英语剧本《最后的刺客》
时间:2007-10-27 22:00:10来源: 作者:
Assassins (1995)
by Brian Helgeland, based on a screenplay by Larry and Andy Wachowski.
Draft script. March 30, 1995.
by Brian Helgeland, based on a screenplay by Larry and Andy Wachowski.
Draft script. March 30, 1995.
FADE IN:
1 EXT. PLAZA COLON/INT. BANK - DAY (1980) 1
BLACK and WHITE. The past was so clear-cut. Or was it?
Tiled roofs, the stark white stucco of a colonial town
square. Black iron bars at a bank. A briefcase carried
in a man's hand. A sniper's rifle being assembled. Thick
blocks of hundred dollar bills. Placed in the briefcase.
A man's teeth as he smiles grimly at the sight.
Sounds over a SUBJECTIVE VIEW. The BRIEFCASE SNAPS SHUT.
A VAULT DOOR SLAMS. RUBBER SOLES WALK a tiled floor.
Ahead, brilliant, white light suffuses the exit. Like
the way people describe near-death eperiences. We're
either going outdoors or over to the other side.
A long rifle silencer juts from a window. We see the
shooter FROM BEHIND, a view OVER his shoulder.
In the bank, the man crushes out a cigarette. A pause
and a DEEP EXHALE as we step outside into a flood of light.
In answer, the LOW PUFF of a SILENCER.
Only the plaza pigeons notice. As they take flight...
A man lies dead on the cobblestones. And as we look UP
TOWARD the window, there's nothing there. The pigeons
wheel above the plaza. We FOLLOW, finally losing them
to the sky. SLOWLY that sky BLEEDS from gray to blue.
And as we PAN BACK DOWN...
DISSOLVE TO:
2 EXT. MARSH - SUNSET 2
We're no longer in a plaza, but in a vast marshland. Not
in the past, but in the present. The sun sparkles over
the water. Two silhouetted figures move past in the dis
tance. One walks a little behind the other.
The man in front is KETCHAM. He wears an expensive suit
and Gucci loafers. He swats at flies nearly too small to
see, curses under his breath at the calf-deep mud.
The man behind is RATH. He moves easier; the flies don't
seem to bother him at all. His jeans are tucked into
rubber boots. He holds a silenced .22 at his side. Like
it was part of him.
They continue until one of Ketcham's shoes is sucked off
by the mud.
KETCHAM
Aw-shit...
Ketcham balances on one leg, holding his silk-socked
foot in the air. The shoe disappears, filled with mud.
KETCHAM
When I first saw you I wasn't
scared. I was just wondering why
you were dressed like that.
(re: mud)
Now I know.
Ketcham pulls off his sock, sticks his foot in the mud.
He smiles. It feels good. He pulls off the other shoe,
tosses it. Grabbing for the other sock, he loses his
balance and sits down in the mud.
Rath waits patiently as Ketcham laughs at the absurdity
of it all. Ketcham finally pulls the sock off, then
stands, digs his toes into the dark, wet earth.
KETCHAM
This feels good.
They move on, Rath still a little behind. Ketcham enjoys
the new sensation, but after a bit, the pleasure fades.
KETCHAM
It's twisted, but I'm honored.
You're the best. It means at
least they're still afraid of me.
Ketcham looks ahead as they close on a grove of trees.
He knew they were going somewhere, but it's a chilling
realization all the same.
KETCHAM
I knew this day would come. But
this morning, I could've sworn I
was going to live forever.
They're only a few steps away from the first of the
trees. Desperation begins to creep into Ketcham's voice.
KETCHAM
Any chance of you telling me who
the Contractor was? Huh?
(off no answer)
At least tell me how much I was
worth. A dime? Two?
They're into the trees. Ketcham doesn't need to be told.
He stops just where a dead branch hangs from a tree.
KETCHAM
Here?
Rath uses the .22 to gesture Ketcham to the left. Ketcham
gives the branch a wistful smile. Leaving his last hope
behind, he takes a few steps over.
KETCHAM
We both play the game, Rath.
Sooner or later the wheel turns.
For everybody. Who's got your
bullet? What kind of shoes'll
you be wearing when the day comes?
Rath's answer is to move directly behind him. Ketcham
is finally showing his fear.
KETCHAM
Whatever the contract is, I'll
double it. Just say you couldn't
find me. Buy yourself some good
karma.
Ketcham can't see, but he almost senses it as Rath raises
the silenced .22 to the back of his head.
KETCHAM
Oh, God. Don't pull yet, not yet.
Christ, I've done some bad things
in my time.
(trembling)
I can't die like this. Not like
a mark. I'm not a mark!
Finally, Ketcham begins to just cry. Nothing left to say.
A man in mourning for himself. But Rath is not
unaffected, not without his own peculiar version of mercy.
Keeping the .22 steady, an inch behind Ketcham's head,
Rath reaches into his jacket. He pulls out a second,
nearly identical silenced .22. Ketcham looks down,
curious as the clip drops into the mud at his feet.
Rath, ready to fire at any sign of trouble, gently eases
the gun into Ketcham's hand. Ketcham looks down, smiles.
It's his gun, his dignity.
KETCHAM
Hello, old friend.
(hefts it; knows)
One in the chamber.
Slowly, so Rath can see, Ketcham raises the .22, sets the
tip of the silencer against the side of his head. He
squints at the sun, the last thing he'll ever see.
KETCHAM
Last few years I've been looking
for a sunrise. Maybe a sunset's
better.
(a beat) Thanks, Rath.
The sun disappears over the horizon. Ketcham squeezes
the trigger. The SILENCER WHISPERS and he crumples,
begins to sink into the mud.
Rath lowers his gun. He takes a deep breath and lets it
out slowly, standing alone in the middle of nowhere. We
TILT DOWN TO an EXTREME CLOSEUP of blood in the water.
3 INT. HOTEL ROOM - DAY (LATE AFTERNOON) 3
Rath closes the curtains. There is a makeshift office on
the desk. A cell phone is connected to a lap-top computer.
The prompt flashes epectantly.
On the coffee table, we see the dismantled .22, spread
clean on a white towel.
Rath stands at a window looking out at the city. He
leans forward until his forehead rests against the window.
He closes his eyes, enjoying the cool of the glass.
A beat. Then he looks to the street below. For just an
instant, he's wondering what it would be like to fall.
Breaking from his reverie, Rath steps to the desk.
He sits, regards the computer with loathing, then types
in a long access code sequence. He waits.
After a few moments, a line of dialogue appears. Rath
is communicating with someone... The Contractor.
Contractor: Where have you been, Robert?
Rath: Sick. The flu.
3A INT. CONTRACTOR'S OFFICE - LATE AFTERNOON 3A
EXTREME CLOSEUP OF eyes, hands, mouth, computer, etc.
Contractor: I don't believe you.
3B BACK TO RATH 3B
RATH
I don't care what you believe.
I want out. I've had it.
Contractor: I've been sitting on a prime contract.
But these days, something else is on Rath's mind.
RATH
Who are you, you sonuvabitch?
Rath: Send the file. I'll have the estimate tonight.
Contractor: I'm worried about you, Robert.
RATH
You should be.
Rath: Don't be.
Contractor: Good. You are my #1.
The screen goes blank. A beat and the word "TRANSMITTING" appears. Rath stands.
A slimline PRINTER HUMS, starts to reproduce a newspaper
photo of ALAN BRANCH. Strong. Hard eyes which Rath
studies a moment, then circles. As a second sheet
feeds, Rath isn't that interested.
4 EXT. CITY STREETS - SUNSET 4
Mist fills the air. As night comes on, Rath walks. He
has no real purpose at the moment. And the crowds don't
magically seem to get out of his way. He watches them
laughing, talking, hurrying this way and that. Rath's a
loner. An outsider. Life moves around him, but he's not
part of it. At least not this version. The mist turns
to darkness.
5 INT. MALL - UPSCALE WOMEN'S CLOTHING STORE - NIGHT 5
Rath pauses, his eye caught by a scene inside.
A dowager berates a female CLERK. The Clerk takes it
stoically, nodding, placating. Huffing and puffing, the
dowager heads back to the racks. The Clerk watches her
in easperation. No one deserves this kind of abuse.
Rath is going to continue when, on an impulse, he decides
to enter the store instead.
6 INT. UPSCALE WOMEN'S CLOTHING STORE - NIGHT 6
Rath steps inside, begins to look around. The Clerk sighs
to herself. Another customer and it's almost closing time.
The dowager jams the dress back on the rack and it fallsto the floor. She ignores it, but Rath doesn't.
RATH
I think you dropped something.
The dowager gives him a look.
RATH
Maybe you better hang it back up.
And it isn't a question. The woman looks shocked, then
gruffly hanging the dress back up, hurries out of the
store.
Tired, a bit apprehensive, the Clerk gives Rath a moment
before joining him.
CLERK
Can I help you, sir? We're just
closing.
Rath suddenly wonders what the hell he's doing here.
RATH
I'm looking for something. I, I'm
not sure what.
CLERK
(knows the routine)
Birthday? Anniversary?
Rath shakes his head. There's something sad about him,
but she misreads it.
CLERK
A fight.
Rath starts to say something, but then stops. She takes
it as a yes to her question.
CLERK
You said something you regret?
A beat. It takes Rath a moment to confess:h)0*0*0*
RATH
Regret... Yes.
She thinks, decides on a way to get rid of him.
CLERK Are you really sorry?
Rath nods. He is. Finding what she's looking for, she
holds up an elegant red velvet dress.
CLERK
Bring this home and she'll say
she's sorry. But it's expensive.
That price tag should get him out of here. A beat.
There's something oddly appealing about the moment. It's
hard to say, but Rath is charmed. Then, almost shyly...
RATH
She's about your size. Would
you?...
The Clerk is caught off guard by this request. She is
all alone and it is getting late. Still, it'd be nice
to end the day with a sale.
CLERK
Give me two minutes.
7 INT. MALL - UPSCALE WOMEN'S CLOTHING STORE - NIGHT 7
Rath stares out the window. There's something mournful
almost haunting about him. An old soul to be sure.
8 INT. UPSCALE WOMEN'S CLOTHING STORE - NIGHT 8
Rath scans the empty store, then checks his watch. He's
lost his mind. As he heads for the door, the Clerk steps
out. The transformation is stunning. Rath stops short,
takes in the beauty of it all.
CLERK
What do you think?
RATH
(soft, gentle)
It's perfect.
She can't believe it.
CLERK
I'll write it up?
She steps to a desk, scribbles out a receipt. Rath
notices an open textbook, several lines have beenhighlighted.
RATH
College?
CLERK
Do you think I'm too old?... My
daughter says I'm too old to go
to school... I just sit in right
now. I don't have the money yet.
But I don't want to spend the rest
of my life selling somebody else's
dresses. I mean, you're never too
old to have dreams, right? To
start over?
Rath looks away, can't hold her gaze.
RATH
I don't know.
An awkward beat. Then...
CLERK
Should I wrap it?
Rath nods.
8A BACK ROOM 8A
CLOSE as she finishes tying the box.
9 STORE 9
She steps out. Her smile fades as she sees he's gone.
The sale is lost.
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.
10 INT. HOTEL ROOM - NIGHT 10
Outside it is raining. Rath is at the window looking at
a faed 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 brath, lets it
out slow. Types:
Rath: I have my bid.
11 OMITTED 11
thru thru
12 12
13 EXT. AIRPORT - RUNWAY 32 - DAY 13
An American Airlines 757 approaches right to left,
descends toward the runway.
14 INT. AMERICAN AIRLINES 757 - DAY 14
Staring pensively out the window, Rath barely notices as
the plane touches down.
15 EXT. AIRPORT - RUNWAY 8 - DAY 15
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...
16 INT. AMERICAN TERMINAL - DAY 16
Rath walks, blends in perfectly with the crowd.
17 INT. INTERNATIONAL TERMINAL - DAY 17
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.
18 INT. LUGGAGE CAROUSEL - DAY18
Rath reaches down, picks up a case.
19 INT. CUSTOMS - DAY 19
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.
20 EXT. AMERICAN TERMINAL - DAY 20
Rath gets into a hotel courtesy van, blending in with
everyone else.
21 EXT. INTERNATIONAL TERMINAL - DAY 21
Seen FROM BEHIND, Bain cuts a swath, raises a hand for
a cab which immediately scoots forward to meet him.
22 EXT. CITYSCAPE - DAY 22
Pretty, but with a sense of foreboding. It isn't big
enough for the two of them. Bain's cab moves briskly along.
23 EXT. OAKWOOD CEMETERY - SUNSET 23
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.
24 INT. DRUG STORE - MAGIC HOUR 24
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.
