Assassins

CLERK

Damn!

She plops the bow on the counter, then notices a wad of$100 bills sticking out from her textbook.

CLERK

(softly)

Damn...

She pulls them along with a note written on the back of a store business card. She reads it.

INSERT CARD: Your daughter is wrong.

She steps to the window, looks out. Rath's lonely figure exits to the street outside.

INT. HOTEL ROOM – NIGHT

Outside it is raining. Rath is at the window looking at a faded photo of his net target, Alan Branch. On the street below a fire truck and an ambulance race along – SIRENS BLARING. Rath crosses to his bed. He reviews photos, scribbles notes as he scans articles, one head-line: "Billionaire Recluse Linked to Financing of Central American Death Squads". A photo of a brother. An obituary mentions "car accident."

Rath sketches a diagram on a legal pad.

Satisfied with what he's got, he calls up a box on his computer screen and dials an Internet number. A beat and he enters the access code.

Rath picks up the photos of Branch. Studies the eyes – circled, the only thing that matters. They're cruel eyes.

The network comes on line. Rath takes a breath, lets it out slow. Types:

Rath: "I have my bid."

EXT. AIRPORT – RUNWAY 32 – DAY

An American Airlines 757 approaches right to left, descends toward the runway.

INT. AMERICAN AIRLINES 757 – DAY

Staring pensively out the window, Rath barely notices as the plane touches down.

EXT. AIRPORT – RUNWAY 8 – DAY

Someone else is here. Left to right, an Avianca Airlines jumbo 747 glides silently down, its landing gear reaching out like talons. As it touches down...

INT. AMERICAN TERMINAL – DAY

Rath walks, blends in perfectly with the crowd.

INT. INTERNATIONAL TERMINAL – DAY

Tired travelers trudge, clogs the concourse. But one man moves briskly. Singular of purpose. Dressed stylishly, we don't quite see his face. He's BAIN, a presence, and for whatever reason, no one ever seems to be in his way.

INT. LUGGAGE CAROUSEL – DAY

Rath reaches down, picks up a case.

INT. CUSTOMS – DAY

A glass booth. A similar case is checked off. The CUSTOMS OFFICER looks up at Bain, who we still only see in glimpses. And reflections.

OFFICER
Is your visit business or pleasure?

BAIN

Both.

EXT. AMERICAN TERMINAL – DAY

Rath gets into a hotel courtesy van, blending in with everyone else.

EXT. INTERNATIONAL TERMINAL – DAY

Seen FROM BEHIND, Bain cuts a swath, raises a hand for a cab which immediately scoots forward to meet him.

EXT. CITYSCAPE – DAY

Pretty, but with a sense of foreboding. It isn't big enough for the two of them. Bain's cab moves briskly along.

EXT. OAKWOOD CEMETERY – SUNSET

The sky glows red. The taxi waits, parked just inside the gates. In the distance, Bain moves among...

HEADSTONES

There are rows of chairs set up. A fresh grave has been dug. Preps for a service tomorrow. Perfectly at home, Bain wanders as though looking for something specific.

An old CARETAKER in a pair of worn coveralls watches from a mausoleum. His voice dies on the wind.

CARETAKER

Can I help you?

Bain turns. It's our first good look. His features are strong, refined. He looks like a fine young man. He's not. He smiles warmly.

BAIN

I'm looking for someone.

CARETAKER

(steps over)

What's the name? I'll check the plot map for you.

BAIN

He's not dead yet.

Turning, Bain heads off. The Caretaker just shrugs.

INT. DRUG STORE – MAGIC HOUR

FROM OUTSIDE we see Rath move down the aisles. Selecting an odd array of items. Rolls of gauze. A box of plaster of paris. A sling... He pays and exits onto the busy sidewalk.

EXT. OAKWOOD CEMETERY – DAY (LATE AFTERNOON)

A crowd of onlookers. Police lines. Private security guards control entrance into the service area itself. The media are here in full force.

REPORTER #1

... Just witnessed the arrival of recluse billionaire Alan Branch. Here attending the funeral of his brother, Samuel Branch, who died last week in a tragic car accident...

WE MOVE PAST Reporter #1 TO...

REPORTER #2

Alan Branch has not been seen since testifying at a Senate hearing ten years ago. At the time he was questioned for his alleged financing of right wing death squads throughout South and Central America. Branch was born in...

