变脸(1997)Face Off
时间:2007-10-27 22:05:39来源: 作者:
Face/Off
(1997)
by Mike Werb & Michael Colleary.
Production Draft. Revised 9/10/96.
by Mike Werb & Michael Colleary.
Production Draft. Revised 9/10/96.
FADE INTO:
SEPIA-TONE FOOTAGE
of a pig chasing a lion chasing a dinosaur chasing an
elephant. Noah's Ark going round... and round... and
round...
EXT. GRIFFITH PARK CAROUSEL - DAY
Disjointed CALLIOPE MUSIC as the wheel of fate and
fortune goes around until we PULL BACK to reveal:
JON ARCHER (30) rising winged Pegasus. On the adjacent
unicorn is his son MATTHEW (5). Clutching a balloon,
Matty waves at his dad. A happy moment, like so many
certain to follow -- until we realize we are watching
them THROUGH...
SNIPER'S RIFLE SCOPE - SNIPER'S EYES
wait until the child clears his aim -- Archer is the
target. They round the bend and disappear...
MATTHEW
Loses his grip on the unicorn. Archer reaches over and
pulls him into his lap. They happily ride together...
As the horses sweep back INTO VIEW... exposing Archer...
Now we see the sniper. CASTOR TROY is cool, efficient,
aggressive, sexual. His finger closes around the
trigger.
BOOM! A BULLET RIPS into Archer's back. Bleeding... he
drops off his horse... and sinks to the deck of the
carousel. His eyes desperately searching... searching...
searching... until he sees --
Matthew lies on his back -- still. Slowly, Archer
reaches out and takes Matthew's hand... and now we see
COLOR for the first time...
Blood red... as bleeding father touches bleeding son...
TILT UP TO the winged Pegasus flying by -- now in full
color and UP UP UP TO Matthew's red balloon... floating
away.
HANDEL'S MESSIAH OVER a SERIES OF SHOTS:
FBI BRIEFING ROOM
Gazing out the window as dawn breaks over the city below
is Jon Archer... older... unshaven... fatigued... his
eyes reveal a man in the grip of obsession.
CAROUSEL HORSE
sweeps by, as if marking time itself...
HOLY PLACE
Smoky, spiritual... dominated by a gleaming, golden
cross. A priest kneels before it -- deep in prayer. The
glimmering cross comes INTO FOCUS... but it's just a
light-reflection... off the casing of a large bomb. This
is no chapel... but an atrium. Somewhere.
And as the "priest" rubs out his cigarette we see it's
Castor Troy -- carefully installing this complex device.
ANOTHER CAROUSEL HORSE
sweeps by...
ARCHER
pockets his FBI badge, then holsters his gun...
CASTOR
sets the bomb timer -- then replaces a wall panel in
front of it. Totally hidden.
BRIEFING ROOM - CASTOR'S MUGSHOT
is on a computer screen. His criminal dossier scrolls by
endlessly: bombings, assassinations, mercenary
kidnappings, terrorism-for-hire...
Rookie agent LOOMIS studies the details carefully. Other
agents -- including BUZZ and WANDA scan computer grid-
maps, man phones, etc. amid the take-out cartons and
coffee cups. These people are on high alert.
ARCHER
Any follow-up from L.A.P.D.
Intelligence?
BUZZ
No, sir, nothing yet.
ARCHER
Get them on the phone -- now.
What about S.I.S. and our airport
teams?
WANDA
We've had everything from psychics
to satellites on this. Even if
Castor was here... he must have
slipped the net by now...
ARCHER
He's here! And we're going to
keep looking until we find him!
A silence descends on the chastised team. As they go
back to work, veteran agent TITO BIONDI takes Archer
aside.
TITO
Jon, these people have been
working round the clock -- you
gotta cut them some slack...
Archer considers his best friend's advice -- then...
ARCHER
I'll cut them some slack when I
cut myself some slack.
Archer marches out -- slamming the door behind him.
INT. CORRIDOR - DAY (MORNING)
Castor quietly shuts the security door behind him. An
Hispanic voice startles him.
JANITOR
What are you doing?
CASTOR
(in perfect Spanish)
Thank goodness, I feel like Icarus
in the labyrinth -- where's the
men's room?
JANITOR
(in Spanish)
This area is off limits, Padre.
(re: security door)
How did you get in that room?
Realizing the JANITOR is already too suspicious, Castor
puts a priestly arm around him -- and leads him down the
hall.
CASTOR
Okay... I have a confession to
make, but you aren't gonna like
it. I was planting a bomb.
JANITOR
Bomb?
CASTOR
You know -- boom --
(patting his
neck)
Oh, never mind...
The Janitor suddenly twitches, his eyes rolls up in his
head. As he gasps his last -- Castor heaves him down a
stairwell. Now we see the needle-thin custom stiletto in
Castor's hand.
Castor kicks the Janitor's mop and bucket down the stairs
-- making everything look like an accident.
INT. SAME BUILDING - MAIN FLOOR - DAY (MORNING)
The children's church choir -- 200 strong -- sing "Behold
the Lamb of God." Clergy and lay persons listen
reverently.
"Father" Castor strolls by the singers -- casually
heading for the exit. As he passes the risers, a teenage
girl drops her sheet music at his feet.
Returning it -- he whispers in her ear -- so close he's
practically licking it.
CASTOR
I've never enjoyed 'The Messiah.'
But your voice makes even a hack
like Handel seem like a genius.
He pats her behind and leaves. Although a little shaken,
she's also drawn by Castor's sexual magnetism.
EXT. LA CONVENTION CENTER - DAY (MORNING)
The marquee proclaims: INTERNATIONAL CHURCH CHOIRS 18th-
21st: AMERICAN BAR ASSOCIATION.
Castor exits -- politely holding the door for a beat cop.
INT. ARCHER'S OFFICE - DAY (MORNING)
The office is a monument to obsession: photographs,
clues, newsclips, totems of Castor Troy surround a pacing
Archer.
ARCHER
(on phone)
... I don't have time to get a
warrant from some hung-over judge.
Just give me the go-ahead, Victor,
and I promise -- as soon as this
is over -- you can brand my butt
with the Fourth Amendment.
The instant Archer hangs up -- the INTERCOM BUZZES.
KIM (V.O.)
Sir, your wife's on line one...
S.I.S. on two...
ARCHER
Tell her to hang on --
As Archer punches up line two -- Tito bursts in.
TITO
A jet was chartered at Anderson
Airfield. Guess who just showed
up to pay for it? Pollux Troy.
ARCHER
Scramble the Reaction Team --
we're moving out. And get one of
our people on that plane.
TITO
But there's still no sign of
Castor...
ARCHER
Where one brother goes, the
other's sure to follow...
They rush our... the hold button on line 1 still
blinking.
EXT. PRIVATE AIRPORT - ESTABLISHING - DAY
A sleek Cadillac pulls in... stopping next to a Land
Rover.
LARS MUELLER -- a muscular, crystal-eyed jar-head -- gets
out of the Caddy. An instant later -- LUNT MUELLER --
emerges from the Rover. They are identical twins.
The men scan the airport carefully, then open the rear
doors of their respective vehicles. Castor emerges from
the Caddy -- Armani clad.
Exiting the Rover is Castor's younger brother POLLUX TROY
-- skittish, brilliant, paranoid -- a human hummingbird.
POLLUX
You're 26 minutes late. The
casing didn't fit -- right? I
knew that cheap-shit Dietrich
would rip us off...
CASTOR
Oh, God -- !
POLLUX
What!?
CASTOR
I forgot to turn the damn thing
on!
POLLUX
You're kidding, right?
(to the twins)
He's kidding...
(grabs Castor
by throat)
... are you fucking kidding!?
Castor hugs Pollux lovingly. Pollux squirms like a kid.
CASTOR
Bro -- everything went fine.
POLLUX
I hate when you call me bro.
Pollux heads for the jet. Castor hands Lunt a wad of
cash.
CASTOR
Thanks for babysitting.
LUNT
Anything else?
CASTOR
I'll contact you when we get the
rest of the money.
(turns to leave)
Oh, and stat away from downtown.
The inversion layer's going to be
pretty thick around the 18th.
The twins nod... then take off. Castor heads for the
jet.
INT. JET - DAY
Castor hustles in -- exhorting the PILOT.
CASTOR
Let's go, let's go!
As the JET TURBINES start to WHINE, Castor sinks into his
seat. A very sexy FLIGHT ATTENDANT appears and hands him
a Scotch. He downs it, looking her over salaciously.
FLIGHT ATTENDANT
Would you like anything else?
CASTOR
Hell, yes...
(pulls her into lap)
It's the only way to fly.
She smiles, not minding, until the jet suddenly slows its
taxi down the runway.
COCKPIT
Castor yanks open the door.
CASTOR
What's wrong?
AT END OF RUNWAY
A squat car creeps INTO VIEW -- blocking the runway.
EXT./INT. HUMVEE - MOVING - DAY
Behind the wheel is Jon Archer. Beside him is Tito.
BACK TO ARCHER
CASTOR
It's Archer.
(gun to Pilot's
head)
Go, dammit!
Suddenly the gun is BLASTED from Castor's hand. he turns
around to see... the Flight Attendant behind them --
holding a smoking pistol. This is Agent WINTERS.
WINTERS
F.B.I.! Throttle down, captain!
But Castor elbows the throttle up. The jet lurches
forward, throwing Winters off balance. Pollux tackles
her as the jet picks up speed.
INT. HUMVEE - DAY
Archer slams the vehicle into gear.
ARCHER
Get out.
TITO
You're not playing chicken with
two tons of aluminum...
ARCHER
Get out!
Tito obeys as Archer peels out. The HUMMER ROARS at the
jet.
The jet picks up speed, trying to get aloft.
The humvee is aimed right at it... Archer's eyes narrow.
COLLISION COURSE
as two hunks of metal bear down. The machines are
seconds apart when --
Archer looks up to see...
Winters' face pressed up against the cockpit window,
Castor holding a gun to her head.
Archer cuts the wheel -- just avoiding the jet. The
Hummer skids to a stop as Federal back-up arrives -- but
too late. Archer watches an FBI chopper -- landing in a
swirl of dust.
As the jet picks up speed... the hatch opens. Castor
blasts Winters in the side and tosses her onto the
tarmac.
INSIDE
Castor smiles at Pollux, sensing freedom, until...
KA-CHUNK: Something POUNDS the jet -- from above.
Castor leans out the hatch and sees...
The chopper on top of them -- Archer at the controls.
Eye-contact -- years of hatred pass between these men.
Castor BLASTS at him from the open hatch.
The chopper's left windscreen spiderwebs. Archer jerks
and weaves -- dodging the BULLETS. The chopper pulls
away.
The jet finally lifts off... when...
The chopper settles on the jet -- slamming at its tail.
TARMAC
Tito reacts to this madness -- as the chopper plays a
deadly game of leap-frog with the jet.
The end of the runway is coming up fast.
Archer crushes the jet's horizontal elevator flap.
JET PILOT
can't budge the jet's jammed yoke. Thwarted, he powers
back the throttle. Thrust reverse.
CASTOR
What are you doing?
PILOT
The horizontal elevator's smashed!
We can't lift off!
CASTOR
SHOOTS the Pilot -- then takes the controls. He
struggles to maneuver the jet. Suddenly...
A biplane descends right at them -- about to land.
ARCHER
pulls up just as the JET swerves radically to avoid the
biplane and SLAMS into the hangar.
JET
plows through the GLASS DOOR, the NOSE-WHEEL SNAPS off.
The PLANE SKIDS right into the hangar -- finally stopping
at the wings.
FBI CHOPPER
lands. Archer steps out calmly -- like a cop about to
write a traffic ticket. He hurries to join more FBI
agents rushing into the hangar ahead of him.
INT. HANGAR - DAY
The jet hatch pops open -- Castor leaps from it, FIRING.
Two FBI agents drop -- riddled.
