Screenwriter Community |
 |
|
|
by Preston W. Pratt Jr. (pwpratt@comcast.net)
Rated: 
Genre: Action/Adventure
User Review: NOT YET
RATED
A cat and mouse chase ensues between a newlywed couple, a U.S. Senator and his entrouge after the death of the Senator's mistress. One weekend, one photo. Who will survive?
This is a revision and I am currently working on making it feature length. Again, any comments are appreciated. I hope you enjoy the read.
This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced in any manner without the express written permission of the author. WGA registered. 136897.
|
SNAPSHOT (REV)
|
FADE IN:
|
|
EXT. WESTFIELDS MARRIOTT - NIGHT |
|
|
A newlywed couple arrives at the hotel. DAVID and DANIELLE
WILSON exit their car and retrieve their luggage from the
trunk. David hands the car keys to the valet as they enter
the hotel's lobby. |
|
|
| |
|
EXT. VAN - NIGHT |
|
|
|
A van is traveling along the highway. |
|
|
| |
|
INT. VAN - NIGHT |
|
|
We briefly see the van's occupants, three men and two women.
TIM ROGERS is driving. RICHARD GAINES is in the front
passenger seat.
An attractive, conservatively dressed woman sits in the
back. Her name is REBECCA WILLIAMS, campaign manager.
Sitting across from her is SENATOR JACK McGUIRE, in his
forties, dressed in a dark navy suit. Sitting next to him is
a beautiful blonde woman, dressed in a black mini-skirt and
low cut red blouse. He refers to her as SUNSHINE. |
|
|
| |
|
EXT. VAN - NIGHT |
|
|
|
The van continues along the highway. |
|
|
| |
|
EXT. WESTFIELDS MARRIOTT - NIGHT |
|
|
|
SUPERIMPOSE: WESTFIELDS MARRIOTT CHANTILLY, VIRGINIA |
|
|
| |
|
INT. MARRIOTT, LOBBY - NIGHT |
|
|
David and Danielle Wilson approach the FEMALE DESK
ATTENDANT. She hands David a slip of paper and key cards. |
|
|
| |
FEMALE DESK ATTENDANT
We hope you enjoy your stay with
us, Mr. and Mrs. Wilson. If you
need anything further, just hit
the key labeled Desk or Room
(MORE)
|
|
2.
|
| |
FEMALE DESK ATTENDANT (cont'd)
Service on your room's phone. And
congratulations on your wedding. |
|
|
|
|
|
|
|
|
|
|
|
David and Danielle walk away from the lobby, heading down a
hallway to the right of the check-in desk. |
|
|
| |
|
EXT. VAN - NIGHT |
|
|
The van pulls up to the Marriott's parking lot. Tim and
Richard exit and proceed toward the lobby. |
|
|
| |
|
INT. MARRIOTT, WILSON'S ROOM - NIGHT |
|
|
David has Danielle in his arms. He pushes the door shut with
his foot. He walks to the bed and throws her on it. |
|
|
| |
|
EXT. WESTFIELDS MARRIOTT - NIGHT |
|
|
|
Richard exits the lobby and walks toward the van. |
|
|
| |
|
INT. VAN - NIGHT |
|
|
Richard is in the driver's seat. He turns to face his
passengers. |
|
|
| |
RICHARD
Tim will meet us at one of the
back exits. Rooms have been
registered under the names we've
discussed. |
|
|
|
| |
|
EXT. VAN - NIGHT |
|
|
We see the van travel around to the back of the hotel.
The group exits the van with bags in hand, and hustle to the
exit. |
|
|
| |
|
EXT. MARRIOTT, BACK EXIT - NIGHT |
|
|
|
Tim holds the door open. |
|
|
3.
|
| |
TIM
Senator, you and Sunshine are in
room 207. Rebecca, 210. Richard,
you and I are in 209. |
|
|
|
| |
|
INT. MARRIOTT, STAIRWELL - NIGHT |
|
|
|
The group rushes up the stairwell. |
|
|
| |
|
INT. MARRIOTT, ROOM 207 - NIGHT |
|
|
The Senator and Sunshine immediately tear into each other's
clothes. Their lips meet, almost swallowing each other's
tongues. |
|
|
| |
SUNSHINE
Think you can earn my vote, Mr.
Senator? |
|
|
|
|
Still embracing one another, they make their way to the bed. |
|
|
| |
|
INT. MARRIOTT, ROOM 209 - NIGHT |
|
|
| |
RICHARD
(flipping through
channels)
Let's see if Nash Bridges is on. |
|
|
|
|
|
|
|
| |
RICHARD
Rock, Paper, Scissors? |
|
|
|
|
|
|
|
| |
RICHARD
On my cue. 1,2,3. |
|
|
|
|
|
|
|
| |
RICHARD
(smiling)
And Nash it is! Thanks for playing
and I hope you enjoy your
consolation prize. |
|
|
|
| |
4.
|
|
INT. MARRIOTT, ROOM 210 - NIGHT |
|
|
Rebecca shuts the door behind her, places her luggage next
to the bed and pulls the pack of Marlboros from her purse.
She lights up. |
|
|
| |
|
INT. MARRIOTT, WILSON'S ROOM - NIGHT |
|
|
David and Danielle are lying naked under the covers, on
their sides, facing each other. David runs his fingers
through her hair. |
|
|
| |
DAVID
I'm sorry we have to cut our stay
short. |
|
|
|
| |
DANIELLE
It's okay. We have the rest of our
lives together. |
|
|
|
| |
DAVID
I know. I just thought, well...if
I land this account, maybe we
could start talking about trying
to have a baby again. |
|
|
|
| |
DANIELLE
(kissing his chest
and neck)
In that case, why don't we start
practicing. |
|
|
|
|
David smiles, pulling her close and rolling on top of her. |
|
|
| |
|
INT. MARRIOTT, ROOM 207 - NIGHT |
|
|
The Senator and Sunshine are finishing getting dressed in
sweats. They lean on each other for stability. The sheets
are tangled and an empty bottle of champagne is on the
nightstand. |
|
|
| |
SENATOR
This really isn't a good idea. |
|
|
|
| |
SUNSHINE
(blowing him a
kiss)
Relax. No one will even notice us. |
|
|
|
5.
|
| |
SENATOR
If we're seen together - |
|
|
|
| |
SUNSHINE
(cutting him short)
I know, I know. A huge political
scandal and the end of your
presidential campaign. |
|
|
|
They place caps on their heads, pulled low on their brows,
and exit their room. |
|
|
| |
|
INT. MARRIOTT, HALL - NIGHT |
|
|
|
The Senator, Sunshine, and Rebecca run into each other. |
|
|
| |
REBECCA
Senator, it's not a good idea to
leave your room, sir. |
|
|
|
| |
SUNSHINE
(giggling like a
school girl)
Relax - |
|
|
|
| |
SENATOR
(placing his hand
over SUNSHINE's
mouth)
We won't be gone long and we'll be
careful. |
|
|
|
|
|
|
|
| |
SENATOR
(interrupting)
I know what your job entails and I
appreciate your concern. |
|
|
|
|
|
|
|
The Senator and Sunshine walk away.
Rebecca quickly returns to her room once they're out of
sight. |
|
|
| |
|
INT. MARRIOTT, ROOM 210 - NIGHT |
|
|
|
Rebecca grabs her duffel bag and quickly exits her room. |
|
|
| |
6.
|
|
INT. MARRIOTT, HALL OUTSIDE ROOM 207 - NIGHT |
|
|
|
Rebecca uses a key card to enter the Senator's room. |
|
|
| |
|
INT. MARRIOTT, GRAND DOMINION BALLROOM - NIGHT |
|
|
The ballroom is full of people listening to the speaker on
stage.
David and Danielle are sitting at a small round table. David
relaxes, the sleeves of his dress shirt rolled up, his
jacket hanging from the back of his chair. Danielle sits
with her legs crossed, her pumps under her chair. She is
wearing a v-cut blouse exposing just enough cleavage to
catch the eye and still look elegant.
Together they sit holding hands.
MARK EDWARDS stands on stage, speaking. |
|
|
| |
MARK
The key is to develop new daily
habits. |
|
|
|
| |
|
INT. MARRIOTT, UPPER ROTUNDA - NIGHT |
|
|
The Upper Rotunda is quickly becoming crowded. Nearly
everyone has departed from the ballroom and are now
gathering in groups.
A long table has been set up offering pastries and drinks. |
|
|
David and Danielle are posing for the camera.
No one seems to notice the Senator and Sunshine walking
behind them against the railing.
The Senator turns and looks in the direction of the camera
as the flash occurs. |
|
|
| |
|
INT. MARRIOTT, HALL - NIGHT |
|
|
|
Rebecca exits the Senator's room and re-enters hers. |
|
|
| |
7.
|
|
INT. MARRIOTT, ROOM 210 - NIGHT |
|
|
Closing the door behind her, Rebecca grabs the pack of
Marlboros off the nightstand and lights up.
