Assassins

 

 

Screenplay by       Brian Helgeland

          Larry Wachowski

          Andy Wachowski

 

Produced by       Jim Van Wyck

          Andrew Lazar

          Raynold Gideon

          Bruce Evans

          Joel Silver

 

Directed by       Richard Donner

 

 

 

Cast List:

 

Sylvester Stallone    Robert Rath

Antonio Banderas    Miguel Bain

Julianne Moore      Electra

Anatoli Davydov    Nicolai

Muse Watson      Ketcham

Stephen Kahan      Alan Branch

Kelly Rowan      Jennifer

Reed Diamond      Bob

 

 

 

 

 

FADE IN:

 

 

EXT. PLAZA COLON / INT. BANK – DAY (1980)

 

BLACK AND WHITE. The past was so clear-cut. Or was it?

 

Tiled roofs, the stark white stucco of a colonial town square. Black iron bars at a bank. A briefcase carried in a man's hand. A sniper's rifle being assembled. Thick blocks of hundred dollar bills. Placed in the briefcase. A man's teeth as he smiles grimly at the sight.

 

Sounds over a SUBJECTIVE VIEW. The BRIEFCASE SNAPS SHUT. A VAULT DOOR SLAMS. RUBBER SOLES WALK a tiled floor. Ahead, brilliant, white light suffuses the exit. Like the way people describe near-death experiences. We're either going outdoors or over to the other side.

 

A long rifle silencer juts from a window. We see the shooter FROM BEHIND, a view OVER his shoulder.

 

In the bank, the man crushes out a cigarette. A pause and a DEEP EXHALE as we step outside into a flood of light. In answer, the LOW PUFF of a SILENCER.

 

Only the plaza pigeons notice. As they take flight...

 

A man lies dead on the cobblestones. And as we look UP TOWARD the window, there's nothing there. The pigeons wheel above the plaza. We FOLLOW, finally losing them to the sky. SLOWLY that sky BLEEDS from gray to blue.

 

And as we PAN BACK DOWN...

 

DISSOLVE TO:

 

 

EXT. MARSH – SUNSET

 

We're no longer in a plaza, but in a vast marshland. Not in the past, but in the present. The sun sparkles over the water. Two silhouetted figures move past in the distance. One walks a little behind the other.

 

The man in front is KETCHAM. He wears an expensive suit and Gucci loafers. He swats at flies nearly too small to see, curses under his breath at the calf-deep mud.

 

The man behind is RATH. He moves easier; the flies don't seem to bother him at all. His jeans are tucked into rubber boots. He holds a silenced .22 at his side. Like it was part of him.

 

They continue until one of Ketcham's shoes is sucked off by the mud.

 

KETCHAM

Aw-shit...

 

Ketcham balances on one leg, holding his silk-socked foot in the air. The shoe disappears, filled with mud.

 

KETCHAM

When I first saw you I wasn't scared. I was just wondering why you were dressed like that. Now I know.

 

Ketcham pulls off his sock, sticks his foot in the mud. He smiles. It feels good. He pulls off the other shoe, tosses it. Grabbing for the other sock, he loses his balance and sits down in the mud.

 

Rath waits patiently as Ketcham laughs at the absurdity of it all. Ketcham finally pulls the sock off, then stands, digs his toes into the dark, wet earth.

 

KETCHAM

This feels good.

 

They move on, Rath still a little behind. Ketcham enjoys the new sensation, but after a bit, the pleasure fades.

 

KETCHAM

It's twisted, but I'm honored. You're the best. It means at least they're still afraid of me.

  

Ketcham looks ahead as they close on a grove of trees. He knew they were going somewhere, but it's a chilling realization all the same.

 

KETCHAM

I knew this day would come. But this morning, I could've sworn I was going to live forever.

 

They're only a few steps away from the first of the trees. Desperation begins to creep into Ketcham's voice.

 

KETCHAM

Any chance of you telling me who the Contractor was? Huh?

(off no answer)

At least tell me how much I was worth. A dime? Two?

 

They're into the trees. Ketcham doesn't need to be told. He stops just where a dead branch hangs from a tree.

 

KETCHAM

Here?

 

Rath uses the .22 to gesture Ketcham to the left. Ketcham gives the branch a wistful smile. Leaving his last hope behind, he takes a few steps over.

 

KETCHAM

We both play the game, Rath. Sooner or later the wheel turns. For everybody. Who's got your bullet? What kind of shoes'll you be wearing when the day comes?

 

Rath's answer is to move directly behind him. Ketcham is finally showing his fear.

 

KETCHAM

Whatever the contract is, I'll double it. Just say you couldn't find me. Buy yourself some good karma.

 

Ketcham can't see, but he almost senses it as Rath raises the silenced .22 to the back of his head.

 

KETCHAM

Oh, God. Don't pull yet, not yet. Christ, I've done some bad things in my time.

(trembling)

I can't die like this. Not like a mark. I'm not a mark!

 

Finally, Ketcham begins to just cry. Nothing left to say. A man in mourning for himself. But Rath is not unaffected, not without his own peculiar version of mercy.

 

Keeping the .22 steady, an inch behind Ketcham's head, Rath reaches into his jacket. He pulls out a second, nearly identical silenced .22. Ketcham looks down, curious as the clip drops into the mud at his feet.

 

Rath, ready to fire at any sign of trouble, gently eases the gun into Ketcham's hand. Ketcham looks down, smiles. It's his gun, his dignity.

 

KETCHAM

Hello, old friend.

(hefts it; knows)

One in the chamber.

 

Slowly, so Rath can see, Ketcham raises the .22, sets the tip of the silencer against the side of his head. He squints at the sun, the last thing he'll ever see.

 

KETCHAM

Last few years I've been looking for a sunrise. Maybe a sunset's better.

(a beat)

Thanks, Rath.

 

The sun disappears over the horizon. Ketcham squeezes the trigger. The SILENCER WHISPERS and he crumples, begins to sink into the mud.

 

Rath lowers his gun. He takes a deep breath and lets it out slowly, standing alone in the middle of nowhere. We TILT DOWN TO an EXTREME CLOSEUP of blood in the water.

 

 

INT. HOTEL ROOM – DAY (LATE AFTERNOON)

 

Rath closes the curtains. There is a makeshift office on the desk. A cell phone is connected to a lap-top computer. The prompt flashes expectantly.

 

On the coffee table, we see the dismantled .22, spread clean on a white towel.

 

Rath stands at a window looking out at the city. He leans forward until his forehead rests against the window. He closes his eyes, enjoying the cool of the glass.

 

A beat. Then he looks to the street below. For just an instant, he's wondering what it would be like to fall. Breaking from his reverie, Rath steps to the desk.

 

He sits, regards the computer with loathing, then types in a long access code sequence. He waits.

 

After a few moments, a line of dialogue appears. Rath is communicating with someone... The Contractor.

 

Contractor: "WHERE HAVE YOU BEEN, ROBERT?"

 

Rath: "SICK. THE FLU."

 

 

INT. CONTRACTOR'S OFFICE – LATE AFTERNOON

 

EXTREME CLOSEUP OF eyes, hands, mouth, computer, etc.

 

Contractor: "I DON'T BELIEVE YOU."

 

 

BACK TO RATH

 

RATH

I don't care what you believe. I want out. I've had it. Contractor: I've been sitting on a prime contract.

 

But these days, something else is on Rath's mind.

 

RATH

Who are you, you sonuvabitch?

 

Rath: "Send the file. I'll have the estimate tonight."

 

Contractor: "I'm worried about you, Robert."

 

RATH

You should be.

 

Rath: "Don't be."

 

Contractor: "Good. You are my #1."

 

The screen goes blank. A beat and the word "TRANSMITTING" appears. Rath stands.

 

A slimline PRINTER HUMS, starts to reproduce a newspaper photo of ALAN BRANCH. Strong. Hard eyes which Rath studies a moment, then circles. As a second sheet feeds, Rath isn't that interested.

 

 

EXT. CITY STREETS – SUNSET

 

Mist fills the air. As night comes on, Rath walks. He has no real purpose at the moment. And the crowds don't magically seem to get out of his way. He watches them laughing, talking, hurrying this way and that. Rath's a loner. An outsider. Life moves around him, but he's not part of it. At least not this version. The mist turns to darkness.

 

 

INT. MALL – UPSCALE WOMEN'S CLOTHING STORE – NIGHT

 

Rath pauses, his eye caught by a scene inside.

 

A dowager berates a female CLERK. The Clerk takes it stoically, nodding, placating. Huffing and puffing, the dowager heads back to the racks. The Clerk watches her in exasperation. No one deserves this kind of abuse. Rath is going to continue when, on an impulse, he decides to enter the store instead.

 

 

INT. UPSCALE WOMEN'S CLOTHING STORE – NIGHT

 

Rath steps inside, begins to look around. The Clerk sighs to herself. Another customer and it's almost closing time.

 

The dowager jams the dress back on the rack and it falls to the floor. She ignores it, but Rath doesn't.

 

RATH

I think you dropped something. The dowager gives him a look. Maybe you better hang it back up.

 

And it isn't a question. The woman looks shocked, then gruffly hanging the dress back up, hurries out of the store.

 

Tired, a bit apprehensive, the Clerk gives Rath a moment before joining him.

 

CLERK

Can I help you, sir? We're just closing.

 

Rath suddenly wonders what the hell he's doing here.

 

RATH

I'm looking for something. I... I'm not sure what.

 

CLERK

(knows the routine)

Birthday? Anniversary?

 

Rath shakes his head. There's something sad about him, but she misreads it.

 

CLERK

A fight.

 

Rath starts to say something, but then stops. She takes it as a yes to her question.

 

CLERK

You said something you regret?

 

A beat. It takes Rath a moment to confess:

 

RATH

Regret... Yes.

 

She thinks, decides on a way to get rid of him.

 

CLERK

Are you really sorry?

 

Rath nods. He is. Finding what she's looking for, she holds up an elegant red velvet dress.

 

CLERK

Bring this home and she'll say she's sorry. But it's expensive.

 

That price tag should get him out of here. A beat. There's something oddly appealing about the moment. It's hard to say, but Rath is charmed. Then, almost shyly...

 

RATH

She's about your size. Would you?...

 

The Clerk is caught off guard by this request. She is all alone and it is getting late. Still, it'd be nice to end the day with a sale.

 

CLERK

Give me two minutes.

 

 

INT. MALL – UPSCALE WOMEN'S CLOTHING STORE – NIGHT

 

Rath stares out the window. There's something mournful almost haunting about him. An old soul to be sure.

 

 

INT. UPSCALE WOMEN'S CLOTHING STORE – NIGHT

 

Rath scans the empty store, then checks his watch. He's lost his mind. As he heads for the door, the Clerk steps out. The transformation is stunning. Rath stops short, takes in the beauty of it all.