SECURITY TABLE

Seated, a "Security Systems" tech checks a name against a driver's license with Rath's picture. It carries the name Paul Gray – the name Rath typed into the computer. He looks up and hands the license back to Rath.

As he turns we see that under his jacket, his right arm is in a cast, in a sling close to his side. He moves past a hearse and several limousines as he joins other latecomers who are walking up a hill towards a group at a gravesite.

EXT. GRAVESIDE – DAY (LATE AFTERNOON)

As a soloist finishes the last notes of "Ave Maria." The PRIEST invites those assembled to stand. All do except for Alan Branch in his wheelchair. He is ten years older than the photo – now frail but with the same eyes. His BODYGUARDS stand on either side.

We see Rath move into position across the grave from Branch. Rath removes a piece of white tape from his cast, exposes a barrel opening.

The Priest raises his hands, all heads bow. Branch's. Rath's – though his eyes stay on his mark.

PRIEST

I am the resurrection and the life, saith the Lord.

As the Priest continues, Rath twists his body slightly, taking aim with the .22 which must be inside the cast. He's got a clean shot at the back of Branch's head.

PRIEST

Shall not die, but have everlasting life.

Rath's about to squeeze the trigger...

PRIEST

Amen...

Water pelts as sprinklers surge to life on all sides of the service area. Bad timing. Or is it? All heads turn. Several people move to get away from the spray.

EXT. GRAVESTONE – DAY

It is Bain sighting along the barrel of his silenced rifle.

TELESCOPIC POV OF BRANCH

In his wheelchair.

TIGHT ON a spot above his heart.

BACK TO GRAVESITE K

Rath spins back to look toward Branch. The old man's head is still bowed in prayer. Or is it. Crimson spreads out across his white shirt. He's been shot through the heart. As one of the Bodyguards realizes...

BODYGUARD

He's been shot!

The crowd panics – people running everywhere. Rath spots a young caretaker. Wearing coveralls. Nonchalantly heading off beyond a mausoleum, wheeling a trash can full of leaves. It's Bain.

Rath turns his body to aim. In all the confusion, no one notices a .22 shell.

BAIN
 

Reacts as a BULLET drills the trash can. Pulling a sniper's rifle from the can, he runs, dives as another BULLET RICOCHETS off the tombstone just in front of him.

BODYGUARDS
 

All this has attracted their attention. Drawing guns, they charge after Bain. He comes up FIRING silently. The Bodyguards go down. But now police are on the way.

 
BAIN
 

Stands and tries to run. Again, he's pinned down as TWO BULLETS blossom granite around him. He scans the crowd, has no idea who's shooting at him.

CEMETERY

And a small army of POLICEMEN are advancing, service revolvers everywhere.

POLICEMAN

Drop it! Now!

Bain makes one last attempt to move. A BULLET nearly takes off his ear. Making a strategic decision, he tosses out his rifle and waits for the cops. In an instant, they've surrounded him. They pin him to the ground – find his .22 pistol and handcuff him.

RATH

He sidesteps for a clear shot; Police are everywhere.

RATH

Move, you sonuvabitch. Give me a line. Goddamnit, get out of the way.

Cursing again under his breath, he won't take the chance of hitting a cop.

BAIN

As they hustle him along, he ducks and weaves, perfectly aware of how to take advantage of his human shield. For an instant, he sees a man. Fifty yards away. Silhouetted by the low sun. Watching. Bain squints against the light, can't make him out, but knows it's Rath. He ducks.

CEMETERY

Far ahead Rath sees Bain being frisked against a police cruiser. The cops handcuff him, shove him in the back. His rifle goes in the front.

In a moment the cruiser rolls out, led by a second.

Rath hurries across the cemetery, headed for...

EXT. CEMETERY – UPPER ROADWAY

Rath climbs into his rent-a-car. He releases two Velcro strips and the cast neatly separates – revealing his silenced .22 held comfortably in his hand. He slaps in a new clip and ROARS forward.

EXT. INTERSECTION – LATE DAY

Rath eyeballs the street. Crowded with people and cars. The police cruisers are gone.

INT. RENT-A-CAR – MOVING – LATE DAY

Rath continues, reaches under the seat for a portable police band RADIO. He switches it ON. Garbage until:

COP #1 (V.O.)

This is twenty-three. Proceeding to 7th with suspect in custody. Over.

As the DISPATCHER ROGERS they got the message, Rath spins the wheel, hangs a right to try and catch up.