She picks up the phone. |
|
|
| |
REBECCA
Yes, I'd like to order a chicken
salad, a fruit platter, and a
glass of Chardonnay. Thanks. |
|
|
|
| |
|
INT. MARRIOTT, ROOM 209 - NIGHT |
|
|
|
|
|
|
| |
RICHARD
You can't be serious. |
|
|
|
| |
TIM
At least the characters are more
developed on Nash. |
|
|
|
| |
RICHARD
Man, what are you talking about?
Both shows are awesome. Vice had
Sonny Crocket in his prime! Living
on the boat. And what about his
pet alligator, Elvis? |
|
|
|
| |
TIM
(not convinced)
It really wasn't that good of a
show. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Richard moves toward Tim, his forefinger of his right hand
out straight and his thumb pointing upward. |
|
|
8.
|
| |
RICHARD
Don't make me shoot you, dude! |
|
|
|
|
They both begin to laugh. |
|
|
| |
|
INT. MARRIOTT, ROOM 207 - NIGHT |
|
|
The Senator and Sunshine are once again tearing at each
other's clothes. Hands and tongues exploring one another.
They stumble to the side of the bed, bumping into the
nightstand and knocking off the empty bottle of champagne.
The Senator grabs a handful of hair, pulling her to him.
They kiss hard on the mouth; he winches as she bites down on
his lower lip. |
|
|
| |
SENATOR
Ouch! Careful there, baby. |
|
|
|
Sunshine playfully growls. She pushes him down on the bed
and straddles him. |
|
|
| |
|
INT. MARRIOTT, ROOM 210 - NIGHT |
|
|
|
Rebecca picks up the phone. |
|
|
| |
REBECCA
Could I please get a wake-up call
at promptly 6:30 a.m.? |
|
|
|
|
She rolls to her side and clicks off the light. |
|
|
| |
|
INT. MARRIOTT, ROOM 207 - NIGHT |
|
|
| |
SUNSHINE
So...where is it, Jack? |
|
|
|
|
The Senator does not reply. |
|
|
| |
SUNSHINE
(becoming
aggravated)
Jack, where is it? Where's the
stuff? |
|
|
|
| |
SENATOR
(frustrated)
Okay. It's in my bag. Jesus, babe.
You need to slow down. I'm really
(MORE)
|
|
9.
|
| |
SENATOR (cont'd)
taking a big risk here. Have you
forgotten that I'm - |
|
|
|
| |
SUNSHINE
Yeah, yeah! I know who you are and
the office you're running for,
Jack. I just wanna have a little
to get me by until next time. You
understand. |
|
|
|
The Senator pulls his bag from the closet. They are both
still pretty lit from the alcohol.
Sunshine meets him at the closet, pulling him close to her,
kissing him on the back of his neck. She snatches the small
bag of white stuff from his hand. |
|
|
| |
SENATOR
(sarcastically)
You're welcome. |
|
|
|
| |
SUNSHINE
Thank you, Jack. |
|
|
|
CUT TO: BLACK
Silence is broken by the sound ot a phone ringing. |
|
|
| |
|
INT. MARRIOTT, ROOM 210 - DAY |
|
|
The phone wakes Rebecca. She glances at the clock. It reads:
5:18 am. |
|
|
| |
REBECCA
Hello?...What is it, Jack? It's
five in the morning...What?!...I'm
on my way. |
|
|
|
Rebecca leaps out of bed, slips on her slippers and a robe
and exits her room. |
|
|
| |
|
INT. MARRIOTT, HALL - DAY |
|
|
Rebecca approaches the Senator's room; he opens the door as
she begins to knock. |
|
|
| |
|
INT. MARRIOTT, ROOM 207 - DAY |
|
|
Rebecca gasps at the sight of Sunshine's lifeless body lying
face down, naked on the bed. |
|
|
10.
|
|
|
|
|
| |
SENATOR
You have to do something! I found
her like this. At first I tried to
wake her - |
|
|
|
| |
REBECCA
(clutching his
shoulders and
shaking him)
Jack! Jack, you have to get
dressed. I'll take care of
everything. Just get dressed. And
hurry! |
|
|
|
The Senator grabs some clothes from the closet and enters
the bathroom.
CUT TO: BLACK |
|
|
| |
|
INT. MARRIOTT, ROOM 207 - DAY |
|
|
The Senator exits the bathroom. He finds Tim and Richard
there. Rebecca is now fully dressed. |
|
|
| |
SENATOR
(putting his hands
over his face)
Jesus. |
|
|
|
| |
REBECCA
I want this entire room sanitized.
Anything that could connect the
Senator to this room I want to
disappear! You can start with her.
There must be no trace of the
Senator! I want every inch of her
clean, Tim. You know what they'll
be looking for when they find her. |
|
|
|
|
|
|
|
| |
REBECCA
Richard, I want the other two
rooms empty and loaded into the
van. Make sure the rooms are
clean, no traces. Got it? |
|
|
|
11.
|
| |
RICHARD
Give me five minutes! |
|
|
|
Rebecca grabs the Senator by his arm and escorts him into
the hall. |
|
|
| |
REBECCA
Let's go, Senator! We need to get
you to the van! |
|
|
|
| |
|
INT. WILSON RESIDENCE - DAY |
|
|
|
David and Danielle are unpacking. |
|
|
| |
DAVID
I had such a wonderful weekend. |
|
|
|
| |
DANIELLE
I only wish it could have been
longer. |
|
|
|
| |
DAVID
I know babe, so do I. |
|
|
|
David walks over to Danielle, puts his arms around her and
gently gives her a peck on the lips. |
|
|
| |
DANIELLE
It's okay. I know how important
this deal is to our future. You
can make it up to me. |
|
|
|
|
Danielle gives him a wink and kisses him, passionately. |
|
|
| |
DAVID
I think I'll take a shower and
then make us a couple drinks. |
|
|
|
| |
DANIELLE
You do that. I'll just run out and
get the pictures developed. |
|
|
|
|
|
|
|
| |
DANIELLE
I'll go down to the one-hour mart,
pick up some groceries, and be
back in an hour. We'll have some
lunch and those drinks. |
|
|
|
12.
|
| |
DAVID
Why don't you just wait until
tomorrow? |
|
|
|
| |
DANIELLE
I can't wait, I'm so excited. If I
put it off, we'll never get around
to getting them developed.
Besides, your showers always last
about an hour. |
|
|
|
|
They both smile. They kiss. |
|
|
| |
|
INT. VAN - DAY |
|
|
| |
REBECCA
Let's go over it one more time. |
|
|
|
| |
TIM
Damn, we've already gone over it
five times! |
|
|
|
| |
REBECCA
This is not a rehearsal for a
debate, for Christ's sake! A woman
is dead, Tim! |
|
|
|
|
|
|
|
| |
REBECCA
One more time. You only left the
room once, correct? |
|
|
|
|
|
|
|
| |
REBECCA
And no one noticed you? |
|
|
|
|
|
|
|
| |
RICHARD
The room's are clean, no traces.
No worries there. |
|
|
|
| |
REBECCA
It's my job to worry! |
|
|
|
13.
|
| |
SENATOR
And that's why I have you on my
staff. |
|
|
|
| |
|
INT. WILSON RESIDENCE - DAY |
|
|
We see a steam-filled bathroom. We can just barely make out
the silhouette of David in the shower. |
|
|
| |
|
INT. VAN - DAY |
|
|
| |
TIM
So...we have all the bases
covered. |
|
|
|
|
|
|
|
| |
REBECCA
What is it, Jack? |
|
|
|
| |
SENATOR
Fuck! There may be a potential
problem. |
|
|
|
| |
TIM
What kind of potential problem? |
|
|
|
| |
REBECCA
Yes, Jack. What the fuck is it?
There are no potential problems.
It's either a problem or it isn't! |
|
|
|
| |
SENATOR
There was this couple. On their
honeymoon. I know this because I
remember hearing them being
congratulated. |
|
|
|
| |
REBECCA
And? What the fuck does that have
to do with us? |
|
|
|
| |
SENATOR
Well...I recall the flash of
camera as we walked along the
balcony outside the Grand Dominion
Ballroom. |
|
|
|
|
|
|
|
14.
|
| |
SENATOR
Meaning, I turned my head, saw the
camera and recall the flash. |
|
|
|
| |
REBECCA
Jesus, Jack! What if you are in
that picture? |
|
|
|
| |
RICHARD
We'll look into it. It might be
nothing. |
|
|
|
| |
REBECCA
You can bet your ass we'll look
into it! That's one question we
simply do not have the luxury of
leaving unanswered! |
|
|
|
| |
|
INT. WILSON RESIDENCE - DAY |
|
|
David steps out of the shower, wearing a towel. He proceeds
to the closet and begins picking out clothes. |
|
|
| |
|
INT. VAN - DAY |
|
|
|
|
|
|
| |
REBECCA
Names! We need the names of the
couple. Names and complete
address. I want to know them
better than I know you guys! |
|
|
|
|
Richard retrieves his cell phone and makes a call. |
|
|
| |
RICHARD
Hello. I was hoping you could help
me. I met a nice couple at your
hotel this weekend. They were on
their honeymoon....Yes, Mr. and
Mrs. Wilson. That's it. Problem is
I can't recall their first
names...that'd be great,
thanks....I got it. Thank you so
much. Bye. |
|
|
|
|
|
|
|
15.