 

CLERK

What do you think?

 

RATH

(soft, gentle)

It's perfect.

 

She can't believe it.

 

CLERK

I'll write it up?

 

She steps to a desk, scribbles out a receipt. Rath notices an open textbook, several lines have been highlighted.

 

RATH

College?

 

CLERK

Do you think I'm too old?... My daughter says I'm too old to go to school... I just sit in right now. I don't have the money yet. But I don't want to spend the rest of my life selling somebody else's dresses. I mean, you're never too old to have dreams, right? To start over?

 

Rath looks away, can't hold her gaze.

 

RATH

I don't know.

 

An awkward beat. Then...

 

CLERK

Should I wrap it? Rath nods.

 

 

BACK ROOM

 

CLOSE as she finishes tying the box.

 

 

STORE

 

She steps out. Her smile fades as she sees he's gone. The sale is lost.

 

CLERK

Damn!

 

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

 

CLERK

(softly)

Damn...

 

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

 

INSERT CARD: Your daughter is wrong.

 

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

 

 

INT. HOTEL ROOM – NIGHT

 

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

 

Rath sketches a diagram on a legal pad.

 

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

 

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

 

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

 

Rath: "I have my bid."

 

 

EXT. AIRPORT – RUNWAY 32 – DAY

 

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

 

 

INT. AMERICAN AIRLINES 757 – DAY

 

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

 

 

EXT. AIRPORT – RUNWAY 8 – DAY

 

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

 

 

INT. AMERICAN TERMINAL – DAY

 

Rath walks, blends in perfectly with the crowd.

 

 

INT. INTERNATIONAL TERMINAL – DAY

 

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

 

 

INT. LUGGAGE CAROUSEL – DAY

 

Rath reaches down, picks up a case.

 

 

INT. CUSTOMS – DAY

 

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

 

OFFICER

Is your visit business or pleasure?

 

BAIN

Both.

 

 

EXT. AMERICAN TERMINAL – DAY

 

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

 

 

EXT. INTERNATIONAL TERMINAL – DAY

 

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

 

 

EXT. CITYSCAPE – DAY

 

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

 

 

EXT. OAKWOOD CEMETERY – SUNSET

 

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

 

 

HEADSTONES

 

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

 

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

 

CARETAKER

Can I help you?

 

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

 

BAIN

I'm looking for someone.

 

CARETAKER

(steps over)

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

 

BAIN

He's not dead yet.

 

Turning, Bain heads off. The Caretaker just shrugs.

 

 

INT. DRUG STORE – MAGIC HOUR

 

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

 

 

EXT. OAKWOOD CEMETERY – DAY (LATE AFTERNOON)

 

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

 

REPORTER #1

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

 

WE MOVE PAST Reporter #1 TO...

 

REPORTER #2

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

 

 

SECURITY TABLE

 

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

 

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

 

 

EXT. GRAVESIDE – DAY (LATE AFTERNOON)

 

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

 

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

 

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

 

PRIEST

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

 

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

 

PRIEST

Shall not die, but have everlasting life.

 

Rath's about to squeeze the trigger...

 

PRIEST

Amen...

 

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

 

 

EXT. GRAVESTONE – DAY

 

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

 

 

TELESCOPIC POV OF BRANCH

 

In his wheelchair.

 

TIGHT ON a spot above his heart.

 

 

BACK TO GRAVESITE K

 

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

 

BODYGUARD

He's been shot!

 

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

 

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

 

 

BAIN

 

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

 

 

BODYGUARDS

 

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

 

 

BAIN

 

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

 

 

CEMETERY

 

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

 

POLICEMAN

Drop it! Now!

 

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

 

 

RATH

 

He sidesteps for a clear shot; Police are everywhere.

 

RATH

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

 

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

 

 

BAIN

 

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

 

 

CEMETERY

 

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

 

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

 

Rath hurries across the cemetery, headed for...

 

 

EXT. CEMETERY – UPPER ROADWAY

 

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

 

 

EXT. INTERSECTION – LATE DAY

 

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

 

 

INT. RENT-A-CAR – MOVING – LATE DAY

 

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

 

COP #1 (V.O.)

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

 

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

 

 

EXT. STREET – LATE DAY

 

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

 

 

INT. POLICE CRUISER – STREETS – LATE DAY

 

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

 

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

 

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

 

 

INT. RENT-A-CAR – LATE DAY

 

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

 

 

INT. POLICE CRUISER – STREETS – LATE DAY

 

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

 

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

 

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

 

 

EXT. STREET – LATE DAY

 

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

 

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

 

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

 

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

 

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

 

 

INT. CRUISER TWO

 

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

 

COP #3

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

 

 

INT. RENT-A-CAR – MOVING – LATE DAY

 

Rath has the calls, hangs a right.

 

 

INT. CRUISER TWO – MOVING – LATE DAY

 

COP #3

Request backup and ambulance to...

 

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

 

 

INT. CRUISER ONE – UPSIDE DOWN – LATE DAY

 

Bain FIRES again.

 

 

INT. CRUISER TWO – MOVING – LATE DAY

 

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

 

 

INT. CRUISER ONE – UPSIDE DOWN – LATE DAY

 

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

 

COP #1

Don't shoot me. Please.

 

BAIN

(agreeable)

Okay.

 

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

 

 

EXT. WRECKAGE – LATE DAY

 

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

 

 

INT. RENT-A-CAR – SUNSET

 

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

 

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

 

 

EXT. STREET – SUNSET

 

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

 

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

 

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

 

 

EXT. STREETS – SUNSET

 

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

 

 

INT. / EXT. YELLOW CAB/INTERSECTION – NIGHT

 

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

 

 

EXT. INTERSECTION – NIGHT

 

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

 

DRIVER

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

 

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

 

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

 

 

INT. YELLOW CAB – NIGHT

 

Cap on, Rath is behind the wheel. He turns up the CB, hoping to get lucky. CALLS CRACKLE, then...

 

DISPATCH (V.O.)

Who's near Adams and Nine? I got a fare going to the airport. Rath picks up the mic, pulls the Driver ID from the dash, checks the cab's ID number.

 

RATH

This is 501. I got it.

 

Rath clicks off, shoves the ID under the seat. Sticking the .22 down between his legs, he rolls.

 

 

EXT. ADAMS AND NINE – NIGHT

 

An empty payphone on the corner. Not a soul in sight. The Yellow CAB pulls up, IDLES at the curb.

 

 

INT. YELLOW CAB – NIGHT

 

Rath holds the .22 with one hand, the door handle with the other. Tense as a tiger ready to spring.

 

A couple exit from a dingy bar across the street. Rath looks over, frowns as they start toward him.

 

In that instant, the opposite passenger door opens and someone gets in the back. As the door slams shut, Rath checks the rearview mirror.

 

It's Bain. He carries his rifle wrapped in his jacket. For the first time we realize that the front and back of the cab are separated by bullet-proof glass.

 

An awkward silence as Rath slides the .22 back between his legs. Bain looks at his eyes in the rearview. (Bain never really saw him at the cemetery.)

 

BAIN

Is there a problem?

 

RATH

(cool as can be)

The airport, right?

 

BAIN

Right.

 

RATH

No problem.

 

 

EXT. INTERSECTION – NIGHT

 

As the Yellow Cab pulls away, we get the distinct feeling this is going to be no ordinary cab ride.

 

 

INT. YELLOW CAB – NIGHT

 

Rath studies Bain in the rearview. Bain stares out the side window, chuckling to himself, a thin trickle of blood on his temple.

 

RATH

You're cut.

 

Bain touches the blood, looks at it a bit surprised.

 

BAIN

(smiles)

I had an accident at work.

 

RATH

What kind of work?

 

BAIN

Look, I'm, how do you say? Dead tired. Save the chitchat for someone else.

 

Rath nods. Bain stares out the window. Rath continues studying him.

 

CUT AHEAD TO:

 

 

EXT. AIRPORT NEIGHBORHOOD – NIGHT

 

The Yellow Cab rolls through the intersection. An airport exit is coming up.

 

 

INT. YELLOW CAB – ROLLING – NIGHT

 

The cab passes the airport turn-off. Bain sits up.

 

BAIN

What're you doing?

 

RATH

What?

 

BAIN

That was the turn-off for the airport back there.

 

RATH

Sorry.

 

BAIN

Yeah, well, you just blew your tip, pal.

 

RATH

You think I'm running you up?

 

BAIN

Just do your job.

 

 

EXT. CURB – SOCCER FIELD – NIGHT

 

Rath pulls to the curb, lurches to a stop. On an adjacent field, a soccer match in progress.

 

 

INT. CAB – STOPPED – NIGHT

 

Rath slaps the cab in park, looks over his shoulder at Bain. Only we see Rath grip the .22.

 

RATH

Get out.

 

BAIN

What?

 

RATH

You think I'm running you up? Get out.

 

BAIN

You can't –

 

RATH

The hell I can't! Get out!

 

Bain almost finds it funny. He opens the door to get out. Rath faces forward. He'll shoot him when he does.

 

BAIN

I don't believe this.

 

Bain has one leg out when he looks back, sees the ID is missing from the dash. An odd beat as Bain wonders.

 

Bain looks to Rath's eyes in the rearview. It's now all the confirmation he needs.

 

BAIN

Cojones de Dios. Robert Rath.

 

The cab rocks as both men draw their guns. Bain is poised at the door; Rath leans back across the front seat. They draw down on each other despite the glass. Bain looks like he'll make a run for it, but then...

 

BAIN

I get out, pow, you got me.

 

Bain pulls the door closed, smiles.

 

BAIN

Now what?

 

RATH

Who are you?

 

BAIN

Cono. Robert Rath wants to know me.

 

Bain leans back, a big moment for him.

 

BAIN

Bain. Miguel Bain.

(laughs)

I don't believe this. You rolled some cabbie, then waited for the right call. That's genius, man. Genius.

(really impressed)

And then you got the balls to sit there and bullshit with me. No way I could've done that.

 

RATH

You stole my contract. How did you know?

 

Bain admires Rath's gun. What begins to show through is that in a twisted way, Rath is Bain's hero.

 

BAIN

A silenced Smith Wesson .22. Classic. I switched when I heard that's what you used.

(re: rifle)

Excuse this. It was a long shot.

 

RATH

Who contracted you?

 

Bain looks across to where the kids play soccer. Co-ed. As Bain rolls down his window...

 

 

EXT. SOCCER FIELD – BAINS POV OF GAME – NIGHT

 

 

BACK TO CAB

 

BAIN

Why don't you drive? We can get acquainted. Chitchat.

 

RATH

We'll sit.

 

Rath sees the kids, too as Bain levels the sniper's rifle.

 

 

EXT. SOCCER FIELD – NIGHT

 

The SOCCER BALL EXPLODES in mid-air as Bain FIRES. The kids stand confused. The silencer muffled the report.