25 OMITTED 25
thru thru
26B 26B
27 EXT. OAKWOOD CEMETERY - DAY (LATE AFTERNOON) 27
A crowd of onlookers. Police lines. Private securityguards 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...
28 SECURITY TABLE 28
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.
29 EXT. GRAVESIDE - DAY (LATE AFTERNOON) 29
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,
eposes 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.
30 EXT. GRAVESTONE - DAY 30
It is Bain sighting along the barrel of his silenced
rifle.
31 TELESCOPIC POV OF BRANCH 31
in his wheelchair. TIGHT ON a spot above his heart.
32 BACK TO GRAVESITE K32
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.h)0*0*0*
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.
33 CEMETERY 33
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.
34 CEMETERY 34
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...
35 EXT. CEMETERY - UPPER ROADWAY 35
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.
36 EXT. INTERSECTION - LATE DAY 36
Rath eyeballs the street. Crowded with people and cars.
The police cruisers are gone.
37 INT. RENT-A-CAR - MOVING - LATE DAY 37
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.
38 EXT. STREET - LATE DAY 38
Two police cars race by. Bain is in the back seat of
the second one.
39INT. 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.
40 INT. RENT-A-CAR - LATE DAY 40
Rath turns onto Victoria. No police cruiser in sight.
Rath turns west, GUNS it.
41INT. 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...
42 EXT. STREET - LATE DAY 42
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.
43 INT. CRUISER TWO 43
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.
44 INT. RENT-A-CAR - MOVING - LATE DAY 44
Rath has the calls, hangs a right.
45 INT. CRUISER TWO - MOVING - LATE DAY 45
COP #3
Request backup and ambulance to...
Suddenly the WINDSHIELD SPIDERWEBS and Cop #3 is hit in
the chest.
46 INT. CRUISER ONE - UPSIDE DOWN - LATE DAY 46
Bain FIRES again.
47 INT. CRUISER TWO - MOVING - LATE DAY 47
The other side of the WINDSHIELD SPIDERWEBS. Cop #4 is
hit.
48 INT. CRUISER ONE - UPSIDE DOWN - LATE DAY 48
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.
49 EXT. WRECKAGE - LATE DAY 49
Bain looks at the wreckage for a beat and disappears
between two buildings -- the rifle at his side.
50 INT. RENT-A-CAR - SUNSET 50
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.
50A EXT. STREET - SUNSET 50A
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.
51EXT. STREETS - SUNSET 51
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.
52 INT./EXT. YELLOW CAB/INTERSECTION - NIGHT 52
The DRIVER's eyes look to the rearview as headlights
loom. He winces as his cab is bumped from behind.
53 EXT. INTERSECTION - NIGHT 53
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.
54 INT. YELLOW CAB - NIGHT 54
Cap on, Rath is behind the wheel. He turns up the CB,
hoping to get lucky. CALLS CRACKLE, then...
DISPATCH (V.O.)
Who's near Adams and Nine? I got
a fare going to the airport.
Rath picks up the mic, pulls the Driver ID from the
dash, checks the cab's ID number.
RATH
This is 501. I got it.
Rath clicks off, shoves the ID under the seat. Sticking
the .22 down between his legs, he rolls.
55 EXT. ADAMS AND NINE - NIGHT 55
An empty payphone on the corner. Not a soul in sight.
The Yellow CAB pulls up, IDLES at the curb.
56 INT. YELLOW CAB - NIGHT 56
Rath holds the .22 with one hand, the door handle with
the other. Tense as a tiger ready to spring.
A couple exit from a dingy bar across the street. Rath
looks over, frowns as they start toward him.
In that instant, the opposite passenger door opens and
someone gets in the back. As the door slams shut, Rath
checks the rearview mirror.
It's Bain. He carries his rifle wrapped in his jacket.
For the first time we realize that the front and back of
the cab are separated by bullet-proof glass.
An awkward silence as Rath slides the .22 back between
his legs. Bain looks at his eyes in the rearview. (Bain
never really saw him at the cemetery.)
BAIN
Is there a problem?
RATH
(cool as can be)
The airport, right?
BAIN
Right.
RATH
No problem.
57EXT. INTERSECTION - NIGHT A F(#(#K57
As the Yellow Cab pulls away, we get the distinct feeling
this is going to be no ordinary cab ride.
58 INT. YELLOW CAB - NIGHT 58
Rath studies Bain in the rearview. Bain stares out the
side window, chuckling to himself, a thin trickle of
blood on his temple.
RATH
You're cut.
Bain touches the blood, looks at it a bit surprised.
BAIN
(smiles)
I had an accident at work.
RATH
What kind of work?
BAIN
Look, I'm, how do you say? Dead tired.
Save the chitchat for someone else.
Rath nods. Bain stares out the window. Rath continues
studying him.
CUT AHEAD TO:
59 EXT. AIRPORT NEIGHBORHOOD - NIGHT 59
The Yellow Cab rolls through the intersection. An
airport exit is coming up.
60 INT. YELLOW CAB - ROLLING - NIGHT 60
The cab passes the airport turn-off. Bain sits up.
BAIN
What're you doing?
RATH
What?
BAIN
That was the turn-off for the
airport back there.
RATH
Sorry.
BAIN
Yeah, well, you just blew your tip, pal.
RATH
You think I'm running you up?
BAIN
Just do your job.
61 EXT. CURB - SOCCER FIELD - NIGHT 61
Rath pulls to the curb, lurches to a stop. On an
adjacent field, a soccer match in progress.
62 INT. CAB - STOPPED - NIGHT 62
Rath slaps the cab in park, looks over his shoulder at
Bain. Only we see Rath grip the .22.
RATH
Get out.
BAIN
What?
RATH
You think I'm running you up?
Get out.
BAIN
You can't --
RATH
The hell I can't! Get out!
Bain almost finds it funny. He opens the door to get
out. Rath faces forward. He'll shoot him when he does.
BAIN
I don't believe this.
Bain has one leg out when he looks back, sees the ID is
missing from the dash. An odd beat as Bain wonders.
Bain looks to Rath's eyes in the rearview. It's now all
the confirmation he needs.
BAIN
Cojones de Dios. Robert Rath.
The cab rocks as both men draw their guns. Bain is
poised at the door; Rath leans back across the front
seat. They draw down on each other despite the glass.
Bain looks like he'll make a run for it, but then...
BAIN
I get out, pow, you got me.
Bain pulls the door closed, smiles.
BAIN
Now what?
RATH
Who are you?
BAIN
Cono. Robert Rath wants to know
me.
Bain leans back, a big moment for him.
BAIN
Bain. Miguel Bain.
(laughs)
I don't believe this. You rolled
some cabbie, then waited for the
right call. That's genius, man.
Genius.
(really impressed)
And then you got the balls to sit
there and bullshit with me. No
way I could've done that.
RATH
You stole my contract. How did
you know?
Bain admires Rath's gun. What begins to show through is
that in a twisted way, Rath is Bain's hero.
BAIN
A silenced Smith Wesson .22.
Classic. I switched when I heard
that's what you used.
(re: rifle)
Excuse this. It was a long shot.
RATH
Who contracted you?
Bain looks across to where the kids play soccer. Co-ed.
As Bain rolls down his window...
63 EXT. SOCCER FIELD - BAINS POV OF GAME - NIGHT 63
64 BACK TO CAB 64
BAIN
Why don't you drive? We can get
acquainted. Chitchat.
RATH
We'll sit.
Rath sees the kids, too as Bain levels the sniper's rifle.
65 EXT. SOCCER FIELD - NIGHT 65
The SOCCER BALL EXPLODES in mid-air as Bain FIRES. The
kids stand confused. The silencer muffled the report.
66 INT. YELLOW CAB - PARKED - NIGHT 66
Bain smiles at Rath.
BAIN
Drive.
(aims again)
Number thirteen looks tired. Maybe
she needs a rest.
Bain's finger curls around the trigger as he follows a
girl down the field.
67 EXT. SOCCER FIELD - LONG LENS POV - NIGHT 67
of girl playing.
68INT. YELLOW CAB 68
BAIN
Help me out, Rath. A moving
target. That's the front sight,
right?
69EXT. CURB - SOCCER FIELD - NIGHT 69
Rath throws it into drive and starts away.
70INT. CAB - MOVING ACROSS BRIDGE - NIGHT 70
Bain smiles.
BAIN
Protect the innocent. That's weak.
You could've had me in the
cemetery, but you couldn't shoot
the cops. You're Antiquado.
RATH
And you've got a lot to learn.
THWUMP! Rath looks back to where a slug is imbedded in
the glass. Bain coughs as the rifle smoke clears.
BAIN
I had to try. I mean, who knows?
71 EXT. CAB - STREET - BRIDGE - NIGHT 71
Two POLICE CARS SCREAM by going the other way.
72 INT. CAB - MOVING - NIGHT 72
BAIN
They look pissed, huh?
RATH
I wouldn't be surprised.
BAIN
How'd you like the cemetery? Rome.
14 BC. They killed a General,
Flavius, at his brother's funeral.
But I couldn't wait for Branch's
brother to die. So I killed him,
too. Proud of me?
Although he's actually impressed, Rath doesn't answer.
He's too busy trying to figure a way to take Bain out.
BAIN
I killed a guy in his bathtub
once. Was a bitch, but I wanted
to do him like they did Marat...
You know, the French Revolution?
Rath just stares grimly ahead. Bain's a bit disappointed.
After a beat.
BAIN
It was nice meeting you, Rath.
Someday, I'll tell my little
nietos about this.
Moving like lightning, Bain slides, reaches the RIFLE
through the right rear passenger window and FIRES.
The first SHOT BLOWS OUT the passenger WINDOW. As Bain
moves the rifle in for a better shot, Rath jerks the
wheel hard left. Off balance, Bain's second SHOT drills
the roof at Rath's head.
73 EXT. CITY STREET - NIGHT 73
Rath jerks the wheel, sends the cab sliding across the
yellow lines. A HORN BLARES as he hurtles toward an
oncoming car and a head-on collision!
Bain FIRES a wild third shot -- the windshield spiderwebs.
Rath cuts hard back across the yellow lines. The cab
slides, slams into the side of a bus traveling the same
direction.
As Bain FIRES again, Rath slams the cab against the side
of the bus, smack into an "I am the NRA" placard. The
rifle is ripped from Bain's hands.
The cab bounces off, continues on. The rifle is crushed
under bus wheels. Bain's lucky to still have his arm.
74 INT. YELLOW CAB - NIGHT 74
The bus continues, Rath slams on the brakes. Bain bangs
into the glass as the cab shudders to a stop.
75 EXT. CAB - STOPPED - NIGHT 75
Rath is getting out of the cab, .22 at the ready. Bain's
got about three seconds to live and knows it.
Several blocks away a POLICE CAR -- LIGHTS FLASHING --
races towards them.
SIRENS WAIL. Gritting his teeth, Rath gets back behind
the wheel. A huge grin from Bain as he looks back at the
police car that's bearing down on them. Rath throws it
in gear, flips a U-turn and races off.
76 INT. CAB - ACCELERATING - NIGHT 76
BAIN
You and me. We're teammates!
Companeros!
Rath speeds up. Faster and faster. Bain suddenly
doesn't feel so safe, beat. As Bain buckles his
seatbelt...
77 INT. POLICE CAR - NIGHT 77
Where one of the OFFICERS is on the radio.
OFFICER
... in pursuit of yellow cab,
number 5-0-1, reported stolen
near same twenty as officers
down. Proceeding west on...
78 EXT. POLICE HELIPAD - NIGHT 78
Two police officers race to waiting HELICOPTER. As it
LIFTS OFF towards the skyline of the city. We LIFT OFF
net to it, RISING and SWINGING WITH it as it turns
towards the city skyline.
79 EXT. CITY STREETS - CHASE - NIGHT79
The cab at 60. The cop car stays with. A hard braking
left and then a sliding turn and the cab is nearing a
street running under a viaduct.
80INT. YELLOW CAB - CHASE - NIGHT80
Bain smiles as they leave the cop behind.
Ahead, a second cop car turns off a side street and heads
right at them. Rath turns under a viaduct.
BAIN
Can you feel it, Rath?! It's
real! We're alive!
RATH
Don't count on it.
BAIN
Before I went freelance, I was
an exchange student.
(smiles)
C.I.A. University. You were a
legend at Langley. Even if you
were Army.
(looks ahead)
I know this neighborhood. Turn in here.
Rath turns under a viaduct.
81 EXT. ROAD UNDER VIADUCT - NIGHT81
It's a race with the two police cars right behind.
82 INT. YELLOW CAB UNDER VIADUCT - CHASE - NIGHT 82
Down the straightaway, two sets of cop lights and SIRENS (#(#K
behind them. Bain leans forward, right behind Rath.