|
|
|
|
|
|
Rebecca hands Richard his lap top. |
|
|
| |
REBECCA
Names and address? |
|
|
|
| |
|
INT. WILSON RESIDENCE - DAY |
|
|
David is walking out of the kitchen with a drink in his
hand, now fully dressed. |
|
|
| |
|
INT. VAN - DAY |
|
|
Richard taps a few keys and a few clicks of the mouse on his
lap top. |
|
|
| |
RICHARD
I should be pulling up an address
- yes, there it is. David and
Danielle Wilson. 1306 Wilshire
Drive, Bethesda, Maryland. |
|
|
|
|
|
|
|
| |
TIM
I'm heading that way. ETA thirty
minutes. |
|
|
|
| |
SENATOR
What exactly are your plans,
Rebecca? |
|
|
|
| |
REBECCA
To retrieve the photos from Mr.
and Mrs. Wilson. |
|
|
|
| |
SENATOR
How exactly do you plan on
accomplishing that? |
|
|
|
| |
REBECCA
By any means necessary. |
|
|
|
| |
SENATOR
Listen, I don't want any harm to
come to anyone. |
|
|
|
16.
|
| |
REBECCA
Jack, this could ruin your
political career. Do you really
want that? Just think of the
millions of lives you will be able
to help once you're President. |
|
|
|
| |
SENATOR
I want to be kept in the loop
during all of this, understood? |
|
|
|
|
Rebecca fumbles through the contents of her purse. |
|
|
| |
REBECCA
Where are my fucking cigarettes? |
|
|
|
| |
SENATOR
Lying on the seat next to you. You
have a handle on this, Rebecca.
Try to relax a bit. |
|
|
|
Rebecca removes the cigarette from her mouth instead of
lighting it. |
|
|
| |
REBECCA
Relax, Jack? Jesus, Jack! What if
that photo shows you and Sunshine
in the background? It will
implicate you in your slut's
death! |
|
|
|
| |
SENATOR
Hey! Let's not get into
name-calling. Everyone's a bit
edgy. |
|
|
|
| |
REBECCA
A bit edgy? Do you ever stop
playing the politician, Jack? It
is our freedom we're talking
about. We're not talking about
another poll that we have just
taken a dive in. This situation
won't improve by more of your
slick, good-ol-boy charm and fast,
smooth-talking blurbs! |
|
|
|
|
Rebecca replaces the cigarette in her mouth and lights up. |
|
|
| |
17.
|
|
INT. WILSON RESIDENCE - DAY |
|
|
David is lying on the bed, flipping through the TV channels.
The ceiling fan is on. The volume of the TV is loud. |
|
|
| |
|
EXT. WILSON RESIDENCE - DAY |
|
|
|
We see the van drive past, slowly. |
|
|
| |
|
INT. WILSON RESIDENCE - DAY |
|
|
David is still lying on the bed. The sound of a football
game can be heard from the tv. |
|
|
| |
|
EXT. WILSON RESIDENCE - DAY |
|
|
|
We see the van drive past again. |
|
|
| |
|
INT. WILSON RESIDENCE - DAY |
|
|
|
David continues flipping through the channels. |
|
|
|
|
|
|
David is startled by the two men standing in his bedroom
doorway. Both are holding guns, aimed at him. |
|
|
| |
RICHARD
Keep quiet asshole and you'll get
through this alive! |
|
|
|
|
|
|
|
| |
DAVID
Who are you? What do you want? |
|
|
|
Richard moves closer to David, leans forward and backhands
David across his face. |
|
|
| |
RICHARD
Things will go much easier here if
we ask the questions, if you don't
mind? Where the fuck is your wife? |
|
|
|
|
|
|
|
18.
|
| |
RICHARD
No shit, asshole! Where is she,
Mr. Wilson? |
|
|
|
| |
DAVID
She's out doing some errands. How
do you know my name? |
|
|
|
We hear the sound of footsteps coming up the stairs.
A lady now stands in the bedroom doorway. |
|
|
| |
REBECCA
I found nothing downstairs! |
|
|
|
Rebecca and Tim quickly begin searching the bedroom, pulling
out drawers, throwing the contents of the closet onto the
floor. |
|
|
| |
REBECCA
What about the luggage? Maybe they
haven't unpacked. |
|
|
|
| |
TIM
Luggage is empty. I'll check
another room. |
|
|
|
| |
REBECCA
Forget it! Where is his wife? |
|
|
|
| |
DAVID
What do you want with my wife? |
|
|
|
David leaps off the bed and attempts to struggle with
Richard.
Richard hits him in the head with the gun, knocking David
unconscious. |
|
|
| |
TIM
Ouch! That couldn't have felt
good. |
|
|
|
| |
RICHARD
He claims she's out running
errands. |
|
|
|
| |
REBECCA
Errands? They just got back from
their honeymoon. What would she -
The film! She's getting the film
developed! |
|
|
|
19.
|
|
|
|
|
| |
REBECCA
Get him to the van. I'll leave her
a message. We need him as
insurance. Everyone get to the
van. I want to be out of here in
five! I have a plan. |
|
|
|
| |
|
EXT. WILSON RESIDENCE - DAY |
|
|
A car pulls into the driveway.
Danielle slams the door shut without locking it. She rushes
to the house. |
|
|
| |
|
INT. WILSON RESIDENCE - DAY |
|
|
Danielle is halfway to the staircase when she notices the
condition of her home. Things are thrown everywhere. |
|
|
| |
DANIELLE
(worried)
David? |
|
|
|
|
Danielle runs upstairs. |
|
|
| |
DANIELLE
(panicing)
David! |
|
|
|
The bedroom is a mess.
She picks up the phone and hits the number 9. She now
notices the scribbled note. She drops the phone.
A noise behind her startles her. She turns and stares in the
direction of the closet.
A man darts toward her. She runs toward the door, clutching
the photos in one hand and the note in the other. She feels
a pair of hands grab at her shoulders.
She jerks away and trips over something. She screams.
Her hands catch her fall and she quickly turns on her back
to face her attacker.
The man bends over, reaching for her. She thrusts her foot
|
20.
|
forward, kicking him hard in the groin.
The man moans and falls to the floor.
Danielle leaps to her feet, grabs the photos and runs down
the stairs. |
|
|
| |
|
EXT. WILSON RESIDENCE - DAY |
|
|
|
Rebecca swings the car door open and leaps inside. |
|
|
| |
|
INT. CAR - DAY |
|
|
In the rear view mirror, Danielle sees her attacker exit her
home. She starts the engine. |
|
|
| |
|
EXT. CAR - DAY |
|
|
|
We watch as Danielle speeds off. |
|
|
| |
|
INT. ABANDONED WAREHOUSE - NIGHT |
|
|
| |
REBECCA
Explain to me again how you
managed to fumble such a simple
task! |
|
|
|
| |
TIM
Damn it, Rebecca! She fucking
kicked me in the balls. |
|
|
|
Rebecca walks up to Tim. She places her right hand between
his legs, cupping his balls through his pants. |
|
|
| |
REBECCA
Maybe there's something I can do
to prevent you from failing again. |
|
|
|
|
Rebecca squeezes hard. |
|
|
|
|
|
|
Rebecca lets go of her grip. Tim slumps to the floor on his
knees, moaning. |
|
|
| |
REBECCA
Next time, it will be your balls! |
|
|
|
21.
|
| |
RICHARD
Jesus, Rebecca! What the fuck is
wrong with you? We're in this
together! |
|
|
|
| |
REBECCA
Do you two have any comprehension
of what a major fuck up this is?
Personally, I think the Senator is
a prick. Politically...I believe
he has the best chance of winning
the election. I also believe, more
importantly, he is the best chance
we have at enacting programs like
stem-cell research. |
|
|
|
| |
TIM
Tell me, how far are you willing
to go with this? |
|
|
|
| |
REBECCA
As far as I have to, to ensure his
victory. Richard, do we have her
cell number yet? |
|
|
|
| |
RICHARD
Yes. I pulled some strings. We are
tracing and screening all her
calls. |
|
|
|
| |
|
INT. CAR - NIGHT |
|
|
Danielle is driving. She uses her cell phone to place a
call. |
|
|
|
|
|
|
|
|
|
|
| |
AARON (VO)
Dani? Is that you? |
|
|
|
| |
DANIELLE
Yes, it's me. I need to see you! |
|
|
|
| |
AARON (VO)
Dani, what's wrong? |
|
|
|
| |
DANIELLE
I just need to see you. |
|
|
|
22.
|
| |
AARON (VO)
Now's really not a good time,
Dani. |
|
|
|
| |
DANIELLE
Look, I don't like this anymore
than you do. Whether I like it or
not, you're all I have. I don't
have anyone else to call. |
|
|
|
| |
AARON (VO)
Okay. What is it? |
|
|
|
| |
DANIELLE
You've been drinking again,
haven't you? |
|
|
|
| |
AARON (VO)
I can handle my drinking, thank
you. What is it? |
|
|
|
| |
DANIELLE
I just need to see you. Can you
meet me in Solomons? You know the
place I'm talking about, right? |
|
|
|
| |
AARON (VO)
On Chesapeake Drive? |
|
|
|
| |
DANIELLE
Yes! Can you meet me there right
away? |
|
|
|
| |
AARON (VO)
Yes. But what's wrong? Are you in
trouble? |
|
|
|
| |
DANIELLE
We'll talk at the house. I should
be there in about ten minutes. |
|
|
|
| |
AARON (VO)
I'll leave now. Expect me there in
about forty-five minutes. |
|
|
|
| |
|
EXT. CAR - NIGHT |
|
|
|
We see Danielle driving. |
|
|
| |
23.
|
|
EXT. SOLOMONS RESIDENCE - NIGHT |
|
|
Danielle unlocks the front door and enters the house. She is
carrying her purse and a duffel bag. |
|
|
| |
|
INT. SOLOMONS RESIDENCE - NIGHT |
|
|
Danielle drops her bags on the floor and flops on the sofa
in tears.