Pollux appears at the hatch -- an FBI sharpshooter FIRES,
grazing Pollux's shoulder. Staggered, Pollux falls --
Castor catches him before he hits the floor --
simultaneously BLASTING the sharpshooter.
Castor drags Pollux back into the smoke-filled hangar.
Archer arrives and quickly checks the dead agents, his
anger building. He signals Tito and the others to spread
out.
DEEP IN HANGAR
A maze of airplane debris and heavy machinery. Led by
Archer, the FBI agents pick their way through it.
ROOKIE LOOMIS snaps alert -- did he see something?
Advancing carefully, he comes up on...
Castor -- staunching Pollux's shoulder wound. Pollux
sees the agent -- and FIRES.
Loomis hits the floor -- his bleeding ear is shredded.
Suddenly a forklift charges down on Castor and Pollux.
Tito is at the wheel. Castor FIRES -- forcing Tito to
dive off. The forklift careens on -- driving apart the
brothers.
The forklift upends a stack of heavy crates -- pinning
Pollux. Castor tries to free his trapped brother.
POLLUX
Forget it -- Go! Go!
He slaps his Glock into Pollux's hand.
CASTOR
Wherever they put you, I'll find a
way to get you out...
Pollux starts FIRING -- covering Castor as he runs
through a tunnel which leads to an adjoining hangar.
Suddenly Wanda presses her machine-pistol into Pollux's
head. As Pollux raises his gun -- Tito grabs his hand.
TITO
-- not unless you want that 200
I.Q. splattered all over the
floor.
(as Archer
approaches)
We got him now, Jon.
ARCHER
That's what you always say. Seal
it off. I'm going in.
Archer moves away from the group and enters the tunnel.
MUSIC as Archer and Castor begin their cat-and-mouse
dance.
Sensing Archer, Castor pauses by an old landing gear. He
draws a fresh pistol from his ankle holster and moves on.
Archer pauses at the landing gear... his own stealthy
movements mirroring Castor's.
Castor waits behind a stack of steel drums... his gaze
trying to penetrate the darkness... He SNAPS his fingers.
The sound ECHOES as he tries to draw Archer in.
Archer reacts to the sound and SNAPS back -- answering
the challenge. As the deadly beat between them
continues --
BLAM BLAM BLAM! Archer spins away just as Castor OPENS
FIRE from the gloom... one step ahead.
INTERCUT as necessary:
CASTOR
Jon, I'm getting a little annoyed
by your obsessive need to spoil my
fun.
ARCHER
And how much will your 'fun' net
you this time?
BOOM BOOM BOOM! Half-blind SHOTS send Castor spinning.
A moment later, Archer pursues... SNAP! He fits a new
CLIP into his pistol.
CASTOR
What's it to you? I declare it.
Here I am, back in the States for
less than a week --
ARCHER
You're under arrest. Incredibly,
you still have the right to remain
silent --
CASTOR
I've got something going down on
the eighteenth... it's gonna be
worse than anything God ever
dumped on the Pharaoh. I'll give
it up -- but my brother and I have
to walk.
ARCHER
No discussion -- no deals.
CASTOR
What're you gonna do with me
locked up? You'll drive your wife
and kid nuts! I bet your daughter
is just about ripe by now. What's
her name, Janie?
Enraged, Archer steps boldly forward -- trying to draw
his enemy out. Silence -- then Archer senses...
Castor is behind him. He FIRES -- Archer dives away.
The BARRAGE CONTINUES -- driving Archer back between two
huge turbine engines. As Archer reloads, he stares at
the control panel switches.
Castor moves in for the kill when he hears a final SNAP-
SNAP. Except it isn't a finger snap... it's two
switches.
VRRRROOOM! The TWIN ENGINES ROAR on! Unable to fight
the churning tornado-force wind... Castor's blasted
across the hangar... slamming hard into the far wall.
The ENGINES STOP and Archer emerges -- joined by Tito.
TITO
Tell me he didn't get away
again...
Then Tito follows Archer's gaze to Castor's lifeless
body. Still as death -- somehow his mocking smile
survives.
EXT. AIRPORT TARMAC - SUNSET
Heavily-manacled, an extremely agitated Pollux is herded
into a SWAT van by Buzz and Wanda.
POLLUX
Where's my brother?! I want to
see my brother!
The van takes off -- passing an imposing older man,
flanked by two bodyguards. Bullying through the media,
Assistant FBI Director VICTOR LAZARRO scans the
devastation.
Approaching Archer, he watches as Castor's body is loaded
on the ambulance. A sheet covers Castor's lifeless face.
LAZARRO
The oversight committee would've
roasted us for this one -- thank
God it paid off. Damn fine work.
ARCHER
Real fine, Victor. Especially the
casualties.
Archer contemplates the slain agents -- their three
bodies laid out in a row -- waiting to be zip-locked.
Lazarro reacts grimly as a reporter snaps a photo of the
bodies.
Instinctively, the two men close ranks. Archer grabs the
Nikon, ejects the film, then shoves the camera back.
LAZARRO
Classified information. No
photographs.
Lazarro puts a caring arm around Archer's shoulder and
leads him away from the media... and the carnage.
LAZARRO
You okay, Jon?
(off Archer's nod)
Then go home. Tell Eve.
EXT. ARCHER'S HOME (SANTA MONICA) - SUNSET
A renovated Craftsman. Sipping a carton of milk, Archer
pulls into the driveway. He sits, gathering his
thoughts.
INT. ARCHER'S HOME - NIGHT
Archer enters and sees his wife EVE. Handsome,
intelligent.
ARCHER
Hi...
(no response)
... What's wrong?
She nods toward the KITCHEN. JAMIE is there -- a sullen
and hard fifteen-year-old. There are cigarette cartons
on the table.
EVE
She complimented for her 'F' in
history with an 'A' in
shoplifting...
Archer marches into the kitchen -- noting the crate of
Marlboros. Jamie matter-of-factly pours herself coffee.
ARCHER
Nice stunt, Jamie. You break the
law and I'm expected to ignore it?
JAMIE
That's right -- it's all about
you. Don't even ask me what
happened.
Archer looks to Eve for help. Eve shakes her head --
nope.
ARCHER
Okay. What happened?
JAMIE
Like you'd ever fucking believe
me!
She bolts. In anticipation, Eve calmly opens the door as
Jamie rushes out, then closes it behind her.
EVE
Well, you tried. You failed
miserably, but you tried.
ARCHER
Why won't she even talk to me?
EVE
Maybe because you taught her never
to speak to strangers.
(immediately
regrets it)
I'm sorry... that wasn't fair.
Eve kisses his cheek -- then gathers up her doctor gear.
EVE
I've got patients waiting. Try
again, Jon. She hates you -- but
she needs you.
ARCHER
Eve...
Something in Archer's expression makes her stop.
EVE
Jon -- what is it?
But he's too overcome. He starts to speak -- but can't.
EVE
Is it -- him? It's... it's over?
Emotions avalanche across his face until he finally looks
up. Eve pulls him close -- a sheltering embrace for them
both.
ARCHER
I'm going to make everything up to
you and Jamie. I'll put in for a
desk job. We'll go away, get
counseling -- anything you want.
This time, I mean it.
INT. ARCHER HOME - NIGHT
Freshly dressed, Archer heads down the hall. He pauses
at the door to Jamie's room when he sees -- Jamie.
Fully clothed, she's fast asleep on her bed cluttered
with clothes and assorted girl-stuff. Her face peaceful.
Archer looks around her room... sees the stuffed animals
collecting dust... replaced by makeup, jewelry, beefcake
Calvin Klein ads and band posters, etc.
Archer's startled to see a lacey bustier... his little
girl is growing up fast. And he's missing it.
He pulls the blanket up over her and quietly slips out.
The instant he leaves, Jamie kicks the blankets off.
INT. FBI BUILDING - DAY
Dominated by the FBI seal. Archer steps to the check
point.
SECURITY GUARD
Print, please.
Archer presses his thumb to a scan-pad -- and is cleared.
INT. BULL PEN - DAY
Efficient as a beehive -- agents, cryptologists, support
staff buzz at their routines. Archer strides through --
drawing congratulatory nods and "thumbs up" signs...
OUTSIDE HIS OFFICE
Archer's team is there. Applauding. Proud. Uneasy with
plaudits, he disperses the disappointed agents.
ARCHER
Much appreciated. Now let's get
back to work, okay?
WANDA
(to Buzz)
Is that stick ever gonna fall out
of his ass?
Archer's well-built secretary -- KIM BREWSTER -- hands
him his messages. She's holding a bottle of Dom
Perignon.
KIMBERLY
The C.I.A. sent this over. What
should I do with it?
ARCHER
Send it back and tell them to stop
wasting the taxpayers' money.
Anything else, Miss Brewster?
KIMBERLY
No, sir.
He enters his office. Kimberly sighs and turns to Wanda.
KIMBERLY
Four years -- and he still calls
me 'Miss Brewster.'
INT. ARCHER'S OFFICE - DAY
Sitting at his computer -- Archer scrolls through
Castor's file. He grimly contemplates face-after-face of
Troy's victims -- finally pausing on a photo of his son
Matthew.
Burying his feeling, he types "CASE CLOSED" over
Castor's image. Archer starts to press "enter" when Tito
comes in.
ARCHER
How's Loomis?
TITO
He needs some surgery, but he's
going to be okay. That's the good
news...
ARCHER
Go on.
TITO
... Brodie and Miller from Special
Ops need to see you.
ARCHER
I don't have time for those cloak
and dagger guys.
Big NED BRODIE and athletic female HOLLIS MILLER stroll
in.
BRODIE
You better make time, Jon.
(hefts a disc)
We found this in the jet wreckage
-- among Pollux Troy's effects...
Archer accedes as Miller pops in the disk. The computer
screen displays a CAD schematic of the bomb. Archer
studies it carefully -- unease growing.
ARCHER
Porcelain casing... Thermal
cloak... Undetectable payload.
MILLER
Powerful enough to flatten ten
city blocks.
ARCHER
'Worse than anything God ever
dumped on the Pharaohs.'
(to Tito)
Get Pollux Troy. Now.
DISSOLVE TO:
INTERROGATION FOOTAGE
Wired to a complex machine -- Pollux seems to have his
frustrated interrogators on the run.
INT. ARCHER'S OFFICE - DAY
Archer, Lazarro, Tito, Brodie, Miller and other FBI
officials watch the monitor. Pollux remains implacable
POLLUX (V.O.)
(on screen)
That bomb was just a crossword
puzzle to me... a mental exercise.
I never built it...
Lazarro shuts down the monitor... turns to Archer.
ARCHER
He's lying.
LAZARRO
He's hooked up to a full-spectrum
polygraph.
ARCHER
Pollux is a manipulative
psychopath. He can control his
heartbeat, his sweat glands, his
blood pressure...
LAZARRO
Jon, I trust your instincts, I
always have. But D.C. wants more
evidence. And frankly, so do I.
ARCHER
You'll get all the evidence you
need when ten thousand people die.
LAZARRO
We'll get a team right on it. But
we can't evacuate the city on what
amounts to a hunch.
Archer looks at the gathered brass. He knows it's
hopeless.
ARCHER
That bomb has been built, it's out
there somewhere and it's going to
detonate...
EXT. FBI BUILDING - INTELLIGENCE MEMORIAL - DAY
Words etched in the granite wall read:
IN HONOR OF THOSE MEMBERS
OF THE FEDERAL BUREAU OF INVESTIGATION
WHO SACRIFICED THEIR LIVES
IN THE LINE OF DUTY
Archer watches as a workman engraves the last of the
three new stars among so many others -- each one honoring
the dead.
BRODIE
Didn't Castor give any clue where
the bomb might be?
ARCHER
Only one person knows -- his
brother Pollux. And he'll keep
his mouth shut until it blows.
BRODIE
We could plant an agent in his
cell -- get him to spill the
location.
ARCHER
Pollux is way too paranoid. The
only person he'd talk to about
that bomb is Castor himself. And
dead men can't talk.
Brodie and Miller exchange a knowing look.
BRODIE
There might be a way around
that...