BAIN
I studied everything you ever
did, Rath. God damn you were
good. You and the Russian.
Nicolai Talinkov --
The name hits Rath like a hammer.
RATH
Tachlinkov. How did you know
about Nicolai?
Rath turns, nearly broadsiding a train car.
BAIN
They said he shaded you. Over
and over. And in the end, he
aced you. Shaded and faded.
They say he's living on some
Greek island, but I say you
were the best. I say Nicolai's
dead as a clavo.
(thinks; smiles)
A doornail. Am I right?
Rath doesn't answer.
BAIN
I heard you guys played chess.
Coded in the New York Times
obituaries.
Rath's past is chasing him almost as hard as the cops.
BAIN
Ten miles of microfilm, but I
found it. The last game ends
before anyone wins.
(smiles)
He thought you were his friend.
That's how you got him, right?
83 EXT. INTERSECTION - VIADUCT - NIGHT 83
Rath starts to answer when... Suddenly an enormous truck
appears, blocking their path. Rath is forced to brake.
He whips the wheel around, powerslides a grinding U-turn
in front of the truck.
BAIN
Hey, Rath.
(opens door)
Black queen to king's bishop 4!
Bain throws himself out of the door. Rath whips a look
over his shoulder as Bain tumbles head over heels toward
the truck. What he said means something, but no time to
explain now. As he continues...
84 BACK TO BAIN 84
Pushing himself to his hands and knees, Bain watches the
two cars disappear. He disappears into the darkness.
85 EXT. INTERSECTION - VIADUCT - NIGHT 85
The cab races away from the intersection with the police
cars in pursuit.
86 INT. YELLOW CAB - NIGHT 86
Rath takes another hard turn. But suddenly the cab is
bleached white by a searchlight.
87 INT. POLICE HELICOPTER - NIGHT 87
Where a HELI-COP trains the light on the cab below.
HELI-COP
We got you now, rabbit.
88 EXT. SKY - AERIAL - NIGHT-88
From above the chopper blades of the police helicopter
chasing the cab below -- we see the cab appearing, dis-
appearing, and reappearing from underneath a viaduct
below.
The cab passes under an overpass. They lose sight of it,
but it'll only be for a moment as they move up and
around.
89 EXT. CAB YARD - NIGHT 89
The cab appears from around a corner sliding quickly into
a parking lot. Rath slips out the door and disappears.
90 EXT. CAB YARD - AERIAL - NIGHT 90
Down below we see a parking lot full of cabs and the
first police car to arrive.
91 EXT. PARKING LOT - NIGHT 91
The other cop cars pull up. As the police begin to
search, and the helicopter hovers overhead, we follow
the beam of the Zenon light up to the chopper where
everything becomes white...
DISSOLVE TO:
92 INT. HOTEL ROOM - NIGHT 92
The white of Rath's computer screen.
Rath types, calls up a file. A chess game sets up in
four neat rows. A line reads: Game Started May 5, 1980.
The pieces move, accompanied by COMPUTER VOICE notation
of the move and the date they were made. Rath studies
the screen.
RATH
Fifteen years and I still
remember.
(watches)
Those were good moves, Nicolai.
You were the best.
The screen and the computer voice both ask: ENTER NEXT
MOVE. A beat before Rath types in the move Bain gave
him.
RATH
Bishop takes rook pawn.
A big moment as the computer moves: Bishop takes rook
pawn. A beat and the screen starts to flash: CHECK. CHECK. CHECK.
Rath can't believe what he's seeing.
COMPUTER VOICE (V.O.)
Game in check.
RATH
(softly)
I'm a mark. A mark... Who the hell
is Miguel Bain?
A pause. Rath finally clears the screen, types the
access code, waits. As the system comes on line.
Contractor: Hello, Robert.
Rath: Who the hell is Miguel Bain?
Contractor: That's no way to talk to a lady.
Rath: Who???
Contractor: The name Bain is not familiar.
RATH
Are you setting me up?
(a beat)
Is this how it went, Nicolai?
Rath: He was there. He stole the contract.
Contractor: I'll make inquiries, Robert.
RATH
I bet you will.
Contractor:$2,000,000. That's the bonus on the
next contract.
RATH
I quit. I'm gone.
Rath moves to shut down the rig, but then hesitates.
Contractor: Robert? Are you there?
RATH
Two million. Two million and I'm
gone.
Rath: Location?
Contractor: Seattle.
Rath: The mark?
Contractor: Surveillance epert. Selling a synthetic heroin formula to a Dutch buyer.
A beat as Rath thinks things over. Then...
Rath: Conditions?
Contractor: Retire the mark, retire the buyer and retrieve the information. A computer disc.
Rath watches as miniaturized pages flash on his screen.
Many of an angular-faced Dutch man. His henchmen. A
complete file, except...
Rath: The surveillance jacket on the seller?
Contractor: A ghost. All we have is an internet logo.
The transmit prompts again. The screen goes black except
for two green, slit-iris cat eyes. Under that,
MEOW@comsat.next. And as we move in on the eyes:
MATCH CUT TO:
93 INT. ELECTRA'S APT. - ELECTRA'S KITCHEN - PEARL - DAY 93
A live cat with the same eyes. She watches as a kid's
remote control dump truck whirs past her. In the truck
bed, a bowl of tuna fish. Pearl chases. Her pride stops
her. She waits, pounces as the truck backs up. Pearl
wins. As she eats...
Electra sets down a remote control, kneels to watch Pearl
eat. A surveillance genius, an "information assassin,"
Electra depends on smarts and intuition to succeed in a
dangerous world. Like most geniuses, she's a free
spirit.
ELECTRA
Mmmm. Hungry Pearl.
Electra steps over to check on the progress of a coffee
machine. Almost done.
As she waits, she flips through a packet from "One Hour
Photo." All photos of Pearl. Electra stops to study
one.
ELECTRA
(shows Pearl)
I like this one, baby. It's your
good side.
She pours coffee, takes a sip, sighs with satisfaction.
93A EXT. ELECTRA'S APARTMENT BUILDING - DAY 93A
At the base of three massive transmit towers. Two
stories, eight apartments. We see Electra enter her
second floor living room. In the apartment directly
below we see a young couple (JENNIFER & BOB) fighting.
94 INT. ELECTRA'S APARTMENT - LIVING ROOM - DAY 94
Like the control booth of a low-rent nextwork television
show. TV's of various size, make and quality are stacked
and set in a semi-circle around an overstuffed chair.
Electrical cables and bundles of fiber optical cable are
duct-taped to the walls. Some disappear through holes
punched in the floor, others the ceiling. They hang like
vines in a jungle.
Electra settles into her chair. Flicks a remote. The
CD PLAYER KICKS IN SOME MUSIC. The first two TVs show
empty apartments. A third -- an old woman rolling out
dough. The view is wide-angle, from above. Just like
a cooking show.
ELECTRA
Yummy.
Electra switches on another TV. Jennifer and Bob's
argument.
BOB (V.O.)
(TV)
I don't give a shit what your
mother thinks. I'm not sleeping
with your mother; I'm sleeping
with you.
JENNIFER (V.O.)
(TV)
You won't be for long with that
attitude.
Electra turns UP the VOLUME, leans forward as the drama
'unfolds.
BOB (V.O.)
(TV)
Jesus, Jennifer, if you're so god
damned worried about your mother's
approval, why don't you move back
home so she can pat you on the
head when you do something right.
ELECTRA
Jerk.
Electra's PAGER SOUNDS. She barely looks at it.
Jennifer starts to say something, but stops, trying to
keep herself from crying.
BOB (V.O.)
(TV)
Oh good. Go ahead and cry.
Jennifer exits the room, slams the door hard behind her.
BOB (V.O.)
(TV)
You like to slam doors?
Electra switches one of the sets to a shot of Jennifer
crying in her bedroom.
BOB (V.O.)
(TV)
I can slam doors too!
Bob exits the apartment, slamming the door on his way
out. Electra switches all the TVs to shots of Jennifer.
She watches, listens to her cry.
Affected, Electra reaches out, her fingers lightly
touching the screen. She isn't simply a voyeur. She
cares about these people's lives. As her PAGER SOUNDS
again...
95 OMITTED 95
thru thru
98 98
99 TELEPHONE TABLE 99
A system like Rath's. Electra picks up a cellular, dials.
As a woman's voice answers, Electra clicks a stopwatch.
WOMAN (V.O.)
Room one-fifteen.
Slipping a filter over the mouthpiece, Electra responds
in a deep baritone.
ELECTRA
I have the merchandise.
(or alternate)
I have the disc.
She picks up a computer disc, holds it at arm's length.
WOMAN (V.O.)
The buyers arrive at noon.
Flight 10-55.
Electra covers the receiver, thinks things through.
ELECTRA
Off the plane. Customs.
They're Dutch... A half hour.
She twists the filter to the high pitch of a child.
ELECTRA
I'll attempt contact at 12:30 and
every fifteen minutes after that.
WOMAN (V.O.)
You have the hard copy images?
Electra reviews photos of the Dutch, similar but not the
same as Rath's.
ELECTRA
Affirmative. What do I call the
principal?
Electra checks the stopwatch. Forty-eight seconds...
WOMAN (V.O.)
Call him Remy. How will they
know --
Electra hangs up, sticks the disc in her pocket.
ELECTRA
They'll know.
100 OMITTED 100
100A EXT. ELECTRA'S APARTMENT - DAY 100A
Electra comes out carrying Pearl's porta pet and a
shoulder-slung duffel bag. She puts them in the back ofh)#0*0*0*her Mustang convertible. Hopping in, Electra pulls out
of a parking spot identified with her apartment number.
101EXT. THE HYATT - DAY 101
It has a big day ahead of it. Electra's car drives past
the main entrance and she turns into the parking garage
entrance.
102 INT. PARKING GARAGE 102
Electra pulls into a spot up front, hands the attendant
$20.
ELECTRA
Keep it handy.
He nods. Sunglasses on, carrying her duffel bag and
porta pet, Electra heads for a bank of elevators. She
steps in.
103 INT. HYATT - ELEVATOR - LOBBY LEVEL - DAY 103
From inside, the doors open at the lobby level. A man
and a woman with a white fur coat step inside.
Backed in a corner, Electra stares at a veritable wall
of fur. She doesn't like it. Setting down the port-a-
pet, she reaches into her duffel for what looks like a
canister of breath spray.
104 INT. UPPER FLOOR - HALLWAY - DAY 104
The elevator doors open. None the wiser, the couple
step out. As they walk down the hallway away from us
we see a large circle with a slash through it on the
back of the fur coat. As the doors close we hear.
ELECTRA (V.O.)
You're welcome, Pearl.
105 INT. AIRPORT - INTERNATIONAL TERMINAL - DAY 105
We hear a SCREAMING JET OVERHEAD.
Four Dutch men exit the jetway. They look like lions
in leather jackets. They move predatorially, REMY
recognizable from Rath's computer info.
INT. THE HYATT - ROOM 718 - DAY 106
A laptop computer, a transmitter and a remote intercom
rest on the coffee table. On the computer, Electra
scrolls through airline flight information. She finds
KLM flight 1055. The screen flashes: Arrived.
107INT. UNITED TERMINAL - ESCALATOR - DAY 107
Looking past a digital clock we see the Dutch ride
down the escalator, jumpy.
INTERCOM (V.O.)
Mr. Remy, to the white courtesy
phone. Mr. Remy.
Remy looks to his #2. Suddenly, the four of them pound
down the escalator steps, snaking between people, push-
ing others out of the way.
108 WHITE COURTESY PHONE 108
Remy picks up the receiver. His men fan out, ready for
trouble.
REMY
Hello?
ELECTRA (V.O.)
Are you ready to go shopping on
the Home Information nextwork?
The price is $40,000.
REMY
Where are you?
ELECTRA (V.O.)
Are you ready? Yes or no?
REMY
Yes.
109 INT. THE HYATT - ROOM 718 - DAY 109
Electra's on a cell phone.
ELECTRA
There's a payphone bank in the
Hyatt Hotel by the elevators.
You got twenty minutes.
She hangs up, clicks her stopwatch.
110 INT. UNITED TERMINAL - DAY A 110
Remy hangs up, motions to his men to follow. As the
Dutch move away, we RACK FOCUS back to a man in the
b.g.
It's Rath. Looking absolutely non-descript. He waits
till they're almost out of sight before following. Rath
scans faces as he moves. Someone else may be here as
well.
111 UNITED TERMINAL EXIT 111
The Dutch exit. Rath's about to follow when he spots a
young man turning away to a cash machine. Bain?