Sipping from a can of Sprite, she clicks on the TV. News is
on. She pops a few tums in her mouth.
On the screen: A special news bulletin. Housekeeping has
discovered the body of woman, dead, in one of the rooms at
the Westfield Marriott in Chantily, Virginia earlier this
morning.
A picture of the blonde woman flashes on the screen.
Danielle clicks off the TV, puts the phone on speaker and
calls her answering machine at her house. |
|
|
| |
ANSWERING MACHINE (VO)
You have two new messages. First
Message. |
|
|
|
| |
DOCTOR (VO)
Hello. Mrs. Wilson, this is Dr.
Morris. I have the results of the
pregnancy test. My number is
535-1145. Have a great day. |
|
|
|
| |
ANSWERING MACHINE (VO)
Next message. |
|
|
|
| |
REBECCA (VO)
Mrs. Wilson, we will contact you
again at twelve noon tomorrow.I
urge you to be home and await
further instructions. If you play
by the rules, no harm will come to
your husband. |
|
|
|
Danielle, trying to hold back the tears, picks up the phone
and dials. |
|
|
|
|
|
|
24.
|
| |
DANIELLE
Tom, this is Dani Wilson. I hope
you don't mind me calling you at
home. |
|
|
|
| |
DOCTOR (VO)
Certainly not. You're calling
about the results, I take it? |
|
|
|
|
|
|
|
| |
DOCTOR (VO)
I'm sure you and your husband are
very anxious. |
|
|
|
| |
DANIELLE
I haven't told him about the test.
If I am, I want to surprise him. |
|
|
|
| |
DOCTOR (VO)
Well, then. I'm sure he'll be
pleasantly surprised when you tell
him you're having a baby. Call my
office and we'll schedule an
appointment for prenatal care. |
|
|
|
| |
DANIELLE
Yes, Tom. Thanks. Goodbye. |
|
|
|
Danielle hangs up the phone and bursts into tears. She grabs
her bags and exits the room. |
|
|
| |
|
INT. CAR - NIGHT |
|
|
Aaron looks up ahead nervously as he drives. He is in his
thirties, hair slicked back and in a ponytail. |
|
|
| |
|
INT. SOLOMONS RESIDENCE - NIGHT |
|
|
Danielle hears a car pull up. She walks to the window and
peers out. |
|
|
| |
|
EXT. SOLOMONS RESIDENCE - NIGHT |
|
|
Danielle's POV (through window): we see Aaron step out of
the car.
We watch as Danielle runs to Aaron, wrapping her arms around
him, pulling him close. |
|
|
| |
25.
|
|
INT. ABANDONED WAREHOUSE - NIGHT |
|
|
| |
RICHARD
We've captured a phone call to her
brother. They are meeting in
Solomons. Her sister-in-law owns
the home. |
|
|
|
| |
REBECCA
Do we have the address? |
|
|
|
| |
RICHARD
(handing her a
piece of paper)
Yes, it's right here. |
|
|
|
Rebecca glances at the piece of paper, hands it back to
Richard. |
|
|
| |
REBECCA
Richard, I want you to go to
Solomons. Retrieve the photos! |
|
|
|
| |
RICHARD
What about Mrs. Wilson and her
brother? |
|
|
|
| |
REBECCA
First priority, retrieve the
photos! After that, I don't give a
shit what happens. Handle the
situation, Richard. |
|
|
|
| |
|
INT. SOLOMONS RESIDENCE - NIGHT |
|
|
| |
DANIELLE
(handing him a
coffee mug)
Black, as you requested. |
|
|
|
| |
AARON
Thanks. Now will you tell me what
is going on? Where's David? |
|
|
|
| |
DANIELLE
David and I returned home from our
honeymoon. David stayed home while
I ran back out to get the film
developed that we had taken over
the weekend. |
|
|
|
26.
|
| |
AARON
What happened next? |
|
|
|
| |
DANIELLE
When I returned home, I ran inside
to show David the photos. I got to
the stairs and noticed that our
home had been torn apart. |
|
|
|
|
|
|
|
| |
DANIELLE
I mean, it was ransacked! Totally
ripped apart, like someone was
desperately searching for
something. |
|
|
|
|
|
|
|
| |
DANIELLE
That's just it, Aaron. I don't
have a clue. I don't know what
this person wants. If I knew I'd
just give it to them. |
|
|
|
|
Danielle begins to cry. Aaron comforts her. |
|
|
| |
AARON
What else happened? |
|
|
|
| |
DANIELLE
David was missing. Next thing I
know a man tries to attack me. I
was able to run out of the house
and drive away. The man drove
after me, but somehow I managed to
lose him on the beltway. |
|
|
|
| |
AARON
Do you know who he was or what he
wanted? |
|
|
|
|
|
|
|
| |
AARON
Listen. You look exhausted. Go
take a warm bath or shower and you
can finishing telling me
everything when you get out. |
|
|
|
27.
|
| |
DANIELLE
A warm bath does sound wonderful. |
|
|
|
Danielle leaves the room. Aaron sits on the sofa and turns
on the TV.
On the screen is a newscaster talking about the body found
at the Westfields Marriott.
Danielle comes running back into the room. |
|
|
| |
DANIELLE
That was on the tv earlier. |
|
|
|
|
|
|
|
| |
DANIELLE
No, but she does look somewhat
familiar. Like I've seen her
somewhere before. The story just
caught my attention because it
happened while we were there. |
|
|
|
|
Aaron continues flipping through the channels. |
|
|
| |
AARON
Why don't you go take that warm
bath? |
|
|
|
| |
DANIELLE
Wait! Go back a channel! |
|
|
|
|
On the screen we see Senator Jack McGuire giving a speech. |
|
|
|
|
|
|
| |
DANIELLE
That guy looks familiar. |
|
|
|
| |
AARON
Senator McGuire? I'm sure he looks
familiar. He's running for
President. |
|
|
|
| |
DANIELLE
No, wait a minute! I'm sure I've
seen him. |
|
|
|
| |
AARON
He's only on every news channel
just about every other day. |
|
|
|
28.
|
| |
DANIELLE
No, that's not it!...It's him!
That's the man in the photo. I'm
sure of it! |
|
|
|
| |
AARON
What are you talking about, Dani? |
|
|
|
Danielle grabs the package of photos from her purse and
begins shuffling through the photos. |
|
|
| |
DANIELLE
Let me show you. I didn't realize
he was a senator. I don't really
know him. He just has that face,
that look that one easily
remembers. |
|
|
|
|
Danielle hands a photo to Aaron. |
|
|
| |
AARON
I see a picture of you and David
at the hotel. |
|
|
|
| |
DANIELLE
(pointing to the
photo)
Look behind us! Near the railing.
See? That's him, the senator. |
|
|
|
|
|
|
|
|
|
|
|
| |
AARON
Look at the woman walking with
him. |
|
|
|
| |
DANIELLE
Damn! That's the woman they found
dead at the Marriot. |
|
|
|
|
AARON jumps to his feet. |
|
|
| |
AARON
We have to leave immediately! And
you have to go to the police. They
may have captured your phone call.