FULL SCREEN - CASTOR'S BODY
Tubes and hoses are plugged into every orifice.
INT. ICU ROOM - DAY
Archer stares at the body... he can't believe it.
ARCHER
Why are you keeping him alive?
(gets no answer)
As long as he's breathing, he's
dangerous.
MILLER
Relax, he's a turnip.
Miller grinds out her cigarette on Castor's leg. Of
course, Castor just lies there like a vegetable.
BRODIE
We can arrange for you to enter
Erewhon Prison -- as Castor Troy.
ARCHER
What are you talking about?
Archer turns as DR. MALCOLM HOAG (50s) enters the room.
HOAG
I think I'd better answer that
question.
(offers hand)
Malcolm Hoag. I run the
Physiological Camouflage Unit for
Special Ops.
ARCHER
I know who you are.
MILLER
But you don't know what he can do.
Physical augmentation; enhancement
surgery...
BRODIE
... He can disguise a compromised
agent or alter the likeness --
even the voice -- of a government
witness.
HOAG
Let me show you how it's done.
(leading him out)
I think you'll recognize our
patient...
INT. HOAG'S SURGICAL BAY - DAY
Loomis lies still as a surgeon carefully scrapes away
charred flesh around his burned ear. The doctor turns to
a --
STEREO-LITHOGRAPHIC MACHINE
Laser-beams attack an organic soup with incredible
precision. The light forces a chemical reaction -- and
out of the soup -- an ear begins to form. It rises from
the liquid, now fully-formed. The surgeon takes the ear
and fits it in place on Loomis's head. He starts
suturing.
OBSERVATION BOOTH - ABOVE
Archer, Hoag, Brodie and Miller watch the operation --
video-enhanced by the two huge screens on the far walls.
HOAG
With our new generation of anti-
inflammatories, healing is
accelerated from weeks to days.
By his next paycheck, he won't
even remember which ear he lost.
(a beat)
Your situation, however, would be
a little less permanent...
BRODIE
-- and a lot more classified.
Hoag holds up a face-sized organic shell made up of
yellow cartilage pieces and tendons, etc. Archer pulls
it over his face -- like a gauze mask. A "tendon" falls
off.
ARCHER
This'll fool Pollux.
HOAG
That is a state-of-the-art morpho-
genetic template. The inside can
be built to match the exact shape
of your skull; the outside --
exactly like Castor's. Then we
fit his face right on top --
MILLER
-- and you become him.
ARCHER
You're talking about removing the
guy's face?
BRODIE
Borrowing, Jon. The procedure's
completely reversible.
MILLER
One way or the other -- the
mission ends on the eighteenth.
Archer turns the shell over and over and over in his
hands.
BRODIE
You know Castor better than
anyone. You've lived and breathed
him for years -- hell, you even
look a little like him.
Archer shoves the template back at Hoag.
ARCHER
Find yourself another lab-rat.
MILLER
If you don't do this -- Castor
will beat us again. He'll beat
you again...
Archer pushes his way past them -- and marches out.
HOAG
I don't think that went very well.
BRODIE
Trust us, Doc...
MILLER
... he'll jerk around. Then he'll
be back.
INT. INTERROGATION BOOTHS - DAY
Archer enters... sizes up DIETRICH HASSLER. His stylish
garb doesn't completely hide his criminal roots. Archer
sits down calmly. He looks at his watch.
ARCHER
I'm in a hurry, Dietrich. So
you've only got ten seconds to go
through your usual litany of lies,
empty threats, and moronic
denials. Then I'm coming over
there --
DIETRICH
If you're in such a fucking hurry
-- why are you wasting your time
with me? I'm just an art dealer.
ARCHER
You're a dealer, all right:
technical secrets, munitions...
explosives.
DIETRICH
You've never proven any of that.
And when my bitchy, never-been-
laid femi-nazi lawyer gets here,
she's going to...
ARCHER
Time's up.
Archer topples the wooden table and tears a leg from the
top. Brandishing it -- he stalks the startled thug.
HALLWAY JUST OUTSIDE - CONTINUOUS ACTION
Lazarro blanches as an obsessed Archer repeatedly slams
the table leg against the wall -- above Dietrich's head.
LAZARRO
The only ticking bomb I see is
inside his head. He's getting
worse, Tito.
TITO
Don't worry, sir. It's all an
act...
But as Lazarro leaves -- we see Tito's worried, too.
BACK INSIDE BOOTH
Archer has a terrified Dietrich backed into the corner.
DIETRICH
... Okay! Castor called me but I
blew him off... I swear I never
saw him. And I don't know
anything about any bomb!
INT. CORRIDOR - OUTSIDE INTERROGATION BOOTHS - SAME TIME
Archer emerges... eyes blazing.
ARCHER
Let him go, but I want him
watched... Who's next?
TITO
Just Dietrich's sister...
In another booth, a careworn but striking woman sits with
a little boy on her lap. She gently helps him Crayola a
book. This is SASHA HASSLER (30) and her son ADAM (5).
INT. INTERROGATION BOOTH - DAY
Archer hovers over Sasha -- her maternal warmth replaced
by an icy hatred. Tito and the child are gone.
ARCHER
When was the last time you saw
Castor Troy?
SASHA
Who cares? He's dead.
ARCHER
Answer the question.
SASHA
Look, I'm clean. I teach kids
now --
ARCHER
Sasha -- you are a felon, on
probation for harboring Castor
Troy. So it's in your best
interest to cooperate.
(as she's silent)
Would you like your son put in a
foster home?
Sasha's eyes flash, her body coils -- but she keeps
control.
SASHA
No, but I'm sure you'd love it --
you sick bastard.
ARCHER
(unmoved)
When was the last time you saw
Castor Troy?
She stares at him with equal amounts of pity and hatred.
SASHA
I haven't seen him for years.
INT. CORRIDOR - DAY
Archer watches as Adam leaves Dietrich and jumps into
Sasha's arms. She hugs him protectively. Adam sees
Archer watching them -- and smiles. Archer doesn't smile
back.
FULL SCREEN - CASTOR'S REAL FACE
PULL BACK TO:
INT. I.C.U. - NIGHT
Archer slowly circles Castor's muscular, hairy, tattooed
body. Although on life support -- his signature smirk
remains.
ARCHER
What about Lazarro?
BRODIE
No way -- the red tape alone would
take a month. This is a black-bag
operation -- completely off the
books.
MILLER
If you need him, Tito can help you
prepare. But you know the drill:
You can't tell anyone -- not the
Director, not your wife... nobody.
Archer's face shows he doesn't like it -- then he nods.
ARCHER
I'm in.
EXT. ARCHER HOME - NIGHT
Archer slowly gets out of his car. Trudging toward the
front door, he picks up a basketball and takes a shot.
His form is terrible -- he misses by a mile.
INT. HALLWAY - NIGHT
Archer passes Jamie's room. Loud MUSIC POUNDS from
within. He pauses to knock, thinks again, then heads
down the hall.
INT. MASTER BEDROOM - NIGHT
Eve is in bed. Archer comes in quietly and sits beside
her -- studying her peaceful, sleeping face. She stirs.
EVE
I was dreaming...
ARCHER
Something good?
EVE
I'm not sure... you were flying
this weird old stunt plane...
doing flips... walking on the
wings... I was watching from the
ground -- when you fell. You had
a parachute, but you wouldn't open
it.
ARCHER
Did you catch me?
EVE
No.
ARCHER
How come?
EVE
I don't know...
(nuzzles him)
Maybe because you've never needed
my help.
ARCHER
Come on, you made that up, didn't
you?
EVE
... Maybe I did...
(teasing)
... maybe I didn't...
They kiss affectionately. Passion building, Eve runs her
hands over his body -- until her fingers touch a round
scar on his chest. Archer freezes -- mid-caress.
EVE
It's all right, Jon.
ARCHER
After all these years, I still
can't get it out of my head -- an
inch to the left, Matty would
still be alive.
EVE
And you wouldn't be.
No response. The pain hidden in his silence chills Eve.
EVE
Things will get better now that
you're home. Everything will be
better -- now that... that man is
finally out of our lives.
ARCHER
Eve...
He starts to say the words. He wants, needs to share the
truth with her. But he can't. Instead --
ARCHER
... If I had to do something to
find some closure... I should do
it, shouldn't I?... No matter how
crazy?
EVE
Oh, God -- you're going on
assignment again...
ARCHER
One last time. And while I'm
gone, I want you and Jamie to go
to your mother's. It's
important...
EVE
You said you'd be here! You
promised! What could be more
important than that?
ARCHER
I can't tell you... except only I
can do it.
EVE
You want me to tell you it's okay
to leave? Okay, go on! Go!
Fury erupting, Eve pushes Archer out of the bed.
INT. ANOTHER BEDROOM - NIGHT
Archer enters a child's room -- neat and tidy, like a
museum exhibit. A starfield of glow-letters twinkles
faintly.
He lies down on the bed and toys with his wedding band --
staring up at the words the stars form... "MATTHEW."
DISSOLVE TO:
INT. CONVENTION CENTER - MACHINE ROOM - BLINKING
LIGHTS - NIGHT
The blinking LED of the bomb timer continues to count
down.
INT./EXT. '56 BUICK/MOUNTAIN ROAD - MOVING - DAY
Tito drives into the Hoag compound.
Archer's beside him, juggling Castor's dossier:
documents, photos, etc.
TITO
Jon, this is goddam insane. You
can't do it.
Archer says nothing... it's too late for debate. Tito
parks. The men get out and head for the lab.
TITO
You haven't got a chance in hell
of fooling Pollux. Castor drinks,
smokes and walks around with a 24-
hour hard-on. He's nothing like
you --
ARCHER
Don't worry... If Hoag can do half
what he claims, I'll get Pollux to
talk.
Archer reaches for the door -- Tito stops him.
TITO
It's not that simple, Jon...
Becoming another person --
especially him -- nobody can come
all the way back from that... not
even you.
Archer considers his friend's words... He toys with, then
removes, his wedding bang.
ARCHER
Keep this for me.
As Tito takes the ring -- a caring, but concerned look
passes between the two friends.
INT. SURGICAL BAY - DAY
Two huge video screens are dominated by the CG-images of
Archer and Castor. As Hoag briefs the team, the CG-
images glow to reflect the physical characteristic Hoag
refers to.
HOAG
Let's walk through it, Jon. Your
blood types are different, but we
can't do anything about that.
Otherwise, nature is cooperating
nicely. The height difference is
negligible -- within 1/2 an inch.
Eye color -- almost a perfect
match. Penis size, flaccid,
essentially the same --
Substantial.
From the observation booth above -- Miller (flanked by
Tito and Brodie) raises his eyebrow.
On the video screens, the images morph to signify the
physical augmentations.
HOAG
Hairline will be adjusted with
laser-shears... micro-plugs for
the body hair... the teeth will be
bonded to match Castor's...
Hoag eyes Castor's inert, tight body -- then turns to
Archer -- prodding his love handles like a livestock
inspector.
HOAG
How about an abdominoplasty?
ARCHER
Abdomino -- what?
HOAG
A tummy tuck. On the house.
ARCHER
Do it.
TRANSFORMATION MONTAGE
(INTERCUT huge video screen enlargements of Archer and
Castor's body parts as necessary):
Globules of adipose tissue are siphoned off Archer's
obliques. At the same time...
Hoag recreates the "Great Sphinx" tattoo on Archer's
thigh. We PUSH IN ON his leg, then PULL BACK to
reveal...
Archer and Tito. The CLOSE UP on his leg becomes a FULL
SHOT as he walks across the rooftop -- like himself.
Tito demonstrated the proper "Castor gait": dangerously
casual, like a panther.
Hoag reproduces Castor's fingerprints... then layers them
over Archer's fingers.
Archer practices Castor's icy, killer glare. Tito hands
him a lit cigarette. Archer brings the cigarette to his
lips -- then coughs harshly. But he keeps trying.
Castor smiles... then smirks and laughs. PULL BACK to
reveal Archer studying surveillance footage of Castor on
a monitor-screen -- mimicking him.
