDS.
VENEZUELAN OIL MINISTER
...Obviously some of the members are
exploiting the oil price differentials
as a loophole... This body has been
very precise in its policy.
CUT TO:
INT. ENTRANCE HALL - GROUND FLOOR
The group with the Adidas sport bags approaches the reception
desk. Carlos -- moustache, sideburns, and wispy beard in
reddish brown -- smiles politely at the female RECEPTIONIST.
Behind the reception desk are two circular staircases which
wind their way up to an elevator that is visible behind the
railing at the top of the landing. There is what appears to
be a security man standing at that elevator with an earpiece
and tell-tale bulge under his jacket.
CARLOS
(in German)
Pardon me. Is the conference still
in progress?
Smiling back, the ash-blonde receptionist nods.
RECEPTIONIST
(in German)
Yes, but sir...
CARLOS
(in German)
I have an urdent delivery for the
ministers.
As if on urgent business, Carlos quickly heads up the flight
of stairs before the security man who stands next to the
receptionist can react. The security man speaks quickly into
his walkie talkie.
ANGLE ON - THE LANDING
by the elevator at the top of the stairs. Carlos bounds up
the stairs and pushes the elevator button. The Security Man
near the elevator listens intently to what is being said in
his earpiece and he steps forward to challenge Carlos. Carlos
smiles at him and whips out a 9mm. silenced Beretta and fires
two shots right between the Security Man's eyes. He falls
over the railing and lands face up on the console in front
of the terrified receptionist. Carlos leans over the rail in
one move and fires two shots into the upturned face of the
Security Man who stands next to the shocked receptionist.
The receptionist screams.
CUT TO:
INT. CONFERENCE ROOM
NIGERIAN OIL MINISTER
(angry)
I protest the unfound charges of the
oil minister from Venezuela. We do
not use, nor intend to use, the lower
gradings to capture more of the market --
His words are cut short when the door is kicked open, and
Carlos strides in.
CARLOS
(brandishing his
automatic)
EVERYONE FREEZE!
Everyone frantically hits the floor. That is, with the
exception of TWO BODYGUARDS. They try for their weapons. A
short burst from Carlos' Beretta machine pistol which is
pulled from the inside of his trenchcoat brings them to the
floor. This weapon is not silenced, but deafening. Just then
Koj enters the room from the corridor.
KOJ
We've got company.
Suddenly, there's the sound of INTENSE GUNFIRE coming from
the corridor.
ANGLE ON - CARLOS
He reaches into his trenchcoat and pulls out a pocket-sized
Chinese RGD5 grenade. He yanks the pin, lets the spoon fly,
listens to the fuse hiss, counts quite calmly and then tosses
the live grenade to Koj who catches it and in one movement
tosses it out the door. A loud sound of GRENADE EXPLOSION,
and plaster powders those glued to the floor. GASPS OF TERROR.
But the gunfire outside ceases.
CARLOS
My name is Carlos. You'll do as I
say.
His smile is cunning, mocking, and... familiar.
EXT. VIENNA AIRPORT - SNOWSTORM - MAGIC HOUR
We SEE an Air France jet liner touch down on the runway.
EXT. VIENNA AIRPORT - SNOWSTORM - MAGIC HOUR
Jack comes down the steps of the just-landed jet. The blizzard
whips around his face as he walks down the stair unit and
onto the tarmac, pulling his overcoat up around him.
EXT. AMERICAN EMBASSY, VIENNA - SNOWSTORM - MAGIC HOUR -
EST.
INT. OFFICE - AMERICAN EMBASSY - VIENNA - NIGHT
Behind the desk is CARL MICKENS, the CIA Station Chief --
tall, angular, cropped grey hair. He is in mid-conversation
with Jack Shaw who sits opposite him, his overcoat over the
arm of the chair in which he sits. He has obviously just
come from the airport.
MICKENA
...Twenty million dollars ransom.
JACK
Who's asking for it?
MICKENA
"The Arm of the Arab Revolution."
Alias of the month time.
(shrugs)
Could be anybody. The point is...
their leader claims to be Carlos...
JACK
He does, does he?
MICKENA
He wants to make sure everyone knows
it's him. He wants the credit and
the Austrians want a positive ID.
That's when your name came up.
JACK
Who brought my name up?
MICKENA
The guy who says he's Carlos. The
Austrians want you there to identify
him.
JACK
Where?
MICKENA
At the airport. Tomorrow. When they
provide the plane to fly him and the
hostages to Libya. Carlos evidently
feels very comfortable in Libya.
JACK
They got him here in their own
backyard and they're gonna let him
walk away?!
MICKENA
They've got no choice, Jack.
JACK
Bullshit! Let 'em handle it like the
Israelis would.
MICKENA
They're not the Israelis Jack. It's
not their fight.
JACK
Then let me take him out! They want
me to meet him at the airport. I can
get close enough to get a clear shot
at him. We can end this shit now.
MICKENA
Jack! He's got seventy hostages.
JACK
Fuck the hostages!
Mickens looks at him almost in horror. Jack knows he has let
down too much of the mask of professionalism as it were.
JACK
(apologetically)
Harold, we can handle it with a
minimum loss of life.
MICKENA
We will handle it with no loss of
life. Those aren't just any hostages.
They are the oil ministers of the
richest countries in the world, and
that twenty million bucks they're
gonna have to pay isn't gonna break
'em you know. It's nothing to them.
They just want to pay it and... it's
not our fight.
JACK
What do you think Carlos is gonna do
with that money? Put it in mutual
funds? He'll use it to hit us. Let
me assemble a team and we can...
MICKENA
Jack goddamnit, there isn't any team
to assemble! You're a fuckin'
dinosaur. We're out of the
assassination business. All of us!
You got a personal hard on against
this guy because he made you look
like an asshole and now he's gonna
rub your nose in it. I can appreciate
your feelings, but it's not going
down on our soil. It is not with our
nationals and it is not our fight!
Now I got my orders and you just got
yours.
INT. VIENNA INTERNATIONAL AIRPORT - VIENNA - NIGHT
Carl, Jack and various other CIA functionaries walk quickly
down the corridor with Austrian police and intelligence
officers. Jack carries a briefcase as do they all.
ANGLE ON - JACK
JACK
I gotta hit the john.
INT. MEN'S ROOM - VIENNA INTERNATIONAL AIRPORT - NIGHT
Jack stands inside of a stall in the men's room. He has just
crossed a certain frontier in his mind and stepped in to the
area known as no man's land. He quickly takes off his overcoat
and jacket and we SEE attached to his arm a harness made up
of straps and springs. He opens his briefcase and attaches
to the harness a .32 caliber Beretta. He fumbles with the
adjustments, racing against time. Finally, he seems to have
adjusted everything just so. Then he lowers his arm to his
side. Then he raises the right arm as if shaking hands and
the harness slams the .32 caliber Beretta from his forearm
straight into his palm.
He resets the gun back into the forearm position. He has a
look of grim determination on his face. The only question
is, is it the look of someone who is crazy enough to do what
he is contemplating.
EXT. VIENNA INTERNATIONAL AIRPORT - BLIZZARD - NIGHT
On the tarmac, an Austrian Airways DC9. TV cameras, lights,
generators are set up in front of the plane, sending beams
and pools of yellow light into the darkness and the snow
which swirls all around as a pool of REPORTERS stands ready
to record whatever is about to go down. Among a small group
of OFFICIALS is Jack Shaw. Everyone's eyes are on an
approaching yellow curtained bus.
ON BUS
As it gets closer, we can detect through its windshield a
white raincoat and a black beret. Carlos is standing by the
driver with a machine-pistol in one hand and a grenade in
the other.
CLOSE - JACK
His eyes strain to get a better look at the terrorist, his
arm down at his side.
BACK TO SCENE
As the bus parks by the DC 9, Carlos jumps out and waves to
the media. Not the customary V-sign, but the wave of a
celebrity... The hostages then, under their captors' guns,
file compliantly out of the bus and onto the plane. A line
of exhausted, bleary-eyed middle-aged men in expensive suits
and in need of a shave. Carlos however, is as fresh, alert
and energetic as the morning of the attack. And he's
definitely savoring the moment.
ON JACK
Tense, he tries to be inconspicuous as he leans towards
Mickens.
JACK
(whispering)
I think it's him, but I can't be
sure. Not with those dark glasses
and the beard...
ON CARLOS
Everyone on board, he too climbs the mobile steps and
disappears into the plane. Suddenly, he reemerges and comes
down to where the officials and Jack stand. As Jack watches
him intently, he faces the MINISTER OF THE INTERIOR. In the
window of the plane we SEE Koj holding a grenade to the
pilot's head.
ANGLE ON CARLOS
CARLOS
Minister of the Interior, I
presume...?
The distinguished-looking man, who looks a bit like Kurt
Waldheim, nods.
CARLOS
I'm sorry this had to happen in
Austria. We have no quarrel with
your government.
His eye catching Jack, he stops in mid-sentence. A devilish
smile crosses his lips as he turns towards him. He pulls a
cigarette out and crosses right over to Jack, up close and
as they say, very personal. The snowflakes whirl
surrealistically around them as the two stand face to face.
CARLOS
Pardon monsieur...
He mimes flicking a match. He takes off his glasses and looks
at Jack and smiles.
CARLOS
We were never really properly
introduced Mister Shaw. My name is
Carlos.
With a cunning, mocking smile he extends his hand out to
shake Jack's. Jack stares at him, ever so slowly beginning
to raise his hand. With that move he knows the gun will come
slapping into his palm and he will be able to take Carlos
out no matter what the cost.
JACK
(smiling)
Eat shit and die slow.
His hand starts rising. In another second the gun will spring
into it. Just then we hear:
MICKENA (O.S.)
Jack, no!
Jack turns to look at Mickens. Mickens indicates the
photographers.
MICKENA
You don't want your picture taken
shaking his hand.
Jack is momentarily confused. He has turned to Mickens
thinking perhaps he was calling out a warning and now the
moment for the shot has passed. He turns back to Carlos who
shrugs and steps over to the Austrian minister so that the
Minister now is between Jack and Carlos and the shot is lost.
CARLOS
(to the minister)
As I was saying, I'm sorry about the
loss of life. And thank you for your
cooperation.
Once again he sticks out his hand. Only this time, as the
cameras roll, Austria's Minister of the Interior shakes the
hand of the archterrorist in what will go down in history as
the "handshake of shame."
ON JACK
His eyes tell it all.
EXT. JERUSALEM - WESTERN WALL - DAY
We begin with an ESTABLISHING SHOT of Al Aksa Mosque and the
Mosque of Omar in Jerusalem. These are the two most famous
landmarks in Jerusalem's Old City skyline.
OVER THIS WE SUPER:
JERUSALEM - AUGUST
CAMERA then pans and tilts down and we are above the Western
Wall looking down on the bobbing black hats of Hassidic Jews,
the knitted skullcaps of more modern Orthodox, here and there
the olive shirt of Army uniform with M16 or Galil assault
rifle that sways in prayer as well.
CROSS DISSOLVE:
To the Jerusalem stone paving stones that make up the square
in front of the wall as we glide across the intersecting
lines of paving stones set one next to the other until a
glowing cigarette comes into view and then a foot which
crushes it out. There should be something in this sequence
that is reminiscent of our opening, a foreboding that just
as the cracks in the Parisian paving stones led us to Carlos
once before, perhaps these new stones will lead us once again
to some act of terror.
NEW ANGLE
to reveal a man standing in silhouette, the man who has just
crushed out the cigarette. We cannot see his face because he
has a camera to his eye.
NEW ANGLE - POV THROUGH THE CAMERA LENS
Through the lens of the camera just established we SEE an
old Rabbi praying at the wall. CLICK! The shutter captures
the shot.
BACK TO SCENE
The man in silhouette now lowers the camera and we SEE that
he is CARLOS! There is no mistake even though the nose,
perhaps is a little different and this time he is clean-
shaven, it is still Carlos the Jackals. He smiles slightly.
EXT. CHURCH OF THE HOLY SEPULCHRE
Busy photographing it, Carlos doesn't seem to notice the TWO
ARABS who watch him surreptitiously. He walks in front of
soldiers who laugh and look at us POV Carlos.
ANGLE
Carlos reaches into his pocket. Is he perhaps going for a
grenade to toss at these soldiers? We build tension as he
pulls out instead, another roll of film and with great
determination, we have the CLICK of the door of the camera
to enhance our music beat as tension builds. Surely it can't
be long till Carlos does something awful.
EXT. MOSLEM QUARTER - DAY
Carlos walks towards the Suq, working his way through the
crown from the Damascus gate as we reveal more soldiers in
the foreground, surveilling the area.
EXT. MOSLEM QUARTER - DAY
From the POV of the two Arabs following him, we SEE Carlos
lost, or pretending to be, as he ambles along through the
Suq, past all sorts of vendors hawking their wares. Heads of
fish are cut off with the swift slash of a knife in one stall,
freshly skinned lambs hang by their feet in another. Carlos,
still looking lost, approaches a street vendor hawking rosary
beads. We SEE them talk but cannot hear their dialogue.
Carlos walks on.
EXT. MOSLEM QUARTER - DAY
A group of children play an impromptu game of soccer.
NEW ANGLE - SAME SCENE - POV CARLOS THROUGH CAMERA LENS
We watch these innocent children playing. If this was a gun
sight they'd be dead. CLICK!
NEW ANGLE
It is Carlos who has taken the picture. His smile at the
sight of the children is no longer a subtle one. There is
some secret enjoyment here.
It's then, that he notices the Two Arabs tailing him.
CLOSE ON - CARLOS
He frowns.
Now what happens can be interpreted in one of two ways. Carlos
takes a turn down an alleyway that has at first a shop or
two, and then is nothing but deserted and foreboding alley.
He is either trying to shake the two Arabs or he has just
entered every tourist's nightmare: a deserted alley in a
foreign country with two bad guys. He quickens his pace. The
Arabs do too. Carlos now knows they're after him and he takes
off running.
EXT. MOSLEM QUARTER - DAY - CHASE SEQUENCE ANGLE
So do the two Arabs. Only now there are THREE MORE ARABS
coming after him.
MOVING
A tense, desperate CHASE in the Moslem Quarter's labyrinth
of twisted alleys and narrow streets. When his Arab pursuers
lose sight of him briefly, Carlos takes something out of his
pocket, some sort of ID and throws it in an alleyway.
EXT. SUQ - JERUSALEM - DAY
Carlos races through the Suq, past a group of Arabs who begin
heeding the call to prayer. They roll out prayer mats and
begin acclaiming in Arabic that there is only one God and
Mohammed is his prophet. Carlos grabs one of the canvas
awnings that shade the alleyways and this cafe. He rips it
off, trying to make an obstacle course between him and his
pursuers. He overturns trays of olives, sacks of sunflower
seeds, anything he can get his hands on.
NEW ANGLE
Carlos runs headlong into a copper serving platter that is
hanging on display. He is disoriented, terrified, and then
seemingly from out of nowhere, he is tackled, grabbed by the
Arabs and dragged to a dark alley between two stores. Carlos
is overcome and brought down to the ground. One of the Arabs
evidently has a deep dislike for Carlos and though Carlos is
subdued, he kicks the shit out of him.
CUT TO BLACK:
INT. WINDOWLESS CELL - DAY
This room is your worst nightmare in the Middle East. It
could be a cellar suite in Beirut, or an interrogation cell
in Damascus. There is no way of knowing. It is simply an
empty room with a large metal ring embedded into the floor,
to which Carlos is shackled. Battered and badly bruised,
he's obviously in great pain. The room's metal door SCREECHES
as it opens slowly and a new man whom we will call AMOS
enters. With him are two of the Arabs we've seen earlier.
They're bareheaded now, without their kaffiyehs.
AMOS
(accented English)
How do you feel?
He smiles.
CARLOS
(broken English)
I do not speak English.
(in Spanish)
Yo soy Cubano... de Cuba... Castro...
Su amigos... Amigos... Entiende?
AMOS
You spoke English well enough to
your contact... the street vendor...
so please let's not play games. We're
both professionals, Carlos.
CARLOS
(with heavy Cuban
accent)
My name... Ramirez... no Carlos.
AMOS
Yes, I know what your name is...
Illich Ramirez...
CARLOS
No Illich.
AMOS
Alias Carlos Sanchez, alias Carlos
Martinez, alias The Jackal.
CARLOS
(with heavy Cuban
accent)
Jou're loco man... No Carlos... I am
tourist...
Amos swoops down and with one hand pulls Carlos by the hair
over across his knee with his throat up and other hand in a
hammer lock. Amos brings his face down to Carlos.
AMOS
Listen to me you piece of shit. I'm
trying very hard to be professional
about this but you are in Israeli
hands now... So don't play games
with me... entiende hombre?
Carlos whose neck is stretched back like a goose about to be
slaughtered can barely croak out an answer.
CARLOS
Okay.
Amos loosens his grasp and straightens up. Carlos winces in
pain from broken ribs. As he speaks it is now unaccented
English, just the slightest trace of Spanish background.
CARLOS
You... You're telling me you're
Israelis... not Arabs?
(relieved)
I'm in some kind of an Israeli
prison... is that what you're telling
me?
AMOS
Amazing how much your English has
improved in just a few seconds...
CARLOS
(trying to be very
reasonable)
Look, obviously there has been some
kind of mistake. I don't know who
you think I am, but I am a Lieutenant
Commander in the United States Navy,
okay? I am Lieutenant Commander
Annibal Ramirez of the U.S.S.
Yorktown, Sixth Fleet, docked in
Haifa. I am not Carlos or Sanchez or
Illich or the Jackal or whoever you
think you just caught. If you call
the U.S. Embassy and ask for the
Sixth Fleet Liaison Officer, he'll
confirm everything I've said.
He is not pushy, just firm and decisive.
AMOS
Remarkable... remarkable
performance... the chutzpa of it is
unbelievable... my hat is off to you
Carlos.
Carlos, who from now on out will be referred to by his real
name, RAMIREZ, has had it with the reasoned approach. He now
adopts the demeanor of a U.S. Naval Officer reaming an
enlisted man a brand new bunghole.
RAMIREZ
Your hat's off?! I'll tear your head
off! You get on the horn and you
call the U.S. Embassy and you call
the Sixth Fleet Liaison Office and
then motherfucker you go out and
find yourself a good lawyer and I'll
tell you somethin' Jack, I'm gonna
sue your ass so bad that your great
great grandchildren will still be
shovelin' shit to pay off the debt!
Amos is doing his best to look unflappable.
AMOS
Carlos... give me a break, huh? If
you were an American officer you
would have... ID papers, dog tags.
RAMIREZ
I ditched 'em in an alley just before
you guys got me. Go back there you'll
find 'em.
AMOS
You ditched them.
RAMIREZ
Per instructions... An American
officer on shore leave in the Middle
East must travel in mufti, civilian
clothes. A bunch of Arabs start
chasing me... could be terrorism...
could be kidnapping... instructions
are to ditch our tags, our ID or
anything else that could identify
us. That's why I spoke Spanish, that's
why I said I was a Cuban, not an
American. And you broke my ribs here
asshole. I'm gonna sue you, I'm gonna
sue your government... I'm gonna sue
every fuckin' Jew I can get my hands
on you, understand me?!
INT. CORRIDOR OUTSIDE RAMIREZ'S CELL - RUSSIAN COMPOUND -DAY
Amos walks down the corridor. For the first time, he looks
the tiniest bit concerned.
RAMIREZ
(shouting after him)
I'm gonna sue Menachem Begin, I'm
gonna sue Moshe Dayan, I'm gonna sue
the goddamned B'nai B'rith or whatever
you call it.
INT. AMOS' OFFICE - JERUSALEM - DAY
Amos sits in his office looking very worried. A long-haired
baby-faced agent comes in. He could pass for a typical student
traveling on holiday. His name is YONI.
YONI
Sir?
AMOS
Yoni... I want you to go back to the
old city... where we caught...
Carlos... I want you to be very
inconspicuous. Take a half dozen
men... you comb every alleyway
there... every garbage can...
everything you can find... for what
looks like a U.S. military ID if
there is such a thing there.
YONI
What's the problem?
AMOS
Who said there was a problem? There's
no problem. I just asked you to do
something and you're going to do it.
So there's no problem.
EXT. ALLEY OF OLD CITY JERUSALEM - DAY
Yoni and half a dozen plainclothed Shin Bet agents walk
through the alley looking around. Yoni is dressed like a
long-haired backpacking student; others dressed like Arabs,
others like tourists. As inconspicuously as possible, they
search alleys and trash cans like the homeless searching for
food.
INT. AMOS' OFFICE - JERUSALEM
Amos sits at his desk. Just then Yoni walks in. Amos looks
up.
AMOS
Nu?
Yoni puts a U.S. Navy ID complete with photo and a set of
military dog tags on Amos' desk.
ANGLE - CLOSE ON THE ID
It identifies its bearer as Lt. Commander Annibal Ramirez
U.S.N. There is a picture of Ramirez in the upper corner of
the ID in uniform.
ANGLE ON AMOS
He holds the ID and then sits back in his chair defeated and
lets out a very Jewish sigh.
AMOS
Oyyyy.