It won't be long before they trace
you to this place. |
|
|
|
29.
|
| |
DANIELLE
I can't go to the police, how do I
know I can trust them. He's a
senator and presidential
candidate. |
|
|
|
|
|
|
|
| |
DANIELLE
Aaron, you're all I have left. |
|
|
|
|
|
|
|
| |
DANIELLE
(turning away)
I should have known better. What
the hell happened to you, anyway? |
|
|
|
|
A brief moment of silence. |
|
|
| |
AARON
Okay. Of course, I'll help you. |
|
|
|
| |
DANIELLE
I understand what you've gone
through, but I really need your
help to get David back. |
|
|
|
| |
AARON
Sure, sis. Like I said, we have to
get out of here. I want to get
copies made of the photo, for
insurance. We have to develop a
game plan and make damn sure we
have a back-up plan! |
|
|
|
| |
DANIELLE
Are you sure you're up for this? |
|
|
|
| |
AARON
No, but what the hell. Now's as
good a time as any to give up the
bottle. |
|
|
|
| |
DANIELLE
Where will we go? |
|
|
|
| |
AARON
I'll explain once we're on the
road. Get your bags! We have to
get out of here! |
|
|
|
30.
|
Aaron opens the door slightly, then gently shuts it. He
grabs Danielle by her wrist and pulls her into the kitchen. |
|
|
|
|
|
|
| |
AARON
There's someone out front. You
weren't expecting any more
visitors, were you? |
|
|
|
|
|
|
|
| |
AARON
I didn't think so. They're
probably around back also. Where'd
you park your car? |
|
|
|
| |
DANIELLE
Next door, at the neighbors. They
don't come back until next month. |
|
|
|
| |
AARON
Good thinking. I'll open the door,
you run like hell to your car. |
|
|
|
|
|
|
|
| |
AARON
I'll provide a diversion. It's the
photos they want. Give me
something that looks like a
package. They'll think I have the
photos. |
|
|
|
| |
DANIELLE
But you'll be in danger, Aaron! |
|
|
|
|
Aaron kisses Danielle on the forehead and smiles. |
|
|
| |
AARON
Don't you worry about me, sis. You
just get your ass to your car and
start the engine. I'll be right
behind you. Once I'm in, you floor
it and don't look back. |
|
|
|
|
Aaron grabs the door knob and swings the door open. |
|
|
| |
31.
|
|
EXT. SOLOMONS RESIDENCE - NIGHT |
|
|
Aaron darts toward his car. Danielle rushes to the
neighbor's driveway.
A man appears from behind the bushes and moves toward Aaron.
Aaron feels a hand on his neck, he jerks his body around and
catches the man's jaw with a right hook. The man's head
flies back as he staggers a bit before regaining his
balance.
Aaron runs toward Danielle's car. Danielle is in the
driver's seat. The engine is running. The passenger side
door is open. Aaron leaps in, yanking the door shut. |
|
|
|
|
|
|
| |
|
INT. AARON'S RESIDENCE - NIGHT |
|
|
| |
AARON
We'll spend the night here, we'll
be safe. I have a state-of-the-art
security system. |
|
|
|
| |
DANIELLE
Are you sure we'll be secure? |
|
|
|
| |
AARON
Positive. I don't have a call-back
option with the alarm company. If
anyone enters, they'll trip the
alarm and the call will go
immediately to the police without
delay. The cops will be here in
minutes. So relax. |
|
|
|
| |
DANIELLE
When did you move in? |
|
|
|
|
|
|
|
Danielle pokes around the house. The decor is very modern.
There is a contemporary, Italian design sofa in the center
of the living room. Abstract art hangs on the walls and
sculptures are placed throughout.
Aaron exits the room and enters his study. |
|
|
32.
|
| |
DANIELLE
I love what you've done with the
place. I love the decor! |
|
|
|
| |
AARON (OS)
Thanks! I decorated it myself. |
|
|
|
|
|
|
|
|
Aaron re-enters the room. He is carrying to duffel bags. |
|
|
| |
AARON
Tomorrow morning we'll install
some pinhole cameras at your
house. They'll make contact again
at twelve noon, so we won't be
there. We'll have your calls
forwarded to my cell phone. |
|
|
|
| |
DANIELLE
What's in the bags? Spy stuff? |
|
|
|
|
Aaron walks up to Danielle, kisses her forehead. |
|
|
| |
AARON
I guess you could call it
that...Don't worry, sis. We'll get
David back. It'll all work out. |
|
|
|
| |
DANIELLE
I sure hope so, Aaron. |
|
|
|
| |
AARON
You can use my room, I'll take the
sofa. |
|
|
|
|
|
|
|
| |
AARON
Absolutely! I'll see you in the
morning, sis. |
|
|
|
| |
DANIELLE
Aaron, I'm pregnant. |
|
|
|
| |
AARON
Congratulations! I'm sure David - |
|
|
|
| |
DANIELLE
David doesn't know. I didn't tell
him I was getting tested. After
(MORE)
|
|
33.
|
| |
DANIELLE (cont'd)
the miscarriage, I didn't want to
get his hopes up. We have to find
him, Aaron. |
|
|
|
|
|
|
|
|
They embrace one another. |
|
|
| |
DANIELLE
Whatever did happen to you, Aaron?
I mean, look at this place. It's
gorgeous. You just never stay in
touch anymore. |
|
|
|
| |
AARON
Yeah, just look at this place. I
am three months behind on my
mortgage. I haven't worked since I
bought it. All the gizmos and
gadgets, the furnishings...all
compliments of plastic. All of
which are past due. |
|
|
|
| |
DANIELLE
Aaron, I'm so sorry. |
|
|
|
| |
AARON
After Lisa died...I guess I kind
of died. |
|
|
|
| |
DANIELLE
You weren't alone, Aaron. You
weren't the only one hurting. We
were all close to her, but you
wouldn't let us be there for you. |
|
|
|
|
|
|
|
|
They embrace again. |
|
|
| |
|
EXT. ROAD - DAY |
|
|
|
We see a car parked on the side of the road. |
|
|
| |
|
INT. CAR - DAY |
|
|
| |
AARON
The house maybe under
surveillance. I'll walk the couple
(MORE)
|
|
34.
|
| |
AARON (cont'd)
of blocks and install the cameras.
If I'm not back in fifteen
minutes, drive without me.
Continue with our plans and I'll
meet up with you. Promise? |
|
|
|
|
|
|
|
|
Aaron exits the car. |
|
|
| |
|
INT. ABANDONED WAREHOUSE - DAY |
|
|
|
Rebecca is on her cell phone. |
|
|
| |
RICHARD (VO)
Her brother is exiting the house.
He is alone. |
|
|
|
| |
REBECCA
You didn't see him enter? |
|
|
|
| |
RICHARD (VO)
No. No sign of Mrs. Wilson,
either. |
|
|
|
| |
REBECCA
Damn! Don't lose him. He'll lead
us to Danielle and the photo.
Don't take any action until I give
the orders! Just follow. |
|
|
|
| |
|
INT. CAR - DAY |
|
|
| |
AARON
I'm sure I was being watched. I
notice a car, the driver acted as
if he were reading the newspaper. |
|
|
|
| |
DANIELLE
If that's so, why didn't he try to
grab you? |
|
|
|
35.
|
| |
AARON
It's not me they want, Dani. It's
you and the photos. Of course,
they'll have to kill me, too,
because I'm involved now. They
can't afford to have someone
running around with knowledge of
the events that took place at the
Marriott. |
|
|
|
| |
DANIELLE
What do you mean too? |
|
|
|
| |
AARON
They will retrieve the photos and
then kill the three of us. No
matter what they promise you to
get the photos, they will have to
kill us. They will assume we have
made copies of the photos. Even if
we give them the copies, they'll
assume we have planned on that and
have made more copies. |
|
|
|
| |
DANIELLE
What'll we do, Aaron? |
|
|
|
| |
AARON
Get copies made of the photo, then
we head back to the Marriot. |
|
|
|
| |
DANIELLE
The Marriott? Why would we want to
go there? |
|
|
|
| |
AARON
I'm not sure. Maybe we'll get
lucky and find something. Right
now we need to try and lose
whoever it is that's following us. |
|
|
|
| |
|
EXT. CAR - DAY |
|
|
|
We watch as Aaron and Danielle drive off. |
|
|
| |
|
EXT. ROAD - DAY |
|
|
We watch as Aaron and Danielle are traveling along the
highway.
A few cars behind them, we focus on a car. |
|
|
| |
36.
|
|
INT. CAR - DAY |
|
|
Aaron's POV (in rear view mirror): we focus on the car
following them. |
|
|
| |
|
INT. CAR - DAY |
|
|
Richard's POV (through windshield): We focus on Aaron and
Danielle's car. |
|
|
| |
|
EXT. ROAD - DAY |
|
|
|
We watch as both cars travel along the road. |
|
|
| |
|
INT. ABANDONED WAREHOUSE - DAY |
|
|
| |
REBECCA
(answering her
cell phone)
Yeah. |
|
|
|
| |
RICHARD (VO)
How's the Senator holding up? |
|
|
|
| |
REBECCA
The Senator's involvement is no
longer necessary. He's attending
to campaign business. Where are
you? |
|
|
|
| |
RICHARD (VO)
I'm following them now.They've
just stopped in front of a quick
photo mart. |
|
|
|
| |
REBECCA
Recover the photos! |
|
|
|
| |
RICHARD (VO)
Her brother's walking into the
photo shop. She's driving away. |
|
|
|
| |
REBECCA
Stop the goddamn car and recover
the photos! We'll worry about her
later! |
|
|
|
| |
37.
|
|
EXT. QUICK PHOTO MART - DAY |
|
|
The SALES CLERK hands copies of the photo to Aaron. Aaron
turns and heads for the front entrance. He pauses as he
notices a car parked outside. He recognizes it, and
cautiously approaches the entrance, looking outside.