Archer fusses with his new hair, trying to cover the thin
spots. Giving up, he zips up his sweatshirt -- getting
the zipper caught in his new chest hair.
EXT. HOAG INSTITUTE - GROUNDS - DAY
Tito tosses a pistol. Archer catches it with his right
hand. But to Archer's surprise, Tito frowns.
TITO
Nice catch. But you used the
wrong hand.
He takes the pistol away -- and slaps it in Archer's left
hand. Then Tito shoves him -- challengingly.
TITO
Shoot me.
(as Archer
doesn't move)
Shoot me!
Tito pulls the gun against his own forehead.
TITO
You want to be Castor Troy? If
you hesitate for a breath, you're
finished! Now -- shoot me! Kill
me!
Archer holds the gun unsteadily. Tito is disgusted.
TITO
You can't do it... because Castor
is tougher than you...
BOOM! The GUN goes off -- the slug tears past Tito's
head. Shocked, he touches his left ear, making sure it's
still there.
Then Tito looks at Archer -- and sees the determination.
EXT. HOAG'S FACILITY - NIGHT
Clear and calm. God's night. Someone's God anyway.
INT. I.C.U. ROOM - NIGHT
Hoag leads Archer to a full-length mirror.
HOAG
Let's see if I missed anything
before I get my hands really dirty.
Archer removes the robe. He's amazed to see:
His own head on Castor's body: a flat stomach, hairy
chest, tattoos, thinning hair, etc. Hoag touches
Archer's scar.
HOAG
You realize this has to be
removed.
(as Archer
slowly nods)
Then here we go, Commander.
Through the Looking Glass...
INT. SURGICAL BAY - NIGHT
Unconscious, Archer is wheeled into the surgical bay,
Castor beside him. Hoag turns to the video technician.
HOAG
Make sure you get everything --
I'll need to study the tape before
the reverse surgery.
Hoag lowers an aerated Plexiglas mask over Archer's face.
Interwoven with integrated laser circuitry -- this Derma-
Induction-Device (D.I.D.) attaches via suction.
Hoag sights through the optical memory, squeezes the
trigger. A cobalt beam cuts around the face -- cleanly
slicing it. Then Hoag lifts Archer's face -- off of his
skull.
Brodie and Miller watch from above. Tito stumbles into
the nearby bathroom to throw up.
Hoag inspects Archer's face, then turns to his nurse.
HOAG
Vault it.
Hoag turns to perform the same procedure on Castor.
Castor's consistent EEG reading suddenly spikes
radically -- for a moment, it almost seems to stabilize.
Hoag glances over -- too late -- the spikes have
disappeared.
But the CAMERA CLOSES IN ON Castor's ear -- and we sense
that, somehow, his auditory nerves might be functioning.
DISSOLVE TO:
INT. RECOVERY ROOM - DAY
A head swathed in gauze. The bandages start to fall
away.
Tito, Miller and Brodie wait as Hoag removes the gauze.
The patient looks into a mirror.
Jon Archer has become Castor Troy.
he touches his new face. Archer stares... the cold
reality chilling his blood.
Archer buckles -- unprepared emotionally for what he's
done to himself. For a moment, he seems to teeter on
madness.
TITO
Jon -- are you all right?
Archer can't respond... he's somewhere the others can't
comprehend. Finally he emerges... shaken, but in
control.
TITO enters. Instinctively, he grabs for his holster.
ARCHER
Okay... I'm okay.
(realizes)
But my voice... I still sound like
me.
HOAG
I implanted a micro-chip onto your
larynx.
Hoag SWITCHES ON an AUDIO TAPE. Archer repeats Castor's
words as Hoag adjusts the chip with a wavelength box.
CASTOR (V.O.) ARCHER
Okay, I've got a Okay, I've got a
confession to make, but confession to make, but
you aren't gonna like you aren't gonna like
it... (etc.) it... (etc.)
After a few repetitions, Archer's voice matches
perfectly.
Archer yawns, squints and furrows his brow -- testing
every muscle. He stares into the mirror -- into the eyes
of his most hated enemy -- now his eyes. Archer slowly
turns to...
Castor. Motionless, swathed, dead to the world -- but
something about Castor's smile -- that mocking smile...
ARCHER
Now what?
TITO
We're down to 72 hours. Let's
call Lazarro. Castor Troy just
came out of his coma.
EXT. FBI HELIPORT - DAY
Armed agents take their positions around a helipad. A
jet-black helicopter drops from the sky like an angry
wasp.
EXT. HELIPAD - DAY
As Lazarro watches -- Tito escorts out a heavily-manacled
"Castor." Two armed agents leap from the chopper and
take charge of "Castor." He follows them pliantly,
until --
TITO
Watch this hard-case -- he'll bite
your nuts off if he gets the
chance!
Archer gets the message. He starts to resist the agents
and must be muscled into the chopper. He's manacled
down.
Eye contact between Archer and Tito -- both aware of this
very real point of departure. The CHOPPER DOOR SLAMS
SHUT. It lifts off like a twister and SCREAMS away.
EXT. HELIPORT - STAGING AREA - DAY
The watching team breaks up, wanders back to work.
LOOMIS
What a week for Archer to go on a
training op. Maybe we should try
to contact him.
WANDA
Forget it. He's knee-deep in
Georgia swamp by now.
They pass Brodie and Miller, who watch the chopper
disappear over the horizon. So far so good.
INT. CHOPPER - FLYING - DAY
The agent re-checks Archer's chains.
ARCHER
Don't forget -- I ordered a kosher
meal...
The agent smashes his elbow into Archer's gut. The
second agent presses an INJECTOR against Archer's leg.
PSSSST. Archer spasms against the drug -- then sags
unconscious.
INT. EREWHON PRISON - DELOUSING CUBICLE
Archer wakes up as a torrent of delousing spray hits him.
A guard holds a water cannon on the newest inmate.
Archer lies gasping on the steel floor, protecting his
face. The spray stops -- when head guard "RED" WALTON
enters.
WALTON
You are now an Erewhon inmate -- a
citizen of nowhere. Human rights
zealots, the Geneva convention and
the P.C. police have no authority
here. You have no right...
(slaps on latex gloves)
When I say your ass belongs to me
-- I mean it. Bend over.
Archer's face reflects the degradation as he bends over
and exposes all to the cavity-searching Guard.
Satisfied, Walton lets Archer dress. Another guard
places a pair of odd-looking steel boots before Archer.
WALTON
Step into them.
Archer inspects the lock-down boots. Hinged steel
collars hook over the shoe and encase the ankle. The
soles are gridded steel with magnetic inserts.
WALTON
Don't sniff 'em, you perv. Just
step into them.
Archer obeys. A guard squats down and locks the steel
collars over Archer's shoes. He tries to move -- but
can't.
ARCHER
They're too tight.
WALTON
So's a noose. Now keep your mouth
shut.
Walton JOLTS Archer with his HIGH-VOLTAGE SHOCK-STICK.
WALTON
The prison's one big magnetic
field. The boots'll tell us where
you are -- every second of the
day.
(into comm-link)
201 to Population.
Walton presses his thumb into a standard FBI scan-pad.
It forms a print -- positively identifying the guard.
The heavy blast-door automatically opens.
WALTON
I've got fifty bucks says you're
dead by dinner. Don't disappoint
me.
Walton prods Archer toward the door. To Archer's
surprise -- he can now move.
INT. GENERAL POPULATION - DAY
The inmates eat. Silence descends as Archer enters --
intensifying the constant HUMMING of the MAGNETIC FIELD.
Huge Dubov does a slow burn on seeing "Castor."
Scanning the room for Pollux -- Archer takes a seat next
to a LITTLE, GOATEED MAN with a French accent.
LITTLE MAN
Hey, Castor -- remember me?
ARCHER
Fabrice Voisine... sure, I --
(catches himself)
-- I believe Jon Archer busted you
for poisoning five members of the
the Canadian parliament?
VOISINE (LITTLE MAN)
Those scumbags should never have
voted against the Quebecois.
(a beat)
We heard you got wasted.
Archer sees the other inmates sizing him up.
ARCHER
Do I look wasted -- asshole?
Voisine shakes his head "no" -- then his eyes widen as...
WHAM. Dubov leaps onto Archer and starts pummeling him.
They slide across the table -- spilling everyone's lunch.
GUARD
(into comm-unit)
Central. I have a disturbance in
population. Go to lock down --
WALTON
(into comm-unit)
Hold that lock down.
Walton watches as Dubov throws Archer across the room.
Archer staggers to his feet -- and sees the encircling
inmates and guards looking at him -- unimpressed.
Especially his "brother" Pollux -- who watches
uncertainly.
Dubov attacks again -- but Archer is ready. He grabs
Dubov's fist -- just before it hits his face.
ARCHER
Never -- in -- the -- face.
Holding Dubov's fist firmly, Archer kicks Dubov
repeatedly in the groin. Metal boot meeting soft flesh.
Dubov staggers back -- hurt. Archer moves in for the
kill, savoring it.
Walton looks skyward.
WALTON
Lock 'em down.
INTERCUT WITH:
UP ABOVE - CENTRAL SECURITY
The prison's nerve center -- with video-feeds and
monitors designed to keep problems and privacy to a
minimum.
The two deputies react to Walton's call. Identifying
Archer and Dubov's signature-blips -- they throw the
appropriate switches and...
ZAP! The magnetic boots lock both inmates to the floor.
Dubov flails hopelessly -- but Archer's just out of
reach.
Crack! Walton punches Archer in the diaphragm.
ARCHER
What? He started it!
Walton smashes Archer harder -- he hits the floor.
ARCHER
When I get out of here --
WALTON
You'll what?
ARCHER
I'm going to have you fired.
His statement is so ludicrous, Walton laughs. Everyone
does. From the inmates' reactions, Archer knows he's
been accepted.
WALTON
(to Dubov)
That's two strikes, Dubov. One
more and you know where you're
going.
(to the others)
Back to your 'suites' -- or no
dinner.
As Archer drops into the line of cons -- he spots Pollux
waiting for him. Girding himself for this first
encounter -- he's got a plan.
POLLUX
Hey, bro...
ARCHER
-- Pollux?
POLLUX
Of course it's Pollux, what the
fuck's wrong with you?
Archer stares -- feigning confusion until Walton prods
him forward. Pollux watches his "brother" go -- very
concerned.
INT. ARCHER'S CELL - NIGHT
Archer lies on his cot -- staring at the ceiling.
Isolated, lonely, he realizes how easy it would be to go
insane here.
EXT. HOAG INSTITUTE - NIGHT
An insanely starry night. Van Gogh's night. The night
he cut off his ear, anyway.
INT. SURGICAL BAY - NIGHT
Castor's body lies inert. His life-support MACHINES
BLIPPING away. Until the EEG spikes. Once -- twice --
three times. Brain wave activity increases -- and
stabilizes.
Castor's fingers twitch. Then his fist clenches -- hard.
Castor's head is swathed in gauze. But his eyes pop
open.
Reflexively, Castor wrenches from the bed -- tearing out
the tubes and wires that tether him to life support. He
goes down -- in agony -- groaning.
He struggles to his feet -- staggering through the lab --
until he catches the reflection of his bandaged face in
the window. He quickly unwraps the gauze.
The discarded bandages fall at his feet... we don't see
what CASTOR sees -- but we hear him MOAN... then CHOKE...
then SCREAM -- the only moment Castor ever loses his
cool.
Finally composing himself -- Castor's hand grips the
phone and he dials.
CASTOR
Lars... okay, Lunt, then.
(rifling desk
documents)
Something really fucked-up
happened... I'm in trouble... so
listen very carefully...
EXT. HOAG INSTITUTE - NIGHT (LATER)
A RANGE ROVER SCREECHES up. At gunpoint, Lars and Lunt
manhandle Hoag into the lab.
INT. SURGICAL BAY - NIGHT
Lars and Lunt hustle Hoag in. The lab is on. The
screens run -- scrolling through the video log of
Archer's surgery.