CUT TO:
INT. CIA HEADQUARTERS - TERRORISM SITUATION ROOM - DAY
This is a high-tech, ultra modern chrome and glass room which
features a map of the world etched in plexiglass with
terrorist hot-spots marked prominently. On the glass as well
is the logo of the CIA. In this Situation Room we find WINSTON
SCOTT III, a 50-year-old pin-striped suiter who appears to
be amused. With him is Monroe, his Black deputy and Jack. In
front of Jack, spread out on the desk is a file on Ramirez.
We SEE it as Jack does. Notes on the interrogation, Polaroid
photos of Ramirez in custory and the developed pictures from
the roll of film which Ramirez was taking in Jerusalem. Jack
listens to Scott and Monroe, but as he does he is taking in
all the information in Ramirez's file, making no judgments,
just taking in information.
SCOTT
I love it! Those cocky Israeli
bastards thought they hit the jackpot.
Got the Jackal right in their own
backyard...
MONROE
State Department's goin' apeshit.
And the Navy... Admiral Trost was so
pissed he was ready to shell the
port of Haifa.
Jack, however, isn't sniggering. He's thinking hard as he
looks at all the information on the desk.
JACK
You're not gettin' it are ya?
SCOTT
What?
JACK
These weren't some yokels... This
was the Israeli General Security
Service... The Mossad. The best in
the business. They have the most
complete dossier there is on Carlos,
the latest pictures of him...
everything. I mean what's that tell
you?
SCOTT
That they really ate it this time.
JACK
Scott... doesn't it hurt to walk
around like that with your head up
your ass... I mean isn't it painful?
His eyes glance down to the pictures, especially the photos
of the children. Something begins to click.
EXT. NORFOLK, VA - DAY
SUPER: NORFOLK, VIRGINIA
EXT. T-BALL FIELD - NORFOLK, VA - DAY
Almost nothing is as cute as 3 foot 5 inch 6-year-olds
struggling to play the most elementary form of baseball, T-
ball.
ANGLE ON - 6 - YEAR-OLD JOEY RAMIREZ
He is the first baseman and he is intent upon the batter who
stands at the T.
ANGLE ON - THE PARENTS
cheering their kids on. Amongst them we recognize MAURA,
Annibal Ramirez's wife, who is cheering for her son's team.
She holds a ten month old baby as she cheers.
NEW ANGLE
on Annibal Ramirez, resplendent in his summer whites, his
face still showing the faintest remnants of bruises at the
hands of the Israelis. He holds his sea bag in his hand.
There is a waiting taxi behind him as he strides over towards
the baseball diamond.
ANGLE ON - JOEY
He sees his father just as the batter hits the ball.
JOEY
Poppi!
The pitcher scoops the grounder up and tosses it to Joey
whose eyes however have lit up at the sight of his sailor
father home from the sea so the ball hits him in the side of
the head and he goes down. Ramirez wants to rush out to his
son, but Joey straightens himself up quickly, not wanting to
be embarrassed by an over-protective parent.
ANGLE ON - MAURA AND RAMIREZ
Maura has followed her son's gaze at Ramirez and feels no
embarrassment whatsoever as she runs into his arms, still
holding her baby. She kisses him.
MAURA
I thought you weren't coming back
till tomorrow...
RAMIREZ
I wanted to be here for his game.
Look how beautiful she is!
He picks up the baby and kisses her.
RAMIREZ
Just like her mother.
MAURA
What happened to your eye?
RAMIREZ
Nothing. Just fell. It doesn't matter.
I'm home.
EXT. RAMIREZ'S HOUSE - NORFOLK - A MONTH LATER - DAY
It's a stucco, single-level structure in a clean, middle
income neighborhood. Jack Shaw pulls up, crosses out of his
car and knocks on the door. The door opens revealing Ramirez
in a T-shirt and pair of sweats. Jack looks at his face, the
unmistakable face of Carlos.
RAMIREZ
Joey watch Yolanda... okay?
JACK
Jesus...
RAMIREZ
I beg your pardon?
JACK
Lieutenant Commander Ramirez my name
is Jack Shaw... I'm with the
government... I'd like to talk to
you about what happened in Israel.
CUT TO:
EXT. RAMIREZ HOUSE - BACKYARD - NORFOLK - DAY
ANGLE - CLOSE ON
the barbeque's coals which burst into flame as fluid and
then match are applied. OVER this we hear
RAMIREZ
I want to sue them, okay? I want to
sue the guy who broke my ribs. I
want to sue their government and
their Mossad... and I want to sue
Golda Meir!
NEW ANGLE - ON JACK AND RAMIREZ
They stand at the barbeque as Joey plays shooting hoops.
Ramirez holds Yolanda. Ramirez and Jack speak quietly.
JACK
Mrs. Meir is dead, Lieutenant
Commander.
RAMIREZ
Then you might want to have them dig
her up because I intend to sue her.
Jack chuckles.
JACK
Commander Ramirez when I said I was
from the government, perhaps I should
have been more specific. I'm from
the CIA.
Jack reaches down, opens his briefcase and pulls out a large
photo album-like briefing book. He opens it up and hands it
to Ramirez. On the first page there is an 8×10 enlargement
of a photo of Carlos entering a building. It is grainy but
it certainly looks exactly like Ramirez.
JACK
Does the man in that picture look
familiar?
Ramirez looks at the picture with the same look on his face
that Jack had when he saw Ramirez for the first time.
YOLANDA
Poppi...
RAMIREZ
That's not me... I mean I know it
looks like me... but...
JACK
I know it's not you.
RAMIREZ
It's... this Carlos guy.
Just then, Joey yells from the tree he's in. Jack
automatically hides the picture as if the kid were from a
rival intelligence agency.
JOEY
Poppi, you don't need to watch the
fire, come climb with me.
RAMIREZ
Get out of that tree, Joey. Your
mother sees that and I'm dead.
Now when Jack speaks it is more guarded and in even quieter
tones.
JACK
This is the only recent shot we have
of him... telescopic lens from half
a mile away taken by the Israelis.
Can you blame 'em for what happened?
The only difference is the eyes.
Ramirez looks at the picture in shock at the resemblance.
RAMIREZ
Okay I get it now, you're here to
talk me out of my lawsuit. But see I
identified myself but they kept me
in that cell for two more days chained
to that wall after I told 'em who I
was so...
JACK
Lieutenant Commander, I am not here
about your lawsuit. Carlos is the
single most vicious terrorist in the
world. He's personally carried out
or masterminded the worst terrorist
attacks in modern history. Men, women,
children. Children like yours...
blown to bits or slaughtered in cold
blood. Annibal... why did you join
the Navy?
RAMIREZ
(as if by rote)
To serve my country.
JACK
To serve your country... to protect
her from her enemies. Well Carlos is
one of her enemies now. And he'll
probably become a bigger one...
terrorism... unfortunately is a growth
industry.
RAMIREZ
Why are you telling me all this?
JACK
Lieutenant Commander, the governments
of most countries in the free world
have been after Carlos for ten years
and we have nothing to show for it.
There is exactly one person in the
world who can help us get Carlos.
And that person is you.
RAMIREZ
What do you mean... to get him?
JACK
All I can tell you is it may take as
much as six months to a year of
preparation. It will involve a high
degree of risk. That much said, you
may never as much as lay eyes on him
yourself. But if we succeed Carlos
won't be a threat to anyone anymore.
Now I know you're going to need some
time to think about it so...
RAMIREZ
No I don't need any time. The answer's
no.
JACK
Annibal...
RAMIREZ
Lieutenant Commander... I am a Naval
Officer... that's what I was trained
for... that's what I'm good at...
See you came to the wrong address.
You want James Bond. He lives in
London and he's got an Aston Martin.
You can't miss him.
We HOLD on Ramirez's look and Jack's half-smile.
INT. OFFICERS' CLUB - NAVAL BASE - NORFOLK - EVENING
The Officers' Club is decked out for a reception for ADMIRAL
CRAWFORD. All the officers are in dress whites and all the
wives wear white gloves and cocktail dresses as a Navy string
quartet plays softly in b.g. There is a reception line and
the Admiral stands with his aide who introduces each of the
guests who pass through the line.
NAVAL AIDE
Admiral Crawford this is Commander
and Mrs. Ward Scowcroft.
CRAWFORD
I know your family well, Commander,
I was with your father at the Academy.
I expect great things from you Ward...
great things.
SCOWCROFT
I won't let you down sir.
Next up are Ramirez and his wife Maura.
NAVAL AIDE
Admiral Crawford this is Lieutenant
Commander and Mrs. Annibal Ramirez.
CRAWFORD
Annabelle?!
RAMIREZ
(smiling)
It's Annibal sir.
CRAWFORD
Yes... of course... well ... I'm
glad to see we're getting some Mexican
American officers in the ranks. I'm
an L.A. boy myself so I have a real
soft spot for authentic Mexican
food... My stomach doesn't always go
along with it but...
MAURA
We'd love to have you over to dinner
Admiral but the cuisine would be
Cuban not Mexican. I think your
stomach would find it more
agreeable... not to mention your
taste buds.
CRAWFORD
You're Cuban Americans... oh I'm
sorry... you grow up in L.A. and you
hear Ramirez and... anyway it was a
pleasure meeting you.
He looks uncomfortably over to his aide who gently keeps the
line moving. CAMERA FOLLOWS ANNIBAL AND MAURA DOWN THE
RECEPTION LINE. There in front of them is Jack in a white
linen suit.
JACK
We do keep bumping into each other
don't we. How do you do, Mrs. Ramirez?
I was over at your lovely home the
other day but I felt cheated because
I had to leave before I had the
pleasure of meeting you.
MAURA
The pleasure is mine...
JACK
Para servirle, Yo soy encantado de
conocerte.
MAURA
Encantada Senor...
JACK
Shaw... Jack Shaw.
MAURA
Senor Shaw. Mucho gusto.
RAMIREZ
My wife speaks English Mister Shaw...
so do I.
JACK
Perdonname, I didn't think you'd be
embarrassed to speak Spanish in front
of the Admiral. A sus ordenes.
ANGLE ON
THE BAR - Ramirez stands at the bar.
RAMIREZ
(to bartender)
I'll have a club soda and... uhh...
a glass of white wine please...
Jack steps up behind him. Jack holds a small wrapped package.
JACK
Let me guess the white wine is for
your wife right? Cause you're afraid
to drink anything stronger than club
soda around the brass. How do you
stand this shit Annibal? I mean
they're all so fuckin' constipated.
RAMIREZ
My wife is waiting for her wine...
if you'll excuse me.
Jack stands in front of him blocking his way.
JACK
Oh there's a fiery retort.
RAMIREZ
(under his breath)
How about fuck you.
JACK
I'd believe it if you said it a little
louder...
Ramirez controls his anger which is starting to show through
in the bulging veins.
JACK
Look at these guys. You don't belong
with them. You belong with me. What
did Darth Vader say to Luke? Come
over to the dark side? You have no
idea of the power we have.
RAMIREZ
Hey... I told you I didn't want
anything to do with you.
JACK
How's it going to look in your jacket?
Your country came to you requesting
help and you turned it down. Not
exactly promotion material, know
what I mean? These people don't want
you in their club, Annibal. I do.
RAMIREZ
The answer is no. That's the end of
it.
EXT. RAMIREZ HOUSE - DAY
We open on a shot of the front door. The doorbell is rung
and the door opens after a beat, revealing Ramirez. We don't
yet see who is at the door.
RAMIREZ
Oh Jesus... what do you want?
NEW ANGLE
Revealing it is Jack who is at the door.
JACK
I want you to come with me.
RAMIREZ
Well then get set for disappointment.
JACK
Okay. Then you are ordered to come
with me.
RAMIREZ
You can't order me to do shit.
Just then the cellular phone which Jack holds rings. Jack
smiles and holds out the phone to Ramirez.
JACK
It's for you.
Ramirez takes the phone, totally faked out. He presses the
"send" button and gingerly says...
RAMIREZ
(into Cell phone)
Hello... who? Oh... yes sir... Yes
sir... Yes sir... Yes sir. I will...
yes sir.
We HOLD for a beat on Ramirez's look at Jack who stands there
unable to keep from smiling.
CUT TO:
EXT. BETHESDA NAVAL HOSPITAL - DAY
A helicopter lands in its air ambulance spot outside the
Emergency Room entrance of Bethesda Naval Hospital. Out step
Ramirez and Jack. They cross over to the hospital entrance.
We SEE a sign on the wall identifying this as BETHESDA NAVAL
HOSPITAL - EMERGENCY ROOM ENTRANCE.
INT. BETHESDA NAVAL HOSPITAL - DOCTOR'S LOUNGE - DAY
Jack is there with Ramirez. He hands Ramirez a white lab
coat and puts one on himself. Ramirez's coat has a tag he
doesn't even notice, which says: DR. RAMIREZ on it.
RAMIREZ
What's this?
JACK
Put it on.
RAMIREZ
Why?
JACK
Because I just told you to. You need
a phone call for that, too?
Ramirez resignedly puts the coat on.
INT. BETHESDA NAVAL HOSPITAL - CORRIDOR - DAY
Jack and Ramirez walk down the corridor.
JACK
The boy was flown here from Germany.
His parents are U.S. military
personnel. Navy family. A bomb was
planted in a grocery store that was
frequented mainly by U.S. military
dependents. They believe it was Carlos
or one of the Cells he runs. How old
is your kid?
This last is asked almost as an afterthought.
RAMIREZ
(quietly)
He's six.
JACK
Hmmph... so is this kid.
INT. INTENSIVE CARE - HOSPITAL - DAY
In the hospital bed is a six-year-old swathed in bandages.
The child is pitiful with IVs sticking in him and tubes
running underneath the bandages, and a heart monitor beeping
weakly above him. His parents sit next to his bed. The father
wears the khaki uniform of a Naval Lieutenant.
NEW ANGLE
ON Jack and Ramirez. They watch this scene through the little
window in the door and then they enter the room.
BACK TO SCENE
The parents turn to them as they enter. The parents wear the
look all parents wear in their children's hospital rooms at
the signt of the doctor who may be able to save their child's
life. A look of hope. A look of desperation.
FATHER
Hello Doctor Shaw. Is this... Is
this the Specialist you told us about?
JACK
Doctor Ramirez, Lieutenant and Mrs.
Newcomb... the parents of the child
who was wounded in the terrorist
attack.
Ramirez's eyes dart in panic from Jack to the Newcombs. They
stick out their hands. Finally, he offers his.
FATHER
You're the one who's going to do the
surgery.
JACK
He's going to help out.
FATHER
They told us you were the best person
in the world to do this.
JACK
He's the only one.
Jack turns to Ramirez.
JACK
Here's the boy's chart, Doctor. As
you can see, one kidney was destroyed
by the shrapnel. There's a large
perforation in the left lung, the
spleen, the large intestine, the
stomach lining were all torn. There
are over a hundred individual shrapnel
fragments. It was obviously designed
by Carlos to maim, not to kill.
HOLD on Ramirez's look of helplessness which turns to anger.
INT. HOSPITAL CORRIDOR - DAY
Ramirez and Jack walk down the corridor. Ramirez is tearing
off the lab coat.
RAMIREZ
What kind of a sadistic son of a
bitch are you? You use those poor
people... you use anything to get
what you want.
Jack reaches into the large pocket of his lab coat and pulls
out a small photo album, the kind families use to put in the
3×5 photos of their vacations. He puts it into Ramirez's
hand.
JACK
To get what I want?
He hands him the photo album.
JACK
These are pictures of just some of
Carlos' victims. Most of them are
children. We haven't had time to get
that kid's picture in yet. Up until
I heard about you, all we could do
about Carlos was take pictures of
his victims. I wasn't lying to those
people. You are the only one who can
do anything about Carlos. I'm not
the bad guy, Annibal. Carlos is. I'm
just trying to make you see the
choices.
Ramirez is still too angry to speak.
JACK
Who are you angry at? Me for bringing
you down here or Carlos for blowing
up that kid? Which of us deserves
your anger?
INT. RAMIREZ HOUSE - STUDY - NIGHT
Ramirez sits at his desk looking at the presentation book
Jack gave him. The study is a reflection of the man, Navy
pennants, photos, ships in bottles, family photographs. He
is very much at home in this sanctuary.
INTERCUT
Photos of victims. Bloodied children, women, men, each
atrocity labeled with the place of the attack and number of
dead and wounded.
Just then there is a knock at the door. Ramirez closes the
book and covers it with a newspaper as his wife Maura enters
wearing a very sexy teddy with a short robe over it, giving
off the promise of a wonderful night of conjugal bliss.
MAURA
What are you doing?
RAMIREZ
I was just reading some... manuals...
She bends down and kisses his neck.
MAURA
Read 'em on the Navy's time... this
is my time...
She sits into his lap, they kiss and the robe slips down off
her shoulders. He kisses her more passionately now.
INT. CHILDREN'S ROOM - RAMIREZ HOUSE - NIGHT
Ramirez enters. He is wearing a robe, having just gotten up
out of bed. It is perhaps, one in the morning. Joey is asleep,
holding a stuffed animal. The baby is asleep in her crib
looking like a little angel. Ramirez pulls the cover up on
the baby and pats her gently so as not to wake her and then
bends down and kisses his son.
EXT. NEW LONDON, CONNECTICUT - SUBMARINE BASE - DAY
WE SUPER THE WORDS: "NOVEMBER, 1986"
Ramirez pulls up in a car with his wife and two children. He
is wearing his khaki uniform and carries a sea bag. He
embraces Maura.
RAMIREZ
You'll see... it'll go by fast.
MAURA
Not fast enough.
Ramirez bends down to hug Joey.
RAMIREZ
You take care of Mommy, okay?
JOEY
But why do you have to go?
RAMIREZ
Well they're finally giving me my
chance to go into subs... that's
what I've always wanted you know...
JOEY
New color subs...
RAMIREZ
Nuclear...
JOEY
Is there going to be a war, Poppi?
RAMIREZ
Not if I can help it.
JOEY
Then why do you need to go away?
RAMIREZ
Because sometimes countries need
soldiers and sailors to be on guard
so there won't be a war... So all
the little children like you and
baby Yolanda will be safe.
JOEY
Why can't somebody else's Daddy go
on the sub and you could stay here
and go to my games?
RAMIREZ
Because I'm the one they asked and
I'm the one who knows how to do the
job.
He kisses Joey, stands up and kisses Maura and the baby she
holds and walks past the guard gate, showing his ID as his
wife and children wave.
EXT. AERIAL SHOT - MONTREAL, CANADA - DAY
Montreal is an island in the middle of the St. Lawrence. It
is a city part way up a mountain, Mount Royale. We TRACK a
car as it drives up out of the city, up the mountain to of
all places, a cemetery which sits at the foot of a deserted
prison that looms above it. The cemetery like the prison is
deserted. There can be no more desolate place than a graveyard
full of long-dead prisoners whose prison has long since been
shut down.
WE SUPER THE FOLLOWING WORDS: TEMPORARY CIA SAFE HOUSE -
MONTREAL, CANADA
EXT. ROAD LEADING TO CEMETERY - DAY
We SEE Jack's car with him and Ramirez in it driving into
the cemetery. As it does, it crosses in front of a video
camera inconspicuously placed in a tree.
CUT TO:
EXT. CEMETERY TO ABANDONED PRISON - MONTREAL - DAY
A camera mounted atop a light fixture pans with Jack's car
all the way up to the prison entrance. Signs on the prison
proclaim that it is closed and that trespassing is forbidden.
As Jack pulls up at the prison, a plainclothed operative
comes out and as Ramirez and Jack pull Ramirez's bag out of
the car, the operative slips into the driver's side and whisks
it away. The ground around the area is full of snow that has
not been plowed so the look of desertion is complete.
INT. OBSERVATION ROOM - MONTREAL - DAY
There is an observation tower in the middle of the room which
has become home to the pigeons who now flap noisily out of
it as Jack crosses with Ramirez. The place has the look of
an impromptu military encampment in a bombed out wreck of a
building. In the observation room are several nondescript
types. Jack shows Ramirez in.
JACK
This is an ad hoc operation set up
specifically for your mission. When
that's over, not even a trace of it
will remain. You don't need to know
anyone's name. And from now on, your
name is Miguel... Security.
RAMIREZ
So your name really isn't Jack Shaw?
JACK
(smiling)
Of course it is.
INT. CORRIDOR - OFF OBSERVATION ROOM - DAY
Jack walks Ramirez down the corridor. They pass the
Surveillance Room, the small cell with its satellite dish
and single computer terminal and operator established earlier
as Technician #1. From here, cables snake their way along
everywhere. The place has the look of a mobile high-tech spy
station that just happens to be set up in a former prison.
Ramirez looks around. The idea of being in a prison is
obviously uncomfortable for him.
JACK
Your mother is Irish... Irish
American.
RAMIREZ
Yes.
JACK
Something wrong, Miguel?
RAMIREZ
...No... not really.
JACK
Your father was in a Cuban prison if
I'm correct.
Ramirez turns and looks at him in surprise.
JACK
Your mother used to take you to visit
him there, didn't she?
RAMIREZ
(quietly)
Yes.
JACK
I'm sure that's a disturbing memory.
He looks Ramirez straight in the eyes.
RAMIREZ
You didn't set this up in a prison
because it was the first piece of
real estate you were shown, did you,
sir?
