	Login Help

Screenwriter Community

by David Chase (davidchase@rogers.com)

Rated:

Genre: Action/Adventure User Review:

The U.S. Government's most deadly agent faces the greatest challenge of his career, the truth about his father.

FADE IN:

EXT. AIR STRIP - DAY

SUPER: AFRICA 1970'S

The African dawn is quiet. A dirt road running through the
Savannah is the only route visible.

The quiet of the dawn is shattered by GUNFIRE. A jeep
suddenly appears, racing down the road at top speed. A
second jeep pursues from a distance back.

The first jeep approaches an air strip and a waiting twin
propeller airplane. C/U on the jeep shows two women, a man
driving, a man firing an automatic rifle, and a young boy
(all African).

As the jeep rolls to a stop by the airplane, the group
exits. The man with the rifle provides cover, firing in the
direction of the pursuing vehicle.

The group runs toward the airplane. One of the women
suddenly falls, struck by a bullet. The driver of the jeep
picks her up, helping her onto the plane. The other man
continues to provide cover, until he, too, falls, struck by
a bullet. The rest of the group makes it on board.

INT. AIRPLANE - DAY

As the plane takes off, the group huddles close while
gunfire echoes outside.

The young boy watches with concern, held close by one of the
women, while the other woman slips in and out of
consciousness.

INT. ARENA - DAY

SUPER: BANGKOK, THAILAND - TODAY

Two Muay Thai kickboxers square off in the middle of the
ring. Around them, an enormous crowd cheers it's support as
they slug it out.

HAROLD JACKSON, African American, somewhere in his
mid-forties, watches from the lower bowl of the arena. He is
flanked by two non-descript looking Japanese government
agents.

Harold, looking through a pair of binoculars, focuses on a
Japanese man, SHINZO TAKAMURA, on the opposite side of the
arena. The man is flanked on either side by a number of
tough looking Japanese men. They are all dressed in
expensive looking suits.

Harold lowers the binoculars and looks at one of the agents
beside him. The man nods, confirming what Harold already
assumed. Harold seems to speak to no one in particular, but
an earpiece can be seen in his ear.

HAROLD
We've got confirmation, partner.
Takamura and his entourage are
ringside.

A series of intercuts follows as Harold and Kyle speak.

KYLE BARRETT, early thirties, white male, stands at the bar.
A doorway shows it to be just off of the main arena area.
Closed circuit TV's show the fight going on just a short
distance away.

Kyle, standing a bit over 6' and very good looking, is
surrounded by patrons of various nationalities, allowing him
to blend in.

To Kyle's left stands a bevy of Southeast Asian girls. They
all giggle and talk amongst themselves, obviously intent
upon winning Kyle's affections. Kyle regards them with a bit
of humor as he replies to Harold. He also has an earpiece in
his ear.

KYLE
Affirmative. Hey, Harold, what's
the legal age here in Bangkok,
anyway?

Kyle looks at the girls beside him and grins.

Harold, also grinning, continues watching the kickboxing
match.

HAROLD
Too young for your sorry ass.

Harold quickly turns his attention to the agent on his left.

HAROLD
(to Agent #1)
Uh, he's kidding, you know that,
right?

Kyle eyes the group of underage girls beside him again.

KYLE
(to Harold)
That's what I thought. I just
don't wanna be hauled away for
even standing this close to
someone underage.

Kyle turns his attention in the opposite direction, finding
an attractive caucasian woman seated beside him. He smiles
at her, and she returns the favor.

Harold is still watching his target.

Through the binoculars, Harold sees a large CHINESE MAN
approach Takamura and whisper something in his ear. It
instantly has Takamura's attention.

HAROLD
(to Kyle)
Hold on, something's happening.

            KYLE
      (to Harold)
Awaiting further instruction.
      (to caucasian
       woman)
You American?

WOMAN
Australian. I'm here on business.

The woman extends her hand.

WOMAN
Michelle.

Kyle takes her hand, smiling as he slips into smooth mode.

KYLE
Kyle. What're you drinking?

Still looking through the binoculars, Harold sees Takamura
and his crew get up and start to move toward the exit.

HAROLD
Time to roll, Kyle, Takamura's on
the move.

Kyle, disappointed, takes one more look at the gorgeous
woman beside him.

KYLE
Sorry, Michelle, turns out I'm
here on business, too.

Kyle motions for the bartender. He hands the man some bills.

KYLE
(to bartender)
Get this beautiful lady whatever
she wants.

Kyle turns his attention the group of underage girls beside
him. He hands the bartender another wad of bills.

KYLE
(to bartender)
And keep this group out of
trouble. If you can.

Kyle turns to the caucasian woman.

KYLE
Gotta run. Maybe you'll be here
when I get back?

WOMAN
(coyly)
Maybe.

Kyle gives her a raised eyebrow before walking away. He
makes his way to the door, which leads to the

CONCOURSE

KYLE
(to Harold)
I swear to God, Harold, this
better be fuckin' good.

HAROLD (O/S)
Trust me, it's worth walkin' away
from whatever you had lined up.

Kyle walks across the concourse and looks down into the
lower bowl. He sees Takamura and his entourage leaving. His
attention is on the large Chinese man.

KYLE
Who's the big guy?

Harold looks to the Japanese agents. They give each other a
concerned look.

AGENT #1
It could be Chen.

HAROLD
So? Who's that?

AGENT #2
He's...what would you say...an
urban legend?

Harold gives a look, as if to say, WTF?

AGENT #1
He's an assassin, works strictly
for hire. At least, we think so.
He's credited with numerous kills,
but no confirmations.

HAROLD
(to Kyle)
You gettin' all that, partner? We
didn't expect him.

Kyle watches the group depart, taking notice of every
member.

KYLE
Yeah, I got it. What do you think?

HAROLD (O/S)
If Takamura's meeting with Pak,
this might be our only chance.
Pak's linked to bombings in Bali,
Mumbai, and Edinburgh.

KYLE
Are we go?

Kyle watches the group disappear through an exit door.

HAROLD
Your call.

Kyle takes one more look around.

KYLE
We're go.

Kyle takes off in pursuit.

INT. ARENA - DAY

Kyle walks through a hallway in the underbelly of the arena.
He turns a corner, seeing a pair of doors at the end of the
hall. A pair of ASIAN THUGS stand guard.

KYLE
(to Harold)
Shit, sentries posted. They've
spotted me.

HAROLD (O/S)
What's your move?

KYLE
We'll see.

Kyle begins to stagger toward the thugs. They eye him
suspiciously as he approaches. Kyle motions to them,
slurring as he speaks.

KYLE
Where'sz the baffroom?

THUG 1
(broken English)
No bathroom. You leave now.

KYLE
(slurring)
I just...gotta pee.

Kyle stops by a pile of boxes lined against the wall. He
stands in front of them and starts to lower his zipper.

THUG 1
(annoyed)
No. This isn't bathroom. You need
to leave.

As the first thug reaches for him, Kyle twists the man's arm
with blinding speed, following up with a strike to the face.
Thug #2 tries to intercede, but gets a side kick to the
midsection, followed by an elbow shot to the head. Both men
are down.

CONCOURSE

Harold and his counterparts are on the move, making their
way along the arena concourse.

HAROLD
Speak to me partner. What's your
situation?

HALLWAY

Kyle is dragging the two men in behind the pile of boxes.

KYLE
(to Harold)
Sentries are neutralized.

One of the thugs moans and tries to open his eyes. Kyle hits
him hard in the face, knocking him cold. He piles boxes on
top of the two men.

KYLE
Okay, now they're neutralized.

INT. BOILER ROOM - DAY

Takamura and his entourage meet in the arena boiler room.
Kyle, hidden from sight on the other side of the room,
watches as it goes down.

            KYLE
      (quietly, to
       Harold)
In position.

HALLWAY

Harold and the agents take position in the hall leading to
the boiler room.

HAROLD
Is Pak there?

BOILER ROOM

Kyle carefully takes another look. In addition to Takamura's
men, he sees four other SOUTHEAST ASIAN men. The leader is
PAK RAHARJO, Indonesian, somewhere in his thirties. Pak
speaks directly to Takamura.

KYLE
Affirmative. I have visual
confirmation.

HAROLD (O/S)
Whenever you're ready. We've got
backup.

KYLE
Go.

Kyle reaches inside his jacket and withdraws a silenced
automatic. With his other hand he takes out a small
explosive device. He prepares to move, but suddenly stops.

KYLE
(to Harold)
Wait a minute. Where's Chen?

As if in response, a pipe swings toward Kyle's head. Kyle
ducks just as the pipe CRASHES against the wall mere inches
away. The explosive device falls and rolls across the floor.

Kyle is up in a flash, coming face to face with Chen.

Kyle quickly removes his coat. Chen swings the pipe again,
but this time Kyle steps into the swing, catching the pipe
in his coat. They tie one another up for a split second,
locking eyes.

Seeing the struggle across the room, Takamura's men
immediately move to intervene.

Kyle hits Chen with a headbutt, which Chen replies to with
one of his own. Both men stagger backward. Kyle sees
Takamura's men moving in. Looking toward the boilers, he
sees the explosive device lying on the floor. Reaching into
his pocket, he pulls out a small detonator.

Chen sees the device in Kyle's hand and his eyes grow wide
with recognition.

KYLE
(to Harold)
Fire in the hole!

HALLWAY

Harold hears Kyle's warning, and motions for the agents to
take cover.

HAROLD
Shit! Hit the deck!

BOILER ROOM

Kyle presses the detonator as he dives for cover. Chen
follows suit.

Two of Takamura's men pass the boiler just as the device
EXPLODES, completely engulfing them.

HALLWAY

Harold and the Japanese agents huddle together as the
building seems to shake around them, plaster falling from
the ceiling.

INT. ARENA - DAY

The boxing match is interrupted as the ground shakes below
the fighters. The lights flicker, and people begin screaming
and panicking.

INT. BOILER ROOM - DAY

Kyle gets up slowly, coughing and wiping plaster from his
face. The sprinklers have come on and are spraying water on
the area.

Takamura and Pak are already rushing their men out the back
door of the room.

Chen still stands a few feet from Kyle, hatred in his eyes.

TAKAMURA (O/S)
Chen!

Chen looks in Takamura's direction, seeing him ready to exit
the room.

Chen looks at Kyle once more before following Takamura.

Kyle, unarmed, can only watch him leave.

EXT. ARENA - DAY

Harold and the agents stand outside the arena, watching as
Kyle finishes talking to some men in suits. Kyle approaches.

HAROLD
You, my friend, are hard core.

KYLE
Go big or go home.

AGENT #1
You are crazy son of bitch.

Everyone laughs at the comment.

10.

HAROLD
Pak got away, huh?

KYLE
Yeah, he's too damn slippery.

Kyle looks off for a moment.

KYLE
Goddammit! I had him, man! That
motherfucker Chen screwed the
whole thing up.

HAROLD
Don't worry about it. There was
nothing we could do, he didn't
show up in any of our intel.

KYLE
Yeah, I guess. It's just...

Kyle looks around.

HAROLD
Just what?

KYLE
He knew I'd be there. I don't know
how, but he knew. And it was me he
wanted.

HAROLD
You think so?

KYLE
If you saw the look in this guy's
eyes...

Kyle turns his attention to the Japanese agents.

KYLE
You guys can keep watch on
Takamura?

AGENT #2
No problem.

KYLE
He knows we're onto him, so be
extra careful from now on.

11.

AGENT #1
I could say same thing to you. If
it's you Chen wants...

The agent whistles to reinforce his point.

KYLE
(sarcastically)
Thanks, I feel a lot better now.

INT. AIRPLANE - NIGHT

Kyle sits looking vacantly out the window. Most of the other
passengers on the plane, including Harold, are asleep.

The plane hits some turbulence. Harold wakes up. He shakes
out the cobwebs and looks at Kyle.

HAROLD
Still can't sleep?

KYLE
Huh? No, a few minutes here and
there.

HAROLD
Maybe you need a break, take some
time off.

KYLE
Maybe. If we'd gotten Pak today, I
might have done just that.

HAROLD
Ahh, we'll get him next time.

KYLE
Yeah. Sure.

Kyle looks out the window again.

KYLE
You think we're actually doing any
good?

HAROLD
Is this about Pak getting away?

12.

KYLE
I don't know, I just...where does
it all end, man? Even if we had
taken Pak, there'd be three others
to take his place.

HAROLD
Yeah, but it doesn't mean you give
up. And it's really these piece of
shit arms dealers like Takamura
who we need to focus on. Take guys
like that out of the picture, and
Pak's job is a lot harder.

KYLE
I guess. You think I went too far
today?

HAROLD
Hell, no. Building's still
standing, ain't it?

Kyle laughs.

HAROLD
Try to get some sleep, we won't be
landing for a bit yet.

Harold closes his eyes again. Kyle continues looking out the
window.

EXT. RUNWAY - DAY

The airliner makes a landing on the airport runway.

EXT. AIRPORT - DAY

Kyle and Harold walk through the sliding airport doors into
the morning sun. A van is waiting at the curb.

ELIZABETH JACKSON, attractive, late thirties, African
American, approaches and gives Harold a hug.

LIZ
Hey, baby. We missed you.

HAROLD
Not as much as I missed you.

Liz also gives Kyle a hug.

13.

KYLE
Hi, Liz.

LIZ
You kept my husband safe again, I
see.

HAROLD
I think it's the other way around.
I'm the careful one, remember.

LIZ
Yeah, right.

They laugh lightly as they make their way to the van.

Seated in the van are NICK JACKSON, Harold's 15 year old
son, who already looks like his dad and has his athlete's
build, and CONNIE JACKSON, his 8 year old daughter. She
would be the apple of any proud father's eye.

CONNIE
Hi, daddy. Hi, uncle Kyle.

Harold leans in and gives her a kiss.

HAROLD
Hi, pumpkin.
(to Nick)
Hey, Nick. Why don't you tell Kyle
the news?

NICK
Oh, yeah. I made junior varsity.

KYLE
No shit. That's great.

CONNIE
Mom, uncle Kyle said a swear.

LIZ
Don't worry, Connie, I'm sure
he'll wash his mouth out when he
gets home.

KYLE
Absolutely.
(to Nick)
You want me to help you with that
mid-range jump shot?

14.

NICK
Yeah.

HAROLD
Please, like I'm gonna let some
white boy teach my son basketball.

NICK
Dad, you played football. You
can't ball.

HAROLD
(defensively)
Can too, I got mad skills.

Kyle laughs as he helps Harold get his luggage into the back
of the van.

HAROLD
There's plenty of room.

KYLE
Nah, I live in the opposite
direction.

LIZ
Oh, don't be so polite. We don't
mind at all.

KYLE
No, it's fine. I have someone
picking me up.

HAROLD
Yeah. What's her name this week?

Kyle grins as Harold closes the back of the van. Harold and
Liz climb into the van. Harold speaks to Kyle through the
driver's side window.

HAROLD
We're still on for tomorrow night,
right?

KYLE
Absolutely. Lookin' forward to it.

LIZ
Kids, say bye to Kyle.

CONNIE
Bye, uncle Kyle.

15.

NICK
Later.

HAROLD
See ya, bro.