 

 

INT. YELLOW CAB – PARKED – NIGHT

 

Bain smiles at Rath.

 

BAIN

Drive.

(aims again)

Number thirteen looks tired. Maybe she needs a rest.

 

Bain's finger curls around the trigger as he follows a girl down the field.

 

 

EXT. SOCCER FIELD – LONG LENS POV – NIGHT

 

Of girl playing.

 

 

INT. YELLOW CAB

 

BAIN

Help me out, Rath. A moving target. That's the front sight, right?

 

 

EXT. CURB – SOCCER FIELD – NIGHT

 

Rath throws it into drive and starts away.

 

 

INT. CAB – MOVING ACROSS BRIDGE – NIGHT

 

Bain smiles.

 

BAIN

Protect the innocent. That's weak. You could've had me in the cemetery, but you couldn't shoot the cops. You're Antiquado.

 

RATH

And you've got a lot to learn.

 

THWUMP! Rath looks back to where a slug is imbedded in the glass. Bain coughs as the rifle smoke clears.

 

BAIN

I had to try. I mean, who knows?

 

 

EXT. CAB – STREET – BRIDGE – NIGHT

 

Two POLICE CARS SCREAM by going the other way.

 

 

INT. CAB – MOVING – NIGHT

 

BAIN

They look pissed, huh?

 

RATH

I wouldn't be surprised.

 

BAIN

How'd you like the cemetery? Rome. 14 BC. They killed a General, Flavius, at his brother's funeral. But I couldn't wait for Branch's brother to die. So I killed him, too. Proud of me?

 

Although he's actually impressed, Rath doesn't answer. He's too busy trying to figure a way to take Bain out.

 

BAIN

I killed a guy in his bathtub once. Was a bitch, but I wanted to do him like they did Marat... You know, the French Revolution?

 

Rath just stares grimly ahead. Bain's a bit disappointed. After a beat.

 

BAIN

It was nice meeting you, Rath. Someday, I'll tell my little nietos about this.

 

Moving like lightning, Bain slides, reaches the RIFLE through the right rear passenger window and FIRES.

 

The first SHOT BLOWS OUT the passenger WINDOW. As Bain moves the rifle in for a better shot, Rath jerks the wheel hard left. Off balance, Bain's second SHOT drills the roof at Rath's head.

 

 

EXT. CITY STREET – NIGHT

 

Rath jerks the wheel, sends the cab sliding across the yellow lines. A HORN BLARES as he hurtles toward an oncoming car and a head-on collision!

 

Bain FIRES a wild third shot – the windshield spiderwebs.

 

Rath cuts hard back across the yellow lines. The cab slides, slams into the side of a bus traveling the same direction.

 

As Bain FIRES again, Rath slams the cab against the side of the bus, smack into an "I am the NRA" placard. The rifle is ripped from Bain's hands.

 

The cab bounces off, continues on. The rifle is crushed under bus wheels. Bain's lucky to still have his arm.

 

 

INT. YELLOW CAB – NIGHT

 

The bus continues, Rath slams on the brakes. Bain bangs into the glass as the cab shudders to a stop.

 

 

EXT. CAB – STOPPED – NIGHT

 

Rath is getting out of the cab, .22 at the ready. Bain's got about three seconds to live and knows it.

 

Several blocks away a POLICE CAR – LIGHTS FLASHING – races towards them.

 

SIRENS WAIL. Gritting his teeth, Rath gets back behind the wheel. A huge grin from Bain as he looks back at the police car that's bearing down on them. Rath throws it in gear, flips a U-turn and races off.

 

 

INT. CAB – ACCELERATING – NIGHT

 

BAIN

You and me. We're teammates! Companeros!

 

Rath speeds up. Faster and faster. Bain suddenly doesn't feel so safe, beat. As Bain buckles his seatbelt...

 

 

INT. POLICE CAR – NIGHT

 

Where one of the OFFICERS is on the radio.

 

OFFICER

... in pursuit of yellow cab, number 5-0-1, reported stolen near same twenty as officers down. Proceeding west on...

 

 

EXT. POLICE HELIPAD – NIGHT

 

Two police officers race to waiting HELICOPTER. As it LIFTS OFF towards the skyline of the city. We LIFT OFF net to it, RISING and SWINGING WITH it as it turns towards the city skyline.

 

 

EXT. CITY STREETS – CHASE – NIGHT

 

The cab at 60. The cop car stays with. A hard braking left and then a sliding turn and the cab is nearing a street running under a viaduct.

 

 

INT. YELLOW CAB – CHASE – NIGHT

 

Bain smiles as they leave the cop behind.

 

Ahead, a second cop car turns off a side street and heads right at them. Rath turns under a viaduct.

 

BAIN

Can you feel it, Rath?! It's real! We're alive!

 

RATH

Don't count on it.

 

BAIN

Before I went freelance, I was an exchange student.

(smiles)

C.I.A. University. You were a legend at Langley. Even if you were Army.

(looks ahead)

I know this neighborhood. Turn in here.

 

Rath turns under a viaduct.

 

 

EXT. ROAD UNDER VIADUCT – NIGHT

 

It's a race with the two police cars right behind.

 

 

INT. YELLOW CAB UNDER VIADUCT – CHASE – NIGHT

 

Down the straightaway, two sets of cop lights and SIRENS behind them. Bain leans forward, right behind Rath.

 

BAIN

I studied everything you ever did, Rath. God damn you were good. You and the Russian. Nicolai Talinkov –

 

The name hits Rath like a hammer.

 

RATH

Tachlinkov. How did you know about Nicolai?

 

Rath turns, nearly broadsiding a train car.

 

BAIN

They said he shaded you. Over and over. And in the end, he aced you. Shaded and faded. They say he's living on some Greek island, but I say you were the best. I say Nicolai's dead as a clavo.

(thinks; smiles)

A doornail. Am I right?

 

Rath doesn't answer.

 

BAIN

I heard you guys played chess. Coded in the New York Times obituaries.

 

Rath's past is chasing him almost as hard as the cops.

 

BAIN

Ten miles of microfilm, but I found it. The last game ends before anyone wins.

(smiles)

He thought you were his friend. That's how you got him, right?

 

 

EXT. INTERSECTION – VIADUCT – NIGHT

 

Rath starts to answer when... Suddenly an enormous truck appears, blocking their path. Rath is forced to brake. He whips the wheel around, powerslides a grinding U-turn in front of the truck.

 

BAIN

Hey, Rath.

(opens door)

Black queen to king's bishop 4!

 

Bain throws himself out of the door. Rath whips a look over his shoulder as Bain tumbles head over heels toward the truck. What he said means something, but no time to explain now. As he continues...

 

 

BACK TO BAIN

 

Pushing himself to his hands and knees, Bain watches the two cars disappear. He disappears into the darkness.

 

 

EXT. INTERSECTION – VIADUCT – NIGHT

 

The cab races away from the intersection with the police cars in pursuit.

 

 

INT. YELLOW CAB – NIGHT

 

Rath takes another hard turn. But suddenly the cab is bleached white by a searchlight.

 

 

INT. POLICE HELICOPTER – NIGHT

 

Where a HELI-COP trains the light on the cab below.

 

HELI-COP

We got you now, rabbit.

 

 

EXT. SKY – AERIAL – NIGHT

 

From above the chopper blades of the police helicopter chasing the cab below – we see the cab appearing, disappearing, and reappearing from underneath a viaduct below.

 

The cab passes under an overpass. They lose sight of it, but it'll only be for a moment as they move up and around.

 

 

EXT. CAB YARD – NIGHT

 

The cab appears from around a corner sliding quickly into a parking lot. Rath slips out the door and disappears.

 

 

EXT. CAB YARD – AERIAL – NIGHT

 

Down below we see a parking lot full of cabs and the first police car to arrive.

 

 

EXT. PARKING LOT – NIGHT

 

The other cop cars pull up. As the police begin to search, and the helicopter hovers overhead, we follow

the beam of the Zenon light up to the chopper where everything becomes white...

 

DISSOLVE TO:

 

 

INT. HOTEL ROOM – NIGHT

 

The white of Rath's computer screen.

 

Rath types, calls up a file. A chess game sets up in four neat rows. A line reads: "Game Started May 5, 1980"

 

The pieces move, accompanied by COMPUTER VOICE notation of the move and the date they were made. Rath studies the screen.

 

RATH

Fifteen years and I still remember.

(watches)

Those were good moves, Nicolai. You were the best.

 

The screen and the computer voice both ask: "ENTER NEXT MOVE". A beat before Rath types in the move Bain gave him.

 

RATH

Bishop takes rook pawn.

 

A big moment as the computer moves: Bishop takes rook pawn. A beat and the screen starts to flash: "CHECK. CHECK. CHECK." Rath can't believe what he's seeing.

 

COMPUTER VOICE (V.O.)

Game in check.

 

RATH

(softly)

I'm a mark. A mark... Who the hell is Miguel Bain?

 

A pause. Rath finally clears the screen, types the access code, waits. As the system comes on line.

 

Contractor: "Hello, Robert."

 

Rath: "Who the hell is Miguel Bain?"

 

Contractor: "That's no way to talk to a lady."

 

Rath: "Who???"

 

Contractor: "The name Bain is not familiar"

 

RATH

Are you setting me up?

(a beat)

Is this how it went, Nicolai?

 

Rath: "He was there. He stole the contract."

 

Contractor: "I'll make inquiries, Robert."

 

RATH

I bet you will.

 

Contractor: "$2,000,000. That's the bonus on the next contract."

 

RATH

I quit. I'm gone.

 

Rath moves to shut down the rig, but then hesitates.

 

Contractor: "Robert? Are you there?"

 

RATH

Two million. Two million and I'm gone.

 

Rath: "Location?"

 

Contractor: "Seattle."

 

Rath: "The mark?"

 

Contractor: "Surveillance epert. Selling a synthetic heroin formula to a Dutch buyer.."

 

A beat as Rath thinks things over. Then...

 

Rath: "Conditions?"

 

Contractor: "Retire the mark, retire the buyer and retrieve the information. A computer disc."

 

Rath watches as miniaturized pages flash on his screen. Many of an angular-faced Dutch man. His henchmen. A complete file, except...

 

Rath: "The surveillance jacket on the seller?"

 

Contractor: "A ghost. All we have is an internet logo."

 

The transmit prompts again. The screen goes black except for two green, slit-iris cat eyes. Under that, "MEOW@comsat.next". And as we move in on the eyes:

 

MATCH CUT TO:

 

 

INT. ELECTRA'S APT. – ELECTRA'S KITCHEN – PEARL – DAY

 

A live cat with the same eyes. She watches as a kid's remote control dump truck whirs past her. In the truck bed, a bowl of tuna fish. Pearl chases. Her pride stops her. She waits, pounces as the truck backs up. Pearl wins. As she eats...

