COLLATERAL DAMAGE
by
Ronald Roose
Revisions by
Nicholas Meyer
David Griffiths and Peter Griffiths
Terry George
Current revisions by
Channing Gibson
No portion of this script may be performed, reproduced,
or used by any means, or quoted or published in any
medium without the prior written consent of Warner Bros.
PRODUCTION DRAFT
April 14, 2000
WARNER BROS. © 2000
4000 Warner Boulevard WARNER BROS.
Burbank, California 91522 All Rights Reserved
FADE IN:
1A INT./EXT. NYFD FIREHOUSE - VARIOUS SHOTS - NIGHT 1A
One A.M. on a hellish summer night in Spanish Harlem.
1B FIREFIGHTER 1B
snores like a chainsaw in the upstairs sleeping quarters.
1C INT. LIVING AREA 1C
A FAN WHINES as a firefighter channel surfs.
1D TRUCK BAY 1D
A rookie firefighter shines chrome on the pumper.
1E BAY'S OPEN DOORWAY 1E
A firefighter plays chess with a neighborhood kid. SALSA
BLASTS from somewhere.
1F OLD FIREHOUSE 1F
spills light onto a street of aging, neglected buildings
as people beat the heat in open windows, on stoops and
street corners.
1G FIREHOUSE DALMATION 1G
laps water from a dripping hydrant.
2 INT. FIREHOUSE - KITCHEN - NIGHT 2
NYFD Lt. GORDY PITT strains as he works the handle of an
old-time, hand-cranked ice cream maker. It's a tough job
requiring strength, patience and determination. In a
nutshell, that's Gordy.
Firefighter JUNIOR MONTINE, black Panamanian descent,
watches Gordy crank away.
JUNIOR
Hear the big news, Lieutenant?
It's the twenty-first century. We
got electricity now.
Gordy keeps cranking.
(CONTINUED)
2.
2 CONTINUED: 2
JUNIOR
Got these supermarkets, too. Big
places, freezers full o' ice
cream.
Gordy stops. Pops the lid. Spoons out a dollop.
GORDY
Open up.
He sticks the spoon in Junior's mouth. Junior eats.
Junior loves it. Gordy smiles.
GORDY
Screw the twenty-first century.
The FIRE BELL SOUNDS.
3 INT. FIREHOUSE - VARIOUS SHOTS 3
Everyone scrambles. The choreography's practiced,
automatic. It's achieved without conversation.
The channel surfer slides down the fire pole. He's
followed by the man who was upstairs snoring.
Junior rips a sheet from the teleprinter. He hands the
printout to the snorer, the company's "chauffeur."
Feet jam into boots. Yellow trousers are hauled up and
hitched with suspenders.
Yellow jackets are whipped on.
The chauffeur TURNS OVER the PUMPER'S huge MOTOR.
Firefighters take their stations on the truck. Headsets
go on. As the fire company's lieutenant, Gordy rides
shotgun. The chauffeur hands him the printout. As the
engine moves out under lights and SIREN, Gordy speaks to
the men over the headsets --
GORDY
Second alarm. Multiple dwelling
between Third and Lex.
4 EXT. SPANISH HARLEM - STREETS - NIGHT 4
The ENGINE SCREAMS and HONKS through the city.
3.
5 EXT. SPANISH HARLEM - TENEMENT - NIGHT 5
FLAMES ROAR from the upper stories of this slumlord's
shitbox. An engine and ladder company are on-scene
attacking the fire with hoses. Neighbors gawk. Gordy's
engine company arrives. Gordy hits the ground, moves to
a battalion chief. The chief's terse orders are drowned
out by the NOISE of the EQUIPMENT, fire and men. Gordy
moves back to his company, who have already hooked the
engine up to water.
GORDY
Top story's fully involved. We're
supporting inside. Two lines up
the stairs.
He points to Junior and then to the channel surfer, MIKE
SHEA, a veteran firefighter of Irish descent.
GORDY
Junior and Mike --
He points to the chess player, SAL DIBIASE, another FD
veteran, Mediterranean descent, and then to the rookie,
RONNIE BOOK, a New York melting pot mutt.
GORDY
-- Sal and Ronnie.
The chauffeur, ART WESTPHAL, German-Irish, stays with the
engine as Gordy grabs a fire axe and leads his two two-
man hose teams into...
6 INT. TENEMENT 6
Gordy and his men charge the stairs dragging the heavy
hoses. Rats head past in the opposite direction,
deserting the burning building.
7 THIRD FLOOR 7
They meet fire on the third floor. On goes the water.
Gordy quickly checks rooms on the floor for occupants,
using the axe to open locked doors, then taps Junior and
Mike, indicates "up." Begins leading the hose team up
the stairwell. Sees something and yells a warning --
GORDY
Stairs're screwed. Hug the wall.
8 FOURTH FLOOR 8
They reach the fourth floor. There's fire everywhere.
And then...
(CONTINUED)
4.
8 CONTINUED: 8
They see a FIREFIGHTER from the other company. He has
fallen through a gaping hole in the floor of the hallway
above. He's pinned under a large section of heavy
debris, coughing and screaming for help as fire rages
around him. To Junior and Mike --
GORDY
Knock it back!
They turn the hose on the flames as Gordy moves to the
trapped firefighter. Gordy tries lifting the debris,
can't budge it. He starts chopping at it with the axe.
Chunks of plaster fly as the axe bites again and again.
Gordy hacks off a large piece of debris. He levers his
axe under the portion still trapping the firefighter.
Mike moves to help. Gordy heaves up on the axe. The
debris lifts. He heaves harder. It lifts more,
until...
Mike slides the firefighter out. Gordy yanks his axe
free. The debris collapses. Gordy moves to the
firefighter.
FIREFIGHTER #1
Two floors up. I heard
screaming... Couldn't get there.
GORDY
Where?
FIREFIGHTER #1
End of the hall.
9 GORDY 9
takes off. Charges the next flight of stairs. Reaches
the fifth floor. Tries to reach six, but there's too
much fire. He's beaten back... but not before he hears
the FAINT sound of SCREAMING.
10 NEW ANGLE 10
Gordy looks down the fifth floor hallway to an apartment
door at the end. Between him and the door is the gaping
hole in the floor. It's too big to jump. He starts
running. He's gonna jump it.
Gordy reaches the edge of the hole. Leaps with all he's
got. At the same time, he swings the axe, point-first.
Slams it into a spot high on the wall, and...
(CONTINUED)
5.
10 CONTINUED: 10
Gordy swings over the hole on the axe handle.
He hits the other side running. Drives a shoulder into
the door at the end of the hall.
11 INT. TENEMENT APARTMENT 11
Gordy bursts in. It's an inferno. He looks up. Knocks
his axe on the ceiling. Hears desperate POUNDING back.
Gordy climbs a table. Starts whacking upward with the
axe, attacking the peeling, crumbled plaster overhead.
Gordy is trying to hack a hole into the room above, but
he's not doing it fast enough. He won't beat the fire.
12 INT. TENEMENT - HALLWAY 12
Gordy calls down to his men.
GORDY
Give me the hose!
MIKE
This place is gone! It could
flashover any second!
GORDY
Give me the goddamn hose!
Beat. Mike and Junior pass the hose up.
13 INT. TENEMENT APARTMENT 13
Gordy aims the nozzle at the hole he started in the
ceiling. Turns it on full jet.
Gordy's barely able to hold the hose as the high-pressure
stream bites into old, decayed plaster.
Bit by bit the ceiling falls away. Gordy's almost
through to the room above, when...
Falling debris severs the hose. Gordy's lost pressure.
He hasn't broken through. The building's coming down.
He's gotta get outta there.
Gordy's not going anywhere. Picks up the axe. Attacks
the hole again furiously, until finally...
6.
14 GORDY 14
breaks through! A small hole, which he quickly widens,
to reveal... a terrified Latino family gaping down at
him, their room ablaze around them. Gordy reaches up.
Speaks to them in Spanglish --
GORDY
It's okay... Esta bien, esta
bien... Come with me... Con mio...
15 INT. TENEMENT HALLWAY 15
Gordy lowers the family through the floor hole.
16 EXT. TENEMENT 16
Gordy carries the family's small child outside. He
passes the child to its grateful parents, while...
The rescued Firefighter sits on a curb looking at a hero
and shaking his head in disbelief and admiration.
17 INT. UPPER WEST SIDE APARTMENT - BEDROOM - MORNING 17
ANNE PITT, thirties, reaches out and KILLS the ALARM.
She rolls over. The other half of the bed's empty. We
hear a CHILD'S VOICE from another room.
18 INT. MATT'S BEDROOM 18
Anne opens the door to find an exhausted Gordy sitting on
the floor with their four-year-old son, MATT. They're
building a K'nex spaceship.
MATT
Look what we made!
ANNE
Nice rocket... That took a while.
GORDY
He was awake when I got home. His
throat still hurts.
ANNE
Shit.
MATT
That's a bad word.
GORDY
You're right.
(CONTINUED)
7.
18 CONTINUED: 18
ANNE
Sorry.
She feels Matt's forehead. Gordy's done it already.
GORDY
No fever.
ANNE
(to Matt)
You better see Dr. Bob.
(to Gordy)
And this time, no opening fire
hydrants to play in till he's
completely well.
GORDY
Yes, ma'am.
She leans down and kisses him. There's passion in it.
ANNE
How was your shift?
GORDY
(shrugs)
The usual.
She yawns. Starts heading out.
ANNE
Dreamed I did a triple axel in an
ice skating championship.
GORDY
(beat; calls after
her)
Come back and let me see those
legs again.
19 INT. BATHROOM - DAY 19
Gordy holds Matt in his arms as water pours over them.
It's the second child he's held in the last few hours.
This one is his, this one is safe at home and unafraid:
what a father wants for his child. We see the deep
affection Gordy has for his son. He holds Matt tightly,
skin to skin, and kisses the boy's wet head...
Anne opens the shower door. She's on the phone.
(CONTINUED)
8.
19 CONTINUED: 19
ANNE
Dr. Bob can squeeze him in at
twelve. I have a patient
relations meeting at twelve-
fifteen. Can you take him?
GORDY
I have a game. But yeah, if we do
the handoff at the doctor's.
ANNE
(into phone)
Yes, he'll be there... Thanks.
(hangs up; to Gordy)
Five-of in front of Dr. Bob's.
Don't be late.
(to Matt)
Let's get you out, sweetie. Your
father just can't keep you dry.
She leads Matt out. Closes the shower door. Gordy
sticks his face into the water. Looks back, finds...
Two bare butts, Anne's and Matt's, are pressed against
the shower door's foggy glass. OFF Gordy, laughing --
20 EXT. SPANISH HARLEM - BASKETBALL COURT - DAY 20
It appears the entire neighborhood's crammed against the
chain-link fence around the court, yelling and cheering
as a team of local kids from the NYFD Athletic League
plays a team of local kids from the NYPD Athletic League.
Gordy's an NYFD coach, exhorts his team at the top of his
lungs.
The rivalry's intense. The game close. The noise
deafening. Bets are going down.
NYFD goes up by one in the final minute.
Gordy disses a cop coaching the opposing team.
LUIS is one of Gordy's kids. A small but talented
fifteen-year-old. Luis steals the ball. Drives for an
unguarded lay-up to put the team up by three... And
misses. An opponent recovers the ball. The flow shifts
toward the other end, but Luis is slow adjusting,
devastated at missing the easy "two." Gordy yells at him
to defend.
GORDY
Luis, get back! Pick up your man!
(CONTINUED)
9.
20 CONTINUED: 20
Luis shakes it off. Hustles back on "D" as his man gets
the ball. The opponent's a step ahead. Goes up... And
Luis gets there to reject him. The crowd loves it. The
BUZZER SOUNDS. NYFD wins.
21 SAME SCENE - GORDY AND LUIS - MOMENTS LATER 21
In the game's immediate aftermath. NYFD celebrating
around them. Gordy's proud of Luis.
GORDY
We lose, win, whatever. But one
thing we never do. We never, ever
give up. Right?
OFF Gordy, smiling at Luis...
22 SAME SCENE - LATER 22
The crowds are gone. Gordy checks his watch and starts
off, when a SOUND draws his attention.
23 GORDY'S POV 23
Luis walks along the inside of the chain-link fence
around the court. A neighborhood gangbanger and his crew
match Luis step for step outside the fence, rattling the
fence, clearly trying to intimidate him.
24 BACK TO SCENE 24
Gordy stalks walking toward them. Calls --
GORDY
Luis...
Seeing Gordy approach, the gangbanger and crew drift off.
Reaching Luis --
GORDY
What was that about?
LUIS
Told 'em I wouldn't play with 'em
anymore.
But Gordy sees Luis is scared. And he sees the
gangbanger and crew hovering nearby waiting for Gordy to
go.
10.
25 EXT. SPANISH HARLEM - BODEGA - DAY 25
THROUGH the window, we see Gordy delivering Luis to a
Latin man, clearly Luis's father and the bodega's owner.
We don't hear the words, but we can tell Gordy's
complimenting the boy to his dad.
Gordy emerges. Checks his watch. Whistles up a taxi.
26 INT. TAXI - DAY 26
Traffic jam on Park Avenue South. Gordy's anxious.
Checks his watch. He's late. To the cabbie --
GORDY
Try Fifth.
27 EXT. 68TH AND MADISON - DAY 27
Anne waits on the corner with Matt, playing with his
spaceship. She checks her watch. It's five of twelve.
28 INT. TAXI - DAY 28
Fifth Avenue's also a parking lot.
GORDY
Shit.
He jams money in the pay dish.
GORDY
I'm getting outta here.
29 EXT. FIFTH AVENUE 29
Gordy exits the cab and takes off running.
30 ANNE 30
checks her watch again. She's pissed now.
In b.g., a cop leaves his police cart to write a ticket.
A caravan of Lincoln Navigators passes Anne and turns
east on 68th.
31 GORDY 31
turns onto 68th. As he runs, he jumps, trying to see
Anne and Matt over other pedestrians.
11.
32 ANNE 32
In b.g., the Navigators pull up at a building flying the
Colombian flag. Latin and American men in suits get out
of the Navigators.
33 EXT. 68TH - BETWEEN FIFTH AND MADISON 33
Gordy dodges pedestrians. Still trying to get a glimpse
of Anne and Matt.
The cop we saw writing tickets earlier is walking the
other way. Gordy nearly collides with him. At the last
moment, the traffic cop shuffles Gordy aside.
GORDY
Sorry.
Gordy reaches the corner. Sees Anne and Matt. Whistles.
In b.g., behind Gordy, we see the cop get into a brown
Ford.
34 ANNE AND MATT 34
hear the WHISTLE. Matt sees Gordy.
MATT
There he is.
Matt waves.
35 GORDY 35
waves back, shrugs an apology to Anne as he starts across
the street, when...
36 INTENSE FLASH 36
suddenly lights up the intersection.
In SLOW MOTION:
37 SHOCK WAVE 37
wave rolls up 68th past Madison...
38 HUGE BALL OF FLAME 38
erupts behind Anne and Matt...
We hear the ENORMOUS BANG of the explosion...
12.
39 WINDOWS 39
are sucked into millions of fragments, a hailstorm of
glass...
40 GREAT CHUNK OF METAL 40
-- an engine block -- flies from the ball of flame...
41 ANNE 41
instinctively pulls her child to her...
42 GORDY 42
sees the engine block tumbling through the air toward his
wife and son.
His scream is lost in the thunderous ROAR all around.
43 GORDY'S POV - IN SLOW MOTION 43
The engine block is about to hit Anne and Matt, when...
A FedEx TRUCK, WINDOWS SHATTERED, SKIDS past, wiping out
Gordy's line of sight. When the truck clears...
Anne and Matt are gone. The corner's empty. Just Matt's
spaceship, slowly falling to the ground...
44 BACK TO SCENE 44
There's a horrible SCREECH. A TAXI SKIDS sideways to
avoid the FedEx truck and hits Gordy. He's in the air,
tumbling, then smacks to the ground.
Gordy looks up, through the smoke and falling debris.
Then struggles to his hands and knees.
GORDY
Anne!
He tries to stand, then falls down, screaming in pain, a
large shard of glass embedded in his leg.
People come to help him, but Gordy only cares about
finding Anne and Matt. He looks around desperately but
can't see them, when...
His eyes go to the spaceship, in pieces on the pavement.
(CONTINUED)
13.
44 CONTINUED: 44
Gordy screams out his agony --
GORDY
Noooooo!!!
45 EXT. COLOMBIAN CONSULATE 45
The blast detonated here. Some men from the Navigators
are dead. MIKE BRANDT is not. Rises from the
devastation, gun in hand, as SIRENS wail in the distance.
46 EXT. 68TH AND MADISON - LATER 46
Emergency personnel - EMS, NYPD, NYFD -- swarm the area.
Two white plastic sheets cover two bodies.
Across the street, PARAMEDICS work on Gordy's leg.
PARAMEDIC #1
We're gonna give you a shot.
Gordy's oblivious to the pain. Shoves him away.
GORDY
I need to see them!
PARAMEDIC #1
We gotta help you right now.
PARAMEDIC #2
We've done all we can for 'em,
Gordy.
47 ANOTHER ANGLE 47
FBI agent JOE PHIPPS ducks under the police tape. REGGIE
DRAY, a young agent, meets him. As they walk --
DRAY
Device functioned in front of the
Colombian Consulate just as a
motorcade full of brass arrived.
PHIPPS
Who were the brass, and why were
they here?
(CONTINUED)
14.
47 CONTINUED: 47
DRAY
No one's talking yet, but it
smells high-level. There were
Colombians and Americans in the
cars. Three of 'em ate it. Guy
on the phone --
He indicates Brandt, talking on a cell phone.
DRAY
-- is one of the survivors.
Name's Brandt. C.I.A.
That gets Phipps' interest momentarily. Then, as they
continue toward the consulate, he notices security
cameras on the building.
PHIPPS
Check the surveillance cameras?
DRAY
We're pulling up the video now.
PHIPPS
(stops; looks around)
Where's N.Y.P.D. on this?
DRAY
They know it's ours. They're
helping with shoe-leather.
Phipps' eyes go to the white sheets up the street.
DRAY
We got two dead bystanders, a
mother and four-year-old son. The
father's over there with a leg
wound.
(indicates Gordy)
Guy's a lieutenant with the New
York F.D.
PHIPPS
Anybody talk to him yet?
DRAY
We've been giving him room.
48 BACK TO GORDY 48
In b.g., Mike, the veteran firefighter in Gordy's engine
company, looks under the sheets with a cop.
(CONTINUED)
15.
48 CONTINUED: 48
Junior puts a gentle hand on Gordy's shoulder.
JUNIOR
Gordy.
Gordy looks up him, meets his eyes.
JUNIOR
Me and Mike are here.
GORDY
... I was late... They shouldn't
have been there...
JUNIOR
It's not your fault.
GORDY
I need to see them.
Mike has walked up, lays a comforting hand on Gordy.
MIKE
No. You don't need to see 'em
that way, Gordo.
Junior spots a news camera crew focusing on Gordy's
grief, calls at a cop.
JUNIOR
Get those goddamn people outta
here!
Phipps, approaching with Dray, addresses the same cop.
PHIPPS
Put that tape out fifty more
feet.
The cop begins moving the camera crew back. Phipps
continues to Gordy.
A Paramedic looks up at Mike.
PARAMEDIC #1
He needs to go to the hospital.
We can't take that glass out.
MIKE
If he's not bleeding to death,
leave him. He's not moving till
they do.
(CONTINUED)
16.
48 CONTINUED: (2) 48
Phipps has heard and understands. To Dray, re:
bodies --
PHIPPS
Chalk 'em and move 'em.
Dray goes. Phipps turns to Gordy and the two
firefighters standing with him. Addresses Mike --
PHIPPS
We gotta get on this quick. I
need to talk to him.
Beat. Mike nods. To Gordy --
PHIPPS
Mr. Pitt, if you can you tell
me... What'd you see?
GORDY
(looks up; beat)
What'd I see? I saw my family
die.
Mike puts a restraining hand on Gordy.
MIKE
This guy didn't do the bombing,
Gordo. He's just trying to get
the people who did.
Beat. Gordy eases up. Then, after a moment, defeated --
GORDY
I didn't see anything except the
explosion.
Beat. Phipps sees that's all he's gonna get.
PHIPPS
I know this is hard. I'm sorry I
had to bother you.
Phipps goes. Gordy looks over as the bodies of Anne and
Matt are placed on gurneys and rolled away. Chalk
outlines are all that remain of his family. Beat.
MIKE
We're gonna roll you to the
hospital now and get that glass
out.
17.
49 ANGLE - PHIPPS 49
Walking back to the consulate. He approaches Brandt.
PHIPPS
Joe Phipps. F.B.I. Counter-
terrorism task force.
BRANDT
Mike Brandt.
PHIPPS
What got this place blown up?
BRANDT
We'll have this discussion
somewhere else more secure, after
I get your clearance.
PHIPPS
Whatever it takes. But I got a
bomber in the wind. I need
everything you can give me, and I
need it now.
50 INT. HOSPITAL EMERGENCY ROOM - NIGHT 50
Gordy's on a gurney on an I.V., his thigh heavily
bandaged. Junior and the rookie, Ronnie, are with him,
but there's no chatter -- Gordy's shut down, oblivious to
everyone around him.
ANOTHER ANGLE
Mike is on a cell phone nearby as Sal, the other veteran
from the engine company, enters and approaches him. Into
the phone --
MIKE
Hang on.
Mike turns his attention to Sal, who's clearly blown away
by the bad news that brought him here --
SAL
Dammit...
MIKE
Tell me about it.
SAL
How's he holding up?
(CONTINUED)
18.