JACK
Let's just say everything has its
purpose. And Miguel... no one is to
know anything about you other than
that you're our student. So don't
call me sir, because it's like wearing
a sign on your forehead that you're
military. From here on out forget
the Navy.
RAMIREZ
Yes sir... Gotcha...
INT. COMMAND ROOM - ABANDONED PRISON - DAY
Jack and Ramirez walk along until they come to a site which
could as easily be in a space station on the dark side of
the moon. There in the middle of a huge room looms a plastic
enshrouded satellite tracking system. The plastic hangs down
from the roof encapsulating this area to protect all of the
state of the art computer equipment from the dust. Inside
this plastic shrouded space we SEE technicians at monitors
which display every approach to the prison as well as monitors
which display the surveillance images transmitted back via
satellite.
JACK
This is our surveillance and satellite
tracking center. Just as we are
plotting to destroy Carlos, if he
knew what we're trying to do, I assure
you he'd try to find a way to kill
us first.
INT. PLASTIC COVERED COMMAND CENTER - ABANDONED PRISON -DAY
Jack pushes through the plastic shroud into a command center-
like room. He and Ramirez enter. This place is high-tech,
computers and neon lighting.
JACK
Carlos has two main safe houses. One
in Libya, one in East Germany. We
have satellites that pass over each
one three times a day. Unfortunately,
the Russians know exactly when our
satellites are in position so we
have to assume that Carlos knows as
well.
They cross over to the satellite tracking monitors which
display both the Libyan and East German safe houses. Sitting
in front of one of the monitors is Amos, typing controls
into the satellite tracking system.
JACK
There's one person I want you to
meet, though I think the two of you
have already been introduced.
Amos now turns and comes around to Ramirez.
AMOS
Hello Miguel... My name is Amos.
Ramirez stares at him.
RAMIREZ
Oh yeah... I didn't recognize you
without my foot chained to the floor.
AMOS
I hope there are no hard feelings.
RAMIREZ
There are a lot of hard feelings.
And I'm still gonna sue you when
this is over.
JACK
Miguel, this is a combined Israeli-
American operation. Amos here knows
Carlos better than anyone in the
free world. He was the one who took
that picture of Carlos in Libya.
RAMIREZ
If you could get a picture of him
why didn't you just kill him?
AMOS
Don't let all this equipment fool
you. Carlos still has the home court
advantage. He has the best protection
in the world... three layers at least
at all times. Next and maybe most
important... Carlos himself. The
French DST came to arrest him once.
He was at his apartment, drunk,
playing his guitar. He actually had
them convinced it was all a mistake.
Then he went into his bathroom, took
a shave mind you so he would look
his best for the interrogation and
when he came out managed to shoot
each of them through the forehead.
Then he got the informer who had
betrayed him, put him down on his
knees and killed him... Think of it.
He took a shave and didn't even nick
himself once.
Amos is quiet, lets that sink in.
AMOS
Finally, there are political
realities. Whoever hits Carlos has
to realize that he'll unleash against
himself a fanatical wave of terrorist
activity in retribution.
JACK
That by the way, is the last question
you're going to ask. From now on
you'll get information when and how
we want you to get it. Not before.
You don't ask questions, you just do
what you're told.
EXT. CEMETERY - MONTREAL - SUNSET
Amos, Jack and Ramirez walk amongst the tombstones. Jack and
Amos have warm coats. Ramirez does not. He shivers in the
cold, but tries not to show his discomfort.
AMOS
This is going to be unlike any
learning experience you've ever had
before. For one thing, we're going
to push to all your limits. Fatigue,
frustration and fear. We're going to
make you more terrified than you've
ever been in your life just to see
how you handle the fear. Any other
learning experience you get things
ninety- nine point nine nine nine
percent right you get an "A." Here
if you get things ninety-nine point
nine nine nine percent right... you
get...
Jack walks right up to Ramirez and mimes a gun with his thumb
and index finger and puts it right up to Ramirez's temple
and goes...
JACK
Dead! And I'll tell you the truth. I
honestly in my heart of hearts don't
care whether you live or die. Don't
take that personal. I don't care
whether I live or die. I do care
about getting Carlos. That's all I
care about.
RAMIREZ
But nothing personal, right?
AMOS
I'm not as cold-blooded as my American
friend... it would bother me very
much if you were dead... so we will
teach you to stay alive... but no
questions... just do. Otherwise...
He puts the imaginary gun to Ramirez's temple.
RAMIREZ
When do we start?
JACK
You already have. What were the names
on the last three tombstones you
passed on your right?
RAMIREZ
I... I don't know, I wasn't looking.
I wasn't paying attention.
JACK
That's what will get you killed.
Carlos is always looking... always
paying attention. Always.
AMOS
Because Carlos is the master of the
techniques of survival which we will
teach you and because he is an
efficient killer for whoever employs
him, then for him there are simply
no rules. Unlike you Miguel, you're
a rule follower, aren't you?
Ramirez says nothing.
AMOS
Carlos is the opposite of that and
that's what's so seductive, you know?
He can kill whomever he chooses...
ravish whoever he chooses... take
whatever he chooses. Do... whatever
he chooses. It is to be in many ways
a superman, not bound by the mores
or morals of humanity.
JACK
And if you learn what we can teach
you, you'll be one, too. If not,
you'll be dead.
INT. ABANDONED PRISON - CAFETERIA - THE NEXT MORNING
It is a huge, empty room. Ramirez sits at the lone table as
Amos enters. Ramirez is eating a bowl of porridge. His breath
steams out in the cold. The room is freezing but instead of
a warm jacket, he wears light prison overalls.
AMOS
Good morning. How's the porridge,
you like it?
RAMIREZ
'Morning. It's not bad.
He finishes what's left in the bowl. Amos reaches over to a
side warming table. There is a huge pot of porridge there.
AMOS
Good... finish everything in the
pot.
RAMIREZ
There's got to be like... eight
helpings in there maybe...
AMOS
No questions... Just do.
From now on, unless otherwise indicated Ramirez is in the
too-tight shirt and tie and light jacket.
Jack is in the distance, observing.
INT. OBSERVATION ROOM - ABANDONED PRISON - DAY
Ramirez is doing furious situps, hanging off the balcony of
one of the tiers, with his feet linked under one of the bars
so that as he does his sit-up it is over an abyss. Amos stands
in front of Ramirez, puffing on a cigar as he speaks, so
that Ramirez is gulping in breaths of cigar smoke as he
exercises.
AMOS
Name and place of birth!
RAMIREZ
Illich Ramirez. Caracas, Venezuela.
AMOS
Your father?
RAMIREZ
Doctor Jose Altagracia Ramirez... Do
you have to smoke that cigar?
AMOS
Yes.
There is a silence between them. This is obviously the end
of that subject. Then Amos goes on.
AMOS
Carlos' father abandoned him and his
mother because he wanted to be a
playboy. Your father abandoned you
in effect, when he was sent to prison.
Either way, it's a lonely child
missing his father. I want you to
take what you know of your real father
and superimpose it onto this the
image of Carlos' father, so when you
talk of one you are talking of the
other with the same emotion... the
same love, the same resentment...
the same sadness, the same anger.
CUT TO:
EXT. CEMETERY - MONTREAL - DAY
As Jack and Ramirez walk toward the cemetery, we SEE Ramirez
who wears a lightweight white parka so that he shivers in
the cold in contrast to Jack's heavy winter gear. Ramirez
carries what appears to be a gun.
JACK
You need to not only remember the
names on every tombstone, but where
they are so when I call out a name,
you whirl and shoot.
They walk into a scene that is completely surreal. Standing
behind every tombstone is one of the crew of trainers.
Each man wears a white parka and white pants against the
freezing cold. In the center of their impromptu circle stands
Ramirez, also wearing white, but of much lighter material so
that he shivers in the cold. All of them including Ramirez
hold paint pellet guns. It is a cemetery full of living
targets which can shoot back. Jack stands outside the circle.
RAMIREZ
It's kind of cold. You think I might
be able to borrow a warmer jacket
from someone?
JACK
Brisson! We don't want you to be
comfortable. That's just what will
get you killed.
Ramirez hesitates a moment, trying to remember where the
tombstone with the name "Brisson" is. The trainer who stands
behind the "Brisson" tombstone has no such hesitation. He
fires at Ramirez and an ugly black splotch of paint explodes
on Ramirez's white suit. Ramirez shakes his head in
frustration.
JACK
DuPres! Paquet!
Ramirez whirls, misses one, is hit again with another black
splotch but hits the Paquet tombstone square in the chest
with a black splotch of his own.
INT. KITCHEN SET - PRISON - DAY
In the middle of a huge room, a movie set has been erected.
There are flats supported by sand bags which form the "set"
of a kitchen. The set is perfect in every way but its position
inside of a huge prison hall lends a quality of the macabre,
since no movie is being shot here and no audience will ever
see these performances. Jack is there with Ramirez. He opens
the refrigerator and Ramirez looks inside as Jack times him
on his watch, then closes the refrigerator. Ramirez sneezes.
He has caught a cold but must ignore it.
RAMIREZ
Top shelf... some milk, some juice,
maybe some cottage cheese, a couple
bottles of beer, some tomatoes... I
don't know...
JACK
What kind of milk, how many cartons,
open or closed, what kind of juice,
how full was the bottle, was it
cottage cheese or cream cheese, how
many bottles of beer, how many
tomatoes? This is life and death!
Jack opens the cupboard.
JACK
Look here... Ten seconds, how many
cups, saucers, plates, look this
time!
INT. CAFETERIA - ABANDONED PRISON - MONTREAL - DAY
Ramirez sits practicing his Venezuelan accent in English,
repeating phrases he hears from a native speaker on a tape
recorder as he eats another of the interminable bowls of
porridge.
EXT. CEMETERY - MONTREAL - DAY
Ramirez once again stands in the center in his lightweight
white parka surrounded by trainers in heavy white parkas.
Jack is nearby.
JACK
Here's the thing about Carlos. He
doesn't fit any mold. His father is
an extraordinarily wealthy playboy
who's a Marxist at the same time...
DuFraisne!
Ramirez whirls and misses and is hit by the trainer. Jack
shakes his head and continues.
JACK
The guy's such a fanatic he names
his three sons after Lenin. And I
don't mean John. The same thing is
true for Carlos. He's a guerilla
fighter who loves champagne and
caviar... LaPierre!
Ramirez whirls and hits the trainer in his shoulder at the
same time that he himself is hit. Jack's look betrays no
emotion.
JACK
He doesn't want to be Che Guevara,
he wants to be the James Bond of the
People's Liberation Front. It's not
so much radical chic as an excuse
for sadism. Paquet!
As he says this last, Ramirez whirls and shoots another
trainer, dead in the chest. Ramirez smiles. He is beginning
to enjoy playing terrorist.
EXT. DIRT ROAD - DAY
We are speeding down the road in a suped-up open Jeep POV
Ramirez, who is driving. Suddenly, we SEE Jack and Amos up
ahead. Amos pulls a lever and a barrier snaps up at chest
level across the road. We jam on the brakes and
CUT TO:
INT. JEEP - DAY
Ramirez is at the wheel. Suddenly he sees the barrier plate
a hundred yards in front. He hits the brakes and the emergency
brake at the same time.
NEW ANGLE
The tires scream and leave black tracks, as the Jeep slides
sideways towards the barrier. Just before reaching it, the
car completes a 180-degree turn and roars back, but at the
last second fishtails and swerves off the road.
ANGLE ON - RAMIREZ
He is obviously frustrated.
ANGLE ON - JACK
He shakes his head in disgust.
JACK
Dead again.
EXT. BELVEDERE - DAY
Ramirez and Jack walk together on the belvedere which is an
observation area with a railing around it, overlooking the
abandoned prison. In between the belvedere and the prison is
a field which is almost completely barren except for one
tree. It sits down below.
In the distance, we SEE a snow mobile approach with its lights
on. Just then, Jack takes a pocket sized remote transmitter
and slips it into the front pocket of Ramirez's jacket,
turning it on as he does.
RAMIREZ
What's that?
JACK
It's a transmitter.
RAMIREZ
For what?
JACK
Target practice. You're the target.
Jack quickly moves away from Ramirez. As Ramirez moves, he
notices that the snow mobile changes direction as well, and
continues to home in on him. And then there is a second snow
mobile. And then a third, all of them coming straight for
him. He starts to run. The snow mobiles turn and continue
bearing down on him, driving him closer toward the railing.
We SEE the snow mobiles are controlled by radio antennas,
evidently homing in on his transmitter.
Jack, who has moved quite a ways off, pulls out a Beretta
and sets it on the rail. We SEE on the snow mobiles, a lit-
up remote device.
JACK
If you shoot out the receivers,
they'll stop. There are ten rounds
in this clip. The first two are live,
the next three dummy, then three
live, two dummy.
Ramirez stands like a deer in the headlights for an instant
and then goes running for the gun. He cannot make it to the
gun before the first snow mobile barrels down upon him. He
is right against the rail now and goes diving into the snow.
The snow mobile goes directly over him and crashes through
the rail, falling down to the field below. Ramirez is up and
running, grabs the gun, fires two rounds and misses, then
hits three dummy rounds which click away as the second snow
mobile draws closer. Then he fires and hits a headlight,
then fires and misses, then fires and hits the remote device.
That snow mobile stops in its tracks. The third now barrels
down on Ramirez. He clicks off two dummy rounds and just
before the snow mobile hits him, a shot rings out. The
receiver shatters and we SEE Jack standing with the smoking
gun with which he has just saved Ramirez's life.
JACK
Three times dead.
INT. CAFETERIA - ABANDONED PRISON - DAY
It is after lunch and Jack and Amos are eating ice cream
sundaes while Ramirez sits eating the last bit of porridge
from the huge bowl.
AMOS
You finish all your porridge?
RAMIREZ
(deadly)
Yeah... yeah... I finished all my
porridge.
AMOS
Good now you can have some more.
He motions for the waiter who crosses with a fresh pot and
starts to ladle it out into Ramirez's bowl. Ramirez reaches
up and tears at his tie and rips open the top button. Ramirez
explodes batting the waiter's hand away and sending the bowl
flying.
RAMIREZ
Enough of this porridge shit man, hi
jo deputa! Fuck it man... I ain't
eatin' no more of this shit! And I
ain't wearin' this fuckin' shirt
anymore either!
With that he rips off the tie and rips open the shirt.
AMOS
Why Miguel amigo, whatever is the
matter?
RAMIREZ
I'll tell you what the matter is
man... I been here twelve mother
fuckin' weeks an' all I've had to
eat the whole time is this shit! And
those dumb ass basketball games...
what's that?! You damn near kill me
with those fucking snowmobiles... I
haven't seen my family in three months
and I still don't know what any plan
is or what I'm supposed to be doing!
AMOS
Congratulations! You're acting like
a child... like a spoiled brat...
JACK
And not a Navy Lieutenant Commander,
which is exactly what would get you
killed.
AMOS
Finally you're acting like a willful
spoiled child which is just what
Carlos was.
JACK
We couldn't just let you study Carlos.
If this thing is going to work, you
have to become him.
Ramirez looks at him in disgust.
RAMIREZ
The two most elite intelligence
services in the world and the best
you can come up with is this porridge
bullshit?!
AMOS
As a child Carlos was fed that
porridge that you love so much every
day. He hated it. Every woman or man
he's ever been close to he told about
that porridge... how the very smell
of it made him sick. And now it makes
you sick.
JACK
When he was in school he was a scrawny
little kid. The last one to get picked
for any teams. He felt as clumsy as
we've made you feel...
AMOS
His father smoked cigars... the same
ones whose smell you complained about.
The only cover that can save your
life... is the one you believe
yourself. Now... are you ready to
pass the next test?
Ramirez just looks at them, in a kind of shock.
AMOS
I'll take that for a yes. You're
about to go into your house. Your
wife has told you she was away with
the children for a week. She is
entering the house for the first
time in a week with you. The children
are still at Grandma's so the two of
you have a nice romantic time ahead
of you. Walk through the house...
through the living room and the
kitchen only. You have thirty seconds.
Walk casually through the house so
as not to make her suspicious of
anything you do and find out if she's
telling you the truth or not. If you
pass this test your questions will
be answered. If not... you'll be
sent home to Virginia and this will
be the end of it.
INT. ABANDONED PRISON - LIVING ROOM SET - MONTREAL - DAY
Ramirez walks casually through the living room with camera
following. Amos and Jack walk behind him. Ramirez bends down
to tie his shoe near the sofa. He crosses into the kitchen
and camera follows. He opens the refrigerator and takes out
a carton of milk. He takes a drink from the carton and
dribbles some onto his shirt and onto the floor. He gets an
"I'm such a slob" look on his face. Then he replaces the
milk, crosses to the sink, takes the sponge off the sink and
a paper towel. He mops up the spill with the sponge first
and then with the paper towel, then tosses the paper towel
into the trash. As he speaks, Ramirez himself will be amazed
at how much he is able to deduce using the techniques he's
been taught.
JACK
(looking at watch)
Time's up.
AMOS
Nu? Is she telling the truth or lying?
RAMIREZ
She's got to be lying, otherwise
this would be a very short test and
I don't think that's what you had in
mind. She had a man over.
JACK
How do you know?
RAMIREZ
She hasn't been here in a week? Then
why was the sponge still damp. It
means she washed dishes. Take a look
at the dish rack. There's water in
the tray underneath it. Probably
from a couple of plates. There's a
bit of water in the silverware tray.
The milk is still fresh... not even
a hint of being sour and the date on
it is a week from today... means she
just bought it yesterday or the day
before. The margarine's fresh-bought
but it's already been opened. Same
with the bread.
AMOS
How do you know it was a man?
RAMIREZ
(ignoring him a beat)
She might have met him at a bar
because there's a book of matches in
the garbage. She was probably careful
to throw the cigarette away but
there's still a bit of ash and that
cigarette smell at the bottom of the
liner.
JACK
What else?
RAMIREZ
I think they made love on the sofa
because one of the cushions has been
turned over and there's the
indentation of a tennis shoe print
in the rug over there.
He looks down at Jack's shoes.
RAMIREZ
Sorta like the ones you're wearing,
Jack. Besides, I know it was a man
because I smelled after-shave on the
couch.
He gets a quizzical look, crosses to the couch, sniffs.
RAMIREZ
...Cheap kind.
He crosses to Jack and sniffs Jack as well.
RAMIREZ
Jack... you've been fucking my wife.
He holds index finger and thumb up to Jack's head like a
gun, reprising his mentor's gesture to him and making the
sound of a gunshot with his mouth.
RAMIREZ
Now who's dead?
CUT TO:
EXT. CEMETERY - DAY
We have four quick cuts. Bam! Bam! Bam! Bam! In each one,
Ramirez who stands in the center of the trainers, whirls
like a ballet dancer and beats each trainer to the punch,
hitting dead center on each one with his paint pellet gun.
From the side, Amos and Jack nod to each other approvingly.
EXT. CEMETERY - DAY
A triumphant Ramirez walks with Amos and Jack.
JACK
The plan is to get the KGB to
eliminate Carlos for us. Carlos knows
every link between the KGB and every
terrorist organization in the world.
He's not only the smoking gun, he
knows every contact there ever was.
We make the KGB think that Carlos is
ready to turn... ready to go over to
the CIA, and they'll take him out.
RAMIREZ
Why would they think Carlos would go
over to the CIA?
AMOS
Money... fifty million... not for
the forces of world revolution this
time, but for him, in his pocket
with a new identity and CIA
protection. They'll believe it... if
we lay it out right... they'll believe
it.
RAMIREZ
When do we move?
AMOS
Not so fast. You're far from ready.
I would think another three months
of training and then...
RAMIREZ
Bullshit! I'm ready now. Give me any
test you want. Christ, I already
passed your tests... what more do
you want?
EXT. ABANDONED PRISON - SUNSET
The sun is just setting. There is the silhouette of the prison
in the snow. A kind of dark serenity permeates the scene.
INT. CAFETERIA - ABANDONED PRISON - SUNSET
Ramirez sits at the table in the huge, dark and empty room.
The table is set with champagne and caviar. He has his Arabic
book and tape and earphones.
RAMIREZ
(studying to himself
in Arabic)
Shoo Ismak? Isme... Carlos. Isme
Carlos.
INT. NEW MONITORING ROOM - ABANDONED PRISON - EVENING
We are in a new setting. It is a kind of dungeon, perhaps
once a solitary confinement cell. It is crowded here now
with Jack, Amos, and Technician #1 who sit in front of a new
bank of monitors. On one we SEE Ramirez eating in the
cafeteria.
AMOS
It should be hitting him now...
ANGLE ON MONITOR
We PUSH IN on Ramirez on the monitor.
INT. CAFETERIA - ABANDONED PRISON - EVENING
Ramirez sits as before. He is eating his caviar as he looks
at his Arabic textbook.