Drawing the .22, Rath closes the gap, spins him. The
young man, holding his cash, turns into the barrel.
It's not Bain and in an instant the gun is gone. Rath
is shaken, but nearly as much as the young man. Rath
moves on.
112 EXT. AIRPORT ROADWAY - DAY 112
Remy and his men get into a waiting limo. It pulls
away.
Rath exits, hops into a cab before it can even coast to
a stop. They pull away as well.
113 INT. CAB - DAY 113
CLOSEUP of the time on the meter.
114 INT. THE HYATT - ROOM 718 - DAY 114
Pearl watches as Electra unscrews an A/C panel. Popping
the screen to reveal a vertical duct, Electra tapes a
piece of cardboard at an angle inside it. The effect is
to redirect into the room anything traveling down.
115 INT. LIMO - ROLLING - DAY 115
The Dutch open waiting briefcases, check out the
silenced 9 MM's waiting inside.
116 INT. THE HYATT - ROOM 718 - DAY 116
Electra at the window, looking down through binoculars.
117 ELECTRA'S POV - BINOCULAR MATTE 117
The Dutch heading from their limo for the hotel.
ELECTRA
One, two, three, four.
118INT. HYATT LOBBY - DAY 118
Looking toward the entrance as the Dutch stride in. As
a PHONE begins to RING, Remy hurries to a...
119 PAYPHONE BANK 119
Answers it.
REMY
Hello.
ELECTRA (V.O.)
Pick up the Yellow Pages.
He does as he's told.
ELECTRA (V.O.)
Lonely? In town on business.
Who'll ever know if you check out
the escorts?
As Remy flips to the "Es"...
120 INT. HOTEL ENTRANCE - DAY 120
Rath steps in, heads for the front desk, but watches.
121 INT. HOTEL - PAYPHONES - DAY121
Remy's found it. In the escort ads, a room key card.
ELECTRA (V.O.)
It's room 942. I want all four of
you in there. No deal otherwise.
And if there's more of you, I'll
know it. I smell a rat, I go.
Are we simpatico?
REMY
Yes. Simpatico.
Checking about, the Dutch get in an elevator. Rath
doesn't have a chance without raising a red flag.
The doors close. He thinks a beat. As a maintenance
worker passes, something occurs to him. Spurred to
action, Rath moves.
122 INT. HYATT - ELEVATOR - DAY 122
Two passengers get off on three. The ride continues.
It's just the anxious Dutch and a man in the corner.
He looks up. It's Bain!
The elevator stops at nine. As the Dutch step off, Bain
slyly slips "something" into Remy's jacket pocket. We
see, but we're not quite sure what.
They don't say a word, just exit as the elevator stops at
nine. As the doors close behind them, Bain looks grim.
123 INT. HYATT HOTEL - MAINTENANCE OFFICE - DAY 123
Where a JANITOR answers a RINGING PHONE. Beyond him,
we see a hotel computer terminal.
JANITOR
Maintenance... What?! Sounds like
we got a short. I'll be right
there.
The Janitor rushes out. The office is empty. A beat and
Rath enters. Tucking his cell phone (he made the call)
into his pocket, he takes a seat at the terminal. He
must have used this trick before as he scrolls computer
info. Room bills. Reservations. Guest names. He elim-
inates the Chicago Bulls, a doctors' convention, and a
wedding party. All 10 plus rooms. As he continues his
process of elimination...
124 INT. HYATT HOTEL - ROOM 942 - DAY 124
On a table are a screwdriver, a laptop hooked to a cel-
lular modem and a remote intercom matching Electra's.
The Dutch enter, guns drawn.
125INT. HYATT HOTEL - ROOM 718 - DAY 12
Over the INTERCOM, Electra can hear them entering the
room, moving about.
ELECTRA
Close the door.
126INT. HYATT HOTEL - ROOM 942 - DAY 126
As one of them pulls the door shut...
127 INT. HYATT HOTEL - ROOM 718 - DAY 127
Electra can hear it bang shut.
ELECTRA
First, I need a ten thousand
dollar deposit.
REMY (V.O.)
(TV)
That wasn't the agreement.
128INT. HYATT HOTEL - ROOM 942 - DAY 128
The computer screen goes blank.
ELECTRA (V.O.)
We have nothing more to discuss.
Good-bye.
REMY
Wait, wait. Okay.
A beat, the screen turns back on.
ELECTRA (V.O.)
Here's today's menu.
The screen fills with file names. Number 2 reads, nods
his approval. Remy inserts a blank disc.
Guns are drawn, aimed as a BEEPING sounds from the wall.
From the A/C vent.
ELECTRA (V.O.)
I believe you'll find a screwdriver
on the table.
Cautiously, Number 3 picks up the screwdriver, undoes the
screen which is now backlit. Electra's remote dump truck,
a flashlight and pen-sized camera taped on the
cab roof. As the Dutch exchange a look...
129 INT. HYATT HOTEL - MAINTENANCE OFFICE - DAY 129
Rath has narrowed his search to three individuals who
each hold two rooms apiece. Clark, Rogers and Katz.
Rath selects K. Katz. Rooms 718 and 942. He switches to
room service charges. In two days nothing on 942 -- not
even a phone call, but...
RATH
(reading)
Room 718. Coffee. Coffee.
Coffee. Coffee. Tuna fish.
Reaching into a pocket, he pulls out and unfolds a print-
out of the green cat eyes. MEOW@comsat.next.
RATH
Meow.
30INT. HYATT HOTEL - ROOM 718 - DAY 130
Manipulating a joystick, Electra watches an air duct
view pass by on a Sony Watchman.
131 INT. AIR DUCT - DAY 131
The dump truck rolls carrying a $10,000 payload. It
turns at one branch, turns left at another. Ahead, a
square hole opens up where a third branch goes vertical.
Just when we think a catastrophe will occur, the truck
stops, eecutes a DMV 3-point turn. It backs to the edge
of the hole. The truck bed angles back as it dumps.
132 INT. ROOM 718 132
Electra smiles as ten thousand dollars drop out of the
vent and onto the carpet.
ELECTRA
I'm going to format your disc,
orient it to receive the data.
Electra begins typing.
133 INT. HYATT HOTEL - ROOM 942 - DAY 133
The Dutch watch a little clock tick away on the laptop
screen as this is done.
134 EXT. 9TH FLOOR HALLWAY - DAY 134
Not far from 942, an attractive couple pause to begin
kissing in a corner. Overwhelmed, they can't keep their
hands off each other.
135 INT. HYATT HOTEL - ELEVATOR - DAY 135
Rath gets in, his fingers deciding between the ninth and
seventh floors. He presses one, but we don't see which.
As he starts up.
136 INT. HYATT HOTEL - ROOM 942 - DAY 136
Remy watches as file names start to appear on the
computer screen.
137 INT. HYATT HOTEL - ROOM 718 - DAY 137
Electra continues to send information.
138 9TH FLOOR HALLWAY - DAY 138
Here comes Bain. Resolute, but excited at what's about
to happen. He passes the couple. They don't see him or
they don't care. But as Bain gets a few steps past...
He wheels, raises the SILENCED .22 and FIRES. The
couple crumple, both head shots. He drags them into a
stairwell.
139 INT. HYATT HOTEL - ROOM 718 - DAY 139
Electra types.
140 INT. 9TH FLOOR HALLWAY - DAY 140
Bain leans over the bodies of the attractive couple.
Amazingly, he relieves them both of silenced 9mm
pistols. What the hell's going on?
Bain steps to the middle of the hall. Watching several
doors at once, he takes out a cellular phone, punches
in a number, then hits send.
141 INT. HYATT HOTEL - ROOM 942 - DAY 141
A very LOUD BEEPING sounds! After a confused moment,
Remy reaches into his pocket, pulls out the slim BEEPER
Bain deposited there.
They barely have time to exchange a look before the room
door blasts open and Bain enters, both the .22 and one
of the 9mm's BLAZING.
The Dutch try to return fire, but Bain has them. As
he EMPTIES both GUNS...
142 INT. HYATT HOTEL - ROOM 718 - DAY 142
Electra looks up from her typing, listens to the odd
thwapping and grunting coming over the INTERCOM SPEAKER.
She stops typing.
43INT. ROOM 942 - DAY 143
Bain checks Remy's wallet. Finds a badge.
BAIN
Interpol?
Bain pauses, but then shrugs it off. No time to worry
about it now. He looks to the dead Dutchmen.
BAIN
No more worries. Suena con los
angelitos.
ELECTRA (V.O.)
What's going on there?
Bain spots the intercom. Then he sees the laptop screen
flashing: He realizes the transmission is incomplete.
ELECTRA (V.O.)
Hello?
BAIN
Please complete the transmission.
144 INT. ROOM 718 - DAY 144
Electra's momentarily flustered.
ELECTRA
(starts typing;
stops)
Who is this?
She hears no answer. Electra begins erasing all of the
information she has sent.
145 INT. ROOM 942 - DAY 145
Bain sees the information begin to disappear line by
line -- he frantically tries to save some of it.
BAIN
I'm going to tear your heart out.
146 INT. ROOM 718 - DAY 146
Sudden fear washes over Electra. Flipping down her sun-
glasses, she grabs her duffel bag, picks up Pearl, pulls
the disc. But as she turns to the door...
SLAM! It bursts open and she's staring right at a
silenced .22. Rath is here, quite obviously there to
kill her. But maybe surprised she's a woman.
ELECTRA
Don't...
147 ROOM 942 147
Now it's Bain's turn to listen.
BAIN
Don't what?
(realizes)
Rath? Is it you?
148 ROOM 718 148
Keeping the gun on Electra, Rath looks at the intercom.
Doesn't answer.
149 ROOM 942 149
But Bain is sure. He picks up the remote, switches on
the room TV.
BAIN
It is you...
150 ROOM 718 150
Gun still aimed, Rath holds out his hand, whispers...
RATH
The disc.
She fumbles, holds it out with a wildly trembling hand.
Rath takes it.
151 ROOM 942 151
Bain accesses (on TV) the hotel's in-room checkout
system.
BAIN
You checked out that move, didn't
you? Black queen to king's
bishop 4?
152 ROOM 718 152
Bain is getting under Rath's skin. As his finger
tightens, Electra is frozen in fear.
BAIN (V.O.)
You got a move for me, Rath?
Electra tries to say something, but can't give volume to
the words. Rath reaches over, takes off her sunglasses.
She blinks at him. As a tear streaks her cheek...
153 ROOM 942 153
On the TV checkout, Bain has the room charge for 942 and
the fact it's coupled with the charges for room 718.
BAIN
It's like chess. What's your move?
Is she alive? Did you kill her?
Are you there, sweetie?
And Bain slips silently out of the room.
154 ROOM 718 154
BAIN (V.O.)
Is she dead yet, Rath? I took
care of business on my end.
What about you? Come on. Pull
the trigger. Kill her.
Electra closes her eyes. Rath turns his aim from her
to the INTERCOM, FIRES. As it bursts into a hundred
pieces.
155 7TH FLOOR HALLWAY 155
Bain steps out from the stairwell, silently sprints to...
156 ROOM 718 156
Bain enters with a military roll. It only takes an
instant to realize... Rath and Electra are gone.
156A INT. PARKING GARAGE - DAY 156A
Electra and Rath step off the elevator. She wears her
jacket, carries her computer and porta pet. He holds
her arm, keeps the gun at her side.
RATH
Where's your car?
ELECTRA
I don't know.
The Attendent (seen earlier) steps over, eagerly points
out her Mustang.
ATTENDENT
It's right here, Miss.
As the Attendent hurries over with the keys...
RATH
I guess a black Chevy would have7 A
stuck out too much.(-
157 EXT. HYATT - MUSTANG CONVERTIBLE - DAY 157
The Mustang zooms out of the parking garage, bottoms
out at the top. Electra's behind the wheel. Rath rides
shotgun, watching the hotel for trouble. Pearl in her
porta-pet in the back.
158 EXT. STREET - MUSTANG (MOVING) - DAY 158
Electra is terrified. We now learn she talks when she's
nervous.
ELECTRA
I always thought I was going to
die in a bus crash. Isn't that
dumb? The odds are like five-hundred
million to one. You know what the
odds of meeting a stranger who's a
murderer? One-thousand to one.
Holding the .22, Rath just stares at her.
ELECTRA
I think I've been worrying about
the wrong statistic.
RATH
If I was going to kill you, you'd
be dead already.
As Electra speeds up...
159 INT. ROOM 718 - DAY 159
Bain tears the room apart. Pulls open drawers, overturns
the mattress. He wants that disc. But the room has been
cleaned out. Then he spots it. Electra's computer
carrying case -- in haste forgotten -- on a chair. F
Electra's jacket -- in haste forgotten -- draped over a
chair.