50 CONTINUED: 50
MIKE
He's shut down... We were hoping
they'd keep him here, and he
wouldn't have to go home right
away, but they're cutting him
loose.
SAL
Want me to stay at home with him?
MIKE
Rookie's taking the first shift.
I'm just getting the schedule at
the firehouse rearranged now.
Mike goes back to the phone, and Sal crosses to Gordy.
He puts a hand on Gordy's shoulder, grips it firmly.
SAL
Hey. Got here as fast as I could.
Gordy sees him, but says nothing.
SAL
I know it sucks... It really
sucks...
Gordy can't go there. Beat. Sal releases his grip.
SAL
How's the leg?
RONNIE
Cut's deep, but no major vessels
were severed. He's got a load 'o
silk holding it all together.
Junior, who stepped off to talk to a cop, now comes back.
JUNIOR
Just came over the police radio...
Consulate surveillance cameras
caught the bomber in the act. He
was disguised as a cop.
Gordy looks over. What Junior just said has triggered
something.
GORDY
... I saw him... I saw a cop.
Gordy yanks out his I.V., and starts to get up.
(CONTINUED)
19.
50 CONTINUED: (2) 50
SAL
Christ. Gordy...
But Gordy's already on his feet, already moving.
GORDY
I gotta help 'em get the bastard.
51 INT. UNDERGROUND GARAGE - FBI INCIDENT CENTER - NIGHT 51
A well-lit, sectioned-off area of the garage secured by a
chain-link fence.
Phipps enters. As he passes Dray, already there --
PHIPPS
How long before we have a secure
computer network?
DRAY
An hour. They're building it now.
Phipps moves to a FORENSIC EXPERT hovering over a table
of small fragments.
PHIPPS
What do you got?
FORENSIC EXPERT #1
Pieces of a pager oxidized with
trace elements of Semtex.
Probably the triggering device.
They dial it up, probably from a
cell phone, and boom...
He picks up a microchip.
FORENSIC EXPERT #1
... This is the memory chip. I
can build it into a working pager
and maybe get a number readout.
PHIPPS
Do it.
Phipps moves to the next work area, where another
FORENSIC EXPERT studies video from a consulate
surveillance camera.
20.
52 ON SCREEN 52
in super slow-mo, we see a cop -- the one who later
bumped into Gordy -- in front of the consulate. His hat
is pulled down over his eyes, almost concealing his
tinted glasses. As the cop faces more toward the camera,
the expert freeze-frames. To Phipps --
53 FORENSIC EXPERT #2 53
FORENSIC EXPERT #2
That's as much face as we get. He
was careful to duck the camera.
PHIPPS
Run a total analysis. I want to
know if this asshole's right or
left-handed. I want everything
you can get outta this film.
Phipps keeps moving, enters an eerie recreation of the
blast site. Streets, buildings, etc. are marked out on
the garage floor. Pieces of the Navigators rest in front
of the area marked "consulate;" parts of an NYPD traffic
scooter rest in front of the Navigators; "X's" mark where
Anne and Matt were standing.
Phipps crosses to another AGENT.
PHIPPS
Any helpful information coming
outta Colombia?
AGENT
Not yet. Sat-Intel hasn't picked
up any related data-traffic,
either.
Dray walks up.
DRAY
Gordon Pitt's here. He says he
saw a cop at the scene.
54 SAME SCENE - LATER 54
Gordy, accompanied by Mike and Ronnie, sits in front of a
video monitor. Phipps and Dray look on.
55 ON SCREEN 55
a police cart pulls up outside the consulate.
(CONTINUED)
21.
55 CONTINUED: 55
PHIPPS
The cart was stolen from the
Central Park Precinct yesterday.
The cop gets out of the scooter.
GORDY
That's him. That's the son of a
bitch I bumped into.
The cop tickets a vehicle, then walks west out of frame.
PHIPPS
The bomb's in the cart.
56 PHIPPS 56
reverses the video, freeze-frames on the cop.
PHIPPS
We think the bomb was triggered by
a cell phone. The guy doesn't
have one in his hands here. Did
you see a cell phone when you ran
into him?
GORDY
... No.
PHIPPS
How much time passed between then
and the explosion?
GORDY
... Seconds... Five, ten...
PHIPPS
We think maybe he got into the
brown Ford. You see him then?
GORDY
All I cared about was getting to
my wife and boy.
DRAY
(to Phipps)
Guy still had enough time to get
out a phone and dial it in.
(CONTINUED)
22.
56 CONTINUED: 56
PHIPPS
(beat, then, by way
of ending it)
We might need to call you in again
to look at some photos.
Beat. Gordy looks back at the grainy image of the cop.
GORDY
... I touched him...
57 EXT. CEMETERY - DAY 57
A bagpiper plays "Amazing Grace."
REVEAL Gordy holding Matt's small coffin as Anne's is
lowered into the ground. Gordy's men are around him,
along with many other NYFD personnel, family and friends.
A second bagpiper farther away in the cemetery, picks up
the song, begins playing it in a round with the first.
Matt's coffin is taken from Gordy. As it is lowered...
A third bagpiper, farther away still, begins playing the
song with the other two. One by one the first and second
bagpipers finish their rounds, until there is just the
third -- a haunting, mournful wail off into the distance.
And then...
There's only silence.
58 INT. GORDY'S APARTMENT - MATT'S BEDROOM - NIGHT 58
Gordy stands at an open closet door. He leans in, buries
his face in Matt's clothes and smells them. Smells his
son.
59 INT. LIVING ROOM - NIGHT 59
The TV is ON LOW, tuned to the NEWS. Gordy is alone,
slumped in a chair.
60 NEWS ANCHOR 60
NEWS ANCHOR (V.O.)
... The bombing that left a mother
and son dead and New York City
numb took on a new dimension today
when a notorious Latin American
terrorist took credit for the
attack.
23.
61 GORDY 61
has roused from his despondency, TURNS UP the VOLUME as
the report (containing visuals) continues --
62 NEWS ANCHOR 62
NEWS ANCHOR (V.O.)
In an e-mail to the New York
Times, a Marxist extremist known
only as 'The Wolf,' states that
the bombing was, quote, 'not an
act of terror but an act of war,
aimed at stopping your C.I.A.
murderers and their fascist puppets
from committing further acts of
repression against the people of
Colombia,' unquote... Two
Colombian officials and an
American military officer died
in last Thursday's blast. Also
killed were Anne Pitt, wife of a
New York City firefighter, and
their only child, four-year-old
Matt... The President has vowed
that the United States will avenge
what he called 'this monstrous act
of barbarism and cowardice'...
Intelligence sources say the
identity and whereabouts of The
Wolf remain a mystery. They
believe he has worked closely with
radical elements in Latin America
for more than twenty years and
have linked him to numerous
terrorist bombings, including the
1983 downing of a Peruvian
airliner, which killed forty-two
people, eleven of them
Americans... The head of the Latin
America Indigenous People's
Committee, a group known to be
sympathetic to the radicals in
Colombia, talked to News Six in
Queens.
63 GORDY 63
watches as Ephraim Ortiz-Dominguez a Latin man in his
forties, comes on the screen.
24.
64 ORTIZ-DOMINGUEZ 64
ORTIZ-DOMINGUEZ (V.O.)
I cannot speak for The Wolf or his
actions. I would only repeat that
the leftist guerrillas in Colombia
are not terrorists but freedom
fighters in a war being waged
against them by the U.S. and
Colombian governments.
Governments who wish only to
protect a system that lines the
pockets of corrupt politicians and
multi-national profiteers.
(jump cut)
The deaths of the woman and little
boy are regrettable, but your
government inflicts them all the
time. Yugoslavia, Iraq... You
call it 'collateral damage'...
65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65
An FBI SURVEILLANCE TEAM has taken over the office.
Three agents work video and audio recording devices.
A camera points out the window to a line of storefronts
across the street. The lights are on in one building
with a sign reading "IPC" (Indigenous People's Committee).
The FBI agents listen to live audio from the IPC office.
ORTIZ-DOMINGUEZ (V.O.)
Rosetta, I said mustard on the
side. You'll have to go back.
FBI SURVEILLANCE AGENT
Know what cracks me up about
commies? They're all 'equality
this, equality that,' and they're
all chauvinists. Listen to that
fucking guy.
What they hear, however, is ROSETTA SCREAM as a DOOR
CRASHES open.
ORTIZ-DOMINGUEZ (V.O.)
What do you want?
GLASS SHATTERS. THINGS are BROKEN.
66 VIDEO MONITORS 66
The video monitors show Gordy wrecking the IPC office
with a baseball bat.
25.
67 INT. IPC OFFICE - NIGHT 67
Gordy smashes office equipment left and right. ORTIZ-
DOMINGUEZ and ROSETTA cower as Gordy vents his pent-up,
end-of-the-world rage using the bat the way we saw him
use a fire axe.
Gordy approaches Ortiz-Dominguez with the bat. Backs him
up against a desk.
ORTIZ-DOMINGUEZ
Please...
The FBI agents crash in.
FBI SURVEILLANCE AGENT
Mr. Pitt!
Gordy just stares down at Ortiz-Dominguez.
FBI SURVEILLANCE AGENT
This isn't the way to do things.
Gordy still doesn't move.
FBI SURVEILLANCE AGENT
These guys're only mouthpieces.
Beat. Then Gordy swings the bat. Hard. And...
Destroys the computer monitor next to Ortiz-Dominguez.
Gordy tosses the bat aside. To the shaking Latin --
GORDY
How's that for collateral damage?
68 INT. FBI (NEW YORK) - PHIPPS' OFFICE - NIGHT 68
Gordy sits across from Phipps. Dray is present.
PHIPPS
Mr. Ortiz-Dominguez has agreed not
to press charges if you make full
restitution.
GORDY
I've already paid. With my
family.
Beat. Phipps sees it's pointless to insist. To Dray --
PHIPPS
Take care of it.
(CONTINUED)
26.
68 CONTINUED: 68
Dray heads out, passing Mike Brandt, who enters.
PHIPPS
Gordy, this is Mike Brandt.
BRANDT
Mr. Pitt.
Gordy just looks at him.
BRANDT
I'm very sorry for your loss... I
lost people, too.
PHIPPS
... Mike was in the motorcade that
day... He's the chief U.S.
intelligence officer overseeing
Colombia.
BRANDT
Don't worry, Mr. Pitt, we're gonna
get the son-of-a-bitch.
GORDY
You know where he is?
BRANDT
We believe The Wolf's in hiding
in an area of Colombia controlled
by the E.L.C., extreme Marxist
guerrillas... He thinks he's in
a safe haven.
Brandt lets "thinks" sink in.
PHIPPS
I know it's hard for you right
now, Mr. Pitt. We're all sorry.
But why don't you go home.
We're taking care of things.
Beat. Brandt proffers a business card.
BRANDT
Here's my card. Call me any time.
Gordy takes it. Just sits there a long moment, then --
GORDY
What kind of twisted people do
things like this?
Beat. Brandt and Phipps don't have an answer.
27.
69 INT. NEW YORK TIMES - BULLPEN - DAY 69
Gordy talks to a Latin reporter, ERNIE OROSCO.
OROSCO
You interested in the big picture
or all the unpleasant details?
GORDY
My family died because of what's
going on down there. I want to
know all I can.
Orosco searches for a starting point. Then --
OROSCO
Well, basically, the situation in
Colombia sucks...
As Orosco continues...
70 MONTAGE - DAY/NIGHT 70
Over the course of a week:
1. Gordy takes pictures, etc., off a wall in his home.
He pins up photos of Anne and Matt at the top of the
wall. Beneath them he pins up a large map of Colombia.
OROSCO (V.O.)
... The government's been fighting
different Marxists factions for
over thirty-five years. For most
of that time, it was winning...
71 NEW YORK PUBLIC LIBRARY 71
2. At the New York Public Library, Gordy uses microfilm
files and computer access to the web to search out
information on Colombia and The Wolf.
OROSCO (V.O.)
... Suddenly the guerrillas began
chopping 'em up. High-tech
weapons and equipment, well-
trained troops, aggressive hit-
and-run tactics, all financed by
extortion, kidnapping and
collecting taxes from dope
growers. It's big money, and they
put it to use...
28.
72 GORDY 72
3. Gordy pins up various Colombia-related articles and
pictures on the wall, including the surveillance camera still of
The Wolf from the front page of The New York Post.
OROSCO (V.O.)
... The government got scared. In
1998, to jump start peace talks,
it gave a coalition of guerrilla
groups temporary control over much
of southern Colombia... The first
communist stronghold on an
American continent...
73 GORDY 73
4. Gordy draws a line around the guerrilla zone.
OROSCO (V.O.)
... But there've been few talks
and no peace. And the Colombian
military can't get near the
guerrilla zone, especially around
the town of Caguan, where the
E.L.C. kicks ass and takes no
prisoners...
74 GORDY 74
5. Gordy circles and labels the ELC-controlled area.
OROSCO (V.O.)
... And that's where we come in.
Supposedly, to help eliminate
narcos operating in the guerrilla
zone. But some well-informed
people think that's just an excuse
to hit the guerrillas themselves,
since they're wrapped around the
drug trade... We're there, we're
involved... If we stay, the only
real question is which Vietnam War
we're gonna have. The one some
feel we could've won or the one we
lost...
75 GORDY 75
6. Gordy watches a documentary about Colombia which
shows rebels, army troops, death squads, firefights, and with
atrocities and bodies on both sides.
(CONTINUED)
29.
75 CONTINUED: 75
OROSCO (V.O.)
... Bottom line? The place is as
dangerous as a snakepit. You've
got the different guerrilla groups,
C.I.A., F.B.I., D.E.A., Colombian
military, U.S. military, right-
wing death squads -- and the only
thing they've all managed to do is
destroy a beautiful country and
inflict suffering on the real
people... Hey, I'm Colombian, and
I'll never go back...
OFF Gordy's packed wall...
76 SAME SCENE - ANOTHER DAY 76
As Gordy closes the front door, REVEAL Mike, the
firefighter, who's just come in and now stands staring at
the wall, clearly whelmed by the level of compulsion this
must have required.
MIKE
Haven't heard from you in a couple
days.
GORDY
Been busy.
MIKE
Yeah. I can see that.
Gordy's obsessed, totally consumed by his project. He
points at a picture of heavily-armed guerrillas.
GORDY
E.L.C. attack platoon... These
assholes kill innocent people all
the time in Colombia.
Gordy indicates a newspaper article.
GORDY
Thirteen dead in a bus.
(indicates another)
A market. Twenty-seven dead.
(another)
A whole family... Anne and Matt
didn't mean shit to them.
(indicates The Wolf)
Or him.
Mike interrupts, trying to divert him to something else.
(CONTINUED)
30.
76 CONTINUED: 76
MIKE
Hey, we never turned down free
beer, and rookie's buying, you
believe that? He certified today,
he's off probation.
GORDY
(still looking at
wall)
Ronnie couldn't find a fire with
both hands.
MIKE
(smiles)
Yeah. Let's go tell him that.
Gordy doesn't react. Beat. More serious now --
MIKE
C'mon, Gordo.
Gordy hears the tone. Looks over and meets Mike's eyes,
seeing the genuine concern there.
MIKE
We aren't gonna let 'em drink all
the beer, are we?
OFF Gordy...
77 INT. BAR - DAY 77
TV ON in b.g. Gordy's with Mike, Sal, Junior and Ronnie.
They've emptied a few pitchers.
MIKE
Low on beer, Ronnie.
RONNIE
Yeah. I'll get more.
He gets up and heads for the bar. To Gordy --
MIKE
I'll tell you what'll be great:
when you get back to work with us.
JUNIOR
Yeah, how long is it?
SAL
Week, two weeks?
(CONTINUED)
31.
77 CONTINUED: 77
GORDY
Shrinks say ten more days.
SAL
Like I said.
MIKE
Fucking doorknob they put in
temporary command...
GORDY
Morgan, the guy from 23, right?
JUNIOR
What a jerkoff.
SAL
Even makes you look good, Gordo.
Ronnie yells over from the bar --
RONNIE
Hey, Gordy --
The guys look over as the bartender TURNS UP the VOLUME
on the TV.
78 ON SCREEN 78
we see the President's National Security Advisor step up
to a podium to give a statement.
NATIONAL SECURITY ADVISOR (V.O.)
Today, at 0700 hours Eastern
Daylight Time, a joint United
States/Colombian strike force
launched a full-scale assault at a
base camp of the Army of Colombian
Liberation, or E.L.C., in Southern
Colombia. The purpose of the
mission was to punish the people
behind the brutal bombing in New
York City ten days ago... We are
presently evaluating after-action
reports from Special Operations
Group, but feel confident that we
have accomplished our mission...
Cheers throughout the bar. Mike quiets them.
(CONTINUED)
32.
78 CONTINUED: 78
NATIONAL SECURITY ADVISOR (V.O.)
... At this time, we believe the
man responsible for carrying out
the New York bombing, the
terrorist known as The Wolf, is
among the enemy dead.
79 NEW ANGLE 79
Big cheers now. Toasts all around. Everyone in the
place is happy for Gordy, who sits there a moment trying
to absorb the news, then buries his face in his hands.
80 INT. FIREHOUSE - TRUCK BAY - NIGHT 80
The Dalmatian whizzes on the hydrant outside.
Sal plays chess in the open door with the neighbor kid.
Ronnie polishes chrome on the truck.
Gordy holds up the broken remains of his ice cream maker
as Junior looks on.
GORDY
I'm gone three weeks and this
place falls apart.
JUNIOR
The temp lieutenant put it out
back, and Art hit it with his
truck.
RONNIE
(calls to Gordy)
We're having problems with the
portable pump again, too.
GORDY
Who backed over that?... My tools
still here?
SAL
Upstairs in your locker.
GORDY
Figured you guys would've sold my
stuff at a yard sale by now.
33.
81 INT. SLEEPING QUARTERS - NIGHT 81
Art's sleeping. Gordy opens his locker. There are old
pictures of Anne and Matt still taped inside. He glances
at them quickly, then pulls out his tools.
82 INT. LIVING AREA - NIGHT 82
Mike's channel-surfing again. Gordy goes by the door,
carrying his tools and looks in.
GORDY
You ever stay on one channel long
enough to hear what they're
saying?
Whereupon Mike lands on CNN.
CNN ANCHOR (V.O.)
-- a surprise today --
And then we're on another channel.
GORDY
Go back! Go back!
MIKE
What?
But Gordy has charged in and grabs the remote from Mike,
switches channels back to CNN.
83 ON SCREEN 83
we see a CNN anchor with an over-the-shoulder graphic
showing the still of the cop from the consulate
surveillance camera with "The Wolf" superimposed.
CNN ANCHOR (V.O.)
... videotape from the terrorist
who calls himself The Wolf...
On screen, we now see a homemade video of a masked figure
wearing a camo floppy hat and a hunter's mesh face mask
with a strange-smiling face painted on it in camo earth
tones. The Wolf's body is hidden shadow, the voice
digitally altered to a deep bass growl.
THE WOLF (V.O.)
You thought you killed me. You
didn't. I'm still here...
We see Gordy's demeanor shift, retreating to the
obsessive, seething hatred he showed before.
(CONTINUED)
34.
83 CONTINUED: 83
THE WOLF (V.O.)
... I swear that for every freedom
fighter you killed, ten Americans
will die. And I will pick the
time and the place. And I will
enjoy it...
The Wolf slaps his palm for emphasis.
THE WOLF (V.O.)
... Venceremos.
The tape ends. Mike shakes his head.
MIKE
This guy, Quaddafi, that Bin
Laden... We never get these
assholes.
OFF Gordy, his spark of life suddenly extinguished...
83A EXT. ROW OF TOWNHOUSES (WASHINGTON, D.C.) - DAY 83A
The four connected townhouses sit behind gates on a tree-
lined street in Georgetown. A sign reads: Latin
American Institute.
83B INT. LATIN AMERICAN INSTITUTE - BRANDT'S OFFICE - DAY 83B
Brandt's on the phone. He's pissed.
BRANDT
... Senator, the failure of one
operation shouldn't cause your
committee to question financing
everything else we're doing down
there...
DONALD UPDEGRAF, Brandt's number two, enters.
BRANDT
... I know it looks bad, and I
appreciate your support.
Together we'll get it done...
Yeah. 'bye.
(hangs up; to
Updegraf)
Without his father's money, that
asshole'd be keeping bees for a
living... What?
(CONTINUED)
35.
83B CONTINUED: 83B
UPDEGRAF
Gordy Pitt's on the phone.
BRANDT
No.
UPDEGRAF
He's called every day.
BRANDT
I don't need it.
Beat. Updegraf picks up the phone.
UPDEGRAF
Mr. Pitt, Mr. Brandt'll have to
get back to you.
84 INT. GORDY'S APARTMENT - LIVING ROOM - DAY 84
Gordy's mood is dark. It's not improved by hearing the
bullshit in Updegraf's reply.
GORDY
Tell him not to bother.
He slams down the phone. Rips up Brandt's business card.
He's alone with his frustration, with his rekindled
hatred and rage. OFF Gordy, glaring at the photo of The
Wolf on his wall...
85 INT. AEROPUERTO EL DORADO (BOGOTA) - IMMIGRATION AND 85
CUSTOMS AREA - DAY
Armed police lead Rottweilers through the newly-arrived
passengers. FIND Gordy in line. He wears jeans, polo
shirt, Timberlands, carries a backpack.
Gordy advances to an IMMIGRATION OFFICER, hands over his
documents. The agent studies Gordy's passport.
IMMIGRATION OFFICER
Business or pleasure, senor?
GORDY
... Pleasure.
The agent looks up at Gordy. Looks back at the passport.
Beat.
(CONTINUED)
36.
85 CONTINUED: 85
IMMIGRATION OFFICER
One moment, senor.