Hoag sees his terrified assistants -- bound with duct
tape.
HOAG
What's this about? What do you
want?
Lars shoves Hoag into a towering figure... we ZOOM IN ON
Hoag's glasses. And THROUGH the REFLECTION we see...
MAN WITHOUT FACE
Hoag reacts in horror at the raw muscle, cartilage and
bone. The man lifts a cigarette to his lips... then
exhales.
CASTOR
What do you think I want?
INT. PRISON - POPULATION - DAY
A huge wall-screen plays gentle nature scenes. Below --
the inmates engage in their exercise hour.
Voisine stares at the screen -- while Pollux carefully
watches his "brother" play basketball. Archer tosses up
an air-ball to the jeers of other inmates.
POLLUX
You realize, of course, that
magnetic humming is designed to
drive us insane. If we all don't
get brain tumors first.
VOISINE
And that same cloying Bambi tape
-- over and over...
POLLUX
It's like they're begging us to
riot. Where the fuck are we,
anyway?
(the game ends)
Gotta go...
Pollux trots over to Archer -- passes him his cigarette.
He studies Archer as he takes a drag -- and nearly gags.
POLLUX
... I'm worried about you.
ARCHER
Why?
POLLUX
Your jumpshot has no arc. You
used to swagger... now you swish.
You're gumming that butt like a
Catholic school girl.
(notices)
And why do you keep picking at
your finger?
Pollux has caught Archer reflexively tugging at his
phantom wedding ring. Archer immediately stops. He
takes a drag and holds it -- then exhales right in
Pollux's face.
ARCHER
I was in a coma...
Pollux sticks his finger under Archer's eye and pulls
down like a vet examining a sick dog. Archer pushes him
off.
ARCHER
My reflexes, my senses, my
memory... everything's jumbled. I
can't even tell you why Dubov
jumped me yesterday.
POLLUX
You Pollinated his wife the day he
was arrested. How could forget
that?
ARCHER
I've forgotten plenty. Look
around -- we've screwed over half
the freaks in here. What's gonna
happen to us if they think I've
lost it?
Pollux contemplates the other inmates -- circling, sizing
up the brothers like hungry sharks. Instinctively,
Pollux moves closer to Archer for protection.
ARCHER
I need you to play big brother for
once -- till I can fill in a few
blanks. Think you can handle
that?
Pollux nods grimly -- then Archer pulls up his sleeve,
exposing the pyramid tattoo.
ARCHER
I know I got this on my tenth
birthday. I just can't remember
why.
POLLUX
Man -- that was the worst day of
our lives!
Archer feigns a "struggle" with his memory. He lights a
new butt with the old -- chain-style... then "remembers."
ARCHER
Oh, God -- Mom O-D'd at County
General.
POLLUX
Retching and convulsing while
those bastards didn't even try to
save her sorry ass. You gave her
mouth to mouth -- man -- even then
you had some constitution.
(a beat)
Remember what you swore to me at
the funeral?
ARCHER
Uh -- to kill the doctors?
POLLUX
After that. You promised you'd
always take care of me.
ARCHER
And I bet I kept that promise...
POLLUX
Only one you've never broken.
Pollux curls into Archer -- in need of comfort. Archer
puts an affectionate arm around Pollux -- springing the
trap.
ARCHER
Screw the past. We've got the
future to look forward to.
(a beat)
We still have tomorrow.
POLLUX
No shit... five million bucks...
now those Red Militia crackpots
get to keep it.
ARCHER
That's not the worst part.
POLLUX
What's worse than losing five
million bucks?
ARCHER
Being stuck in this rat-hole when
it blows. What you built was a
work of art. It belongs in the
Smithsonian.
Pollux beams with pride -- Archer hangs on every word.
POLLUX
Yeah -- well... the L.A.
Convention Center will have to
do...
ARCHER
Thanks, Pollux.
POLLUX
'Thanks'? I guess they really did
fuck you up.
Then Archer smiles -- like Jon Archer. Without knowing
exactly why -- a wave of ill-ease overtakes Pollux.
INT. ARCHER'S CELL - DAY
Archer paces impatiently... as the door rolls open.
Walton is looking at him with cool respect.
WALTON
You have a visitor.
Archer smiles to himself -- pleased at Brodie's
timeliness.
INT. INTERROGATION ROOM - DAY
Archer's boots lock down -- as the guillotine door rises.
But his confidence evaporates into unspeakable horror.
Because he finds himself staring into the blue eyes of --
Jon Archer. This man has Archer's face -- his real face.
IMPOSTOR
What's the matter? Don't you like
the new me?
Archer studies the image of his former self -- trying to
understand. Then he recognizes the smirk on the face,
the mocking twinkle in the eyes and he says what he
cannot say...
ARCHER
-- Castor...?
CASTOR
Not anymore.
ARCHER
It can't be. It's impossible.
CASTOR
I believe the phrase Dr. Hoag used
was 'titanically remote'. Who
knows? Maybe the trauma of having
my face cut off pulled me out. Or
maybe God really is on my side
after all.
(starts pacing)
By the way, I know you don't get
the papers in here.
Continuing to circle, he displays the current LA Times:
"INFERNO AT HOAG INSTITUTE -- Malcolm Hoag Dead"
CASTOR
Terrible tragedy.
Hoag was such a genius -- but
selfish with his artistry. I
actually had to torture his
assistants to convince him to
perform the same surgery on me.
ARCHER
You killed them?
CASTOR
Of course I killed them, you dumb
fuck. Hoag, his staff...
FLASH ON Hoag's body -- on the floor of the burning lab.
Two more burned bodies adjoin Hoag's.
CASTOR
Miller and Brodie --
FLASH ON Brodie and Miller -- dead in a mangled car
wreck.
CASTOR
I even paid a visit to your buddy
Tito.
ARCHER
He doesn't know anything about
this!
CASTOR
Come on, Jon. I think I know you
better than that. I only wish you
could have been there to see the
look on his face --
FLASH ON Tito... he smiles, then recoils in shock as
Castor lifts a pistol and shoots him... then he picks up
Archer's wedding band off the counter...
INT. EREWHON PRISON (PRESENT)
Archer stares -- thunderstruck -- at the wedding band now
on Castor's finger.
CASTOR
-- then again, I guess you were
there.
(a beat)
I torched every shred of evidence
that proves who you are. So
swallow this -- you are going to
be in here for the rest of your
life.
ARCHER
Castor, don't do this --
CASTOR
No discussion, Jon -- no deals.
Now if you'll excuse me, I've got
an important government job to
abuse, and a beautiful wife to
fuck. Excuse me -- I mean 'make
love to.'
Archer freaks out. He screams, flails -- unable to reach
Castor. Castor opens the door and guards rush in --
clubbing Archer and shocking him senseless.
WALTON
Sorry, sir.
CASTOR
It's quite all right. You never
know what to expect from a
psychopathic criminal...
INT. CELL BLOCK - DAY
The guards dump Archer into his cell.
WALTON
Better be nice, Castor. You could
get mighty lonely now that Pollux
is gone.
ARCHER
Pollux is -- what?
WALTON
Archer cut him a deal for turning
state's evidence. He's been
released...
ARCHER
Walton, you have to listen to me
-- right now!
WALTON
Or what? You'll have me fired?
(pushes a button)
You're confined until I say
otherwise...
The steel panels shut - silencing Archer's pleading
voice.
INT. ARCHER'S CAR - MOVING - DAY
Sipping a beer, Castor cruises past the suburban bliss:
men on hammocks; women chatting; kids playing tag.
CASTOR
(sickened)
Jesus, what a life.
Castor tries to catch a street address and rolls past...
ARCHER'S HOUSE
Dressed for work, Eve watches blandly as the car goes by.
A moment later, it backs up and parks.
Hiding the beer can, Castor forces a sheepish smile --
and gets out. She doesn't smile back.
EVE
I suppose it was only a matter of
time before you forgot where we
lived.
CASTOR
Sorry -- the job's been murder
lately.
Castor looks her over -- she's much sexier than he
expected.
EVE
So what happened to your
'important' assignment?
CASTOR
What do you know about it?
EVE
I know exactly what you always
tell me: Absolutely nothing.
CASTOR
It didn't work out the way
everyone thought it would. Where
are you off to?
EVE
I've got surgery.
CASTOR
Surgery -- are you okay?
Then he spots her medical bag. Oops.
EVE
Don't try to charm me -- I'm still
angry. There're leftovers in the
fridge.
CASTOR
Have fun at work.
Castor kisses her good-bye -- on the mouth.
EVE
What is with you?
CASTOR
Don't I usually kiss my wife?
EVE
No.
Castor reacts as she gets in the car and pulls out.
INT. ARCHER'S HOUSE - DAY
Castor steps inside, looks around.
CASTOR
What a dump.
INT. STUDY - DAY
Castor sifts through Christmas cards from holidays past,
studying the ones with photos. He's memorizing --
matching names to faces -- Wanda's, Buzz's, Lazarro's,
etc.
Something else catches his eye. He finds a floral
notebook -- Eve's diary -- and pages through it. Then,
he reads:
CASTOR
'... "Date-night" has been a
typical failure... we haven't made
love in almost two months...'
What a loser ...
Castor hears a voice. Glancing across the hall, he
sees...
GLIMPSES OF JAMIE
As she walks back and forth in her room, talking on the
phone -- and wearing only panties and a cropped T-shirt.
Castor steps closer -- enjoying the view.
CASTOR
The plot thickens.
INT. JAMIE'S ROOM - DAY
Jamie stamps out her cigarette.
JAMIE
-- I got your E-mail, Karl. That
poem was really sweet --
(spots Castor
at door)
Hang on a sec...
She slams it -- but he gets his foot inside.
JAMIE
I'll call you back.
(to Castor)
You're not respecting my
boundaries.
CASTOR
I'm coming in, Janie.
Castor pushes menacingly into the room.
JAMIE
'Janie'?
Castor spots her correct name embroidered on a pillow.
He gazes seductively -- unnerving Jamie as he steps
toward her.
CASTOR
I don't think you heard me...
Jamie... You have something I
want ...
He reaches for her -- and right past her. He picks up a
pack of cigarettes from the desk.
JAMIE
Clarissa left those here.
CASTOR
(shrugs and
lights up)
I won't tell mom if you don't.
JAMIE
When did you start smoking?
CASTOR
You'll be seeing a lot of changes
around here --
(blows a perfect
smoke ring)
Daddy's a new man.
Jamie stares, astonished, as Castor goes out.
INT. EREWHON PRISON - ARCHER'S CELL
Fists bloody, voice hoarse, Archer pounds at the cell
door. Exhausted, he finally stops -- staring at the face
of his enemy in the mirrored door -- the enemy who now
has total command of his life.
INT. FBI - LOBBY CHECKPOINT - DAY
Castor dons his stern "Archer" face as the gate guard
checks his thumbprint ID. He's cleared and waved in.
INT. FBI INTERROGATION BOOTH - DAY
Buzz and Wanda watch Pollux through the two-way mirror.
He's gorging himself on a big lunch. Castor arrives.
BUZZ
Listen, sir... we just want you to
know...
WANDA
We're all really sorry about
Tito...
CASTOR
Yeah, well, shit happens.
Buzz and Wanda exchange a glance. To them, "Archer" is
just avoiding his feelings again.
CASTOR
How's our star witness?
BUZZ
He hasn't told us a damn thing
except what kind of mustard he
likes on his tongue sandwiches.
WANDA
If that bomb is out there -- we're
almost out of time.
LAZARRO (O.S.)
Archer!
Lazarro stomps toward them... furious. Buzz and Wanda
quickly excuse themselves.
LAZARRO
You made a deal with Pollux Troy?
He's 'a manipulative psychopath.'
Your own words, Jon!
CASTOR
Just let me do my job, Victor.
LAZARRO
The job I've been protecting for
the last eight years. From now
on, you go strictly by the book.
Everything gets cleared by me.
Understand?
Lazarro stomps off. Castor watches him go, wheels
turning.