Rifling through it, he finds the photos Electra had of
Pearl. Bain flips through them. Nothing, but Pearl.
Inside, outside. But Bain flips back one. A
Pearl outside. Bain's finger jabs down on something in
the background. Three TV transmit towers. Bain strides
to the window, looks out...
159A BAIN'S POV - CITY 159A
Scanning, spots it. In the distance, three radio towers.
159B BACK TO BAIN 159B
Smiling. He shoves the picture in a pocket, hurries out.
60INT. MUSTANG - ROLLING - DAY A 160
ELECTRA
Who the hell are you?!
RATH
I work for the government.
ELECTRA
Bullshit.
(turning)
Where are we going?
RATH
Just drive.
Electra hits the gas. The MUSTANG ZOOMS. 40, 50...
Rath takes her laptop from the backseat. He plugs it
into his cellular, punches a number in. Rath types in
the access code sequence. The system comes on line.
Contractor: This is not a scheduled call, Robert.
60 mph... Electra begins to slalom between cars. Rath looks up as he types.
RATH
Watch your speed.
Rath: He was there again.
Contractor: Shut down. We'll talk at the scheduled time.
The system shuts down. 70 mph...
RATH
Slow down!
ELECTRA
I can't.
Rath reaches over with his foot, starts to brake them.
ELECTRA
What about the other guy? Does
he work for the government, too?
Rath just gives her a look, takes his foot off the brake.
They've slowed considerably.
ELECTRA
It's between you and him, right?
Just leave me out of it.
RATH
We can't. You're the mark.
A chilling thought. Across a wide median, she sees a
bus pulling up to a bus stop. Ahead, the light turns
red.
161 OMITTED 161
162 EXT. STREET - DAY 162
Electra moves to slow down, but at the last second she
accelerates, rear ends the car ahead. Electra is braced,
but Rath slams the dash.
Electra takes the keys, leaps out of the car. Grabbing
the porta-pet, she dashes across the median. Rath is
quickly after her.
Electra nears the bus which is taking on the last of its
passengers. As she looks back over her shoulder, she
slams into a man, drops the porta-pet.
Rath is closing. There's no time. Acting on survival
instincts, Electra leaps onto the bus. It's away just
as Rath arrives.
163 INT. BUS - ROLLING - DAY 163
Electra hurries to the back, stares out the window.
In the receding distance we see Rath and the porta-pet in
the street. She's escaped, but at what cost?
ELECTRA
Oh, Pearl... Sorry.
164 EXT. BUS STOP - DAY 164
As an IRATE MOTORIST shouts "car insurance," Rath ignores
him, carries Pearl back to the Mustang. He gets inside,
checks the glove box -- nothing. But reaching under the
seat, he pulls out a paper bag with cat food inside. The
bag is printed: Prize Pets. With an address.
165 EXT. PRIZE PETS - DAY 165
A local mom & pop operation. As the Mustang pulls up...
166INT. PRIZE PETS - DAY 166
An OLDER WOMAN looks up as Rath approaches the counter.
But she's not looking at Rath.
OLDER WOMAN
Pearl! How are you, dearie?
Where's Mama?
Holding the cat in his arms, Rath smiles.
166A EXT. ELECTRA'S BUILDING - DAY 166A
Three towers in the background. A car pulls into an
assigned spot. "Bob" gets out, heads into the building.
167 INT. ELECTRA'S LIVING ROOM - DAY 167
Electra packs. No rhyme or reason. She just tosses
stuff into her bag. As she moves into the bedroom, we
STAY here. The monitors are on. Bob enters Jennifer's
apartment.
167A EXT. ELECTRA'S BUILDING - DAY A 167A
Bain steps up, smiles at the towers. There are three
cars in the lot. He walks along, placing a palm on the
hood. Seeing which engine is warm. Bob's. Noting the
apartment number on the space, Bain heads inside.
168 INT. JENNIFER'S APARTMENT - LIVING ROOM - DAY 168
Bain enters, begins looking through the room, after the
disc.
169 OMITTED 169
170 INT. JENNIFER'S APARTMENT - BEDROOM - DAY170
Bob hears the sound, thinks the wrong thought.A
BOB
Jenn?
Bob hears FOOTSTEPS coming down the hall. As they near
he door...
BOB
I love you.
Bain is there, filling the doorway.
BAIN
That's sweet.
171 INT. ELECTRA'S LIVING ROOM - DAY 171
Bag packed, Electra steps out from the bedroom. She
stops short at the sight of the monitor.
Bain raises the .22, Bob's eyes widen. As he steps back,
Bain steps forward.
BOB (V.O.)
(on TV)
Who are you?
BAIN (V.O.)
(on TV, advancing)
You'll never know... Romeo.
Bob backs right into the walk-in closet. Bain follows.
The SILENCER WHISPERS and BOB THUMPS to the floor.
171A JENNIFER'S BEDROOM 171A
Bain takes in the room. Breathes it in. Something
catches his eye. A smoke detector on the ceiling. He
stands on the bed.
171B BELECTRA'S LIVING ROOM 171B
Electra's mouth open, but no sound comes out as Bain's
face suddenly looms right into the monitor. Distorted,
his face right in the camera.
172INT. JENNIFER'S APARTMENT - BEDROOM - DAY 172
Standing on the bed, Bain pulls the detector housing
should be. He pokes at it. A warped smile as he
realizes what it is.
173INT. ELECTRA'S LIVING ROOM - DAY 173
BAIN (V.O.)
(on TV)
You sick little bitch.
Electra turns to get out, stops short at MEOW. PEARL
trots into the room. Electra scoops her and Rath is
there. He spots Bain on the monitor, draws his .22. She
flinches.
RATH
Where is he?
Electra points to the floor. The screen goes to snow as
Bain reaches, yanks the smoke detector from the ceiling.
Rath grabs Electra and they're out of there.
174 EXT. MUSTANG (PARKED) - DAY 174
Up the street, the front end smashed. Rath gets Electra
and Pearl inside.
RATH
Wait for me at the pet shop.
She nods.
Without another word, Rath heads back. Electra STARTS
the car. Smoke pinwheels off the tires as she roars off.
175 INT. JENNIFER'S APARTMENT - LIVING ROOM - DAY 175
Leading with the .22, Rath enters. Every nerve is
tingling as he steps into...
176 JENNIFER'S BEDROOM 176
Rath steps in. No Bain. Rath spots the plaster torn
from the ceiling, Bob's legs visible through the closet
door. Rath steps over. As he kneels to take a pulse, he
hears FOOTSTEPS OVERHEAD. In Electra's apartment.
177 INT. ELECTRA'S LIVING ROOM - DAY 177
Two discs on the coffee table. Bain scoops them, runs
them through his scanner. Red lights flash. Not the
ones he wants. He tosses them aside.
178 EXT. NEIGHBORHOOD STREET - MUSTANG (ROLLING) - DAY 178
Electra slows for a stop sign. Continuing, she passes
Jennifer going the other way. Headed home. Oh no!
Electra looks back over her shoulder. She makes a
decision.
A HORN BLARES. Electra brakes, looks ahead where she's
come inches from a head-on collision.
She throws it in reverse, nearly hits a car coming up
from behind. More HORNS.
Back to drive, Electra hops the curb, driving over a
circular median and knocking down a "Slow" sign as she
turns around.
179 INT. ELECTRA'S BUILDING - 2ND FLOOR HALLWAY - DAY 179
Gun drawn, Rath makes his way, enters.
180 INT. ELECTRA'S APARTMENT - LIVING ROOM - DAY 180
No Bain. Rath moves silently toward...
181 ELECTRA'S BEDROOM 181
Bain searching the place. Holding his .22, he picks up
a bottle of perfume, takes a whiff, smiles.
BAIN
Jasmine...
In the dresser mirror, Bain spots Rath enter behind him.
Dropping the perfume, Bain wheels, FIRES!
A MIRROR on the back of the door SHATTERS and Rath is
gone. Or at least his image.
Guessing. Bain starts FIRING in a moving pass across
the wall. The SILENCER makes it almost surreal.
182 LIVING ROOM 182
Rath runs, just a step ahead of the BULLETS which BURST
from the wall behind him. Diving, he rolls into the...
183 KITCHEN 183
Coming out of the tuck and roll, Rath slams into the
stove, rocking it two feet across the floor.
He looks up at the gas line inches over his head.
184 LIVING ROOM 184
Slapping in a new clip, Bain leaps out, sees that Rath
must be in the kitchen. Bain aims, but stays where he
is.
BAIN
You're getting slow, Abuelo.
RATH (O.S.)
I'm not the one shooting at mirrors.
185INT. JENNIFER'S APARTMENT - BEDROOM - DAY 185
Home, Jennifer stops short when she sees plaster every-
where. Looking up, she sees the cable snake up to the
hole in Electra's floor. Unfortunately, she doesn't see
Bob. Furious about the mess, she hurries out of the
room.
186 INT. ELECTRA'S LIVING ROOM - DAY 186
Where Bain is edging his way toward the kitchen.
That's when Jennifer storms in.
JENNIFER
Who the hell are you?
She stops short at the sight of Bain's .22.
BAIN
(whispers; wants)
The disc.
A frozen moment before she bolts for the door. Bain
FIRES. As Jennifer falls, Bain makes a critical error.
BAIN
(at kitchen)
I beat you to the buyers and now I
beat you to the mark. I'm starting
to think I picked the wrong guy to
be my hero.
187 INT. KITCHEN 187
Rath wonders who Bain shot. Out the window, he sees
Electra pull up in the Mustang, run for the building.
188 LIVING ROOM 188
Bain waits for an answer, doesn't get one.
BAIN
You know it's my birthday today,
Rath? It's true. Today I become
number one.
Picking up a big shard of mirror, Bain inches his way to
the kitchen door. It's blind; no view at all.
189 STAIRWELL 189
Electra makes her way up.
190LIVING ROOM 190
Bain tosses the MIRROR SHARD against the open kitchen
door.
It BREAKS into pieces, one of them a leaner. They give
Bain a full view of the kitchen. Rath isn't there.
BAIN
You got a present for me, Rath?
191 KITCHEN 191
Tense as a steel spring, Bain steps inside. There's
another doorway in the far corner. Bain moves for it,
then stops short at a HISSING in the air. Framed by the
window behind him, Bain sniffs, whips a look over to the
stove where the GAS LINE is wide open.
A trail of liquid leads from the kitchen to a back hall.
Bain whips a look that way where we hear the distinctive
sound of a MATCH BEING STRUCK.
192 HALLWAY 192
RATH
Make a wish.
Rath discards a bottle of brandy, sets the burning match
into the trail of liquid. As it ignites, he rushes back,
comes face to face with Electra. He dives for the floor,
takes her with him.
193 KITCHEN 193
The flame trail zips in. Bain flips the kitchen table on
its side, ducks behind it as the AIR BURSTS INTO FLAMES.
The table is driven back by the force.
194 EXT. ELECTRA'S APARTMENT - SECOND FLOOR - DAY 194
Bain hurtles back through the kitchen window, followed by
a huge fireball and lots of debris.
195 INT. APARTMENT BUILDING - HALLWAY - DAY 195
Rath rises, motions Electra to wait. Smoke is
everywhere.
196 INT. KITCHEN - DAY 196
A few flames, but there's not much left to burn. Rath
peeks around the corner. Bain isn't here. We can see
the ground below as well. There is debris everywhere
but Bain is gone. Rath sees Jennifer's body in the door-
way. He checks to see if she is alive.
197 ELECTRA'S BUILDING - STAIRWELL 197
Leading with his .22, Rath tries to lead Electra out,
but she doesn't want to go. She has other things to
consider.
ELECTRA
Wait. Jennifer.
Rath looks at her, shakes his head. Jennifer didn't make
it. Turning her gently, they continue down.
198 EXT. MUSTANG - PARKED - DAY 198
Electra and Rath make it to the car. Distraught, she's
still staring back as he gets her inside.
198A INT. MUSTANG - DRIVING - DAY F A198A
Electra's neighborhood. Rath drives away. He glances
over at Electra who sits clutching hold of Pearl. In
shock over Bob and Jennifer, she's withdrawn into her-
self. Rath knows there's nothing he can say so he keeps
quiet and drives.
198A EXT. CHAIN HOTEL - NIGHT 198A
The Mustang drives up. Rath is at the wheel.
199 INT. CHAIN HOTEL ROOM - NIGHT 199
Electra enters ahead of Rath.
She sets her bag down, lets Pearl out of the porta-pet.
Feeling like a prisoner, she sits in a chair in the
corner. Pearl jumps up in her lap.
Rath gets a quick feel for the room. After checking the
view out the window, he draws the curtains.
