The Rock

TWO POLICE PATROLMEN scramble into their cruisers, throwing on the CHERRY TOP LIGHTS.

The CRUISERS charge after the Humvee and the Ferrari.

EXT. SAN FRANCISCO STREETS (HILL #1) – DAY

The HUMVEE is accelerating up a very steep hill. 100 yards down the hill, the TWO S.F. POLICE CRUISERS, the FBI sedans, and GOODSPEED'S FERRARI, all race after it.

INT. MASON'S HUMVEE – DAY

Mason has the radio on. A NEWSFLASH is broadcast:

RADIO NEWSMAN
This just in: More than twenty highway patrolmen are involved in a highspeed chase on Van Ness Boulevard, north of Trocadero...

Mason looks at Humvee's CELLULAR PHONE. Grabs it. Studies it. He's never used one before.

MASON

Modern conveniences. Cheers.

(punches numbers)

San Francisco. Jade Angelou. That's A-n-g-e-l...

EXT. SAN FRANCISCO STREETS (HILL #1) – DAY

AT THE INTERSECTION – THE TRAFFIC LIGHT is red. A SPARKLETTS WATER TRUCK proceeds into the intersection.

INT. MASON'S CAR – DRIVING – DAY

Mason runs the red light. The Sparkletts truck is in the intersection. Mason violently throws the wheel. The Humvee swerves to avoid the Sparkletts truck –

EXT. SAN FRANCISCO STREETS (TOP OF HILL #1) – DAY

But doesn't make it. Mason's Humvee SLAMS into the Sparkletts truck's BACK END, knocking it sideways. The HUMVEE blasts through the intersection as –

70 WATER BOTTLES (5 gallon each) tumble off the Sparkletts truck. The bottles roll down the hill, gaining speed.

INT. MASON'S HUMVEE – DAY

The call connects.

JADE ANGELOU (O.S.)

Hello?

MASON

Is this Jade Angelou?

JADE ANGELOU (O.S.)

Yes. Who is this?

MASON

John Mason.

(lengthy pause)

Don't be shocked. I don't have much time. Please listen carefully...

INT. GOODSPEED'S FERRARI – DAY

GOODSPEED

Where is he sir? RIGHT IN FRONT OF ME. What's he doing? HE'S ON THE PHONE. I DON'T FUCKING KNOW, HIS STOCKBROKER! Oh shit. Gotta go.

Goodspeed looks at SPARKLETTS BOTTLES bearing down on him

INT. S.F. POLICE CRUISER – DAY

Two S.F. PATROLMEN. Their eyes widen too as – THE SPARKLETTS BOTTLES are bouncing now, roll down on them at 45 mph. A BOTTLE SMASHES through the windshield, showering the Patrolmen with glass.

EXT. SAN FPANCISCO STPEETS – (MIDWAY UP HILL #1) – DAY

Chaos. Bottle after bottle smashes down on the –
 

Front-running vehicles. DENTING HOODS. SMASHING WINDSHIELDS. THREE FBI SEDANS and GOODSPEED'S FERRARI negotiate the crashing cars.

They race through the carnage after Mason.

EXT. SAN FRANCISCO STREETS – (HILL #2) – DAY

MASON'S HUMVEE explodes over the crest of a hill at 90 mph. and soars. A beat, then –

THE FBI SEDANS, followed by GOODSPEED'S FERRARI soar over the crest of the hill.

EXT. SAN FRANCISCO STREETS – (BOTTOM OF HILL #2) – DAY

At the intersection here, TWO S.F. ROAD WORKERS are sliding a STEEL PLATE over a 6 ft. deep ditch cut in the asphalt (for a water main or equivalent).

The Road Workers, hearing the WAIL OF MASON'S HUMVEE, look up and dive away just at THE HUMVEE blasts over he steel plate, dislodging it from its positioning. It TEETERS on the lip of the ditch.

THE FBI SEDAN hits the teetering steel plate, which collapses – causing the sedan to be swallowed up halfway into the ditch, it's rear end sticking up in the air. Seconds pass, then –

THE SECOND FBI SEDAN SLAMS into the front running SEDAN'S... EXPOSED UNDERCARRIAGE. Both vehicles are obliterated.