Harold and Kyle bump fists.

NICK (O/S)
Dad, you're so lame.

Kyle laughs as he watches them drive off. Once the van is
out of sight, Kyle spots an oncoming taxi and hails it.

INT. NIGHTCLUB - NIGHT

Harold, Liz, and Kyle are seated around a table in a
semi-dark nightclub. They are joined by a group of friends,
male and female, all drinking and enjoying themselves. Dance
music pumps out overhead while club patrons groove on the
floor.

Harold, as usual, has everyone in stitches as he recounts
one of his many tales.

HAROLD
...and the guy's totally
surprised. He jumps up, buck
naked, and I'm thinking, great, at
least he doesn't have a weapon.

KYLE
(cutting in)
At least not a very big one.

Everyone laughs.

HAROLD
So we tackle the guy, and we're
holding him on the bed trying to
cuff him. Well, the girl he picked
up, she starts wailing on Kyle.

FEMALE FRIEND 1
(sympathetically)
Poor baby.

KYLE
(grinning)
You have no idea.

16.

HAROLD
You got that right. Kyle's tryin'
to help me, but this girl's
standin' on the bed, wailing on
him...

Harold starts to giggle in anticipation of what is coming
next.

HAROLD
...Kyle looks over, and he sees
something poking out at him...

Harold begins to laugh uncontrollably. As the realization
sinks in, everyone at the table follows suit.

HAROLD
(laughing)
The guy on the bed sees it, too,
and he loses it. He flings us both
off him, like he's suddenly got
superhuman strength, and he starts
wailing on this "woman" he picked
up.

Everyone is in stitches over this.

KYLE
We got the guy, though.

HAROLD
Yeah, Kyle always gets his man.

More laughter.

KYLE
And his man's man.

Kyle takes a drink, watching as the laughter dies down. He
sets down his glass and stands up.

KYLE
If you guys will excuse me, I've
gotta get a refill.

The group watches Kyle for a moment as he walks away. One of
the male friends at the table speaks up.

MALE FRIEND 1
(to Harold)
So what's his story, anyway? I
heard some things about him.

17.

Harold takes a drink before replying.

HAROLD
Whatever you heard, my friend, is
probably truer than you think.
I've run into some bad people in
my day, and there's no one even
remotely close to Kyle.

Another woman at the table speaks up.

FEMALE FRIEND 2
Is he...dangerous?

HAROLD
Hell, yeah.

LIZ
(offended)
Harold!

HAROLD
(grinning)
Okay, calm down. Yes, he is
dangerous, but not to you or I.
Kyle is also one of the most level
headed people I've ever met. I
wouldn't work with him if he
wasn't.

LIZ
We love him to death, he's like a
member of the family.

MALE FRIEND 1
That's gotta be so wierd. How does
he handle being, like, 2 different
people?

Harold looks toward the bar, where Kyle is speaking to an
attractive woman. He grins.

HAROLD
He manages pretty well. But
sometimes, I think it does bother
him. You know, the job. I keep
reminding him, it's for a higher
purpose.

MALE FRIEND 1
Does he listen?

18.

HAROLD
I think so. It's just...he's so
good at what he does, and I'm not
sure he likes that part of
himself. He's been training
himself long before he joined the
agency. Martial arts from the time
he was a kid. Navy Seal. And some
shit in Asia after high school
that I've never even heard of. All
of that adds up to one serious
player.

LIZ
Player is right. That's his other
problem. I keep telling him, if
he'd meet a nice girl, everything
will look better.

FEMALE FRIEND 2
I can't believe that a biscuit
like that can't find a girl.

Almost in unison, all of the women at the table look toward
where Kyle is standing.

HAROLD
Uh, ladies?

BAR

Kyle is still talking to the woman at the bar.

KYLE
You wanna get out of here?

INT. APARTMENT - NIGHT

Kyle lies in bed, looking up at the ceiling. The girl from
the club lies beside him, sleeping. He looks at the clock on
the table beside him. It reads 3:15.

Quietly, Kyle gets up and puts on a robe, and walks out to
the balcony.

In the distance is the Capitol building. He appears to be
looking past it, though, a look of longing on his face.

EXT. MAIN STREET - DAY

19.

SUPER: BOOTHBAY HARBOR, MAINE

A man in his sixties casually walks along the main street
sidewalk running through town. He is JOHN BARRETT, early
60's but could pass for 50.

A few cars pass, but otherwise things are peaceful. A few
shops line the street, but there are none of the chain
stores or large buildings that are found in big cities.

John stops in front of a storefront and enters.

INT. STORE - DAY

John enters the store to the ringing of the old style bell
above the door. The place is almost bursting at the seams
with old and new books lined on shelves and displays. John
looks around for a moment.

JOHN
(calling out)
Hey Pete! You here?

PETE, the store proprietor, enters from the back of the
store. He is around John's age, but not quite as youthful in
appearance.

PETE
Mornin', John. I got your book
here.

Pete walks behind the counter and pulls a book out from
underneath. It is an old book on woodworking. John picks it
up and looks at the cover.

JOHN
That's fantastic. What do I owe
you?

PETE
Twenty bucks'll cover it.

John hands him the money, still admiring the book.

PETE
You know, there's lots more
efficient ways to do that stuff
now.

JOHN
You mean easier, and you know what
I think about easier.

20.

PETE
(grinning)
That I do.

John smiles in return as he turns to leave.

JOHN
Have a good one Pete. And thanks
again.

PETE
Thank you. And say hi to Hilda for
me.

EXT. ALLEY - DAY

John slowly walks back along the same sidewalk, flipping
through his book as he goes.

Passing an alley, John's attention is suddenly caught by a
GROAN coming from within. He looks into the alley to see a
man doubled over, seemingly in pain.

JOHN
Hey, you okay?

ALLEY GUY
(groaning)
I'm...not feeling well...

The man lurches forward, just barely catching himself on the
alley wall. John steps into the alley to offer assistance.

JOHN
Whoa, let me help you there.

As John tends to the man, a second man steps into the alley,
blocking the entrance. The man has a menacing expression on
his face.

Sensing a set-up, John steps away from Man #1, who has
miraculously recovered. There is a CLICK sound, as the man
withdraws a switchblade knife. The second man is also
holding a knife.

ALLEY GUY
Sorry, pal, it's nothing personal.

Man #1 steps in to attack. He has clearly underestimated
John, who cuts the distance between them blindingly fast. He
slams the man into the wall, at the same time twisting the

21.

man's arm so the the knife is driven into his chest upon
impact. The man drops like a stone.

The seemingly harmless 60 year old man is gone for the
moment, replaced by a coldly efficient warrior. John pulls
the knife from the fallen man's chest, never taking his eyes
off of the other assailant.

Man #2 assumes a more cautious stance. They take turns
taking swipes at one another, but it is only a matter of
time. The assailant oversteps on his attack, and John
capitalizes. Two knife strokes seal his fate, as man #2 also
falls.

John looks at his handiwork for a moment, and in that moment
the warrior is gone once again. He drops the knife to the
ground as reality sets in. Moving to alley entrance, John
suddenly stops, staggering for a moment as if dizzy. He puts
a hand to the side of his head before dropping to one knee.
He then collapses face first on the ground.

EXT. STREET - DAY

A woman rushes along the same sidewalk travelled earlier by
John. She is HILDA BARRETT, late-fifties, but like her
husband she could pass for much younger.

Hilda approaches the crime scene, but is stopped by an
officer on crowd control.

YOUNG OFFICER
Sorry, m'am, no one allowed past
this point.

HILDA
I'm Mrs. Barrett, I have to see my
husband.

As if on cue, SHERIFF TOM PARKER calls out from a short
distance away.

SHERIFF
You can come on over, Hilda.

The young officer gets a nod from the sheriff and allows
Hilda to pass.

John sits at the back doors of an ambulance, feet dangling
out. Hilda rushes to him.

HILDA
John, what happened? Are you okay?

22.

John makes a weak attempt at looking annoyed by the concern.

JOHN
Take it easy, I'm fine.

SHERIFF
He seems okay, Hilda, but I'd
still like him to go to the
hospital for observation.

JOHN
Tom, I'm not going to any
hospital. I'm fine, everyone's
making a big deal out of nothing.

SHERIFF
Alright, calm down. God, you're as
stubborn as ever, John.

JOHN
(defiantly)
Damn straight.

HILDA
Tom, can I take him home if I have
a nurse coming by later?

Tom eyes her suspiciously for a moment before relenting.

SHERIFF
All right, fine by me. But you get
him to a hospital if he gets as
much as a fever.

Tom motions to a paramedic close by.

SHERIFF
(to paramedic)
Can you help Mr. Barrett get to
his car.

JOHN
I can walk, I don't need anyone
carrying me.

HILDA
John, let the man do his job.

John shrugs his shoulders in defeat. The paramedic grins as
he helps him get out of the ambulance.

Tom takes Hilda aside for a moment.

23.

SHERIFF
I'm still gonna have to talk to
him. Can I come by later?

HILDA
(hesitantly)
If you need to, of course. Should
I be worried about anything?

Tom looks toward the alley. A pair of gurneys, complete with
body bags, are being rolled out. Hilda gets the point.

HILDA
I'll see you later, then. And
thank you, Tom.

Tom nods as he watches her walk off.

EXT. PARK - DAY

Kyle, jogging with Harold, answers his ringing cell phone.

KYLE
(into phone)
Barrett.

Kyle slows down, coming to a complete stop. Harold notices
and also stops, seeing the look of concern on Kyle's face.

KYLE
(into phone)
...slow down...when?

INT. BARRETT HOUSE - DAY

Sheriff Tom sits at Hilda's kitchen table. She pours him a
cup of tea.

SHERIFF
He was lucky today. A man half his
age probably wouldn't have been
able to take both those guys.

HILDA
That's John, too stubborn to admit
he's outnumbered.

Tom watches her a moment, seeing the concern on her face.

SHERIFF
What is it?

24.

HILDA
(distantly)
You know, you say I do, and you
mean it forever, but it's not
forever, is it?

Hilda takes a sip of her tea, pausing just a moment before
continuing.

HILDA
He started getting headaches about
a year ago. I finally convinced
him to see the doctor, you can
imagine how difficult that was.

Tom smiles in agreement.

HILDA
Anyway, they did all the usual
tests, and that's when they found
the tumor in his brain.

Tom is speechless for the moment.

HILDA
That's likely why he passed out
today.

SHERIFF
Can...are they doing anything?

HILDA
There's not much they can do at
this point. Surgery's too risky,
and treatment only does so much.
He told me he wants to stay home
now, and enjoy his last...

Unable to finish, Hilda gets up from the table. She stands
by the sink, her back to Tom, taking a moment to compose
herself.

HILDA
I'm sorry.

SHERIFF
It's okay.

HILDA
Anyway, that's what we're gonna
do, carry on like normal and enjoy
what time we have.

25.

SHERIFF
Maybe that's the smartest thing to
do.

Tom takes another drink before getting up from the table.

SHERIFF
Well, I've taken enough of your
time. John gave me all I need for
now.

Tom looks down the hall, seeing John sitting in another
room, watching tv.

SHERIFF
Should I go see him before I
leave?

HILDA
Oh, I wouldn't bother. He's
resting now, too much excitement.

SHERIFF
Okay. You'll let me know if you
need anything at all?

HILDA
You're kind. Thank you.

Tom nods to her on the way out.

SHERIFF
Thanks for the tea.

Hilda watches Tom as he leaves. After a moment, she turns
and looks down the hall. John is still seated in the living
room. She watches for a moment, then turns her attention to
cleaning up in the kitchen.

LIVING ROOM

John is seated in a recliner in the living room. The tv is
on, but he seems to be staring into space.

FLASHBACK

A village in Africa. Women and children are running and
screaming. Men brandishing machetes march through the
village, swinging their weapons like madmen.

26.

PRESENT

A scream echoes in John's memory. He continues to look
blankly ahead, a tear running down his face.

INT. OFFICE - DAY

Kyle is collecting some things from his desk. He has a
travel bag slung over his shoulder. Harold sits at his own
desk on the opposite side of the room.

HAROLD
You sure you don't want me to
come? I've got the time.

KYLE
No, thanks man. I'll be okay.

HAROLD
Yeah, your old man's a tough old
bugger. I'm sure he's fine.

As they talk, a group of men in suits walks by. One of the
men, JACK McCORMACK, breaks from the group and enters the
office.

JACK
Afternoon, gentlemen.

Harold stands up to greet him.

HAROLD
Senator McCormack.

JACK
Please, call me Jack. I'm on your
turf, after all.

Jack shakes hands with Harold.

JACK
I heard about Bangkok. Tough
break. You'll get him sooner or
later, though.

KYLE
What brings you to our neck of the
woods, Sen...I mean Jack?

27.

JACK
Oh, Intelligence Committee
business, mostly budgetary. How's
your father?

KYLE
(surprised)
Recovering. How'd you know about
that?

JACK
(seriously)
I'm on the Senate Intelligence
Committee, it's my business to
know.

Jack gives him a serious look.

JACK
(smiling)
I'm kidding. I know your father
from way back, in our military
days.

KYLE
No shit. I didn't know that.

An aide comes to the door and motions to Jack.

JACK
Well, that's my cue. Listen, you
give my best wishes to your
parents, okay?

He shakes Kyle's hand, then turns toward the door, nodding
to Harold on his way out.

JACK
Jackson.

Kyle and Harold watch as the Senator departs with his group.

HAROLD
That was fun.

KYLE
Why do I always feel like taking a
shower when those guys leave?

28.

HAROLD
Because you're paranoid, just like
your old man. Those guys are a
necessary evil, and we just have
to play their game.

KYLE
Yeah.

Kyle checks his watch.

KYLE
I gotta run. I'll call you in a
couple of days.

HAROLD
Say hi to the folks for me.

Kyle exits.

EXT. AIRPORT - DAY

Kyle, carrying luggage, walks toward the airport entrance as
a cab pulls away. The door says DEPARTURES.

Two men, seated in a car across the street, watch as Kyle
disappears into the airport. The man in the passenger seat
speaks to a third person, seated in the back.

AIRPORT MAN
Okay, he's on the move.

The man glances in the rearview mirror. He see the person in
back from the neck down, but not his face, as a cigarette
passes into view.

AIRPORT MAN
Are we following?

He turns around, looking directly at Chen.

CHEN
No, let him go. For now.

The car slowly pulls away from the curb.

EXT. BARRETT HOUSE - DAY

Hilda, looking out her kitchen window, sees a car pulling
into the yard. She goes out into the

29.

YARD

in time to see Kyle getting out of the car. She goes to
greet him.

KYLE
(cheerfully)
Hey, ma.

They hug for a moment, before Hilda pulls away to get a
better look at her son.

HILDA
Let me look at you. You taking
care of yourself? Eating well?

KYLE
(laughing)
I'm fine. How've you been?

HILDA
I'm better now that you're here.
Come inside, we'll get you
something to eat.

Kyle follows her inside.

INT. KITCHEN - DAY

Kyle sits across the table from his mother. Part of a
sandwich and a half-empty cup of coffee sit in front of him.

KYLE
So how long?