He spots Richard. Aaron turns quickly, back to the sales
clerk. |
|
|
| |
AARON
Is there a back exit? |
|
|
|
The sales clerk hesitates, saying nothing.
Aaron looks back, sees Richard enter. |
|
|
| |
AARON (cont)
(demanding)
Back exit! |
|
|
|
The sales clerk points to the exit.
Aaron rushes to the exit. Richard spots him and runs after
him. Aaron exits the building and runs down the street.
Richard is close behind.
At the end of the street, a car pulls out in front of Aaron,
stopping him in his tracks. Danielle opens the driver's side
door and leaps into the passenger's seat, allowing Aaron to
drive.
They speed off.
Richard stops running. Pulls out his cell phone. |
|
|
| |
RICHARD
(frustrated)
Son-of-a-bitch! |
|
|
|
| |
|
INT. CAR - DAY |
|
|
| |
DANIELLE
Were you able to get copies? |
|
|
|
| |
AARON
(holding up a
package)
Right here. |
|
|
|
38.
|
| |
DANIELLE
Maybe we should just go to the
police with the photo. |
|
|
|
| |
AARON
And risk losing David for good?
No, we don't have enough on them
yet. |
|
|
|
| |
|
INT. ABANDONED WAREHOUSE - DAY |
|
|
| |
REBECCA
Guys, this has developed into one
major fuck up! Bring Mr. Wilson to
me! |
|
|
|
Tim walks to the closet and pulls the heavy door open,
slowly.
We see David. His eyes have a difficult time adjusting to
the light. He is tied and gagged.
David's POV: His eyes adjust and he can see Tim reaching for
him. He struggles as Tim pulls him to his feet and escorts
him out of the closet.
We watch as Tim places him in another chair in the center of
a large empty room. He is still tied and gagged. |
|
|
| |
REBECCA
Welcome, Mr. Wilson. |
|
|
|
Tim reaches around David's neck and unties the cloth that
has gagged him. David begins to exercise his mouth muscles,
his face distorting as he opens and closes his mouth. |
|
|
| |
REBECCA (cont.)
Mr. Wilson, you have a very
critical decision to make.
Probably the most important
decision in your life thus far.
You can either help us or you can
die! |
|
|
|
| |
DAVID
What is it that you want? |
|
|
|
| |
REBECCA
You see, Mr. Wilson. We need to
feel as though you can be of use
to us. Otherwise, it's like
carrying dead weight up hill. In
(MORE)
|
|
39.
|
| |
REBECCA (cont'd)
which case, we must dispose of the
dead weight. |
|
|
|
| |
DAVID
Like I said, what is it that you
want? |
|
|
|
| |
REBECCA
We need you to call your wife.
Make her believe you've somehow
escaped. Set up a meeting with
her. |
|
|
|
|
|
|
|
| |
REBECCA
Mr. Wilson, I don't think you
understand the magnitude of this
situation. |
|
|
|
|
|
|
|
| |
REBECCA
So, if I understand you correctly,
what you are telling me is that
you are of no beneficial use to
us. Is that correct? |
|
|
|
|
Richard and Tim approach David, as Rebecca turns away. |
|
|
|
|
|
|
| |
REBECCA
(turning around)
Yes? |
|
|
|
|
|
|
|
| |
|
INT. CAR - DAY |
|
|
|
Aaron's cell phone rings. |
|
|
|
|
|
|
|
|
|
|
40.
|
| |
DANIELLE
David? Is it really you? Are you
okay? |
|
|
|
| |
|
INT. PHONE BOOTH - DAY |
|
|
| |
DAVID
Yes. I need you to meet me
somewhere! |
|
|
|
|
Richard and Tim are standing just outside the phone booth. |
|
|
|
|
|
|
| |
DAVID
Calvert Cliffs State Park. I'll
meet you down by the water. Make
sure you're not followed! |
|
|
|
| |
DANIELLE (VO)
What happened? |
|
|
|
| |
DAVID
I can't stay on the phone long. I
have to keep moving! Meet me
there! In two hours! And
remember...things aren't always
what they seem. I love you, Dani! |
|
|
|
| |
|
INT. CAR - DAY |
|
|
|
|
|
|
Danielle puts the cell phone away. Looks out window, begins
to cry. |
|
|
| |
AARON
(placing his hand
on her shoulder)
It'll be okay. What'd he say? |
|
|
|
| |
DANIELLE
I wanted to tell him that I'm
pregnant. |
|
|
|
| |
AARON
You'll get a chance. |
|
|
|
41.
|
| |
DANIELLE
He escaped. Wants me to meet him
at Calvert Cliffs Park. Said he's
okay. He loves me...and he said
things aren't always what they
seem. What ever that's supposed to
mean. |
|
|
|
| |
AARON
Maybe he was trying to tell you
something. |
|
|
|
| |
DANIELLE
Why not just come out and tell me
then? |
|
|
|
| |
AARON
I don't know, Dani. Let's just get
to the park. |
|
|
|
| |
|
EXT. CALVERT CLIFFS STATE PARK - DAY |
|
|
We pan along the beach.
We notice two people walking down the trail, small specks at
first. Getting closer, coming into focus. It is Aaron and
Danielle.
We watch them walk to the shore line, both cautiously
looking around. Aaron begins to appear uneasy. |
|
|
| |
AARON
Dani! Run back to the car! |
|
|
|
|
|
|
|
|
|
|
|
Danielle begins to run. Just then, we see Richard and Tim
race toward them. Aaron notices the two men, runs toward
them. Danielle turns her head, notices the two men and
continues running, faster and with more effort.
Tim changes direction, darts after Danielle.
Richard and Aaron collide. They exchange punches on the
shore line. Aaron falls into the water. Tries to get back
up, but is knocked back down by Richard. The two men fall in
the water, they struggle, exchanging more punches. Richard
is choking Aaron. |
|
|
| |
42.
|
|
EXT. CALVERT CLIFFS STATE PARK, TRAIL - DAY |
|
|
We watch as Danielle is running down the trail, towards the
parking area.
We pan to watch Tim chasing her, getting closer. |
|
|
| |
|
EXT. CALVERT CLIFFS STATE PARK, BEACH - DAY |
|
|
Aaron struggles, spots an empty beer bottle floating.
Continues to struggle, still being choked. He reaches for
bottle, the waves make it difficult. Richard punches him in
the face, resumes choking. Aaron manages to reach bottle,
swings with all his might, striking Richard against the side
of his head. Richard slumps beside him, not unconscious, but
in a daze.
Aaron struggles to get to his feet, manages to do so and
begins running. |
|
|
| |
|
EXT. CALVERT CLIFFS STATE PARK, PARKING AREA - DAY |
|
|
Tim grabs a hold of Danielle just as she makes it to the
car. She struggles, a hand is place over her mouth.
Suddenly, Tim slumps on top of her, unconscious. We see
Aaron behind them, a baseball bat in his hands. |
|
|
| |
DANIELLE
Oh, thank GOD! Where'd you get
that? |
|
|
|
| |
AARON
On the ground, beside a car. Now,
let's just get the hell out of
here! |
|
|
|
|
|
|
|
| |
AARON
Greyhound Station, on 1st St., in
northeast. Need directions? |
|
|
|
| |
DANIELLE
No. We going somewhere? |
|
|
|
43.
|
| |
AARON
A little game of cat and mouse.
These guys are really starting to
piss me off. It's time we start
calling the shots. |
|
|
|
| |
|
INT. BUS STATION - DAY |
|
|
|
Richard stands beside his car. He is on his cell phone. |
|
|
| |
RICHARD
They're at the bus station on 1st
Street in northeast D.C., getting
on a Greyhound. |
|
|
|
| |
REBECCA (VO)
Stay put! Do not try to apprehend,
too many witnesses. We'll be there
shortly. Find out their
destination. |
|
|
|
| |
|
INT. GREYHOUND BUS - DAY |
|
|
We see the driver. He is in his late fifties, thinning gray
hair, thick mustache, and about fifty pounds overweight.
Driver's POV: We watch as Aaron and Danielle board the bus
followed by other passengers. |
|
|
| |
|
EXT. BUS STATION - DAY |
|
|
We watch as the bus drives away.
A VAN pulls up behind Richard's car. Richard enters the van. |
|
|
| |
|
INT. VAN - DAY |
|
|
|
Rebecca, Tim and Richard are in the van. |
|
|
| |
RICHARD
Destination Albany, New York.