GOODSPEED'S FERRARI, in the most hair-raising slide ever filmed, veers and misses the mangled FBI sedans.

Now it's just Mason and Goodspeed and...

CUT TO:

EXT. SAN FRANCISCO STREETS – (TOP OF HILL #3) – DAY

MASON'S HUMVEE, with GOODSPEED'S FERRARI close behind, races down a street on the crest of a hill.

IN THE INTERSECTION AHEAD

A CABLE CAR is turning down the hill. Mason's Humvee also turns down the hill, but as the Humvee rounds the corner –

An OLD WOMAN starts crossing the street. Mason throws the wheel swerving to avoid her, and –

THE HUMVEES BUMPER catches the BACK OF THE CABLE CAR, dislodging its rear steel wheels from the CABLE CAR TPACKS. With the front wheels still lodged in the tracks, the cable car begins to slide sideways.

GOODSPEED'S FERRARI clears the cable car's sliding back end and sprints after Mason's Humvee.

EXT. SAN FRANCISCO STREETS – MIDWAY DOWN HILL #3 – DAY

The Humvee and Ferrari blast down the hill. The street is thick with vehicular traffic.

So THE HUMVEE swerves, leaving the street.

Onto the sidewalk. Where... SNAP SNAP SNAP it knocks down every parking meter, then hits A LADDER in a cordoned off area. On the ladder, a LINEMAN is fixing a MUNICIPAL POWER LINE. The ladder collapses; THE LINEMAN falls, flailing through the air.

Goodspeed slams on the brakes. The Ferrari spins 180 degrees and lurches to a stop facing uphill.

INT. GOODSPEED'S FERRARI – DAY
 

The AIR BAG's exploded in Goodspeed's face.

GOODSPEED
Shit shit SHIT SHIT...

EXT. SAN FRANCISCO STREETS – MIDWAY DOWN HILL #3 – DAY

Goodspeed looks up the hill. Goodspeed'S EYES bug.

GOODSPEED'S POV

The CABLE CAR is still sliding down the hill sideways.

The SLIDING CABLE CAR, its wheels SPEWING SPARKS down the hill. The LAST PASSENGER dives. it's now empty and sliding straight for Goodspeed's Ferrari...

INT. GOODSPEED'S FERRARI – DAY

Goodspeed grabs the Ferrari's CELLULAR PHONE and tries the door latch. The goddamn airbag is all over him.... So Goodspeed shoots the fucking air bag.

EXT. SAN FRANCISCO STREETS – (BOTTOM OF HILL 33) – DAY

The TUMBLING CABLE CAR hits the Toyota's rear. The Toyota's gas tank EXPLODES, lifting the cable car.

The Ferrari's door flies open. Goodspeed dives away as –

The CABLE CAR, aflame, cartwheels in mid-air and lands with a WHUMP on the FERRARI, crushing it like a tin-can.

Goodspeed, dazed, wheels away from the wreck, shielding his eyes from the smoke and fire.

A YOUNG KID ON A MOTORCYCLE rolls up.

MOTORCYCLE KID

You just fucked up your Ferrari, man.

GOODSPEED

It's not mine.

MOTORCYCLE KID

Way cool.

(smiles)

GOODSPEED

Neither is this.

Goodspeed shoves the kid off the Motorcycle. Speeds off into traffic. The kid stands there dumbstruck.

EXT. STREETS OF SAN FRANCISCO – DAY

Goodspeed, driving through traffic on the kid's motorcycle, flips open the cell phone. Punches numbers.

INT. FBI OFFICE – CHEMICAL/BIOLOGICAL DIVISION, FT. DIETRICK, MARYLAND – DAY

Marvin Isherwood is enjoying another thrilling day. he grabs for the RINGING PHONE.

ISHERWOOD

Chem weapons. Isherwood.

GOODSPEED (V.O.)

Marvin, ring up Wolfburg Federal Pen. The inmate is Mason, John.