HILDA
Who knows. Maybe months, maybe
weeks.

KYLE
And he won't even consider going
back for treatment?

HILDA
Believe me, I tried to convince
him to go back, but you know your
father.

Kyle sighs and sits back in his chair. A moment of silence
passes.

30.

HILDA
Why don't you go talk to him now?
He's been resting long enough.

KYLE
Sure. How's his mood been?

HILDA
Depends on the day.

KYLE
Well at least that hasn't changed.

Hilda smiles as Kyle exits the kitchen.

INT. LIVING ROOM - DAY

Kyle leans against the doorway leading into the living room.
His father is stretched out on a recliner with his eyes
shut. The tv is on, but the volume is low.

KYLE
(quietly)
Dad? You awake?

John stirs for a moment before opening his eyes. Recognition
instantly dawns on him.

JOHN
(pleased)
Kyle. You finally made it.

John stands up and gives his son a hug.

KYLE
How you feelin'?

JOHN
Ahh, some good days, some not so
good. You know your mother, she'll
worry herself sick over everyone
else before taking care of
herself.

KYLE
She seems to be managing okay.

JOHN
Sure she is. She's the together
one, just don't tell her I said
that. C'mon, let's sit down.

31.

Kyle sits on the couch, while his father goes back to the
recliner.

JOHN
So what's new? You got a girl yet?

KYLE
Nothing serious. The job keeps me
pretty busy.

JOHN
You need to have a life, you know.
Trust me, you'll regret it.

KYLE
I hear you. I'm workin' on it.

JOHN
How is work? They got you doing
anything exciting at that agency
yet?

KYLE
Oh...nothing too exciting. Some
project work, systems stuff.

JOHN
Desk job, huh?

KYLE
(lying)
Yeah, pretty much.

JOHN
Nothing wrong with honest work.
Beats getting your hands dirty.

Kyle rolls his eyes, but John doesn't seem to notice.

KYLE
So mom says you're done with
treatment.

JOHN
Yep. Enjoy the days you have. You
should listen to me on that one.

KYLE
Sure, pop.

32.

EXT. STREET - DAY

A car slowly rolls to a stop in front of the Barrett house.
The driver notices the house number, makes a note of it. He
also records the license plate number of Kyle's car.

A police car comes into view in the distance. Seeing it, the
driver slowly pulls away, continuing down the street.

INT. LIVING ROOM - DAY

Kyle and John are now in the middle of a heated discussion.

JOHN
I just don't know why you had to
go and work for the government,
that's all.

KYLE
I'm sorry, dad, but just because
you have major trust issues,
doesn't mean I have to share them.
I like what I do, shouldn't that
count for something?

JOHN
Yes, of course. I just don't want
you getting taken advantage of. I
know how these government guys
work. I dealt with them when I was
in the military, and none of 'em
can be trusted.

KYLE
Things change, pop. I was in the
military, too, remember, and I got
along just fine. I would think
you'd be happy that I followed in
your footsteps.

JOHN
I am, but it doesn't mean I stop
worrying about you. Can't a father
want what's best for his son?

Kyle appears ready to respond, but he is cut short by Hilda
entering the room.

HILDA
Look, if you boys don't play nice,
I'll have to separate you.

33.

John and Kyle grin at one another, the mood now broken.

KYLE
Don't worry, ma, we've been having
this debate for years now.

JOHN
And I keep winning.

HILDA
Well, wrap it up soon. I'm
starting dinner.

Hilda exits.

KYLE
How'd mom react to what happened?
In the alley?

JOHN
Oh, she was fine. She's more
worried about...(points to his
head)...and besides, she knows I
was a soldier. That's the thing
about training, it comes back when
you need it.

KYLE
Yeah, I'd say so.

John attempts to change the channel on the tv, but nothing
happens.

JOHN
Dammit, I hate this new remote.
Every time I touch it I hit
something new. I was happy with
the old one, but no, your mother
had to get the new fancy one.
What's the good if you can't
change the damn channel?

Kyle laughs and takes the remote.

KYLE
You just love technology, don't
you.

Kyle accesses the menu function and makes a few changes. He
hands the remote back to his father, who changes the channel
no problem this time.

34.

JOHN
Smart guy. Let's go eat.

INT. DINING ROOM - NIGHT

Kyle, John and Hilda are eating dinner at the dining room
table.

KYLE
I didn't know you knew Senator
McCormack.

John and Hilda are caught noticeably by surprise.

JOHN
Oh, uh, Jack and I go way back. We
were in the military together.

KYLE
Yeah, he mentioned that. He asked
me to give you his best.

JOHN
He did, huh?

John and Hilda look at one another, as if hiding something.
Kyle takes notice but says nothing.

HILDA
Who wants desert?

Hilda gets up, breaking the mood.

INT. LIVING ROOM - NIGHT

Hilda, now in her night robe, drinks a glass of water in the
kitchen. She then walks down the hall to the

LIVING ROOM

where she sees both Kyle and John, fast asleep and snoring,
in front of the tv. She smiles and shakes her head.

INT. BEDROOM - NIGHT

Kyle lies awake in his old bed, looking up at the ceiling.

INSERT ON CLOCK - 2:45

At the same time, in

35.

JOHN AND HILDA'S ROOM

John also lies awake. Hilda sleeps quietly beside him.

INT. BEDROOM - DAY

Kyle's bed is empty.

INSERT ON CLOCK - 5:30

Kyle is on the floor doing pushups.

Montage
- Kyle doing pull-ups on a chinup bar
- Kyle performing martial arts techniques
- Kyle stretching

Above Kyle's old bed is a pair of Samurai swords mounted on
the wall. He takes one down, and as he removes the blade
from the sheath, it makes a RINGING noise, which he appears
to enjoy.

EXT. PARK - DAY

Kyle is running in the park. No one is around yet, as the
sun is still low in the sky.

Turning a corner on the path, Kyle nearly runs head first
into an oncoming jogger. They pull up quickly to avoid a
collision.

KYLE
Hey, sorry about...

Kyle instantly recognizes the other jogger. She is HEATHER
BRODY, somewhere around Kyle's age and very attractive.

KYLE
Heather?

HEATHER
Kyle. Oh my God.

They hug.

KYLE
Wow, it's great to see you.

LATER - SAME

Kyle and Heather are now walking together.

36.

HEATHER
I couldn't believe when your mom
told me. I mean, your dad's always
been so full of life, I can't
imagine anything different.

KYLE
I know what you mean. That's the
way I'll always remember him. At
least, I hope so.

They walk in silence for a moment.

HEATHER
What happened with your dad the
other day, anyway? Everyone's
talking about it.

KYLE
No surprise. I've gotta talk to
the sheriff, see if he's got
anything yet. It just doesn't make
sense.

They approach the parking lot.

KYLE
Well, I should get back.

HEATHER
Yeah, me too. Hey, are you free
later? Maybe we can get a drink. I
actually need to talk to you.

KYLE
Sure. I'll give you a call.

HEATHER
Good. I'll see you then.

Heather gets into her car.

KYLE
Okay. Bye.

INT. EXAMINING ROOM - DAY

C/U on the face of one of John's attackers. The dead eyes
are closed, and the skin is already turning blue.

The body, partly covered by a sheet, lies on a table. Kyle
stands beside the table with the sheriff.

37.

SHERIFF
The cuts were precise, and lethal.
your father knew what he was
doing.

KYLE
I guess his military training came
back when he needed it.

SHERIFF
Yeah. Remind me to never piss off
your old man.

Kyle grins as the sheriff looks through the report.

SHERIFF
Anyway, I've forwarded everything
I have to the FBI, CIA, Interpol.
Hopefully someone can ID these
guys.

KYLE
So you think this wasn't just a
mugging.

SHERIFF
No, these guys are pros. But you
already know that, don't you.

KYLE
Yeah, I suspected.

Kyle takes another look at the bodies.

KYLE
Let me know if you find anything.

SHERIFF
I will.

Kyle exits.

EXT. STREET CORNER - DAY

PARIS

Throngs of people make their way across a Parisian street,
fighting the mid-day rush. The street runs past a tasteful
looking hotel.

An EXPLOSION rocks the hotel, blowing out windows on the
upper floors. A large fireball shoots out into the air.

38.

INT. LIVING ROOM - DAY

John, sitting in his recliner, watches the news coverage of
the Paris explosion. Hilda enters.

HILDA
I was thinking we could go out for
dinner tonight.

No reply.

HILDA
Is that okay with you?

Still no reply. Hilda puts her hand on John's shoulder.

HILDA
John?

John suddenly looks up, as if awakened from a dream.

JOHN
Huh? Oh, sure. Dinner sounds good.

John goes back to watching the report. Hilda looks at the tv
and sees footage of bodies being taken out on stretchers.

INT. HOTEL SUITE - DAY

Several Africans, all dressed in expensive suits, are
mingling in the living area of a posh hotel suite.

A large, imposing man, ADEWALE IDIBIA, stands amid a group
of people, having a drink. A young man approaches and hands
him a cell phone.

IDIBIA
(into phone)
This is President Idibia.

Idibia listens for a moment. He motions to the group to
excuse himself and walks to a private corner of the room.

IDIBIA
You are sure he wasn't there?
(listens) I don't care, I want him
found. (listens) Do it. And I
don't want any more mistakes.

Idibia hangs up, looking around the room suspiciously.

39.

INT. RESTAURANT - DAY

Kyle, seated in a classy restaurant, looks across the table
at Heather.

HEATHER
I thought about leaving a few
times, but this is home. I don't
know what I'd be leaving for.

KYLE
I don't think there's anything
wrong with that.

HEATHER
Yeah, but you live in DC. Could
you really see yourself living
here again?

Kyle looks out the window at the scenery.

KYLE
I don't know. Maybe there is
something to this kind of life.

HEATHER
Ha! Mr. Jet-setter. You wouldn't
last here for more than a month. I
know you, Kyle, your feet would
fall asleep.

KYLE
(grins)
Got me all figured out, huh?

HEATHER
I think I do, which is why you and
I could never make an honest try
at it.

KYLE
If I remember correctly, you broke
it off the last time.

HEATHER
Only because I knew you'd never
settle down.

KYLE
I offered to take you with me.

HEATHER
Is the offer still open?

40.

Kyle eyes her suspiciously. After a moment, she cracks a
smile, causing Kyle to smile back.

KYLE
You almost had me there.

HEATHER
Stick around, I might surprise you
some more.

A moment passes as they take a drink.

HEATHER
Anyway, there is something I
really need to talk to you about.

As Heather speaks, a COMMOTION begins at a table across the
room. Two men begin arguing heatedly.

RESTAURANT MAN 1
...shut your mouth, or I'll shut
it for you!

RESTAURANT MAN 2
Oh, you're a real big man, aren't
you, asshole!

The men are now standing as they argue. Heather turns to
look, and sees restaurant staff trying to diffuse the
situation.

Kyle's eyes are darting around the dining room. He notices a
waiter approaching carrying a tray in one hand, his other
hand under a cloth napkin on top of the tray.

INT. POLICE STATION - DAY

Sheriff Parker takes an incoming fax off the machine. As he
reads it, his eyes grow wide with concern.

INT. RESTAURANT - DAY

The restaurant patrons are still preoccupied with the
argument going on.

Kyle watches Heather, still engrossed, for a split second.
The approaching waiter passes.

41.

There is the slightest movement, and Kyle springs into
action, striking out at the waiter. The tray is knocked
over, exposing the man's other hand holding a silenced
revolver.

Kyle is on the man immediately, taking his gun hand in a
lock and flipping the man completely over. The gun comes
loose. Kyle grabs it.

All hell breaks loose. Heather jumps back, startled, as Kyle
kicks the man in the head, knocking him out.

The arguing men are now approaching, drawing weapons. Kyle
FIRES two shots, hitting the first man and dropping him. The
other patrons begin to scream and dive for cover.

Man #2 levels his gun to fire. Kyle dives, taking Heather
with him, behind a table just as gunfire EXPLODES around
him.

Kyle returns fire, taking down Man #2.

KYLE
C'mon, we gotta get outta here!

HEATHER
(in shock)
Wha...what's happening!

Kyle grabs her, pulling her with him as he dashes for the
door to the

KITCHEN

As they enter, more GUNFIRE erupts from two assailants in
the kitchen. Kyle and Heather take cover behind a steel
island in the center of the room.

The gunfire stops. Assailant #1 motions silently to his
partner. The men move quietly to either end of the counter,
hoping to pin Kyle down.

Kyle, crouched behind the island, motions for silence.

A hand reaches up over the island, picking up a large
butcher knife.

Assailant #1 comes to the end of the island. Kyle springs
up, surprising him, and drives the knife into his back.

Assailant #2 FIRES, hitting his partner, but missing Kyle,
who has already moved.

42.

Kyle hurls the knife, hitting Assailant #2 in the chest,
dropping him.

Kyle looks around. Heather still cowers behind the island.

KYLE
Let's go.

EXT. BARRETT HOUSE - DAY

The phone rings in the kitchen, but no one is there to pick
it up. Out in the

YARD

Hilda and John work at groundskeeping.

The mysterious car rolls up the street again, coming to a
stop a few houses away on the opposite side. Three men get
out and cross the street.

JOHN

looks around, as if something is on his mind. He walks to
where his wife is working.

THE INTRUDERS

slink onto the property on the other side of the house,
pulling masks over their heads and taking out their weapons.

Silently, they split up, two moving around the back of the
house and the third going around front.

The two intruders in back turn the corner, expecting to find
John and Hilda. They find the yard empty.

INTRUDER #1
(quietly)
Over there.

He points to a shed in the yard. His partner approaches it
silently, reaching out to open the door.

A BLAST tears through the door, sending the man flying
backward, his lifeless body hitting the ground.

John KICKS the door open, pumping a shotgun.

43.

JOHN
(defiantly)
I've got more of this, you sons of
bitches!

Intruder #1 rushes for cover behind some trees.

The other man, sneaking around the front, prepares himself
to attack. A SIREN suddenly rings out. Surprised, both men
suddenly retreat.

As the car screeches away, two police cars approach in the
distance, lights flashing.

INT. LIVING ROOM - DAY

John, Hilda, Heather are seated in the Barrett's living
room. Kyle, standing, reads the fax from Sheriff Parker,
while two deputies stand guard.

SHERIFF
As soon as I read it, I headed out
here.

KYLE
Dad, what do you know about this?

JOHN
What makes you think I know
anything about it?

KYLE
Are you hearing what I'm telling
you? The guy from the alley,
ex-CIA. Killed in action five
years ago. Any idea how he shows
up now trying to kill you?

SHERIFF
John, these are professionals, and
you know it.

John remains silent.

SHERIFF
All right, I think we all need to
take a break. I've got men posted
here and in the yard. You should
all stay put for now.

44.

HEATHER
Um, Sheriff, can I speak to you
alone for a minute?

The Sheriff takes a look around, then motions for Heather to
step into the other room. After a moment, they return.

SHERIFF
Kyle, I want you to take Heather
back to her place to pick up some
things. I'll have a car follow
you.

Kyle looks at Heather, who simply looks away.

INT. CAR - DAY

Kyle drives while Heather sits quietly.

KYLE
You okay?