 

Electra sets down a remote control, kneels to watch Pearl eat. A surveillance genius, an "information assassin," Electra depends on smarts and intuition to succeed in a dangerous world. Like most geniuses, she's a free spirit.

 

ELECTRA

Mmmm. Hungry Pearl.

 

Electra steps over to check on the progress of a coffee machine. Almost done.

 

As she waits, she flips through a packet from "One Hour Photo."All photos of Pearl. Electra stops to study one.

 

ELECTRA

(shows Pearl)

I like this one, baby. It's your good side.

 

She pours coffee, takes a sip, sighs with satisfaction.

 

 

EXT. ELECTRA'S APARTMENT BUILDING – DAY

 

At the base of three massive transmit towers. Two stories, eight apartments. We see Electra enter her second floor living room. In the apartment directly below we see a young couple (JENNIFER & BOB) fighting.

 

 

INT. ELECTRA'S APARTMENT – LIVING ROOM – DAY

 

Like the control booth of a low-rent network television show. TV's of various size, make and quality are stacked and set in a semi-circle around an overstuffed chair.

 

Electrical cables and bundles of fiber optical cable are duct-taped to the walls. Some disappear through holes punched in the floor, others the ceiling. They hang like vines in a jungle.

 

Electra settles into her chair. Flicks a remote. The CD PLAYER KICKS IN SOME MUSIC. The first two TVs show empty apartments. A third – an old woman rolling out dough. The view is wide-angle, from above. Just like a cooking show.

 

ELECTRA

Yummy.

 

Electra switches on another TV. Jennifer and Bob's argument.

 

BOB (V.O.)

(TV)

I don't give a shit what your mother thinks. I'm not sleeping with your mother; I'm sleeping with you.

 

JENNIFER (V.O.)

(TV)

You won't be for long with that attitude.

 

Electra turns UP the VOLUME, leans forward as the drama unfolds.

 

BOB (V.O.)

(TV)

Jesus, Jennifer, if you're so god damned worried about your mother's approval, why don't you move back home so she can pat you on the head when you do something right.

 

ELECTRA

Jerk.

 

Electra's PAGER SOUNDS. She barely looks at it.

 

Jennifer starts to say something, but stops, trying to keep herself from crying.

 

BOB (V.O.)

(TV)

Oh good. Go ahead and cry.

 

Jennifer exits the room, slams the door hard behind her.

 

BOB (V.O.)

(TV)

You like to slam doors?

 

Electra switches one of the sets to a shot of Jennifer crying in her bedroom.

 

BOB (V.O.)

(TV)

I can slam doors too!

 

Bob exits the apartment, slamming the door on his way out. Electra switches all the TVs to shots of Jennifer. She watches, listens to her cry.

 

Affected, Electra reaches out, her fingers lightly touching the screen. She isn't simply a voyeur. She cares about these people's lives. As her PAGER SOUNDS again...

 

 

TELEPHONE TABLE

 

A system like Rath's. Electra picks up a cellular, dials. As a woman's voice answers, Electra clicks a stopwatch.

 

WOMAN (V.O.)

Room one-fifteen. Slipping a filter over the mouthpiece, Electra responds in a deep baritone.

 

ELECTRA

I have the merchandise.

(or alternate)

I have the disc.

 

She picks up a computer disc, holds it at arm's length.

 

WOMAN (V.O.)

The buyers arrive at noon. Flight 10-55.

 

Electra covers the receiver, thinks things through.

 

ELECTRA

Off the plane. Customs. They're Dutch... A half hour.

 

She twists the filter to the high pitch of a child.

 

ELECTRA

I'll attempt contact at 12:30 and every fifteen minutes after that.

 

WOMAN (V.O.)

You have the hard copy images?

 

Electra reviews photos of the Dutch, similar but not the same as Rath's.

 

ELECTRA

Affirmative. What do I call the principal?

 

Electra checks the stopwatch. Forty-eight seconds...

 

WOMAN (V.O.)

Call him Remy. How will they know –

 

Electra hangs up, sticks the disc in her pocket.

 

ELECTRA

They'll know.

 

 

EXT. ELECTRA'S APARTMENT – DAY

 

Electra comes out carrying Pearl's porta pet and a shoulder-slung duffel bag. She puts them in the back in her Mustang convertible. Hopping in, Electra pulls out of a parking spot identified with her apartment number.

 

 

EXT. THE HYATT – DAY

 

It has a big day ahead of it. Electra's car drives past the main entrance and she turns into the parking garage entrance.

 

 

INT. PARKING GARAGE

 

Electra pulls into a spot up front, hands the attendant $20.

 

ELECTRA

Keep it handy.

 

He nods. Sunglasses on, carrying her duffel bag and porta pet, Electra heads for a bank of elevators. She steps in.

 

 

INT. HYATT – ELEVATOR – LOBBY LEVEL – DAY

 

From inside, the doors open at the lobby level. A man and a woman with a white fur coat step inside.

 

Backed in a corner, Electra stares at a veritable wall of fur. She doesn't like it. Setting down the port-a-pet, she reaches into her duffel for what looks like a canister of breath spray.

 

 

INT. UPPER FLOOR – HALLWAY – DAY

 

The elevator doors open. None the wiser, the couple step out. As they walk down the hallway away from us we see a large circle with a slash through it on the back of the fur coat. As the doors close we hear.

 

ELECTRA (V.O.)

You're welcome, Pearl.

 

 

INT. AIRPORT – INTERNATIONAL TERMINAL – DAY

 

We hear a SCREAMING JET OVERHEAD.

 

Four Dutch men exit the jetway. They look like lions in leather jackets. They move predatorily, REMY recognizable from Rath's computer info.

 

 

INT. THE HYATT – ROOM 718 – DAY

 

A laptop computer, a transmitter and a remote intercom rest on the coffee table. On the computer, Electra scrolls through airline flight information. She finds KLM flight 1055. The screen flashes: Arrived.

 

 

INT. UNITED TERMINAL – ESCALATOR – DAY

 

Looking past a digital clock we see the Dutch ride down the escalator, jumpy.

 

INTERCOM (V.O.)

Mr. Remy, to the white courtesy phone. Mr. Remy.

 

Remy looks to his #2. Suddenly, the four of them pound down the escalator steps, snaking between people, pushing others out of the way.

 

 

WHITE COURTESY PHONE

 

Remy picks up the receiver. His men fan out, ready for trouble.

 

REMY

Hello?

 

ELECTRA (V.O.)

Are you ready to go shopping on the Home Information nextwork? The price is $40,000.

 

REMY

Where are you?

 

ELECTRA (V.O.)

Are you ready? Yes or no?

 

REMY

Yes.

 

 

INT. THE HYATT – ROOM 718 – DAY

 

Electra's on a cell phone.

 

ELECTRA

There's a payphone bank in the Hyatt Hotel by the elevators. You got twenty minutes.

 

She hangs up, clicks her stopwatch.

 

 

INT. UNITED TERMINAL – DAY

 

Remy hangs up, motions to his men to follow. As the Dutch move away, we RACK FOCUS back to a man in the background.

 

It's Rath. Looking absolutely non-descript. He waits till they're almost out of sight before following. Rath scans faces as he moves. Someone else may be here as well.

 

 

UNITED TERMINAL EXIT

 

The Dutch exit. Rath's about to follow when he spots a young man turning away to a cash machine. Bain?

 

Drawing the .22, Rath closes the gap, spins him. The young man, holding his cash, turns into the barrel. It's not Bain and in an instant the gun is gone. Rath is shaken, but nearly as much as the young man. Rath moves on.

 

 

EXT. AIRPORT ROADWAY – DAY

 

Remy and his men get into a waiting limo. It pulls away.

 

Rath exits, hops into a cab before it can even coast to a stop. They pull away as well.

 

 

INT. CAB – DAY

 

CLOSEUP of the time on the meter.

 

 

INT. THE HYATT – ROOM 718 – DAY

 

Pearl watches as Electra unscrews an A/C panel. Popping the screen to reveal a vertical duct, Electra tapes a piece of cardboard at an angle inside it. The effect is to redirect into the room anything traveling down.

 

 

INT. LIMO – ROLLING – DAY

 

The Dutch open waiting briefcases, check out the silenced 9 MM's waiting inside.

 

 

INT. THE HYATT – ROOM 718 – DAY

 

Electra at the window, looking down through binoculars.

 

 

ELECTRA'S POV – BINOCULAR MATTE

 

The Dutch heading from their limo for the hotel.

 

ELECTRA

One, two, three, four.

 

 

INT. HYATT LOBBY – DAY

 

Looking toward the entrance as the Dutch stride in. As a PHONE begins to RING, Remy hurries to a...

 

 

PAYPHONE BANK

 

Answers it.

 

REMY

Hello.

 

ELECTRA (V.O.)

Pick up the Yellow Pages.

 

He does as he's told.

 

ELECTRA (V.O.)

Lonely? In town on business. Who'll ever know if you check out the escorts?

 

As Remy flips to the "Es"...

 

 

INT. HOTEL ENTRANCE – DAY

 

Rath steps in, heads for the front desk, but watches.

 

 

INT. HOTEL – PAYPHONES – DAY

 

Remy's found it. In the escort ads, a room key card.

 

ELECTRA (V.O.)

It's room 942. I want all four of you in there. No deal otherwise. And if there's more of you, I'll know it. I smell a rat, I go. Are we simpatico?

 

REMY

Yes. Simpatico.

 

Checking about, the Dutch get in an elevator. Rath doesn't have a chance without raising a red flag.

 

The doors close. He thinks a beat. As a maintenance worker passes, something occurs to him. Spurred to action, Rath moves.

 

 

INT. HYATT – ELEVATOR – DAY

 

Two passengers get off on three. The ride continues. It's just the anxious Dutch and a man in the corner.

 

He looks up. It's Bain!

 

The elevator stops at nine. As the Dutch step off, Bain slyly slips "something" into Remy's jacket pocket. We see, but we're not quite sure what.

 

They don't say a word, just exit as the elevator stops at nine. As the doors close behind them, Bain looks grim.

 

 

INT. HYATT HOTEL – MAINTENANCE OFFICE – DAY

 

Where a JANITOR answers a RINGING PHONE. Beyond him, we see a hotel computer terminal.

 

JANITOR

Maintenance... What?! Sounds like we got a short. I'll be right there.

 

The Janitor rushes out. The office is empty. A beat and Rath enters. Tucking his cell phone (he made the call) into his pocket, he takes a seat at the terminal. He must have used this trick before as he scrolls computer info. Room bills. Reservations. Guest names. He eliminates the Chicago Bulls, a doctors' convention, and a wedding party. All 10 plus rooms. As he continues his process of elimination...