Isherwood gets on the computer. Starts tapping....

INTER CUT – MARVIN IN THE LAB / GOODSPEED ON MOTORCYCLE

ISHERWOOD
Wolfburg, got it. Masconi, Magrane, Masters. No Mason in Wolfburg, Bill, is this a relative of yours... ?

GOODSPEED

NOT NOW Isherwood. Go to February 1976. Who was transferred to Wolfburg from San Quentin that year?

ISHERWOOD

Two guys. Joseph Wainwright, and a.... they don't have a name, just "inmate 9999?"

GOODSPEED

Hit nine nine nine nine.

ISHERWOOD

This is weird. They got medical records, place of birth – Glasgow? but no name. Wait a minute, there's a next of kin. Jade Angelou of 32 Stenson Drive, San Francisco. Bill did you, like, fuck something up? Bill? Bill?

Goodspeed ROARS off on the motorcycle and...

CUT TO:

EXT. SAN FRANCISCO – 32 STENSON DRIVE – DAY

A single family house. Across the street –

Goodspeed watches the house. The door opens. JADE ANGELOU exits. She's 19, tall, pretty, purposeful.

EXT. SAN FRANCISCO – PIAZZA DES ARTES – DAY

Mason stands next to a massive column, writing on a piece of paper: "ST. MICHAEL'S CHURCH, FORT WALTON, KANSAS. FRONT PEW. RIGHT LEG. HOLLOW."

ACROSS THE PARK

Jade Angelou enters a city park with a rotunda of classical design. A walk-way under massive Corinthian columns. She moves through the rotunda.

Mason sees her. He steps behind the column as she passes. There is a moment of indecision. Mason looks at THE PIECE OF PAPER in his hand.

MASON

Jade.

Jade Angelou stops cold. Slow-ly turns. And regards Mason.

ACROSS THE ROTUNDA

Goodspeed sees Mason and Jade. he stealthily moves toward them.

BY THE COLUMN – MASON AND JADE

Jade approaches Mason tentatively. He is stunned by her. By her beauty, her bearing, her likeness to him.

MASON

Hello. Yes. It's me.

JADE

I uhm... I'm not quite sure what to say. This is all a bit much...

Several POLICE CARS ROAR past, sirens BLARING. Mason pockets the PIECE OF PAPER.

MASON

Let's uhm... let's walk a ways.

They walk off next to a TALL HEDGE. Goodspeed follows on the other side of the hedge.

INTERCUT

Between Mason and Jade, and Goodspeed eavesdropping. Goodspeed pulls out his cellular phone, begins punching numbers.

JADE

So how long have you been out?

MASON

A while.

JADE

A while. And you didn't call? You are free now, right?

MASON

I'm here with you, aren't I?

JADE

Why now? I mean why today.

MASON

I was driving through San Francisco. I decided it was time.

JADE

Well there's not a lot I know about you other than you escaped from San Quentin, had a four day affair with my mother, and I'm the result. You can imagine I'm pretty confused.

MASON

I tried to explain in my letters.

JADE

Ahh. Your letters. They weren't very easy to follow.

She fishes in her pocket. Pulls out a LETTER. WHOLE SECTIONS OF THE LETTER have been scissored out. Mason. frowns.

MASON

I see.

(grumbles)

Bloody prison censors.

JADE

How about explaining now?

In the b.g. we HEAR POLICE SIRENS. Mason looks around.

MASON

Maybe this isn't the best time...

(off her look)

Jade. Here sit down.

Mason and Jade sit on a bench. MORE SIRENS in the b.g. Mason looks off nervously.

MASON

All will be explained. You must trust me on this. Someday very soon, after I get a few things settled, I will come back for you. What I need to know is: do you want me in your life?

JADE

How can I answer that? I don't know if we can.... after 19 years, just start like that.

MASON

We are the same blood.

JADE

But I don't know you.

MASON

Where to begin.