Rath takes off his jacket. Pulling off his shoulder
holster, he sets the rig on the coffee table, then sits
in a couch opposite Electra. The gun is halfway between
the two. Electra does her best to be nonchalant, but
she's well aware of the fact.
May be the very first time we've seen Rath rela. Pearl
jumps to the carpet, pads her way toward him.
ELECTRA
Pearl.
Ignoring her owner, Pearl leaps up, settles into Rath's
lap. As he scratches her ears...
ELECTRA
Here, girl.
Electra snaps her fingers, but PEARL just closes her
eyes, begins to PURR. Electra is not happy about this.
RATH
She likes me.
ELECTRA
She likes dead fish, too.
As Rath looks down at the cat, Electra looks at the gun,
measuring the distance with her eyes.
ELECTRA
What do you call yourself?
RATH
Robert Rath.
ELECTRA
Yeah, sure. Call me Electra...7 F
So, are you one of them?
RATH
Used to be.
(checks watch)
Retired.
ELECTRA
Pardon me if I don't believe you.
RATH
If I was going to kill you, you'd
be dead already.
She pretends to look away, but as Rath looks down at
Pearl, Electra lunges for the gun.
He never moves or even blinks an eye. He just watches as
she struggles a moment to free the .22 from its holster.
She realizes, suspects the worst.
ELECTRA
What? It's not loaded?
RATH
It's loaded.
ELECTRA
I could shoot you. I could be
500 miles away by the time they
find you.
Electra keeps the gun on him, but can't shake the feeling
he's got the upper hand. A long silence.
Rath scratches Pearl's ears.
ELECTRA
Stop it. She doesn't like it.
PEARL begins to PURR.
RATH
Afraid you'll hit the cat?
Rath sets Pearl down, looks back to Electra. Waits.
Without warning she starts squeezing off ROUNDS. A LAMP
EXPLODES on one side of Rath. Two tufts of stuffing
erupt from the couch on the other side. Rath doesn't
move.
ELECTRA
(steps forward)
You think letting me get this gun
was a mistake, don't you? You
think I'm afraid. Don't you?
She FIRES just over his head; the round digs the wall.
ELECTRA
You don't know shit about me!
RATH
You're wrong. I --
ELECTRA
Shut up!
A final step, she levels the gun at Rath's face.
ELECTRA
This was supposed to be a good day.
A payday. Forty grand. I was
going to get Pearl a boyfriend.
Now two people are dead. I'm
almost dead.
(a beat)
I'm in way over my head, Rath.
I just want out.
For the first time really, she looks into his eyes. Her
hand begins to tremble. The gun barrel shakes.
RATH
You have the gun. The keys are
on the dresser. Go.
Electra covers Rath as she steps over to the dresser,
scoops up the keys. Her next words are more to reassure
herself than to convince Rath.
ELECTRA
I don't have a social security
number, a driver's license. I
barely remember my real name.
I'm a ghost; I can disappear.
RATH
I found you. So did he.
ELECTRA
I want my life back. Please,
that's all I want.
Rath shakes his head.
RATH
I'm sorry.
Electra's finger tightens on the trigger. Suddenly,
jerking her arm left, she FIRES a wild shot. A CRASH
as a cheap print is obliterated by the bullet.
Electra lowers the gun limply to her side, lets it drop
to the carpet.
ELECTRA
I need to be alone.
(a beat)
I haven't spent this much time
with someone in years.
?PNear tears, Electra moves blindly for the bathroom, Pearl
at her heel. As Electra closes the door behind her.
RATH
Neither have I.
He closes his eyes, listens as we hear her begin to CRY.
199A INT. BATHROOM - NIGHT 199A
Her back to the door, Electra slides slowly to the floor
as she cries. Hugging her knees to her chest, it gets
worse. A lonely, desolate moment. As PEARL MEWS...
200 EXT. CITYSCAPE/INT. PAYPHONE - NIGHT 200
A twinkling panorama. We PAN ACROSS TO a computer
screen. A cursor blinks to life as...
Contractor: What went wrong, Miguel?
We're at a payphone booth. Bain has hooked his laptop
into the payphone wiring.
Bain: Nothing. I retired the buyers. And the
seller.
Contractor: The disc?
Cain: Rath has it. He's a difficult mark.
Contractor: Rath isn't the mark. THE DISC.
Bain is taken aback by this response. He's not used to
being criticized.
Bain: You'll get it.
A long pause. Even Bain notices. The Contractor is
never this reticent. Finally...
Contractor: You had your chance. The contract has
been reassigned.
BAIN
What?! No lo puedo creer!
Bain is in a rage as he types...
Bain: Fuck you.
Contractor: That's no way to talk to a lady.
BAIN
I don't care what you are --
Bain hits the repeat key. "Fuck you's" flash across the
screen. As the Contractor logs off, Bain slams his fist
against the glass of the booth.
201 INT. CHAIN HOTEL ROOM - NIGHT 201
Rath is at his desk conversing with the Contractor.
Electra must still be holed up in the bathroom.
Rath: I have the disc.
Contractor: You're still the best, Robert.
RATH
Then who's this kid?
Rath: I'd like the two million in cash.
Contractor: Where do you want to make the trade?
202 INT. CHAIN HOTEL - BATHROOM - NIGHT 202
Freshly showered, Electra looks better. Drying her hair,
she sees that Pearl is peering into the toilet.
ELECTRA
How many times have I told you?
Pearl paws down the trip handle. The water swirls. As
she leans down to drink...
203 INT. CHAIN HOTEL ROOM 203
Rath watches the late news. Troubled, he holds the disc.
The bathroom door opens and Electra emerges. She watches
over his shoulder.
ELECTRA
What did they say about the dead
guys at the Hyatt?
RATH
Nothing.
ELECTRA
I don't need details, just in
general.
RATH
Nothing.
ELECTRA
That's impossible.
RATH
No. Not if...
ELECTRA
Not if what?
RATH
They were C.I.A. Or Interpol.
Rath CLICKS OFF the SET as the "Weather" comes on. He
considers the disc. Rath has a hunch, but wonders if he
really wants to know.
RATH
What's on this?
ELECTRA
It's encrypted. Breaking the
code on my laptop could take two,
maybe three hundred years.
RATH
I thought you were a genius.
ELECTRA
I am. In fact, I was the best.
RATH
Was?
ELECTRA
I'm retiring, too.
(re: disc)
I wish I had an insight, but it
was all anonymous. Just an
intercepted satellite
transmission.
Rath knows that in this case, ignorance is bliss.
Rath stands, goes into the bathroom.
Electra steps over to the bed. The blanket has been
"turned-down." Two chocolate mints rest on the triangle.
ELECTRA
There's only one bed. I guess you
picked up on that.
Rath exits the bathroom, rolling two towels together.
RATH
It's all yours.
ELECTRA
You want the couch?
Rath sets the roll on the floor. He switches on a
ceiling light directly over it. Electra watches, under-
stands, but teases.
ELECTRA
What's that, a trick of the trade?
So you don't get too comfortable?
(off no answer)
Why don't you just tie a string
from your toe to the doorknob?
RATH
(doesn't think
twice)
The door opens in.
Rath reenters the bathroom; Electra can't help but smile.
204 BATHROOM 204
Rath sits on the toilet seat and looks at his reflection
in the mirror. He's not quite sure he knows who he's
looking at. Sensing someone else, he looks down to where
Pearl stares up at him.
205 CHAIN HOTEL ROOM 205
Electra is in bed. The lights on her side of the room
are off. Rath passes.
He kicks off his shoes, sits on the floor. He sets the
.22 down, stops short. Electra has set one of the "turn
-down" chocolates on his towel. Rath picks it up. He
lies on his back, stares at the ceiling. On her side,
Electra faces the other way. As Rath unwraps the
chocolate...
ELECTRA
Thanks.
RATH
For what?
ELECTRA
I don't know. Saving my life I
guess.
A long moment of silence before...
RATH
How'd you like to make a million
dollars?
ELECTRA
What do I have to do?
(looks over)
Nothing cheap I hope.
Rath smiles. As he pops the chocolate into his mouth...
206 EXT. DOWNTOWN STREET - MUSTANG - DAY 206
Electra behind the wheel, in sunglasses and a kerchief.
Rath in the passenger seat as they pull up to the curb.
RATH
Follow our plan. And if I don't
show...
ELECTRA
I know. Split!
Rath barely nods. Reassuring a woman is a skill he never
had. He takes the laptop from the back, casts about the
front seat for something he can't find. Electra holds up
the disc. He reaches, but she doesn't give it to him.
ELECTRA
In ten minutes you'll have two
million dollars and no reason to
come back. I ditched you. I
really didn't know you that well
at the time, but who knows, maybe
you hold it against me and --
Rath gently crosses her lips with two fingers. Then,
with absolute finality:
RATH
Partners.
She gives him the disc. Rath gets out of the car.
Electra watches as he disappears, swallowed by the crowd.
ELECTRA
Be careful... Partner.
Electra drives on.
207 EXT. MONORAIL STATION - DAY 207
Carrying the laptop, wearing sunglasses, Rath boards a
northbound monorail. The doors shut and it glides away.
208 EXT. STREET BELOW MONORAIL - DAY 208
As the monorail moves along above, the Mustang follows
below. Her eyes looking up, Electra nearly rear ends a
car slowing for a left turn. As she swerves around it.
209 INT. MONORAIL CAR - DAY 209
Rath sits, his back to the window. Turning on the
computer, he inserts the disc. A list of file names
scroll across the screen.
210 EXT. MONORAIL TRACKS - DAY 210
Two tracks run parallel. The northbound train slows as
it nears a southbound. Reaching a station, the two
trains stop directly across from each other.
ANGLE BETWEEN TRAINS
Two facing doors open. Rath stands, partly concealed
behind one. A courier behind the other. He holds up an
open briefcase. Inside: 20 stacks of banded $1000
bills.
Rath, his face hidden, holds up the laptop, the screen
visible. The laptop and briefcase are both closed.
ANGLE ABOVE TRAINS
All we see are hands as the briefcase is exchanged for
the laptop. As both trains continue on their way.
211 INT. MONORAIL CAR - DAY 211
Rath holds the briefcase in his lap. It feels good.
211A ANGLE ON WATCHER 211A
His back to Rath, reading the paper. But watching Rath
from a piece of reflective tape on the inside lens of
his glasses.
212 EXT. MUSTANG - DAY 212
Electra drives, falling behind. As the light turns red
ahead, she swerves 'round traffic, shoots through the
intersection inches ahead of the cross traffic.
213 INT. MONORAIL CAR - DAY 213
Picking his spot, Rath pulls down on the emergency stop
cord. The monorail lurches to a stop.
Rath grabs the release handle on the door, pushes it
open.
214 EXT. MONORAIL CAR - DAY 214
Briefcase in hand, Rath leaps, lands on the roof of a
neighboring business.
214A INT. MONORAIL CAR - DAY 214A
The Watcher stands, but the doors close. True to his
name, he can only watch as...
215 EXT. BUSINESS BUILDING - DAY 215
Rath swings himself over the edge of the roof, drops down
to the street below.
215A OMITTED 215A
thru thru
215F 215F
215 INT. MONORAIL CAR - DAY 215G
As the monorail continues, the Watcher loses sight,
doesn't see as...
215H EXT. BUSINESS BUILDING - DAY 215H
Rath's only just gotten to his feet when the Mustang
pulls up, RADIO BLASTING. Rath hops in and they tear
off.
216 EXT. MUSTANG - DRIVING - DAY 216
Rath grabs the briefcase from the back.
ELECTRA
It's in there?
Rath nods. As he swings the briefcase onto his lap, the
RADIO LOSES RECEPTION.
Rath frowns. He moves the briefcase away and the
RECEPTION RETURNS. Rath looks around them. Pedestrians
everywhere.
RATH
Turn left!
Hearing his urgency, Electra turns.
217 EXT. SIDE STREET - DAY 217
Deserted. Rath heaves the BRIEFCASE up with all his
might. It soars straight into the air. EXPLODES! As
the air fills with shredded money...
218 EXT. MUSTANG - DAY 218
Electra slams on the brakes. As she starts to get out,
Rath holds her back.
ELECTRA
But the money.
RATH
Go.
The street behind them is already filling with instant
lottery winners.
218A INT. MONORAIL CAR - DAY 218A
The Watcher hears the REVERBERATION, watches smoke rise
in the distance. He takes out a cell-phone, speed dials.
WATCHER
(into phone)
There's been an explosion.
He flips it shut.
218B INT. MUSTANG - DAY 218B
They continue. Rath with quiet resolve.
RATH
No money. No disc.
Though shaken, Electra suddenly smiles like the cat who
ate the canary. Rath catches the look.