INT. INTERROGATION ROOM - DAY
Castor enters -- shutting down the mikes... and the
blinds.
CASTOR
You're supposed to be snitching --
making me look good.
POLLUX
'Look good'?
(drops food in
disgust)
Seeing that face -- I want to
vomit.
CASTOR
I'm the one who has to look at
this butt-ugly mug every time I
pass a mirror. Look at my eyes,
my chin, my perfect nose -- gone!
(considers his
reflection)
Archer took my life, so I'm taking
his. Bro, I'm going straight.
POLLUX
Sounds like they took your brain,
too?
CASTOR
Imagine Dillinger as J. Edgar
Hoover. Carlos the Jackal running
Interpol. Kaddafi heading the
Mossad. Think of the secrets we
could sell...
Pollux listens carefully -- mind clicking like an abacus.
POLLUX
The drug agents we could expose.
The movie stars we could
blackmail!
CASTOR
That's just the bottom of the food
chain. Pollux -- what would
happen if somebody planted a bomb
on Air Force One?
POLLUX
... that somebody would get rich.
And, I suppose, the nation would
be pretty pissed-off.
CASTOR
Pissed-off, vulnerable... looking
for someone to step in, take
charge, give them hope again.
What if that someone was an F.B.I.
hero? A true Boy Scout and family
man -- with a spotless past.
Imagine where that guy could land
-- if the timing's right.
POLLUX
It's an audacious dream, Caz. But
Jon Archer is hardly a household
name.
CASTOR
Not yet he isn't. But after you
'confess' -- you'll be a free man.
And I'll be on my way...
EXT. CONVENTION CENTER - DAY
Police VEHICLES ROAR into position. Squads of police
evacuate throngs of people.
INT. CONVENTION CENTER - SUB-BASEMENT - EXTREME
CLOSEUP - BOMB TIMER - DAY
TICKS down to less than two minutes.
Working as a unit, the BOMB SQUAD carefully remove the
bomb's casing. Inside, the complex guts glow evilly.
The men are tense, cautious -- and way out of their
league.
BOMB LEADER
Jesus... Any suggestions?
TECHNICIAN
Yeah... run
Castor pushes up his blast visor. He looks grim.
BOMB LEADER
It's protected by a vibration
detector... One touch and...
CASTOR
Evacuate your team, Captain.
BOMB LEADER
Sir, you can't disarm it --
CASTOR
Just go!
The bomb squad hustles out. Waiting until he's alone,
Castor pulls a radio device from his pocket and hits its
switch. The bomb's glow dies instantly.
EXTREME CLOSEUP - TIMER
stops at 26 seconds.
BACK TO SCENE
Not satisfied, Castor starts it up again -- running the
timer down to four seconds. That's better.
INT. EREWHON PRISON - "POPULATION" - DAY
The inmates eat lunch. Walton enters -- prodding a
beaten Jon Archer ahead of him.
WALTON
A special privilege today: TV --
by order of Agent Jon Archer of
the F.B.I...
Jeers from the inmates as the big screen changes from the
nature loop to... CNN.
ON SCREEN - CONVENTION CENTER
"Sweating," Castor lumbers out, carrying the disarmed
bomb.
ANCHORMAN (V.O.)
That was the scene at the L.A.
Convention Center, where an F.B.I.
agent is being hailed as a hero.
Agent Jon Archer disarmed a
powerful bomb just seconds before
it was set to explode. Let's get
the latest from Valerie Rice...
EXT. CONVENTION CENTER - DAY
Castor basks in the attention of the gathered media.
REPORTER RICE
The apparent target was a group of
Supreme Court justices -- due to
speak here today.
(thrusting microphone)
Mr. Archer, do you have any idea
who planted it?
CASTOR
That's classified. But if he's
listening I have a message for
him:
(directly into
camera)
Nice try. Now you know who's
really in charge.
INT. EREWHON PRISON - POPULATION
Watching the TV, Archer's enraged, frustrated. Then his
eyes focus... he watches closely as --
A guard uses his "thumbprint ID" to get through the
security door. Archer's eyes fall on the thumbprint scan
pad.
INT. FBI - BULLPEN - DAY
Castor gets a "thumbs up" from some co-workers, others
smile -- but they know better than to applaud.
CASTOR
Don't you guys watch TV? Where's
the parade?
They look at each other -- afraid. But proud rookie
Loomis starts clapping, so everyone else joins in rousing
applause.
CASTOR
-- Loomis, Buzz, uh -- Wanda...
all of you, thanks from the bottom
of my heart. Thanks for enduring
all those years I was an
insufferable boor. From now on --
consider me reborn.
WANDA
Stop the presses -- Jon Archer
found a personality...
Wild applause... interrupted by an excited Kim.
KIM
Sir... the White House is calling.
Castor acts startled... as if at a loss. Then he struts
toward his office -- pausing only to give Kim a playful
swat on the rump. She's stunned.
INT. ARCHER'S OFFICE - DAY
Castor surveys his new domain. He settles into Archer's
big leather chair... sees a framed photo of Archer and
family. He apes Archer's dumb posed smile...
CASTOR
Jon, your career is finally taking
of.
(picks up phone)
Archer. Sure I'll hold...
Waiting, he picks up a handbook: You and the FBI: A
Primer for New Employees. Then...
CASTOR
Mr. President, what an honor...
Castor pumps a "whacking off" gesture with his hand.
EXT. ARCHER'S HOME - DAY
Castor, carrying grocery bags, comes into the back yard
where Jamie practices free throws. He watches her miss.
CASTOR
How about a game of horse?
JAMIE
Don't make me beat your butt
again, Dad. It's harmful to my
developing psyche.
CASTOR
Afraid you'll lose?
Castor crisply sinks a free-throw. Jamie glares, takes
the ball -- and tosses an air-ball.
CASTOR
'H.'
Jamie sneers at him. He buries another one.
CASTOR
Try putting a higher arc on the
ball... and square your shoulders
to the basket.
Begrudgingly, she listens -- and sinks a clean shot.
Pleased, she nods. HONK! A BMW pulls into the driveway.
JAMIE
Gotta go. Karl's here.
Jamie trots over to greet KARL (17) -- a clean-cut
preppie. Opening the car door dor her, Karl waves,
smiling at Castor. Castor studies Karl carefully, not
liking what he sees.
INT. ARCHER'S HOME - NIGHT
A tired Eve opens the door. It's pitch black inside. As
she fumbles for the light switch...
MATCH
flares as Castor lights a candle. The dining room table
is set for a candlelight dinner. He smiles warmly at her
confusion.
CASTOR
Don't tell me you forgot. Eve --
it's date night!
DINING ROOM - LATER
Eve looks up from her pasta. After an awkward silence.
EVE
Why do I feel like I'm on a blind
date?
CASTOR
It's important to keep some
mystery... so things stay...
unpredictable.
Eve studies him as he pours her more wine. Her smile
slowly fades as she realizes what's going on.
EVE
'Unpredictable'? You're about as
unpredictable as the tide.
(detached)
How long are you going to be gone
this time?
CASTOR
Gone?
EVE
Isn't that what all this is about?
The wine, cooking me dinner --
your next assignment?
CASTOR
I'm not going anywhere.
EVE
You always say that -- then you
leave.
CASTOR
I bet I deserved that. I bet Jon
Archer is the most inattentive,
sexless spouse on Earth.
EVE
Jon, that's not true --
CASTOR
Of course it's true, but I'm
trying to change? I'm here
because I want to be alone with
you. I want to see the candle-
light dance in your beautiful --
Uh-oh. Castor can't tell the color of Eve's eyes. He
leans in "romantically" -- but we know the real reason.
CASTOR
-- brown eyes.
He smells her hair, then her shoulders, her skin. She's
aroused, but wary. So Castor goes in for the kill.
CASTOR
I wanted it all to be just
right... when I told you about my
promotion.
EVE
Your what?
CASTOR
Well, I don't have it yet. But
Lazarro's getting old -- he won't
be around forever. And I'm
getting the itch to move up.
EVE
Jon... that's wonderful.
CASTOR
So you see, I'm not going
anywhere. Unless it's upstairs
with you...
INT. BATHROOM - NIGHT
Castor carries Eve into the shower and spins on the
water.
He rips her blouse open -- on her like a vulture to
carrion. As they drop to the floor of the stall -- water
filling up around them -- Castor licks her ear and
whispers...
CASTOR
baby, it's like I'm having you for
the first time.
Dirty water runs down a floor drain... PULL BACK to:
INT. EREWHON PRISON - POPULATION - NIGHT
Desolate, Archer mops down the rec area.
ARCHER
Don't they ever let us take off
these boots?
VOISINE
Not unless you're sent to the
'Clinic.'
ARCHER
You mean if I get sick?
VOISINE
They don't give two fucks about
your health. The Clinic's where
they send the real hard-cases for
attitude adjustment. Dubov just
got sent down -- and look at
Wainwright --
Voisine gestures to a dazed inmate nearby -- WAINWRIGHT
-- who sits in a corner -- gnawing at his knuckles.
VOISINE
Toughest bastard I ever saw --
after you, of course. Now he's a
fucking drool case.
ARCHER
What did he do?
VOISINE
He hit a guard.
Archer sees Walton hovering nearby. Archer heads for
him.
WALTON
Looking for trouble, Castor?
ARCHER
As a matter of fact -- yes.
Crack! Archer decks Walton.
INT. PRISON - POPULATION - NIGHT
Walton and a guard herd Archer toward a steel door.
INT. "CLINIC" - NIGHT
Archer is dumped on the floor. He sees he's lying in a
puddle of something. He looks up -- and recoils.
ARCHER'S POV - DUBOV
is strapped to a vertical gurney -- post-procedure. His
limbs are stiff, his eyes blank as a mako shark's. But
his feet are bare -- bootless.
MED-TECH
Where's the mop, he puked all over
the place.
An assistant unstraps Dubov and drops him on a gurney.
MED-TECH
(mopping up)
-- next time, bring them in before
dinner...
Archer cases the place: Above is a catwalk... leading
out.
BACK TO SCENE
Walton muscles Archer into the gurney. The Med-Tech
smirks.
MED-TECH
Oh happy day -- Castor Troy.
The Med-Tech wheels the ECT head-gear cart into place:
twin needle-like BOLTS ready to fit into ARCHER'S ears.
A single blue static spark jumps from the bolts.
Walton roughly wedges Archer's head into the head gear,
shoving the chewed-up bite strap into Archer's mouth.
WALTON
Bite hard, scumbag, 'cause you'll
be gumming baby food from here on
out.
MED-TECH
Get his boots, Sergeant.
Walton unlocks Archer's first boot and pulls it off. As
the Med-Tech starts to fasten Archer's arm -- Walton
unlocks and pulls off the second boot.
Archer's feet are free. Crack! He yanks his foot up
hard -- Walton reels back, stunned.
One arm still restrained, Archer backrolls in the gurney
and kicks the head-gear cart away -- knocking it into the
Med-Tech who collapses onto it, hitting "Test" --
ZAP! The HEAD-BOLTS FIRE, catching the Med-Tech through
the shoulder -- he drops to the floor, his synapses shot.
Seeing that Archer is still restrained by the arm -- the
assistant darts out of the room.
As Archer pulls free -- Walton looms over him -- gun
poised.
Then -- wham! Dubov wallops Walton -- using his boots as
brass knuckles. The head guard collapses.
Dubov smiles dumbly at Archer -- all trace of vendetta
now obliterated. Archer nods gratefully -- they're on
the same team... at least for now.
Suddenly the ALARM BLARES.
Archer sees guards charging the room. He tries closing
the door -- but the guards arrive. Dubov lumbers over
and puts his massive weight into it -- and slams the door
shut.
O.S., guards POUND at the now-locked door.
Archer quickly frisks Walton -- coming up with a
cigarette lighter. he pockets it.
Scanning around -- Archer leaps onto a mounted, hinged
lamp. it swings against the wall. Archer uses it to
reach the catwalk above.
ARCHER
Dubov -- come on!
Dubov obeys and follows Archer up onto the catwalk.