ANGLE ON - THE TEXTBOOK
It shows a picture of a street in an Arab country, possibly
Libya. It is a typical street scene; a dispassionately sterile
photograph in which one can almost hear the BBC announcer
voice in your head saying, "And here is a typical scene in
lovely Tripoli..." There is a man in a business suit walking
on the sidewalk in this picture. We CUT back and forth between
Ramirez and then as Ramirez strains to look harder,
unbelievingly, we PUSH IN tighter on the picture from his
POV and to our amazement, the man in the picture looking
back up at us is Ramirez! Then suddenly the man in the picture
moves and his finger comes up to his lips and he looks at us
and says, "SHHHHH." Just then, a street vendor in the same
scene pulls out a gun and shoots Ramirez in the picture in
the head. Ramirez falls and the picture goes back to a still
shot of Ramirez lying face down in the black and white photo,
oozing black blood onto the white sidewalk of beautiful
downtown Tripoli.
He looks out the window at the bluish sky as we shift focus
between him and his background. He looks down at the bowl of
porridge.
ANGLE ON - THE CAVIAR
It is crawling with ants.
BACK TO SCENE
Ramirez picks up the bowl and throws it across the room.
RAMIREZ
Jack! Jack!!!! Amos!! You
motherfuckers!
He gets up, looks at the TV camera and walks down the corridor
to the observation room.
INT. CORRIDOR - ABANDONED PRISON - MONTREAL - EVENING
Ramirez walks down the corridor past the surveillance room.
The satellite dish is still there but there are no technicians
to be seen. He follows the cable that snakes down the corridor
towards the command room.
INT. COMMAND ROOM - MORNING
Ramirez walks along the cable until he comes to the plastic-
enshrouded satellite tracking system. He pulls one of the
plastic panels to discover that the place is totally empty.
He bends down and picks up the cable as if it were a lifeline
on a strip at stormy sea. He follows it hand over hand to
where all the equipment was -- it's gone. He looks around
and through the plastic, starts to see the silhouettes of
people moving and talking. Abruptly, he pulls the panel aside --
just some pigeons against the moonlight shafts.
INT. OBSERVATION ROOM - EVENING
Ramirez enters the Observation Room with its looming
observation tower that now has become home to the hundreds
of pigeons inside it. The place is completely deserted.
RAMIREZ
Jack!!
At the sound of his shout, hundreds of pigeons explode out
of the observation tower like bats in a primal cave. Ramirez
instinctively crouches in terror.
RAMIREZ
Amos you piece of shit! Wen anta?
Coos echtak ya sharmuta!
ANGLE ON
POV Ramirez. It is blurry and then there are brilliant flashes
that cut across our eyes, slicing across our vision, blinding
us.
BACK TO SCENE
Ramirez knows they have doped him.
RAMIREZ
So she tried the first bowl of caviar
and said, that's too hot, and she
tried the second bowl and said, that's
too cold and so she tried the third
little itsy bitsy bowl of caviar
that belonged to little Miguel and
that turned into maggots and that
was just right...
INT. CORRIDOR - ABANDONED PRISON - NIGHT
Ramirez runs down the corridor. There are cells on either
side of him now. They are empty. He is trying to hold onto
his sanity.
NEW ANGLE - POV RAMIREZ
The cells are now full and each of the cells contains...
him! He is trying to get out of all of them.
ANGLE ON - CELL #1
Ramirez is in Carlos' black jeans and T-shirt.
ANGLE ON - CELL #2
Ramirez is in his dress white Navy uniform.
ANGLE ON - CELL #3
Ramirez is dressed as a doctor, operating on a patient with
Jack assisting him. Ramirez pulls a brain out of the patient's
head.
RAMIREZ
Here's the problem, Doctor. He needs
a new brain.
He tosses the brain to Jack who catches it.
JACK
Brilliant, Doctor!
Jack eats the brain.
JACK
And tasty, too!
ANGLE ON - RAMIREZ
as he walks down the corridor.
INT. CORRIDOR - DAY ANGLE ON - RAMIREZ'S HAND
It morphs from his own hand to that of a child and the child's
hand gives birth to a woman's hand who morph's up alongside
of him. It is Ramirez's mother.
NEW ANGLE
Child Ramirez and his Mother walk down the corridor behind
two Cuban prison guards. The cells are full of Cuban political
prisoners. There are shouts and screams of agony from men
being tortured somewhere far off. They reach Ramirez's
father's cell. Child Ramirez reaches out for his father's
hand. A guard pushes his hand away. RAMIREZ'S FATHER speaks
in Spanish.
RAMIREZ'S FATHER
Vaya mi hijo. Vaya rapido!
INT. CORRIDOR - ABANDONED PRISON - NIGHT ANGLE ON - PIGEONS
They come flapping their wings, dive bombing at us.
NEW ANGLE - RAMIREZ
He walks in his black jeans and T-shirt. The cells are empty
around him but up ahead he hears the sounds of someone making
love. Well, not making love... fucking. He approaches the
sounds and there in one cell is is wife Maura under Carlos,
humping away at her. Carlos looks up at Ramirez.
ANGLE ON CARLOS
in cell humping Maura.
CARLOS
(looking at Ramirez)
I think she likes me better... don't
you baby. She likes it rough... you
never knew that? Yala... ruh mi hun.
He motions for Ramirez to leave.
ANGLE ON - RAMIREZ
He is about to rush the cell when more pigeons come flapping
down at him. He turns and...
INT. CORRIDOR - ABANDONED PRISON - NIGHT - SFX NEW ANGLE
The pigeon becomes a dove gliding in a shaft of moonlight.
Then it leaves the moonlight and it turns into a crow.
NEW ANGLE
The crow turns back into a dove and then suddenly the dove
begins to choke, to vomit. It opens its beak and out of its
mouth emerges the wet, slimy head of a full grown ravenous
crow. It is coming straight out of the dove's mouth and
straight at us, to devour us. We HEAR RAMIREZ SCREAM OVER
THIS.
INT. ABANDONED PRISON - CORRIDOR ENTRANCE - MORNING
Jack and Amos walk down the corridor. They both look as if
they have been up all night, which indeed they have. Both
are in need of a shower and shave.
AMOS
I hope we didn't go too far with
this.
JACK
I'd rather have him wind up in a
mental institution fucked up on LSD
than shot in some back alley in Libya.
If he can't handle this, he sure as
shit can't handle going operational.
They round the corner. There, looking up at them, sitting in
a chair, showered, shaved, looking fresh and ready to greet
the day is Ramirez. He is reading his Arabic book. He looks
up at them.
RAMIREZ
Okay... what's next?
INT. KGB HEADQUARTERS - CORRIDOR - MOSCOW - NIGHT
We begin on a shot of a huge statue of Lenin which dominates
this corridor. As camera swings around we SEE a HEAD KGB
OFFICER with his KGB AIDE. OVER this shot we SUPER:
KGB CENTRAL COMMAND - MOSCOW
The head KGB officer holds a report. He reads aloud in Russian
and we SUPER ENGLISH SUBTITLES. From now on, all dialogue in
Russian will be indicated by putting the dialogue in
parentheses. The KGB Officer is very smug about the report.
HEAD KGB OFFICER
(glancing up from
report)
[We're just gotten information from
our resident in Zurich that the CIA
head of station there has deposited
letters of credit in the amount of
fifty million dollars into the account
of a Mister Paulo Ortega... It would
appear the Americans are dangling a
very impressive bait for what I can
only assume is a very juicy fish. I
want to know who this Paulo Ortega
is and what he's going to give the
CIA that is worth so very much money.
And then we'll see what we can do
about that.]
He smiles with a great deal of self-satisfaction.
EXT. COUNTRY ROAD - MAGIC HOUR - AERIAL SHOT
Ramirez races down the road in the Jeep. The road twists and
turns as a light snow begins to fall.
INT. JEEP - NIGHT
Ramirez drives and we SEE that he has an earpiece which goes
to a Walkman tape recorder. We HEAR the instructions being
fed to him on the tape in Jack's voice:
JACK (THRU TAPE)
You're going to hit a hairpin turn
exactly three tenths of a mile from
the stop sign which should be coming
into view at any minute.
NEW ANGLE - ON THE STOP SIGN UP AHEAD BACK TO SCENE
Ramirez starts to slow down.
JACK
Don't stop for the stop sign, don't
even slow down for it. You've got to
hit the hairpin exactly fifteen
seconds after you pass the stop sign.
We see that Ramirez is going 60 miles an hour down the
straightaway. The road is open and straight ahead. Ramirez
drives on with total focus. The intensity is obvious. Up
ahead is a hairpin turn.
JACK
The hairpin should be right in front
of you. Keep your focus. You can't
let down even after you negotiate
the turn. You never know what's going
to be around the next corner... or
whose life might depend on your
reactions.
NEW ANGLE
ON the Jeep as it negotiates the turn.
INT. JEEP - NIGHT
We have a shot of the road, POV Ramirez through the
windshield. Suddenly as we negotiate the hairpin turn, there
up ahead of us sits Jacks in the middle of the road TIED TO
A CHAIR, looking straight at us.
ZOOM TO JACK
sitting straight, tied into the chair so that he could not
run if he wanted to. He doesn't move, just stares forward,
as if trying to lock eyes with Ramirez.
RAMIREZ (O.S.)
(as his hand starts
for brake)
You asshole!
HIGH ANGLE
The Jeep turns slightly to the right, then sharply to the
left. And as its back wheels lock, it slides and completes
the 180-degree turn. Just short of Jack.
CLOSE - JACK
His face is white, his stare frozen. He has seen death before.
Never that close.
BACK TO SCENE
Ramirez jumps out of the Jeep, coming straight at Jack.
RAMIREZ
You crazy-assed mother fucker! I
could have killed you!
JACK
You can't let down! This isn't a
game... it is life and death. You
have to be ready for anything, all
the time.
RAMIREZ
Fuck you!
Just then we HEAR the roar of the snowmobiles coming out of
nowhere, bearing down towards them.
JACK
(calmly)
The clip in your gun has three live,
two dummy, one live, three dummy,
one live.
Ramirez looks at him, pushed to the breaking point now. He
pulls the transmitter out of his pocket and crosses right to
Jack and stuffs it in Jack's pocket.
RAMIREZ
No rules, Jack? Then you fucking
deal with it.
Ramirez waits for Jack to say something... to protest... to
say anything. Jack says nothing. Ramirez turns in a fury and
starts walking away as the snowmobiles bear down from four
different directions, coming straight towards Jack. Jack
says absolutely nothing. Ramirez turns and sees Jack is making
absolutely no attempt to toss the transmitter. Jack simply
locks eyes with Ramirez. Jack is not going to budge. Ramirez
turns his back and is about to continue walking away but the
noise of the snowmobiles bearing on the unrelenting Jack
grows louder. Ramirez can take it no more. He turns, pulls
out the gun and must run right to where Jack is in order to
get shots off at each snowmobile. He fires through the dummy
rounds until he takes out all four snowmobiles, the last of
which comes to rest only a few feet away from them both.
Ramirez is exhausted. When Jack speaks it is quietly and
with contempt.
JACK
You pussy. You rule-following pussy.
Ramirez turns, looking at Jack, unable to believe his ears.
JACK
You know why you don't fuck around
on your wife? Not because you don't
want to. You're a man. You want to
fuck everything. But you don't...
because you're afraid it would cost
you what... your wife, your family,
your self respect maybe...
As we watch Ramirez listening to Jack, we can see him going
over the edge.
JACK
...You know what Carlos would do if
he was married? He'd bring whatever
woman he wanted home and make his
wife fuck her. That's what no rules
means. That's what you're too much
of a pussy to get.
Ramirez walks straight over to Jack, pulls his hair back so
that Jack is staring up at him and then he puts the barrel
of his gun at Jack's temple. Ramirez is not bluffing now. He
has gone completely into the dark side for the first time.
RAMIREZ
No rules, Jack? Okay... We're in a
fucking foreign country on a secret
mission... I can't be here, I'm on a
submarine. The U.S. Navy's my alibi.
What's the count on my ammunition,
Jack? Is this one live or a dud?
He stares down at Jack and we can see that Jack does not
remember the count, as Ramirez pulls the trigger. CLICK!
RAMIREZ
What about the next one, Jack? Live
or dud... who cares... no rules,
right?
He pulls the trigger. CLICK!
JACK
(perversely proud)
Yes, my good son...
RAMIREZ
Think you can be lucky three times
in a row?
He pulls the trigger. CLICK!
RAMIREZ
How about four?
He is about to pull the trigger once again when we HEAR:
AMOS (O.S.)
Annibal! It's over!
Ramirez turns to see him, as Amos walks down the embankment
towards him.
JACK
Stay out of it.
AMOS
It's over, Jack. He's it.
Ramirez stays with the gun pointed at Jack. It is obvious he
is in a killing mood, perfectly ready and willing to squeeze
the trigger once again. Amos takes the gun from Ramirez,
points it up and pulls the trigger... KABOOM!
EXT. ROAD BY DEAD SEA - AERIAL SHOT - DAY
WE SUPER THE FOLLOWING: ISRAEL - APRIL, 1987
We have an aerial shot over a date plantation which sits
incongruously in the middle of the desert beside the Dead
Sea, as we MOVE TO REVEAL a car driving along this barren
road. The CAMERA pivots around the car as we See the landscape
scroll behind it; the tortured rock formations, the mountains
reflected in the water, a desert-scape that looks like
something out of Dante, as Peugeot cuts its way along the
road.
INT. PEUGEOT - DEAD SEA - ISRAEL
Jack is in the car with Amos, who drives, and Ramirez. Ramirez
has a bandage across his nose. He has black eyes from plastic
surgery. Jack hands Ramirez a small bundle which he opens.
Inside is a black T-shirt and black jeans.
RAMIREZ
What's this?
JACK
What you'll wear from now on. Black
T-shirt and jeans... it's the only
thing Carlos ever wears whenever
he's not out being a terrorist. It's
the opposite of what he was forced
to wear as a child... you know...
the school uniforms, the white tight
collared shirts... It's become like
a fetish for him.
AMOS
And to match your new wardrobe, in
another two days your bandages will
come off and you'll get to show your
beautiful new nose to Carla.
RAMIREZ
Who's Carla?
JACK
She's a Venezuelan. She was Carlos'
main squeeze about fifteen years
ago. She'll put the finishing touches
on the act.
RAMIREZ
Why's one of Carlos' girlfriends
helping us?
AMOS
Carlos used her... like he uses a
lot of women. She emigrated to Israel.
Now she wants to get even.
RAMIREZ
What do you mean used her. How?
JACK
He put her on an airplane with a
bomb in her suitcase. She would have
gone up with everything else. What's
that song say? There are fifty ways
to leave your lover? Make that fifty-
one.
AMOS
She's about thirty-seven... still
attractive.
JACK
So it's not gonna be a hardship.
RAMIREZ
What's not gonna be a hardship?
JACK
Making love to her.
Ramirez looks at Jack in shock.
JACK
Annibal... the way in is a woman...
her name is Agnieska. It's part of
the trap. The KGB will be watching
her... we'll make sure of that...
She's a more recent girlfriend of
Carlos... But they've got to be
convinced and so does she. Carlos,
you, are going to ask her to do
something. She has to believe you're
him or she won't risk it.
Ramirez just looks at him, as if cheating on his wife was
obviously not part of the bargain.
JACK
What the fuck are you lookin' at?
You're gonna help murder this guy,
you draw the moral line at
extramarital sex?
Ramirez is quiet.
JACK
Don't think of it as cheating. Think
of it as fucking for the flag.
AMOS
"When in doubt, close your eyes and
think of England."
EXT. SAFE HOUSE - DEAD SEA - SUNSET
At first we should not realize we are near a building of any
kind. We open on a WIDE ANGLE on the Dead Sea from a stunning
POV. CRANE DOWN to reveal the silhouette of Ramirez smoking
a cigarette. We now SEE that his nose is exactly that of
Carlos. He has just a bit of dark circles left under his
eyes, just enough to make him seem moody. He tosses the
cigarette and turns to enter a room. Now we see that this is
a deserted barracks pock-marked with artillery shells and
machine gun bullet holes from past wars.
EXT. BALCONY - SAFE HOUSE - DEAD SEA - SUNSET
Ramirez turns to enter the barracks with a wide-angle of the
landscape overlooking the Dead Sea. He now wears a black T-
shirt and black jeans. The Peugeot is parked near the barracks
that sits on the edge of the cliff in b.g.
INT. SAFE HOUSE - DEAD SEA - SUNSET
start TIGHT on a shot of an ashtray. It is overflowing with
cigarettes. A woman's hand picks up the butt that is in the
ashtray and with the last of its ember she lights another
cigarette off it. She is CARLA, mid-thirties, hard edged
which mars the beauty she still has. She is intense, neurotic
and bitter.
She and Ramirez are alone in the living room. She sits in a
corner. We become aware of the room. It is a study in
contrasts. Light shoots in through shell holes and cracks in
ruined walls. And yet, the interior is somehow soft, sensuous,
with thick carpet, muslin drapes and a large bed that
resembles at one and the same time, a boxing ring and an
altar. She pays no attention to Ramirez. She doesn't even
acknowledge that he's entered the room. She is in a kind of
reverie.
CARLA
The thing about Carlos is... he
doesn't lose himself with a woman...
not with a lover... maybe with a
whore I don't know... I wasn't his
whore. Lovers are different to him...
he might have a use for them... so
he has to seduce them properly. He
has to make sure they're so crazy
about him they'll do anything for
him.
RAMIREZ
When did you...?
She holds up a hand without looking at him, commanding his
silence.
CARLA
Shhh! You're not here.
She rocks herself back and forth, comforting herself and now
for the first time we see the bottle of Irish whiskey she
holds at her side. She raises it, takes a long gulp, some of
the fluid dripping down the corner or her mouth. She doesn't
bother to wipe it away. It is there next to tearstains on
her cheeks.
Slowly, her rocking back and forth, her primal comforting,
the act of an abused and abandoned child will turn into
strokes, caresses of a secret style from a phantom lover who
will get her in the mood for what she must do. She must get
herself wet. She must get herself ready. She must recapture
what it is to be seduced by Carlos. Her hand is her lover
now.
CARLA
You don't exist until I'm ready to
let you exist, and then... you do
exactly what I say.
She leans her head back and conjures Carlos up in her mind.
CARLA
It's not pleasure for him... it's...
it's... it's... this sick kind of
conquest... you know this seduction...
he's got to make you not just a lover
but a disciple... a worshipper... He
brainwashes you with his body...
so... so... you'll do anything...
you see because he's the perfect
lover... he does it all to... not to
please you... but to excite you...
to... to make it dangerous for you
and then, that's very sexy too, to a
woman... that danger... like he could
kill you in a second... but instead
he makes you come... So he's almost
killed you, you see? And you have
this orgasm right then and it's like
he's killed you and there isn't
anything left of you and he makes
you be born again the way he wants
you to be. So there isn't a thought
in your brain that he hasn't put
there. Not a feeling in your body
that he hasn't put there.
She masturbates herself stopping just short of climax. Then
she looks up at Ramirez, acknowledges his presence and lets
him exist.
CARLA
Take off your clothes.
RAMIREZ
Just like that?
CARLA
Look Mister...
RAMIREZ
Miguel...
CARLA
I don't want to know your name... I
don't want to know anything about
you okay. This isn't fun for me. I'm
not here to play soft music and be
romantic. I'm here to help you kill
him... At least I hope that's what
you're going to do. They promised me
it was.
RAMIREZ
Yes.
CARLA
Take off your clothes.
ANGLE ON RAMIREZ
He takes off his clothes. CAMERA SHOOTS FROM THE WAIST UP.
CARLA
You're smaller than him.
RAMIREZ
(shaking his head)
Great.
Carla slaps him suddenly without warning hard across the
face.
CARLA
That's what he would have done if I
would have said something like that.
Without a moment's hesitation. What's
wrong with you?! No eres ni hombre!
Ramirez back hands her and she flies backwards against the
couch.
ANGLE ON CARLA
lying against the couch. Her mouth is bleeding just a little.
CARLA
Now come to me and kiss where you
hit.
She puts her finger to her lip and sees the blood. Ramirez
bends down to her, the passion rising.
CARLA
Kiss where the blood is and then
smear it on my lips so I taste it.
Ramirez bends down and kisses her and the blood smears and
he kisses her passionately.
CARLA
Now go down on me... yes like that...
si... si... tease me... tease... but
don't let me come... control me...
it's got to be when he wants it...
yeah...
Ramirez's head goes down out of frame.
DISSOLVE TO:
NEW ANGLE
Ramirez and Carla in bed, both naked, Ramirez is on top...
CARLA
Ask me if I like it... he always
asks... he wants to hear it.
RAMIREZ
You like it...
CARLA
Demand it.
RAMIREZ
(harder)
You like it?!
CARLA
Yeah...
RAMIREZ
You like it?!
CARLA
Make me beg.
RAMIREZ
Beg for it...
CARLA
Please...
RAMIREZ
Yeah...
CARLA
Please... Tell me you want me to
come...
RAMIREZ
I want you to come now...
CARLA
You want to feel it all over you...
Ramirez is too turned on now to follow instructions.
RAMIREZ
Oh yeah baby... yeah... you make me
feel so good.
CARLA
Stop!... Stop it!
She pushes Ramirez back. She sits up gropes for a cigarette.
RAMIREZ
What... What'd I do...
CARLA
He never loses control... He never
tells you how he feels. He's in
control. He's the one who makes you
feel what he wants you to feel. He
never feels anything... You stupid...
stupid...