RATH
What?
ELECTRA
I wasn't sure you'd come back.
This morning I switched discs.
All they got was a list of file
names. Bupkis.
Electra holds up the real disc. Rath can't believe it.
ELECTRA
Zero, a goose egg, jackstraw, ni,
nada, zot, zilch, squirt, a dry
hump, diddly squat.
(a beat)
I read a slang dictionary once.
RATH
Keep reading.
ELECTRA
Your contractor just tried to kill
you. That's not good.
Rath nods. He takes the disc from her, considers it.
219 OMITTED 219
thru thru
223 223
223A INT. MUSTANG - PARKED - DAY 223A
MOVE WITH Electra. Carrying a paper bag, she exits a
gourmet market and crosses the street to the Mustang.
Rath waits with Pearl and his computer.
As Rath sets up his computer, Electra treats Pearl to
some caviar.
ELECTRA
Do you know that caviar is not a
Russian word?
RATH
Ikra. It's ikra.
ELECTRA
(surprised)
How did you know that?
No answer. There is a very particular reason that he
knows this. She watches him as he types in his access
code. Finally, Rath looks over at her.
RATH
I had a friend... Nicolai. He
told me.
ELECTRA
Had?
RATH
Fifteen years ago. He was taken.
ELECTRA
Killed?
Rath nods. Before Electra can delve any deeper, the s
COMPUTER TERMINAL BEEPS. Words appear.
Contractor: Robert, is that you?
RATH
That's right, you sonuvabitch,
I'm still alive.
Rath: I still have the disc.
Contractor: We can make new arrangements.
Rath plays it cool.
Rath: The price has changed.
WIDEN to show Electra watching over Rath's shoulder.
RATH
Let's see just how valuable he
thinks it is.
Rath: $20,000,000.
ELECTRA
Twenty million?! That's insane!
RATH
May well be.
They wait as the screen remains, unchanged. The
Contractor is thinking it over.
ELECTRA
Where do you think this person is
right now? A mile from here? Ten
thousand?
RATH
I never thought about it. Until
now.
ELECTRA
You quit your job. You're
having thoughts you never had
before. Sounds like a mid-life
crisis to me.
RATH
Yes. You're it.
Rath smiles. The cursor flashes. The answer is coming.
Contractor: It will take two days to arrange the
transfer. What's the bank code and
account number?
Pulling out a small notebook, Rath checks a bank account
number.
ELECTRA
I don't believe it. Twenty million
and he wants to know what the
account number is.
(a long beat)
Partners?
Rath nods, types in the information.
ELECTRA
(almost in tears)
Ten million each!
RATH
Eight. The bank'll take twenty
percent.
ELECTRA
It's that kind of bank, huh?
Rath STARTS the CAR. As they pull away...
RATH (V.O.)
You have a passport?
ELECTRA (V.O.)
Twelve. Where are we going?
224 OMITTED 224
224A EXT. AIRPORT - DAY 224A
As the plane lands in the b.g., Bain types on his
computer. It's set on the hood of his car. Bain looks
at the screen as...
Contractor: Miguel? Are you there?
Bain lets the Contractor sweat.
Contractor: You know what I want?
Bain pauses, types his one condition:
Bain: Say please. A long beat. Bain watches with satisfaction as the
letters appear one-by-one: P-L-E-A-S-E.
HARD CUT TO:
225 EXT. CARIBBEAN - LATE DAY 225
Aquamarine that can only be the Caribbean. Without
warning we WHIP UP OVER a sea wall, CLIMB hard ABOVE the
ruins of a colonial Spanish fort. HIGHER and a modern
city spreads out below us.
The CAMERA DROPS, CLOSES ON a beat-up local tai. As it
bounces over blue cobblestones...
RATH (V.O.)
The Hotel Paraiso por favor.
226 INT. LOCAL TAI- DAY (LATE AFTERNOON) 226
Rath and Electra sit in the back, both in sunglasses.
Electra looks out the window, taking everything in. But
Rath stares straight ahead. He's been here before.
227 EXT. HOTEL PARAISO - PLAZA COLON - LATE DAY 227
The cab stops at a four-story, boarded, blackened husk.
It's surreal, truly the shadow of its former glory.
RATH
(shocked)
The Paraiso. Why didn't you say?
CABBY
(thick English)
You didn't ask. Fire, Senor.
Years ago. There was no money to
rebuild.
Rath gets out, stares up at the hotel. Electra is out
behind him. Her attention drifts to the people around
her, the bustle on the plaza.
Rath only has eyes for a third-story Paraiso window.
Electra looks at the International Bank across the way.
It's a beautiful old building, the ornate black iron bars
on the windows in great contrast to the white-washed con-
crete walls.
ELECTRA
Is that the bank? Is that where
our siteen mil is?
Rath isn't listening. He's somewhere else. She follows
his gaze to a hotel third-story window. It's spooky.
ELECTRA
What's up there?
RATH
He'll be.
228 OMITTED 228
thru thru
229 229
229A INT. HOTEL PARAISO - ATRIUM COURTYARD - LATE DAYA 229A
A ruins. Spooky even in the daylight. Rath and Electra
enter.
She looks around, taking the place in. Rath gestures her
toward a rickety stairwell. Up they go.
229B INT. HOTEL PARAISO - THIRD FLOOR HALLWAY - LATE DAY 229B
TIMBERS CREAK as they make their way down. Rath takes
Electra's arm, guides her 'round a hole in the floor.
They're going to a bad place.
229C INT. HOTEL PARAISO - ROOM 302 - LATE DAY 229C
They enter. Electra looks about as Rath goes to the
window. Pulling back on a decrepit shutter he looks
across the plaza and remembers.
229D FLASHBACK - EXT. PLAZA COLON - DAY (1980) 229D
The black and white of the prelude. The plaza. A
sniper's rifle in the window. A figure steps out from
the bank. We see more detail than before, but it seems
to strobe AWAY FROM us. The gunman is a younger Rath.
The Mark seems familiar. He looks up to the blank, is
shot down.
As pigeons take wing.
CUT BACK TO:
229E INT. HOTEL PARAISO - ROOM 302 - LATE DAY (PRESENT) 229E
Rath is snapped from his reverie as real pigeons flap by
the window. Electra studies him.
ELECTRA
Are you okay?
Rath gestures her over. He points to strategic spots
below as he talks.
RATH
At ten o'clock tomorrow I'll enter
the bank. He'll be in the plaza
somewhere. In the crowd. When he
sees me go in, he'll move up here.
ELECTRA
You're sure?
RATH
(nods)
You'll be at the cafe. You'll see
him when he goes inside. We'll
have two-way mics so we can talk.
ELECTRA
What do we do after he goes
inside?
RATH
We wait.
Rath describes the rest not the way he planned it, but
the way he remembers it.
RATH
It'll take all day, but he'll
begin to doubt himself. He'll
start to think he missed me.
He'll have to see with his own
eyes whether I'm still in the
bank. It'll be sunset, closing
time. He'll have to leave the
rifle here when he goes to the
bank. There are metal detectors
at the door. When he's out of
sight, you'll come in here and
take the rifle.
Electra looks back at the bank.
ELECTRA
What if he tries to shoot you
before you go into the bank?
Rath speaks like it was all written in stone.
RATH
He'll wait for the prime shot.
When I come out.
ELECTRA
How can you be so sure?
RATH
Because he likes history...
(a beat)
Fifteen years ago I was at this
same window.
ELECTRA
Fifteen years...
And as they stand side by side, suddenly everything is
clear to Electra.
ELECTRA
Oh my God.
Rath finally looks at her.
ELECTRA
Your friend Nicolai. You said he
was taken.
Rath nods.
ELECTRA
(a whisper)
You killed him...
Rath doesn't answer. And suddenly Electra is scared
again. She looks at him a beat longer then does the only
thing she can to protect herself: she puts on her
sunglasses.
We MOVE IN ON the lenses, see Rath reflected in them.
230 EXT. NEW HOTEL - MAGIC HOUR 230
The cab pulls away.
231 INT. NEW HOTEL - LOBBY - NIGHT 231
Rath and Electra walk through an archway and start
upstairs. In front of them walks a newlywed couple --
kissing and giggling -- very much in love -- Rath pays
no attention while Electra can't take her eyes off them.
232 INT. NEW HOTEL HALLWAY - NIGHT 232
They reach a landing. To make things worse, they have
adjoining rooms. Rath opens their door, enters. Electra
lingers, watches the other couple as he fumbles for his
keys. Watches as she runs her hand over him. He finally
gets the door open. He pushes her inside.
233 INT. NEW HOTEL - ROOM - NIGHT 233
Electra listens to the sounds coming from the other side
of the wall. LAUGHTER quickly turning into PASSION.
ELECTRA
(sarcastic)
You should check them out. Maybe
they're Interpol.
RATH
(in no mood)
Not even professionals could pull
that act off.
As the sounds become MORE MUFFLED, Electra grabs a glass,
holds it to the wall. Rath watches with distaste.
RATH
You're a voyeur.
Electra looks at him, hears the disgust in his words.
But she has some in her own.
ELECTRA
There are worse things.
Rath looks away. There are. Electra is possessed of
knowledge she can't understand, let alone forget.
RATH
Look, Nicolai and me... It's none
of your business.
ELECTRA
(fierce)
It is my business. I'm with you!
Rath isn't going to say anymore. Electra turns back to
the wall as the sounds of PASSION BUILD.
ELECTRA
(a beat)
I can't trust you. You can't
trust me. How can we possibly
help each other-
RATH
I trust you.
ELECTRA
Why? Why do you trust me?
He doesn't have an answer. She picks up Pearl, walks
into the bathroom. As the door locks behind her.A
234 EXT. PLAZA COLON 234
Almost deserted, a different story after sundown. As the
last fruit VENDOR shuts up his cart.
BAIN (O.S.)
Un momento. Por favor.
The Vendor sighs, waits as Bain, carrying a nylon bag,
steps over. He nods politely, scans the fruit, picks out
two apricots. He hands the Vendor a twenty, walks on
without waiting for his change.
VENDOR
Gracias, Senor.
MOVE WITH Bain as he strolls across the plaza. Biting
into the apricot, savoring the taste, he looks at the
bank, at the big iron gates barring the front entrance,
but also at the modern metal detectors just beyond.
Taking another bite, he turns, scans the opposite side.
The Hotel Paraiso is even gloomier than the first time
we saw it. By instinct, Bain settles on the same window
that Rath did.
He walks to the bank entrance, imagines the sight line
back to the hotel. Doing his homework.
Finishing the first apricot, Bain sets the second on a
column ledge just to the right of the entrance.
Bain crosses the plaza to the hotel. Pulling free a
24 nailed to the entrance, he steps inside.
235 INT. HOTEL PARAISO - LOBBY - NIGHT 235
An atrium courtyard. The burnt-out interior hall bal-
conies stare down from four sides. The ceiling is gone.
Bain stares up at the moon. It casts broken patterns of
light across the walls and floor. Bain seems almost
reverent. Like he was in a holy place.
Moving cautiously, Bain starts up the staircase, headed
for the third floor.
236 INT. HOTEL PARAISO - ROOM 302 - NIGHT 236
Bain enters. We jump as a FLOOR BOARD gives way with a
SNAP. Taking it in stride, Bain pulls his leg free,
steps carefully over to a...
237 THIRD FLOOR WINDOW 237
Bain stares across at the entrance to the bank. A good
clear view, the vertical angle not too EXTREME.
He unzips his bag. Quickly, epertly, he puts together
a sniper's rifle complete with a two-foot silencer.
Holding up the rifle, he closes one eye, sights. A CLICK
as Bain squeezes the TRIGGER on an empty chamber. He
looks up from the sight, across the plaza. This is good.
238 EXT. NEW HOTEL - BALCONY - NIGHT 238
Holding Pearl, Electra stands looking out at the city.
What holds her attention is the procession moving down
the cobblestoned street, following a trail of marigold
petals to a nearby cemetery. It includes children made
up as skeletons.
238A INT. NEW HOTEL - HALLWAY - NIGHT 238A
A WAITER pushes a room service cart. We don't see his
face, but we suspect the worst. As he reaches the door
to Rath and Electra's room...
239 INT. NEW HOTEL - ROOM - NIGHT 239
Rath looks up at a KNOCK on the door. Drawing his .22,
he steps over, stays to the side of the door.A
RATH
Who is it
MUFFLED VOICE (O.S.)
Room service.
Rath places the end of the silencer against the door --
head level.
RATH
I didn't order room service.
As he cocks back the trigger, Electra steps in from the
Balcony.
ELECTRA
I did.