The agent gets the attention of an IMMIGRATION SUPERIOR,
and the two of them confer out of earshot a moment. The
Superior looks over at Gordy. Then approaches.
IMMIGRATION SUPERIOR
If you would come with me,
please.
86 INT. IMMIGRATION AND CUSTOMS - OFFICE - DAY 86
GORDY
Is there a problem?
The customs Superior closes the door. Beat.
IMMIGRATION SUPERIOR
We know who you are, Mr. Pitt.
GORDY
Says so right there in my
passport.
IMMIGRATION SUPERIOR
We're aware your wife and child
were killed in the bombing in New
York.
(off Gordy's look)
We have C.N.N. here, too.
(then)
It's better for you to visit
another country. For your own
sake.
GORDY
... You giving me a choice?
IMMIGRATION SUPERIOR
Yes. But not about staying in
Colombia.
He opens the door, addresses two armed policemen in
Spanish. Turning back to Gordy --
IMMIGRATION SUPERIOR
These men will escort you onto
whatever flight you wish.
He holds out Gordy's passport. Beat. Gordy takes it,
starts out. As he goes --
(CONTINUED)
37.
86 CONTINUED: 86
IMMIGRATION SUPERIOR
It's The Wolf you're after, yes?
Gordy stops, turns back. He says nothing, but the look
on his face speaks volumes.
IMMIGRATION SUPERIOR
... Then I've just done you a
bigger favor than you know.
Gordy doesn't respond. Just turns and goes.
87 INT. IMMIGRATION AND CUSTOMS AREA - OUTSIDE OFFICE - 87
DAY
Gordy's flanked by the armed policemen, one with a
Rottweiler. As they walk, a PA announcement in Spanish
is repeated in English...
PA ANNOUNCEMENT (V.O.)
... Avianco flight 42 to Panama
City is now open for boarding...
Avianca flight 42 to Panama City
is now open for boarding.
OFF Gordy, having heard the announcement --
88 EXT. PAN AMERICAN HIGHWAY (PANAMA) - DAY 88
The highway terminates here, far short of Colombia. The
idea is to inhibit the northbound migration of people and
drugs. From this point south lies the Darien Gap, a
thick rain forest traversed only by rough trail.
A cab with a Panama City logo pulls up at road's end.
Gordy gets out with the Panamanian CAB DRIVER. The Cab
Driver indicates a Panamanian man waiting there with a
.9mm on his hip.
CAB DRIVER
My cousin, Ever.
Ever and Gordy exchange nods.
GORDY
How far's Colombia?
The Cab Driver indicates distant mountains.
(CONTINUED)
38.
88 CONTINUED: 88
CAB DRIVER
Beyond those mountains... The
trail is very dangerous, but do
not worry, Ever will get you
there... You can pay him then...
You can pay me now.
Gordy pulls out his wallet, pays the Cabbie.
CAB DRIVER
Gracias, senor.
The Driver gets back inside the cab. Out the window --
CAB DRIVER
Que la vaya bien.
He drives off. Gordy looks to Ever. Ever smiles,
motions him to follow, then turns south and starts
walking. As Gordy falls in behind...
89 EXT. DARIEN GAP - VARIOUS SHOTS - DAY 89
Gordy and Ever pass through pristine tropical rain
forest.
90 NEAR STREAM 90
rushing fiercely through the jungle, Ever uses his
machete to cut two lengths of bamboo. He hands one to
Gordy and indicates how they'll ford the stream. Gordy
nods, then follows Ever's lead into the perilous, belly-
deep water. They struggle to maintain their balance,
even with the sticks. When they reach the opposite bank,
Ever signs okay to Gordy and smiles.
91 HELICOPTER CARCASS 91
They pass the carcass of a crashed and burned-out
helicopter, when...
Two dangerous-looking men armed with assault rifles step
out of nowhere onto the path ahead of Gordy and Ever.
Gordy and Ever stop. Gordy glances at Ever. Ever's
focused on the men and clearly doesn't like what he sees.
Gordy looks back. The armed men advance toward them
carefully, rifles in the ready position. Gordy watches
them approach, wondering who they are and what they're
going to do. Ever, frightened, takes a half-step back,
then swings the length of bamboo fast and hard, and...
(CONTINUED)
39.
91 CONTINUED: 91
He smashes it into the base of Gordy's head, knocking
Gordy out.
The men run up. One man covers Gordy, while Ever and the
other man rifle his pack and toss his pockets. They take
his passport, wallet, and an NYFD T-shirt. And then
they're gone.
92 CLOSE ON HUMMINGBIRD 92
Hovering over Gordy as he comes to. As it flies off...
92A GORDY 92A
sits up. Feels the bloody lump on his head. It hurts,
but it's not serious. He searches his pockets and
backpack, realizes the passport and wallet are missing.
Gordy stands. Looks around. He's alone. He's in the
jungle... He keeps heading south.
93 EXT. DARIEN GAP - VARIOUS SHOTS - DAY 93
Gordy trudges on. The thick jungle's hot and humid,
full of STRANGE SOUNDS and shadowy animal movements.
Gordy's going uphill, when he rounds a bend in the trail,
and...
He meets a man coming the other way. Alarm gives way to
the realization that the man is followed by a number of
people, including women and children. As they pass
Gordy, it's apparent they're refugees from their haunted
expressions and crude backpacks heavy with possessions...
Gordy addresses the passing people. Indicates where he's
standing.
GORDY
Aqui? Colombia?...
No one replies. Then a small COLOMBIAN GIRL comes up and
gets his attention. She runs back up the trail a short
distance and stops. She draws a line in the dirt.
COLOMBIAN GIRL
Panama.
She jumps backward over the line.
(CONTINUED)
40.
93 CONTINUED: 93
COLOMBIAN GIRL
Colombia.
She does it again.
COLOMBIAN GIRL
Panama... Colombia.
She smiles. At the sound of a sharp WHISTLE, however,
she runs back quickly, passing Gordy and rejoining her
family. Her father hands her a machete and a Zippo
lighter, says something to her. Whereupon the little
girl returns to Gordy and holds the items out to him.
Beat. Gordy takes them.
GORDY
Gracias.
The little girl runs back again, and Gordy watches the
refugees disappear around the bend. Then turns back
uphill and approaches the line the little girl drew in
the dirt. Looks down at it. Crossing over means he
walks into a world dangerous enough to cause these people
to flee for their lives, and...
Just as Gordy charged into the fire-engulfed tenement
past a tide of more sensible rats going the other way, he
now steps over the line and advances into Colombia.
94 EXT. PARQUE NACIONAL LOS KATIOS (COLOMBIA) - DAY/NIGHT 94
Where the rain forest of Darien continues in Colombia.
Darkness sets in as Gordy follows the trail downhill. At
night, the JUNGLE'S EVEN NOISIER. When...
EVERYTHING GOES QUIET. Gordy slows. And suddenly,
AUTOMATIC WEAPONS begin to POP somewhere. Not close, but
not far, either. A FEW BURSTS, some SINGLE SHOTS -- the
call and response of an ambush -- and then SILENCE. And
then the nighttime JUNGLE NOISES return.
As Gordy walks on...
95 EXT. PARQUE NACIONAL LOS KATIOS - MORNING 95
The sun is already cooking the jungle as Gordy reaches a
break in the trees, sees a small town ahead.
41.
96 NEARBY - MOMENTS LATER 96
Gordy has left the trail. He lowers his pants just
enough to expose his injured thigh. A bandage covers the
wound made by the glass shard. Gordy unwraps the
bandage, revealing...
A wad of cash is hidden inside, along with a photo of
Anne and Matt. A long, livid scar marks the wound.
Gordy studies the photo of Anne and Matt a moment, then
removes some cash from the wad and re-wraps the money and
photo inside the bandage.
97 BACK ON TRAIL 97
Gordy heads into the town.
98 EXT./INT. CHIVA - NIGHT 98
One of the colorful, wretchedly overcrowded buses that
ply Colombia's back-country roads.
As the chiva jolts and shudders over the dirt road, Gordy
sleeps. He's an object of some curiosity -- not only a
gringo, but a virtual Gulliver in comparison to the
small-statured Colombians pressed in around him.
99 EXT. FINCA (COLOMBIA) - DAY 99
A sprawling farm/estate deep in the countryside. Beyond
the hacienda, we see a military compound containing tents
and three heavily camouflaged helicopter shelters. A
recently arrived Light Observation Helicopter (LOH) sits
on a chopper pad with its rotors still turning.
100 INT. HACIENDA - DAY 100
Full of manned hi-tech command-and-control and
surveillance equipment. A Colombian military operations
officer, ROCHA, waits with an aide.
Brandt arrives with Updegraf.
BRANDT
Find your fucking leak?
ROCHA
Not yet. And it could be your
fucking leak.
(CONTINUED)
42.
100 CONTINUED: 100
BRANDT
All due respect, Noel, it's not
likely... And we don't need the
whole world looking into what
we're doing down here... We find
the son-of-a-bitch again, we're
bypassing protocols...
Updegraf has had papers handed to him and interrupts --
UPDEGRAF
Check this out.
He hands a paper to Brandt. Brandt reads it.
BRANDT
Jesus Christ...
UPDEGRAF
(to Rocha)
The man whose wife and son died in
New York. One of your units found
his passport and credit cards on
some gunrunners near Panama.
Gunrunners say they left him
alive.
BRANDT
What, he thinks he can get The
Wolf himself?
ROCHA
We have too much time and too many
people invested to have a loose
cannon walking around.
BRANDT
(beat; hands papers
to Rocha)
Throw out the net. Have him
picked up... Just make sure no one
kills him.
FLASH-CUT TO:
101 EXPLOSION 101
Boom! An ENORMOUS EXPLOSION. And...
43.
102 EXT./INT. CHIVA - NIGHT 102
Gordy bolts awake from the nightmare with a scream. He
looks around at the startled faces in the crowded bus,
unsure where he is for a moment before he gets his
bearings. The dream lingers, depressing him.
103 ANGLE - AHEAD OF CHIVA 103
An oncoming bus flashes its headlights. As the buses
pass, the ONCOMING DRIVER yells to Gordy's chiva driver.
ONCOMING DRIVER
Inspecion militar. Chequeo de
papeles.
104 SECOND CHIVA 104
keeps going. Gordy's chiva slows to a crawl, and the
Driver calls back.
GORDY'S CHIVA DRIVER
Inspecion militar. Chequeo de
papeles.
Various passengers gather their things and begin to
disembark in a hurry. To anyone who'll answer --
GORDY
Habla Ingles?... Que pasa?
A MAN IN A YANKEES CAP is among the people getting off.
He answers in accented English.
MAN IN YANKEES CAP
There is a military checkpoint up
the road. They inspect everyone's
papers.
105 BUS 105
starts to pick up speed again. Gordy gets off just in
time. To the Man in the Yankees Cap --
GORDY
Where are all of you going?
MAN IN YANKEES CAP
We walk around.
The man heads into the forest. Beat. Gordy follows.
44.
106 EXT. FOREST - NIGHT 106
To the Man in the Yankees Cap as they walk --
GORDY
None of these people have papers?
MAN IN YANKEES CAP
Some have the wrong papers. Some
have none...
The man puts a finger to his lips, hushing Gordy.
They've come abreast of the checkpoint, which can be seen
in the distance through the trees. Colombian soldiers
have the chiva blocked as they perform their inspection.
The chiva's DIESEL GROWLS loudly. When suddenly...
107 FIGURES 107
We see figures moving in the forest between the group and
the checkpoint. And then...
The forest erupts in a deafening fusillade of AUTOMATIC
WEAPONS FIRE being directed at the soldiers at the
checkpoint. In the same instant, an RPG takes out a
Colombian Army humvee in a bright, fiery EXPLOSION.
MAN IN YANKEES CAP
Alsuelo!
108 MAN 108
The man pulls Gordy down as the group hits the dirt. The
GUNFIRE continues. On the ground, to Gordy --
MAN IN YANKEES CAP
Guerrilleros.
The attack rages furiously for twenty seconds, then wanes
to sporadic GUNFIRE. Other WEAPONS are FIRING now,
too -- clearly the Army is finally mounting a defense.
And then...
109 FOREST 109
We hear the sound of PEOPLE CRASHING through the forest.
They're running toward Gordy and the group. The CRASHING
GETS CLOSER. And now Gordy begins to hear the BREATHLESS
PANTING of the guerrillas in retreat. BOOTS THUD past
Gordy's head. When suddenly...
(CONTINUED)
45.
109 CONTINUED: 109
One of the running guerrillas trips over Gordy and goes
sprawling. The guerrilla, wearing the motley uniform of
an irregular soldier, whips a look back, and...
Gordy finds himself staring into the battle-hardened eyes
of a fierce young woman. In a heartbeat...
The woman jumps back to her feet, and joins her comrades
laying down a suppressing FIRE at the soldiers. Spent
cartridges rain down around Gordy, as the AK-47 ON FULL
AUTO chops loudly over his head. And then...
110 NEW ANGLE 110
The guerrillas are gone.
The Man in the Yankees hat hauls Gordy up, yells --
MAN IN YANKEES CAP
Vaya!
The group is in the greatest danger now -- caught between
the fleeing guerrillas and the soldiers, who are giving
chase and will shoot anyone or thing in front of them.
Everyone in the group scrambles to his or her feet and
begins to run. And...
Soldiers do notice them and begin to FIRE.
111 FOLIAGE 111
BULLETS SHRED the foliage around Gordy, whipping past his
head... He and others keep running. A man goes down when
a BULLET BITES into his leg. Gordy slows, but the Man in
Yankees Cap won't let him stop to help. Slams him hard
on his back. Keeps pushing Gordy forward. A few moments
later, we hear M-16's on FULL AUTO back where they left
the man.
MAN IN YANKEES CAP
His trouble is over.
112 EXT. SMALL RIVER 112
The powerful TORRENT ROARS through the forest.
Gordy and the others reach the near bank, where the path
drops into the water to reappear on the opposite bank.
The Man in the Yankees Cap is in the lead. He plunges
into the fast water up to his waist. Gordy and the rest
splash in behind, struggling to cross against the swift
current. The Man in the Yankees Cap reaches the far
bank. Takes two steps, and...
46.
113 EXPLOSION 113
BOOM! An EXPLOSION rips into him.
114 GORDY AND OTHERS 114
stop mid-stream, but one of the group, a young woman,
believing the blast was caused by the pursuing military,
continues struggling to cross. An OLDER MAN looks, sees
the blast-hole.
OLDER MAN
Mina.
Gordy realizes the old man's saying "land mine." To the
young woman --
GORDY
No!
Gordy moves to catch her. Just manages to stop her as
she reaches the far bank. Gordy points to where the land
mine detonated.
GORDY
Mina... Mina...
Beat. Slowly, the terrified young woman responds to the
strong, calm tone of command in Gordy's voice and the
unpanicked, reassuring look on his face.
Gordy brings her back to the group, which fights to stand
in the rushing river. He indicates for them to hold
hands for stability. Motions for them to stay.
GORDY
Alto.
115 GORDY 115
leaves the group in the middle of the river. The GUNFIRE
is now FAR-OFF AND SPORADIC. He crosses to the water's
edge on the far bank. Pulls the Zippo from his pack and
leans over. Uses the flame to illuminate the mud and
rock immediately in front of him. Scratches lightly at
the ground with the machete, searching for mines. Finds nothing
in that spot. And steps onto it.
Searching the ground and scratching at it with the
machete before each step, Gordy inches toward the Man in
the Yankees Cap. Three steps from the river...
(CONTINUED)
47.
115 CONTINUED: 115
He finds a small, round anti-personnel mine the size of a
hockey puck. He inches past it. Moves past another.
And another. To the writhing Man in the Yankees Cap --
GORDY
Don't move... Don't move...
116 NEW ANGLE 116
Finally, Gordy reaches him. One of the man's legs is
missing below the knee. He's bleeding from various other
wounds as well. Gordy uses the Zippo to inspect the area
for more mines. Then kneels in a footprint.
GORDY
You'll be okay... You'll be okay.
He takes a bandanna from the man and ties a tourniquet
around his thigh. By way of distracting him --
GORDY
Guerrilla bastards.
MAN IN YANKEES CAP
No... Military... To stop
guerrillas.
Beat. Gordy finishes the tourniquet, when he sees...
117 YOUNG MAN 117
has left the group and emerged from the river in a
different place to avoid the mines.
Gordy's eyes go to something glistening in front of the
young man -- a taut nylon line ten inches off the ground.
The kid's about to hit it. Gordy shouts --
GORDY
No! Alto!
The young man hears the alarm in Gordy's voice and
stops... But not before he plants his next step, and...
The trip wire bows against his shin, and...
Gordy ducks, covers the Man in the Yankees Cap, and...
Nothing happens. The young man just stands there, frozen
in position, his leg still bowing the line.
(CONTINUED)
48.
117 CONTINUED: 117
Using the Zippo again to light his way, Gordy advances to
the young man. He follows the trip wire to where a Coca-
Cola can hangs from a nearby tree. On closer inspection,
Gordy can see the can is sleeved around a grenade.
There's no pin in the grenade. The can keeps the
grenade's arming spoon in place. The trip wire's
designed to yank the can off, allowing the grenade to
explode at chest level... And the can's almost off.
Gordy burns through the monofilament trip wire. Then
carefully slides the Coke can back over the grenade.
118 MAN IN YANKEES CAP - MOMENTS LATER 118
When Gordy returns, the man's dead. OFF Gordy, looking
down at the NY logo on the cap...
119 EXT./INT. ANOTHER CHIVA - DAY 119
Gordy sees a sign for a town as the chiva rumbles along.
He pulls out his map.
120 INSERT - MAP 120
Gordy finds the town, which lies along a river. He
traces a road from the town. The road runs south through
the town of Mompos, and eventually reaches Caguan, the
ELC capital.
121 BACK TO SCENE 121
A COLOMBIAN WOMAN is looking over Gordy's shoulder.
COLOMBIAN WOMAN
No autobusses para este lugar.
Solamente el barco en el rio.
She leans over, traces the river, which also runs to
Caguan.
COLOMBIAN WOMAN
El rio.
122 EXT. FERRY DOCK - DAY 122
The FERRY'S WHISTLE TOOTS. Lines are cast off.
(CONTINUED)
49.
122 CONTINUED: 122
Two plainclothes federales have been watching the ferry
load and now relax their vigil. One man holds a Xerox of
Gordy's passport photo. The other bites into an
empanada, which breaks open and spills its contents down
the front of his shirt. His partner finds it funny. He
doesn't. And while their attention's occupied...
Gordy hurries by, oblivious to the federales' presence,
and just manages to hop onto the ferry as it pulls away.
123 EXT. FERRY - DAY 123
The ferry's the only means of travel south, and it's
packed. Gordy picks his way through. The only other
gringo on the boat is a geek in a plaid shirt and gimme
hat that says "Deerborn." The geek, PHILIP ARMSTRONG,
looks like a talker, and Gordy tries to avoid eye
contact. He's too late.
ARMSTRONG
Hey, yo, dude, here's a seat, man!
GORDY
No, that's okay --
But Armstrong's already throwing a bag off the bench.
ARMSTRONG
I was hoping for someone I could
communicate with.
He sees Gordy hasn't moved.
ARMSTRONG
Only room's at the back near the
bano, and I'd advise against it,
unless you like poop.
Beat. Gordy sits. Immediately --
ARMSTRONG
Philip Armstrong. Assiniboia,
Sasketchewan, Canada.
(indicates his hat)
Deerborn Heavy Equipment.
GORDY
... Gordy Pitt.
ARMSTRONG
Hey, howya doing? I love Germany.
(CONTINUED)
50.
123 CONTINUED: 123
GORDY
Austria. American now.
ARMSTRONG
I love America. Never been to
Austria. Where from in America
would that be?
GORDY
New York City.
ARMSTRONG
I don't like New York City.
Buildings're too big. What kinda
work you in?
GORDY
(hesitates, then)
Coffee. I buy beans.
ARMSTRONG
Can't drink caffeine. Makes my
stomach do the rumba. I like that
commercial guy with the sombrero
and the mule, though. Headed
upstream, eh? Where to?
GORDY
Caguan.
ARMSTRONG
... You've never been to Caguan,
eh?
GORDY
How do you know?
ARMSTRONG
'Cause no one in their right mind
would ever go back. Caguan's in
the guerrilla zone run by the
E.L.C. E.L.C. as in 'Extra
Loathsome Communists.' They don't
care, and they kill. I'm going
there myself. But I have a 'get
outta jail free' card.
Armstrong doffs his cap, undoes a safety pin securing a
card inside the crown. Shows it to Gordy. Sotto --
(CONTINUED)
51.
123 CONTINUED: (2) 123
ARMSTRONG
E.L.C. travel pass. I can go
anywhere I want.
(by way of
explanation)
Everyone needs equipment fixed.
Armstrong carefully returns the card to the hat. And now
his voice takes on a noticeably more measured tone --
ARMSTRONG
If you don't have one of these,
you don't want to be up there,
Gordy.
Beat. Gordy's contemplating the warning, when his eyes
go to a small, sleepy boy standing nearby on the cramped
deck, leaning against his father. Gordy reaches over and
taps the boy. The boy looks over. Shrinks away at the
sight of the large gringo. The father notices and looks
at Gordy, who stands, indicates his seat.
GORDY
Por favor.
The father's also apprehensive, doesn't move.
GORDY
Con mucho gusto.
Finally, the father accepts, sits down with the sleepy
boy on his lap. Nods his thanks at Gordy, who then gazes
down at the son. A kid about Matt's age. Armstrong
recognizes the look of a caring dad.
ARMSTRONG
Got kids, eh?
OFF Armstrong, as Gordy walks away...