She fumbles with a lighter... Then she throws it aside and
the cigarette.
CARLA
Roll over!
RAMIREZ
Why?
CARLA
On your back!
Ramirez rolls onto his back and she gets on top of him. CAMERA
SHOOTS FROM THE WAIST UP.
CARLA
I'm Carlos... You're me.
She starts humping him. Her voice goes down very low.
CARLA
You like it...
She humps harder. Ramirez evidently does.
RAMIREZ
Yeah.
CARLA
You like it?
RAMIREZ
Oh baby...
CARLA
Ooooo I want to make you come...
RAMIREZ
Yeah...
CARLA
I want to make you come... I want to
feel it all over me.
RAMIREZ
Yeah... yeahhh... Yeahhhhhh.
Ramirez is almost at the point of orgasm and Carla reaches
down with her hands and starts to choke him.
RAMIREZ
(scared)
What the fuck are you doin'?
CARLA
Let me... let me do it... Put your
hands down.
She humps him harder and chokes him and he climaxes and then
she releases her grasp on his throat...
CARLA
He does that... he's crazy... he
chokes you... just a little.
She gets off him and lights up a cigarette.
CARLA
Then he goes to the refrigerator and
eats... He's always hungry
afterwards... always... God I feel
like filth.
She starts crying and the crying grows louder. Ramirez rolls
over to her to take her in his arms.
RAMIREZ
I'm sorry... I'm sorry.
CARLA
Get your hands off me!
RAMIREZ
Shh... I'm not him... I'm not
Carlos... I'm...
CARLA
I don't care who you are. I don't
want to know anything about you...
except that you're going to kill
him.
EXT. KGB HEADQUARTERS - MOSCOW - NIGHT
INT. KGB OFFICE - NIGHT
A HEAD KGB OFFICER is with a KGB AIDE. He reads a report.
HEAD KGB OFFICER
[It seems our friendly bank manager
in Zurich has received instructions
to put a new name on the account of
our mysterious Mister Paulo Ortega...
Agnieska Kozinski. Does the name
sound familiar?]
KGB AIDE
[Should it?]
HEAD KGB OFFICER
[I ran a check on her. She's a French
national... originally Polish. She
was a girlfriend of Carlos.]
KGB AIDE
[Our Carlos?]
HEAD KGB OFFICER
[The question is... is he still our
Carlos. Or is he about to become
someone else's.]
EXT. AGNIESKA'S APARTMENT - PARIS - DAY
A beautiful young woman whom we will come to know as AGNIESKA
enters her apartment building.
INT. APARTMENT BUILDING - PARIS - DAY
Agnieska collects her mail. She stops when she comes to a
postcard. We cannot make out what it says, but it has a
profound effect on her. Dialogue is in French with English
Subtitles.
AGNIESKA
My God... My God... It's him.
EXT. - BALCONY - SAFE HOUSE - DEAD SEA - SUNSET
Ramirez stands looking out to the horizon, smoking a cigarette
when Jack comes up behind him.
JACK
Well... not the most painful way to
burn your bridges behind you, huh
Miguel?
RAMIREZ
What do you mean?
JACK
Saint Miguel the faithful husband is
dead. Long live Carlos. You've cheated
on your wife... now you can do
anything.
RAMIREZ
What I did in there I didn't do to
cheat on my wife and you know it.
JACK
Hey, pussy's pussy.
Ramirez turns to look at him as if a light bulb has just
gone on.
RAMIREZ
I just got it about you, Jack. You
can't get it up, can you?
The look on Jack's face for once, having been caught
completely off guard, betrays the fact that Ramirez is dead-
on. Just then, we HEAR:
AMOS (O.S.)
We've got it. Just confirmed.
JACK
Got what confirmed?
ANGLE ON - AMOS
He crosses towards them, holding a decoded message.
AMOS
The KGB has set up a surveillance on
Agnieska. And Agnieska has received
her summons from her long-lost love...
Carlos, telling her to come and meet
you. At the meeting you convince her
you're Carlos. You ask her to handle
some bank transactions. She will.
Then the KGB knows Carlos and Ortega
are the same man. Then later they'll
see you meet with a CIA agent. They'll
have all the pieces. They'll know
Carlos has turned.
RAMIREZ
Where do I meet with this Agnieska?
AMOS
Libya. That's where Carlos is.
RAMIREZ
Couldn't we wait till he takes a
trip? I mean Libya... shit.
AMOS
The waiting is more dangerous to you
than going to Libya. We've laid out
a trap. Now we have to be careful
not to get caught in it ourselves.
EXT. SHORE OF DEAD SEA - ISRAEL - SUNSET
Ramirez and Amos walk along the road which runs straight
along the Dead Sea. Here and there are strands of barbed
wire and the barracks in the b.g. As they walk, they pass a
sign which says: THE DEAD SEA - YOU ARE NOW STANDING AT THE
LOWEST SPOT ON EARTH... ELEVATION: 393 METERS BELOW SEA LEVEL.
AMOS
Jack doesn't know that we're having
this talk and I don't want him to
know... understand?
RAMIREZ
Okay...
AMOS
Nothing can make you ready for combat
but combat. Jack would be against me
telling you this... He would say you
shouldn't have a thought in your
head that we haven't put there but
you're not just a box that we're
going to fill up with our own ideas.
You have a right to know certain
things.
RAMIREZ
I appreciate that Amos... a lot.
It's funny, I started out hating
you... I mean I'm still gonna sue
you, don't think you're off the hook
for my broken ribs, but...
AMOS
But now you love me and we're going
to run away to San Francisco and
find a reformed rabbi to perform a
mixed gay marriage. Listen to me...
You're going to feel more alone than
you've ever felt in your life. It
will hit you all of a sudden and
you'll think your heart's going to
jump out of your chest, you'll think
everyone around you can hear your
heart beating, and that everyone
around you is an enemy agent. I want
you to be prepared for that. So you
can deal with it. Understand?
In the far distance, we are vaguely aware of a huge truck
barreling along, coming straight down the highway towards
them.
RAMIREZ
Yes.
AMOS
We had an agent... the best we ever
had in training. We were going to
infiltrate him into Beirut and then
use him to penetrate the PFLP. No
student ever scored higher than this
man... We set up his cover for six
months in Argentina. He was perfect.
And then we sent him to Beirut. He
got off the plane, went to his hotel,
went up to his room and had a nervous
breakdown.
Suddenly it seems, the truck is right on top of them, heading
straight for them, like monster in a child's nightmare. It
passes within inches and Ramirez has to fight to keep from
jumping as the truck roars past them. It is not a monster,
just a truck. Then again, it could have killed them just the
same.
AMOS
We had to mount an operation to send
in a man posing as a doctor so we
could drug him and get him out on a
plane. Okay? Now you understand?
Nothing prepares you. I want you to
know that so when it hits you, you
don't panic, you feel the fear and
then get rid of it.
RAMIREZ
Jesus...
AMOS
You splash some water on your face.
You take some deep breaths. You look
in the mirror and when you look in
that mirror, I don't want you to
find Annibal Ramirez. You find Carlos.
If you find Carlos, that's what
everyone else will find too. And if
you find Carlos and anything goes
wrong, he's the one who can get you
out of it. Because he's the best.
RAMIREZ
(after a beat)
I got a wife I got to go back to
when this is over. I got kids I got
to go back to when this is over. I
want to go back as Annibal Ramirez...
not Carlos.
AMOS
You will... you'll need a time of
decompression and it will be hard at
first, but you will. Because inside
you aren't Carlos... you aren't a
terrorist. But right now, in order
to save your life, you've got to be.
You've got to look in the mirror and
find Carlos. Do you understand?
It is almost said like the offering of a vow.
RAMIREZ
I do.
AMOS
You won't be able to go in with a
gun... too risky... so we're going
to have to get one to you once you're
in place. How I don't know yet...
But we'll get one to you. You'll
make your way out by boat. We'll be
on it. But we won't be able to help
if anything goes wrong. We'll make
our way down the coast to a friendly
state and then fly back to London,
and from there back to the U.S.
EXT. LIBYA INTERNATIONAL AIRPORT - DAY
As passengers come out of the plane we recognize Ramirez
amongst them.
SUPER: TRIPOLI, LIBYA - MAY 1987
INT. LIBYA INTERNATIONAL AIRPORT - DAY
A cold, dreary, oppressive airport. Grim-looking SOLDIERS
and even more menacing SECURITY MEN in dark glasses. In the
line of arriving PASSENGERS, at the passport control booth,
is a limping Colombian businessman. Scanning the place from
behind sunglasses, his heart is POUNDING, POUNDING, POUNDING.
This is it. This is real enemy territory now, and he knows
it.
RAMIREZ'S POV
The foreboding paranoia that everyone is staring at him.
Soldiers, security men, airport employees, other passengers.
They all seem to know his secret. They're all just waiting
for the axe to fall. Ramirez heads over to the Customs booth.
He turns back as a guard pushes him aside to let pass a rich
Arabic family. A young fat girl holding some toys grimaces
at him as she indelicately makes her way with her family
through the crowd. In the b.g. we notice a Mercedes waiting
for them through the glass doors of the airport. Ramirez
continues on his way towards the Customs booth. Behind a
curtain, he sees a man being searched.
OFFICIAL
El Pass'port!
The sudden harsh voice jolts us all.
CLOSE - OFFICIAL
Pockmarked face with exaggerated features. Ugly and mean.
Ramirez hands him his Colombian passport. The POUNDING
quickens.
OFFICIAL
Sheil el Nadara!
He barks in Arabic, motioning Ramirez to remove his
sunglasses. Ramirez does, fighting to remain calm under the
man's granite gaze. The official looks at the passport and
back at Ramirez. The following dialogue is in Arabic with
English subtitles.
Now and for every other scene in which Ramirez passes himself
off as Carlos, he has brown eyes.
OFFICIAL
Ricardo Moran Vargas?
RAMIREZ
Yes.
CLOSE - RAMIREZ'S FACE
Tiny beads of sweat begin to form on his forehead.
OFFICIAL
Your business?
RAMIREZ
Pipes. I sell pipes.
OFFICIAL
Pipes?
Ramirez nods, smiling apologetically, searching for the words
in Arabic. Ramirez struggles to appear calm. His heart's
POUNDING, however, intensifies.
RAMIREZ
For the oil...
OFFICIAL
Oil?
RAMIREZ
Pipes for oil... Petroleum...
OFFICIAL
(after a beat)
Step over behind the curtain.
NEW ANGLE
Ramirez's luggage is being thoroughly searched by the
Official. Finally the Official looks up at him.
OFFICIAL
All right. You can go.
Finally he stamps the passport.
EXT. LIBYA PALACE HOTEL - DAY
We have a shot of the cab, an old Mercedes coming towards
us, and then under the arch leading to the entrance of the
hotel. Ramirez steps out and he's assailed by a bunch of
kids begging and trying to grab his baggage. He looks around.
ANGLE - POV RAMIREZ
Across the street at a cafe soldiers with guns laugh. From a
shop window, the silhouette of a man seems to look right at
us. Across the street, kids on a balcony throw a water balloon
at a horse pulling a cart and the horse bolts right in front
of Ramirez.
BACK TO SCENE
As the street urchins continue to beg and grab at his luggage,
and the taxi driver demands impatiently to be paid, suddenly
out of nowhere, a bellboy appears and smacks one of the kids
who falls to the ground. They all disperse as the bellboy
takes the luggage and leads Ramirez who pays the cab driver
and then crosses to the hotel.
INT. HOTEL ROOM - LIBYA - DAY
The bellboy enters with Ramirez, sets down his bags and then
opens the shutters of the window. Ramirez tips him silently.
Once the bellboy has left, Ramirez walks to the phone and
checks it out. Then he crosses to the shutters. Perhaps he
sees a shadow looking in his direction from the dark apartment
across the street. He closes the shutters. Just then, there's
a LOUD KNOCK on the door. He jumps and automatically goes
for his gun. But he has no gun... and his heart begins to
POUND again. The LOUD KNOCK repeats itself.
RAMIREZ
(in Spanish)
Who's there?
An incomprehensible response in Arabic.
RAMIREZ
(in accented English)
What do you want?
VOICE
Room service.
RAMIREZ
(after a pause)
I not order nothing.
VOICE
Iced water.
RAMIREZ
Iced water?
VOICE
Yes, sir.
The voice is young, and not too assertive. Ramirez consults
his watch and looks out the window again. Everything still
seems to be normal.
VOICE
Sir...?
Ramirez carefully opens the door. In walks a young, rather
innocent-looking WAITER with a jar of ice water. He wears a
fez on his head. As he places it on a table, Ramirez eyes
him with suspicion. Suddenly the waiter reaches underneath
his jacket and... pulls out a small handgun.
ON RAMIREZ
He is frozen with fear.
ON WAITER
Putting his finger to his mouth to signal silence, he shoves
the gun and silencer under a napkin. Then he takes off his
fez and from within, pulls out a small grenade and extra
clip of ammunition. Without any further attempt at
communication, he exits the room.
RAMIREZ
Jesus.
Ramirez walks back into the bathroom. He splashes water on
his face and takes three deep breaths and then slowly looks
up into the mirror... and finds Carlos.
EXT. STREET IN LIBYA - DOWNTOWN TRIPOLI - DAY
We SEE a beautiful dark haired woman of about thirty coming
down the street. There are several other pedestrians as well.
The woman is Agnieska. She carries a large bag of groceries.
EXT. STREET - TRIPOLI, LIBYA - RESIDENTIAL AREA - DAY
A van is parked on the street. Agnieska walks along. The van
starts. A man whom we will come to know as VLADIMIR adjusts
the mirror. His partner NIKOLAI readjusts it and in it we
SEE Agnieska, walking. The two KGB operatives, now both see
Agnieska.
VLADIMIR
[There she comes...]
NIKOLAI
[Do you see Misha?]
VLADIMIR
[Not yet.]
Behind Agnieska about fifty feet behind her we SEE several
pedestrians, one is an Arab and another a European. Agnieska
goes up into an apartment building.
VLADIMIR
[There he is.]
Around the corner comes another Arab businessman type. The
first Arab stops in front of the apartment house and bends
down to tie his shoe. The second Arab comes up alongside of
him and the first Arab gives an almost imperceptible nod.
The second Arab goes into the apartment house.
VLADIMIR
[He's passing her to Leonid. For
Russians, they make good Arabs.]
The van makes a U-turn and pulls around the corner to give
them another vantage point of Agnieska's apartment.
INT. VAN - LIBYA - DAY
The two Russian operatives continue their stakeout of
Agnieska's apartment.
INT. APARTMENT - LIBYA - LATE AFTERNOON
Agnieska enters the apartment. She opens the door and slowly
walks in. The apartment is dark. She is about to turn on the
lights when suddenly a hand grabs her from behind around her
mouth and another hand holding a gun snaps right down next
to her head. She drops the groceries and screams but the
hand muffles it. She struggles a bit but the person who holds
her hisses.
PERSON HOLDING HER
(in an Arabic accent)
SHHHHHHH. One sound and you're dead.
Outside the door we hear faintly the sound of footsteps. We
still cannot make out who is holding her. He appears to be
an Arab in traditional garb completely bald with mustache
and glasses. He speaks in a thick Arabic accent.
PERSON HOLDING HER
Carlos... when is he coming here?
He loosens the grasp on her mouth.
AGNIESKA
I don't know what you're talking
about.
PERSON HOLDING HER
Don't play games with me. We've had
you followed. We know you're going
to meet him. Now, when?!
AGNIESKA
I don't know any Carlos... please
I'm telling you the truth.
The person holding her still has his gun at her head. He
cocks the trigger back with a loud noise. The gun has a
silencer on it.
PERSON HOLDING HER
This gun has a silencer. There won't
be any noise. Now talk!
AGNIESKA
I don't know what you're talking
about... I'm not from here. I just
came to visit a girlfriend. This is
her apartment. She'll be here
tomorrow... please.
The person who is holding her throws her to the floor. He
stands over her.
PERSON HOLDING HER
You're lying...
AGNIESKA
I swear to you... I'm telling the
truth...
The bald Arab who was holding her slowly takes his belt out
of its loops and puts his gun back in his pants. He holds
the belt as if he is going to strangle her.
AGNIESKA
What... what are you going to do to
me.
PERSON WHO WAS HOLDING HER
First... I'm going to have some fun
with you... and then...
He reaches up to his glasses and takes them off and his
mustache and false nose...
RAMIREZ
Then I'm going to have something to
eat... I'm famished.
PRODUCTION NOTE: THE BEGINNING OF THIS SCENE SHOULD BE PLAYED
WITH ANOTHER ACTOR SO THAT THE AUDIENCE HAS NO HINT THAT
THIS IS RAMIREZ. THEN ON THE CUT WHERE HE TAKES OFF HIS
GLASSES, IT SHOULD BE THE ACTOR PLAYING RAMIREZ, BUT HE IS
BALD.
AGNIESKA
You bastard! I haven't see you for
two years and this is the way you...
Ramirez laughs.
RAMIREZ
I had to be sure I could still trust
you.
He bends down to her and kisses her.
AGNIESKA
I came all the way to this god-
forsaken country didn't I? I've been
holed up in this place you arranged
for me for the past twenty-four
hours... I couldn't eat I couldn't
sleep... nothing just sitting in
here waiting for you.
He picks her up in his arms and starts carrying her to the
bed.
RAMIREZ
So why did you leave. . .?
AGNIESKA
Whoever stocked this place with food
didn't leave much of a selection...
I wanted to go out and get some nice
things for you. You weren't supposed
to be here for another three hours.
I could have made a nice dinner.
RAMIREZ
I've got what I want to eat in my
arms right now.
He lays her down on the bed and pulls up her skirt and his
head goes down out of screen as Agnieska arches her back and
sighs.
EXT. HARBOR - LIBYA - LATE AFTERNOON
The silhouette of a fishing boat drifts along the coastline.
INT. FISHING BOAT - LIBYA - LATE AFTERNOON
We see the silhouettes of two men against the out of focus
backdrop of the city. They are Jack and Amos, chain smoking.
Both men dressed as fishermen. Jack checks his watch.
JACK
I wonder what he's doing now.
AMOS
Practicing safe sex, I hope.
INT. BEDROOM - APARTMENT IN LIBYA - SUNSET
Ramirez is in bed with Agnieska. She lays back smoking a
cigarette, sighing.
AGNIESKA
My God... my God...
RAMIREZ
Yeah... Now, let's eat.
He gets up and throws on his pants and crosses into the little
kitchen. Agnieska follows, draping a blanket around her. She
crosses to a window and opens it.
RAMIREZ
What are you doing?
AGNIESKA
Just getting some air in here...
Don't be so jumpy.
He turns back to the refrigerator and opens it. Agnieska
crosses to the fallen sacks of groceries.
AGNIESKA
Forget about what's in there... I
found caviar and, here's some pate.
RAMIREZ
Didn't like the food I'd left for
you, huh?
His eyes scan the refrigerator.
AGNIESKA
Couldn't eat a bite of it.
ANGLE ON RAMIREZ
His eyes still scan. He pulls a cucumber out of the
refrigerator and takes a bite and makes a face.
RAMIREZ
Ughhh... I don't blame you.
He opens the lid on the garbage can and throws the cucumber
inside.
ANGLE ON INSIDE OF GARBAGE CAN
At the bottom are cigarette butts. CAMERA ZOOMS IN ON ONE -
IT IS FILTER-TIPPED.
Ramirez turns around to her and comes up behind her.
RAMIREZ
Who was here smoking a filter-tip
cigarette my darling?
AGNIESKA
What?
RAMIREZ
You don't smoke filters.
AGNIESKA
What are you talking about?
He grabs her by the back of the neck and shoves her face
down into the garbage can.
RAMIREZ
That's what I'm talking about! The
filter-tipped cigarette. Who was
here.
AGNIESKA
You're crazy... no one... I...
Illich... listen... I ran out of
cigarettes and... and I was at a
cafe and I bummed a cigarette... I
had a cigarette and coffee and came
back here... that's all.
RAMIREZ
(loosening his grasp
just a little)
You bummed a cigarette... that's
all.
AGNIESKA
Yes... yes... you know I can't have
coffee without a cigarette.
RAMIREZ
I believe you.
He straightens her up and rises with her. Then all of a sudden
he grabs her by the throat and starts to strangle her.
RAMIREZ
The nearest cafe is two blocks away.
A cigarette wouldn't have lasted
that long... so you bummed a cigarette
but it wasn't in a cafe... it was
very close to here... In this
apartment building. Who did you meet
with? That window was a signal wasn't
it?! Wasn't it you puta bitch!
He starts to strangle her and we see not Ramirez but Carlos.
RAMIREZ
Tell me or you're dead!
He is choking the life out of her. She croaks out an answer.
AGNIESKA
The French... the DST... They made
me... I didn't have any choice...
RAMIREZ
You sold me out!
He is choking the life out of her when we hear footsteps
racing down the hall. Ramirez throws Agnieska down, grabs
his gun and grenade and races to the open window and goes
out onto the fire escape. His feet are bare. He has no shirt
on.
EXT. FIRE ESCAPE - APARTMENT BUILDING - LIBYA - SUNSET
Ramirez comes out of the apartment onto the fire escape.