HEATHER
Don't talk to me...just yet.

Kyle turns his attention back to driving.

INT. HEATHER'S HOUSE - DAY

ANNE BRODY, Heather's mother, hugs her as she enters the
living room.

ANNE
Oh my god, I was so worried.

HEATHER
I'm okay, mom.

ANNE
These police officers showed up at
the door, and said something about
a shooting, and I didn't know what
to think.

HEATHER
I'm fine. Kyle was with me.

Anne hugs Kyle.

ANNE
It's good to see you, Kyle.

45.

KYLE
Hi, Anne.

HEATHER
Mom, can you go get him? And maybe
give me and Kyle a minute?

ANNE
Okay.

Anne exits, leaving Kyle and Heather alone. Heather stands
silently in front of Kyle for a moment, before suddenly
SLAPPING him across the face.

KYLE
Well it beats the silent
treatment.

HEATHER
(angrily)
What the hell was that in the
restaurant?

KYLE
Those guys were going to kill me.
You, too. What did you want me to
do?

HEATHER
I don't get it. How is it
possible? You're, like, a tech
support guy. Aren't you?

Kyle waits a moment, before letting out a sigh.

KYLE
I've been in covert operations for
the past ten years.

Heather is dumbfounded.

HEATHER
You're a...a spy?

KYLE
Yeah, sort of. Mostly
anti-terrorism stuff.

HEATHER
What about your parents? Do they
know?

46.

KYLE
No, they think I'm a tech support
guy.

Heather paces for a moment, mumbling.

HEATHER
No wonder you never stayed around.
I can't believe I didn't see it.

KYLE
Look, it's not something I'm
always proud of, but it's
something that has to be done. And
I've never been good at anything
else.

HEATHER
Okay. So what now?

KYLE
Now, we get back to where it's
safe. That is, if you'll come with
me.

Heather watches him for a moment.

HEATHER
Okay, I'll come with you. But
there's something I have to show
you, first.

As if on cue, Anne comes back into the room, accompanied by
a toddler. She holds the boy's arms, helping him walk.

KYLE
(surprised)
Yours?

Heather looks at her mother, then back at Kyle.

HEATHER
Ours.

Kyle is speechless for once.

INT. LIVING ROOM - NIGHT

Everyone is back in the Barrett's living room. Anna and
Hilda sit on the couch, playing with the young boy, while
John watches on from his recliner. The deputies still stand
guard.

47.

Kyle, in a sitting room just off the living room, talks
privately with Heather.

KYLE
Why didn't you tell me?

HEATHER
I don't know. You were always
coming and going, and I didn't
want to force you into doing
something you'd resent me for.

KYLE
What makes you think I'd do that?

HEATHER
Come on, Kyle. You didn't want any
part of life here. I don't hold
that against you, but it's the
truth.

KYLE
Well, maybe things are different
now.

HEATHER
I thought so. That's why I decided
to tell you.

They sit silently for a moment.

HEATHER
I'm sorry I was so hard on you
earlier. You saved my life.

Kyle looks her in the eye for a moment, before leaning in
and kissing her. She doesn't resist.

John appears at the door, breaking the mood.

KYLE
Oh, hey dad.

JOHN
I know why they're trying to kill
us.

INT. SITTING ROOM - NIGHT

Kyle sits, holding Heather's hand, while John tells his
story.

48.

JOHN
Remember, it was a different time.
The cold war was still raging, and
Uncle Sam spared no expense when
it came to stemming the red tide.

KYLE
You weren't regular forces, were
you?

JOHN
I don't know what you'd call us.
We had unlimited resources and no
one to answer to. Our orders were
given verbally, so there'd be no
records.

FLASHBACK

A much younger John, wearing jungle fatigues, carries an
M-16 through a rain forest. Another man, similarly dressed
and the same age, walks beside him.

JOHN (V/O)
At first, it was me and Jack
McCormack.

PRESENT

HEATHER
The Senator?

JOHN
Yeah, the same one Kyle told you
about. But don't try finding any
of this on record. This was before
the internet, or google, or
whatever the hell people use now.

FLASHBACK

John and Jack are joined by two more jungle ready warriors,
one white, one Asian, all around the same age.

JOHN (V/O)
There were others like us. Shinzo
Takamura was a young hotshot from
Tokyo. Japan was afraid of the
rise of Communist China, so he had
pretty much the same free reign we
had. Most arrogant son of a bitch
I ever met. Sure could fight,
though.

49.

Shinzo takes on three opponents, demolishing them with hands
and feet.

JOHN (V/O)
And then there was Colin Reicker.
He was from South Africa. Pretty
much a freelancer, but you could
count on him getting you whatever
you needed. And did he like the
ladies.

Colin, sitting in a bar, has women draped around him,
obviously enjoying his company.

PRESENT

JOHN
There were others who came and
went, but it was Jack and me who
ran things. We were keepin' the
world safe, or at least, that's
what I thought.

KYLE
So what happened?

JOHN
You happened, that's what. I found
out your mother was pregnant, and
that's when I decided to quit
while I was ahead.

KYLE
So why are these guys trying to
kill us?

JOHN
I'm gettin' to it. Anyway, Jack
talks me into helping him one more
time before packing it in. Said
we'd get a nice bonus for it. I
had a new family on the way,
there's no way I could turn it
down.

FLASHBACK

John and Jack sit in a smoky back room, speaking to an
imposing African man. He is making an impassioned plea for
help.

50.

JOHN (V/O)
We met a man in Africa, Adewale
Idibia. He was head of his
country's military, and he was
planning a coup.

PRESENT

KYLE
Did you help?

JOHN
Yeah, but it wasn't for the money.
Idibia's people had just elected a
new president, I think he was head
of "The People's Socialist Party",
or something like that. Idibia
said Socialist, but you can guess
what Jack heard.

HEATHER
Communist.

JOHN
That's right. Jack was convinced
that the new president was being
funded by the Soviets, and I
bought right into it.

KYLE
So Jack was wrong.

JOHN
Dead wrong. To the new president,
Socialist meant social programs,
giving people a say in their
government. Problem was, I didn't
figure it out until it was too
late.

John looks off into space for a moment.

JOHN
So we did it. We helped take out
the new president, and that paved
the way for Idibia to assume
power.

KYLE
When did you know it was a
mistake?

51.

JOHN
About a year later. I had gone
home to my new family, Shinzo went
back to Japan, and Jack, well, he
had bigger ambitions.

HEATHER
What about the other guy, Colin?

JOHN
He disappeared, or at least that's
what I thought. Shortly after Kyle
was born, I receive this package.
No return address or anything.
Just a bundle of photos, and a
note.

KYLE
What'd it say?

JOHN
It said "Look what we've done",
and it was signed Colin.

KYLE
Dad, which country was it?

JOHN
(vacantly)
Malwanda. In between Somalia and
Kenya.

Kyle thinks for a moment.

KYLE
He's coming here.

HEATHER
Who?

KYLE
Idibia. He's president of
Malwanda. He's addressing the UN.

Kyle looks at his father.

KYLE
But you already knew that, didn't
you?

John gets up and goes to the window, looking out as he
speaks.

52.

JOHN
I never considered the
consequences of my actions, and
now I have to live with them.

He turns back to face Kyle and Heather.

JOHN
The photos were of "Political
Detainees", or at least, that's
what Idibia called them. Anyone
loyal to the deposed president was
rounded up and...dealt with. And,
of course, they all belonged to
the same ethnic group.

HEATHER
Wait a minute. Are you
saying...genocide?

JOHN
Not at a level that the rest of
the world noticed, but make no
mistake, Idibia is a tyrant. And
he got away with it under the
guise of keeping the communists
out. Nowadays, it's a different
line. He brands his enemies
terrorists.

KYLE
That's what he's speaking to the
UN about.

JOHN
He's positioned himself as the
terror watchdog for the region.
It'd be ironic, if it weren't so
sickening.

John sits back down.

JOHN
When I saw that Idibia was coming
here, I knew I had to do
something, so I emailed the
pictures to Jack.

HEATHER
But wouldn't he want to help? I
mean, he's a Senator.

53.

JOHN
Sure, but like most politicians,
he's got ulterior motives.

KYLE
He wouldn't want his past dredged
up.

JOHN
There's more to it than that.
Idibia is negotiating to buy arms
from a number of US defense
contractors. Being a terrorism
watchdog has a price. And the sale
is being monitored by the Senate
Intelligence Committee. Any guess
who the ranking member is?

HEATHER
Jack McCormack.

JOHN
Bingo.

KYLE
So all this is to keep us from
stopping an arms deal? Why?

JOHN
Wanna guess how much money old
Jackie has invested in some of
those defense contractors?

Kyle sits silently for a moment.

KYLE
Any suggestions on our next move?

JOHN
Just one. You need to make contact
with Colin.

KYLE
Really? You know where he is?

JOHN
I have an idea. Colin's been
digging up dirt for 30 years. He's
probably got enough to bury these
bastards now.

54.

KYLE
What makes you think he'll talk to
me?

JOHN
(grinning)
You've got your old man's charm.
He'll talk to you.

INT. KITCHEN - NIGHT

Kyle is talking on a cell phone.

KYLE
(into phone)
Yeah...tomorrow
night...everyone'll be
there...yeah, the seafood
place...7:30...I will...Take care.

Kyle hangs up. He turns to John, who is standing close.

JOHN
He knows what that all means?

KYLE
It's code, only Harold and I know
what it means. He'll meet me there
tomorrow night.

JOHN
And his family?

KYLE
He'll take them somewhere safe
first. You sure Colin's in New
York?

JOHN
He likes the lifestyle. I'll bet
anything he's still there.

Kyle walks to the hall.

JOHN
I know you're not a systems tech,
son, or whatever it is you let on
that you do. I've known for years.

No response.

55.

JOHN
Just be careful.

Kyle ignores him as he leaves the room.

INT. BEDROOM - NIGHT

Kyle lies on his back, staring up at the ceiling. His son
lies nestled beside him, sleeping soundly. Heather lies
curled up on the other side of the bed, watching them.

KYLE
(quietly)
I envy him.

HEATHER
(smiling)
It's soothing. He'll lull you to
sleep with him.

Kyle turns his head to look at his son.

KYLE
I must have missed so much.

HEATHER
Don't worry about it. He's still
young. You've got lots of time.

Heather reaches over and strokes Kyle's hair.

HEATHER
You still mad at your father?

KYLE
Man, I feel like such an asshole.
I've been buying into his load of
BS for years, while he gets to sit
on his high horse.

HEATHER
Don't be too hard on him. He had
reasons for not telling you the
truth.

KYLE
What kind of example is that for
me to follow?

56.

HEATHER
Maybe he wanted you to find your
own way, something different than
the path he took.

KYLE
Yeah, well, mission accomplished.
I am nothing like him.

HEATHER
Oh, really?

KYLE
What's that supposed to mean?

HEATHER
I think you're more like him than
you want to accept.

KYLE
That's crazy.

HEATHER
Is it? A month ago, I'll bet you
couldn't have imagined coming back
here. And now look where you are.

Kyle considers the comment. He looks at his son, still
sleeping soundly.

INT. BEDROOM - NIGHT

John lies awake, looking at the ceiling. SCREAMS echo in his
head, but his expression doesn't change.

EXT. STREET CORNER - NIGHT

SUPER: NEW YORK

A nondescript bar sits on the corner of the street. The sign
says O'DOOLE'S.

Kyle and Harold stand, partly in the shadows, across the
street. There is no traffic to be seen.

HAROLD
You think this is a wild goose
chase?

57.

KYLE
No, he's here. I'm sure of it. You
get your family to the safe house?

HAROLD
Yeah, they'd have to be wearing
GPS for anyone to find 'em.

KYLE
Sorry about all this. And thanks.

HAROLD
You don't have to thank me.
Someone comes after your family,
that's like comin' after mine.

Kyle nods in appreciation. The moment is abruptly broken by
a man exiting the bar.

HAROLD
That him?

KYLE
I'd bet on it.

Even in his late 50's, COLIN REICKER is still a snazzy
dresser, obviously someone who enjoys a night on the town.
He begins walking down the street.

Kyle and Harold casually cross the street, coming up a short
distance behind him. Colin looks back discreetly, and
continues walking.

Suddenly, Colin begins to run.

KYLE
Shit!

Kyle takes off in pursuit, following as Colin crosses the
next intersection. Harold breaks off, taking a left.

Colin is able to run surprisingly fast for a man his age,
but Kyle is able to close the gap quickly. Sensing he is
about to be caught, Colin turns down an

ALLEY

and continues running into the darkness. As he approaches
the light at the end of the alley, Harold appears, blocking
the exit.

Cornered, Colin stands his ground in the middle of the
alley.

58.

COLIN
(defiantly)
You wanna get your arse whipped by
an old man?

When he speaks, there is still a trace of a South African
accent.

KYLE
Take it easy. We just need to talk
to you.

COLIN
Yeah, don't be givin' me any of
your talkin'.

Colin flicks his right hand, expelling a small, flexible
metal rod. As Harold comes up behind him, Colin swings the
rod at him, hitting him across the arm.

HAROLD
Ahh! Goddammit!

Kyle moves in quickly, ducking as the rod swings by his
head. He grabs Colin, shoving him against the wall. Harold
moves in to help hold him.

KYLE
Are you Colin Reicker?

COLIN
Who wants to know?

KYLE
John Barrett. You remember him?

Colin immediately calms down.

COLIN
(grinning)
Ole Johnny boy. Well I'll be a son
of a whore.

INT. APARTMENT - NIGHT

Liquor pours into three tumblers.

Colin hands a glass to Kyle and Harold.

59.

COLIN
Here you go.
(to Harold)
Sorry about the arm, mate.

HAROLD
Don't worry about it.

Colin's studio apartment is exquisitely decorated. A large
window looks out over the water.

COLIN
So you're John's kid. How is that
old sack of farts, anyway?

KYLE
Not so well.

COLIN
Yeah.

Kyle looks at him suspiciously.

KYLE
You already know he's sick, don't
you? You've been in contact with
him.

COLIN
Only for about 30 years, now.

KYLE
That lying son of a bitch. He
can't be straight with me about
anything.

COLIN
Believe me, son, your father has
his reasons.

KYLE
Yeah, so I'm finding out.

COLIN
Well, whatever he's told you, I'm
betting there's still a lot of
unanswered questions. Lucky for
you, you came to the right place.

LATER

60.

An African man's face is etched in terror. It becomes clear
that the man is tied up in a jail cell. Another man enters,
carrying a blow torch.

Kyle and Harold watch the scene on a tv as the man starts to
scream. Colin turns it off after a moment.

HAROLD
Where'd you get that?

COLIN
Someone snuck a cell phone into
one of Idibia's prisons.

KYLE
That how he treats all his
political prisoners?

COLIN
Only the Kutu prisoners. Idibia
hates them, he thinks they're a
genetic mistake that needs to be
eradicated.

Harold puts his drink down, his hand shaking.

KYLE
You okay?

HAROLD
Goddamn savages. Those are people.

COLIN
Those are your people, mate.

KYLE
He's right, man.

Harold nods, calming down.

KYLE
Idibia's coming here. I think this
is our chance.