Rath pulls the gun away, pauses a moment to collect
himself. He holsters it, opens the door. The Waiter
smiles, rolls the cart in.
As he sets up the plates, Electra steps over.
ELECTRA
Excuse me.
(points out balcony)
What's happening out there?
WAITER
The Day of the Dead, Senora.
ELECTRA
What are the flowers for?
WAITER
Families make a path from their
homes to the cemetery. So the
souls of the dead loved ones can
find their way back home.
Electra is fascinated. As the Waiter finishes, Rath tips
him and he exits.
ELECTRA
Can we go?
RATH
He'll be here by now. This room
and the bank. That's it.
Disappointed, she sets Pearl down and steps back out on
the balcony to watch.
Rath pours himself a drink. As he does, he notices
something. There's a slight tremble in his hand. He h)P ?sets the drink down, looks to the balcony. After a
moment, he steps over, stops to the side of it.
RATH
I wish I could explain why I
killed Nicolai. I may have been
manipulated. I don't know.
(a beat)
For what it's worth, I'm sorry
did it.
A beat. He waits for her to say something, can't really
blame her when she doesn't.
RATH
I used to hope the same thing
would happen to me. A least it's
a way out.
It may. Finally, Rath steps out to be with her.
RATH
Electra...
240 EXT. BALCONY - NIGHT 240
Rath steps out. Electra's gone! Not on the ground a
floor below. Nowhere in sight. Rath looks to the
cemetery and the fire escape leading from the balcony
down to the cobblestone street below.
241 EXT. OLD CEMETERY - NIGHT 241
A procession emerges from a tunnel, through old gates and
into a cemetery. It includes some American tourists.
Marigold petals and candles are everywhere. There are
headstones, many of which lie flat. Also much well-made
statuary.
Two local women stand to one side selling coffee and
shaved ice. Solemn, but not dreadfully so.
Stepping up from the shadows of a darker part of the
cemetery is Electra. She looks on eagerly. This is
prime people-watching territory.
She spots the coffee women, starts to move in closer. As
she passes behind a larger memorial, she hears...
BAIN (O.S.)
Hola. Que pasa?
Electra freezes, peeks around the memorial to see Bain
not more than four feet away, standing near the coffee
women. They smile at him. He seems respectful. In
fact, as Bain watches the ceremony, he's in his element.
He speaks, almost like he's addressing the women, but not
really. Electra can't take her eyes off him.
BAIN
Death is like me. Quiet, a
little scary. Sharp, he's real
sharp. And even though you want
to stay away from him, you can't.
He draws you. You dig him and
fear him at the same time.
(laughs)
I'm a million years old, but I
look like I'm thirty.
ELECTRA
She hurries away into the shadows. In the gloom, she
nearly trips over a headstone. In the process she sends
an old GLASS CANDLE HOLDER flying. As it SMASHES...
BAIN
At first we don't think he heard it, but then he turns,
looks back into the darkness. He's going to turn back to
the ceremony, but he can't. It's instinctual.
Reaching into his jacket, Bain heads into the darkness.
The two women watch him go. One looks to the other,
makes "crazy circles" around her ear with a finger.
242 DARKENED CEMETERY 242
Electra moves. Hears someone behind her. Or was it to
the left? She ducks behind an angel statue. Moments
later, Bain steps up. Electra holds her breath as he
scans the area. All of Bain's senses are working,
including smell.
BAIN
(under his breath)
Jasmine...
His .22 in hand, Bain moves on.
Electra stands, moves back. She hasn't gone far when a
hand slaps down over her mouth. It's Rath!
BAIN -
He's starting to get a little spooked himself. Sure
that he's cornered someone, he leaps around a corner,
takes aim down a row of tombstones. No one's there.
RATH AND ELECTRA
Rath's feeling the same way. Motioning for her to stay
put, he creeps around a statue, sees Bain, draws a bead
-- but a large group from the procession moves in between
them -- when they clear, Bain is gone. Rath takes
Electra's hand and they move on.
BAIN
Looking about, the feeling passing. Then he spots it, a
Jasmine in a vase by a stone. Bain takes a sniff.
Laughing, he turns, heads back to the ceremony.
243 INT. NEW HOTEL - ROOM - NIGHT 243
Electra enters followed by Rath. Rath is ehausted from
the past tension. Electra watches as he locks the door,
leans his forehead against it. Finally...
ELECTRA
Am I attractive?
Rath looks at her a beat, nods. She is.
ELECTRA
Are you attracted to me?
RATH
Yes.
ELECTRA
Is it a physical thing or a mental
thing?
RATH
Both.
ELECTRA
When did it start?
RATH
(a beat; almost shy)
When you were shooting at me.
ELECTRA
That's strange, don't you think?
(a beat)
You're a strange man, Robert Rath.
RATH
Joseph. My real name is Joseph.
For a man like Rath, this is like giving her the Hope
Diamond. Electra knows it. A beat and then...
ELECTRA
(savors the sound)
Joseph... I'm Anna. It's awfully 7
nice to meet you.
She holds her hand out like a promise. All Rath has to
do is take it. He does. They come together. Kissing,
wanting, needing contact. And they're on the bed. Never
have two people needed each other more. As Pearl runs
out of the room...
244 INT. NEW HOTEL - ROOM #2 - NIGHT 244
Lying in their bed, the newlyweds listen to the sounds of
LOVEMAKING coming from the room next door. As they smile
at each other...
245 EXT. BANK ENTRANCE - CLOSE ON APRICOT - NIGHT 245
that Bain left here. Dewy, glistening. Without warning,
it EXPLODES into a thousand pieces.
WHIP PAN TO:
246 INT. HOTEL PARAISO - ROOM 302 - NIGHT 246
Bain lowers the rifle. Slowly, solemnly, he raises his
forefinger to heaven. Tomorrow he will be number one.
And Rath's dream of a new life will die.
247 EXT. PLAZA COLON - DAWN 247
Deserted as the sun casts an early morning glow.
248 INT. NEW HOTEL - ROOM - COMPUTER SCREEN - DAY 248
Contractor: The contract has been paid.
Transferred to the specified account.
Rath and Electra look from the screen to each other.
More than partners this morning.
Rath: And the disc?
Contractor: You'll be advised. Good-bye, Robert.
The screen goes blank. Rath switches it off. Sitting in
front of the remains of a huge breakfast, Electra pours
herself coffee.
Rath opens a case. He takes out two small "hearing aid"
mics. He sets them on the table alongside his gun.
Electra immediately scoops up one of them.
ELECTRA
Two way?
RATH
(nods)
Remember, you tell me when he
leaves the hotel; I'll tell you
when he leaves the bank.
(a beat)
We're gone.
Electra nods. Rath hands her his .22.
ELECTRA
What's this for?
RATH
Just in case.
Electra moves to hand it back, but Rath doesn't take it.
ELECTRA
I don't think I could shoot
someone.
RATH
Did you play Cowboys and Indians
when you were a kid?
ELECTRA
Sure, but this --
RATH
Which were you?
ELECTRA
An Indian. Always an Indian.
RATH
Then pretend he's a cowboy and
pull the trigger. You can pretend
he'll just get up after, but you
pull the trigger.
For Electra, this is getting a little too real.
249 INT. BANK - DAY 249
Glossed with light. We PULL BACK and see other squares.
Black and white. Like a chessboard. A woman's HEELS
CLICK past. RISING HIGHER, we see the woman walking.
man crosses behind her going the other way. HIGHER STILL
and we realize we're looking at the black and white
marble floor of the...
250 INT. BANK - DAY 250
The ceilings are vaulted and vast, the suspended lights
baroque. An enormous clock (10:00 AM) hangs from the
wall. With its massive oil paintings and bronze statues,
the bank could be a museum.
Armed guards stroll the floor. Customers go about their
business. Carrying a large black briefcase, Rath steps
onto the checkered floor.
251 EXT. OUTDOOR CAFE - DAY 251
Set just off the plaza with a view of the side of the
hotel and the front of the bank. Electra sits on the
patio sipping a thick, almost sludgy espresso. She
hears Rath over her ear-piece.
RATH (V.O.)
I'm in the bank. He'll move now.
She scans the plaza, nervous.
ELECTRA
I don't see him. I --
There. Across the Plaza. Bain glides through the crowd
like a shark. Headed for the Hotel Paraiso.
252 INT. BANK - DAY 252
Rath waits for a teller. Electra whispers in his ear.
ELECTRA (V.O.)
He's here.
253 EXT. OUTDOOR CAFE - DAY 253
The owner brings a second espresso, steps away. Electra
downs it in a gulp as she watches Bain disappear between
a gap in the boarded-up, burned-out hotel.
ELECTRA
(scared)
He's going in. He's in the
hotel.
254 INT. BANK - DAY 254
Rath hears the fright in her voice.
RATH
That's what we want. Try a
decaf.
Rath steps up to the TELLER.
TELLER
May I help you, sir?
RATH
Yes. Could you check on a
transfer for me?
Rath slides a withdrawal ticket over.
255 INT. HOTEL PARAISO - ROOM 302 - DAY7 255
Bain steps into the same room we saw him in last night.
He reaches overhead into some charred, half-collapsed
timbers, pulls down the silenced sniper's rifle.
Stepping to the window, Bain aims at the bank entrance.
Through the scope he follows an eiting man. The cross-
hairs are right on the man's forehead. Bain pulls the
trigger. CLICK.
Satisfied, Bain slaps a magazine into the rifle. Reach-
ing into his pocket he pulls out an orange. Watching
the bank, he starts to peel it. He reaches into a
duffel bag, pulls out his small keyboard and a set of
headphones. He plugs in the phones, begins to play,
always watching the bank.
256 INT. BANK - TELLER'S WINDOW - DAY 256
The Teller returns with a BANK OFFICIAL. He carries a
printed receipt, wears a great big smile.
OFFICIAL
Senor. We have received your
transfer.
He hands the receipt to Rath who sees a "two", counts the
zeros after it. There are seven of them.
RATH
I want to close this account.
Could you get the paperwork
together?
The smile fades.
OFFICIAL
Today? You wish to close the
account today?
Rath nods solemnly. No joking here.
OFFICIAL
How would you like the funds?
RATH
American currency.
It's all the Official can do to keep from crossing him-
self. He looks around, catches the eye of the one man in
the building who looks even more official than he does --
the BANK PRESIDENT.
The President steps over, confers with his underling in
low tones. In Spanish. Occasionally the President
glances at Rath, but mostly he listens. Finally...
PRESIDENT
You're aware, Senor, that there
may be... a withdrawal fee?
RATH
Yes, I am.
The President looks to the Official, nods. As the
Official hurries off, the President looks back to Rath.
PRESIDENT
This will take some time.
RATH
I have all day.
DISSOLVE TO:
257 EXT. SUN 257
High in the sky. White hot.
258 INT. HOTEL PARAISO - ROOM 302 - DAY7 258
Bain sits in a charred chair staring out the window, his
back soaked with sweat. He rubs his eyes. One at a
time. He's afraid to blink lest he miss something. He
checks his watch, raising it to eye level, rather than
look down.
BAIN
What are you doing in there?
The heat in the room makes it hard to even breathe.
There! A man walks out of the bank dressed like Rath.
Bain's body snaps erect. Leveling the rifle, he sites
the man's head. He's about to squeeze the trigger when
he realizes it's not Rath.
Bain wipes the sweat from his forehead, leaves a smear of
black from the charcoal. Fumbling for his bag, he pulls
out a container of bottled water. He drinks, never once
taking his eyes off the bank.
BAIN
Relax, baby. Calmate...
259 EXT. PLAZA COLON - DAY 259
The shadows are getting longer, stretching out toward the
bank where...
260 INT. BANK - DAY 260
Rath sits in a big, highback leather chair. Cool as a
cucumber, he watches the traffic in the lobby. The big
clock reads 3:10.
RATH
Talk to me.
261 EXT. CAFE - DAY 261
Electra watches the hotel, a sith empty espresso cup
before her.
ELECTRA
No sign of him. He's just sitting
up there, same as us.
INTERCUT the following:
262 INT. BANK/EXT. CAFE - DAY 262
RATH
No. I mean talk to me. Tell me
some of that weird stuff you
know.
Electra smiles, thinks a beat. An old man in a beat
fedora passes by. Inspiration.
ELECTRA
You know the expression, 'Mad as
a hatter'?
RATH
Alice in Wonderland, right?
ELECTRA
Yeah, but it's a real thing. Hat
makers, hatters, they used
mercurous nitrate to make felt
hats. They'd absorb it through
their skin and some of them went
insane. No one knew why at the
time. As long as their hats fit.
Rath is amused.
RATH
Tell me another one.
ELECTRA
(coy)
Well, there's 'Mad as a March
Hare.'