A groggy Walton muscles open the door from inside.
Guards pour in. Walton grabs an AUTO-RIFLE and opens
FIRE.
SLUGS chase Archer and Dubov as they flee through the
catwalk door.
INT. CENTRAL SECURITY CONTROL
Two guards watch Archer and Dubov disappear off the
clinic's monitor. They grab their shock-sticks and rush
for the door.
The door opens -- revealing Dubov and Archer. Perfectly
in synch -- they double cold-cock the startled guards.
Archer grabs a shock-stick -- and fuses the door shut.
He yanks out wires and shatters the computers. Dubov
mimics the behavior -- ripping out an entire console --
and revealing a narrow cable duct.
Flames explode -- shorting the circuitry -- the DRONING
HUM RISES -- the magnetic power monitor shows a dangerous
surge.
AROUND PRISON
Chaos. Guards scatter as the huge diamond-vision SCREEN
EXPLODES and inmates are flung like rag-dolls by their
short-circuiting boots. Anything metallic flies into the
magnetic domes.
SECURITY CENTRAL
As the men back through the cable duct -- Archer
struggles to replace the heavy console.
The DOOR is BLOWN open. Walton enters to find... no one.
Then his eyes light on the console -- slightly askew.
INT. CABLE CORRIDOR
Archer and Dubov rush down the tight corridor -- and
around the bend. The corridor ends in a...
STORAGE/MAINTENANCE AREA
Lined with tools, toilets, sinks, a rack of old lock-down
boots. They race through the far door...
INT. CENTRAL TOWER ROOM
Archer and Dubov find themselves in a multi-level
labyrinth. A hundred feet high -- criss-crossed with
catwalks, staircases and high walls.
ECHOES resound -- SHOUTING, FOOTSTEPS GETTING CLOSER --
they seem to be coming from all around them.
Over the magnetic HUM -- Archer notices loose screws and
other metal debris stuck to the sheer wall. He pulls one
screw away -- and lets it fly back into the polarized
wall.
Archer gets an idea -- and looks back the way they came.
SMASH CUT:
SHEER WALL
Archer and Dubov scale the face -- using the old metal
boots. They climb higher and higher as...
Guards criss-cross the catwalks and staircases below and
around them -- oblivious.
Archer and Dubov almost reach the next level when...
WALTON
There!
BULLETS SMACK the wall around them -- just as Archer and
Dubov reach the next catwalk.
Archer spots the emergency exit security door at the far
end. But four guards descend on them -- and block their
way.
Fist fight as Archer and Dubov take on the attacking
guards. Archer heaves one down the stairs -- into more
guards. Dubov drops another over the catwalk.
They continue their desperate race for the door --
reaching the landing. As BULLETS PING around them --
hulking Dubov rips away a floor panel. He uses it as a
shield as Archer sparks up Walton's lighter.
As SLUGS EXPLODE into the shield -- Archer places the
flame to his thumb... and peels off the skin mold.
He presses his thumb to the door's keypad. To his
horror, its LED reads "print unreadable."
Walton and guards movie in, FIRING at closer and closer
range.
Dubov staggers under the FUSILLADE OF BULLETS. The
shield is repeatedly punctured -- and is quickly
disintegrating.
Archer licks his thumb, tries again. Finally it reads
"Clearance Confirmed"... the door slides open.
ARCHER
Let's go!
Dubov heaves the shield at the encroaching guards -- but
as he turns to follow... Walton BLOWS him away.
Archer reaches to pull Dubov through, but the riddled
inmate ignores the helping hand. Pulling the door shut,
he collapses in front of it -- blocking it momentarily.
INT. HIGH CATWALK TOWER
Archer hesitates for a moment... but that's all he has.
he keeps going... up the winding staircase-catwalk --
higher and higher -- a step ahead of the onrushing
guards.
As BULLETS CLANG around him -- Archer reaches the top.
He ignores a sign which reads...
EMERGENCY EXIT ONLY
SAFETY LINES REQUIRED
He charges straight up a ladder and plows right
through --
SMASH CUT:
EXT. PRISON - DAWN
Archer's blinded -- it's daytime in the real world.
A sea gull flies across his face -- as we FOLLOW the
bird...
PULL WAY, WAY BACK to reveal:
The prison's in the middle of the goddamn ocean, in what
appears to be just an abandoned, rusty oil rig platform.
Archer rushes over to a transport chopper.
INSIDE COCKPIT
Archer searches for the keys. No go. He throws
switches. Nothing works.
Guards pour out of the hatch -- FIRING. Archer leaps
from the chopper and jumps over the side to the
platform's --
LOWER LEVEL
He lands hard on the slanted, corrugated shed roof and
rolls to the ground. He grabs a high-pressure hose --
and cranks the pressure valve -- as the pursuing guards
close in.
Archer BLASTS the guards with the WATER CANNON --
knocking Walton and others into the sea. Archer upends a
stack of oil barrels -- which roll into more guards.
Archer spots:
TUGBOAT
pulling a Zodiac dinghy -- heading out to sea.
Archer jumps up a stack of pipes to the south rail --
where the end of a crane's hook is tagged back. Under
FIRE -- Archer frees the hook, which swings away from the
platform.
Hanging on to the hook, it swings him out over the ocean.
At the apex -- le lets go and plummets down into...
CHOPPY SEA
He pulls himself into the ZODIAC and frees it from the
tug. It ROARS off.
EXT. ZODIAC - MOVING - DAY
The nylon craft zips through the waves -- approaching San
Pedro Harbor. The ENGINE SPUTTERS... low on gas.
ARCHER
Come on... come on...
Archer senses something... He looks up and...
Whoosh! Something swoops down -- but it's just a
pelican.
He FIDDLES with the ENGINE -- which finally DIES. Archer
grabs the oars -- about to start rowing when --
Another swoop! This time it's the prison chopper.
Archer spots a string of buoys dotting the harbor. An
idea.
WIDE SHOT
The chopper settles over the Zodiac.
Wind and water swirl around Archer...
CHOPPER
Walton, drenched but obviously rescued, has archer in his
sights... He starts to FIRE his MACHINE GUNS...
ZODIAC
BULLETS RAIN down on the boat -- destroying it -- as
Archer dives into the rolling swells...
INSIDE CHOPPER
Walton RAKES the debris -- shredding it.
The chopper does a final circle of the wreckage... then
moves off... its ROTOR WASH THRASHING the buoy.
UNDER BUOY
Archer has crawled up into the hollow buoy -- sucking
air.
INT. ARCHER HOME - BEDROOM - DAY
Eve's asleep. Castor, dressed, looks down at her like
Cortez at Montezuma -- triumphant, with overwhelming
power.
EXT. DRIVEWAY - DAY
Heading for the car, Castor is about to light up when --
EVE
Last night, I thought -- this
isn't my husband.
He pockets the smoke. Eve is there, dressed somberly.
EVE
Then I woke up in the middle of
the night -- and found you passed
out in the study.
CASTOR
I couldn't sleep -- you roll
around a lot.
(jingles car keys)
Anyway, I'm late.
EVE
Jon, you know what day it is. I
know it's difficult for you, but
we still have to go.
CASTOR
Can't we skip it just this once?
I gotta 'protect and serve', you
know.
EVE
'Protect and serve' later. You're
going.
CASTOR
Okay, if you insist. But -- you
drive.
He climbs into the front seat beside her.
INT./EXT. CAR - MOVING - DAY
A pastoral, hilly area near the coast.
CASTOR
So who's this Karl creep Jamie's
been seeing? He's a little old
for her, isn't he?
EVE
I don't know... they're about the
same ages we were when we met.
(smiles)
Remember the all-night dentist?
CASTOR
Sure, how could I forget.
(changes subject)
By the way, you never said
anything about last night...
He moves closer, stroking her hair as his BEEPER sounds.
EVE
Aren't you going to get that?
He turns his beeper off, then touches her lips with his
finger. Without knowing exactly why, Eve tenses up.
EVE
Jon -- this is hardly the time or
place.
Castor looks around in surprise because he sees she's
driving into --
SPRAWLING MEMORIAL PARK
They drive through the gates -- passing a church marked
"ST. MARY'S-BY-THE-SEA." Nearby, the OCEAN ROARS.
EXT. ST. MARY'S CEMETERY - DAY
It's beautiful here, striking and sad. Now on foot,
Castor follows Eve up a bluff, through a phalanx of
graves -- with no idea where she's leading him.
Finally she stops at a crucifix-topped headstone. Castor
joins her and reads the etched marble stone:
Matthew Archer, Age 5
Beloved Son & Brother
We Cherish You Always
Stunned, Castor watches as Eve kneels beside the marker.
EVE
Happy birthday, Matty.
She places a few child's toys on the marker... a shark...
a little bulldozer... a spaceship. Overwhelmed with
grief, she collapses into Castor.
EVE
He took our baby, Jon. He took
our little boy.
FULL SCREEN - CASTOR'S FACE
He stares at the grave of the boy he killed -- the boy
whose mother is weeping into his chest.
The ever-present smirk is long gone as Castor stiffly
returns Eve's embrace -- maybe, just maybe, feeling the
victim's pain.
CASTOR
Stop crying... stop crying...
stop ...
INT. FBI BULLPEN - DAY
Shaking off his funk, Castor arrives at the office.
WANDA
You picked a helluva day to leave
your beeper off!
CASTOR
What happened?
WANDA
Castor's dead!
CASTOR
He's -- what?
BUZZ
Somehow he escaped from Erewhon.
But a prison chopper mowed him
down just off Long Beach Harbor...
CASTOR
Where's the body?
WANDA
It hasn't been recovered yet.
CASTOR
'It hasn't been recovered yet!'
You people have no idea who you're
dealing with!
(beat)
I want everyone on this, reports
on the half hour, and all leads
get routed through my office.
Buzz, alert the L.A.P.D.
BUZZ
L.A.P.D.? Even if he is alive,
Castor isn't stupid enough to come
back to the city.
CASTOR
He's alive -- and he's already
here. Move!
EXT. PIER - NIGHT
Something bobs up in the surf. Archer is thrashed ashore
by the breakers... he crawls gasping onto the sand. He
takes a few breaths -- then staggers up onto the beach.
EXT. TITO'S STREET - NIGHT
Archer's heart sinks as he sees the yellow police cordon
taped across Tito's front door. Some teenage cholos
notice him -- so Archer keeps right on going.
INT. TITO'S DUPLEX - NIGHT
A rear window is forced open -- Archer pulls himself in.
In the dim light, he sees the bullet hole on the wall...
then the blood stains within the forensics chalk marks.
He buckles and has to sit down. Taking a deep breath, he
picks up the phone and dials.
ARCHER
Dr. Archer please. It's an
emergency.
(listens)
-- Her husband.
Archer waits. He pinches his throat -- trying to
dislodge the vocal implant. His voice scrambles into
garbled static.
ARCHER
Hello, Eve -- I know this sounds
crazy, but --
(reverting back)
Dammit.
INT. HOSPITAL - ER - NIGHT
EVE deftly stitches up a gash above little IRIS's (8)
eye.
EVE
How did this happen, sweetie?
IRIS'S DAD
She fell off her Big-Wheel.
Something about his too-quick response rankles Eve. She
eyes the yuppy Dad with suspicion -- then notes some
bruises on the child's arm. A NURSE enters.
NURSE
Dr. Archer -- your husband's on
three.
EVE
Get Child Services down here --
and don't let her father leave.
(goes to wall-phone)
Jon? Hello?
INTERCUT Archer and Eve as necessary.
ARCHER
Eve, listen carefully. The man
you think is your husband --
isn't.
EVE
Who is this?
ARCHER
Please, just listen! Take Jamie
and go to your mother's in Santa
Fe. Don't tell him where you're
going -- just go.
EVE
Whoever you are -- don't call
again...
CLICK. Archer sags in futility. A SIREN snaps him back
to reality.
Archer goes to the window and carefully peers out.
A squad CAR ROARS INTO VIEW -- then continues on its way.