124 EXT. JUNGLE - DAY 124
Two Colombian armed man wearing guerrilla uniforms
bearing a distinctive ELC patch are walking a trail, when
the man in front notices something odd. He stops. Leads
the other man back a few steps. Looks into the foliage
along the trail. Something doesn't seem right. He
extends his AK-47. Prods a hump of greenery with the
rifle butt, and in a flash...
The greenery suddenly transforms into two men wearing
face-paint and full-body military camouflage gear and
pointing twin cocked-and-locked CAR-15 assault rifles at
the heads of the startled guerrillas.
52.
125 EXT. CIA HACIENDA - DAY 125
Brandt stubs a butt as a Colombian SOG group does killer
training nearby. Updegraf opens the door. To Brandt --
UPDEGRAF
One of Rocha's infiltration teams
just radioed in... We got our big
break...
126 EXT. FERRY - DAY 126
Gordy stands along the rail looking out at the lush,
beautiful countryside sliding past.
Armstrong joins him.
ARMSTRONG
That little kid and I had a nice,
long snooze... We're almost to
Mompos.
(gazing out)
Beautiful country.
GORDY
It better be. A lotta people're
dying for it.
ARMSTRONG
(looks overboard)
Y'know, I haven't noticed one
darn body floating downstream
this whole trip, have you?
Gordy doesn't respond. Beat.
GORDY
I was thinking... Maybe we could
travel together into Caguan. You
could show me around.
ARMSTRONG
(shakes his head)
Pass is only good for one person,
if that's your idea, which I think
it is... Besides, I can't risk
traveling around up there in the
company of a big gringo with a
dumb-ass cover story about coffee
beans.
Gordy looks over. Armstrong smiles back. Beat.
(CONTINUED)
53.
126 CONTINUED: 126
GORDY
I've got money. I'll buy the pass
from you.
ARMSTRONG
I've worked too hard for it. And
you don't have that kind of money
on you.
GORDY
I'll be getting some life
insurance money --
ARMSTRONG
(shaking his head)
It's all cash and carry down here,
Gordy.
The FERRY WHISTLE TOOTS.
ARMSTRONG
Mompos... You want to have some
fun, we'll hook up later. I
always schedule a stopover. To
sample the local wares and such.
(winks)
Life can be what you make it here
on the frontier.
GORDY
No, thanks.
ARMSTRONG
Gotta get off the boat anyway.
Mompos is the last stop. From
here into the guerrilla zone you
can only travel by panga... If you
change your mind, I'll be at the
Tropicale later. It's a gringo
bar. Just follow the cockroaches.
127 NEW ANGLE 127
They see the beginnings of Mompos. Two 4x4 trucks are
parked on the riverbank. Lean, clean-cut men in jeans,
tight shirts, cowboy boots and sunglasses lean on the
truck and watch the ferry pass.
ARMSTRONG
Sicarios. Death squads. Avoid
those dudes at all costs.
54.
128 SAME SCENE - FEW MOMENTS LATER 128
The ferry pulls up to the dock. The dock street is a
culture clash of shanty bars and Amazon Indian traders,
of big-wheel SUVs and mule carts. There's a definite air
of menace.
ARMSTRONG
Federales are looking for someone.
Gordy follows Armstrong's look to two plain-clothes
federales, one fat and one thin, standing near the dock
watching the boat pull up.
When Gordy glances back, Armstrong is gone.
129 EXT. MOMPOS FERRY DOCK - DAY 129
Gordy disembarks amid the throng of passengers, when the
FAT FEDERALE confronts him.
FAT FEDERALE
Senor Pitt?
Gordy looks up in surprise at him and the thin federale
backing him up.
FAT FEDERALE
You'll have to come with us.
GORDY
Why?
FAT FEDERALE
Come with us, please.
He clamps a hand on Gordy's arm. Gordy shakes it off and
starts running. Almost immediately, he's tackled to the
ground by the thin federale. Two more federales join in.
Gordy's not gonna go down easy, though.
Even as only one against four, Gordy's a formidable
challenge. He's strong, and he's committed all the way.
He's not getting kicked out of this country again. It's
not a clean or artful fight. There's no karate. It's
four men trying to tackle a bull, and...
The bull gets away.
130 EXT./INT. MOMPOS - VARIOUS SHOTS - DAY 130
Gordy sprints down streets with the federales in pursuit.
55.
131 GORDY 131
jukes into a local bar.
132 ANOTHER ANGLE 132
Gordy pounds out the back of the bar into a littered
courtyard, where he's surrounded by ten-foot walls.
133 FEDERALES 133
blast through the bar.
134 GORDY 134
runs, jumps, launches off a beer keg, and...
135 TOP OF WALL 135
He reaches the top of the wall and pulls himself up.
He's looking out across a block-long run of corrugated
tin roofs. Takes off across the roofs, each step
thundering, as...
136 FEDERALES 136
burst into the courtyard. Two men hastily build a stack
of boxes, etc., against the wall.
137 GORDY 137
runs as fast as he can across the rooftops, when...
A section of roof gives way beneath his feet, just as...
138 NEW ANGLE 138
One of the federales finally mounts the wall, looks
across the rooftops... and Gordy's gone.
139 GORDY 139
lands inside a warehouse room amid sacks of rice, beans
and coffee. The building is dark and dusty. He lies
still and listens. FOOTSTEPS approach across the tin
roof overhead. Gordy burrows into the bags of rice,
pulls them over him.
56.
140 FEDERALE 140
on the roof peers down through the hole. Scans the
warehouse room below with a mini-Mag-Lite.
141 GORDY 141
sees the flashlight beam move past. He holds his breath.
Beat. Then the FOOTSTEPS pass on, RECEDE down the roof.
And Gordy can breathe again.
142 EXT. MOMPOS STREET - NIGHT 142
Gordy makes his way along the main drag of the frontier
town. A noisy, neon-lit strip of bars and brothels.
Everyone's packing a gun. A new Dodge City, where death
squad sicarios cruise past in 4x4's BLARING SALSA.
143 INT. TROPICALE - NIGHT 143
In here, the MUSIC'S LOUD ROCK 'N' ROLL. Gringo music
for a gringo bar. The place is busy, with plenty of
local "hostesses" for the men. Even Armstrong, standing
half-crocked at the bar, is flanked by two scantily-clad
women. He's got a spoon hanging off his nose. So does one
of the girls. Armstrong's trying to hang a spoon on the
other.
Gordy slips into the bar. Spots Armstrong through the
crowd. Sees Armstrong's not wearing his cap, when...
The girl with the spoon on her nose turns slightly,
revealing she's wearing the cap. It's on backwards, but
now Gordy can see the "Deerborn" logo clearly.
Gordy wants the guerrilla travel pass inside the cap.
It's a desperate move, but he's got no choice. Starts
toward the girl, when...
Gordy sees the thin federale enter the front door. The
thin federale sees him at the same time. Begins moving
in on him.
Gordy moves faster toward the girl. And...
The girl unwittingly does him a favor by taking off the
cap and setting it on the bar, where it's easier to grab,
and then turns her attention to Armstrong's antics.
The thin detective fights through the crowd after Gordy.
Gordy's almost to the hat.
(CONTINUED)
57.
143 CONTINUED: 143
Armstrong's still having trouble with the second girl's
spoon.
ARMSTRONG
I never met a nose I couldn't hang
a spoon on.
Gordy reaches the bar, snags the cap. Glances back, sees
the thin federale closing in, turns to run out the back,
when...
A strong hand stops him. The hand belongs to the Fat
Federale. And now the thin federale's there, too,
wielding a stun gun where Gordy can see it. People in
the bar fall silent. Everyone but Armstrong, who's
finally hung the spoon on the second girl's nose.
ARMSTRONG
Yahtzee!
And now Armstong also realizes something's up. Turns and
sees Gordy. Sees the cap in Gordy's hand as the Fat
Federale addresses Gordy --
FAT FEDERALE
Come along, Mr. Pitt.
Whereupon Armstrong shouts drunkenly at Gordy --
ARMSTRONG
Police catch you trying to steal
my hat, you asshole?!
He staggers toward Gordy. Grabs the hat.
ARMSTRONG
Fucking hat thief!
Armstrong takes a drunken swing at Gordy, but...
Instead of hitting Gordy, Armstrong accidentally-on-
purpose clocks the fat detective. Then hisses into
Gordy's ear, clearly not that drunk --
ARMSTRONG
Get outta here --
But then Armstrong's legs won't work as the thin federale
jams the stun gun against his neck, and 10,000 volts
surprise the Armstrong neural network.
Gordy moves against the thin federale in anger, when...
The Fat Federale ZAPS him with another STUN GUN, just
behind the ear... And Gordy gets to know the floor, too.
58.
144 EXT. MOMPOS JAIL - NIGHT 144
The building's ancient, constructed of wood and adobe.
145 INT. MOMPOS JAIL - CELL - NIGHT 145
The jail might be old, but the cells are secure enough.
They're also unsanitary and thoroughly unpleasant.
Gordy and Armstrong are led in by the federales. The Fat
Federale has Armstrong's hat. He looks it over,
wondering why Gordy wanted it. Then decides he could
give a fuck and tosses it to Armstrong. Clangs the cell
door shut and locks it. Leaves shaking his head.
FAT FEDERALE
Gringos...
Armstrong's still unsteady on his feet and sits down on
the metal bunk.
ARMSTRONG
That stun gun wasn't cool.
Armstrong looks down at himself.
ARMSTRONG
Haven't peed my pants in a real
long time.
GORDY
(beat)
You shouldn't have helped me.
ARMSTRONG
Yeah, well, I guess all these
assholes down here are just
starting on my nerves.
Gordy's silent. It's over. He's come up short. He's
going home.
ARMSTRONG
So what the hell did you do to
land us in here? And don't jerk
me around, eh?
Beat. Gordy sits.
GORDY
The Wolf killed my wife and son
in New York.
(CONTINUED)
59.
145 CONTINUED: 145
ARMSTRONG
... Oh, you're that guy, eh? I'm
sorry, man... And what, you came
down here to even things out?
Gordy just looks at him.
ARMSTRONG
Did you even have a plan?
GORDY
Yeah. Go to Caguan, find The Wolf
and kill him.
Armstrong just shakes his head. Beat.
146 DOOR TO CELL AREA 146
BANGS open. Federales lead in two men -- the two
guerrillas surprised earlier by the heavy-camouflaged
infiltrators. The federales are armed with batons and
stun guns, taking no chances. It's clear the rebels
weren't brought here without a struggle, either -- both
are cut and bruised. The tougher-looking of the two has
taken a real beating. This beaten man is jammed face-
first against the bars of Gordy's cell. He makes eye
contact with Gordy while the other rebel is unbound and
put into a cell. Then the beaten man is shoved into the
cell. A solid, brick wall separates them from Gordy and
Armstrong. Armstrong's seen the patches on their
uniforms. To Gordy, sotto --
ARMSTRONG
E.L.C.
Beat. Armstrong sees the look on Gordy's face. By way
of a warning --
ARMSTRONG
If you can't kill them, don't even
talk to them.
The GUERRILLAS are MURMURING in the other cell. One of
them LAUGHS. OFF Gordy, listening to the LAUGHING...
147 INT. GORDY AND ARMSTRONG'S CELL - NIGHT 147
Two or three A.M. Armstrong's dozing. Gordy's still
listening to the MURMURING of the REBELS on the other
side of the wall, when...
(CONTINUED)
60.
147 CONTINUED: 147
There's a flurry of activity outside the cell area. The
door opens. Soldiers enter with some federales.
Gordy watches the soldiers move past his cell. Rocha is
with them. And then...
Brandt appears at the bars, looks in at Gordy.
BRANDT
Enjoy your trip?
Gordy stands, approaches.
BRANDT
We asked you to leave it to us.
GORDY
And you guys still haven't got
him.
BRANDT
It's not over yet... The guys next
door are in The Wolf's elite
bodyguard unit. Where he goes,
they go. We're gonna ask
questions. And we're gonna get
answers... And you're staying
right here till our bomber's dead.
Brandt goes. Moments later, a TORTURED SCREAM is heard
on the other side of the brick wall, waking Armstrong
with a start.
148 EXT. MOMPOS - VARIOUS SHOTS - NIGHT 148
In a field near Mompos, a canopied truck backs into
position. Men in guerrilla uniforms with ELC patches get
out and pull back the canopy, revealing mortar tubes
pointing skyward on a bed of sand.
149 ELC GUERRILLA 149
unit armed with AK-47s and Light Anti-Tank Weapons
(LAWs) infiltrates the town.
150 ANOTHER TWO-MAN ELC GUERRILLA TEAM 150
sets up a single mortar position overlooking the town.
One of the men checks his watch. Beat. He signals. The
other man drops a MORTAR down the tube. WHUMP.
61.
151 TWO MORTARS 151
go in the tubes on the truck. WHUMP, WHUMP.
152 ANOTHER ANGLE 152
BOOM! BOOM! BOOM! A water tower, the Mompos fire
station and the town's power supply are direct hits.
WHUMP, WHUMP, WHUMP...
153 INT. JAIL - CELLS 153
People react to the sounds of the MORTAR ATTACK on the
town. The lights go out. Brandt, Rocha and their men
quickly lock the guerrillas in their cell and head out.
154 EXT. JAIL 154
As MORTARS CONTINUE to fall on the rest of the town, the
unit of guerrilla infiltrators open up on the front of
the jail with LAW ROCKETS.
155 EXT./INT. JAIL 155
KA-BOOM! The front door and wall of the jail
disintegrate under the multiple LAW attack.
156 NEW ANGLE 156
Brandt, Rocha and the soldiers, approaching the front
door inside, are hammered by the massive concussion of
the BLAST and flung across the room, apparently dead.
157 ANOTHER ANGLE 157
The powerful, concussive shock-wave channels into the
cell area. Gordy's slightly protected by a wall.
Armstrong, standing at the bars, is thrown into the
opposite wall and knocked unconscious.
158 GUERRILLAS 158
charge inside with AKs BLAZING. Surviving soldiers and
federales SHOOT back.
The blasts have caused fires in the building. Severed
wires spark, creating more fire. Flames begin to spread
through the tinder-dry structure.
(CONTINUED)
62.
158 CONTINUED: 158
The guerrillas take out the soldiers and federales, with
few casualties to themselves. They make their way toward
the cell area.
EXPLODING AMMO and stored FUEL CANS accelerate the fire.
159 NEW ANGLE 159
The guerrillas reach the cells. Two men see Gordy and
draw down on him. The others move to the next cell.
Guerrillas plant small explosive charges on the hinges of
the cell containing their two captured comrades. Beat.
The HINGES BLOW. The beaten man and the rebel with him
are freed, and the guerrillas quickly retreat the way
they came.
Gordy sees flames spreading into the cell area.
160 GUERRILLAS 160
exit the fiery jail past Brandt. We see Brandt's not
dead.
161 EXT. MOMPOS STREET - OUTSIDE JAIL 161
A truck pulls up. The guerrillas get in. The TRUCK
SCREECHES OUT as...
162 4X4 162
full of sicarios SKIDS onto the street, far ahead of the
truck. The sicario driving punches it, and...
163 TWO TRUCKS 163
ROAR toward each other. A game of chicken. With GUNS.
Men in both vehicles OPEN UP -- the sicarios with magnums
and Uzis, the guerrillas with AKs. SLUGS RIP through
automotive steel. Casualties are taken. When...
164 SICARIO 164
driving the 4x4 receives a round in the forehead, cranks
over the steering wheel, and...
63.
165 SPEEDING 4X4 165
does a Paris-to-Dakar road rally flip, twisting and
somersaulting, and...
166 NEW ANGLE 166
The 4x4 catapults completely over the guerrillas' truck,
disintegrating into spare parts and dead occupants, as...
167 GUERRILLAS 167
ROAR off.
168 EXT./INT. JAIL 168
A severely-dazed Brandt, bleeding from the nose and ears,
slowly gets to his knees, crawls out of the burning
building and collapses outside.
169 INT. GORDY AND ARMSTRONG'S CELL 169
There's fire and smoke everywhere. Gordy picks up the
metal bunk and slams it against a wall. Slams it again.
Breaks the metal apart. Then levers a long side rail in
the cell door. He heaves. Heaves again. The fire's
licking at him, but Gordy's undeterred. He heaves again,
and...
This time, the door gives. Gordy picks up Armstrong's
cap, then picks up Armstrong, who's starting to come
around. Puts Armstrong over his shoulders in a fireman's
carry.
GORDY
Don't breathe.
ARMSTRONG
(weakly)
You're not running through the
fire, eh?
GORDY
Close your mouth.
Because running through the fire is just what Gordy's
gonna do. As he disappears into the flames...
170 EXT. JAIL - NIGHT 170
The town's in complete chaos. There are fires
everywhere.
(CONTINUED)
64.
170 CONTINUED: 170
Still stunned and bleeding, Brandt looks from where he
lies on the ground as...
Gordy bursts out of the inferno carrying Armstrong.
They're singed and smoking, but they're alive. Gordy
drops Armstrong, pats himself and Armstrong down,
knocking out the burning embers on their clothes and
hair, when...
Gordy's eyes meet Brandt's. The two men hold the look
for a moment. If Brandt could speak, he'd be yelling at
Gordy to stop, not to go on. And Gordy knows it. But
Gordy's not stopping. Picks up Armstrong again and moves
off toward the waterfront.
171 EXT. MOMPOS WATERFRONT - NIGHT 171
There's less chaos here. The fires are in the distance.
Gordy arrives carrying Armstrong. Sets him down.
GORDY
I'll find a boat to take us
upriver.
He starts to go. Armstrong stops him.
ARMSTRONG
No. I told you. The pass is only
good for one person. And you're
too dangerous to travel with.
Beat. Gordy reaches over and takes Armstrong's cap. He
looks inside. There's no pass.
ARMSTRONG
It hasn't been there since we
landed.
Gordy's at a loss. He tosses the cap back. Just looks
at Armstrong. Beat. Armstrong sighs.
ARMSTRONG
Aw, hell... I was through with
this place anyway...
He takes off a boot. Shakes out some money and the pass.
He hands the pass to Gordy.
(CONTINUED)
65.
171 CONTINUED: 171
ARMSTRONG
I'll call ahead and tell Felix I'm
not coming, and you're my
replacement. He'll meet you in
Caguan and take you to the
plantation... What do you know
about diesel engines?
GORDY
All the fire trucks are diesels.
ARMSTRONG
You'll have to be Austrian, eh?
They hate Americans. Name's gotta
change, too, in case they're
watching the news.
(beat)
It'll buy you a little time to
look around Caguan. But you'll
never find The Wolf.
Beat. Gordy sticks out his hand.
GORDY
Heinrich Beckmann.
ARMSTRONG
Huh?
GORDY
My Austrian name.
Armstrong shakes hands with Gordy. Armstrong doesn't
let loose right away. Beat.
ARMSTRONG
Luck got you this far. But up
there, luck doesn't make it.
I hope you know you're gonna die.
OFF Gordy, about to step over another line...
172 EXT. RIVER - VARIOUS SHOTS - DAY 172
As dawn breaks over the river, FIND Gordy sitting in a
motored panga being steered by a local BOATMAN. Gordy
reaches into a pocket and pulls out the photo of Anne and
Matt. He looks at it for a few moments. Then pockets it
again.
173 SAME SCENE - LATER 173
The panga passes a dead body floating downstream.
66.
174 SAME SCENE - LATER 174
The panga passes revolutionary banners and signs lining
the riverbank.
BOATMAN
La zona guerrillera.
175 SAME SCENE - MOMENTS LATER 175
The panga rounds a bend, and...
Two souped-up bass boats filled with heavily-armed ELC
guerrillas move to intercept it.
The Boatman slows, puts the panga in neutral and keeps
his hands in sight.
One boat of guerrillas pulls alongside. The other sheers
off and stops a short distance away, ready to open fire.
Gordy shows the guerrillas his travel pass. One of them
takes it. Reads. Looks Gordy over. Then starts to rip
the pass in half, when...
He stops. Grins. It's a big joke. He hands back the
pass, searches the boat quickly and waves the panga on.
OFF Gordy's relief as the panga heads on...
176 EXT. CAGUAN TOWN DOCK - DAY 176
The panga arrives, and Gordy gets out. He's met by
FELIX. Felix has a 9mm in a shoulder holster. Felix
doesn't look the least bit happy.
FELIX
Beckmann.
GORDY
Yeah.
FELIX
Come with me.
Felix leads him towards a Land Cruiser.
FELIX
Armstrong should have called
sooner. We don't like changes
here... If I didn't need the
equipment fixed, I'd send you
back.
(CONTINUED)
67.
176 CONTINUED: 176
They reach the Land Cruiser.
FELIX
But now we have to see the E.L.C.
Supervisor for Caguan.
It's a prospect that seems to concern Felix almost as
much as Gordy. Off which, as they get into the Toyota...
177 INT. ELC SUPERVISOR'S OFFICE - DAY 177
The ELC SUPERVISOR for Caguan may be a Marxist, but the
clean, well-ordered office is nicely appointed, with a
big-screen Sony and leather furniture. The TV's TUNED TO
CNN. A photo on the wall depicts him as a younger man
wearing guerrilla cammies bearing with an ELC patch and
holding an AK-47. A brass nameplate reading "Supervisor"
rests on a neat desk, behind which stands the man himself
-- a hardened, former guerrilla fighter proud of his
position. He's not in cammies now -- his uniform now
consists of casual but nice tropical clothing and a fat
Rolex.
Felix is a subordinate here. He and Gordy stand across
the desk as the Supervisor examines Gordy's travel pass.
Gordy's nervous about what could appear on the TV in the
b.g., but tries not to show it.
ELC SUPERVISOR
Your passport was stolen.
GORDY
In Mompos.