COLIN
To do what?

KYLE
To fuck with him, of course.

61.

COLIN
(smiling)
I like the way you think. I have
some ideas how we can do that.

INT. CHURCH - DAY

Kyle stands beside Colin at the back of a mostly empty
church.

COLIN
(quietly)
That's her. Near the front.

A handful of people are seated at various pews, saying
prayers. As Kyle looks around, he spots Harold, near the
front, blending in.

Continuing to scan the church, he spots an African woman,
NYLA IDIBIA, seated a short distance away, also praying.
Even though she is probably in her 60's, she is still an
attractive woman.

KYLE
(quietly)
She's a Christian?

COLIN
Yeah, she converted once she
started working with missionaries
returning from Africa.

KYLE
You got a lock on her, partner?

HAROLD

looks in Nyla's direction, listening through an earpiece.

HAROLD
(quietly)
I got her. So this is Idibia's ex,
huh? Not bad for an older girl.

KYLE

grins at the remark.

KYLE
Keep it clean, we're in church.

62.

COLIN
Nyla comes here every day for open
prayer.

KYLE
I wouldn't think she'd need so
much prayer.

COLIN
The prayers aren't all for her.

Colin looks at him with a somber expression.

COLIN
I'm going to talk to her.

KYLE
Be careful.

Kyle watches as Colin makes his way to where Nyla is seated.
Colin sits next to her, and they talk quietly.

A man enters the church and walks to the front, kneeling in
a pew. Another man appears a moment later, kneeling in a pew
at the back. Kyle watches both men intently.

Colin whispers something to Nyla, prompting her to turn and
look in Kyle's direction. As she does so, Kyle notices the
man at the front also turning and looking at him.

KYLE
(to Harold)
We're made.

As if on cue, the man at the front draws a weapon and points
it in Nyla's direction. Harold is already up, gun drawn,
moving in his direction.

HAROLD
Drop it!

The man spins, attempting to fire, but Harold FIRES first,
taking the man down.

Chaos ensues, as the faithful scream and dive for cover.

The man at the back of the church is taking aim at Harold,
but Kyle is on him, diving over the pews and taking him down
with a flurry of strikes.

Two more assailants rush in from near the front, FIRING
their weapons. Kyle and Harold take cover behind the pews.
Colin does the same, shielding Nyla from harm.

63.

Kyle returns fire, hitting the first man. The man's partner
dives for cover behind the altar.

KYLE
(to Colin)
Go! Get her out of here!

Kyle FIRES more shots to provide cover. Colin takes Nyla and
begins to run toward the back of the church.

CHEN

suddenly appears, blocking their escape. Colin halts, taking
up a defensive posture.

From out of nowhere, an African man, JOSEPH BUTABI,
seemingly glides across the top of the pews. Tall and
athletic, he is somewhere in his late 30's, and moves with
amazing dexterity.

Joseph leaps to a spot between Chen and Colin. He and Chen
lock eyes.

Another assailant rushes up behind Chen, preparing to fire
his weapon. As he nears, Chen suddenly catches the man with
an elbow, dropping him. He never takes his eyes off of
Joseph.

HAROLD

inches toward the altar. He FIRES, forcing his target to
move. As the man attempts to return fire, Kyle cuts him
down.

KYLE
(to Colin)
Go that way! Now!

Kyle motions toward the doors near the altar. Colin takes
Nyla and moves in that direction.

CHEN

moves in, stalking Joseph. Joseph goes on the offensive, but
his attacks are easily parried. Chen hits him, knocking him
back viciously.

Joseph attacks again, landing a hard blow, but Chen barely
notices it. He strikes back, knocking Joseph back again.

64.

Looking up, Joseph sees that Chen is standing directly below
the balcony. Like a cat, he springs into the air, grabbing
onto the pillar that supports the balcony, and effortlessly
scales the wall.

Chen watches him for a moment, before turning and heading
out the way he came in.

KYLE

and Harold are following Colin and Nyla as they exit at the
opposite end. Kyle stops for a moment, seeing Joseph as he
scales the wall, and Chen nowhere to be seen.

KYLE
(to Harold)
Stay with them!

Harold nods as Kyle turns and heads back into the church.

JOSEPH

climbs over the edge of the balcony, just in time to see
Chen entering through the doorway.

JOSEPH
You can kill me, but you won't
silence my people.

Chen, ignoring the remark, closes in. He and Joseph collide,
struggling in the enclosed space.

Kyle appears and sees the struggle. He moves quickly,
striking Chen from behind, knocking him away from Joseph.

KYLE
(to Joseph)
Go! Now!

Joseph is out the door in a flash, leaving Kyle alone to
face Chen.

KYLE
You're startin' to piss me off.

Chen glares at Kyle for a split second, before closing in.

Once again, they exchange blows, each striking and parrying
with blinding speed. They lock up, each grappling for the
upper hand. Moving in unison, they get to the edge of the
balcony.

65.

Gravity finally wins over, as they topple over the edge of
the balcony and come CRASHING to the floor below.

They both lie on the floor for a moment, groaning in pain,
before slowly getting up. Again, they are face to face.

Before they can do anything, a SIREN blares in the distance.
Chen considers his options for a split second, before making
a hasty retreat. Kyle follow suit, heading in the opposite
direction.

INT. BAR - NIGHT

Harold, Colin, Nyla, and Joseph sit around a table at the
rear of a smoky bar. They look up as Kyle enters.

HAROLD
Right on time.

Kyle takes a seat at the table.

KYLE
Everyone okay?

COLIN
We should be asking you that.
You've got your old man's balls,
taking on a monster like that.

KYLE
I'm not the only crazy one here.

Kyle motions toward Joseph, who is sitting quietly.

NYLA
Joseph was only trying to protect
me. But I'm glad you were there.
Colin says you can help us.

KYLE
We'll do what we can. We're all in
this together now.

NYLA
You should know, my husband will
never stop. If he is behind this,
be prepared to go all the way.

Kyle exchanges a serious look with Harold.

66.

HAROLD
Mrs. Idibia, would you be willing
to try to contact your husband?

Joseph suddenly stands up, surprising everyone.

JOSEPH
No, it's out of the question. I
won't allow you to put her in
danger.

Joseph hesitates a moment before storming off alone.

NYLA
Joseph...

COLIN
Just let him go, he needs a minute
alone.

KYLE
He's a fun guy.

NYLA
You have to excuse Joseph. This is
difficult for him.

HAROLD
Sure, but it's tough on all of us.

COLIN
No, she means it's difficult
because of you.

Colin motions toward Kyle.

KYLE
What'd I do?

COLIN
Nothing. But what I haven't told
you, is that Joseph's full name is
Joseph Butabi. His father was
Hakeem Butabi. The man your father
helped overthrow.

Kyle can only stare in disbelief.

EXT. BAR - NIGHT

Kyle steps out onto the sidewalk in front of the bar and
stands beside Joseph.

67.

KYLE
Look, I know I'm probably the last
person you want to talk to right
now, but for what it's worth, I
just found out about all this
myself. And I'm pretty pissed at
my father, too.

Joseph stares straight ahead, not looking at Kyle.

JOSEPH
I sat on a plane as it took off,
and watched my mother die. I was
just a boy. Nyla cared for me as
my mother would have.

Joseph turns to look at Kyle.

JOSEPH
I lost everything I knew because
of your father.

KYLE
I know. I'm sorry.

JOSEPH
Colin has blood on his hands, too,
but he's making amends. Is that
why you're here? To make things
right for your father?

KYLE
My father's dying.

Joseph looks at Kyle for a moment.

JOSEPH
I'm sorry about your father. Do
you have any children of your own?

KYLE
Yes. A son.

JOSEPH
Then do this for him.

Kyle nods.

JOSEPH
You faced that man at the church,
and you escaped unharmed. You're
good, aren't you?

68.

KYLE
I am very good. And so is my
partner in there. We'll see this
to the end, I promise.

INT. CAR - NIGHT

Shinzo Takamura sits in the back of his Mercedes sedan,
speaking into a cell phone.

TAKAMURA
Yes...(pause)...it's on
schedule...(pause)...I have your
guarantee on
that?...(pause)...excellent. Domo.

He hangs up his phone, pleased at the outcome of the call. A
moment later, the phone rings again.

TAKAMURA
This is Takamura.

INTERCUT - TELEPHONE CONVERSATION

Colin speaks into the phone.

COLIN
Adewale Ibidia sends his regards.

Takamura's expression turns serious.

TAKAMURA
Reicker. We've not spoken in a
long time.

COLIN
Too long. I wanted to congratulate
you on your recent successes.

TAKAMURA
Don't patronize me, Reicker. Why
did you call?

COLIN
I see you're still pleasant as
ever, mate. You should know your
arms deal with Idibia is in
jeopardy.

TAKAMURA
(suspiciously)
What do you know about that?

69.

COLIN
I know you, you're an opportunist.
You've been selling to him from
day one.

TAKAMURA
Still meddling in everyone else's
affairs. So tell me, what is it
that you know?

COLIN
This information isn't free,
Shinzo.

TAKAMURA
How much do you want?

COLIN
Not money. I want a meeting.

TAKAMURA
Really? With who?

COLIN
Adewale Idibia.

TAKAMURA
You're crazy.

COLIN
And I want you there, too.

Takamura thinks for a moment.

TAKAMURA
This information, it better be
good.

COLIN
Trust me, it is.

TAKAMURA
What do you want me to do?

Takamura listens as Colin lays out the details.

TAKAMURA
Very well. And Reicker, this
better not be a set-up.

Takamura hangs up, still wearing a serious expression.

70.

COLIN

also hangs up. Kyle stands beside him.

COLIN
Okay, you're up.

INT. MCCORMACK HOUSE - NIGHT

OUTSIDE

of a posh, Victorian style home all is quiet. The house sits
in a very swanky neighborhood.

INSIDE

the house, Jack McCormack walks down the hallway toward his

OFFICE

and walks into the darkened room.

KYLE (O/S)
Hello, Jack.

Jack nearly jumps out of his skin.

JACK
What th...Jesus Christ, you scared
the shit out of me!

Jack can barely see Kyle, hidden in the shadows.

JACK
How'd you get in here?

KYLE
Keep your voice down. And don't
turn on the lights.

Jack moves a bit closer.

JACK
(quietly)
I heard about the attempts on your
life. Any idea what that's all
about?

KYLE
Maybe. That's why I'm here.

71.

JACK
What's it got to do with me?

KYLE
Your arms deal with Idibia is in
jeopardy.

JACK
What do you mean, my arms deal?

KYLE
Save it. I know all about
Jackson-Tennison. Your wife's a
major shareholder in a dummy
corporation that fronts for them.
You stand to make a lot of money
off this deal.

Jack takes it in for a moment.

JACK
Okay. So what do you mean, the
deal's in jeopardy?

KYLE
Idibia's behind the attempts on me
and my family. I have evidence
that could expose everything. I
know about you and my father,
Jack.

Jack looks beaten for a moment, before regaining composure.

JACK
(indignantly)
That's Senator McCormack.

Kyle ignores him.

KYLE
Tomorrow night. Meet me at this
address. I have someone who wants
to talk to you.

Kyle hands him a slip of paper.

JACK
Really? And who might that be?

KYLE
The one person who can bury
Idibia. Mrs. Idibia.

72.

Jack eyes him suspiciously.

JACK
I hope you know what you're
getting into. Idibia's not to be
taken lightly.

HAROLD

sits in a car, listening to the entire conversation.

KYLE

remains in the shadows.

KYLE
Just be there.

JACK
You guarantee she's there, and
I'll be there.

KYLE
Good. Oh, and Jack, one thing I
need to know.

JACK
Go ahead.

KYLE
In Bangkok. It wasn't just Pak I
was sent to eliminate, was it? You
wanted Takamura taken out, too,
didn't you?

JACK
Takamura took sides with the wrong
people. These days, there's a
price to pay that.

Jack waits for a reply, but none comes.

MRS. MCCORMACK (O/S)
Jack. Is everything okay up there?

Hearing his wife calling, Jack looks at Kyle for a moment
before stepping into the hall.

JACK
Everything's fine. I'll be down in
a minute.

73.

He steps back in the room, finding it empty. The window is
open.

JACK
(to himself)
Damn.

INT. HOTEL ROOM - DAY

Idibia mixes a drink in his suite. He takes a long pull,
before turning his attention to another man in the room.

IDIBIA
Are you sure you don't want one?

Pak Rejarjo raises his hand to say no.

Idibia looks out the window at the city laid out before him.

IDIBIA
I want this done right. No
mistakes. Can you promise me that?

PAK
Yes, I can. You can provide
protection?

IDIBIA
My men will support you.

PAK
You've had setbacks recently. Are
you tying up all of the loose
ends?

IDIBIA
(nodding)
Certain parties have become a
thorn in my side. They will be
dealt with tonight. But just to be
sure, I've arranged for added
support.

Chen enters the room.

IDIBIA
Will this do?

Pak eyes Chen, as a grin begins to form.

74.

INT. MOTEL ROOM - DAY

INSERT ON T.V.

A reporter stands in front of the hotel in Paris, scene of
the bomb blast, giving an update.

REPORTER
...and while no one has claimed
responsibility, authorities are
investigating a link to a group of
Malwandan nationals living in
France.

The news camera pans up to show the damage to the hotel.

REPORTER
The Malwandan government has
designated the ethnic group known
as the Kutu as terrorists, a
charge the Kutu vehemently deny.
Meanwhile, the Malwandan president
continues his world tour, aimed at
promoting efforts to fight
terrorism in Africa. Next stop,
the United Nations.

Joseph is seated at the end of a bed in a motel room,
watching the report. Nyla sits down beside him, placing a
comforting hand on his shoulder. He gives her a weak smile.

Kyle, Harold, and Colin sit at a small table across the
room.

HAROLD
She never said a word to you about
it?

KYLE
Not a word. One second it's "hey,
how ya been, good to see you", and
before I know it, it's "oh, and
meet your son I never told you
about".

COLIN
That's a kick in the pills for ya.

KYLE
Tell me about it.

75.

COLIN
Still, there's worse news a man
could receive.

HAROLD
Man's got a point.

KYLE
Yeah, but how do you know if
you're ready? Am I doing any good
getting involved if I just screw
the kid up in the process?

HAROLD
First of all, you're already
involved, whether you like it or
not. And second, it's part of your
job as a parent to screw your kids
up, as long as you screw them up
the way you want.

COLIN
Look, mate, it's gonna be fine.
You're not the first guy to feel
unprepared. And besides, you've
got good parents, they'll help
you.

KYLE
Well that makes me feel a whole
lot better.

COLIN
Look, I know you're pissed at the
old man, but maybe you oughta give
him a break.

KYLE
With all due respect, you're not
the one he lied to his whole life.

COLIN
No, you're right there. But you
can still consider there's more to
it than you know.

KYLE
I know enough.

JOSEPH (O/S)
No, I don't think you do.

Everyone turns to acknowledge Joseph's approach.

76.

KYLE
You got something to add?

JOSEPH
Colin is right. You should give
your father a chance.

KYLE
Wait a minute. A day ago, you were
more pissed at him than me.