Arriving at approximately 11:15
tonight. |
|
|
|
| |
REBECCA
Tim, let's take the Senator's jet
to Albany. |
|
|
|
44.
|
| |
TIM
What are they going to New York
for? |
|
|
|
| |
REBECCA
You can ask them when we meet up
with them tonight. |
|
|
|
| |
|
EXT. BUS STATION - DAY |
|
|
|
We watch as the van drives away. |
|
|
| |
|
EXT. SMALL LOCAL AIRPORT - DAY |
|
|
We watch as the van comes to a stop. Richard, Tim, and
Rebecca exit with bags in hand. They board the plane. |
|
|
| |
|
INT. PLANE - DAY |
|
|
| |
PILOT
Sorry guys! We seem to be having
engine problems. |
|
|
|
|
|
|
|
| |
TIM
What seems to be the problem? |
|
|
|
| |
PILOT
Engine failure. I can't get it to
- |
|
|
|
Tim's POV (through plane's windshield): We focus on a pick
up truck. |
|
|
| |
TIM
Richard, go get someone to pull
that pickup truck over here. And
get me a set of jumper cables! |
|
|
|
|
|
|
|
| |
REBECCA
Just do it, for christ's sake! |
|
|
|
Richard exits the plane.
|
45.
|
We watch through the plane's windshield as Richard
approaches a man. They appear to be having a conversation.
We continue to watch as the man and Richard get in the truck
and drive towards the plane. |
|
|
| |
PILOT
You're not really going to attempt
to jump start this plane, are you? |
|
|
|
| |
TIM
That's exactly what I'm going to
do! |
|
|
|
|
Tim exits the plane. |
|
|
| |
|
EXT. GREYHOUND BUS - DAY |
|
|
|
We watch as the bus comes to a stop. |
|
|
| |
|
INT. GREYHOUND BUS - DAY |
|
|
Aaron and Danielle's POV: We watch as the BUS DRIVER picks
up the intercom. |
|
|
| |
BUS DRIVER
(over the intercom)
You've got five minutes before we
depart again. So all you smokers
get your smokes and lighters
ready. If you're fast enough, you
can have them lit when you step
down from the bus and you can get
a few puffs in. And when you hear
me yell, all aboard, now don't you
worry. You don't have to put your
cigarettes out, another bus will
be by in about twelve and a half
hours. |
|
|
|
The bus door opens.
We watch as people get off the bus. We see Aaron and
Danielle step down from the bus. |
|
|
| |
|
EXT. BUS STATION - DAY |
|
|
| |
AARON
I am sure they are on their way to
Albany. I'm betting that they
didn't expect us to get off in
(MORE)
|
|
46.
|
| |
AARON (cont'd)
Silver Spring. We'll take another
bus back to our car and then head
back to the Marriot. |
|
|
|
| |
DANIELLE
They just keep showing up. No
matter where we go, they find us. |
|
|
|
| |
AARON
You know something? You are
exactly right. Let's walk over to
that bench and sit down. I want
you to empty everything out of
your bags. I'm curious. |
|
|
|
They walk and take a seat on the bench. Danielle empties the
contents of her luggage and her purse. Aaron looks
everything over carefully.
We see him pick something up, but can't make out what he's
holding. He walks to the trash can and drops the item in. |
|
|
| |
DANIELLE
Why'd you throw that away? |
|
|
|
| |
AARON
Did you have that with you when
you were out getting the photos
developed? |
|
|
|
| |
DANIELLE
I don't think so. No! No, I
didn't. |
|
|
|
| |
DOCTOR
That's when they did it? They
inserted a transmitter and they
have been tracking us ever since.
Now let's get going! |
|
|
|
| |
|
EXT. BUS STATION - NIGHT |
|
|
| |
REBECCA
Do you see them yet? |
|
|
|
| |
TIM
They haven't got off the bus. |
|
|
|
| |
REBECCA
Then get on the bus and find them! |
|
|
|
|
Richard and Tim run to the bus and enter. |
|
|
| |
47.
|
|
INT. GREYHOUND BUS - NIGHT |
|
|
Richard and Tim's POV: They scan the bus but do not see
Aaron nor Danielle. |
|
|
| |
|
EXT. BUS STATION - NIGHT |
|
|
|
Richard and Tim run away from the bus, toward Rebecca. |
|
|
| |
RICHARD
They're not on that bus! |
|
|
|
| |
REBECCA
DAMN! Let's head back to the plane
and get our asses back to
Maryland. They're up to something. |
|
|
|
| |
|
EXT. WESTFIELDS MARRIOTT - NIGHT |
|
|
Aaron and Danielle are standing outside their car. They both
retrieve a bag from the trunk. |
|
|
| |
AARON
We need to pray we get lucky and
find something useful in room 207. |
|
|
|
| |
DANIELLE
In case I haven't thanked - |
|
|
|
| |
AARON
Don't mention it, sis. That's what
big brothers are for. |
|
|
|
| |
DANIELLE
I don't know what I'd do without
you. It's nice to have my brother
back. You've always been their for
me. After mom and dad died - |
|
|
|
| |
AARON
Hey! You're my kid sister, I love
you! I know I was out of it for
the last year, but things are
going to change. I promise. You
know you can always count on me.
Mom and dad would want it that
way. They loved the both of us. It
wasn't your fault, Dani. |
|
|
|
48.
|
| |
DANIELLE
(regaining
composure)
Okay. |
|
|
|
| |
AARON
Let's go get checked in. |
|
|
|
|
They walk toward the entrance. |
|
|
| |
|
INT. VAN - NIGHT |
|
|
| |
REBECCA
Will someone please explain to me
just what the fuck happened? |
|
|
|
|
|
|
|
|
|
|
|
| |
RICHARD
A rope-a-dope. It's a boxing term.
Mohammad Ali. It's when - |
|
|
|
| |
REBECCA
Richard, shut up! |
|
|
|
| |
TIM
Damn it, Rebecca! We've done our
homework. Her brother...he's a
goddamned private investigator!
Atleast he was up until about a
year ago when his wife died. From
what our sources tell us, a damn
good one. One of the best. He does
this cloak and dagger shit for a
living! |
|
|
|
| |
REBECCA
That information still doesn't
make me feel any easier. |
|
|
|
| |
TIM
They must have a plan. |
|
|
|
| |
RICHARD
No shit! You really think so? |
|
|
|
49.
|
| |
TIM
You can be a real pan in the ass
to work with, you know? |
|
|
|
| |
RICHARD
(patting TIM on
the back)
I know. |
|
|
|
| |
|
INT. ABANDONED WAREHOUSE - NIGHT |
|
|
|
Richard puts away his cell phone. Turns to Rebecca. |
|
|
| |
RICHARD
My contact at the Marriott has
just informed me that Mrs. Wilson
and her brother have checked into
the hotel. |
|
|
|
|
|
|
|
| |
RICHARD
Want to guess what room they
requested? |
|
|
|
|
|
|
|
| |
RICHARD
You guessed it! Room 207. |
|
|
|
| |
TIM
That's one smart son-of-a-bitch!
He's figured it all out! |
|
|
|
| |
REBECCA
You know what to do, guys. Try not
to fuck up this time! |
|
|
|
| |
|
INT. MARRIOTT, ROOM 207 - NIGHT |
|
|
Aaron and Danielle are sitting on the bed. We catch a
glimpse of Aaron placing something in his bag. |
|
|
| |
DANIELLE
What do we do now? Go to the
police? |
|
|
|
50.
|
| |
AARON
Let's set up a meeting. I'll bet
one of them placed the camera here
with the intent to blackmail the
Senator. When the woman died
unexpectedly, whoever it was,
forgot about the camera. |
|
|
|
| |
DANIELLE
Why not just go to the police? |
|
|
|
| |
AARON
We'll make a copy to send to the
FBI. We make contact. Offer to
trade the video for David. Right
now, let's get out of here! |
|
|
|
| |
|
INT. MARRIOTT, HALL - NIGHT |
|
|
Aaron and Danielle are carrying their bags. They approach
the railing outside the ballroom, overlooking the lobby.
PAN DOWN: LOBBY
Aaron's POV: We see two men in suits at the check-in desk.
Aaron and Danielle turn and run down the hall.
PAN DOWN: LOBBY
Richard looks up, noticing them. He pats Tim on the back.
They dart toward the stairs.
Aaron and Danielle thrust the door to the stairwell open. |
|
|
| |
|
INT. MARRIOTT, STAIRWELL - NIGHT |
|
|
|
Aaron and Danielle bolt down the stairs. |
|
|
| |
|
INT. MARRIOTT, HALL - NIGHT |
|
|
|
Tim and Richard are running toward the stairwell. |
|
|
| |
|
INT. MARRIOTT, STAIRWELL - NIGHT |
|
|
Aaron and Danielle continue down the stairs. Danielle loses
grip on her bag. She turns and runs back up a couple steps,
retrieving her bag. She catches up with Aaron. They hear the
door fling open. |
|
|
| |
51.
|
|
EXT. MARRIOTT, BACK EXIT - NIGHT |
|
|
Aaron and Danielle bolt out the door. Both running as fast
as they can toward the parking area.
Tim and Richard come running out shortly after. |
|
|
| |
|
EXT. CAR - NIGHT |
|
|
We watch as Aaron and Danielle speed off. We continue
watching until they are out of sight. |
|
|
| |
|
INT. AARON'S RESIDENCE - NIGHT |
|
|
Danielle sits on the sofa as Aaron pops the video tape in
and turns on the television.
The footage is somewhat distorted and fuzzy, but the
participants are clearly visible and recognizable.