ELC SUPERVISOR
... Mompos is a shithole. Not
like Caguan... Why didn't
Armstrong come?
GORDY
He was arrested in Ecuador. He
got drunk and fooled around with a
police officer's wife.
The Supervisor just looks at him, assessing Gordy's face
for signs he's lying. Gordy's expression stays the same.
Felix respectfully interjects. It's almost a plea.
FELIX
(in Spanish)
We need to fix the equipment. We
have delivery deadlines to meet.
(CONTINUED)
68.
177 CONTINUED: 177
A long beat. The ELC Supervisor hands the travel pass
back to Gordy. In a hard tone to Felix --
ELC SUPERVISOR
(in Spanish)
He's your responsibility. Don't
let him out of your sight.
FELIX
Si. Gracias.
As Felix leads Gordy away...
178 INT./EXT. LAND CRUISER (CAGUAN) - DAY 178
Gordy and Felix pull away from the Supervisor's H.Q.
Felix resumes his former tone of command.
FELIX
The Supervisor made you my
responsibility... You don't go
anywhere without me, you
understand?
GORDY
No problemo.
Gordy peers out the window intently as they drive,
looking for a lucky break, looking for The Wolf,
searching the face of every man. He doesn't see The
Wolf, but what he does see surprises him. The ELC
Supervisor was right: Caguan's no Mompos. It's a third-
world town, armed troops are visible, and there's a lot
of bad shit behind Colombia's revolutionaries, but here
the streets are calm and orderly. It's quiet, almost
eerie, as people go about their business. OFF Gordy,
seeing another side of the guerrillas...
179 INT./EXT. LAND CRUISER/COUNTRY ROAD - DAY 179
Felix turns off at the entrance to a lane leading to the
plantation. The entrance is guarded by a 4X4 "Rat
Patrol" assault truck and four heavily armed ELC
guerrillas.
GORDY
The E.L.C. guards your coffee
beans?
Felix thinks he's joking. Until he looks over and sees
Gordy's actually being sincere.
(CONTINUED)
69.
179 CONTINUED: 179
FELIX
... Coffee beans? Shit.
Armstrong didn't tell you much...
180 INT./EXT. LAND CRUISER - PLANTATION - DAY 180
They approach a hacienda and outbuildings. The
accoutrements of agriculture are present -- tractors,
sheds, cats, etc. -- but clearly, this is no family farm.
There are lots of serious-looking men around. More ELC
guerrillas stand guard.
181 FELIX 181
stops the car. He and Gordy get out. Felix begins
leading Gordy toward two rows of long, open-walled sheds.
FELIX
The problem's with the diesel
generators. The sons-of-bitches
keep breaking down.
182 NEW ANGLE 182
They pass four very large pits, where green leaves steep
in a thick, foul-smelling liquid.
FELIX
We're using portables to keep
production going, but they don't
supply enough power to the heat
lamps, and we have to dry a lot
of... 'coffee beans.'
183 ANOTHER ANGLE 183
They're now walking between the two rows of sheds, where
portable gas GENERATORS THRUM, and...
Gordy can see long, wide platforms inside. Above the
platforms are multiple arrays of powerful heat lamps.
Spread out and drying beneath them is a half-acre or two
of converted cocaine.
184 IN ANOTHER SHED 184
workers pack and wrap one-kilo bricks of coke for
shipment.
70.
185 GORDY AND FELIX 185
approach the two giant diesel generators.
FELIX
We can fix anything, but these
keep dying on us... You'll start
now. I'll have tools brought to
you.
(beat)
Armstrong's a magician with them.
Let's hope you have his skill.
Felix walks over to a guerrilla with an AK-47 and speaks
to him. Then goes. Whereupon the guerrilla crosses to
Gordy and takes up a sentry position over him.
186 SAME SCENE - LATER 186
Gordy has the diesels partially dismantled. The
guerrilla sentry is still right there. Felix returns.
FELIX
Well?
Gordy has to think of something fast. Beat. He throws a
machine part against a wall angrily.
GORDY
I can't work with these pieces of
junk.
FELIX
Junk? These generators cost a
fortune.
GORDY
Then treat them that way.
FELIX
(beat, then)
Armstrong always fixes them.
GORDY
Armstrong wants your money. He
makes them work, but he doesn't
fix them... To do this right, we
gotta order parts from Europe.
In the meantime, I can make
something temporary. There must
be a machine shop in town.
FELIX
... Yes.
(CONTINUED)
71.
186 CONTINUED: 186
Gordy stands.
GORDY
Let's go.
OFF Felix, forced to acquiesce...
187 INT./EXT. LAND CRUISER (CAGUAN) - VARIOUS SHOTS - DAY 187
Felix is driving. Again, Gordy uses the opportunity to
look for The Wolf. It's a long-shot, and he knows it.
But it's all he can do.
188 EMPTY STOREFRONT 188
They pass an empty storefront. A sign on the large,
front plate glass window says "Cine" and "Sabado."
189 BAR 189
They pass a bar. Felix watches it go by with something
like a look of desire. Gordy registers the look and the
connection to the bar.
190 INT. MACHINE SHOP - VARIOUS SHOTS - DAY 190
Gordy selects spare parts.
A clerk wraps the parts in an old newspaper, and...
Gordy realizes his picture is on the paper. He smears
grease from his hands over it.
191 EXT. MACHINE SHOP - DAY 191
Gordy finishes loading the parts into the Land Cruiser.
FELIX
Let's get moving.
GORDY
I'm thirsty. How about you? Want
to get something to drink?
Felix pauses. We see the look of desire again. Gordy's
definitely struck a chord. But Felix quickly stifles it.
FELIX
We have to get back.
(CONTINUED)
72.
191 CONTINUED: 191
GORDY
I've been working all day out in
the sun. I need a drink... nice
cold beer? How about it? I saw a
bar in town.
Felix really wants to, but still hesitates.
GORDY
With the spare parts, I'll have
the generators running in two
hours... We have time for a
couple beers.
Beat. Finally --
FELIX
Okay. Just a beer. Maybe two.
192 INT. BAR - NIGHT 192
They've had a lot more than two beers. Felix has,
anyway. He's drunk. He's also in love with a waitress
on his lap, a cute gordita named BERTA. He pats her.
FELIX
This is mine. This is the reason
I come here... right, Berta? Me
amas?
BERTA
(playing along)
Si, amor.
Somebody whistles for a drink, and Berta goes.
FELIX
... She's hot, isn't she?
GORDY
Yeah.
Long beat. Gordy makes the play he's been contemplating.
GORDY
Armstrong said to watch my butt
around here. I guess the fucking
Americans come down and shoot
everyone all the time.
FELIX
Especially now, since the bomb in
New York.
(CONTINUED)
73.
192 CONTINUED: 192
GORDY
Yeah, I heard about it. Who did
it?
Felix is just loose enough.
FELIX
The Wolf, and they'll never catch
him.
GORDY
Ever see him?
FELIX
Once.
GORDY
Where?
FELIX
(beat; eyes Gordy)
If you know too much around here,
it can get you killed.
Gordy's gotten all he'll get from Felix. He feigns
nonchalance, smiles.
GORDY
Tell me what doesn't get you
killed around here.
Gordy takes a swig of beer. When...
Gordy sees the Beaten Man from the jail in Mompos. The
man has just walked in with another guerrilla.
Gordy barely avoids being seen as the guerrillas cross
the room. At the bar, the bartender puts out two crates
of beer. The guerrillas take the beer and head out. No
money's changed hands. When they're gone, to Felix --
GORDY
We'd better get back, huh?
FELIX
(checks his watch)
... Shit. It's late.
193 EXT. BAR - NIGHT 193
The two guerrillas are just driving away in a big-
wheeled, high ground-clearance Suburban as Gordy and
Felix emerge. Felix is weaving.
(CONTINUED)
74.
193 CONTINUED: 193
Gordy keeps his eyes on the Suburban's tail lights and
opens the Land Cruiser's passenger door for Felix.
GORDY
You're too drunk. I'll drive.
194 EXT./INT. LAND CRUISER 194
Gordy gets in. Felix hands Gordy the keys. Then slumps
against his door and closes his eyes.
FELIX
One day, I'm going to screw Berta.
Gordy STARTS the CAR and drives after the Suburban.
195 EXT./INT. LAND CRUISER (CAGUAN) - NIGHT 195
Gordy follows the Suburban as Felix rambles --
FELIX
... I'll take her to a small
restaurant... We'll have lobster
and drink lots of wine... I'll get
her drunk... We'll drive home...
I'll carry her inside... I'll kiss
her... And then, I'll screw her in
my bed...
The Suburban pulls up next to a house. There are armed
guerrilla guards outside.
FELIX
... And when I am done screwing
her, she'll never want to look at
another man again...
Gordy drives past the house as the Beaten Man and the
guerrilla with him get out of the Suburban and start
carrying the beer inside. And a moment later...
Felix comes around with a start.
FELIX
What the fuck are you doing?!
He unholsters the 9mm and points it at Gordy.
GORDY
Hey, easy... What's the problem?
(CONTINUED)
75.
195 CONTINUED: 195
FELIX
You're going the wrong goddamn
way!
GORDY
I am?... Looks different in the
dark...
FELIX
Turn around!
Gordy turns the car around. Felix keeps the gun on him.
FELIX
You drive where I say... Or the
Supervisor will have us both shot.
Gordy drives back. They approach the Suburban and the
house once more. This time it's on Felix' side. Felix
gives the guerrilla guards a wave as they go by, and...
Gordy's eyes go to something he couldn't see coming the
other way: a large propane tank next to the house.
196 EXT. PLANTATION - VARIOUS SHOTS - NIGHT 196
The work in the sheds continues. Heat lamps dry down the
long tables of coke.
197 GUERRILLA GUARDS 197
are more vigilant at night, patrolling the grounds with
posted teams.
198 WORK LIGHTS 198
illuminate the two big diesel generators as Gordy
continues his overhaul. He has two sentries now. One
wears a combat vest, and as Gordy works, his eyes go to
the grenades hanging on the vest's front.
199 EXT. PLANTATION - DIESEL GENERATORS - DAY 199
The sun's over the yardarm now, blazing hot, and Gordy's
still working under the watchful eyes of the guards.
Nearby, a group of guerrillas is playing soccer, when...
(CONTINUED)
76.
199 CONTINUED: 199
A man is injured, and his teammates call for one of
Gordy's guards to substitute. The man in the combat vest
responds. The game is shirts and skins, and he's joining
the skins. Puts down his AK, strips off his combat vest
and shirt, and runs in.
Gordy's eyes go to the vest and the attached grenades.
With the other guard still watching him closely, however,
there's nothing Gordy can do.
200 SAME SCENE - LATER 200
The soccer game rages back and forth. Suddenly, an open
man gets the ball. Breaks toward the goal.
Gordy sees the player about to go one-on-one with the
goalie. He cheers the action loudly, whereupon...
Gordy's guard turns to see what's happening, and...
Gordy grabs a grenade. Almost gets it into a tool box,
when...
The player kicks wide, the guard looks back, and...
Gordy covers the clattering of the grenade's dropping
into the tool box by picking up a large wrench... But the
grenade's still visible as now...
Felix comes around the corner. He's sleepy and hungover.
And pissed by Gordy's lack of progress.
FELIX
It's afternoon. Yesterday, you
said it would only take two more
hours.
Gordy wipes his hands on a rag, throws it on the grenade.
GORDY
I have this one ready to go.
Gordy reaches up and hits the start button on the
GENERATOR. It SPUTTERS, but won't catch. Felix just
looks at him. Gordy makes an adjustment, and...
This time, the ENGINE TURNS OVER. PURRS like new. The
heat lamps brighten in a row of sheds. Felix winces as
the DIESEL ROAR makes the hangover hammers in his head
pound even harder.
FELIX
What about the other one?
(CONTINUED)
77.
200 CONTINUED: 200
GORDY
I just need another part from
town, and it's five more minutes.
FELIX
... Shit. Fine. Let's go.
Gordy grabs the tool box.
FELIX
Why're you bringing the tool box?
GORDY
The old part's in there. I need
to match it, and it's all greasy.
Felix buys it and heads off. As Gordy follows him...
201 EXT./INT. LAND CRUISER (CAGUAN) - VARIOUS SHOTS - DAY 201
They pass the "Cine" in the storefront. The ELC
Supervisor's big-screen TV is being wheeled in.
202 GORDY 202
sees an attractive woman playing with some children.
203 GORDY AND FELIX 203
drive past the bar. Gordy notices Felix doesn't even
glance at it.
GORDY
Berta working today?
FELIX
Ha! Puta!
We see that, whatever this means, it's an unexpected
complication for Gordy.
204 INT. MACHINE SHOP - VARIOUS SHOTS - DAY 204
Gordy chooses the spare part.
The clerk wraps the part in newspaper.
78.
205 EXT. MACHINE SHOP - DAY 205
Gordy loads the part into the Land Cruiser. To Felix --
GORDY
You as thirsty as I am?
FELIX
No.
Felix gets into the Land Cruiser.
206 EXT./INT. LAND CRUISER (CAGUAN) - DAY 206
Gordy climbs in. Felix starts driving. Gordy's down to
final straws.
GORDY
We can't stop for one beer?
FELIX
There's beer at the plantation.
GORDY
(thinking fast)
There's no Berta at the
plantation. I like drinking beer
around pretty girls, not a bunch
of guys with automatic rifles.
FELIX
To hell with Berta.
GORDY
What happened? Last night you
were in love with her.
There's a beat. Felix glances at Gordy. Decides it's
safe to confide.
FELIX
... I had a dream... I fed her
lobster, got her drunk, and she
rejected me for another man.
(off Gordy's look)
Dreams tell the future.
GORDY
... That wasn't a dream, that was
the alcohol talking... You saying
two men can't go have a beer and
look at women's breasts because
of pink elephants?... Nothing
makes any sense down here.
(CONTINUED)
79.
206 CONTINUED: 206
Felix pulls out his .9mm. Gordy doesn't blink an eye.
GORDY
Go ahead and shoot me, and you
fix the goddamn generator. Part's
in the back.
Beat. OFF Felix, thinking it all over...
207 INT. BAR - NIGHT 207
A replay of last night. Felix is pretty wasted. Berta's
in his lap again. In Spanish --
FELIX
You know I'm your man, baby.
Someone whistles for a drink. Berta starts to stand.
Gordy slips her twenty US dollars to stay. She does.
GORDY
I have to piss.
Gordy crosses, exits into the bano.
208 EXT. BAR - BACK - MOMENTS LATER 208
Gordy drops out the bathroom window.
209 EXT./INT. LAND CRUISER - MOMENTS LATER 209
Gordy gets the grenade from the tool box. He slides it
just inside the top of his pants, with the spoon hooked
over the waistband. He finds some wire. Then searches
for something else. Finds a piece of string and checks
its length. From Gordy's reaction, we understand it's
too short.
Gordy opens doors and checks seat pockets. Nothing. He
checks the glove box. No long string there, either. But
he does find two rubber bands. Gordy studies them a
moment, thinking. Tests their elasticity. Then pulls
out the Zippo and thumbs it. The lighter still works.
As Gordy pockets everything and walks off...
210 EXT. CAGUAN - VARIOUS SHOTS - NIGHT 210
Gordy steals through town, hiding when he sees someone
coming. He's re-tracing the route he took the night
before, when he followed the Beaten Man's Suburban.
80.
211 "CINE" 211
He passes the "Cine" in the storefront. A movie's
beginning to play on the supervisor's big-screen TV. The
place is packed. No one sees Gordy, who moves on.
212 GORDY 212
continues to make his way through Caguan, when...
He rounds a corner, and there's a four-man ELC patrol,
two in a truck and two out. Gordy turns, starts heading
back, when...
One of the GUERRILLAS calls to him.
GUERRILLA
Alto!
Gordy stops. The two standing men walk toward him. The
other two men get out of the truck to provide backup.
One guerrilla approaching Gordy stops short and stands
off, cocked-and-locked, as the other comes up. Gordy
carefully produces the travel pass. The guerrilla looks
it over. In butchered Spanish --
GORDY
Yo trabajo con Felix. Felix --
(indicates)
-- la cantina. Con Berta.
The attractive woman we saw earlier playing with the
children now walks up holding the hand of a small boy. A
guerrilla waves them on. The woman and boy hustle by,
glancing at the face of this big gringo in trouble as
they pass. They hurry on toward the nearby "Cine."
OFF Gordy, as the guerrilla indicates for him to start
walking to the truck...
213 INT. BAR - NIGHT 213
The guerrilla patrol has taken Gordy to Felix, still
sitting with Berta in his lap.
FELIX
Are you trying to get us both
killed?
GORDY
I went for a walk. I figured you
wanted to be alone with Berta.
(CONTINUED)
81.
213 CONTINUED: 213
FELIX
(to the guerrillas;
in Spanish)
I'll make sure he's on a shorter
leash.
The patrol leader looks at Felix hard. Then nods. The
guerrillas go. Felix dumps Berta onto her feet, stands.
Felix looks at Gordy, shakes his head.
FELIX
Shit...
214 INT. LAND CRUISER - NIGHT 214
Gordy and Felix get in.
FELIX
You're working all night,
Beckmann. That generator gets
fixed, and you're out of my hair
in the morning.
Felix jams the car in drive.
Gordy looks down, sees the spoon of the grenade exposed.
As he readjusts his shirt to cover the spoon...
215 EXT. PLANTATION - DIESEL GENERATORS - NIGHT 215
Felix is right there supervising for himself as Gordy
finishes working. Gordy stands. He stares hopefully at
the MACHINE. Then pushes the starter, and... VRROOM!
The heat lights in the second row of sheds brighten.
Gordy turns to Felix.
GORDY
That make you happy?
No response.
GORDY
Where's my money?
FELIX
You'll get it in the morning.
82.
216 INT. HACIENDA - STOREROOM - NIGHT 216
Felix yanks the dangling cord and turns on the lights.
The room's a mess. All kinds of rubbish. There's a
washtub sink. There's a cot.
GORDY
This where Armstrong stays?
FELIX
This is where you stay... A boat
will take you down river at seven.
Felix closes the door. We hear a LOCK TURNING. Gordy
moves to the door and tries it. It's definitely locked.
Through a small window, he can see the lights in the
sheds and the ever-vigilant nighttime ELC sentries
patrolling the grounds. The DIESELS ROAR in the b.g.
Gordy turns back. Readjusts the grenade digging into his
belly, then hooks it back inside his pants. He turns off
the light. Moves to the adobe wall opposite the door.
THROUGH another small window, he can see it's dark in
this direction.
Gordy rummages through the refuse lying around the room.
We see some rubber tubing. We see some rope. Gordy
finally finds a piece of sharp metal. He moves to the
wall with the window. With the DIESELS covering the
noise, Gordy starts chiseling away at the adobe.
217 EXT. PLANTATION - NIGHT 217
The big-wheeled guerrilla Suburban drives in.
218 INT. STOREROOM 218
Gordy is making slow progress through the wall, when he
hears the VEHICLE arrive. He moves to the window by the
door and looks out. Sees the Suburban. Four guerrillas
are getting out, including the Beaten Man. Felix meets
them. The Beaten Man exchanges words with Felix. Felix
indicates Gordy's room. As the Beaten Man continues to
question Felix...
Gordy realizes he's fucked. He can't get through the
wall fast enough. His eyes go to water dripping from a
pipe leading to the washtub sink. He moves to it. Finds
the water pipe underneath that feeds the tap. Cranks
shut the master valve on the pipe. Wraps his hands
around the pipe and pulls. Nothing. Jams his feet
against the wall for leverage and pulls harder... And
this time, he yanks the pipe free from the sink. He
finds the rubber hose. Fits an end over the pipe.
(CONTINUED)
83.
218 CONTINUED: 218
Quickly lashes it on with some wire. Then cranks on the
master valve. High-pressure water streams from the hose.
Gordy sneaks a peek out the window. The Beaten Man's
still questioning Felix. The sound of the hose water is
being covered by the DIESELS.
Gordy crosses the room, extending the hose to the hole
he's made in the wall. He aims the stream at the hole.
Thumbs the end of the hose to make the water jet even
harder... And watches the jet begin eating away at the
old adobe and brick, just as it ate through the crumbling
plaster in the Spanish Harlem tenement.
219 EXT. PLANTATION 219
The Beaten Man finishes with Felix. Felix begins leading
the guerrillas toward the storeroom.
220 INT. STOREROOM 220
Gordy's made progress, but hasn't broken through yet.
And he won't, not in enough time. Under his breath --
GORDY
Come on, baby... come on, baby...
And just then...
221 EXT. PLANTATION 221
WHAM-WHAM-WHAM, one of the DIESELS Gordy repaired suffers
a spectacularly loud internal breakdown. The heat lights
dim in a row of sheds. Felix and the guerrillas stop to
see what's happening. At which point, the generator now
BURSTS into FLAMES.
222 BACK TO GORDY 222
He smiles.
GORDY
Just in time...
And we realize that he'd planned on the diversion, as...
The water jet breaks through. The hole's still small.
Gordy begins to widen it.
84.
223 EXT. PLANTATION 223
Felix, the Beaten Man and the other guerrillas resume
their march toward the storeroom.
They reach the storeroom. Water's pouring out under the
door. Felix unlocks the door and opens it to find...
224 INT. STOREROOM 224
Gordy's gone. The Beaten Man signals two men to go out
the hole. To the other man --
BEATEN MAN
(in Spanish)
Organize the others. Find him.
The man goes. Outside, we hear him SHOUT orders to the
guerrillas guarding the plantation. The Beaten Man turns
to Felix. Felix is terrified. In a pleading tone --
FELIX
(in Spanish)
He can't be far. You'll catch --
BANG! The Beaten Man SHOOTS Felix in the head. Then
exits. OFF Felix, dead, his blood mixing with the water
still streaming across the floor...