COLIN
We had a little talk. Hear him
out.

Kyle relents, turning toward Joseph.

JOSEPH
Your father was paid very well for
his role in helping to overthrow
my father. More money than most
people can dream of.

KYLE
Kinda makin' it worse, here.

COLIN
Let him finish.

JOSEPH
Do you know what he did with his
money?

Kyle thinks for a moment.

KYLE
No, I don't.

JOSEPH
He kept me safe. And Nyla, too. I
was able to go to school because
of your father.

Kyle looks toward Nyla, who sits with her head bowed.

KYLE
(to Colin)
I suppose you helped him do it?

77.

COLIN
I arranged things. Your father
provided most of the money at
first, I was too busy pissing mine
away.

KYLE
But...why would he do that?

JOSEPH
Perhaps, because he's not the
monster you want to think he is.

Kyle eyes him curiously.

EXT. BASEBALL FIELD - NIGHT

Dim lights shine over a high school ball field, leaving most
of the field in darkness. The school sits in darkness.

Kyle stands in the shadows, speaking to Colin.

KYLE
You think he'll show?

COLIN
He'll show. Being screwed out of a
profit is something Takamura
doesn't take lightly.

A car approaches, coming to a stop outside the field. A
figure gets out, approaching in the semi-darkness.

KYLE
(quietly)
Showtime.

Kyle stays back in the shadows, as Colin walks toward
homeplate.

TAKAMURA
Is that you, Reicker?

Takamura gets close enough to see Colin.

COLIN
That's close enough. Where's
Idibia?

TAKAMURA
He said he'd be here. That's all I
know.

78.

COLIN
Hmm. Okay, hit it!

On cue, the full lighting comes on, illuminating the entire
ball field. Takamura shields his eyes for a split second.

TAKAMURA
What the hell...

His eyes adjusting to the light, Takamura sees another
figure approaching. It is Jack McCormack.

JACK
Takamura. What are you doing here?

TAKAMURA
I should ask you the same thing.

They both look at Colin suspiciously.

COLIN
(grinning)
Well, this is pleasant. The old
crew, together again.

TAKAMURA
What's next, is Barrett gonna show
up or something?

COLIN
As a matter of fact, he is.

Takamura looks as Kyle approaches.

TAKAMURA
(tentatively)
I recognize this guy...from
Bangkok. He tried to kill me.

KYLE
Actually, it was the scumbag
terrorist you took up with that I
was after.

COLIN
Shinzo, say hello to Kyle Barrett.

TAKAMURA
(smirking)
John's son. I should have
recognized your father's style.

79.

JACK
Barrett, where the hell's Nyla?
You said she'd be here.

KYLE
Don't worry, she's somewhere safe.
I wanna know where Idibia is.

TAKAMURA
I told you, he said he'd be here.
He doesn't answer to me.

Kyle looks around suspiciously.

KYLE
Look alive, partner. We might have
company.

HAROLD

looks, through binoculars, out a window in a darkened room
in the school.

HAROLD
Gotcha. All clear so far.

KYLE

turns his attention back to the group.

TAKAMURA
I warned you, Reicker, if this is
a set-up...

KYLE
Open your eyes, will you. You're
being played. Both of you. And
Idibia's pulling the strings.

JACK
That's a lie, Idibia needs me.

KYLE
Actually, he doesn't. Once his
speech at the UN is done, he'll
have all the support he needs.

COLIN
How much you wanna bet Idibia pins
your death on his enemies? You'll
be a martyr for his cause, Jack.

80.

JACK
I refuse to believe that.

COLIN
Oh, really? Tell me, you ever hear
from the rest of the old crew?
Travers? Smith? Any of 'em?

Jack doesn't respond.

COLIN
Of course you haven't, because
they're all dead. Idibia's been
killing us off for years. In fact,
I'd guess there's only...

Colin makes a show of counting 1,2,3 as he points toward
Jack, Takamura, and himself.

COLIN
...four of us left. And it looks
like nature might take care of
Kyle's dad.
(to Kyle)
Sorry, mate.

Kyle shakes his head to say "no problem".

TAKAMURA
Looks like your double crossing is
catching up with you, Jack.

JACK
What's that supposed to mean?

TAKAMURA
I know about the arms deal. I
expected to be stabbed in the back
by Idibia, but not by you. What
happened to you?

JACK
Please. I'm not going to be
lectured on ethics by someone who
sells bombs to terrorists.

TAKAMURA
Still the boy scout. Which threat
are you saving the world from this
week, Senator?

81.

JACK
I thought you were a businessman,
Shinzo. You should be able to
accept when a competitor makes a
better offer.

KYLE
(laughing)
You're so full of shit.

JACK
Excuse me?

KYLE
You, with the ethics. Have you
forgotten about Bangkok?

Jack's face hardens.

TAKAMURA
What about Bangkok?

KYLE
I think you'll find this pretty
interesting.

Kyle motions toward the school.

HAROLD

pushes buttons on a control panel.

OUTSIDE

a conversation comes across the PA speakers.

            PA
      (Kyle's voice)
In Bangkok. It wasn't just Pak I
was sent to eliminate, was it? You
wanted Takamura taken out, too,
didn't you?
      (Jack's voice)
Takamura took sides with the wrong
people. These days, there's a
price to pay for that.

Takamura's eyes get very large.

TAKAMURA
(incensed)
You would dare threaten me? Do you
have any idea who I am?

82.

Takamura pulls a gun, pointing it at Jack, who replies by
suddenly pulling a gun of his own.

JACK
Fuck you, Shinzo! I know exactly
who you are. You're nothing but a
sleazy con man.

Colin takes a step back.

COLIN
Easy, fellas. Let's not forget who
the real enemy is here.

TAKAMURA
Fuck that. This is between me
and...

A SHOT rings out, hitting Takamura in the chest and knocking
him back. He falls to the ground.

Jack, confused, looks at his gun, which has not been fired.

CHEN

looks through the scope of a high powered rifle. He turns
his sights on Jack.

KYLE

springs into action, grabbing Colin and pulling him off the
field.

A group of Takamura's henchmen suddenly appear, rushing to
aide their fallen leader.

CHEN

sees the men coming, and begins cutting them down in mid
stride. He turns his sights back to Jack.

KYLE

motions toward the school again.

KYLE
Cut the lights!

CHEN

follows Jack as he rushes off in the opposite direction. He
prepares to squeeze the trigger, but the lights go out
before he can shoot. Jack is no longer visible to him.

83.

Chen gets up from his hiding place and takes off on foot.

KYLE

gets Colin to the safety of the dugout. He looks onto the
field and sees Takamura's men scattered about, dead or
dying. Takamura is still lying in the same spot.

Crouching low, Kyle rushes to Takamura, picks him up, and
carries him to the dugout.

Takamura, barely breathing, tries to talk. His chest is
covered in blood.

TAKAMURA
(wheezing)
Jack...was right. I picked...the
wrong friends.

KYLE
Save your strength. I have to stop
this bleeding.

Kyle places pressure on the wound. Colin gives him a grave
look.

TAKAMURA
Don't...bother. My time's...up.

Takamura reaches out and takes hold of Kyle's arm.

TAKAMURA
I had...nothing to do with the
attacks on your family. Your
father...was a good man.

Kyle looks closely at the dying man.

TAKAMURA
Idibia...has to be brought down.
He told me...he was going to make
a statement...tomorrow. He...

Unable to finish, Takamura lets out a long sigh, before
falling silent.

Kyle and Colin look at one another for a moment, both
remaining silent. Kyle turns to see Harold approaching.

KYLE
Any luck?

84.

HAROLD
No, he's long gone. So's
McCormack.

Kyle looks out at the field to where Takamura's men lie.

KYLE
You think it was Chen?

HAROLD
This was definitely a pro. Yeah,
I'd say it was him.

KYLE
(sighing)
That's what I was afraid of.

EXT. STREET - NIGHT

Breathing heavily, Jack arrives at his car, parked on a
darkened street. He looks around cautiously, before getting
in.

Once he is

INSIDE THE CAR

Jack breathes a sigh of relief. He fumbles for a moment with
his keys, finally finding the correct one.

Chen, who has been hidden in the back, SPRINGS up behind
Jack, wrapping a cord around his neck. He squeezes hard, a
blank expression on his face. Jack attempts to struggle, but
it is short lived, as he falls still after a few moments.

Chen releases his hold, and watches as Jack slumps sideways
in the front seat. Chen gets out of the car, casually
walking away.

INT. APARTMENT - DAY

The group is back in Colin's apartment. Harold speaks on the
phone, while Kyle speaks with Colin in the kitchen.

Joseph and Nyla are watching a news report on TV.

REPORTER (O/S)
...not releasing any details, only
to say that an investigation is
underway. McCormack was a ranking
member of multiple Senate
(MORE)

85.

REPORTER (cont'd)
committees, and his loss...

Joseph absently changes the channel.

Harold puts his cell away and joins the conversation.

HAROLD
My guy's gonna have some agents
check the UN. They're on high
alert now.

COLIN
You think he's ballsy enough to
hit the United Nations?

KYLE
He said he wanted to make a
statement, and he's due to make a
speech there today. Seems like the
perfect opportunity.

HAROLD
Goddamn diplomatic immunity. I'd
haul his ass in on suspicion
alone.

COLIN
Amen to that, mate.

Kyle looks toward the TV for a moment, before turning his
attention back to the conversation.

KYLE
Something still doesn't add up.

HAROLD
What's that?

KYLE
Chen. What's his angle in all
this?

COLIN
He's a professional. He don't need
an angle.

KYLE
I know, but...if he was working
for Idibia, why'd he send him to
protect Takamura in Bangkok? Why
not just let me take Takamura out
then?

86.

HAROLD
Could be, he wasn't there to
protect Takamura at all.

Kyle considers it with a concerned look. He focuses his
attention back to the TV and another reporter.

REPORTER
...expect at least 2000 supporters
to show up. One university
official, speaking on condition of
anonymity, expressed concern at
hosting the rally while the
country's president is making a
speech to the UN, citing the
possibility of rioting. Extra
security has been...

Behind the reporter, a large stage and podium is set up.
Crowds are already gathering, with large contingents of what
appear to be African students.

Kyle looks at Joseph, who is already looking back at him,
eyes wide as realization dawns on them both.

KYLE
Shit! That's it!

INT. UNITED NATIONS GENERAL ASSEMBLY - DAY

SERIES OF SHOTS

- Motorcade making it's way through the city
- Idibia and his entourage being escorted into the building
- Idibia shaking hands with dignitaries
- Idibia takes to the podium

IDIBIA
This is a great day for Malwanda,
and the beginning of a new future
for Africa.

Applause from the assembly.

EXT. UNIVERSITY CAMPUS - DAY

A male student (black) speaks at the podium.

STUDENT
This is a dark day for Africa, and
it keeps getting worse!

87.

Cheers from the huge crowd.

INT. UNITED NATIONS GENERAL ASSEMBLY - DAY

IDIBIA
...Senator McCormack's death will
not be in vain. Those terrorists
who bring fear to Africa will
know, we will never surrender.

Applause.

IDIBIA
Our military presence will stand
as a beacon to those who want
peace, and as a warning to those
who oppose it.

More applause.

EXT. UNIVERSITY CAMPUS - DAY

STUDENT
The world needs to send a message
to African dictators, and it needs
to be loud and clear. You're not
going to keep an entire generation
down any longer!

The crowd goes wild.

Kyle watches, scoping the crowd. He wears the earpiece
again.

KYLE
You got anything?

HAROLD

works his way through the other side of the crowd.

HAROLD
Not yet. This might be a needle in
a haystack.

KYLE

looks toward the speaker. He takes another look around at
the crowd.

88.

KYLE
I've got an idea. Let's regroup.

EXT. UNIVERSITY - DAY

Kyle and Harold have regrouped with Colin and Joseph near
the stage.

COLIN
I'm not sure about this. Could be
really dangerous.

Joseph puts his hand up.

JOSEPH
I'll do it. It may be the only
way.

KYLE
You ready for this?

JOSEPH
I've been ready my whole life.
It's time.

Kyle nods. Colin gives a concerned look, and then heads
toward security gathered around the stage.

HAROLD
This might actually work.

KYLE
We'll see. You keep scoping things
down here.

HAROLD
Where'll you be?

KYLE
I'm gonna check these buildings.
If it's a bomb, my guess is Pak's
gonna want a bird's eye view.

HAROLD
Be careful, now.

KYLE
(grinning)
Am I ever not?

Harold shakes his head as he watches Kyle depart.

89.

INT. CLASSROOM - DAY

Pak stands in an empty classroom, looking out over the
campus grounds. He can see the rally going on a short
distance away.

PAK
You should come stand over here.
It's an excellent view.

Chen, standing by the door, ignores him.

PAK
Suit yourself.

CHEN
Will you be able to spot Butabi if
he shows?

PAK
(grinning)
Maybe. Maybe not. It's none of my
concern anymore.

Chen raises a curious eyebrow.

EXT. UNIVERSITY CAMPUS - DAY

Colin and Joseph speak to a man near the stage. Hearing what
they have to say, the man goes up the stairs to the podium.

The man speaks briefly to the speaker. The speaker appears
surprised and pleased with what he has heard. He turns his
attention back to the crowd.

STUDENT
This is unbelievable. We've got a
guest speaker, and let me tell
you, this man's earned the right
to speak.

The crowd cheers.

EXT. UNIVERSITY CAMPUS - DAY

Kyle stands before a couple of buildings facing the podium,
appearing to weigh his options.

AT THE PODIUM

the speaker continues.

90.

STUDENT
As we speak, a tyrant is
addressing the UN, and he thinks
the world will turn a blind eye to
everything he's done. Well, we're
here to tell him, No! We're not
giving you a free pass any longer!

More cheers from the audience.

STUDENT
But if you don't believe me, then
listen to what this man has to
say. His father was overthrown and
murdered in a military coup in
Malwanda. He barely escaped with
his life, in the hopes that one
day, he might take back what is
rightfully his.

Even more vigorous cheers.

STUDENT
Make some noise for a real hero,
the son of deposed president
Hakeem Butabi, Joseph Butabi!

The crowd goes crazy as Joseph approaches the podium.

HAROLD

focuses on the crowd, looking for anything suspicious.

INT. CLASSROOM - DAY

Pak watches as Butabi takes the stage.

PAK
This is going to be easier than I
thought.

Chen slowly crosses the room.

CHEN
Is the bomb in the podium?

PAK
(smirking)
One of them is.

CHEN
What do you mean, one of them?

91.

Pak pulls a cell phone out of his pocket, eyeing Chen the
whole time.

EXT. UNIVERSITY CAMPUS - DAY

Joseph is at the podium, looking out at the crowd as an awed
hush falls over the assembled.

JOSEPH
My father would be proud today.

The crowd cheers once again.

HAROLD

continues to scan the crowd. As Joseph speaks, Harold
notices a man gesturing toward another man in the crowd. He
immediately picks up two more men (all African) also acting
suspicious.

The man closest to Harold says something into a cell phone,
prompting the group to look up in unison at a building
facing the stage.

HAROLD
I think we've got something. The 4
story building, windows facing the
stage. Looks like a good perch.