EXT. STREET – LATE DAY

Two police cars race by. Bain is in the back seat of the second one.

INT. POLICE CRUISER – STREETS – LATE DAY

Bain sits in the back seat. Handcuffed. Separated from the two cops up front by a steel mesh screen. The sniper's rifle is in the front seat.

The second cruiser is up ahead, leading the way. As city blocks whizz past, Bain stares back over his shoulder. The street is empty behind them.

Bain stares ahead. Silent. Behind his back, he grips his left hand with his right thumb. Slowly, he pulls his left thumb out of its socket. The digit folds unnaturally into his palm, as Bain slides the cuff over his hand.

INT. RENT-A-CAR – LATE DAY
 

Rath turns onto Victoria. No police cruiser in sight. Rath turns west, GUNS it.

INT. POLICE CRUISER – STREETS – LATE DAY

Speeding along. COP #1 looks back at Bain who stares out the side window.

As Cop #1 looks ahead – BOOM! Bain rears back with both feet and kicks out the side window.

Before either Cop can even react, Bain reaches through the rear side window and through the driver's side window. As he wrenches back on Cop #2's neck...

EXT. STREET – LATE DAY

The CRUISER SKIDS out of control. It slams into a row of parked cars, straightens for an instant before it cart-wheels end over end, lands on its roof.

The second cruiser starts to break as they realize what's happened behind them.

A silent moment before Bain pulls himself out the side window of the wreck. He has blood trickling from his hairline.

Bain reaches into the cruiser for his rifle. Cops #1 and #2 hang upside-down in their seats. Cop #2's neck is twisted – broken. Groggy, Cop #1 is still alive.

Bain lies flat on his stomach, aims back through the window at Cruiser Two which has turned and is speeding back the other way.

INT. CRUISER TWO

COP #3 is on the radio as Cop #4 drives.

COP #3

Officers down. We need an aid car, now, twenty-seven hundred block. Victoria Ave.

INT. RENT-A-CAR – MOVING – LATE DAY

Rath has the calls, hangs a right.

INT. CRUISER TWO – MOVING – LATE DAY

COP #3

Request backup and ambulance to...

Suddenly the WINDSHIELD SPIDERWEBS and Cop #3 is hit in the chest.

INT. CRUISER ONE – UPSIDE DOWN – LATE DAY

Bain FIRES again.

INT. CRUISER TWO – MOVING – LATE DAY

The other side of the WINDSHIELD SPIDERWEBS. Cop #4 is hit.

INT. CRUISER ONE – UPSIDE DOWN – LATE DAY

Upside down Cop #1 twists a desperate look back at Bain.

COP #1

Don't shoot me. Please.

BAIN

(agreeable)

Okay.

Bain rolls clear as Cruiser Two slams into and through Cruiser One.

EXT. WRECKAGE – LATE DAY

Bain looks at the wreckage for a beat and disappears between two buildings – the rifle at his side.

INT. RENT-A-CAR – SUNSET

Rath slows as he nears the wreckage. Bain is nowhere in sight. Rath stops. Holding his .22, Rath leans low out of the sedan for a quick look. Four dead cops, but no Bain. Just a discarded pair of coveralls on the sidewalk.

Rath scans the deserted streets. It's a little spooky. Then, a shadow moving. Across the street.

EXT. STREET – SUNSET

Rath gets out of his rent-a-car, .22 in hand. As we hear a DISTANT SIREN, Rath crosses to a chainlink fence, peers through.

Our hearts are in our throats as, without warning, a big watch dog lunges at the fence.

But Rath is unphased. He gets back in his car, continues driving and scanning for any sign of life.

EXT. STREETS – SUNSET

He hangs a left, coasts, then hangs a right. A block ahead, a yellow cab waits at a red light. Rath looks a little more determined as it gives him an idea. A police car races by.

INT. / EXT. YELLOW CAB/INTERSECTION – NIGHT

The DRIVER's eyes look to the rearview as headlights loom. He winces as his cab is bumped from behind.

EXT. INTERSECTION – NIGHT

Rath gets out of the sedan and the Driver out of the cab. As they converge on the bumper...

DRIVER

There better not even be a scratch, you dumb sonuva –

Before the Driver can finish his point, Rath knocks him cold with a short, powerful punch. He catches the man, drags him over to the safety of the sidewalk.

Rath relieves the Driver of his cap, sticks two hundred bucks in his hand and hops into the cab. The light turns green and he's off.