On the screen we see Senator McGuire and Sunshine. |
|
|
| |
SUNSHINE (VO)
So...where is it, Jack?...Jack,
where is it? Where's the stuff? |
|
|
|
Aaron, sitting on the sofa, picks up the remote to fast
forward.
On the screen we now see Sunshine's lifeless body lying face
down, naked on the bed. The Senator and Rebecca come into
view. |
|
|
| |
REBECCA (VO)
Jesus, Jack! |
|
|
|
| |
SENATOR (VO)
You have to do something! I found
her like this. At first I tried to
wake her - |
|
|
|
| |
REBECCA (VO)
Jack! Jack, you have to get
dressed. I'll take care of
everything. Just get dressed. And
hurry! |
|
|
|
|
Aaron gets up and takes out the video tape. |
|
|
52.
|
| |
AARON
Looks like we have some leverage
now. Follow me. |
|
|
|
Aaron and Danielle are in his study, sitting at a small
computer desk. Aaron is tapping the keys on the keyboard as
they both stare into the monitor. |
|
|
| |
AARON
There. Let's just take a look at
the Senator's website. |
|
|
|
| |
DANIELLE
What are we looking for? |
|
|
|
| |
AARON
(another click
with the mouse)
For starters, background
information. It'd be nice to know
exactly who we're up against. Here
we go. Does that guy look
familiar? |
|
|
|
| |
DANIELLE
One of the men from the park, and
the man who tried to attack me at
my house! |
|
|
|
| |
AARON
(another click
with the mouse)
Tim Rogers, a stint with the crime
lab before becoming involved with
local statewide elections, later
becoming involved with the
Senator's campaign. |
|
|
|
|
Aaron moves the mouse, clicks again. |
|
|
| |
AARON (cont)
Richard Gaines, briefly worked
with the CIA, before leaving that
career behind him to pursue
political aspirations. |
|
|
|
|
|
|
|
|
|
|
|
53.
|
|
|
|
|
| |
AARON
Rebecca Williams, campaign
manager. I'm willing to bet a
year's salary that she's the woman
who's been in contact with you. |
|
|
|
| |
DANIELLE
She's the woman on the tape. |
|
|
|
| |
AARON
A political science major, worked
with various activist groups and
campaigns. Ran for the office of
state senator, lost the election
and then joined Senator McGuire's
team. Quickly moving up the ranks
and becoming campaign manager.
Seems as though she's always been
very politically motivated. |
|
|
|
| |
DANIELLE
How does all this help us? |
|
|
|
| |
AARON
I'm not sure it does, but atleast
it gives us some insight. Let's
grab the video and head for your
place. |
|
|
|
| |
|
INT. CAR - NIGHT |
|
|
|
Aaron picks up his cell phone and places a call. |
|
|
| |
AARON
Listen very carefully. The ball's
in our court now, bitch! I have a
video tape in my possession that
may be of interest to you. |
|
|
|
| |
|
INT. ABANDONED WAREHOUSE - NIGHT |
|
|
Rebecca stands alone in a large empty room, on her cell
phone. |
|
|
|
|
|
|
| |
54.
|
|
INT. CAR - NIGHT |
|
|
| |
AARON
We'll meet you at the Wilson
residence in exactly three hours.
We want a fair and equitable
trade, the video for David. In
three hours! |
|
|
|
|
Aaron ends call and dials another number. |
|
|
| |
AARON
Davis! Thank God you're home. Meet
me at 1306 Wilshire Drive,
Bethesda. In three hours, bring
back up. I can't talk now. Just
meet me there in three hours! |
|
|
|
|
|
|
|
| |
AARON
An old college buddy. He works for
the FBI. |
|
|
|
| |
DANIELLE
Do you trust him? |
|
|
|
| |
AARON
With my life. But after this last
year...well, it's worth a shot
anyway. |
|
|
|
| |
|
INT. ABANDONED WAREHOUSE - NIGHT |
|
|
Rebecca, Tim, and Richard are sitting at a small fold-up
table. |
|
|
| |
REBECCA
There has been a development. They
now have a video tape of the
Senator and Sunshine. |
|
|
|
|
|
|
|
| |
REBECCA
A video tape that places the two
of them together in their room at
the Marriot that night. |
|
|
|
55.
|
| |
TIM
Please tell me how the fuck that
tape came to be! |
|
|
|
| |
REBECCA
I installed the camera that night
while the Senator and his bimbo
left the room. |
|
|
|
Tim slams his fists down on the table and stands, kicking
his chair across the large room. |
|
|
|
|
|
|
| |
RICHARD
It never occured to you to let us
in on this little item? |
|
|
|
| |
TIM
Who's fucking up this time? |
|
|
|
| |
REBECCA
I've been instructed - |
|
|
|
| |
TIM
You've been instructed. So now
they're calling the shots! |
|
|
|
| |
REBECCA
I've been instructed to meet them
at the Wilson residence with her
husband. They want to trade the
tape for her husband. |
|
|
|
|
|
|
|
| |
REBECCA
(looking at her
watch)
In...approximately two hours from
now. |
|
|
|
| |
RICHARD
Let's gear up guys, this ain't no
dress rehearsal. |
|
|
|
| |
TIM
What about her husband? |
|
|
|
56.
|
| |
REBECCA
He stays here. After we recover
the photos and the tape, kill him! |
|
|
|
| |
|
INT. WILSON RESIDENCE - NIGHT |
|
|
Aaron enters through the back door. We watch as he makes his
way to the living room. Rebecca is sitting on the sofa. She
doesn't notice Aaron come up behind her. |
|
|
|
|
|
|
|
|
|
|
Aaron turns his head toward the stairs to see Danielle
coming down the stairs. Tim behind her, a gun to her head. |
|
|
| |
REBECCA (cont.)
I'll take that tape now and the
photos. |
|
|
|
| |
AARON
(slightly moving
toward DANIELLE)
Why don't you come get them? |
|
|
|
| |
REBECCA
I must advise you to not move any
closer to her. Now hand the tape
and photos over to me. |
|
|
|
Aaron walks slowly up to Rebecca, handing her the package.
When she reaches for it, he grabs her, pulling her in front
of him. He now has a gun at her head. |
|
|
| |
AARON
We seem to be at a stand off. |
|
|
|
| |
DANIELLE
(pleading)
Please! Where's my husband? |
|
|
|
| |
|
EXT. WILSON RESIDENCE - NIGHT |
|
|
We briefly see FBI agents, police officers running around
the yard. A half dozen police cars, lights going, but no
siren.
|
57.
|
We watch as Richard is being placed in the back of a police
car. |
|
|
| |
|
INT. WILSON RESIDENCE - NIGHT |
|
|
Tim turns his head toward the living room window. He notices
the police lights.
Danielle kicks up her foot behind her, kicking Tim in the
groin.
Aaron flings Rebecca into an end table, causing her to knock
over the lamp and herself fall to the floor. Aaron lunges
forward at Tim and Danielle, knocking both of them to the
bottom of the stairs. Tim and Aaron wrestle, each trying to
get a grip on their gun.
Rebecca gets to her feet and fires her gun. Danielle is
struck first, in the chest. She fires again. Aaron flips
over, pulling Tim on top of him. Tim is struck in the upper
part of his back.
Aaron pushes Tim off, manages to get to his feet, firing a
shot at Rebecca, hitting her in the shoulder. She fires
again, misses.
At this moment, a shot is fired from outside, striking
Rebecca in the back of her head. She slumps to the floor,
dead. |
|
|
| |
|
INT. HOSPITAL ROOM - DAY |
|
|
Danielle is on the hospital bed, unconscious. Aaron sits
beside her. He is startled when David barges through the
door. |
|
|
|
|
|
|
| |
AARON
It's bad, David. The bullet...it
did alot of damage. |
|
|
|
Aaron stands, letting David have his chair. Aaron rests his
hand on David's shoulder. |
|
|
| |
AARON
David...she's pregnant. |
|
|
|
David kisses her forehead, wraps his hands around her hand,
and weeps. |
|
|
| |
58.
|
|
INT. WILSON RESIDENCE - DAY |
|
|
Aaron and David are packing. Neither speaks at first. Their
attention is drawn to the tv and they briefly pause. On the
screen: NEWS UPDATE. We see the Senator being arrested.
They resume packing. |
|
|
| |
AARON
I wish you'd reconsider moving. |
|
|
|
| |
DAVID
Aaron...this house just won't be
the same without Dani. |
|
|
|
| |
AARON
Things are really going to be
different without her. I wish I
would have spent more time with
her over this past year. |
|
|
|
| |
DAVID
She always knew you cared for her.
She'd be proud of you now. You
were there when she needed you. |
|
|
|
| |
AARON
I guess you're right. |
|
|
|
| |
DAVID
So, what are your plans? |
|
|
|
| |
AARON
AA meetings, for starters. Dani
would've liked that. |
|
|
|
FADE OUT. |
|
|
|
|
|
| Feedback |
|
There is currently no feedback for this screenplay.
|
|
|
|
| Leave Feedback |
|
You must be logged in to leave feedback. |
|
|