Bullets hit the wall next to him and below we SEE several
DST agents shooting up at him. A DST agent appears inside
the apartment and shoots at Ramirez. Ramirez moves out of
the way of the shattered window.
ANGLE - POV RAMIREZ
looking down and across the alley.
INT. VAN - LIBYA - SUNSET
VLADIMIR
[Gunfire?! What the hell is going
on?!]
The two Russian operatives get out of their van.
EXT. FIRE ESCAPE - LIBYA - SUNSET
DST agents from below are shooting up at Ramirez. Their
gunfire destroys everything in sight. Ramirez leaps over the
railing and flies across the street, landing on a terrace.
His momentum is so strong that he is propelled through the
glass doors of the terrace.
INT. APARTMENT - NEXT LEVEL - LIBYA - SUNSET
Ramirez goes through the window of the apartment as bullets
continue to fly. He cuts his feet on the broken glass.
INT. APARTMENT - NEXT LEVEL - SUNSET
Ramirez quickly goes through the apartment, falling into the
room, landing hard where a family is eating and watching TV.
We see now that Ramirez is wounded.
INT. APARTMENT HALLWAY - LIBYA - SUNSET
Ramirez comes out the door and starts toward the stairs.
Ramirez suddenly bangs into a DST agent. The two of them
look at each other in shock for a beat. Neither was expecting
the other to be there. The moment seems to last forever.
They are literally face to face. Which one will react first?
Ramirez takes half a step back, raises his gun and fires,
exploding the DST agent's forehead. Ramirez has a moment of
horror, splattered with the blood and brains of this man. We
Intercut a flash of the DST man being hit in an instant,
almost subliminal replay as if Ramirez's brain must register
the scene twice to comprehend it. Just then, a shot rings
out from below and Ramirez, who can't help staring in horror
at the dead man, flees once more for his life.
INT. APARTMENT HOUSE - STAIRWELL - LIBYA - SUNSET
Two more DST agents follow the trail of blood up the stairs.
EXT. ROOF - APARTMENT HOUSE - LIBYA - SUNSET
Ramirez arrives at the top of the stairs. Reaching the edge
of the roof, Ramirez looks across to the other side. The DST
agents arrive at the top and see Ramirez. Ramirez takes a
deep breath and jumps, barely making it, clinging onto a
pipe on the side of the building. Once again, we Intercut
the quick flashback of the DST man being shot. Then, as shots
ring out around him, Ramirez pulls himself up and gets away.
EXT. ROOF - APARTMENT HOUSE - LIBYA - SUNSET
Ramirez checks over the side of the building to see a DST
car following. One agent steps out and starts to shoot at
him. Ramirez fires back and shatters the windshield and then
jumps to the next rooftop.
EXT. ROOF - APARTMENT HOUSE - LIBYA - MAGIC HOUR
Ramirez's silhouette runs from roof to roof.
EXT. ROOF - APARTMENT - MAGIC HOUR
Ramirez trips over a piece of metal and crashes through the
metal roof of a shed, and then, landing, he takes off running
through the narrow alley below.
EXT. ROOF - APARTMENT - MAGIC HOUR
Ramirez runs down the dark and narrow alley.
EXT. NARROW ALLEY - MAGIC HOUR
Outside a Turkish cafe, a DST agent shoots at Ramirez. All
the diners duck for cover. Ramirez shoots out the lights,
the fixture sparks and flies off its hook, sending a string
of lights crashing down toward the DST agent, the bulbs
exploding around his head.
EXT. SMALL ALLEY - NIGHT
Ramirez arrives at a small street. In the distance we SEE
the lights of a bright and busy street. Suddenly, headlights
hit his face, gunfire rings out and Ramirez takes off followed
by the oncoming car.
INT. COURTYARD - LIBYA - NIGHT
Ramirez is running from the car dodging bullets. Ramirez
lobs a grenade at the car. It explodes right in front of the
car, not taking it out, just damaging it. Ramirez runs across
the street and is hit suddenly by a motorcycle which then
veers off and goes crashing into an oncoming car. Ramirez
gets up and runs into a doorway.
INT. COURTYARD - LIBYA - NIGHT
Ramirez, sweating and out of breath, scans his new and dark
surroundings. While bleeding, Ramirez suddenly turns around
and shoots. A DST agent falls out of the darkness, dead.
Ramirez hears something. Turning around, Ramirez shoots an
agent at the top of the building. The body falls and gets
tangled into the string of electrical wires. He reaches into
his pocket, pulls out another clip and re-loads.
EXT. STREET - LIBYA - NIGHT
Ramirez comes out of the doorway and waves down a taxi.
Ramirez jumps into the driver's seat, pushing the driver
aside. When the driver resists, Ramirez throws him out into
the street.
A passing truck nearly hits the driver. Other Arabs start
approaching Ramirez but back off immediately once he raises
his gun. The taxi makes a U-turn and leaves, racing through
traffic. Ramirez checks his mirror and sees that he is picked
up by a DST car. They begin to shoot at Ramirez and his back
window shatters.
EXT. SMALLER STREET - LIBYA - NIGHT
Ramirez is driving full speed. The car jumps as it hits the
junction of the street. Ramirez continues to be followed by
the car of DST agents. Ramirez turns into a small alley.
EXT. NARROW STREET - LIBYA - NIGHT
Ramirez drives down the narrow street. The sides of the car
barely fit through. Sparks fly from the metal scratching
against the walls. The taxi's mirror pops off as the chase
continues.
EXT. SMALLER STREET WITH ARCHES - LIBYA - NIGHT
The cars continue to race through the streets. Ramirez
suddenly sees two kids coming out of a garage. Ramirez veers
out of the way and misses the kids. The car goes crashing
into scaffolding and paint drops down onto the windshield.
Once again, we Intercut the flashback of Ramirez killing the
first DST agent, being splattered with his blood. Ramirez
continues to drive away, wiping away the paint on the
windshield.
EXT. SMALLER STREET WITH CAFE - LIBYA - NIGHT
Ramirez tries to wipe away the paint. The cars continue to
race through the streets.
EXT. STREET - LIBYA - NIGHT
The two cars disappear down a hill. Ramirez's vision is
blurred by the paint on the windshield. A car suddenly appears
that forces him to veer left into a stairwell. The taxi
descends the stairway. Ramirez suddenly pulls the parking
brake and the other car hits Ramirez's car and flips over it
and explodes. Ramirez, watching the explosion, takes off the
other way.
EXT. STREET IN LIBYA - NIGHT
On the harbor, a police car is seen next to Ramirez's taxi.
The sergeant reveals some blood inside the taxi but Ramirez
is nowhere to be found. We SEE the KGB on the scene.
EXT. HARBOR - LIBYA - NIGHT
The fishing boat enters the harbor. Jack stands on the deck
as the boat passes under a bridge. Out of nowhere a man jumps
onto Jack and shoves him to the ground. Holding him by the
neck, Amos appears and is about to hit Ramirez but Ramirez
grabs Amos' arm and stares at him.
EXT. VILLA - LIBYA - NIGHT - ESTABLISHING SHOT
We SEE Carlos' villa through the barbed wire. The silhouette
of a guard is on top of the building.
INT. VILLA BEDROOM - NIGHT
The real Carlos is asleep in the bed with a beautiful Arabic
woman. A Japanese KOJ enters and taps Carlos on the shoulder.
Instantly he springs awake with a gun in his hand pointed at
KOJ.
KOJ
Illich... you must get dressed. There
was a shooting tonight... We have to
talk.
CARLOS
What shooting... who?
EXT. FISHING BOAT AT SEA - NIGHT
INT. FISHING BOAT - NIGHT
Jack and Amos are with Ramirez who is furious. Amos is binding
Ramirez's wounds.
RAMIREZ
What the fuck are you talking about,
you didn't know she was working with
the DST?
JACK
We didn't. How the fuck should we
know?
RAMIREZ
They're our allies, for Christ's
sake!
JACK
They didn't tell us this time. Why
should they it was their operation.
And we sure as shit weren't gonna
let them in on you being here.
RAMIREZ
Why not?! That way they wouldn't
have tried to kill me and I wouldn't
have wound up killing them.
AMOS
It would have been too dangerous.
RAMIREZ
Too dangerous... what the fuck do
you think that was back there? Safe?
How the fuck more dangerous does it
have to get?
JACK
Annibal, the important thing was it
worked! The Russians have to think
it was Carlos now... . What did they
see? They trail the girl... and then
there's a shoot out. Let's make sure
they know it was DST... we can make
sure they get that information. If
they know the DST was there then
what were they doing there if it
wasn't to get Carlos. She betrayed
you, so tomorrow we take her name
off the bank account and we set up
another place for them to get their
pictures. We burned Libya but okay
so we'll find another place. The
only thing that matters is they've
got to believe it now. It's perfect!
RAMIREZ
You fuckin' maniac! I killed four
DST agents tonight! They're our allies
and they were tryin' to kill me and
I killed them. I killed our allies!
JACK
Hey fuck our allies!
Ramirez just looks at him in horror.
AMOS
Annibal... policemen wind up shooting
other policemen... it happens. I
would rather have you here feeling
guilty about them than to know there
was a meeting in Paris tonight where
they were feeling guilty about you.
JACK
Annibal... you did what you had to
do and it worked. All the training
worked. Carlos couldn't have done it
any better.
He smiles.
EXT. KGB HEADQUARTERS - MOSCOW - NIGHT
The Head KGB Officer is there with his aide. Both look as if
they've been up all night.
KGB AIDE
[Whether Carlos was actually in there
with her or not we don't know... All
we know is there was a gun battle...
DST agents from what we've been able
to find out. But whether or not it
was Carlos...]
HEAD KGB OFFICER
[If it was Carlos and he sent for
the girl... and she betrayed him...
Well... we should keep watch on the
girl. What he does about her will
tell us more than anything else.]
INT. VILLA - LIBYA - MORNING
Carlos sits in the closed Villa with Koj and four other
terrorists.
CARLOS
So the moronic DST find an old
girlfriend and send her here to bait
a honey trap for me... and then they
trip over their own dicks and start
shooting each other... why?
KOJ
There was a man with her... who we
don't know... They must have spotted
him come in... thought it was you
and moved too soon... before she
even made contact with you. Whoever
he was... he was awfully good.
CARLOS
Where is the girl now?
KOJ
They've taken her to Paris.
CARLOS
I want the bitch dead!
KOJ
It won't be easy.
CARLOS
If it was going to be easy I could
hire a couple of junkies. I want the
cunt dead! You handle it Koj. Hit
her in Paris, right under their
fucking noses and leave Europe through
London.
KOJ
When?
CARLOS
Now! Leave now. Not this afternoon...
not five minutes from now... Now!
Koj gets up and leaves. Carlos turns to the others.
CARLOS
Something else troubles me my friends.
How was this woman going to make
contact with me. You're the only
ones who knew about this safe house.
So one of you was her contact.
They all start to protest too late as Carlos pulls out his
gun and shoots each of them.
INT. STAIRWELL - AGNIESKA'S BUILDING - DAY - EST. SHOT
SUPER OVER THE CIRCULAR STAIRWELL: PARIS - JUNE, 1987
Agnieska comes down the stairs, passes by camera.
EXT. AGNIESKA'S APARTMENT BUILDING - PARIS - DAY
A French DST security man comes out of the apartment building
first. He looks around the street and then nods. A second
DST man comes out of the building and gets in a black Renault
after first checking underneath it to make sure there is no
bomb and then popping the hood and examining the engine and
then examining the ignition wires. Satisfied, he takes a
deep breath and starts the motor and then the first DST man
nods inside the apartment building and another DST man comes
out with Agnieska next to him. He opens the door for her
when two shots ring out, both of them hitting her in the
forehead. The DST agents scatter for cover when suddenly the
car parked in front of the Renault explodes with tremendous
force and the DST agents are all hit.
INT. KGB OFFICE - MOSCOW
The Head KGB Officer is there. The Head KGB Officer has a
file opened on his desk. In it are photographs of Ramirez
jumping out of the apartment in Libya. None of the photographs
show his face clearly so there's no way of telling who it
is. Just then the Aide comes in and hands a telex to the
Head KGB Officer.
HEAD KGB OFFICER
(reading it)
[When?]
AIDE
[This afternoon... the girl and two
DST agents dead, one wounded.]
HEAD KGB OFFICER
[So now we know... it was Carlos.]
He holds up the picture of Ramirez with just the back of the
head showing.
HEAD KGB OFFICER
[We still have to tie him to the
CIA... if that is what's going on. I
won't make a move against him until
I know for sure.]
AIDE
[Why?]
HEAD KGB OFFICER
[Because my dear boy... four of his
colleagues shot in Libya, plus the
DST and now the girl. He's a very
dangerous fellow. One doesn't make a
move against such a man until one is
sure. And then one must move very
quickly and kill him... before he
has a chance to kill you.]
EXT. LONDON - HEATHROW AIRPORT - DAY
SUPER: LONDON - HEATHROW AIRPORT
INT. HEATHROW TERMINAL - ARRIVAL GATE - DAY
Ramirez crosses out of the arrival gate. He looks for all
the world like a business traveler who is completely alone.
INT. HEATHROW TERMINAL - CAFETERIA - DAY
The Cafeteria is crowded and noisy. Ramirez walks with his
tray as if looking for a table. There is an open seat where
Jack and Amos sit with their backs to each other at separate
tables. Ramirez crosses to Jack. Ramirez is still bald but
his hair has grown out a bit.
RAMIREZ
(loudly)
Is this seat taken?
JACK
No, go right ahead.
Ramirez sits down and now the conversation is in hushed tones.
RAMIREZ
I want to go home. I want to see my
family.
JACK
This isn't the place for this
conversation.
RAMIREZ
(pissed off)
No rules, remember? I want to go
home. You said yourself we can't
move again till he leaves Libya. You
don't even know when that's gonna
be. He might stay there another year
for Christ's sake.
JACK
No he won't. He's gonna make a move
and it'll be in Europe just to stick
it up the DST's nose. I'm gonna go
and find out about our connecting
flight.
ANGLE ON - RAMIREZ
He picks up his soup spoon and turns it over and uses it to
scan what's going on around him.
ANGLE ON - SPOON
IN the spoon we SEE Koj with a flight bag walking across the
cafeteria toward Ramirez.
BACK TO SCENE
Koj crosses around in front of Ramirez to get a better look,
obviously surprised to see what he thinks is Carlos. Koj
leans in close to Ramirez.
KOJ
(whispering)
Carlos... what are you doing here?
Ramirez looks at him, shocked for a moment and then
recovering.
RAMIREZ
(hissing)
You idiot! Don't you know better
than to approach me in public!
KOJ
(loudly)
Excuse me sir... I only wanted to
know where I could buy a newspaper.
RAMIREZ
Go over there by the phone booths
and wait... I'll come to you.
Ramirez gets up casually.
ANGLE ON - AMOS
He has heard everything that has gone down.
ANGLE ON - KOJ
He waits, standing a few feet away and not by the phones as
he was told. He watches Ramirez. Something doesn't jibe...
passwords were not exchanged. He crosses to Ramirez's side.
KOJ
(loudly)
Excuse me sir... I asked if you knew
where I could buy a newspaper.
Ramirez stops for a moment. He knows that the line is some
kind of code and he has no response to give so he starts up
walking again. Koj is instantly behind Ramirez, his hand
going into his flight bag and pushing the flight bag up
against Ramirez's back.
KOJ
Make the slightest move and I shoot...
and I don't miss. Walk to the rest
room, very carefully.
Ramirez does as he is told.
ANGLE ON
Amos. He watches it all going down in the back of a chrome
napkin holder. He slowly gets up, looks around for Jack and
goes out into the corridor and sees Koj and Ramirez going
into the rest room. Koj sees one of those sandwich board
signs off to the side which says, "LAVATORY TEMPORARILY CLOSED
FOR CLEANING." He pulls it in front of the door.
INT. RESTROOM - STALL - HEATHROW AIRPORT - DAY
Koj has Ramirez's head with one hand, while he holds the gun
on him with the other. He forces Ramirez's head down deep
into the toilet bowl. He flushes. The water level sinks and
then rises, covering Ramirez's face. Koj holds him under
water long enough to almost drown him. Then, instead of
lifting his head out, he flushes again and the water level
lowers.
KOJ
Tell me what I want to know quickly
or you're dead.
Just then Ramirez manages to kick back and overpower Koj and
send him flying back out through the door of the stall.
Ramirez is back on him in a second but Koj has his gun up
and pointed right at Ramirez's head. They have shifted
position now, so that they are not facing the stall, but the
door of the bathroom. Koj is about to pull the trigger when
we HEAR:
AMOS (O.S.)
Down!!
NEW ANGLE
Ramirez ducks and rolls out of the way and Amos fires two
shots into Koj's chest but not before Koj can get off a round
right into Amos' chest. In an instant Ramirez is on the still-
alive Koj grabbing his head in his hands and slamming it
down onto the edge of the sink with a thud that cracks his
skull. He quickly crosses to Amos who is dying.
AMOS
Get out of here... now...
RAMIREZ
I've got to get you to a doctor.
AMOS
Get out now...
Ramirez cradles him.
RAMIREZ
I'm not going to let you die here...
I've still got a lawsuit against
you, remember?
Here, Amos speaks as a doomed father would to a son who still
has a chance to save himself from the Holocaust.
AMOS
My dear boy... my dear dear boy... I
am dead. Please God, don't let it
all be for nothing... Get out now...
Ramirez stands as Amos literally pushes him away. Ramirez is
the brave and dutiful son as his father says, coaching,
teaching him to the last...
AMOS
Walk slowly... no attention.
Ramirez is ashen faced, knows Amos is right and forces himself
to stand up and walk almost robot-like out of the restroom.
INT. HEATHROW AIRPORT - CORRIDOR - DAY
On a long shot we SEE Ramirez walk down the corridor till he
sees Jack. He says a few words to him and then starts to
walk back toward the restroom. Jack grabs his arm and
literally walks him out of the corridor and down an escalator.
INT. HEATHROW AIRPORT - PHONE BOOTH - DAY
Jack and Ramirez stand next to a phone booth. Jack is on the
phone dialing. A voice with a cool British accent answers on
the other end.
PHONE VOICE
Cousins Industrial Maintenance, may
I help you?
JACK
Mister Simon Wicks, please.
PHONE VOICE
Ringing.
WICKS (THROUGH PHONE)
Simon Wicks here.
JACK
This is Jack Shaw. Could you send a
clean-up crew to Heathrow. We've had
a rather nasty spill.
EXT. CAR - IN RAIN - LONDON - DAY - ESTABLISHING SHOT
INT. CAR - IN RAIN - LONDON - DAY
Ramirez is with Jack who is on the phone.
JACK
(into phone)
Yes... I'm calling about my cousin...
Oh Jesus... Oh Jesus...
He shakes his head. Ramirez knows it means Amos is dead.
RAMIREZ
Oh God... no...
JACK
(into phone)
I understand... Yes... Good bye.
He hangs up the phone.
RAMIREZ
Amos?
JACK
He's dead.
RAMIREZ
Why?! Why didn't you let me go back
to him... If we'd have gotten him
help sooner instead of... instead of
"we had a rather nasty spill!" Is
that what it was Jack? Is that all
Amos was... a rather nasty spill,
mop it up, it'll be okay?! Huh?!
JACK
(dead panned)
He would have been dead anyway and
he knew it. That's why he told you
to get out.
Ramirez knows he's right.
JACK
(after a beat)
Looks like you're going to get to
see your family after all.
RAMIREZ
What?
JACK
You're going home... it's off... for
the time being at least.
RAMIREZ
Bullshit! I want him. I want that
son of a bitch Carlos! And I want
him dead!
JACK
Tough shit what you want, Annibal.
Koj had a ticket for Libya on him.
Chances are he wasn't looking for
you but...
RAMIREZ
He wasn't looking for me... He thought
I was Carlos!
JACK
That's what I think too but the
Director wants an operation review
board... The DST shoot out... the
girl winds up dead in Paris... now
this... I've got to go back for the
review and you've got to go home.
RAMIREZ
No way man... it was my fault... the
whole thing... I want him dead!
JACK
What do you mean it was your fault?
RAMIREZ
When he asked me about the paper...
if I coulda just bullshitted my way...
JACK
It was a password... you didn't know
it... anything you would have tried
would have backfired. I had a thing
like that... Awfully warm for this
time of year... the response was,
yes but not as sticky as two summers
ago... the guy says anything else...
he even hesitates, you shoot him. I
shot him... There was nothing else
you could have done.
RAMIREZ
I'm not leavin' till we get him.
JACK
Nobody's askin' you. They're shuttin'
us down. You go back home... maybe
I'll see you again... maybe I won't.
You'll either hear from me or you'll
get new sea duty and that's the end
of it.
Ramirez just looks at him shocked.
RAMIREZ
Just like that?
JACK
Just like that. I ain't the Madam
kid... I'm just one of the whores.
And so are you.
EXT. RAMIREZ HOME - VIRGINIA - DAY - RAIN
A taxi pulls up in front of Ramirez's house. Ramirez steps
out of the taxi dressed in his Navy uniform and carrying his
sea bag. He does not have a hat on and we SEE his head while
not bald, is now in the shortest of buzz cuts, certainly
much shorter than the way his wife last saw him. He stands
outside the house looking at it like an adult who has come
back to his boyhood home and finds it suddenly so small.