 

 

INT. HYATT HOTEL – ROOM 942 – DAY

 

On a table are a screwdriver, a laptop hooked to a cellular modem and a remote intercom matching Electra's. The Dutch enter, guns drawn.

 

 

INT. HYATT HOTEL – ROOM 718 – DAY

 

Over the INTERCOM, Electra can hear them entering the room, moving about.

 

ELECTRA

Close the door.

 

 

INT. HYATT HOTEL – ROOM 942 – DAY

 

As one of them pulls the door shut...

 

 

INT. HYATT HOTEL – ROOM 718 – DAY

 

Electra can hear it bang shut.

 

ELECTRA

First, I need a ten thousand dollar deposit.

 

REMY (V.O.)

(TV)

That wasn't the agreement.

 

 

INT. HYATT HOTEL – ROOM 942 – DAY

 

The computer screen goes blank.

 

ELECTRA (V.O.)

We have nothing more to discuss. Good-bye.

 

REMY

Wait, wait. Okay.

 

A beat, the screen turns back on.

 

ELECTRA (V.O.)

Here's today's menu.

 

The screen fills with file names. Number 2 reads, nods his approval. Remy inserts a blank disc.

 

Guns are drawn, aimed as a BEEPING sounds from the wall. From the A/C vent.

 

ELECTRA (V.O.)

I believe you'll find a screwdriver on the table.

 

Cautiously, Number 3 picks up the screwdriver, undoes the screen which is now backlit. Electra's remote dump truck, a flashlight and pen-sized camera taped on the cab roof. As the Dutch exchange a look...

 

 

INT. HYATT HOTEL – MAINTENANCE OFFICE – DAY

 

Rath has narrowed his search to three individuals who each hold two rooms apiece. Clark, Rogers and Katz.

 

Rath selects K. Katz. Rooms 718 and 942. He switches to room service charges. In two days nothing on 942 – not even a phone call, but...

 

RATH

(reading)

Room 718. Coffee. Coffee. Coffee. Coffee. Tuna fish.

 

Reaching into a pocket, he pulls out and unfolds a print-out of the green cat eyes. MEOW@comsat.next.

 

RATH

Meow.

 

 

INT. HYATT HOTEL – ROOM 718 – DAY

 

Manipulating a joystick, Electra watches an air duct view pass by on a Sony Watchman.

 

 

INT. AIR DUCT – DAY

 

The dump truck rolls carrying a $10,000 payload. It turns at one branch, turns left at another. Ahead, a square hole opens up where a third branch goes vertical.

 

Just when we think a catastrophe will occur, the truck stops, executes a DMV 3-point turn. It backs to the edge of the hole. The truck bed angles back as it dumps.

 

 

INT. ROOM 718

 

Electra smiles as ten thousand dollars drop out of the vent and onto the carpet.

 

ELECTRA

I'm going to format your disc, orient it to receive the data.

 

Electra begins typing.

 

 

INT. HYATT HOTEL – ROOM 942 – DAY

 

The Dutch watch a little clock tick away on the laptop screen as this is done.

 

 

EXT. 9TH FLOOR HALLWAY – DAY

 

Not far from 942, an attractive couple pause to begin kissing in a corner. Overwhelmed, they can't keep their hands off each other.

 

 

INT. HYATT HOTEL – ELEVATOR – DAY

 

Rath gets in, his fingers deciding between the ninth and seventh floors. He presses one, but we don't see which. As he starts up.

 

 

INT. HYATT HOTEL – ROOM 942 – DAY

 

Remy watches as file names start to appear on the computer screen.

 

 

INT. HYATT HOTEL – ROOM 718 – DAY

 

Electra continues to send information.

 

 

9TH FLOOR HALLWAY – DAY

 

Here comes Bain. Resolute, but excited at what's about to happen. He passes the couple. They don't see him or they don't care. But as Bain gets a few steps past...

 

He wheels, raises the SILENCED .22 and FIRES. The couple crumple, both head shots. He drags them into a stairwell.

 

 

INT. HYATT HOTEL – ROOM 718 – DAY

 

Electra types.

 

 

INT. 9TH FLOOR HALLWAY – DAY

 

Bain leans over the bodies of the attractive couple. Amazingly, he relieves them both of silenced 9mm pistols. What the hell's going on?

 

Bain steps to the middle of the hall. Watching several doors at once, he takes out a cellular phone, punches in a number, then hits send.

 

 

INT. HYATT HOTEL – ROOM 942 – DAY

 

A very LOUD BEEPING sounds! After a confused moment, Remy reaches into his pocket, pulls out the slim BEEPER Bain deposited there.

 

They barely have time to exchange a look before the room door blasts open and Bain enters, both the .22 and one of the 9mm's BLAZING.

 

The Dutch try to return fire, but Bain has them. As he EMPTIES both GUNS...

 

 

INT. HYATT HOTEL – ROOM 718 – DAY

 

Electra looks up from her typing, listens to the odd thwapping and grunting coming over the INTERCOM SPEAKER. She stops typing.

 

 

INT. ROOM 942 – DAY

 

Bain checks Remy's wallet. Finds a badge.

 

BAIN

Interpol?

 

Bain pauses, but then shrugs it off. No time to worry about it now. He looks to the dead Dutchmen.

 

BAIN

No more worries. Suena con los angelitos.

 

ELECTRA (V.O.)

What's going on there?

 

Bain spots the intercom. Then he sees the laptop screen flashing: He realizes the transmission is incomplete.

 

ELECTRA (V.O.)

Hello?

 

BAIN

Please complete the transmission.

 

 

INT. ROOM 718 – DAY

 

Electra's momentarily flustered.

 

ELECTRA

(starts typing; stops)

Who is this?

 

She hears no answer. Electra begins erasing all of the information she has sent.

 

 

INT. ROOM 942 – DAY

 

Bain sees the information begin to disappear line by line – he frantically tries to save some of it.

 

BAIN

I'm going to tear your heart out.

 

 

INT. ROOM 718 – DAY

 

Sudden fear washes over Electra. Flipping down her sun-glasses, she grabs her duffel bag, picks up Pearl, pulls the disc. But as she turns to the door...

 

SLAM! It bursts open and she's staring right at a silenced .22. Rath is here, quite obviously there to kill her. But maybe surprised she's a woman.

 

ELECTRA

Don't...

 

 

ROOM 942

 

Now it's Bain's turn to listen.

 

BAIN

Don't what?

(realizes)

Rath? Is it you?

 

 

ROOM 718

 

Keeping the gun on Electra, Rath looks at the intercom. Doesn't answer.

 

 

ROOM 942

 

But Bain is sure. He picks up the remote, switches on the room TV.

 

BAIN

It is you...

 

 

ROOM 718

 

Gun still aimed, Rath holds out his hand, whispers...

 

RATH

The disc.

 

She fumbles, holds it out with a wildly trembling hand. Rath takes it.

 

 

ROOM 942

 

Bain accesses (on TV) the hotel's in-room checkout system.

 

BAIN

You checked out that move, didn't you? Black queen to king's bishop 4?

 

 

ROOM 718

 

Bain is getting under Rath's skin. As his finger tightens, Electra is frozen in fear.

 

BAIN (V.O.)

You got a move for me, Rath?

 

Electra tries to say something, but can't give volume to the words. Rath reaches over, takes off her sunglasses. She blinks at him. As a tear streaks her cheek...

 

 

ROOM 942

 

On the TV checkout, Bain has the room charge for 942 and the fact it's coupled with the charges for room 718.

 

BAIN

It's like chess. What's your move? Is she alive? Did you kill her? Are you there, sweetie?

 

And Bain slips silently out of the room.

 

 

ROOM 718

 

BAIN (V.O.)

Is she dead yet, Rath? I took care of business on my end. What about you? Come on. Pull the trigger. Kill her.

 

Electra closes her eyes. Rath turns his aim from her to the INTERCOM, FIRES. As it bursts into a hundred pieces.

 

 

7TH FLOOR HALLWAY

 

Bain steps out from the stairwell, silently sprints to...

 

 

ROOM 718

 

Bain enters with a military roll. It only takes an instant to realize... Rath and Electra are gone.

 

 

INT. PARKING GARAGE – DAY

 

Electra and Rath step off the elevator. She wears her jacket, carries her computer and porta pet. He holds her arm, keeps the gun at her side.

 

RATH

Where's your car?

 

ELECTRA

I don't know.

 

The Attendent (seen earlier) steps over, eagerly points out her Mustang.

 

ATTENDENT

It's right here, Miss.

 

As the Attendent hurries over with the keys...

 

RATH

I guess a black Chevy would have? A stuck out too much.

 

 

EXT. HYATT – MUSTANG CONVERTIBLE – DAY

 

The Mustang zooms out of the parking garage, bottoms out at the top. Electra's behind the wheel. Rath rides shotgun, watching the hotel for trouble. Pearl in her porta pet in the back.

 

 

EXT. STREET – MUSTANG (MOVING) – DAY

 

Electra is terrified. We now learn she talks when she's nervous.

 

ELECTRA

I always thought I was going to die in a bus crash. Isn't that dumb? The odds are like five-hundred million to one. You know what the odds of meeting a stranger who's a murderer? One-thousand to one.

 

Holding the .22, Rath just stares at her.

 

ELECTRA

I think I've been worrying about the wrong statistic.

 

RATH

If I was going to kill you, you'd be dead already.

 

As Electra speeds up...

 

 

INT. ROOM 718 – DAY

 

Bain tears the room apart. Pulls open drawers, overturns the mattress. He wants that disc. But the room has been cleaned out. Then he spots it. Electra's computer carrying case – in haste forgotten – on a chair.

 

Electra's jacket – in haste forgotten – draped over a chair.

 

Rifling through it, he finds the photos Electra had of Pearl. Bain flips through them. Nothing, but Pearl. Inside, outside. But Bain flips back one.

 

Pearl outside. Bain's finger jabs down on something in the background. Three TV transmit towers. Bain strides to the window, looks out...

 

 

BAIN'S POV – CITY

 

Scanning, spots it. In the distance, three radio towers.

 

 

BACK TO BAIN

 

Smiling. He shoves the picture in a pocket, hurries out.

 

 

INT. MUSTANG – ROLLING – DAY

 

ELECTRA

Who the hell are you?!

 

RATH

I work for the government.

 

ELECTRA

Bullshit.

(turning)

Where are we going?

 

RATH

Just drive.

 

Electra hits the gas. The MUSTANG ZOOMS. 40, 50... Rath takes her laptop from the backseat. He plugs it into his cellular, punches a number in. Rath types in the access code sequence. The system comes on line.

 

Contractor: This is not a scheduled call, Robert.

 

60 mph... Electra begins to slalom between cars. Rath looks up as he types.

 

RATH

Watch your speed.

 

Rath: "He was there again."

 

Contractor: "Shut down. We'll talk at the scheduled time."

 

The system shuts down. 70 mph...