225 EXT. PLANTATION - MOMENTS LATER 225
The guerrillas report to the Beaten Man. They can't find
Gordy. To the men guarding the plantation --
BEATEN MAN
(in Spanish)
Keep looking.
He signals his men to come with him. They get into the
Suburban. Whereupon we FIND...
226 UNDER SUBURBAN 226
Gordy's hanging onto the chassis. With the large tires
and high ground-clearance, there's just enough room to
get his legs over the rear axle. He's just finishing
rigging up a rope he took from the store room -- the
rope's slung from one side of the chassis to the other,
to support Gordy's back. He hears the ENGINE START,
grabs the transfer case, and...
85.
227 SUBURBAN 227
ROARS off with Gordy suspended below.
The rear DRIVE SHAFT WHIRS madly, inches from Gordy's
face. And, with each bump in the road, even with heavy-
duty off-road shocks and springs, the undercarriage of
the Suburban comes within inches of crushing Gordy's
legs. ROCKS are PINGING everywhere. The dirt and the
dust are choking. Even for a short distance, it's going
to be a long, dangerous ride.
228 EXT. SUBURBAN (CAGUAN) - NIGHT 228
As the TRUCK BLASTS down back roads and through the
darkened town...
229 GORDY 229
continues to suffer underneath. Even with the rope
supporting him, he has to hold on with two hands.
A vicious jolt suddenly loosens a grenade. It starts to
slip free. Gordy can't stop it without letting go. The
grenade falls, and...
Gordy shoots out a hand and grabs it. Barely. The spoon
just hanging on the end of his fingertips. Gordy can't
use his other hand to get it. He needs the hand to hold
onto the car. The grenade begins to slip. He's going to
lose it. And just as it falls...
Gordy does the only thing left. He slips a finger
through the loops of the grenade pin. Just barely snags
the grenade before it drops to the road. And then...
Carefully, slowly -- praying that each bump doesn't jar
the grenade off the pin -- with his other arm shaking and
screaming in pain as he maintains a grip on the transfer
case -- Gordy eases the grenade back onto his stomach,
where he gets a better grip. Jams the grenade back.
Then grabs onto the undercarriage once more, in time to
relieve the muscle-tearing strain on his arm.
230 ABOVE GORDY'S WORLD 230
the Suburban passes the "Cine." The movie's over, just
letting out.
231 EXT. GUERRILLA HOUSE - NIGHT 231
The Suburban pulls up to the well-guarded house Gordy saw
the night before. The men get out and go inside, leaving
the SUBURBAN RUNNING, clearly planning to leave again
right away.
86.
232 GORDY 232
carefully lowers himself to the ground. Slides out on
the side away from the house. Hides behind a large
wheel. The brightly-lit house is surrounded by coconut
trees. Gordy watches the guards. When the guards aren't
looking, he runs to the nearest tree. The sounds of the
SUBURBAN'S ENGINE covers his footsteps.
233 TREES 233
Gordy moves from tree to tree when the guards aren't
looking, when he reaches one tree, and...
234 NEW ANGLE 234
THUNK! A coconut hits the ground next to him, and...
One of the guards comes to investigate.
The guard gets closer. Gordy inches around the tree. He
can't get away without being seen. He nudges the coconut
with his toe. Nudges it harder, causing it slowly to
roll away, and...
The guard picks it up. Never sees Gordy in the shadow of
the tree, pressed against the trunk. The guard shows the
coconut to a guard near the house, then walks back.
235 GORDY 235
sneaks to another tree. Then reaches the house. He
moves to a window. Peers into a room. No one's there.
But we hear the sound of VOICES. Gordy creeps along the
wall. Looks into another room, and...
236 INSIDE 236
is a group of ELC guerrillas, including the Beaten Man,
packing suitcases, etc. Leaving in a hurry.
237 GORDY 237
scans the faces. Except for the Beaten Man, no face is
familiar. A man with his BACK TO us stands, and there's
nothing familiar about him, either. When...
238 ANOTHER ANGLE 238
Directly in front of us, another man emerges from a room.
He's also in ELC guerrilla camo.
(CONTINUED)
87.
238 CONTINUED: 238
OFF Gordy, looking intently at the man.
239 FLASHBACK - SURVEILLANCE TAPE 239
The face of the cop outside the consulate.
240 MAN (PRESENT) 240
in the room. His face looms larger as he ADVANCES
TOWARDS us.
241 FLASHBACK - COP'S FACE 241
when he bumped into Gordy on E. 64th Street.
242 CLOSE ON MAN (PRESENT) 242
in the room. It's the same face.
243 BACK TO GORDY 243
He's found The Wolf, when...
Suddenly, a guard appears, and...
Gordy freezes. Eases into the shadows. His dirty face
and clothes blend in just enough. The guard moves past.
244 ANOTHER ANGLE 244
When the coast is clear, Gordy moves to the large propane
tank. He takes out the grenade. Puts the rubber bands
around it, spoon and all. Grips the grenade in his hand,
holding the spoon down, and yanks the pin. And then...
Slowly, slowly, Gordy begins releasing his grip, allowing
the rubber bands to take on the pressure of the spring-
loaded spoon. If they'll do it... if the spoon goes now,
Gordy's going up in the blast.
Gordy continues to relax his grip. The rubber bands
stretch. Stretch more. Keep stretching until they're
barely holding the spoon... but they're holding it.
Gordy quickly, carefully wires the grenade to the propane
tank. Then takes out the Zippo, pulls it apart and
removes the lighter fluid-soaked cotton. Holds the
cotton just above the grenade and squeezes with his
fingers. And...
(CONTINUED)
88.
244 CONTINUED: 244
Lighter fluid drops onto the rubber bands. Gordy
squeezes out as much as he can onto them.
Then Gordy gets the hell out of there. He finds cover.
Ducks down. And waits.
245 CLOSEUP - GRENADE 245
The lighter fluid is dissolving the rubber bands.
246 BACK TO SCENE 246
Gordy suddenly hears a woman's gentle SINGING. He looks
in the direction of the sound, and...
Gordy sees the attractive Woman and the boy approaching
on the road. She's singing a gentle song in Spanish.
Gordy's eyes flash with alarm. He glances at the house.
247 CLOSEUP - GRENADE 247
The lighter fluid continues dissolving the rubber bands,
which are now beginning to lose their elasticity and
stretch from the pressure of the spoon.
248 BACK TO SCENE 248
Gordy looks back at the Woman and boy, closer now,
walking toward the house.
249 FLASHBACK - NEW YORK 249
Anne and Matt wave to him across Madison Avenue.
250 BACK TO SCENE (PRESENT) 250
Gordy sees the Woman pull the boy close to her, lovingly.
251 FLASHBACK - NEW YORK 251
The BOMB EXPLODES, and Anne moves to protect Matt.
252 CLOSE ON GORDY (PRESENT) 252
He realizes the horror of what will happen. And...
(CONTINUED)
89.
252 CONTINUED: 252
WIDER
Gordy bursts from his hiding place.
GORDY
No! Stop! Alto!
The Woman and Boy look over in alarm, see Gordy running
toward them and yelling.
GORDY
Get back!
253 INSERT - GRENADE 253
The rubber bands are about to break.
254 BACK TO SCENE 254
The Woman sees Gordy. Screams toward the house --
WOMAN
Claudio!!
255 GUARDS 255
see Gordy running. They OPEN FIRE.
256 MEN 256
pile out of the house.
257 GUARDS 257
STOP FIRING. Gordy's too close to the Woman and Boy now.
258 GORDY 258
reaches the Woman and Boy now. Pulls them down. Covers
them protectively with his body, when...
259 NEW ANGLE 259
KA-BOOM! A gigantic EXPLOSION lights up the night and
utterly destroys the house.
90.
260 DEBRIS 260
rains down for what seems like forever. Dust fills the
air.
261 GORDY 261
opens his eyes. Gets to his hands and knees. Sees the
Woman and Boy are safe, when...
A vicious kick in the ribs lifts Gordy off the ground,
rolling him away from the Woman and child.
THE WOLF
You bastard!
The Wolf's alive and unhurt. Angrily punts Gordy again.
THE WOLF
You think you can kill The Wolf?!
A boot in the face this time.
THE WOLF
You think you can kill The Wolf?!
A piece of paper has fallen from one of Gordy's pockets
and fluttered to the ground nearby. The woman picks it
up, and we see...
It's the photo of Anne and Matt.
The woman stares at the photo a moment, as...
Gordy absorbs another blow. He tries to stand.
GORDY
You killed my wife and son --
Whack! The Wolf slams the butt of an AK-47 against
Gordy's skull. Gordy drops hard. The Wolf reverses the
AK. Points it at Gordy's head, about to pull the
trigger, when...
The Woman lays a hand on The Wolf's arm.
WOMAN
Claudio.
The Wolf doesn't take his eyes off Gordy. The Woman
squeezes his arm. Implores him --
WOMAN
Claudio.
(CONTINUED)
91.
261 CONTINUED: 261
The Wolf glances over. Meets her eyes a moment. Sees
the photo in her hand. Glances up into her eyes again.
They hold the look. A whole conversation exchanged
without words. Then The Wolf turns back to Gordy, lying
in a pile on the ground. Beat. To Gordy --
THE WOLF
You were just saved by your
guardian angel.
262 INT. UNDERGROUND BUNKER - DAY 262
Dark and dank. Excavated clay walls and floor. Heavy
door. A bare overhead bulb provides some light.
Gordy lies on a metal bed frame. One of his legs is
chained to the bed. He's in pain from being kicked --
but the physical aches are nothing compared to the
anguish he feels for having failed.
The door's unlocked and opens. Daylight streams in from
above as The Wolf enters with two guerrilla bodyguards.
He moves to the middle of the room. Looks at Gordy.
THE WOLF
One of the men in the jail with
you in Mompos is dying. He was
burned in your explosion.
Gordy just looks at him.
The Wolf signals a bodyguard, who crosses to Gordy and
frees his leg from the chain.
THE WOLF
You want to kill me? Come and
kill me.
The bodyguards are smiling. Gordy hesitates, then
springs for The Wolf, and...
The Wolf immediately fells him with a choppy-looking
karate combination. The Wolf's no Jet Li -- his style's
a throwback, even ugly, but it's well-practiced and
brutally effective. Even still, Gordy springs back right
away... and The Wolf drops him again.
THE WOLF
You Americans think you have all
the answers. And really, you're
so naive...
(CONTINUED)
92.
262 CONTINUED: 262
Gordy comes up swinging. Gordy's a barroom fighter. If
he can touch you, you're in trouble. He never gets
close. A vicious front kick folds him, and a fist drives
him to the floor. The Wolf stands over him.
THE WOLF
... You see one peasant with a
gun, and you never ask why he has
to have it. You just run to give
your billions to the nearest
soldiers, no matter how merciless
or corrupt they are.
The last kick really hurt Gordy. He's slow rising.
THE WOLF
That's why I'm teaching America a
lesson... that's why there'll be
more bombs... and more families
like yours will pay the price.
The Wolf wants to pique him, but this is pouring gasoline
onto fire. Gordy explodes off the ground. The
suddenness and fury of the rush catch The Wolf off guard.
Gordy drives him backward. Slams him against a wall.
Then hooks an arm around the back of The Wolf's neck and
drives the other fist like a piston into his abdomen.
All his weight behind the punches. Trying to break ribs
and crush them into The Wolf's heart, when...
A bodyguard slams the butt of an AK into Gordy's kidneys.
Gordy takes the blow standing. The guard delivers a
second, much harder shot, and Gordy drops to his knees in
agony. Beat. The Wolf recovers from the hammer-blows to
his midsection. And then...
He makes Gordy pay for the punches. Lands blow after
blow on Gordy's face. Beats the living shit out of
him... and leaves him unconscious on the dirt floor.
263 BLACK 263
we hear a gentle CLACKING sound. It's unidentifiable.
264 GORDY'S POV 264
The black becomes a BLUR. The BLUR becomes a hazy
glimpse of Selena. She's sitting on the metal bed frame
nursing Gordy's wounds. The CLACKING sound CONTINUES --
it's made by SEA SHELLS that dangle from a bracelet on
Selena's wrist. The shells knock together as she washes
Gordy's wounds.
(CONTINUED)
93.
264 CONTINUED: 264
SELENA
Are you alright?
265 INT. UNDERGROUND BUNKER - NIGHT 265
Gordy's still in a deep fog from the beating, barely
there at all.
GORDY
... Who are you?
SELENA
My name is Selena.
GORDY
... His wife?
SELENA
Yes.
Beat. The sea shells clack. Gordy loses consciousness
again, and everything goes...
266 BLACK 266
The CLACKING sound CONTINUES. And...
267 GORDY'S POV 267
This time, when Gordy opens his eyes, there's no
blurriness. It's a new day. He's better. Selena's
walking to him with a tray. The SHELL BRACELET CLACKS as
she approaches.
SELENA
I brought you food.
268 INT. UNDERGROUND BUNKER - DAY 268
Gordy slowly sits up. Beat.
GORDY
Why feed me? Why not just kill
me?
SELENA
Are you so anxious to die?
Gordy doesn't have an answer. Beat. He tastes the meal.
(CONTINUED)
94.
268 CONTINUED: 268
GORDY
... Thanks.
Selena watches him a moment, troubled by something.
SELENA
The men in jail with you in
Mompos... They say you talked to a
man from the C.I.A.
GORDY
I'm not one of them. I'm here for
my own reasons.
Selena watches him another moment. Decides he's telling
the truth. She reaches into a skirt pocket, then extends
her hand toward Gordy. He looks up. She's holding the
photo of Anne and Matt. Beat. Gordy takes the photo.
Looks at his wife and son. Selena sits next to him.
Another beat. Then, off the photo...
SELENA
Claudio used to be a teacher. I
was a medical aid worker. We met
in Guatemala, in an Indian village
called Guamaunco. We were married
there. Sophia, our daughter was
born there. Claudio was kind and
loving, and we were happy... We
were there four years when the
civil war broke out... The
guerrillas were all around us, but
left us alone... Then they made an
attack on the army nearby. The
next night, soldiers came to our
village. They were led by
American 'advisors'... They
accused us of helping the rebels.
Our women were raped. Our men
were tortured. Our homes were
burned... We crawled out into the
fields, but they threw grenades,
and Sophia...
Selena hesitates, choking back her emotions.
SELENA
... my baby girl was hit by
shrapnel... she bled to death in
Claudio's arms.
She looks into Gordy's eyes. The look says she
understands and shares Gordy's pain because she's
suffered her own painful loss. She looks away again.
(CONTINUED)
95.
268 CONTINUED: (2) 268
SELENA
Claudio joined the guerrillas.
When that war ended, we moved to
the next war, and the next... Each
fight has only deepened his
hatred. And poisoned his soul.
(beat)
He's unable to love anything
anymore...
GORDY
Why are you still here?
SELENA
Because I know he was a good man,
who's been consumed by rage
because of what he lost... Just
like you.
GORDY
I'm not like him.
SELENA
Not yet.
GORDY
He kills innocent people.
(then)
He's planning to kill more.
Beat. Selena suddenly stands, uncomfortable, not wanting
to discuss it. She goes to the door and knocks. OFF
Gordy, as the door opens, and Selena exits...
269 CLOSEUP - SATELLITE IMAGE 269
A laser pointer indicates the photo.
UPDEGRAF (O.S.)
This is a satellite shot of the
Caguan region last night.
The laser indicates an area of the photo.
UPDEGRAF (O.S.)
Here's Caguan town.
FOLLOW the laser TO:
269A SECOND IMAGE 269A
the same night shot with a bright spot in the town area.
(CONTINUED)
96.
269A CONTINUED: 269A
UPDEGRAF (O.S.)
At 2250, we get a large heat-and-
light anomaly consistent with an
explosion.
FOLLOW the laser TO:
269B THIRD SATELLITE IMAGE 269B
a high-resolution, infrared enlargement.
UPDEGRAF (O.S.)
This is the explosive area two
minutes later. We got a house
blown to shit and burning. We got
Colombians in cammies, a gringo
down, a woman and kid, and some
bodies. This guy --
The laser indicates The Wolf.
UPDEGRAF (O.S.)
-- is giving all the orders.
BRANDT (O.S.)
... I don't fucking believe it.
That lucky son-of-a-bitch found
The Wolf.
UPDEGRAF (O.S.)
... He's paying for it now.
FOLLOW the laser TO:
269C FOURTH SATELLITE IMAGE 269C
an infrared shot of people and vehicles near the burning
house.
UPDEGRAF (O.S.)
A little later, an E.L.C. convoy
arrives, and everyone loads up...
The convoy travels thirty-two
minutes upriver and stops here...
FOLLOW the laser TO:
269D FIFTH SATELLITE IMAGE 269D
an infrared night shot of parked vehicles, buildings,
people, etc.
(CONTINUED)
97.
269D CONTINUED: 269D
BRANDT (O.S.)
An E.L.C. compound...
UPDEGRAF (O.S.)
More like a small village. It's
mobile, and it's not just
guerrillas -- it's women and kids,
too. Here it is by day...
FOLLOW the laser TO:
269E SEVENTH SATELLITE IMAGE 269E
a day shot of the jungle village. The laser indicates:
UPDEGRAF (O.S.)
Houses, barracks, school for the
kids, cooking sheds, H.Q.,
latrines, gun pits...
BRANDT (O.S.)
They're not just hiding The Wolf.
UPDEGRAF (O.S.)
Here it is on the map...
PULL BACK to reveal:
270 INT. CIA HACIENDA - DAY 270
Updegraf highlights a map for Brandt, who thinks aloud --
BRANDT
It's well-sited... can't surprise
'em, so you gotta outgun 'em...
(beat)
So that's what we're gonna do.
UPDEGRAF
We're gonna hit it?
BRANDT
We're not just gonna hit it, we're
gonna wipe if off the globe.
Cats, rats, dogs and mice. If
it's moving, it's dead.
UPDEGRAF
Hitting the whole village could
make for a P.R. problem.
(CONTINUED)
98.
270 CONTINUED: 270
BRANDT
I don't care what the Puerto
Ricans say.
(then, off Updegraf's
look)
Which part of the word 'war' don't
you understand? Our mission down
here isn't just about catching The
Wolf.
UPDEGRAF
... What about Gordy Pitt?
BRANDT
He was told not to be here... The
first choppers'll hit it at 2200.
271 EXT. ELC JUNGLE VILLAGE - NIGHT 271
It's RAINING buckets. Most of the people inhabiting the
village have been driven under roofs or indoors.
Guerrillas drag Gordy roughly up out of the bunker into
the tropical DOWNPOUR. They march him out into the open.
Throw him to the ground. A man draws his pistol as Gordy
gets to his hands and knees. The GUERRILLA puts the
pistol to Gordy's forehead.
GUERRILLA
It's time, gringo.
Beat. He extends a bar of soap with his other hand.
GUERRILLA
Bath time... You stink, gringo.
The guerrillas laugh. Gordy throws the soap in the mud.
Gets to his feet. Points his face up into the soothing
rain... When he hears ARGUING and looks over to see...
272 WOLF AND SELENA 272
are inside a small house nearby, obviously fighting about
something. Selena emphasizes her argument by slapping
her hand. The Wolf storms off, and we hear a DOOR SLAM.
Selena is left alone, disconsolate, framed in the window.
She looks up and sees Gordy outside. Her eyes meet his.
OFF their look...
99.
273 EXT. CIA HACIENDA - FRONT PORCH - NIGHT 273
It's POURING here, too. In b.g., assault preparations
are underway in spite of the rain. Brandt checks his
watch. Then lights another butt from the one he just
smoked. Stares off into the distance, his thoughts
intense and far away. Updegraf emerges, crosses.
UPDEGRAF
The weather system's intensifying.
BRANDT
(distracted; beat)
What?
UPDEGRAF
The storm's gonna be real bad for
at least twelve hours. Here's the
data.
He hands a paper to Brandt. Cops a puff off Brandt's
cigarette while Brandt reads.
UPDEGRAF
Air ops says it's too heavy for
the Blackhawks. Also, Sat-Intel
is saying the clouds're too thick,
and we're blind.
BRANDT
(beat; pissed)
Got any good news?
UPDEGRAF
Yeah. The creeks are rivers
around Caguan. Unless The Wolf's
a fish, he's not moving... And
there's fresh coffee.
BRANDT
Only good thing down here... Put
everyone on red till tomorrow
night. And then, I don't care if
there's a typhoon, I want those
fucking rotors turning.
Beat. Updegraf goes. Brandt crumples the fax and
pitches it. Then sees he got fax ink on his hands. OFF
Brandt, holding his mitts out in the rain, trying to wash
off the stains...
274 INT. UNDERGROUND BUNKER - DAY 274
Selena brings Gordy food. She's extremely subdued.
Leaves the tray and starts back to the door.
(CONTINUED)
100.
274 CONTINUED: 274
Then stops. Turns back to Gordy.
SELENA
I tried to stop him.
She holds Gordy's eyes a moment. Her look is grim,
haunted.
SELENA
He's gone back.
GORDY
(beat; realizes)
The United States? Another bomb?
SELENA
Yes.
GORDY
Where?
She doesn't answer.
GORDY
Where?
SELENA
... Washington D.C.
GORDY
Where in Washington?
SELENA
... He had pictures of a
building...
GORDY
Which building?
SELENA
I don't know.
GORDY
We can't let it happen.
SELENA
It's too late. No one can stop
him now.
GORDY
We'd never make it.
SELENA
I got down here from New York...
(CONTINUED)
101.
274 CONTINUED: (2) 274
Beat. She just looks at him, weighing her chances.
GORDY
How many more kids have to die?
And for what?
SELENA
... I'm his wife...