Just then the door opens. There is Maura holding the baby
and next to her, Joey. Ramirez runs toward them and they to
him and we SEE them in tableaux, embracing. An idyllic family
reunited.
CUT TO:
INT. RAMIREZ HOUSE - STUDY - VIRGINIA - NIGHT
We begin on a shot of Ramirez's chair. It rocks back and
forth violently as we PAN UP and SEE Ramirez, who is fucking
Maura. They are both fully clothed, skirt hiked up, fly
unzipped. This is not lovemaking. He is fucking her brains
out. It is passionate, rough sex. Maura hits high "C" as
Ramirez sweeps books off of a table, lifts her out of the
chair and lays her out on the table. The two of them climax
together. It is clear from Maura's look that this is the
best sex she's ever had. Ramirez slowly rolls off her. He is
smiling as well, and then becomes aware that Maura has begun
to cry.
RAMIREZ
What's wrong?
MAURA
You've been with another woman...
haven't you.
RAMIREZ
What are you talking about?
MAURA
Haven't you?
RAMIREZ
No. What... what would make you say
a thing like that?
MAURA
You're different...
RAMIREZ
Maura... I was on a submarine...
there aren't any women on
submarines... There was nothin' to
do but read. They had one of those...
how to improve your sex life books...
I must have read it about ten times.
I tried out a couple of things from
chapter three okay? I mean if it
didn't turn you on blame Doctor Ruth
okay?
MAURA
(unconvinced)
Okay.
RAMIREZ
Great. You want to check with the
Navy to see if we had shore leave...
I'll get you a fuckin' letter okay?
MAURA
I don't need any letters. And I don't
need you to talk to me like that
either.
Ramirez gets up and zips up his fly.
MAURA
Where are you going?
RAMIREZ
Get somethin' to eat... I'm starving.
He exits.
EXT. RAMIREZ HOME - DAY
SUPER: JULY, 1987
INT. RAMIREZ HOME - DAY
Ramirez comes into the house from the garage.
RAMIREZ
Maura... Maura!
Maura comes out of the kitchen.
MAURA
What?
RAMIREZ
Where's the car? The car's not in
the garage. Where's the car?
MAURA
The fellow at the service station
said it needed a tune up. I took it
in this morning... You didn't say
you were going to need it.
RAMIREZ
Don't do that anymore.
MAURA
What?
RAMIREZ
I don't want anybody workin' on the
car. Car needs something I'll do it.
But I don't want anybody touchin'
that car.
MAURA
Why? What difference does it make.
RAMIREZ
It makes a difference to me okay? So
don't do it.
MAURA
Did you check the mail?
RAMIREZ
Yeah I checked the mail. Still nothin'
from the Navy. Why, you so anxious
to get rid of me?
MAURA
I don't want you goin' back to those
subs. I'll tell you that.
RAMIREZ
Yeah well I don't have much to say
about it. It's the Navy you know.
MAURA
You can request another assignment.
It's changed you Annibal. It's hurting
us.
RAMIREZ
What's hurting us?
MAURA
Your attitude... that's what hurting
us.
RAMIREZ
My attitude. I don't have an attitude
man... you got an attitude.
MAURA
You're suspicious of everything that
goes on... you snap at Joey, you
snap at me. I don't like it.
RAMIREZ
Look I just... it's hard gettin'
used to... you know... it's hard...
Listen... tomorrow's Joey's game.
Let's just go to Joey's game. It'll
be nice. It'll be like it always
was. You'll see.
He holds her to him.
DISSOLVE TO:
EXT. PARK - NORFOLK, VA - DAY
It is Little League Day. Adorable kids are dressed up in
their uniforms ready to play the next level of baseball.
They have graduated from T-ball to coach-pitch, in which the
coach pitches the ball for the kids. There are hot dogs and
lounge chairs, family dogs and... fathers. The mothers are
there as well, as are brothers and sisters, but primarily it
is the fathers trying to fulfill their own dreams of sports
glory through their kids.
ANGLE ON - RAMIREZ AND JOEY
Ramirez has his arm around Joey, giving him his last bit of
fatherly advice.
RAMIREZ
Okay... remember, what do we do?
JOEY
Keep my eye on the ball.
RAMIREZ
And who's the guy who wins?
JOEY
Whoever has fun, wins.
RAMIREZ
Right! So you go out there and have
fun.
He gives Joey "five" and Joey runs out to join his team at
their dugout. Ramirez starts walking about toward Maura and
the baby. As he does, he crosses next to another father,
FRANK, who is with his son TYLER. Frank is about six foot
four and to say that he is competitive would be the
understatement of the year. He is haranguing his kid as if
this were the deciding game of the World Series. He is on
one knee so we don't see just how big he is.
FRANK
I don't want so see you out there
dickin' around today, you understand?
Tyler looks at his shoes. He is cowed and embarrassed.
TYLER
Yes sir.
FRANK
You're gonna be focused and aggressive
and you're gonna play to win. Got
it?
Tyler is still staring at his toes.
FRANK
Hey, you think I'm talking just to
hear myself talk? Look at me when
I'm talking to you!
Frank suddenly smacks him in the face. Annibal stops in front
of the two of them.
RAMIREZ
Hey pal, lighten up, what do you
say? It's just a game?
Frank looks at Ramirez and stands to his full six foot four.
FRANK
What did you say?
RAMIREZ
I said lighten up. It's just a game
and he's just a kid.
FRANK
He's my kid.
RAMIREZ
Great. So why don't we let our kids
have a good time. Come on, I'll buy
you a beer.
FRANK
I don't need you to buy me a fuckin'
beer, you piece of shit. And you
stick your face in my business again
and I'll beat the living fuck out of
you. What do you say to that?
ANGLE ON - RAMIREZ
There isn't a trace of Ramirez here at all. It is pure Carlos.
FRANK
What are you smilin' at, asshole?
RAMIREZ
(very quiet)
A dead man...
But before Ramirez can move, we HEAR:
MAURA (O.S.)
Annibal... please!
Ramirez turns. Maura is there beside him.
MAURA
Annibal please. Let's go sit down.
FRANK
Good idea, Annabelle. Your ol' lady
just saved your ass.
MAURA
Annibal... please... Please...
Maura tugs at Ramirez's arm and Frank smirks. Ramirez cages
the monster inside and turns with Maura. As he turns, Frank
turns to Tyler as if he cannot believe the boy is still there.
FRANK
What are you doin' standing here?!
You're supposed to be over there
with your team! Now move!
The boy hesitates. Frank rears back his arm to hit him.
FRANK
I said...
But before Frank can complete the sentence and strike his
child, Ramirez comes flying through the air with a kick
planted straight to Frank's head. It is sudden and violent
and brutal. He comes down and with one side-kick, "knee-caps"
Frank, which is to say he hits the top of Frank's kneecap
and breaks it so that it is down around his shin. Frank starts
to drop but before he can, Ramirez grabs his ears and brings
his head down into his own swiftly rising knee. The result
is devastating and Frank's nose is now all across his face.
Blood is everywhere and Ramirez does it again. Now the object
is Frank's teeth, so that when his head comes off of Ramirez's
knee, his mouth is a mass of blood as well.
In slow motion, Ramirez turns and sees his son who stares in
horror at what his father has just done. At the same time,
maura is up and grabbing onto Ramirez. Ramirez however is
not done. Frank is completely defenseless now and Ramirez
leans him back across his knee, pulls him by the hair exposing
his throat like that of a sacrificial lamb about to be
slaughtered. This time instead of a knife, it will be a karate
chop from Ramirez which will crush Frank's windpipe and kill
him. But before he can deliver the blow, Maura grabs his
arm. He turns to her, almost about to hit her or throw her
off and the two of them are face to face as Ramirez looks
from her to his son and realizes how deep into the abyss he
has plunged.
EXT. STREET NEAR BALLPARK - NORFOLK, VA - DAY
An ambulance is receiving what is left of Frank on a gurney
as Ramirez is led away in handcuffs to a squad car.
CUT TO:
INT. POLICE STATION - MARYLAND - DAY
The cell's metal door SCRAPES as it opens. The POLICE CAPTAIN
motions to Ramirez to follow him.
MOVING
Leading Ramirez through a number of corridors, the Captain
stops at a closed door.
CAPTAIN
(opening the door)
He's all yours.
Remaining outside he motions Ramirez to enter.
INT. ROOM - POLICE STATION - DAY
Ramirez enters and sees Jack who smiles his cynical smile.
JACK
Little League, huh? Tough game.
RAMIREZ
What are you doing here?
JACK
It's show time.
EXT. POLICE STATION - MARYLAND - DAY - RAIN
Ramirez exits with Jack and starts across the street in the
rain.
RAMIREZ
I got to have time to think it over.
JACK
There isn't any time. He's on his
way to East Berlin. We have word
he's planning another attack in
Europe. He'll be there maybe four
days at the most.
Ramirez stops dead right in the middle of the street. The
traffic swirls around them.
RAMIREZ
Hey, I don't know what to do anymore,
okay? I almost killed some little
kid's father today. I don't know
about anything anymore.
JACK
Hey, he was a baseball dad. He
deserved it. Besides, from what I
heard his kid was out, so what's the
beef?
RAMIREZ
I don't know if I could come back
from it again.
JACK
What happened to I want the son of a
bitch dead? You think Carlos has had
a change of heart and turned nice
all of a sudden?
RAMIREZ
Don't tell me about Carlos, Jack. I
know exactly who Carlos is. I know a
hell of a lot better than you do.
But, maybe there's more important
things to me, like keepin' from goin'
crazy... like gettin' back to bein'
me instead of me bein' some kind of
fuckin' maniac.
JACK
You want to get back to bein' you?
Then finish it. Kill him. Kill him
and he's dead and it's over with.
You walk away from it now and what
do you think you're gonna be like
the next time you read that that son
of a bitch blew up some airplane
full of women and kids.
RAMIREZ
Hey, the guy deserves to be dead. I
know that.
JACK
This isn't abstract, Annibal. You're
walkin' around with his face. Sooner
or later one of the bad guys is gonna
see it like Koj did, and next time
Amos won't be there to take the bullet
for you. Carlos doesn't forget. You
help me get him or you're never gonna
know when he's comin' after you...
Listen to me kid. I don't have any
friends, no family, no nothin'. The
only relationships I ever had that
mattered to me were with the people
I killed. But I... I fucking created
you! You can't just walk away now.
RAMIREZ
You did create me, didn't you...
From the beginning... that kid in
the hospital in Bethesda... when I
was supposed to be the doctor... It
was all bullshit, wasn't it? All an
act...
There is a long pause. Jack turns cold as ice.
JACK
This doesn't have anything to do
with you and me. It's you and Carlos.
You help me kill him... or I swear
to you... I'll make sure he knows
about you... I'll use you for bait.
You and your whole fuckin' family
too.
Ramirez grabs him and throws him against a parked car. He
begins choking Jack. He may well kill him. Though Ramirez
doesn't see it at first, Jack's gun is already out. Jack
nudges Ramirez in the stomach with it. Jack is choking, unable
to speak, but the gun is speaking for him.
JACK
Huh? Huh?
Ramirez looks down and see the gun and loosens his grip.
JACK
You want to try and kill me, that
doesn't solve your problem, pally.
You've got a Carlos problem. That's
the guy you've got to kill. That's
what it's all about now... you...
and your family... or him.
INT. RAMIREZ HOME - KITCHEN - VIRGINIA - NIGHT
Ramirez is there alone with Maura. They are in mid-argument.
MAURA
No! I won't let you do it! You're
not going back to those subs! It's
changed you... You need help, Annibal.
You could get some kind of stress
disability or...
Suddenly, Ramirez bellows and slams his hand down on the
counter.
RAMIREZ
Enough!
Maura is shocked by the sudden violence in him.
MAURA
No, not enough. Whatever is going on
out there with your job...
RAMIREZ
With my job!? What do you think my
job is, Maura... huh? What do you
think is out there? A nice, pretty
safe little world with shopping malls
and little league and ballet lessons.
You sit here in your little kitchen
and cook your little meals...
He looks at her almost in disgust. She sees the look and
slaps him. Faster than she could ever have considered, he
slaps her and sends her back into the wall. She holds her
cheek. He is an inch away from her face and now he is about
to show her Carlos, to become him in front of her.
RAMIREZ
People are killing people out there!
Jackals are licking up their blood
waiting for the next corpse to drop...
and I'm one of them. You get that?
Do you get that now?!
He speaks very quietly, pulling the curtain aside, taking
off the mask and letting her see the full horror.
RAMIREZ
I've murdered people. Not safe and
clean and surgical firing a missile
from some ship, but close and with
my hands so their blood splattered
on me... so their brains splattered
on me. And they weren't the enemy,
Maura... they were Allies. They were
on our side. It was just to keep a
cover... I've betrayed everything I
ever believed in. I've betrayed you...
I've fucked other women... I've killed
men... There was a woman I would
have killed but I just ran out of
time. I've let friends die... I've
become a terrorist... and I've made
you and the children a target. Do
you understand what I'm saying to
you? Do you see me now? Do you see
the monster? There's another one
worse than me and he is out there
and he will kill you and the children
if I don't kill him first... . That's
my job, Maura. And if you don't mind,
I'm late for work.
EXT. WEST BERLIN - DAY - ESTABLISHING SHOT
SUPER: WEST BERLIN - JULY, 1987
EXT. BERLIN WALL - LOOKING INTO EAST BERLIN - DAY
We are ON the ramparts on the top of the Berlin Wall. These
are platforms from which people can stand and look into East
Berlin, they're covered with graffiti to the East Germans,
LET MY PEOPLE GO, that sort of thing. They look down over
they dingy wall that divides the city marked with machine
gun nests and observation posts. Jack stands there with
Ramirez.
JACK
We used a double agent to get word
to the Russians that Carlos is really
here to close his deal with us and
not to plan a new attack in Europe.
He has a new girlfriend... He's been
fucking her brains out since he got
here. He has her brought over every
night in a limo. You'll be dropped
near the mansion... as soon as she
goes in, you make as if you're
sneaking out... the Russians will be
watching. You'll go to the meet.
It's at that beer hall, there...
see? You see it?
Ramirez locates the beer hall through his binoculars.
RAMIREZ
Got it.
JACK
You go to the meet at the beer hall.
Play it out... let 'em take your
picture... then you've got to get
back. They're going to have to analyze
the pictures and see through your
disguise before they can authorize a
hit. They won't be able to do that
before you're able to get back to
the mansion. At twenty-one fifteen a
Volga with diplomatic plates, DC-
four-five-nine-two will come by the
northeast corner of the compound. It
will slow down... you jump in. If
you can't make it for any reason,
there will be another run at exactly
twenty-one forty-five. It's your
only ticket out so don't be late.
RAMIREZ
Who do I meet? Who's my contact?
JACK
Me... My ass is on the line too.
RAMIREZ
Who cares? This isn't you and me.
It's me and him. If the Russians
don't go for the bait for any
reason...
JACK
If the Russians don't go for the
bait for any reason you will have
gotten out of there at twenty-one
fifteen per orders.
RAMIREZ
If the Russians don't go for the
bait for any reason, I'll go in there
and kill him myself. And if I'm still
alive I might just come looking for
you.
EXT. CARLOS' HIDEOUT - EAST BERLIN - LATE DAY
SUPER: WEISSEN, EAST BERLIN
THROUGH BINOCULARS
Across a street with a tree-lined divider, a large mansion
surrounded by a ten-foot high brick wall. The mansion's front
windows are heavily shuttered, with little light filtering
through. Nearby is a small lake.
INT. IVAN AND ANDREI'S CAR - ACROSS FROM CARLOS' HIDEOUT -
LATE DAY
Ivan looks through binoculars, staking out the mansion. He
suddenly becomes agitated.
IVAN
[Look!]
Andrei picks up his camera.
THROUGH BINOCULARS
A man's figure emerges stealthily from the shadows of the
mansion's back wall.
ZOOM
The blonde, bearded Ramirez.
ANDREI
[You think it's him?]
CLICK, CLICK, CLICK... The quick sound of the camera shutters.
Faintly we HEAR the sound of a motorbike start up. Then we
SEE Ramirez on the motorbike heading off. Ivan and Andrei
follow him at a distance.
EXT. ROAD LEADING INTO EAST BERLIN - MAGIC HOUR
The KGB car falls in behind another car separating it from
the motorbike and follows Ramirez into town. He passes by
giant steam pipes in the foreground as the KGB car follows.
EXT. ROAD - EAST BERLIN - MAGIC HOUR
A tram wipes the screen to reveal Ramirez, on his motorbike,
followed by the KGB car. The landscape is desolate, with
drab row-houses. Ramirez gets to a red light. As it turns
green he sees the KGB car in his mirror. He jams across the
street, just barely fitting in between two criss-crossing
streetcars. Ivan and Andre lose sight of Ramirez.
EXT. STREET - EAST BERLIN - DUSK
Ivan and Andre shoot forward and then slow, as they spot
Ramirez buying a newspaper at a newstand.
ANGLE ON - RAMIREZ
He holds his motorcycle helmet in his hand, and using it as
a mirror, he sees the KGB car in its reflection. Satisfied
that they have caught up with him again, he walks across the
street to the beer hall.
INT. BEER HALL - DUSK
The large bierstube is crowded, noisy and enveloped in a
thick cloud of cigarette smoke. Its lively, at times rowdy
clientele is in various stages of intoxication. As the loud,
oom-pah-pah-pah band plays popular German music, those who
are not too busy eating, talking, or emptying liter-sized
beer steins, sing along.
ON RAMIREZ
Fighting the crowd, he heads for the back of the beer hall,
looking for his contact.
ON IVAN AND ANDREI
Entering the place, they pretend to be camera-carrying Russian
tourists. A common sight in East Berlin.
ON RAMIREZ
He stops and stares.
RAMIREZ'S POV
Through the jam pack, the profile of a man, with a Tyrol hat
who sits along the back wall. Busy eating, he seems totally
oblivious to the hoopla around him. We can't really see his
face.
ON RAMIREZ
As he cautiously approaches what he thinks is Jack. It isn't
him. There is a sudden look of panic on his face and then he
spots Jack also in the same kind of hat. Lifting his head,
and turning to face Ramirez, we too recognize him. Under the
hat, and the new heavy eyebrows and mustache, is... Jack. He
smiles, takes off his hat, and motions his quest to sit down.
ON ANDREI (THROUGH IVAN'S CAMERA)
He's posing with a giant stein. A slight shift of focus and
we can see Ramirez. Jack, however, is hidden by the waiter's
back. Then, the Waiter moves on.
ZOOM
A clear, unobstructed picture of Jack and Ramirez up close.
CLICK, CLICK, CLICK, CLICK, CLICK... The rapid CLICKING stops
only when the view of the two is blocked again by other
people.
EXT. STREET OUTSIDE BEER HALL - DUSK
Ramirez emerges from the beer hall. He heads back to his
motorbike.
ANGLE
Seconds later, the two KGB come out. This time, only Andrei
takes after Ramirez. Ivan gets into a taxi which heads in an
opposite direction.
CUT TO:
EXT. STREET OUTSIDE MANSION - NIGHT
Reaching the mansion, Ramirez discreetly steals his way toward
its back wall. Then, just as slyly as he earlier had
materialized, he disappears.
ON VLADIMIR AT HIS POST
Watching Ramirez vanish into the mansion wall.
EXT. RAMIREZ'S HIDING PLACE - NEAR MANSION - NIGHT
He lies in the thick bushes, completely obscured from anyone's
view and now he removes the blond wig and the rest of his
disguise. Underneath his "disguise" clothes, he is wearing a
pair of black jeans and black T-shirt. He looks exactly like
Carlos now.
PRODUCTION NOTE: IT IS IMPORTANT TO UNDERSTAND WHAT IS GOING
ON HERE. THE REAL CARLOS HAS NOT DYED HIS HAIR BLOND. THIS
WAS NOT THE REASON FOR RAMIREZ PUTTING ON A BLOND WIG. THE
LOGIC HERE IS THAT IF THE "REAL CARLOS" WERE IN FACT GOING
TO A MEET WITH A CIA AGENT, HE WOULD HAVE PUT ON SUCH A
DISGUISE TO MAKE SURE HE WAS NOT SPOTTED BY THE RUSSIANS.
INT. BLACK VOLGA - EAST BERLIN - NIGHT
Jack takes off his disguise as he drives the Volga to the
appointed corner of Carlos' compound. He looks at his watch.
reads: 9:15 as he slows the car to a crawl.
JACK
(to himself)
Come on... come on...
EXT. RAMIREZ'S HIDING PLACE - NEAR MANSION - NIGHT
Ramirez watches as Jack cruises by.
RAMIREZ
Not till he's dead, Jack. Not till
he's dead.
INT. BLACK VOLGA - EAST BERLIN - NIGHT
Jack sees that Ramirez is not going to show.
JACK
Shit.
INT. KGB HEADQUARTERS - EAST BERLIN - NIGHT CLOSE ON MONITOR
SCREEN
A head shot of Ramirez in his latest blond, bearded disguise.