 

RATH

Slow down!

 

ELECTRA

I can't.

 

Rath reaches over with his foot, starts to brake them.

 

ELECTRA

What about the other guy? Does he work for the government, too?

 

Rath just gives her a look, takes his foot off the brake. They've slowed considerably.

 

ELECTRA

It's between you and him, right? Just leave me out of it.

 

RATH

We can't. You're the mark.

 

A chilling thought. Across a wide median, she sees a bus pulling up to a bus stop. Ahead, the light turns red.

 

 

EXT. STREET – DAY

 

Electra moves to slow down, but at the last second she accelerates, rear ends the car ahead. Electra is braced, but Rath slams the dash.

 

Electra takes the keys, leaps out of the car. Grabbing the porta-pet, she dashes across the median. Rath is quickly after her.

 

Electra nears the bus which is taking on the last of its passengers. As she looks back over her shoulder, she slams into a man, drops the porta pet.

 

Rath is closing. There's no time. Acting on survival instincts, Electra leaps onto the bus. It's away just as Rath arrives.

 

 

INT. BUS – ROLLING – DAY

 

Electra hurries to the back, stares out the window. In the receding distance we see Rath and the porta pet in the street. She's escaped, but at what cost?

 

ELECTRA

Oh, Pearl... Sorry.

 

 

EXT. BUS STOP – DAY

 

As an IRATE MOTORIST shouts "car insurance," Rath ignores him, carries Pearl back to the Mustang. He gets inside, checks the glove box – nothing. But reaching under the seat, he pulls out a paper bag with cat food inside. The bag is printed: "Prize Pets". With an address.

 

 

EXT. PRIZE PETS – DAY

 

A local mom & pop operation. As the Mustang pulls up...

 

 

INT. PRIZE PETS – DAY

 

An OLDER WOMAN looks up as Rath approaches the counter. But she's not looking at Rath.

 

OLDER WOMAN

Pearl! How are you, dearie? Where's Mama?

 

Holding the cat in his arms, Rath smiles.

 

 

EXT. ELECTRA'S BUILDING – DAY

 

Three towers in the background. A car pulls into an assigned spot. "Bob" gets out, heads into the building.

 

 

INT. ELECTRA'S LIVING ROOM – DAY

 

Electra packs. No rhyme or reason. She just tosses stuff into her bag. As she moves into the bedroom, we STAY here. The monitors are on. Bob enters Jennifer's apartment.

 

 

EXT. ELECTRA'S BUILDING – DAY

 

Bain steps up, smiles at the towers. There are three cars in the lot. He walks along, placing a palm on the hood. Seeing which engine is warm. Bob's. Noting the apartment number on the space, Bain heads inside.

 

 

INT. JENNIFER'S APARTMENT – LIVING ROOM – DAY

 

Bain enters, begins looking through the room, after the disc.

 

 

INT. JENNIFER'S APARTMENT – BEDROOM – DAY

 

Bob hears the sound, thinks the wrong thought.

 

BOB

Jenn?

 

Bob hears FOOTSTEPS coming down the hall. As they near he door...

 

BOB

I love you.

 

Bain is there, filling the doorway.

 

BAIN

That's sweet.

 

 

INT. ELECTRA'S LIVING ROOM – DAY

 

Bag packed, Electra steps out from the bedroom. She stops short at the sight of the monitor.Bain raises the .22, Bob's eyes widen. As he steps back, Bain steps forward.

 

BOB (V.O.)

(on TV)

Who are you?

 

BAIN (V.O.)

(on TV, advancing)

You'll never know... Romeo.

 

Bob backs right into the walk-in closet. Bain follows. The SILENCER WHISPERS and BOB THUMPS to the floor.

 

 

JENNIFER'S BEDROOM

 

Bain takes in the room. Breathes it in. Something catches his eye. A smoke detector on the ceiling. He stands on the bed.

 

 

ELECTRA'S LIVING ROOM

 

Electra's mouth open, but no sound comes out as Bain's face suddenly looms right into the monitor. Distorted, his face right in the camera.

 

 

INT. JENNIFER'S APARTMENT – BEDROOM – DAY

 

Standing on the bed, Bain pulls the detector housing should be. He pokes at it. A warped smile as he realizes what it is.

 

 

INT. ELECTRA'S LIVING ROOM – DAY

 

BAIN (V.O.)

(on TV)

You sick little bitch.

 

Electra turns to get out, stops short at MEOW. PEARL trots into the room. Electra scoops her and Rath is there. He spots Bain on the monitor, draws his .22. She flinches.

 

RATH

Where is he?

 

Electra points to the floor. The screen goes to snow as Bain reaches, yanks the smoke detector from the ceiling. Rath grabs Electra and they're out of there.

 

 

EXT. MUSTANG (PARKED) – DAY

 

Up the street, the front end smashed. Rath gets Electra and Pearl inside.

 

RATH

Wait for me at the pet shop.

 

She nods. Without another word, Rath heads back. Electra STARTS the car. Smoke pinwheels off the tires as she roars off.

 

 

INT. JENNIFER'S APARTMENT – LIVING ROOM – DAY

 

Leading with the .22, Rath enters. Every nerve is tingling as he steps into...

 

 

JENNIFER'S BEDROOM

 

Rath steps in. No Bain. Rath spots the plaster torn from the ceiling, Bob's legs visible through the closet door. Rath steps over. As he kneels to take a pulse, he hears FOOTSTEPS OVERHEAD. In Electra's apartment.

 

 

INT. ELECTRA'S LIVING ROOM – DAY

 

Two discs on the coffee table. Bain scoops them, runs them through his scanner. Red lights flash. Not the ones he wants. He tosses them aside.

 

 

EXT. NEIGHBORHOOD STREET – MUSTANG (ROLLING) – DAY

 

Electra slows for a stop sign. Continuing, she passes Jennifer going the other way. Headed home. Oh no! Electra looks back over her shoulder. She makes a decision.

 

A HORN BLARES. Electra brakes, looks ahead where she's come inches from a head-on collision. She throws it in reverse, nearly hits a car coming up from behind. More HORNS.

 

Back to drive, Electra hops the curb, driving over a circular median and knocking down a "Slow" sign as she turns around.

 

 

INT. ELECTRA'S BUILDING – 2ND FLOOR HALLWAY – DAY

 

Gun drawn, Rath makes his way, enters.

 

 

INT. ELECTRA'S APARTMENT – LIVING ROOM – DAY

 

No Bain. Rath moves silently toward...

 

 

ELECTRA'S BEDROOM

 

Bain searching the place. Holding his .22, he picks up a bottle of perfume, takes a whiff, smiles.

 

BAIN

Jasmine...

 

In the dresser mirror, Bain spots Rath enter behind him. Dropping the perfume, Bain wheels, FIRES!

 

A MIRROR on the back of the door SHATTERS and Rath is gone. Or at least his image.

 

Guessing. Bain starts FIRING in a moving pass across the wall. The SILENCER makes it almost surreal.

 

 

LIVING ROOM

 

Rath runs, just a step ahead of the BULLETS which BURST from the wall behind him. Diving, he rolls into the...

 

 

KITCHEN

 

Coming out of the tuck and roll, Rath slams into the stove, rocking it two feet across the floor.He looks up at the gas line inches over his head.

 

 

LIVING ROOM

 

Slapping in a new clip, Bain leaps out, sees that Rath must be in the kitchen. Bain aims, but stays where he is.

 

BAIN

You're getting slow, Abuelo.

 

RATH (O.S.)

I'm not the one shooting at mirrors.

 

 

INT. JENNIFER'S APARTMENT – BEDROOM – DAY

 

Home, Jennifer stops short when she sees plaster everywhere. Looking up, she sees the cable snake up to the hole in Electra's floor. Unfortunately, she doesn't see Bob. Furious about the mess, she hurries out of the room.

 

 

INT. ELECTRA'S LIVING ROOM – DAY

 

Where Bain is edging his way toward the kitchen. That's when Jennifer storms in.

 

JENNIFER

Who the hell are you?

 

She stops short at the sight of Bain's .22.

 

BAIN

(whispers; wants)

The disc.

 

A frozen moment before she bolts for the door. Bain. As Jennifer falls, Bain makes a critical error.

 

BAIN

(at kitchen)

I beat you to the buyers and now I beat you to the mark. I'm starting to think I picked the wrong guy to be my hero.

 

 

INT. KITCHEN

 

Rath wonders who Bain shot. Out the window, he sees Electra pull up in the Mustang, run for the building.

 

 

LIVING ROOM

 

Bain waits for an answer, doesn't get one.

 

BAIN

You know it's my birthday today, Rath? It's true. Today I become number one.

 

Picking up a big shard of mirror, Bain inches his way to the kitchen door. It's blind; no view at all.

 

 

STAIRWELL

 

Electra makes her way up.

 

 

LIVING ROOM

 

Bain tosses the MIRROR SHARD against the open kitchen door. It BREAKS into pieces, one of them a leaner. They give Bain a full view of the kitchen. Rath isn't there.

 

BAIN

You got a present for me, Rath?

 

 

KITCHEN

 

Tense as a steel spring, Bain steps inside. There's another doorway in the far corner. Bain moves for it, then stops short at a HISSING in the air. Framed by the window behind him, Bain sniffs, whips a look over to the stove where the GAS LINE is wide open. A trail of liquid leads from the kitchen to a back hall. Bain whips a look that way where we hear the distinctive sound of a MATCH BEING STRUCK.

 

 

HALLWAY

 

RATH

Make a wish.

 

Rath discards a bottle of brandy, sets the burning match into the trail of liquid. As it ignites, he rushes back, comes face to face with Electra. He dives for the floor, takes her with him.

 

 

KITCHEN

 

The flame trail zips in. Bain flips the kitchen table on its side, ducks behind it as the AIR BURSTS INTO FLAMES. The table is driven back by the force.

 

 

EXT. ELECTRA'S APARTMENT – SECOND FLOOR – DAY

 

Bain hurtles back through the kitchen window, followed by a huge fireball and lots of debris.

 

 

INT. APARTMENT BUILDING – HALLWAY – DAY

 

Rath rises, motions Electra to wait. Smoke is everywhere.

 

 

INT. KITCHEN – DAY

 

A few flames, but there's not much left to burn. Rath peeks around the corner. Bain isn't here. We can see the ground below as well. There is debris everywhere but Bain is gone. Rath sees Jennifer's body in the door-way. He checks to see if she is alive.

 

 

ELECTRA'S BUILDING – STAIRWELL

 

Leading with his .22, Rath tries to lead Electra out, but she doesn't want to go. She has other things to consider.

 

ELECTRA

Wait. Jennifer.

 

Rath looks at her, shakes his head. Jennifer didn't make it. Turning her gently, they continue down.

 

 

EXT. MUSTANG – PARKED – DAY

 

Electra and Rath make it to the car. Distraught, she's still staring back as he gets her inside.