GORDY
If you don't stop it, you're as
much to blame as he is.
Beat.
SELENA
I can't.
She moves to the door and knocks. The door opens.
Selena's gone. OFF Gordy, sagging...
275 INT. AIRPORT (QUITO, ECUADOR) - DAY 275
Passengers are lined up to board a flight to Mexico City.
FIND a man in line wearing a crisp business suit and tie.
The clothes, a haircut and horn-rims have made The Wolf
nearly unrecognizable.
276 EXT. SKY - NIGHT 276
The front's moved through. The night is clear.
277 EXT. ELC JUNGLE VILLAGE - NIGHT 277
Water drips from jungle leaves and the eaves of
buildings. We see the bustling life of the place, the
families, the women and children who live with and
support the well-organized and high-tech guerrilla
military. The village is simple but decidedly not
primitive. These people have generators, a satellite
dish and a school with a computer. At night, the school
is a TV room. Right now on the tube Daffy's getting his
beak blown off.
278 SOLDIER 278
pets his child and kisses his wife as he goes off to
guard duty.
102.
279 ELC OFFICER 279
talks on satellite phone inside camp headquarters.
280 MAURO 280
sits next to Selena on the porch of a house. He plays
with the shells of her bracelet as she stares off into
the night.
281 EXT. CIA FINCA - NIGHT 281
The Blackhawks, black and menacing, sit on an illuminated
tarmac as:
Heavily armed troops in black uniforms and assault vests
load up.
Door gunners check mini-guns.
Ground crews yank arming ribbons on rocket pods.
A co-pilot in a specially rigged helmet tests his forward
mini-gun: wherever he looks, the gun points.
Pilots finish checklists, and...
Chopper ENGINES start WHINING. ROTORS begin to TURN.
The noise mounts to an incredible ROAR.
282 ANGLE - L.O.H. 282
The small helicopter's rotors are also turning. Brandt
stands at the chopper door with Updegraf. Slams the
magazine on a Glock .45, making sure it's in solid, then
slides the pistol into his shoulder holster. He checks
his watch. Loud, to Updegraf --
BRANDT
It's time to make The Wolf howl.
He takes a last drag on his cigarette, passes the butt to
Updegraf to finish and gets in the rear of the L.O.H. as
Updegraf scoots clear.
283 L.O.H. 283
THROTTLES UP and SCREAMS away.
284 BLACKHAWKS 284
one by one in quick succession, lift off the deck and
follow the L.O.H. into the night sky.
103.
285 INT. UNDERGROUND BUNKER - NIGHT 285
Gordy's on the bed. The guard lets Selena in. She
crosses toward the food tray near Gordy... but she's not
there for the tray. Moves past it to Gordy's leg and, to
Gordy's surprise, begins unlocking the shackle.
SELENA
We're going with you.
When Gordy's free --
GORDY
How do we get out?
She hands Gordy a length of pipe secreted in her dress.
SELENA
The guard is the only one close.
When we're past him, we can slip
into the jungle. Mauro's waiting
for us there.
286 EXT. SKY - HELICOPTERS - NIGHT 286
The Blackhawks and L.O.H. fly map-of-the-earth, a few
feet over triple-canopy rain forest.
287 INT. L.O.H. - NIGHT 287
Brandt's in the rear seat wearing a headset. The L.O.H.
PILOT, wearing night-vision goggles, checks his GPS,
speaks to Brandt via headset --
L.O.H. PILOT
Lead chops are twenty seconds out.
288 INT. UNDERGROUND BUNKER - NIGHT 288
Selena whispers to Gordy at the door.
SELENA
He's on the right... No needless
killing.
Gordy moves to the right side of the door. Selena
knocks. The door swings inward to the left. Selena
exits with the tray. The guard reaches to close the
door, and Gordy brings the pipe down hard on his head,
knocking him out. Gordy retrieves the guard's AK-47.
104.
289 EXT. ELC JUNGLE VILLAGE - NIGHT 289
Gordy and Selena ascend the bunker steps. They stop at
the top and peer into the village. An armed guerrilla
approaches, unaware of their presence. Gordy fumbles
with the AK-47, looking for the safety switch on the
strange weapon. Selena reaches over and expertly flicks
it off. When...
They hear the sound of the CHOPPERS.
The guerrilla approaching them stops and looks up.
And...
290 ANOTHER ANGLE 290
WHOOM! The first wave of BLACKHAWKS FLASHES OVER the
village. Selena and Gordy barely have time to duck as
ROCKETS EXPLODE into ground targets, and front and door
MINI-GUNS SPIT BULLET-STREAMS that RIP THROUGH people and
STRUCTURES. And then the first wave's past.
291 GUERRILLAS 291
In the momentary lull after the first wave, guerrillas
run to pre-arranged fighting positions. Women and
children are screaming.
292 SELENA 292
pulls Gordy from the steps. They start to run. But not
far. Just seconds after the first wave of Blackhawks has
left, the second wave hits.
293 BLACKHAWK CO-PILOT'S POV (NIGHT-VISION) 293
The village and all its details are visible as different
shades of green.
We see rockets streak toward parked guerrilla vehicles.
We see rockets trail fire toward the TV in the school,
which is then obliterated in a FIERY EXPLOSION.
Wherever the co-pilot looks, the forward MINI-GUN aims
its hellish RAIN OF BULLETS. We TRACK WITH a running
guerrilla and see him chopped down, then SWIVEL TO a gun
pit and watch the men there eat lead.
294 GORDY 294
He sees the burning school. Watches the continuing
slaughter caused by the ROCKETS and MINI-GUNS.
105.
295 INT. L.O.H. 295
Circling over the action. Brandt listens to RADIO
CHATTER from the Blackhawks. The village is being
decimated. Brandt's dream come true.
296 GUERRILLA 296
He LAUNCHES a shoulder-fired SURFACE-TO-AIR-MISSILE (SAM)
at the L.O.H., just before a MINI-GUN GETS him.
297 INT. L.O.H. 297
The Pilot sees the SAM launch.
L.O.H. PILOT
SAM coming.
He hits a button, and...
298 EXT. L.O.H. 298
Two thermite parachute FLARES SHOOT from rocket tubes and
IGNITE. Immediately after, the L.O.H. banks. And...
The SAM ZIPS past the hot, bright flares.
299 EXT. ELC JUNGLE VILLAGE 299
The second wave's gone. Gordy and Selena start to run
again. Buildings burn. The SCREAMING's endless. Gordy
almost trips over the burned body of a child. And now...
300 THIRD WAVE 300
BLASTS in over the treetops. These are the Blackhawks
carrying the assault troops. They use a "skid 'n' git"
maneuver to insert the men, coming in hot, MINI-GUNS
BLAZING, barely touching down as the soldiers spill out,
then tipping forward to gain speed and quick peeling out
in a hard right turn.
Gordy and Selena hit the dirt again as the choppers come
in and land the troops, and the ground BATTLE ERUPTS.
The assault team's GROUND COMMANDER, an American Army
Captain, radios his men via comm-link --
GROUND COMMANDER
We're going for body count.
106.
301 GORDY AND SELENA 301
There's a break in the fighting nearest them. They jump
up and start running for the trees edging the compound.
302 SOLDIER ON GROUND'S POV (NIGHT-VISION) 302
Gordy and Selena sprout from the ground and run. The
SOLDIER OPENS FIRE.
303 BACK TO GORDY AND SELENA 303
BULLETS TWITCH the smoke around them. A SLUG PLUCKS the
AK from Gordy's hand. They're almost to the trees.
304 SOLDIER ON GROUND'S POV (NIGHT-VISION) 304
Gordy and Selena are in his sights. They'll never make
the trees. When...
The Soldier's head WHIPS AROUND TO FACE a guerrilla
FIRING at him. He KILLS the guerrilla. Then looks back
at Gordy and Selena, and...
They're gone. Into his comm-link --
SOLDIER (O.S.)
Two in the jungle.
GROUND COMMANDER (V.O.)
Hunt 'em.
305 EXT. JUNGLE 305
Sounds of GUNFIRE. EXPLOSIONS in the compound flicker
light through the dense foliage. Selena leads Gordy to
a bush and pulls back leaves, revealing Mauro, cowering
fearfully, clutching an old leather doll to his chest.
Selena takes Mauro's hand, grabs a small pack lying next
to him, then leads Gordy off through the jungle.
306 SOLDIER'S POV (NIGHT-VISION) 306
He SEARCHES the jungle. Up ahead, Selena, Mauro and
Gordy are visible for a split second when they run
through a gap between in the foliage. The Soldier moves
after them.
107.
307 EXT. RIVER 307
Selena, Mauro and Gordy reach the fast-flowing water.
SELENA
We have to swim.
Gordy spies two empty fuel cans nearby. He gets the
cans, throws them in. Then picks up Mauro.
GORDY
Go!
Selena jumps in. Gordy and Mauro follow. They swim for
the fuel cans. Gordy, with Mauro clinging to his neck
and still clutching the doll, gets an arm over one can.
Selena just manages to grab the other.
308 SOLDIER'S POV (NIGHT-VISION) 308
He REACHES the river. Sees Gordy, Mauro and Selena
bobbing downstream hanging onto the cans. OPENS FIRE.
309 EXT. RIVER 309
BULLETS WHIP the water around Gordy, Mauro and Selena.
They hide behind the cans. BULLETS PING OFF the METAL.
They're swept through some rocks, blocking them from the
Soldier, who FIRES anyway. BULLETS CHIP the STONE.
There's one more clear shot after the rocks. They're
almost around a bend. The Soldier aims. BANGS! And...
Selena's hit. Gasps. Gordy looks over, calls.
GORDY
You okay?
Selena endures the pain. Hides it behind iron eyes.
SELENA
Your hired soldiers can't shoot.
310 EXT. ELC JUNGLE VILLAGE 310
The village is a silent, smoking ruin. Everyone who
lived there is dead. Troops check the faces of the
bodies of the men against the freeze-frame of The Wolf
outside the Colombian consulate in New York.
The L.O.H. lands. Brandt's met by the Ground Commander.
(CONTINUED)
108.
310 CONTINUED: 310
GROUND COMMANDER
No sign of The Wolf. Two people,
possibly a third, got away.
They're in the river.
Brandt moves back to the L.O.H., gets in. A moment
later, the chopper's up and away.
311 EXT. RIVER 311
Gordy, Mauro and Selena are still floating, hanging onto
the cans, when they hear the sound of a HELICOPTER.
Gordy looks, sees the L.O.H. flying downstream ten feet
off the river.
GORDY
Under the water!
(to Mauro)
Uno, dos, tres...
He takes a big breath and holds it. Mauro understands
and does the same. They go under. So does Selena.
312 INT. L.O.H. 312
The Pilot scans the river with his night-vision goggles.
Brandt studies the night-vision monitor in front of him.
There's nothing but river.
They zoom by the two fuel cans, but see nothing.
313 EXT. RIVER 313
Gordy, Mauro and Selena surface, gasping for air.
314 INT. L.O.H. 314
The chopper rounds a bend in the river... And there are
the two armed guerrilla "customs" boats. The boats open
up, and the L.O.H. Pilot banks away.
315 EXT. RIVER 315
The L.O.H. sweeps back in on the customs boats. ROCKETS
LAUNCH from the pods. One customs BOAT goes up in a
massive EXPLOSION. The other boat scoots.
109.
316 INT. L.O.H. 316
The Pilot sees the second boat go.
L.O.H. PILOT
Not tonight.
He sweeps in again. Triggers more missiles. We watch
the second customs boat go the way of the first.
Brandt only cares about the primary target.
BRANDT
They couldn't have made it this
far. Go back upstream.
As the chopper banks...
317 EXT. RIVER 317
Gordy hears the L.O.H. again. The three of them duck
again, and...
WHOOM! The CHOPPER ZIPS by just overhead. And continues
on. A moment later, Gordy, Mauro and Selena re-surface.
OFF them, as the copper recedes upriver...
318 EXT. RIVER - DAWN 318
Gordy and Selena float side-by-side, still holding onto
the cans. Mauro's asleep on Gordy's back, his arms
around Gordy's neck. Weakened by her wound, Selena keeps
bobbing below the surface. Gordy pulls her up.
GORDY
Hang on. We just have to keep
floating a little bit more...
Suddenly, in the growing light, Gordy sees Selena's blood
in the water and realizes she's wounded.
GORDY
You were shot.
SELENA
... I'm okay.
GORDY
We gotta get you outta the river.
319 GORDY 319
kicks them all to shore.
(CONTINUED)
110.
319 CONTINUED: 319
He climbs out of the river carrying Mauro. As Gordy
ascends the bank, Mauro wakes up, terrified. Gordy
tries to soothe him.
GORDY
Esta bien. Esta bien.
But Mauro squirms free, and immediately, Mauro runs back
to his mother. Selena uses sign language to tell him
everything's okay. OFF Gordy's surprised look --
SELENA
He can't hear or speak.
Gordy just looks at them a moment. Then moves to Selena.
Re: Mauro, as Gordy examines her arm --
SELENA
He's a war orphan. I adopted him.
Beat. Gordy finishes checking the bullet wound.
GORDY
You're lucky.
He uses part of his shirt to make a pressure bandage. As
he ties it around Selena's arm, she looks around.
SELENA
I know where we are. There's a
secret trail nearby that leads
toward Mompos.
GORDY
Can you walk?
SELENA
It's just my arm.
Gordy admires this woman's bravery. Selena stands.
Mauro's clutching her skirt. Gordy looks at him.
GORDY
How do you say 'hello'?
Selena looks at Gordy a moment. She signs "hello" for
him, her seashells clacking as she does it.
Gordy taps Mauro to get his attention. Tries out the sign
for "hello." The boy just looks at him... then reaches
out and takes Gordy's hand, shows him the correct way to
do it. Gordy tries again. Mauro nods "yes" and smiles.
Gordy smiles back.
111.
320 EXT. JUNGLE - DAY 320
Selena, Mauro and Gordy follow the secret trail, which
ends below a large waterfall. Gordy wonders what they do
now, when Selena keeps walking, suddenly disappears behind
the ROARING CASCADE. Beat. Gordy follows.
321 BEHIND WATERFALL 321
The trail continues, curtained by the falls. Gordy joins
Selena and Mauro. Mauro's excited by the experience of
being inside the waterfall. Gordy holds him, lets him
touch the sheet of water flowing past.
They walk to the other side of the waterfall. Gordy
follows Selena and Mauro through.
322 EXT. JUNGLE 322
Gordy emerges from the waterfall, and...
He's surrounded by Colombian soldiers with guns. More
soldiers point guns at Selena and Mauro. Gordy raises
his arms.
GORDY
Yo soy Americano... Gordy Pitt...
Gordy Pitt...
323 INT./EXT. TAXI (WASHINGTON D.C.) - DAY 323
Claudio, The Wolf, rides into the capital from Dulles.
324 EXT. JUNGLE CLEARING - DAY 324
A Blackhawk lands in the clearing. The Colombian
soldiers escort Gordy, Selena and Mauro to the chopper.
The chopper door opens. Brandt's inside.
325 INT. BLACKHAWK - MOMENTS LATER 325
Everyone's aboard and buckled in. Everyone's tired. The
chopper lifts off. Selena's glaring at Brandt, who
pushes a headset at her, shouts over the ENGINE WHINE --
BRANDT
F.B.I.'s on the radio. Tell 'em
everything you know.
Gordy's her protector, intervenes. Grabs Brandt's arm.
(CONTINUED)
112.
325 CONTINUED: 325
GORDY
They both get asylum. And she
needs a medic.
BRANDT
On the plane.
GORDY
What about the asylum?
BRANDT
(beat)
They'll get it. But she's in my
custody till we're done with her.
Beat. Gordy hates going along with Brandt, but has no
choice, nods to Selena. She takes the headset. As she
puts it on, Brandt sees her pack. Takes it and opens it.
He inspects it, then hands it back. Gordy glares at him.
Brandt meets his eyes. A long beat. Then --
GORDY
He wasn't even there.
Brandt doesn't reply. Just holds the look a moment
longer. Then looks out the window and ignores Gordy.
326 INT. UNION STATION (WASHINGTON, D.C.) - DAY (AFTERNOON) 326
The daily tide of humanity flows through the railway
terminal. We see people in business suits, tourists,
families, a group of kids on a field trip. And standing
in the middle of it all, we FIND...
CLAUDIO
Now in casual clothes. He's looking over the beautiful
and busy station. Contemplating the devastation and
death that a bomb planted here would wreak.
327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327
A Lear stops by a convoy of black government Suburbans
parked on the tarmac. FBI agents Joe Phipps and Reggie
Dray are among those waiting by the cars. The Lear's
door pops, and Gordy, carrying a sleeping Mauro, emerges
with Selena. Brandt and a medic follow.
328 INT. GOVERNMENT SUBURBAN - MOMENTS LATER 328
Driving.
(CONTINUED)
113.
328 CONTINUED: 328
Mauro, still sleeping, is buckled up in the far back
seat between Gordy and Selena. Phipps, Dray and Brandt
crowd the second row. Phipps extends photos to Selena.
PHIPPS
These buildings best match what
you described to us.
Selena leafs through the photos of various Washington
monuments, government buildings, etc. She reaches the
last photo.
SELENA
I don't recognize anything... I
saw only parts of the building...
I'm sorry.
Phipps wants to keep her positive and willing.
PHIPPS
That's okay. We'll keep trying.
SELENA
I think it's a public place. He
said he wanted the people of
America to feel the terror.
'Terror is all they understand.'
He said it over and over...
PHIPPS
(to Dray)
Double up on public venues:
museums, theaters, transport...
Put in all the extra undercover we
can.
Selena looks over at her son sleeping in Gordy's arms.
She lovingly brushes the hair off his forehead, rattling
her seashells. The leather doll is about to fall from
Mauro's fingers. Selena takes the doll and puts it into
her bag. Then looks out at the passing scenery. OFF
Selena, in the land of her husband's enemy --
329 EXT. GEORGETOWN STREET - DAY 329
The convoy slows outside the Latin American Institute.
An attached garage opens.
330 INT. GOVERNMENT SUBURBAN 330
As the Suburban turns into the garage --
(CONTINUED)
114.
330 CONTINUED: 330
GORDY
Where're we going?
BRANDT
Inter-agency headquarters for our
efforts in Latin America.
PHIPPS
It's secure, and we can coordinate
all departments here.
OFF which, as they're swallowed up by the dark garage --
331 INT. LATIN AMERICAN INSTITUTE - VARIOUS SHOTS - DAY 331
Brandt, Phipps, Dray, Selena and Gordy -- along with the
rest of the entourage -- walk through the interagency
nerve center. Gordy carries Mauro, still asleep.
They stop at the door to a large conference room.
Selena's ushered in. Gordy starts to follow. Phipps
stops him.
PHIPPS
My people will debrief you in
another room... We'll take the boy
to a safe house across the
street... He'll be well cared for.
Gordy exchanges a look with Selena. Beat. She nods her
reluctant approval. Gordy hands the boy to an agent.
332 INT./EXT. LOCKUP GARAGE - DAY 332
Claudio opens the door of a cheap rental garage in an old
commercial strip. He steps inside. There's a rental van
and a big Ducati motorbike against a wall. Claudio
straps a black bag onto the bike, then rolls it out and
shuts the garage. Pulls on helmet and STARTS the BIKE.
As Claudio speeds into traffic --
333 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM - 333
DAY
Selena is seated at a table covered with photographs,
Washington, D.C. coffee table books, guide books, etc.
Brandt, Phipps, et al stand around her. Phipps flips
through the pages of a large coffee table book for Selena
to see.
(CONTINUED)
115.
333 CONTINUED: 333
SELENA
No... No... No...
That book's done.
SELENA
I'm sorry.
PHIPPS
That's okay.
He grabs another. Opens it to the first photo.
SELENA
No...
334 INT. LATIN AMERICAN INSTITUTE - "THE WOLF" ROOM - DAY 334
A small conference room devoted to everything having to
do with the interagency interest in The Wolf. Photos of
evidence, time lines, charts, etc. cover the walls.
Gordy's tired, being debriefed by two FBI AGENTS.
FBI AGENT #1
... Did Claudio leave with anyone
else?
GORDY
I was underground. I couldn't see
anything.
FBI AGENT #1
Did you hear anything about his
contacts in the United States?
GORDY
No.
335 INT./EXT. WASHINGTON LOCATIONS - MONTAGE - DAY 335
Security tightens all over the city. Among the images we
see:
A forklift places huge planters -- really decorative
barricades -- to re-route traffic near vital buildings.
336 UNDERCOVER PEOPLE 336
with earpieces patrol public structures. Some lead dogs
that sniff for explosives.
116.
336A EXT. WASHINGTON, D.C. - STREETS - DAY 336A
Claudio weaves the Ducati through heavy traffic.
337 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 337
- DAY
Phipps flips to the last photo in the book.
SELENA
... No...
He reaches for another book. As he does, he topples a
stack. Selena's eyes fix on one book cover.
SELENA
He had that book! Let me see it!
Phipps hands it to her. It's a guidebook to Washington.
Selena flips through it. Stops at a photo.
338 CLOSE ON PHOTO 338
It's of the redesigned lobby of Union Station.
339 BACK TO SCENE 339
Selena glances up.
SELENA
That's it!
BRANDT
Union Station.
PHIPPS
(to Dray)
Put it under total surveillance.
Get a bomb team in there with
dogs. Make 'em seeing-eye dogs if
you have to. And pull whatever
security video they have for the
last two days.
DRAY
Why not just shut it down?
PHIPPS
If we spook him, we don't know
what his secondary target'll be.
Dray gets on the horn. Beat. To Brandt and Phipps --
SELENA
Please don't kill him.
117.