KYLE

acknowledges and heads toward the building entrance.

KYLE
I'm on it.

HAROLD

moves to intercept, focusing on the nearest man.

INT. CLASSROOM - DAY

Pak hangs up the phone.

PAK
They're moving into position now.
Once they take Butabi, I'll blow
the stage.

Pak opens the phone again.

92.

PAK
I love technology. It's as easy as
phoning it in.

He starts to press buttons on the phone.

CHEN
Idibia only said you were taking
Butabi. No one else.

PAK
You're here to make sure I carry
out my mission without
interference. The scope of the
mission is not your concern.

Chen looks down at the stage, seeing the size of the crowd
gathered. He looks back at Pak.

INT. ATRIUM - DAY

Kyle enters the building atrium. The sounds from the rally
can be heard as he heads toward a staircase leading to the
second level. Only a handful of people are milling about.

As Kyle goes up the stairs, a man wearing custodial clothing
descends, coming toward him. As they pass, the man's hand
goes into his pocket.

Kyle explodes into action as the man's hand comes back into
view, holding a gun. Before he can use it, Kyle is on him,
locking the gun hand in place and following up with a strike
that flips the man completely over.

EXT. UNIVERSITY CAMPUS - DAY

Harold reaches his target just as the man withdraws a
silenced automatic and takes aim at Joseph. He responds by
pointing his own weapon at the man's head.

HAROLD
Drop it.

The man pauses a split second.

JOSEPH

continues his speech.

93.

JOSEPH
It is time for all Africans to
take back what is rightfully ours.
We will bow to tyranny no longer.

Cheers.

HAROLD

holds his man at bay, but spots the man's cohorts closing
in. The man flinches, causing Harold to strike him across
the head.

Some of the crowd surrounding Harold finally notice what is
happening. They begin to pull back, pushing and shoving.

COLIN

watches from the stage. Seeing the men moving to intercept,
he rushes off the stage in Harold's direction.

INT. UNIVERSITY BUILDING - DAY

Kyle finds himself pinned down on the landing between the
first and second floors. A pair of armed assailants open
fire from the second floor, while another pair of assailants
approach from the atrium.

Picking up the unconscious assailant on the stairs, Kyle
hurls him over the railing toward the oncoming men.

The men dive out of the way, giving Kyle an opening. He
jumps the railing, and comes crashing down on the closest of
the men.

Kyle is up immediately, facing the second man, who is armed
and preparing to fire. Closing the distance with blinding
speed, Kyle ties the man up and lands several close range
blows. The man doesn't stand a chance, going down in a
barrage of strikes.

The pair of assailants from the second floor reach the first
floor, firing their weapons. Kyle is forced to dive behind a
concrete partition.

KYLE
Shit!

INT. CLASSROOM - DAY

Pak looks on in confusion. He also hears shots ringing out.

94.

PAK
What the hell?

He begins desperately punching numbers on his phone.

Chen takes one more look, before turning his attention back
to Pak.

EXT. UNIVERSITY BUILDING - DAY

Several students mill about outside the building Kyle had
previously entered.

Suddenly, a CRASHING sound erupts from above. Some students
look up to see a window smashing outward, glass raining
down. Something is falling from the window.

As the students dive for cover, whatever was thrown from the
window hits the ground with a THUD.

Pak's lifeless body lies on the ground, covered in glass and
blood.

EXT. UNIVERSITY CAMPUS - DAY

Joseph stops speaking as the crowd becomes more aware of
what is happening. He looks toward Harold, seeing that he is
outnumbered.

The fierce warrior returns, as Joseph moves from behind the
podium and runs toward the end of the stage. He launches
himself into space, seeming to hang in the air for an
eternity, before landing directly in the middle of the fray.

The oncoming attackers are caught completely by surprise,
giving Joseph the advantage he needs to go on the attack.

Harold follows suit, wading through the now panicking crowd
toward Joseph.

INT. ATRIUM - DAY

Kyle, still ducking behind the partition, reaches his hand
over the top and fires off a quick series of shots from his
automatic. The assailants take cover.

Poking his head out for a look, Kyle spots one of his
attackers taking cover behind a large column. Directly above
the man hangs a large overhead light. Kyle aims at the light
and shoots.

95.

The light EXPLODES, raining glass down on the man and
forcing him from his cover. Kyle squeezes off 2 shots,
dropping the man in his tracks.

Kyle looks around the atrium.

KYLE
(to himself)
Where'd you go, you little fucker.

EXT. UNIVERSITY CAMPUS - DAY

The bulk of the crowd has now scattered, everyone running
for safety.

Harold is putting the finishing touches on a beating he is
giving one of the assailants. The man goes down after a
final blow.

Harold points his gun at the unconscious man.

HAROLD
You have the right to remain
silent.

Colin stands nearby.

COLIN
I don't think he's gonna waive
that right, mate.

HAROLD
Looks like most of Idibia's men
got away.

COLIN
That's okay. They had to leave
empty handed.

Joseph staggers over, a little beaten but still standing.

JOSEPH
Now this is a good day.

They all laugh at the sentiment.

JOSEPH
What about your friend?

Harold looks toward the building facing them.

96.

INT. ATRIUM - DAY

Kyle slowly surveys the room. Various pieces of furniture
make up small sitting areas. The second assailant is nowhere
to be seen.

As Kyle moves from his hiding place, a pair of students
enter.

KYLE
Get out of here! Now!

The students, seeing Kyle waving his gun, abruptly run back
out the door.

Across the room, a bathroom door swings open. The other
assailant appears and opens fire. Kyle dives behind a couch.

Kyle fires a succession of shots into the air, forcing the
man to duck back behind the door.

As the man pops back into view, he sees Kyle running
straight at him. Kyle tackles the man, forcing them both to
SLAM violently through the bathroom door before they hit the
floor together.

Kyle springs up like a cat. His attacker reaches for his gun
on the floor, but Kyle kicks it away. The man responds by
drawing a knife. Kyle assumes a defensive posture.

KYLE
(smirking)
You must be dumber than you look.

The man takes a few swipes, with Kyle evading each one. On
the next swipe, Kyle traps the man's arm and, using his
momentum, swings him viciously around, sending him face
first into the wall mirror. The mirror crashes, and the man
goes down, covered in blood and glass.

A kick to the head puts the man out cold. Kyle is already
heading for the door.

KYLE
And don't forget to wash your
hands.

INT. HALLWAY - DAY

Three more sentries are posted outside the classroom. A DING
from down the hall alerts them that the elevator is about to
open.

97.

SENTRY 1
(to Sentry 2)
Let them know someone's coming.
We'll check it out.

Sentries 1 and 3 approach the elevator.

Sentry 2 opens the door leading into the

CLASSROOM

and sees the broken window. Pak is nowhere to be found.

SENTRY 2
Wha...

He turns to see Chen making a bee line toward him.

The other 2 sentries stand in the

HALLWAY

in front of the elevator, watching as the doors open. It is
empty.

SENTRY 1
False alarm.

As the two men turn away, the ceiling of the elevator seems
to CRASH down on them. Kyle propels himself, feet first, out
through the doors, taking them down.

The first sentry attempts to get up, but Kyle kicks his feet
out, causing the man to fall hard on his back.

Kyle springs to his feet as the other man levels his weapon.
Kyle is on him, twisting the man's arm in toward him. He
squeezes off 2 shots into the man with his own weapon. The
man drops.

As the first sentry gets up, Kyle levels him with a side
kick, SLAMMING him into the wall. He follows up with an
elbow shot to the face, dropping the man like a stone.

Suddenly, the door to the classroom down the hall CRASHES
open. Kyle looks in time to see the remaining sentry being
hurled into the hallway, bouncing off the opposite wall.

The man stands little chance as Chen emerges, hitting him
with multiple strikes, before stepping in and twisting the
man's neck. There is a sickening SNAP and the man drops,
lifeless.

98.

Chen stands over the man for a moment. Gradually, he looks
up to see Kyle watching from down the hall. They lock eyes.
The sound of SIRENS rings out in the distance.

As quickly as he appeared, Chen disappears out the exit at
the opposite end of the hall.

INT. CLASSROOM - DAY

Kyle stands in front of the broken window, looking out, as
Harold enters the classroom.

HAROLD
Jesus. You okay, partner?

Kyle nods, looking down at Pak's body on the ground below.

KYLE
The bomb squad here yet?

HAROLD
Yeah, they're checking out the
stage now. You throw him out the
window?

KYLE
Nope. Chen beat me to it.

HAROLD
(puzzled)
Chen? Really?

Kyle turns and walks toward the door.

KYLE
Yeah, I can't figure it out,
either.

Harold takes one more look down, before following Kyle.

EXT. UNIVERSITY CAMPUS - DAY

Kyle and Harold rejoin Joseph and Colin.

JOSEPH
I'm pleased you are safe.

HAROLD
Thanks to you. That little Peter
Pan you did caught everyone off
guard.

99.

JOSEPH
(confused)
Peter...Pan?

Everyone laughs.

COLIN
So, what next?

KYLE
I'm going home. Anyone care to
join me?

EXT. BARRETT HOUSE - DAY

Kyle's car pulls into his parents' drive way. He gets out of
the car, joined by Harold, Joseph, Nyla and Colin.

JOSEPH
Are you sure this is okay?

KYLE
It's fine. My old man will be
happy to finally meet you.

As Kyle approaches the house, Heather runs out to greet him,
but instead of a smile, he is met by a look of concern.

HEATHER
Kyle, thank God you made it.

KYLE
What's wrong?

HEATHER
It's your father.

INT. HOSPITAL ROOM - DAY

John, lying on a hospital bed, wears a mask to help with his
breathing. He is connected to a number of monitoring
devices.

A FEDERAL AGENT dressed in a suit takes notes on a pad.

FED
Okay, Mr. Barrett, I think that's
all I need.

The man reaches down and places a supportive hand on John's
hand.

100.

FED
You get well, now.

John gives a feeble nod. Kyle takes the man aside.

KYLE
You think you've got enough?

FED
Yeah, between your father and Mrs.
Idibia, I think we can at least
sink the arms deal. I'll speak to
my people at state this afternoon.

KYLE
Okay. Thanks, Jeff.

Jeff nods as he leaves the room.

Kyle stands by his father's bed.

KYLE
I'm sorry we had to do that first,
dad. I figured it was what you'd
want.

JOHN
(laboring)
Don't worry about it.

Kyle motions for Joseph to join him.

KYLE
I've got someone for you to meet.

John looks up at Joseph, immediately recognizing him.

JOHN
You look...like your father.

Joseph gives Kyle an uncertain look. Kyle steps back, giving
him the okay to get closer. Joseph kneels beside the bed.

JOHN
I'm sorry...for everything...

Joseph takes his hand.

JOSEPH
It's all in the past. I know what
you did for me, what you
sacrificed. Thank you.

101.

John squeezes his hand.

JOHN
Your father would be proud.

Joseph stands.

JOSEPH
You should rest.

Joseph watches him for a moment, before returning to his
seat beside Nyla.

JOHN
Son...

Kyle leans in close. His father appears as if he wants to
say something, but it's too difficult to manage. Kyle nods.

KYLE
He's right, dad. You need to rest
now. We'll talk when you're
feeling better.

Hilda gets up and stands beside Kyle, taking his hand. She
reaches down and strokes her husband's hair.

EXT. CEMETARY - DAY

A church bell CHIMES loudly, as the sun shines over the top
of the church steeple.

Kyle stands at the

GRAVE SITE

as the priest speaks in front of John's casket, which is
ready to be lowered into the ground. Hilda and Heather stand
on either side of Kyle, and behind them are Harold, Joseph,
Nyla and Colin. The majority of the town appears to be there
as well.

PRIEST
...and although he wasn't born
here, John would be proud to see
the turnout of family and friends
today. This is his home, and we're
all a little better off because of
it.

102.

EXT. CEMETARY - DAY

Kyle stands, by himself, over his father's grave. There are
still a number of people nearby preparing to leave.

KYLE
I'm sorry we didn't get to have
that talk.

Kyle pulls an envelope from his pocket, and removes some
photos that are inside it.

The first photo is of a young boy, dressed in a Karate gi.
The boy has a joint lock applied to a man, who has assumed
an incapacitated position on the floor.

Kyle looks at the back of the photo.

INSERT: KYLE, AGE 9

He flips through the photos. They are all of him at various
ages, spending time with his father.

A grin forms on Kyle's face. He looks toward where Heather
stands a short distance away, playing with their son.

KYLE
Son of a bitch. She was right.

Kyle kneels down, places the top photo on top of the grave.

KYLE
I love you, pops.

He stands, pauses a moment, then goes to join Heather.

INT. BARRETT HOUSE - DAY

The house is packed as Hilda hosts a reception in John's
honor. She hides any grief she may be feeling, wearing a
smile as she moves from group to group, making sure everyone
is taken care of.

OUTSIDE

on the porch swing, Kyle sits with Heather.

KYLE
I'm not gonna leave you to do this
alone, it's just...

Heather watches, waiting for him to continue.

103.

KYLE
I need to keep doing my job. I
know it's dangerous, and you
probably don't like it, but it's
what I'm good at, and it's what I
should be doing, and...

HEATHER
(interrupting)
Kyle!

KYLE
What?

HEATHER
No one said you have to quit.

KYLE
Really? You're okay with it?

HEATHER
Yeah. I mean, you're right, I was
a little freaked out, but you're
doing something with a purpose. I
wouldn't want you doing anything
else.

They look at one another for a moment. Kyle allows a small
smile to form.

KYLE
You think we can make it work?

HEATHER
We'll see. But whatever happens
between us, you can be a part of
your son's life. It's just gonna
take some effort.

KYLE
I don't mind effort. But about
that "us" part.

Kyle leans in close, ready to kiss her, but is interrupted
as a pair of guests walk out onto the patio. Kyle pulls back
quickly, as Heather suppresses a small giggle.

EXT. BARRETT HOUSE - DAY

A large SUV sits in the driveway, waiting as Joseph and Nyla
say their goodbyes.

104.

KYLE
You sure about going back?

JOSEPH
I have to. I owe it to my people,
and to my father. I'll die taking
back my country, if that's what
God wills.

KYLE
Well, I hope it doesn't come to
that.

They embrace.

JOSEPH
Thank you, my friend.

Joseph turns to Harold.

JOSEPH
You should come visit me some day.
I would like to meet your family.

They also embrace.

HAROLD
I look forward to it.

Nyla approaches and takes both Kyle's and Harold's hands.

NYLA
I can never repay what you've done
for us. All I ever wanted was to
provide Joseph with a family, and
now I know I am not alone in that.

They both nod, moved by the sentiment. The moment is broken
by the HONKING of a horn. Colin leans out the driver's side
window of the SUV.

COLIN
All right, ladies! Enough of that
already. We gotta get our arses to
the airport.

Kyle and Harold laugh as they watch Joseph and Nyla get in
the vehicle. It pulls out of the drive, and disappears from
sight.

LATER

Kyle gives his mother a hug.

105.

KYLE
I'll be back soon, ma.

HILDA
I'll be waiting.

She pulls back for a moment and looks at Kyle.

HILDA
Your father really was proud of
you.