 

 

INT. MUSTANG – DRIVING – DAY

 

Electra's neighborhood. Rath drives away. He glances over at Electra who sits clutching hold of Pearl. In shock over Bob and Jennifer, she's withdrawn into herself. Rath knows there's nothing he can say so he keeps quiet and drives.

 

 

EXT. CHAIN HOTEL – NIGHT

 

The Mustang drives up. Rath is at the wheel.

 

 

INT. CHAIN HOTEL ROOM – NIGHT

 

Electra enters ahead of Rath. She sets her bag down, lets Pearl out of the porta pet. Feeling like a prisoner, she sits in a chair in the corner. Pearl jumps up in her lap. Rath gets a quick feel for the room. After checking the view out the window, he draws the curtains. Rath takes off his jacket. Pulling off his shoulder holster, he sets the rig on the coffee table, then sits in a couch opposite Electra. The gun is halfway between the two. Electra does her best to be nonchalant, but she's well aware of the fact. Maybe the very first time we've seen Rath relax. Pearl jumps to the carpet, pads her way toward him.

 

ELECTRA

Pearl.

 

Ignoring her owner, Pearl leaps up, settles into Rath's lap. As he scratches her ears...

 

ELECTRA

Here, girl.

 

Electra snaps her fingers, but PEARL just closes her eyes, begins to PURR. Electra is not happy about this.

 

RATH

She likes me.

 

ELECTRA

She likes dead fish, too.

 

As Rath looks down at the cat, Electra looks at the gun, measuring the distance with her eyes.

 

ELECTRA

What do you call yourself?

 

RATH

Robert Rath.

 

ELECTRA

Yeah, sure. Call me Electra... So, are you one of them?

 

RATH

Used to be.

(checks watch)

Retired.

 

ELECTRA

Pardon me if I don't believe you.

 

RATH

If I was going to kill you, you'd be dead already.

 

She pretends to look away, but as Rath looks down at Pearl, Electra lunges for the gun.

 

He never moves or even blinks an eye. He just watches as she struggles a moment to free the .22 from its holster. She realizes, suspects the worst.

 

ELECTRA

What? It's not loaded?

 

RATH

It's loaded.

 

ELECTRA

I could shoot you. I could be 500 miles away by the time they find you.

 

Electra keeps the gun on him, but can't shake the feeling he's got the upper hand. A long silence.

 

Rath scratches Pearl's ears.

 

ELECTRA

Stop it. She doesn't like it.

 

PEARL begins to PURR.

 

RATH

Afraid you'll hit the cat?

 

Rath sets Pearl down, looks back to Electra. Waits.

 

Without warning she starts squeezing off ROUNDS. A LAMP EXPLODES on one side of Rath. Two tufts of stuffing erupt from the couch on the other side. Rath doesn't move.

 

ELECTRA

(steps forward)

You think letting me get this gun was a mistake, don't you? You think I'm afraid. Don't you?

 

She FIRES just over his head; the round digs the wall.

 

ELECTRA

You don't know shit about me!

 

RATH

You're wrong. I –

 

ELECTRA

Shut up!

 

A final step, she levels the gun at Rath's face.

 

ELECTRA

This was supposed to be a good day. A payday. Forty grand. I was going to get Pearl a boyfriend. Now two people are dead. I'm almost dead.

(a beat)

I'm in way over my head, Rath. I just want out.

 

For the first time really, she looks into his eyes. Her hand begins to tremble. The gun barrel shakes.

 

RATH

You have the gun. The keys are on the dresser. Go.

 

Electra covers Rath as she steps over to the dresser, scoops up the keys. Her next words are more to reassure herself than to convince Rath.

 

ELECTRA

I don't have a social security number, a driver's license. I barely remember my real name. I'm a ghost; I can disappear.

 

RATH

I found you. So did he.

 

ELECTRA

I want my life back. Please, that's all I want.

 

Rath shakes his head.

 

RATH

I'm sorry.

 

Electra's finger tightens on the trigger. Suddenly, jerking her arm left, she FIRES a wild shot. A CRASH as a cheap print is obliterated by the bullet.

 

Electra lowers the gun limply to her side, lets it drop to the carpet.

 

ELECTRA

I need to be alone.

(a beat)

I haven't spent this much time with someone in years.

 

Near tears, Electra moves blindly for the bathroom, Pearl at her heel. As Electra closes the door behind her.

 

RATH

Neither have I.

 

He closes his eyes, listens as we hear her begin to CRY.

 

 

INT. BATHROOM – NIGHT

 

Her back to the door, Electra slides slowly to the floor as she cries. Hugging her knees to her chest, it gets worse. A lonely, desolate moment. As PEARL MEWS...

 

 

EXT. CITYSCAPE / INT. PAYPHONE – NIGHT

 

A twinkling panorama. We PAN ACROSS TO a computer screen. A cursor blinks to life as...

 

Contractor: "What went wrong, Miguel?"

 

We're at a payphone booth. Bain has hooked his laptop into the payphone wiring.

 

Bain: "Nothing. I retired the buyers. And the seller."

 

Contractor: "The disc?"

 

Cain: "Rath has it. He's a difficult mark."

 

Contractor: "Rath isn't the mark. THE DISC."

 

Bain is taken aback by this response. He's not used to being criticized.

 

Bain: "You'll get it."

 

A long pause. Even Bain notices. The Contractor is never this reticent. Finally...

 

Contractor: "You had your chance. The contract has been reassigned."

 

BAIN

What?! No lo puedo creer!

 

Bain is in a rage as he types...

 

Bain: "Fuck you."

 

Contractor:" That's no way to talk to a lady."

 

BAIN

I don't care what you are –

 

Bain hits the repeat key. "Fuck you's" flash across the screen. As the Contractor logs off, Bain slams his fist against the glass of the booth.

 

 

INT. CHAIN HOTEL ROOM – NIGHT

 

Rath is at his desk conversing with the Contractor. Electra must still be holed up in the bathroom.

 

Rath: "I have the disc."

 

Contractor: "You're still the best, Robert."

 

RATH

Then who's this kid?

 

Rath: "I'd like the two million in cash."

 

Contractor: "Where do you want to make the trade?"

 

 

INT. CHAIN HOTEL – BATHROOM – NIGHT

 

Freshly showered, Electra looks better. Drying her hair, she sees that Pearl is peering into the toilet.

 

ELECTRA

How many times have I told you?

 

Pearl paws down the trip handle. The water swirls. As she leans down to drink...

 

 

INT. CHAIN HOTEL ROOM

 

Rath watches the late news. Troubled, he holds the disc. The bathroom door opens and Electra emerges. She watches over his shoulder.

 

ELECTRA

What did they say about the dead guys at the Hyatt?

 

RATH

Nothing.

 

ELECTRA

I don't need details, just in general.

 

RATH

Nothing.

 

ELECTRA

That's impossible.

 

RATH

No. Not if...

 

ELECTRA

Not if what?

 

RATH

They were C.I.A. or Interpol.

 

Rath CLICKS OFF the SET as the "Weather" comes on. He considers the disc. Rath has a hunch, but wonders if he really wants to know.

 

RATH

What's on this?

 

ELECTRA

It's encrypted. Breaking the code on my laptop could take two, maybe three hundred years.

 

RATH

I thought you were a genius.

 

ELECTRA

I am. In fact, I was the best.

 

RATH

Was?

 

ELECTRA

I'm retiring, too.

(re: disc)

I wish I had an insight, but it was all anonymous. Just an intercepted satellite transmission.

 

Rath knows that in this case, ignorance is bliss.

 

Rath stands, goes into the bathroom.

 

Electra steps over to the bed. The blanket has been "turned-down." Two chocolate mints rest on the triangle.

 

ELECTRA

There's only one bed. I guess you picked up on that.

 

Rath exits the bathroom, rolling two towels together.

 

RATH

It's all yours.

 

ELECTRA

You want the couch?

 

Rath sets the roll on the floor. He switches on a ceiling light directly over it. Electra watches, understands, but teases.

 

ELECTRA

What's that, a trick of the trade? So you don't get too comfortable?

(off no answer)

Why don't you just tie a string from your toe to the doorknob?

 

RATH

(doesn't think twice)

The door opens in.

 

Rath reenters the bathroom; Electra can't help but smile.

 

 

BATHROOM

 

Rath sits on the toilet seat and looks at his reflection in the mirror. He's not quite sure he knows who he's looking at. Sensing someone else, he looks down to where Pearl stares up at him.

 

 

CHAIN HOTEL ROOM

 

Electra is in bed. The lights on her side of the room are off. Rath passes.

 

He kicks off his shoes, sits on the floor. He sets the .22 down, stops short. Electra has set one of the "turn-down" chocolates on his towel. Rath picks it up. He lies on his back, stares at the ceiling. On her side, Electra faces the other way. As Rath unwraps the chocolate...

 

ELECTRA

Thanks.

 

RATH

For what?

 

ELECTRA

I don't know. Saving my life I guess.

 

A long moment of silence before...

 

RATH

How'd you like to make a million dollars?

 

ELECTRA

What do I have to do?

(looks over)

Nothing cheap I hope.

 

Rath smiles. As he pops the chocolate into his mouth...

 

 

EXT. DOWNTOWN STREET – MUSTANG – DAY

 

Electra behind the wheel, in sunglasses and a kerchief. Rath in the passenger seat as they pull up to the curb.

 

RATH

Follow our plan. And if I don't show...

 

ELECTRA

I know. Split!

 

Rath barely nods. Reassuring a woman is a skill he never had. He takes the laptop from the back, casts about the front seat for something he can't find. Electra holds up the disc. He reaches, but she doesn't give it to him.

 

ELECTRA

In ten minutes you'll have two million dollars and no reason to come back. I ditched you. I really didn't know you that well at the time, but who knows, maybe you hold it against me and –

 

Rath gently crosses her lips with two fingers. Then, with absolute finality:

 

RATH

Partners.

 

She gives him the disc. Rath gets out of the car. Electra watches as he disappears, swallowed by the crowd.

 

ELECTRA

Be careful... Partner.

 

Electra drives on.

 

 

EXT. MONORAIL STATION – DAY

 

Carrying the laptop, wearing sunglasses, Rath boards a northbound monorail. The doors shut and it glides away.

 

 

EXT. STREET BELOW MONORAIL – DAY

 

As the monorail moves along above, the Mustang follows below. Her eyes looking up, Electra nearly rear ends a car slowing for a left turn. As she swerves around it.

 

 

INT. MONORAIL CAR – DAY

 

Rath sits, his back to the window. Turning on the computer, he inserts the disc. A list of file names scroll across the screen.

 

 

EXT. MONORAIL TRACKS – DAY

 

Two tracks run parallel. The northbound train slows as it nears a southbound. Reaching a station, the two trains stop directly across from each other.