340 EXT. UNION STATION - DAY 340
A man sits on a bench. He's wearing sunglasses and a
baseball cap. He puts a shoulder bag on the bench, takes
something out, then gets up and walks away, when...
Suddenly, two tourists and a hot dog vendor are right on
him. One of 'em jams a concealed gun jammed into his
ribs, while the other two hustle him forcefully to a van.
He's shoved inside. His bag's tossed in. The van drives
away.
341 INT. VAN 341
Agents press the man hard to the floorboards. His bag's
tossed. It's empty. The guy's clean. It's not Claudio.
OFF the agents, holding an innocent man...
342 OMITTED 342
343 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 343
- DAY
Selena watches as Phipps plays a surveillance video of
Union Station. Phipps suddenly freezes the image. Zooms
in on a man in the middle of the crowd. Claudio.
PHIPPS
That's him, isn't it?
SELENA
(hesitates, then)
Yes.
PHIPPS
He was there yesterday. Just
stood there and left... So far,
the dogs haven't found anything,
so maybe we're ahead of him.
BRANDT
What's he waiting for?
SELENA
He takes his time. Like he told
you, he enjoys it.
Beat. Selena's overwhelmed by the experience of seeing
her husband on the tape, by her betrayal of him. She
grows queasy. Leans on the table for support.
PHIPPS
Are you okay?
(CONTINUED)
118.
343 CONTINUED: 343
SELENA
I'm sorry... I think I'm going to
be sick.
Brandt opens a door to a bathroom.
BRANDT
In here.
Selena grabs her pack and rushes in. When the door's
closed, Phipps turns to Dray, indicates monitor.
PHIPPS
Get copies of this freeze frame to
all the undercover people and the
sniper teams.
DRAY
You got it.
PHIPPS
And nobody caps him until we get
that bomb tagged. After that, I
don't give a shit what happens to
him.
Dray goes. There's a long beat. Brandt looks at the
freeze frame.
BRANDT
He always hid his face. Why's he
giving us a clear picture now?
Beat. The bathroom TOILET FLUSHES. Selena emerges.
PHIPPS
Feeling better?
SELENA
I think I'd feel better if I could
rest a little and see my son.
Phipps nods to Brandt, who turns to two of his agents,
one a female.
BRANDT
Escort her.
344 INT. LATIN AMERICAN INSTITUTE - "THE WOLF" ROOM - DAY 344
Gordy's on his feet, looking at The Wolf evidence, etc.,
on the walls. He can't keep his eyes off it. It's
reminiscent of what he constructed on his wall at home.
The second Agent's not in the room.
(CONTINUED)
119.
344 CONTINUED: 344
FBI AGENT #1
... Let's go through it again, Mr.
Pitt.
GORDY
I've told you all I know.
FBI AGENT #1
We gotta be sure.
Gordy's eyes go to numbered evidence photo. It's a
picture of a seashell. He points to it.
GORDY
What's that?
FBI AGENT #1
What's the number on it?
GORDY
Eleven.
The Agent refers to an index sheet as the Second Agent
returns. He's holding a document. To Gordy --
FBI AGENT #2
Mr. Pitt, you said Selena told you
she had a daughter.
GORDY
She was killed in Guatemala.
FBI AGENT #2
According to tests on the blood
we drew on the plane, Selena's
Rhesus F-six. She's genetically
barren. She couldn't possibly
have had kids.
Gordy doesn't understand. Why would she have lied?
The first Agent finds what he's looking for in the index.
FBI AGENT #1
Number eleven, small seashell with
a hole in it... That was found in
the getaway car used in the
bombing in New York.
OFF Gordy's face...
345 FLASHBACK - SELENA'S SEASHELL BRACELET 345
There's a gap where one of the shells is missing.
120.
346 BACK TO SCENE (PRESENT) 346
GORDY
Shit...
347 INT. LATIN AMERICAN INSTITUTE - VARIOUS SHOTS 347
Gordy blasts through the building. As he runs...
348 FLASHBACK - ELC JUNGLE VILLAGE 348
Selena expertly flicks the safety off on the AK-47.
349 FLASHBACK - FBI INCIDENT CENTER 349
Phipps addresses Gordy.
PHIPPS
We think the bomb was triggered by
a cell phone.
JUMP CUT:
350 CONTINUE FLASHBACK 350
PHIPPS
Did you see a cell phone when you
ran into him?
GORDY
No.
351 FLASHBACK - ELC JUNGLE VILLAGE 351
Selena and Claudio argue inside the house. Selena slaps
the back of one hand into the palm of the other.
352 FLASHBACK - THE WOLF'S VIDEO TAPE 352
The Wolf does the same hand slap.
353 EXT. LATIN AMERICAN INSTITUTE - DAY 353
Selena emerges with the two CIA agents.
354 ANGLE - DOWN BLOCK 354
Claudio sits on his parked motorcycle. He sees Selena
emerge. Drops his helmet visor and STARTS the BIKE.
121.
355 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 355
- DAY
Gordy bursts in, sees Selena's not there.
GORDY
Where's Selena?!
PHIPPS
She went to see her son.
GORDY
She's lying! She's The Wolf!
Gordy runs out. Phipps and others follow. OFF Brandt...
356 INT. BATHROOM 356
Brandt bursts in. He searches. Finds Mauro's leather
doll behind the toilet. The head's detached. Brandt
looks inside, and...
We see a block of reddish Semtex plastic explosive and a
chemical fuse.
BRANDT
Everybody out! Clear this floor!
Now!
357 INT. STAIRWELL 357
Gordy jumps downstairs, four steps at a time.
358 INT. CORRIDORS 358
Institute personnel evacuate offices.
359 EXT. LATIN AMERICAN INSTITUTE - STREET - VARIOUS ANGLES 359
Selena and the agents cross the street toward the safe
house.
Claudio GUNS the BIKE toward them.
Selena hears the BIKE. Sees Claudio coming. Uses the
front edge of her hand to strike the female agent hard in
the throat. The agent falls to her knees trying to suck
air through a crushed windpipe. Selena whip-kicks the
other agent to the ground.
Claudio brakes hard next to Selena, who takes the female
agent's pistol and spare magazines as...
122.
360 GORDY 360
bursts outside, followed by Phipps et al.
Claudio OPENS FIRE with a MACHINE PISTOL, hitting two
agents and scattering Gordy, Phipps and the rest. Selena
SHOOTS the two escort people dead, then BLASTS away at
the other people pouring out of the institute as she
straddles the Ducati behind Claudio, and the powerful
BIKE SCREAMS off down the street.
Gordy jumps to his feet and runs after them.
361 EXT. BUILDING'S TOP FLOOR 361
BOOM! A MASSIVE EXPLOSION spits flame out of the windows
of the building's top floor.
362 PEOPLE 362
dive for cover. Debris showers the street.
363 GORDY 363
keeps moving.
364 STREET IN FRONT OF INSTITUTE 364
runs one way in the direction the Ducati's headed. Far
down the block, the bike turns right onto another one-way
street.
365 GORDY 365
spots an alley on his right and turns into it.
366 EXT. ALLEY 366
Gordy's now moving parallel to Claudio and Selena,
sprinting hard toward another one-way street, which
crosses the alley ahead. He doesn't know if he'll
intercept the bike, but it's his only shot.
367 EXT. STREET 367
Claudio GUNS the BIKE down the second street, parallel to
Gordy's alley. He and Selena reach an intersection with
the one-way street. A right turn will complete the "U"
and take them back toward Gordy. Straight ahead, the
street they're on is one-way in the opposite direction.
Claudio hangs right and cranks on the speed.
123.
368 EXT. ALLEY 368
Gordy's almost to the next street. He can hear the WHINE
of the DUCATI growing closer. When...
A truck stops ahead of him and blocks the alley.
Gordy veers into a walkway between buildings.
369 EXT. STREET 369
A parked car suddenly pulls out in front of the speeding
Ducati. Claudio can't swerve around it. SLAMS ON the
BRAKES. The car's driver, frightened and flustered by
the near collision, is slow moving out of the way.
370 EXT. TOWN HOUSE - BACK YARD 370
Gordy bursts through a gate. Sees back steps leading to
the open door of a second-story over a garage and charges
the steps.
371 EXT. STREET 371
The driver of the car finally backs up. Claudio aims the
DUCATI through a narrow gap and ZOOMS on.
372 INT. TOWN HOUSE GARAGE 372
Gordy blows into the second story of the garage, a
converted old-time carriage barn. He's in the old
hayloft. On the opposite side of the loft, a double
door built for loading in hay is open above the street.
Gordy sprints for the opening, and...
373 EXT. STREET 373
The Ducati tears around traffic, when...
Gordy leaps out of the hayloft, launches himself off a
parked car as the DUCATI SCREAMS past, and...
He just manages to grab Selena and yank her off the bike.
Selena's arms are wrapped around Claudio -- when Gordy
rips her out of the saddle, Claudio goes, too. The three
of them tumble to the ground as the speeding Ducati
spins, flips and disintegrates.
124.
374 CLAUDIO 374
in leathers and a helmet. He takes the fall better than
Selena. Gets to his feet. Looks for the guns they
dropped. Before Claudio can get to a gun, Gordy's on
him. They grapple. Gordy pounds Claudio hard. Once.
Twice. When...
375 SELENA 375
side-kicks Gordy. He sags. She front-kicks a heel into
his spine and between his shoulder blades. Gordy lets go
of Claudio and drops. Selena's relentless, kicks Gordy
repeatedly as...
376 CLAUDIO 376
gets the pistol. Turns. Aims the gun two-handed at
Gordy's head, and BANG!
377 DRAY 377
SHOOTS Claudio dead from the mouth of the alleyway down
the block. The first SHOT CRACKS the back of Claudio's
helmet. The second SHOT punches through and exits his
visor in a bright red mist of blood.
378 SELENA 378
bolts.
379 GORDY 379
goes after her.
380 DRAY 380
EMPTIES a CLIP at Selena, but he doesn't have a clear
shot and misses.
381 SELENA 381
sees a walkway between houses and turns in.
382 SAME SCENE - BEAT LATER 382
Gordy turns in behind her.
125.
383 EXT. WALKWAY 383
Selena has ten yards on Gordy, but he's closing. She
knows she can't outrun him in a straight line. Jukes
through a gate into...
384 EXT. ANOTHER TOWN HOUSE - BACK YARD 384
A shovel lies in the grass. Selena scoops it up and in
one motion, spins back toward the gate, launches it
blade-first with all her strength, timing it perfectly,
as Gordy runs through the gate, and...
385 GORDY 385
just barely evades the sharp shovel edge headed for his
face. It doesn't hurt him, but it stops him, and Selena
breaks toward an open door of the house.
386 INT. TOWN HOUSE - VARIOUS SHOTS 386
Selena blasts into the bottom floor, runs through a
playroom. Gordy's right behind her.
387 SELENA 387
mounts a stairwell. A girl's descending. Selena grabs a
pigtail and flings her down the stairs, and...
388 GORDY 388
gets there just in time to keep the screaming girl from
falling all the way to the bottom. He sits the uninjured
girl down and continues on.
389 SELENA 389
runs toward the living room, which is undergoing a
renovation. Without stopping, she tears through the
plastic covering the doorway to seal in dust from the
rest of the house. She topples what she can into
Gordy's way. Throws nails down behind her. Grabs a
circular saw and hurls it back at Gordy, just missing him
and shattering a large wall mirror.
Selena's a soldier, taught to pick up and use whatever
weapons she finds as she moves through a battlefield --
this battlefield gives her a crowbar, which she keeps as
she runs out through plastic covering the other doorway.
126.
390 ARCHWAY 390
leads into the dining room. Selena runs in. Gordy's
right on her heels. Selena pulls down dining room chairs
in front of Gordy. He vaults one but trips over the
second and falls.
391 SELENA 391
blows through a swinging door into the kitchen, slamming
into a Hispanic maid, who's coming to investigate all
the noise. Both women tumble. Selena gets right back
on her feet. She breaks out a window with the crowbar
and exits onto a fire escape as Gordy blasts in from the
dining room.
392 OMITTED 392
thru thru
394 394
395 EXT. TOWN HOUSE - FIRE ESCAPE 395
The window Selena slipped through easily is small for
Gordy. He gets hung up on the glass, losing precious
seconds. Selena's already halfway up when Gordy hits the
fire escape steps.
The fire escape ends at a top floor window. Selena
BREAKS out the GLASS with the crowbar and goes in.
396 INT. TOWN HOUSE - VARIOUS SHOTS 396
Selena's in a teenager's bedroom. The teenager's got
headphones on, oblivious to everything. Selena darts
through a bathroom into a second bedroom.
396A GORDY 396A
enters the first bedroom behind her.
397 WOMAN 397
IN GARDENING CLOTHES and holding a digging tool stands on
a stairwell landing, alarmed and confused by the chaos
she hears in her house. She had started down the stairs
but now has turned back at the sound of the WINDOW
BREAKING on the top floor. Calls.
WOMAN IN GARDENING CLOTHES
What's going on?
127.
398 SELENA 398
runs into the hallway at the top of the stairs, above the
woman.
WOMAN IN GARDENING CLOTHES
Who are you? What are you doing
in here?
399 SELENA 399
sees an open rooftop door at the top of a flight of
stairs and charges upward without answering.
400 GORDY'S 400
in the hallway a second later. Meets the Woman In
Gardening Clothes, who's now come up the stairs. She
screams. Swipes at him with the digging tool, making
three deep scratches in his face. Gordy doesn't stop.
401 OMITTED 401
402 EXT. TOWN HOUSE - ROOF/ADJOINING ROOFTOPS 402
This is where the woman was gardening, tending a rooftop
flower bed. Selena emerges, crushes plants as she runs
to the next town house roof.
Gordy hits the roof behind her.
403 SELENA 403
As Selena runs from rooftop to rooftop along the row of
town houses, we see her warrior determination and
discipline. She's thinking ahead and she never
hesitates. Her big problem is she's being pursued by an equally
well-trained and determined firefighter. And
he's not far back. One tumble, and he'll catch her.
Selena strains harder.
404 SELENA 404
vaults a gap. Moments later, Gordy vaults it.
405 SELENA 405
finally runs out of roof. She looks down. A fire escape
ladder leads down to an interior, ground-level courtyard
of a small foreign embassy. Still holding the crowbar,
Selena takes the ladder down.
128.
405A MOMENTS LATER 405A
Gordy reaches the ladder. Selena's ahead of him by a
floor, hurrying down two rungs at a time. Gordy doesn't
fuck with the rungs. Just swings over the edge of the
roof, grabs the side-rails lightly with his hands,
squeezes the rails with the insides of his boots and lets
gravity take over.
406 EXT. EMBASSY - COURTYARD 406
The fire escape leads down to a second-story balcony
running around the inside wall of the courtyard. Twin
staircases lead from the balcony to ground level, where,
across the slate-paved car court, a wrought-iron gate
opens onto the street.
Gordy hits the balcony a half-second after Selena. He
grabs her. Selena swings the crowbar to break his arm.
Gordy has to let go. Selena heads for the stairs leading
to the ground.
407 GORDY'S 407
got one chance to intercept Selena. The balcony's too
high for him to jump, but the courtyard's ringed with
trees -- they're not close, but they're not far, either.
Not for a man craving revenge for the deaths of his wife
and son, a man who also slides down fire poles for a
living.
Gordy runs down the balcony. Gains speed. Jumps.
Launches off the balcony railing. And hurtles himself at
the trunk of a medium-sized tree. He hits the trunk.
Hangs on. And slides to the ground. And now...
408 ANOTHER ANGLE 408
He's between Selena and the only way out. And there's no
way she's getting past him.
But that's not what Selena's thinking. She attacks with
the crowbar, and Gordy can only retreat in the face of
the vicious onslaught. He finds a nearby garbage can.
It's full, heavy, but he manages to lift it, spilling
garbage as he uses the can to block the blows from the
crowbar. The CROWBAR THWOCKS into the can over and over,
the sound ECHOING LOUDLY in the small courtyard.
Selena swings again, and Gordy moves to block the hit.
It's a feint. She swings under the can and hits a leg.
It hurts like hell, he stumbles, but he stays on his
feet, still holding the can. Selena goes for his head.
(CONTINUED)
129.
408 CONTINUED: 408
Gordy raises the can. Thwock! Thwock! The can's all
dents. There's garbage everywhere. She feints high and
then swings low again, a wicked blow to the knee. Gordy
stumbles badly this time. Selena breaks for the gate.
Gordy sees her and, with all his might slings the can
across the slate pavers, and...
The can takes Selena's legs out from under her. She
falls hard. Gets back to her feet quickly and starts to
run, when...
Gordy hits her like a linebacker. Slams Selena against a
brick wall. Gets behind her and slips a mighty arm
around her thin neck. Selena squirms hard, kicks
backward, going for the balls, kneecaps, insteps, doing
whatever she can to hurt Gordy and get free. But she's
not in a position to do a lot of damage -- and she'd have
to kill him before he'd let go.
Gordy's got his arm locked in a police chokehold around
Selena's neck. Uses his weight to force the smaller
woman down onto her knees. Presses her harder, till
she's sitting back on her legs. Selena can't drop out of
the hold, and her legs are immobilized. All she can do
is scratch. But Gordy's oblivious. They're alone in the
courtyard. Body to body. Head to head. He's pumped
with fury and hatred. He tightens the chokehold. Hisses
in her ear --
GORDY
You killed them.
SELENA
(beat; with
contempt)
One woman, one boy -- they mean
nothing next to the thousands
who've been slain.
Gordy hears it. It only drives him to a deeper fury.
GORDY
They were my family.
Gordy's blind with rage. Chokes her neck hard.
Summoning all the power in him, first to shut off her air
and blood, and then to continue squeezing, relishing her
every dying moment, until he's snuffed out the life of
the person who took Anne and Matt from him. And...
(CONTINUED)
130.
408 CONTINUED: (2) 408
He can't... it's all he's wanted since he saw Anne and
Matt die, but now he can't do it. He's a firefighter.
He saves lives. If he kills Selena, Gordy crosses into
her world, into Brandt's world, into the brutal nightmare
destroying Colombia and all the places like it, and becomes
part of that sadness and death... And...
Gordy relaxes the chokehold enough so she can breathe.
Selena gasps for air. The impulse to murder has left
Gordy. There's a new resolve...
GORDY
The killing ends here.
Beat. Selena pants.
SELENA
It will never end.
409 NEW ANGLE 409
Under which an EMBASSY SECURITY GUARD emerges from the
building. He sees Gordy and Selena -- a large man
holding a smaller woman in a chokehold. Draws his gun.
EMBASSY SECURITY GUARD
Let her go!
Gordy looks up at the nervous guard pointing his gun.
Selena screams.
SELENA
Please help me!
EMBASSY SECURITY GUARD
Let her go!
GORDY
No. You don't understand.
SELENA
He's trying to kill me!
EMBASSY SECURITY GUARD
Let her go, or you're dead!
He's going to shoot. Gordy has no choice. As he lets
Selena go and stands --
GORDY
Hold us both till the police get
here.
131.
410 ANOTHER ANGLE 410
It's too late. Selena stomps a heel into the Guard's
knee, crushing it, then twists the gun from his hands.
She points it at him and pulls the trigger, and...
In his agitation, the guard never took the safety off.
Selena glances quickly at the gun to find the safety.
411 ANOTHER ANGLE 41
In the same moment, Gordy grabs the crowbar from the
ground.
412 SELENA 412
flicks off the safety and points the gun again.
413 GORDY 413
hurls the crowbar with all his might, and...
414 NEW ANGLE 414
The GUN FIRES, just as the crowbar hits Selena, spoiling
her aim. The bullet creases the guard's arm. Selena
recovers. And the next BULLET...
415 ANOTHER ANGLE 415
Isn't hers. It's from Phipps' GUN. It takes Selena in
the middle of the back and explodes her heart on its way
through her body. She's dead on her feet. Her body
crumples to the ground and empties its blood in a large
pool that quickly spreads over the slate.
416 OTHER AGENTS 416
move in to help the guard as Phipps holsters his pistol.
He walks to Gordy. The two men share a long, silent
look. It's over. Gordy looks again at Selena's body in
its pool of blood. Then turns and goes.
417 BRANDT'S 417
entering the courtyard as Gordy walks out. Brandt's seen
Selena. He's smiling.
(CONTINUED)
132.
417 CONTINUED: 417
BRANDT
We got the bitch.
Gordy hits him. One of the jackhammer blows he slammed
into Claudio in the bunker. A hard fist deep in the gut
that drives all the wind from Brandt and drops him to his
knees. Beat. Gordy's voice is cold and hard --
GORDY
You're no better than she is.
And Gordy goes.
418 INT. FIREHOUSE - KITCHEN - DAY 418
Gordy cranks away on the repaired ice cream maker. He's
wearing civvies. He stops cranking, spoons out a huge
dollop into a bowl.
419 INT. FIREHOUSE - TRUCK BAY 419
Gordy hands the bowl to Mauro, who's playing in the front
seat of the pumper. Mauro tastes it. Thumbs up. Gordy
smiles.
Mike and the other men on Gordy's old shift are watching.
To Gordy --
MIKE
It'll be good to get you back.
Gordy turns to them. Looks into the faces of these men,
the people closest to him in the world. Beat. Then --
GORDY
It's good to be home.
Gordy's still in pain, still missing the wife and son
he'll never see again. But Gordy's gonna be alright.
Mauro's gonna be with him. There'll be fires to put out
and lives to save and basketball games and the multitude
of miseries and joys the firefighters in Spanish Harlem
see each and every day.
As we PULL BACK, OUT and AWAY from the old brick edifice
from which the big red truck will come, bringing help...
FADE OUT.
THE END
|
| Collateral Damage
Writers : Ronald Roose
Genres : Action Thriller
User Comments
|
|