(sighs)

My name is John Paul Mason. I'm Scottish. I attended Dartmouth Naval College. My favorite color is green. I like books. I like a good joke. At one time I shot a pretty fair round of golf. I'm in my 60's and I've been in jail half my life.

(Jade looks away)

Maybe it's better I go.

She smiles. Puts her hands on his.

JADE

No. You're doing okay.

Police sirens BLARE. And the entire park is suddenly surrounded by FBI AND POLICE VEHICLES.

JADE

You lied to me.

Goodspeed approaches. Mason makes no attempt to move. Jade turns to him.

GOODSPEED

(flashes his ID)

FBI miss. Your father is working with us. He's helping us resolve a....

(looks at Mason)

... dangerous situation.

JADE

He is?

GOODSPEED

Yes madam. We've got to go, John.

Mason extends his hand to Jade. She takes it.

MASON

Jade – remember what I said.

They hug. Then Mason walks off with Goodspeed and –
 

– Jade opens her hand, revealing the PIECE OF PAPER upon which Mason wrote his instructions.

ACROSS THE PARK

FBI Agents Star and Cord run up.

GOODSPEED

(sharply)

No cuffs until we get to the cars.

They continue toward the waiting cars.

MASON

You surprise me, Goodspeed. Now I'm going to surprise myself: thank you, you could have handled that differently.

GOODSPEED

(tight)

You almost got me killed. Twice.

MASON

How's your jaw?

Goodspeed wheels on Mason and swings. SNATCH. Mason catches Goodspeed's fist. Three inches from his face.

GOODSPEED

It hurts.

Sanchez, Director Womack and the FBI Agents approach. Womack's arm is in a sling; he's in a volcanic rage.

FBI DIRECTOR WOMACK

You cocksucker you dislocated my shoulder and cost the city of San Francisco ten million dollars. You try to escape again and Agent Chaney here will break your legs.

AGENT CHANEY, large and mean, comes to Mason's side.

MASON

Pleased to meet you.

INT. PIER 39 – FBI COMMAND CENTER – DAY

Night is falling. A large warehouse room with windows looking out to Alcatraz Island. Looks like NASA.

AT A RECTANGULAR TABLE

Mason sits at the head of the table 122 in front of a SCALE MODEL OF ALCATRAZ. Commander Anderson and ten NAVY SEALs look toward Mason.

Anderson is agitated, staring at Mason.

COMMANDER ANDERSON

Okay, one more time: down this second fork fifty-seven paces to a septic chamber. Turn left at the water pump, then forty-two paces to the prison showers...

MASON

No. Forty-two paces to the septic chamber. Fifty-seven to the showers.

COMMANDER ANDERSON

(pointedly)

That's not what you said three minutes ago.

MASON

(innocently)

It's not?

COMMANDER ANDERSON

(dagger stare at Mason)

Excuse me.

(rises)

Womack.

Womack follows Anderson aside. They confer heatedly.

COMMANDER ANDERSON

I ask for someone with knowledge of the island's tunnels. you give me a fuckin, convict who wants to play "twenty questions."

FBI DIRECTOR WOMACK

He knows every inch of those tunnels, Commander.

COMMANDER ANDERSON

Then he's keeping it to himself. He's fucking with me and I don't have the time.

FBI DIRECTOR WOMACK

(pause; he thinks)

What if he went with you?

COMMANDER ANDERSON

Out of the question. He'll endanger the mission – he'll endanger my men. He's a security risk. Who says he won't bolt as soon as we turn our backs on him?

FBI DIRECTOR WOMACK

I'll handle that. Chaney.

The hulking Chaney escorts Mason over.

FBI DIRECTOR WOMACK

You're not cooperating, John. Maybe this will help. I'm sure you're curious about what's happening on Alcatraz.

(no response)

Twelve United States Marines – a terrorist rogue force – have seized it. They've aimed fifteen poison gas rockets at the city. Enough poison gas to kill every man, woman and child in San Francisco.

(smiles)

Yes, John, including your daughter.

MASON

You son-of-fucking-Satan.

FBI DIRECTOA WOMACK

Mr. Mason has a strong incentive to help us, Commander Anderson.