 

 

ANGLE BETWEEN TRAINS

 

Two facing doors open. Rath stands, partly concealed behind one. A courier behind the other. He holds up an open briefcase. Inside: 20 stacks of banded $1000 bills.

 

Rath, his face hidden, holds up the laptop, the screen visible. The laptop and briefcase are both closed.

 

 

ANGLE ABOVE TRAINS

 

All we see are hands as the briefcase is exchanged for the laptop. As both trains continue on their way.

 

 

INT. MONORAIL CAR – DAY

 

Rath holds the briefcase in his lap. It feels good.

 

 

ANGLE ON WATCHER

 

His back to Rath, reading the paper. But watching Rath from a piece of reflective tape on the inside lens of his glasses.

 

 

EXT. MUSTANG – DAY

 

Electra drives, falling behind. As the light turns red ahead, she swerves 'round traffic, shoots through the intersection inches ahead of the cross traffic.

 

 

INT. MONORAIL CAR – DAY

 

Picking his spot, Rath pulls down on the emergency stop cord. The monorail lurches to a stop.

 

Rath grabs the release handle on the door, pushes it open.

 

 

EXT. MONORAIL CAR – DAY

 

Briefcase in hand, Rath leaps, lands on the roof of a neighboring business.

 

 

INT. MONORAIL CAR – DAY

 

The Watcher stands, but the doors close. True to his name, he can only watch as...

 

 

EXT. BUSINESS BUILDING – DAY

 

Rath swings himself over the edge of the roof, drops down to the street below.

 

 

INT. MONORAIL CAR – DAY

 

As the monorail continues, the Watcher loses sight, doesn't see as...

 

 

EXT. BUSINESS BUILDING – DAY

 

Rath's only just gotten to his feet when the Mustang pulls up, RADIO BLASTING. Rath hops in and they tear off.

 

 

EXT. MUSTANG – DRIVING – DAY

 

Rath grabs the briefcase from the back.

 

ELECTRA

It's in there?

 

Rath nods. As he swings the briefcase onto his lap, the RADIO LOSES RECEPTION.

 

Rath frowns. He moves the briefcase away and the RECEPTION RETURNS. Rath looks around them. Pedestrians everywhere.

 

RATH

Turn left!

 

Hearing his urgency, Electra turns.

 

 

EXT. SIDE STREET – DAY

 

Deserted. Rath heaves the BRIEFCASE up with all his might. It soars straight into the air. EXPLODES! As the air fills with shredded money...

 

 

EXT. MUSTANG – DAY

 

Electra slams on the brakes. As she starts to get out, Rath holds her back.

 

ELECTRA

But the money.

 

RATH

Go.

 

The street behind them is already filling with instant lottery winners.

 

 

INT. MONORAIL CAR – DAY

 

The Watcher hears the REVERBERATION, watches smoke rise in the distance. He takes out a cell-phone, speed dials.

 

WATCHER

(into phone)

There's been an explosion.

 

He flips it shut.

 

 

INT. MUSTANG – DAY

 

They continue. Rath with quiet resolve.

 

RATH

No money. No disc.

 

Though shaken, Electra suddenly smiles like the cat who ate the canary. Rath catches the look.

 

RATH

What?

 

ELECTRA

I wasn't sure you'd come back. This morning I switched discs. All they got was a list of file names. Bupkis.

 

Electra holds up the real disc. Rath can't believe it.

 

ELECTRA

Zero, a goose egg, jackstraw, ni, nada, zot, zilch, squirt, a dry hump, diddly squat.

(a beat)

I read a slang dictionary once.

 

RATH

Keep reading.

 

ELECTRA

Your contractor just tried to kill you. That's not good.

 

Rath nods. He takes the disc from her, considers it.

 

 

INT. MUSTANG – PARKED – DAY

 

MOVE WITH Electra. Carrying a paper bag, she exits a gourmet market and crosses the street to the Mustang. Rath waits with Pearl and his computer.

 

As Rath sets up his computer, Electra treats Pearl to some caviar.

 

ELECTRA

Do you know that caviar is not a Russian word?

 

RATH

Ikra. It's ikra.

 

ELECTRA

(surprised)

How did you know that?

 

No answer. There is a very particular reason that he knows this. She watches him as he types in his access code. Finally, Rath looks over at her.

 

RATH

I had a friend... Nicolai. He told me.

 

ELECTRA

Had?

 

RATH

Fifteen years ago. He was taken.

 

ELECTRA

Killed?

 

Rath nods. Before Electra can delve any deeper, the COMPUTER TERMINAL BEEPS. Words appear.

 

Contractor: "ROBERT, IS THAT YOU?"

 

RATH

That's right, you sonuvabitch, I'm still alive.

 

Rath: "I still have the disc."

 

Contractor: "We can make new arrangements."

 

Rath plays it cool.

 

Rath: "The price has changed."

 

 

WIDEN

 

To show Electra watching over Rath's shoulder.

 

RATH

Let's see just how valuable he thinks it is.

 

Rath: "$20,000,000."

 

ELECTRA

Twenty million?! That's insane!

 

RATH

May well be.

 

They wait as the screen remains, unchanged. The Contractor is thinking it over.

 

ELECTRA

Where do you think this person is right now? A mile from here? Ten thousand?

 

RATH

I never thought about it. Until now.

 

ELECTRA

You quit your job. You're having thoughts you never had before. Sounds like a mid-life crisis to me.

 

RATH

Yes. You're it.

 

Rath smiles. The cursor flashes. The answer is coming.

 

Contractor: "It will take two days to arrange the transfer. What's the bank code and account number?"

 

Pulling out a small notebook, Rath checks a bank account number.

 

ELECTRA

I don't believe it. Twenty million and he wants to know what the account number is.

(a long beat)

Partners?

 

Rath nods, types in the information.

 

ELECTRA

(almost in tears)

Ten million each!

 

RATH

Eight. The bank'll take twenty percent.

 

ELECTRA

It's that kind of bank, huh?

 

Rath STARTS the CAR. As they pull away...

 

RATH (V.O.)

You have a passport?

 

ELECTRA (V.O.)

Twelve. Where are we going?

 

 

EXT. AIRPORT – DAY

 

As the plane lands in the b.g., Bain types on his computer. It's set on the hood of his car. Bain looks at the screen as...

 

Contractor: "Miguel? Are you there?"

 

Bain lets the Contractor sweat.

 

Contractor: "You know what I want?"

 

Bain pauses, types his one condition:

 

Bain: "Say please. A long beat. Bain watches with satisfaction as the letters appear one-by-one: P-L-E-A-S-E."

 

HARD CUT TO:

 

 

EXT. CARIBBEAN – LATE DAY

 

Aquamarine that can only be the Caribbean. Without warning we WHIP UP OVER a sea wall, CLIMB hard ABOVE the ruins of a colonial Spanish fort. HIGHER and a modern city spreads out below us.

 

The CAMERA DROPS, CLOSES ON a beat-up local tai. As it bounces over blue cobblestones...

 

RATH (V.O.)

The Hotel Paraiso por favor.

 

 

INT. LOCAL TAI – DAY (LATE AFTERNOON)

 

Rath and Electra sit in the back, both in sunglasses. Electra looks out the window, taking everything in. But Rath stares straight ahead. He's been here before.

 

 

EXT. HOTEL PARAISO – PLAZA COLON – LATE DAY

 

The cab stops at a four-story, boarded, blackened husk. It's surreal, truly the shadow of its former glory.

 

RATH

(shocked)

The Paraiso. Why didn't you say?

 

CABBY

(thick English)

You didn't ask. Fire, Senor. Years ago. There was no money to rebuild.

 

Rath gets out, stares up at the hotel. Electra is out behind him. Her attention drifts to the people around her, the bustle on the plaza.

 

Rath only has eyes for a third-story Paraiso window.

 

Electra looks at the International Bank across the way. It's a beautiful old building, the ornate black iron bars on the windows in great contrast to the white-washed concrete walls.

 

ELECTRA

Is that the bank? Is that where our sixteen mil is?

 

Rath isn't listening. He's somewhere else. She follows his gaze to a hotel third-story window. It's spooky.

 

ELECTRA

What's up there?

 

RATH

He'll be.

 

 

INT. HOTEL PARAISO – ATRIUM COURTYARD – LATE DAY

 

A ruins. Spooky even in the daylight. Rath and Electra enter.

 

She looks around, taking the place in. Rath gestures her toward a rickety stairwell. Up they go.

 

 

INT. HOTEL PARAISO – THIRD FLOOR HALLWAY – LATE DAY

 

TIMBERS CREAK as they make their way down. Rath takes Electra's arm, guides her 'round a hole in the floor. They're going to a bad place.

 

 

INT. HOTEL PARAISO – ROOM 302 – LATE DAY

 

They enter. Electra looks about as Rath goes to the window. Pulling back on a decrepit shutter he looks across the plaza and remembers.

 

 

FLASHBACK – EXT. PLAZA COLON – DAY (1980)

 

The black and white of the prelude. The plaza. A sniper's rifle in the window. A figure steps out from the bank. We see more detail than before, but it seems to strobe AWAY FROM us. The gunman is a younger Rath. The Mark seems familiar. He looks up to the blank, is shot down.

 

As pigeons take wing.

 

CUT BACK TO:

 

 

INT. HOTEL PARAISO – ROOM 302 – LATE DAY (PRESENT)

 

Rath is snapped from his reverie as real pigeons flap by the window. Electra studies him.

 

ELECTRA

Are you okay?

 

Rath gestures her over. He points to strategic spots below as he talks.

 

RATH

At ten o'clock tomorrow I'll enter the bank. He'll be in the plaza somewhere. In the crowd. When he sees me go in, he'll move up here.

 

ELECTRA

You're sure?

 

RATH

(nods)

You'll be at the cafe. You'll see him when he goes inside. We'll have two-way mics so we can talk.

 

ELECTRA

What do we do after he goes inside?

 

RATH

We wait.

 

Rath describes the rest not the way he planned it, but the way he remembers it.

 

RATH

It'll take all day, but he'll begin to doubt himself. He'll start to think he missed me. He'll have to see with his own eyes whether I'm still in the bank. It'll be sunset, closing time. He'll have to leave the rifle here when he goes to the bank. There are metal detectors at the door. When he's out of sight, you'll come in here and take the rifle.

 

Electra looks back at the bank.

 

ELECTRA

What if he tries to shoot you before you go into the bank?

 

Rath speaks like it was all written in stone.

 

RATH

He'll wait for the prime shot. When I come out.

 

ELECTRA

How can you be so sure?

 

RATH

Because he likes history...

(a beat)

Fifteen years ago I was at this same window.

 

ELECTRA

Fifteen years...

 

And as they stand side by side, suddenly everything is clear to Electra.

 

ELECTRA

Oh my God.