ARCHER
I need to speak to Director
Lazarro immediately... I have
information about Castor Troy.
Waiting... Archer rifles the room... finding car keys...
a baggy jacket... Then...
INTERCUT WITH:
INT. FBI OFFICE
CASTOR
This is Jon Archer. Who's
calling?
Archer pauses... hearing his own voice speaking to him.
ARCHER
Well, if you're Jon Archer... I
guess this must be Castor Troy...
CASTOR
I've gotta hand it to you, Jon.
You're doing a damn respectable
job of being me. But let's face
it, we both liked it better the
way it was. So before the cops
blow your brains out -- why not
tell me where you are...
ARCHER
If you were really me, you'd
know -- no discussion, no deals.
Archer hangs up == leaving Castor stewing.
EXT. GARAGE - NIGHT
The automatic door lifts -- revealing Tito's old Buick.
The big V-8 RUMBLES as Archer pulls out. He doesn't get
far as... menacing CHOLOS block his way.
CHOLO # 1
Where are you going?
CHOLO #2
Ten bucks he's the guy who popped
Tito!
The Cholos surround the Buick. Archer's cornered like an
animal as the angry teens pound on the windows.
Archer HITS the GAS -- scattering all except Cholo #1 who
jumps on the hood. Archer SLAMS the BRAKES -- sending
the guy flying. He lands hard, but is only shaken up.
As Archer roars off, Cholo #1 pulls out his cell phone.
CHOLO #1
9-1-1? I want to report a stolen
car and don't put me on hold!
INT./EXT. BUICK - MOVING - NIGHT
Archer drives on -- listening to KFWB.
RADIO REPORTER (V.O.)
... the escapee is considered
extremely dangerous. If you have
any information concerning the
whereabouts of Castor Troy...
He SHUTS it OFF as he sees in the distance:
HIS OWN HOME
FBI and LAPD vehicles are parked in front. No way he's
getting near there.
In his rearview mirror Archer spots a cop car
approaching. He quickly turns a corner as the cop slowly
cruises by.
ARCHER
No, Jon... you have to think like
Castor. Where would he go...?
Archer gets an idea. But as he drives on -- the cop car
backs up -- and reappears INTO FRAME.
EXT. MELROSE DISTRICT - NIGHT
Dietrich locks up his chic art gallery. He gets in his
Lexus and drives out of the parking lot.
INT./EXT. STREET - LEXUS - MOVING - NIGHT
Dietrich slows down to check out the forensics team
swarming all over Tito's parked Buick. Dietrich quickly
averts his face as he spots... "Jon Archer" inspecting
Tito's Buick.
DIETRICH
Jon Archer... some poor schmuck's
in big trouble.
ARCHER
Yeah -- me.
With surprising speed, Dietrich yanks a pistol from
someplace and jerks around --
Archer -- hunkered down in the back seat -- stares into
the barrel of Dietrich's pistol.
DIETRICH
Jesus Christ, Castor.
ARCHER
Drive. And punch up your
cellular -- I need you to make
some calls.
DIETRICH
You're gonna get me busted!
ARCHER
You're already busted, Dietrich.
It's just a matter of time before
they pick you up.
Dietrich snakes the car past the crime scene and speeds
off.
DIETRICH
Man, when you came to me about
that bomb -- I knew I should have
blown you off... but that's my
fucking curse -- I just can't say
no to a friend.
ARCHER
You can't say no to money.
DIETRICH
That's my other curse.
EXT. DOWNTOWN - LOFT - NIGHT (LATER)
Cars pull up in front of a gentrified loft amid the low-
rent streets.
Emerging from them are several thugs -- including Aldo,
Fitch and their sexy girl friends, LIVIA and Cindee.
INT. DIETRICH'S LOFT - BATHROOM - NIGHT
Archer splashes water on his face -- then stops and
listens as the DOORBELL RINGS. He screws up his courage.
ARCHER
You're Castor Troy... This is your
old crew -- you don't take shit
and you don't take no for an
answer...
INT. DIETRICH'S LIVING ROOM - CONTINUOUS ACTION
The thugs admire the loft -- dominated by an enormous,
in-progress mural and stunning glass-bricked floor.
ALDO
Helluva place, Dietrich. So
what's the big surprise?
Archer emerges. The men are stunned -- the women beam.
FITCH
Are you crazy? You're going to
bring the Feds down on all of us!
ARCHER
Archer doesn't want you, he wants
me! But I'm going to get him
first -- with your help.
ALDO
Archer's a damn celebrity now --
he's untouchable -- and you're
radioactive.
He turns to leave. Archer wheels him around and smashes
him into the wall. Aldo goes for his gun, but Archer's
too quick -- he strips him of it.
The four bodyguards draw their weapons -- and surround
Archer.
ARCHER
You wanna face-off with Castor
Troy? Come on, then! Come on!
'Cause I've had a real bad day...
Four against one -- and everyone's sweating but Archer.
One-by-one, the bodyguards back off. Archer points the
gun at Aldo -- then smiles and hands it back.
ARCHER
You're all forgetting who the real
enemy is.
(to Aldo)
Six months ago, Jon Archer hauled
you in for questioning. He
rattled you so bad -- you shit
your Armani suit right there in
the interrogation room.
Aldo blanches -- how did Castor know that? Fitch laughs.
ARCHER
You laugh, Fitch -- the way Archer
laughed at your last arraignment,
when you got down on your knees
and tried to blow your way to
freedom.
Stunned, Fitch cringes as everybody cracks up.
DIETRICH
We all have a reason to hate Jon
Archer. We all want to see him
dead --
ARCHER
And nobody's untouchable if we say
he's not.
The thugs exchange a glance... reading each other...
considering.
DIETRICH
It's all worked out. Caz has
Archer's routine down cold.
ARCHER
We start with your basic
kidnapping. Then -- a little
surgery.
FITCH
Surgery?
ARCHER
I'm going to rearrange his face in
a way you won't believe.
ALDO
You're an evil bitch, Caz. But
you've got balls of titanium.
Count us in.
Archer sighs with relief -- pleased with his performance.
DIETRICH
Come on -- let's drink to it!
FULL SCREEN - BLUE CAPSULE
Dietrich cracks it open -- powder sifts into a big high-
ball glass filled with mescal. he hands it to Archer.
DIETRICH
How about one of your famous
toasts, Caz?
They all look expectantly at Archer... he's at a loss.
ARCHER
To old jobs, new jobs and -- uh --
blow jobs?
Silence -- then they crack up. Reluctantly, Archer
swallows the tumbler of mescal... he fights back the urge
to puke.
LIVIA
Enough business, Caz. Let's
dance.
ARCHER
Sorry... I don't...
She drags him onto the glass floor. Cindee puts on some
MUSIC as Archer's head begins to spin. The girls start
"dancing," grinding Archer between their taut bodies. He
tries to avoid it, but Livia kisses him -- hot, moist.
LIVIA
Remember the Charger's game, Caz?
The owners box? We did it four
times.
ARCHER
Sure I remember... Once a quarter,
right?
Archer's eyes fall on the series of abstract paintings.
The twisted renderings make his head spin worse... as he
starts to hallucinate... surrounded by enemies -- he
struggles to regain control of his battered psyche.
LIVIA
Caz? Are you okay?
He pulls away and stumbles down the stairs -- toward the
kitchen.
DIETRICH
When even Castor Troy can't handle
a tab of Quantrex...
(raises his glass)
That, dear friends, is the first
sorry whiff of old age.
INT. KITCHEN - NIGHT
Archer has his mouth under the tap -- drinking greedily.
Woozy, he takes a breath... and notices a reflection in
the window above the sink. Archer turns to see -- Sasha.
ARCHER
-- Sasha Hassler. Age 35. Met
Castor Troy in Austin, Texas, at
Pearl Jam reunion...
(catches himself)
Uh, how you doing, baby?
She responds by slapping him -- hard.
SASHA
What the hell are you doing here?
You're supposed to be dead...
He wobbles, then falls flat on his face. Out cold.
INT. ARCHER'S HOME - BALCONY - NIGHT
Castor's chain-smoking, looking out over the city --
wondering where Archer might be hiding. But something
breaks his rumination. He sees --
DOWN STREET
A BMW pulls up to the curb. The THUMPING MUSIC from
within GOES QUIET, but no one emerges.
EXT. HOUSE - NIGHT (MOMENTS LATER)
Curious, Castor approaches the car, keeping a safe
distance. He can see Jamie inside, struggling with Karl.
JAMIE
No... Karl, please.
He "shushes" Jamie -- but doesn't stop pawing her.
JAMIE
My father -- he's got a gun --
he'll -- he'll --
KARL
(pulls open belt)
That wimp won't do shit.
SMASH! The passenger WINDOW EXPLODES inward. Castor
drags Karl out by his hair. Jamie scrambles out and
flees toward the house as...
CASTOR
Who are you to call Jon Archer a
wimp?
Castor heaves Karl into the WINDSHIELD -- SPIDER-WEBBING
it. Somehow the kid finds his feet and stumbles behind
the wheel. The Beemer lurches away.
INT. HOUSE - NIGHT
Castor enters to find Jamie, still shaken up.
CASTOR
What are you -- stupid?
JAMIE
That's just like you. Some guy
tries to rape me -- and you side
with him.
CASTOR
Did it look like I was siding with
him? Did it?
(she falls silent)
You want to play with scummy organ
grinders, you better be prepared.
Do you have protection?
JAMIE
You mean like... condoms?
CASTOR
I mean like... protection.
With a fluid motion, Castor expertly SNAPS open a well-
oiled SWITCHBLADE and hands it to an astonished Jamie.
JAMIE
For me?
CASTOR
Next time -- slip it in low, then
twist it -- so the wound doesn't
close.
She hugs him tight -- taking Castor by surprise. But he
responds momentarily. About to pat her rump -- something
makes him stop.
CASTOR
Go on, get out of here.
Jamie kisses him and heads up stairs. After she's
gone...
CASTOR
No wonder he spent all his time
chasing me. Who can deal with
this family shit?
The PHONE RINGS. He rushes to the den and picks it up.
CASTOR
Jon Archer.
(immediately alert)
Where is he?
EXT. LOFT - ACROSS STREET - NIGHT
Using night-vision goggles, Pollux watches Sasha close
her drapes. Visible in the b.g. on the sofa -- is
Archer.
POLLUX
(into cell phone)
-- I thought he might visit some
old friends of yours. And bro, if
I didn't know better -- I'd swear
this guy likes being you...
INT. SASHA'S BEDROOM - NIGHT
Archer wakens. Sasha is tugging off his pants.
ARCHER
Uh -- can't we just talk?
SASHA
Talk? The only talk I ever heard
from you was 'take it off,' 'sit
on it,' 'I'll pay you tomorrow.'
She pulls out some fresh clothes -- and dumps them on
him.
SASHA
Take off the rest of those rags
and get dressed. Then get out.
ARCHER
Not until I finish my business
with your brother.
SASHA
I told him to keep those creeps
away -- but you're just too big an
attraction.
(calming herself)
Look, if the F.B.I. finds out
you've been here -- I'll lose my
son. So please, just go.
For the first time, Archer sees not a hardened felon --
but a frightened, protective mother. And he realizes the
effect his own relentless obsession has had on her.
ARCHER
I know I've done some things that
made your life harder...
SASHA
How would you? You walked out and
never looked back.
ADAM enters, heading for his toys -- his presence cooling
Sasha's deep-seated anger. Archer finishes dressing.
ARCHER
I'm not the same person you
remember. And for what it's
worth, I'm sorry...
Her harsh look softens imperceptively -- like that of a
woman trying to hate someone she still loves.
ARCHER
Not a bad fit.
SASHA
They should. They're yours.
ARCHER
Nice-looking kid, too
SASHA
Of course he is...
Sasha fidgets, struggling with a deep inner turmoil.
Then...
SASHA
Adam, come here... I want you to
meet your father.
Archer's face pales over in shock.
EXT. SASHA'S ROOM - NIGHT
Their silhouettes are visible against the sh