Grainy and blurred at first, it's gradually being brought
into sharp focus.
PULL BACK to reveal a GROUP OF MEN closely watching the screen
of an impressive, state-of-the-art computer. We recognize
only one of them. Andrei. At the computer's sophisticated
keyboard -- manipulating the images on the screen -- are TWO
TECHNICIANS in white overalls. Right behind them stands the
Head KGB Officer from Moscow and his Aide.
HEAD KGB OFFICER
(orders the technicians)
[Now Carlos.]
ON SCREEN
It bisects, to allow a picture of the real Jackal (the
splitting image of Ramirez) to appear on the right half of
the screen.
BACK TO SCENE
The Head KGB Officer puts on his glasses and takes a closer
look at the monitor.
HEAD KGB OFFICER
[The beard and moustache.]
One of the two technicians toys with the keyboard.
CLOSE - SCREEN
The beard and moustache on Ramirez' disguised image slowly
disappear. The two faces look very similar.
CLOSE - SCREEN
A huge nose covers the entire left half of the screen.
ZOOM
The upper part of the nose only. And... the incriminating
hairline where the bogus schnoz had been superimposed on the
real one.
TECHNICIAN (O.S.)
[The nose is a fake.]
HEAD KGB OFFICER
[Match the nose. And get rid of this
wig...]
As the aquiline nose assumes the shape of the Jackal's --
the hair changes both color and form to match his -- the two
faces on the screen become identical.
HEAD KGB OFFICER
[Have you identified the one he was
meeting with?]
TECHNICIAN
[His name is Jack Shaw. CIA
Counterterrorism.]
The Head KGB Officer turns to his Aide.
HEAD KGB OFFICER
[Get me the MFS on the secure phone.
I want them out of the way.]
EXT. MANSION - NIGHT ON MANSION GATE
It opens slowly. One by one, a half dozen MFS -- including
the two we've seen earlier -- sneak out. Just as furtively,
armed KGB -- led by the Head KGB Officer and his Aide move
in through the still-open door.
EXT. RAMIREZ'S HIDING PLACE - NEAR MANSION - NIGHT
He watches the KGB men enter the compound.
RAMIREZ
(sotto voce)
Don't blow it Comrades... kill him.
INT. MANSION
Meeting no resistance on the ground floor -- whose security
apparently has been the task of the MFS -- the intruders
climb the open, spiral staircase. They move cautiously,
silencer-equipped weapons in hand.
ANGLE
Reaching the upper floor, they hear the muffled sound of
RHYTHMIC MUSIC coming from the far end of the hallway to
their right. The Head KGB Officer motions his Aide to move
into the corridor to their left. He does, taking three KGB
with him. Four others -- including Andrei and Ivan -- follow
the Head KGB Officer into the hallway to their right.
INT. HALLWAY
It's long, with several rooms on each side. As Vladimir moves
gingerly into the first one, Ivan covers him from the door.
INT. ROOM
Illuminated only by the light which filters through the open
door, the room is quite dark. A faint sound of SNORING reaches
Andrei from the bed closest to the door. Quickly there, his
arm goes up. Then, for a split second, the flash of metal as
the knife comes down hard. The victim's last MURMUR. Followed
by the SOUND OF MOVEMENT at the other bed.
ANGLE
In the beam of Ivan's flashlight, a waking JAPANESE is
reaching for his gun. Pffft. Pfffft. And he too falls back
to sleep. Eternally.
INT. ANOTHER ROOM - MANSION
TWO more JAPANESE in the midst of a Go game meet the same
fate. A burst from Head KGB Officer's automatic finishes
them off.
INT. HALLWAY AND OTHER ROOMS - MANSION
Doing away with several more of Carlos' multinational gang,
the five KGB finally reach the room with the large, heavy
French doors at the end of hallway.
INT. OUTSIDE CARLOS' BEDROOM
Quietly approaching the carved-wood doors, a KGB tries the
knobs. The doors are locked. Suddenly, the pulsating LATIN
BEAT which emanated continuously from behind the doors, stops.
ON HEAD KGB OFFICER
He's startled by the sudden silence.
HEAD KGB OFFICER
(whispering)
[Quick! Quick!]
Not wasting any time, Andrei and Ivan kick the doors open.
Diving to the side, they cover the other two KGB who storm
in with their Kalashnikovs very much at the ready.
INT. CARLOS' BEDROOM - MANSION ON CARLOS' BED
The voluptuous blonde -- her body glazed with post-coitus
sweat -- is paralyzed with fear; covering her prized assets
seems the last thing on her mind. She gapes at the KGB
marauders with wide, blue eyes. Not so, Ramirez's look-alike.
Caught reaching from under the sheets to replace the tape in
the stereo by the bed, he instinctively tries for his gun.
ON HEAD KGB OFFICER
Standing at the door. His automatic no longer has a silencer.
HEAD KGB OFFICER
(sarcastic)
Don't even think about it. It would
deprive the KGB of the pleasure of
interrogating you.
ON CARLOS
Surprisingly, he seems quite relieved.
CARLOS
KGB? I thought...
BACK TO SCENE
HEAD KGB OFFICER
What? That we were your new friends...
The CIA... Jack Shaw...
CARLOS
Jack Shaw...?
HEAD KGB OFFICER
Stop playing games. And it's no use
looking behind me... Your associates
can no longer be of assistance. Not
to you, not to anyone...
CARLOS
(angry)
Comrade, you'd getter have an
explanation --
HEAD KGB OFFICER
You've got it all wrong, Illich.
It's you who has all the explaining
to do... Now get dressed!
(to the blonde)
You too, Fraulein.
CARLOS
My pants...
The Head KGB Officer motions to Andrei, who throws Carlos
his pants -- but not before checking to make sure there's no
weapon in them. He then hands the blonde -- who finally hides
her bazooms behind a sheet -- her clothes.
CARLOS
(continuing; getting
dressed)
That's what was going on in Libya.
The CIA... The DST... They're trying
to set me up and you're falling for
it, you idiot!
HEAD KGB OFFICER
Enough. We tailed you to your meeting.
We have the pictures of you with
Shaw.
CARLOS
That's impossible. I've been here
all night.
(points to the blonde)
Ask her.
(to the blonde)
Tell him.
ON BLONDE
She's putting stockings on a pair of legs that could distract
even the most committed KGB.
BLONDE
(in a voice matching
her looks)
It's true. All night...
HEAD KGB OFFICER
(unimpressed)
We know about your women... Now hurry
up, both of you!
ON IVAN AND VLADIMIR
With Kalashnikovs still trained on Carlos, they seem unable
to resist stealing glances at the blonde.
CARLOS
(to Head KGB Officer)
I'll prove it to you. You'll be
pleading for my forgiveness. Let's
just go. I want to be interrogated.
I demand to be interrogated.
He seems truly eager to leave with them now, as if confident
he can prove his case. Dressed, with the exception of a
jacket, he casually grabs one which lies on a nearby chair.
HEAD KGB OFFICER
WAIT!
Too late. The Scorpion machine-pistol is already out, spouting
deadly accurate fire. He kills the Head KGB Officer first,
then...
ON KGB
They drop like flies, their bullets hitting everything but
him.
ON BLONDE
Hysterical, she screams her healthy lungs out.
INT. HALLWAY - MANSION
Suddenly there's the sound of APPROACHING STEPS. The KGB are
down the corridor, rushing to the bedroom, led by the Aide.
ON CARLOS
He doesn't hesitate. Firing a few rounds at them, he sprints
toward the window and literally flies through its shattering
glass.
EXT. MANSION - TREES - NIGHT
Ramirez lies in some bushes about fifty yards from the house,
dressed in the black jeans and T-shirt. He hears the gunfire
from the mansion.
RAMIREZ
What the fuck?
EXT. MANSION COURTYARD
It's a dark night, and only a few dim lights illuminate the
rather large back yard.
ON CARLOS
Landing in a bed of flowers, he rolls, and is quickly on his
feet with the machine-pistol in hand.
ON TWO ARMED KGB
Securing the courtyard, they rush to the spot where,
apparently, they'd seen him land. Carlos, however, is no
longer there.
ANGLE
Glued to the back of a tree, the Jackal cuts them down with
one short burst and goes for the KGBs who appear at the broken
window. As they take cover, he quickly confiscates a
Kalashnikov from the dead KGB closest to him and makes it to
the high wall which encircles the place.
Carlos climbs over the wall with the Kalashnikov and drops
outside the compound to the grass below.
ANGLE ON RAMIREZ IN THE GRASS
He sees to his horror that Carlos is getting away. He is
ready to scream, going crazy. He has no gun, he wouldn't
stand a chance against Carlos, but there is no way he is
going to let him get away, no way. He looks around for a
rock... anything.
There is nothing. Carlos turns his back. Ramirez sees his
chance, he gets up on one knee ready to make his move when
suddenly he sees two more KGB guys come running around the
wall of the compound.
ANGLE ON RAMIREZ
He mouths the words:
RAMIREZ
Kill him... Kill him...
ANGLE ON CARLOS
He whirls and fires at the two KGBs who fall.
ANGLE ON RAMIREZ
He can't believe it. Carlos is getting away?
ANGLE ON CARLOS
He suddenly gets a look as if he feels someone's presence.
His eyes open wide and he starts to turn when Ramirez comes
flying out of the darkness and leaps on Carlos. The two are
dressed exactly alike. Carlos is hit from behind and is
stunned and drops the assault rifle.
Ramirez has Carlos down and is choking him. Carlos looks up
at him more shocked than anything else. Finally Carlos manages
to break the grasp and kicks Ramirez off. Now it is a dazzling
display of martial arts. Then Ramirez charges Carlos and
tackles him and the two go rolling off into the bushes and
darkness. When they roll out of the bushes we have no idea
which one is which or who we should be rooting for. Just
then Jack's Volga drives up at the side.
ANGLE ON THE TWO CARLOSES
They roll over onto the bodies of two dead KGB. There is a
Kalashnikov on the ground pointed into the Carlos on the
bottom's side. The Carlos who is on top manages to get his
finger over to the trigger and pulls it sending a burst into
the Carlos on the bottom's body. Just then the Carlos on top
looks up and sees Jack standing over him with a gun pointed
at him ready to shoot. In b.g. we HEAR cars with sirens
approaching. The Carlos on top looks over to Jack who is
ready to shoot him.
CARLOS ON TOP
Don't shoot. It's me you asshole!
Jack just stares at him and then lowers his gun.
JACK
Let's get the fuck out of here.
He turns around and starts to get into the Volga. The Carlos
on top, whom we just thought was Ramirez bends down and
reaches for the dead KGB's pistol.
ANGLE ON JACK
He gets that sixth sense feeling and turns around, his gun
raised and pointed at the man whose hand is now on the pistol.
Is it Carlos or Ramirez, who is standing there with pistol
in hand almost turned to Jack but still at a disadvantage in
this Mexican stand off.
JACK
Have you come looking for me now,
Annibal?
THE MAN WITH THE PISTOL
What the fuck are you talking about...
JACK
Awfully warm for this time of year
isn't it?
The man with the pistol knows this is a password of some
kind and the look on his face betrays the fact that he doesn't
have an answer. Jack is just about to shoot him when a burst
of machine gun fire is heard from the approaching cars and
it rips into the tree next to Jack who dives for cover.
That act of self-preservation gives the man we now realize
is the real Carlos the chance he needs. With catlike grace
he dives, rolls and vanishes into the shadows. He has gotten
away and Jack has to decide whether to go after his quarry
or rescue his friend. He opts for the latter, scoops up
Annibal and throws him into the Volga and speeds off as cars
approach from the other side.
EXT. BETHESDA NAVAL HOSPITAL - DAY - ESTABLISHING
INT. PRIVATE ROOM - BETHESDA NAVAL HOSPITAL - DAY
Ramirez is in bed, hooked up to all the monitors and tubes
and IVs but he is going to make it. Jack is there with him,
having just entered.
RAMIREZ
Any word?
JACK
How you feeling?
RAMIREZ
Did he get away?
Jack nods his head. Ramirez almost breaks down in tears.
Jack crosses to him to comfort him.
RAMIREZ
Then it was all for nothing... the
whole thing.
JACK
No it wasn't. He's finished. The KGB
bought it. As far as they're
concerned, he's the enemy now. He'll
bounce around from one country to
the next. But his paymasters have
disowned him. None of their client
states will risk using him. No one'll
trust him again. He'll spend the
rest of his life looking over his
shoulder waiting to be betrayed. And
it'll happen... sooner or later...
when it's to some country's
advantage... they'll give him up or
they'll trade him. He's finished. It
worked and he's finished.
RAMIREZ
Not for me he isn't... There are
still two of us...
EXT. MILITARY HOSPITAL - DAY
A car pulls up at the hospital and Maura gets out and enters
the hospital.
DISSOLVE TO:
INT. RAMIREZ'S ROOM - DAY
Maura is there with Ramirez. He is in mid-conversation with
her. We don't know how long she's been there. He opens his
eyes.
MAURA
Is it over?
RAMIREZ
No.
She crosses to him and gently takes his hand in hers.
RAMIREZ
You have to make a new life for
yourself and the children.
MAURA
No.
RAMIREZ
Maura, anytime I start a car I'll
wonder if this is the one that
explodes. I couldn't bear the thought
of you and the children being in
that danger. He'll want me and
everyone I've ever loved to be dead.
Trust me... I know how he thinks
because it's the way I think now
too. I am so... sorry. I am so
sorry...
Maura looks at him imploring him with her eyes.
MAURA
I won't leave you.
RAMIREZ
Maura, when my father was put into
prison he told my mother to take me
and leave and start a new life. That's
what you've got to do.
MAURA
You're not in prison and I'm not
your mother and I won't leave you. I
will not let him do this to us. Not
him... not the CIA... not anyone.
RAMIREZ
He'll come after me.
MAURA
Get me a gun and teach me to shoot
and he'll have to deal with both of
us. This animal will not destroy my
family. Please... come home.
DISSOLVE TO:
EXT. RAMIREZ HOME - VIRGINIA - DAY
We hear a phone ring and it is picked up.
MAURA (O.S.; THRU PHONE)
Hello...
We hear the voice of a friend of hers named GRACE.
GRACE (O.S.; THRU PHONE)
Hi... listen, do you and Annibal
want to come over with the kids for
a barbeque this afternoon?
MAURA (O.S.; THRU PHONE)
Uh sure, I think... but could I call
you back later? We're just about to
go to church. Annibal and the kids
are already in the car.
GRACE (O.S.; THRU PHONE)
Okay, call me when you get back.
MAURA (O.S.; THRU PHONE)
Great. Talk to you later. Bye bye.
We hear the phone hang up. We hear the sound of a door opening
and closing that leads into the garage from the house. We
hear the sound of a car door opening. And then the key turning
in an ignition. And then the door is blown off the garage as
we see the Ramirez family car burst into an inferno and blaze
away inside the garage in a fiery blast which would kill one
and all instantly.
DISSOLVE TO:
EXT. CEMETERY - DAY
The cemetery is set up for a funeral. There are various Navy
officers and their families in the chairs. At the back of it
all stands Jack wearing sunglasses, his face a mask into
which it is impossible to read any emotion of any kind. There
are four graves and four coffins, two adult-sized and two
small ones. Admiral Crawford addresses the mourners.
CRAWFORD
How does one even begin to comprehend
a tragedy like this. A highly
respected Naval officer returns from
six months of hazardous duty. He has
escaped the danger we all come to
know in the service of our country.
He is about to go to church with his
beloved family and in an instant...
they are no more. They are with God.
Our minds cannot comprehend such
tragedy... only an undying faith in
the Almighty a faith that says even
though we cannot see it, there is a
plan. That and the knowledge that as
in life, so for eternity are they
together...
ANGLE ON JACK
He whispers to himself as he takes off his sunglasses.
JACK
Now you're free.
DISSOLVE TO:
EXT. ST. MARTIN - DAY
It is a beautiful island community with clusters of villas
overlooking a magnificent coastline. A postal truck winds
its way towards one of the houses.
The POSTMAN gets out of his truck and crosses to the door of
the house. He knocks on the door. The door opens... it is
Ramirez... or Carlos... we don't know which. He wears shorts
and a shirt.
POSTMAN
Mister Mendoza?
MENDOZA
Yes.
POSTMAN
Special delivery letter for you sir.
The Postman hands the man an envelope. He signs for it and
opens the envelope. It is a newspaper clipping...
ANGLE ON THE NEWSPAPER CLIPPING
The headline is: NAVAL OFFICER AND FAMILY KILLED IN FIERY
CRASH. There is a handwritten note attached. It says, "Rest
in Peace."
POSTMAN
Not bad news I hope.
MENDOZA
Someone... died.
POSTMAN
I'm so sorry.
MENDOZA
This guy's better off dead.
POSTMAN
No one is better off dead I think.
MENDOZA
Some people are.
He tips the postman and closes the door.
INT. HOUSE - ST. MARTIN - DAY
Mendoza crosses into the house holding the newspaper clipping.
He takes a cigarette lighter and burns it and across his
face there is a hint of a smile... a very cold smile. He
crosses out to the veranda. Down on the beach below, we SEE
Maura and the baby and Joey playing.
JOEY
Poppi... come down and play with us.
We now know the man is Ramirez. He walks down the steps of
his house to the beach to his wife and his children as we:
DISSOLVE TO:
EXT. MEDICAL BUILDING - SUDAN - DAY
WE SUPER the following: SUDAN 1994
Two bodyguard types wait outside the building at the entrance.
An old man who walks with a cane and whose face is horribly
disfigured by burns hobbles in to the medical building. He
passes a plaque on the wall that says in English and Arabic:
DR. WASFI MUHAMMED, M.D.; PhD.
Cosmetic and Plastic Surgery
We SUPER THE FOLLOWING:
NO FURTHER ACTS OF TERRORISM WERE EVER ATTRIBUTED TO CARLOS
AGAIN. HE MOVED TO YEMEN, THEN JORDAN, THEN SYRIA AND FINALLY
TO THE SUDAN.
INT. REST ROOM - MEDICAL BUILDING - SUDAN - DAY
The old man locks the door and stands in front of the mirror.
He pulls off the burn makeup and scalp wig and we see that
he is Carlos. Several years older, but unmistakable. He takes
off the old man's clothes and stuffs them in a trash can and
underneath he wears the black jeans and T-shirt. Then he
straightens up and exits the rest room.
INT. CORRIDOR BETWEEN RESTROOM AND DR.'S OFFICE - MEDICAL
BLDG. - DAY
Carlos walks down the corridor and enters the medical suite
of Doctor Wasfi Muhammed. There is a plaque on the door which
says, DR. WASFI MUHAMMED, M.D., PhD, Cosmetic and Plastic
Surgery.
INT. DR. MUHAMMED'S OFFICE - SURGERY SUITE - DAY
This is a surgery suite complete with gas anesthetic, a kind
of high-tech barber chair that reclines for full surgery,
gleaming scalpels, etc. DR. MOHAMMED is there with Carlos.
The Doctor is hastily washing his hands.
DR. MUHAMMED
You're quite early. I wasn't expecting
you for another half an hour.
CARLOS
I like to be unannounced. It's safer
that way.
DR. MUHAMMED
Yes, yes, of course. If you'll just
have a seat. I've done everything as
you said. My assistant has been let
go for the day. I'll administer the
anesthetic myself. I assure you sir,
you are completely safe here.
He turns around to look into the barrel of Carlos' drawn and
cocked .38 automatic.
CARLOS
I know.
EXT. MEDICAL BUILDING - SUDAN - DAY
The scene is as before. The two bodyguards stand watch.
Suddenly a car pulls up. Another bodyguard gets out and out
of this car steps Carlos. The bodyguards acknowledge him as
he enters the building.
INT. DR. MUHAMMED'S OFFICE - SURGERY SUITE - DAY
Carlos leans back in the surgery chair. There is an IV
attached to his arm. A Doctor in a surgical mask stands over
him.
DOCTOR
Feeling drowsy now?
CARLOS
Yes...
DOCTOR
Would you like to see what your new
face is going to look like when we're
done?
CARLOS
Yes... of course.
DOCTOR
It's going to look just like this...
He pulls down his surgical mask and Carlos looks up at his
own face. It is Ramirez. He holds Carlos, who struggles
against the anaesthetic. Suddenly, a second pair of hands
grab Carlos as well. It is Jack.
EXT. REAR OF MEDICAL BUILDING - SUDAN - DAY
An ambulance is pulled up at the rear entrance and two
attendants push a gurney out of the building with a patient
whose face is covered by an oxygen mask. The two attendants
push the gurney into the ambulance and race off.
CARLOS WAS FINALLY ARRESTED IN THE SUDAN AND FLOWN TO FRANCE
TO STAND TRIAL IN AUGUST OF 1994.
As the ambulance pulls off with its siren blaring, WE CONTINUE
WITH THE CRAWL:
INTELLIGENCE SOURCES BELIEVE HE WAS TRADED TO THE FRENCH BY
THE SUDANESE GOVERNMENT IN A BID TO OBTAIN WESTERN AID. THERE
ARE RUMORS THAT TWO RETIRED CIA AGENTS PLANNED AND EXECUTED
HIS CAPTURE.
THE END
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