Kyle appears moved by the sentiment. Hilda turns to Harold
and hugs him as well.

HILDA
You take care of him. And bring
your family next time you come.

HAROLD
I will, Mrs. Barrett.

Kyle turns his attention to Heather.

KYLE
I've gotta straighten a few things
out back in Washington, but I'll
be back in a week or so.

HEATHER
It's okay, we can talk then.

Kyle gives her a kiss.

HAROLD
Okay, partner, we gotta run too.

Kyle gives Heather one more look before following Harold to
the car.

INT. CAR - DAY

Harold drives, while Kyle sleeps in the passenger seat. A
WHIRRING noise wakes Kyle.

HAROLD
Man, you must be sleep deprived.
Twenty minutes out and you're out
like a light.

106.

KYLE
(groggy)
I feel like I could sleep for a
week.

Kyle takes out his phone, which is vibrating. He opens it
and looks at the screen.

KYLE
(smiling)
Check it out. He just woke from
his nap. Ma sent me some pictures.

Harold glances quickly at the phone's display.

HAROLD
Cute kid. You're a lucky man, and
I'm not just saying that.

Kyle looks at the pictures.

HAROLD
You're gonna enjoy being a dad.
And the best part is, you're
getting in at the end of the
diaper phase.

Harold grins at his joke. He looks over to see Kyle, still
looking intently at the photos.

HAROLD
What? What is it?

Kyle continues to look at the photos, a serious look on his
face.

INT. BARRETT HOUSE - DAY

Hilda tidies up some of the mess from the reception. Heather
carries her son.

HEATHER
I'm just going up to change him.

HILDA
Take your time. I'll make some
tea, if you like.

HEATHER
That'd be nice.

Hilda watches her, looking like she has something to say.

107.

HEATHER
What is it?

HILDA
I'm sorry that you've had to do
this alone.

HEATHER
(smiling)
I wasn't alone. I've got my
mother, and you've always been
there for me, too.

HILDA
I just feel like I let you down.
You know, not telling Kyle.

HEATHER
You never let me down. It was my
decision not to tell him. And
don't worry, I think he'll step
up.

HILDA
You're right. He's got too much of
his father in him to run away.

A silent moment passes as Hilda collects herself.

HILDA
(smiling)
I'll go make the tea.

Heather watches her for a moment, before going upstairs to
the

BEDROOM

where she places the child on the bed. She lies down beside
him and begins to play, eliciting a laugh.

Hilda is in the

KITCHEN

puring water into the kettle and getting cups out of the
cupboard.

EXT. BARRETT HOUSE - DAY

A trio of masked men stealthily approaches the house from
the back. They are all armed.

108.
INT. KITCHEN - DAY

Hilda goes about making the tea. She turns away from the window, just missing the figure that quickly sneaks by outside.

HEATHER

continues to play with the baby.

The men make their way to the

BACK PORCH

where they give each other quiet signals. They split up.

HILDA

is still in the kitchen, when she hears a CREAKING noise from outside. She goes to the window and looks out.

A masked intruder is crouching down to the side of the window, just out of her field of vision. Seeing nothing, she goes back to her work.

After a moment, Hilda leaves the kitchen and walks down the hall.

The door opens quietly, as one of the intruders lets himself in. He sneaks across the kitchen, and pokes his head around the corner.

Hilda continues down the hall, seemingly oblivious to the man watching her.

Another door quietly opens at the

BACK PORCH

allowing entrance to the other 2 intruders.

Upstairs in Kyle's old

BEDROOM

a hand reaches up and takes down one of the swords hanging on the wall.


INT. LIVING ROOM - DAY

The single intruder creeps through the living room, and proceeds to go

109.

UPSTAIRS

stopping at the top of the stairs. The bedroom doors are
closed.

He approaches the closest door, looks around quickly, and
slowly opens the door. Seeing no one in the room, he
cautiously steps in, his gun at the ready.

Moving with blinding speed, a figure moves from behind the
door, swinging a sword once across the man's chest, and then
following up with another stroke across the back as the man
collapses.

The door slowly closes again, with the figure out of sight
once more.

INT. BACK HALL - DAY

The 2 remaining intruders creep through the back hall. After
quietly signalling their intentions, one of the men sneaks
toward the living room, while the second man slinks up the
back stairs.

Upon reaching the upstairs

HALLWAY

the man looks around, apparently puzzled. His partner is
nowhere to be seen. He grips his gun tightly.

A door to his right suddenly swings open. Hilda slashes
viciously with the sword. The man lets out a SCREAM,
dropping his gun. She follows up with a stab to the
midsection. The man staggers backward, before TUMBLING down
the stairs.

Intruder #3, listening from the

LIVING ROOM

hears the commotion.

INTRUDER #3
What the fuck?

He races up the stairs, stopping at the upstairs

HALLWAY

where he sees a spray of blood on the wall. The sound of
FOOTSTEPS can be heard going down the opposite stairway.

110.

INT. KITCHEN - DAY

Hilda leads Heather and her son toward the kitchen. She
pokes her head around the corner, sees the silhouette of a
figure at the door.

Hilda puts her hand up, halting Heather's advance. She
motions for them to head back in the other direction.

The figure at the door remains there a moment, before
disappearing from view.

Carefully crossing the

LIVING ROOM

Hilda leads the way to the back door. It suddenly CRASHES in
from the outside, causing everyone to jump back in surprise.

Chen enters, unarmed. He looks at Hilda, brandishing a sword
and keeping herself in front of Heather.

CHEN
You like to play at swords, huh?

Hilda swipes at Chen. He jumps back, surprised at her
quickness.

CHEN
Ha! That was a close one.

HILDA
(defiantly)
I can get even closer.

Chen takes on a defensive stance, challenging her. Hilda
steps in, faster than anyone half her age, but Chen is too
quick. He sidesteps, catching her off balance, and disarms
her. He shoves her against the wall, holding the sword to
her neck.

HILDA
Please, whatever you do to me, let
them go.

Chen disregards Heather and her child.

CHEN
You think I care about them? You
should be worrying about yourself.

Chen watches her closely, as she keeps a brave face.

111.

KYLE (O/S)
Drop it.

Kyle stands behind Chen, holding a gun to his head.

Chen keeps the sword at Hilda's neck, but turns slightly to
see Kyle.

CHEN
I really thought you were gone
this time.

KYLE
I'm the one you want, Chen. Let
her go.

CHEN
You have no idea what it is I
want.

KYLE
No, but I'm starting to figure
some of it out.

Kyle looks at his mother, still keeping a brave facade.

KYLE
You okay?

HILDA
Been better.

Kyle takes his cell phone out and hands it to Heather.

KYLE
Something struck me as strange.
Dad said he emailed pictures to
McCormack, that's why he wanted us
out of the way.

Heather looks at the pictures on the cell phone.

KYLE
Dad hated technology. He couldn't
program a VCR.

Kyle looks at his mother.

KYLE
You sent the pictures to
McCormack, didn't you?

Hilda looks quickly at Chen, and then back at Kyle.

112.

HILDA
I had to do it. Your father was
being eaten alive by guilt, but he
wouldn't admit it. If he was going
to die, I wanted him to have a
clear conscience.

KYLE
My father's dead. So's McCormack,
although you probably already know
that. Why don't you just leave?

CHEN
I can't do that.

Chen turns his attention back to Hilda.

CHEN
(in Russian)
And you know why, don't you,
Comrade?

Kyle looks in amazement as his mother replies.

HILDA
(in Russian)
I always knew this was inevitable.

KYLE
Ma, you wanna tell me what's going
on?

She hesitates.

CHEN
Go ahead. Tell him about your
past, you're obviously very proud
of it.

Hilda takes a deep breath.

HILDA
I told you I met your father in
Afghanistan.

KYLE
You said you were working with the
Red Cross.

CHEN
(laughing)
The Red Cross!

113.

HILDA
I was there to lay the groundwork
for an invasion.

HEATHER
Jesus, you were a...

CHEN
Russian spy. And a very good one.
You know what she was especially
good at? Seducing male targets.
Isn't that right?

Kyle takes exception, pressing the gun harder against Chen's
head.

KYLE
Get to the point.

CHEN
(to Hilda)
Tell them about Viktor Petrovic.

HILDA
Viktor was a fellow agent, he was
my mentor.

CHEN
You're leaving out the most
important detail. Viktor Petrovic
was also my father.

Kyle is dumbfounded by the news.

CHEN
That's right. My mother was
Chinese, but my father was
Russian. And they could have
raised me together, if not for
this deceitful whore you call a
mother.

Kyle presses the gun against Chen's head again, prompting
him to press the sword lightly against Hilda's neck. A small
drop of blood appears.

CHEN
Go ahead! See what happens!

Kyle backs off slightly.

114.

CHEN
My father trusted your mother with
his life, and that trust cost him.
She seduced him, and tricked him
into helping her defect.

He looks Hilda straight in the eye.

CHEN
Viktor Petrovic, my father, was
executed for his failure. And my
mother was forced to live in
shame, raising a child alone. She
told me everything before she
died.

Kyle takes a moment to absorb the information.

KYLE
So what now? Are you ready to
trade your life for hers?

CHEN
You wouldn't risk your mother's
life.

KYLE
And you're not stupid. You kill
her, and you know you're next.

CHEN
We're at an impasse.

KYLE
They say you're the best. Is it
true?

CHEN
What are you getting at?

KYLE
Drop your weapon. I'll drop mine.

CHEN
And then what?

KYLE
We settle this.

CHEN
If this is a trick...

115.

KYLE
Think about it. What would be
better than killing me first, in
front of her?

Chen considers the proposition. Hilda gets a concerned look
on her face.

HILDA
Kyle...

KYLE
Don't worry, ma. This'll all be
over soon. Won't it?

Chen grins. Kyle slowly starts to lower his gun, as Chen
follow suit by lowering the sword. With both weapons nearly
touching the ground, they lock eyes for a split second,
before dropping the weapons in unison.

Chen jumps back immediately, preparing for an attack. Kyle
stands firm, eyeing him closely.

CHEN
I'll wait for you outside.

Chen backs toward the door, and disappears out of sight.

HEATHER
Kyle, you can't go out there.

KYLE
I have to. He's never gonna stop
coming for me. I have to end it
now.

Kyle picks up his gun and hands it to Hilda.

KYLE
Shoot him if he tries to come back
in here.

Hilda nods as she watches him go out the door.

EXT. YARD - DAY

Kyle walks into the backyard, where Chen is waiting.

CHEN
I'm going to enjoy this.

116.

They square off, each a little tentative at first, feeling
each other out. Chen jabs, Kyle back steps. Kyle counters,
Chen gets out of the way.

Chen fakes a kick, which surprises Kyle, and follows up with
a shot to the head. Kyle goes down to one knee, allowing
Chen to land a kick to the face.

Kyle falls back, dazed, but has just enough presence of mind
to roll out of the way as Chen attempts to stomp on him.

Back on his feet, Kyle goes on the offense, lashing out with
a series of blows. They go back and forth, strike, parry,
strike, parry, with blinding speed and precision.

Kyle lands a vicious blow, knocking Chen down. Chen counters
by sweeping Kyle's feet out from under him, causing him to
fall as well. With both men on the ground, they continue to
fight, using short blows and counters designed for close
quarters.

INT. LIVING ROOM - DAY

Hilda and Heather watch from inside.

HEATHER
We have to do something.

Hilda looks at the gun in her hand.

HILDA
All right, I'm going out there.

INTRUDER #3 (O/S)
You're not going anywhere.

She turns to see the final masked intruder, standing at the
entrance to the room, pointing his gun at her.

INTRUDER #3
Put down the gun.

Hilda slowly lowers the gun to the floor. Heather watches, a
look of fear on her face.

Hilda locks eyes with the man. Slowly, a smile forms on her
face.

INTRUDER #3
What are you smiling about?

117.

He becomes aware of movement behind him. He turns in time to
see Harold's fist hurtling toward his face. The blow lands
square on the man's nose, causing his legs to buckle. The
man goes down like a ton of bricks.

HAROLD
Sorry I'm late, ladies.

HILDA
Better late than never.

EXT. YARD - DAY

Kyle and Chen are back on their feet, trading blows once
more. The fighting is becoming more vicious, with each blow
taking more of a toll.

Breathing heavy, they square off once more.

CHEN
You should just give up. I can
make this a lot less painful than
what I'll do to your mother.

KYLE
If it means listening to more of
your bullshit, count me out.

They battle back and forth again, before backing off.

CHEN
What about the girl? Maybe I'll
enjoy her first. Not before I take
care of the boy, though.

Kyle is sent into a rage. He rushes headfirst into Chen,
tackling him to the ground. They wrestle for a moment,
clawing at one another.

Snaking one of his hands free, Chen reaches around to the
back of his belt and withdraws a small blade. He thrusts it
at Kyle, who sees it in time to roll back.

Kyle gets up, looking at his torn sleeve. Blood trickles
from a small gash in his arm.

CHEN
I'll take a piece at a time if I
have to.

Chen takes a swipe, forcing Kyle to back peddle. He attacks
again, but this time Kyle steps in, catching his arm. Kyle

118.

steps inside and uses his leverage to flip Chen over onto
the ground.

Chen retaliates, catching Kyle as he is still bent over with
a kick to the face. Kyle reels back, giving Chen the chance
to swipe with the knife again. Another gash opens up across
Kyle's side.

CHEN
I dream about making you bleed.

KYLE
You're gonna have plenty of time
to dream soon.

Chen attacks again. Kyle stays in place, but leans backward,
barely avoiding the knife. As he does so, he shoots his leg
out, catching Chen across the knee. Chen's knee buckles as
he cries out and drops to one leg.

Kyle follows up with a roundhouse kick to the face, knocking
Chen back.

Struggling to stand, Chen gets back up. His face is filled
with rage as he makes a feeble attempt to attack. Kyle now
easily evades him, following up with a jab. Moving like a
boxer, Kyle lands blow after blow, knocking Chen senseless.

With Chen on the ropes, Kyle is able to kick the knife from
his hand. He follows up with kick to the head. Chen falls
hard to the ground.

Kyle is on him like a predator. Wrapping his arm around
Chen's neck, he squeezes hard. Chen struggles, but is unable
to counter.

With Chen fading fast, Kyle glances toward the house. He
sees Heather watching. He hesitates a moment, before letting
Chen go. Chen collapses face first, struggling to breathe.

Kyle gets up and starts walking toward the house. He sees
Heather coming toward the door. She suddenly stops and cries
out to him.

HEATHER
Kyle!

Kyle turns in time to see Chen getting up, withdrawing a
hidden gun. He moves as Chen fires, the bullet grazing his
shoulder. Blood sprays out as he dives for cover around the
corner of the house.

Harold is already at the door.

119.

HAROLD
Son of a bitch!

He squeezes off a shot, hitting Chen in the side. Chen turns
in his direction, firing off several shots. Harold dives
back inside, as everyone hits the deck.

HAROLD
Stay down!

The shooting stops, giving Kyle a chance to peek around the
corner. Chen is already limping toward the road, where a
pickup truck is approaching.

Kyle takes off in pursuit.

The truck slows as Chen steps into the street. He fires a
shot at the window, forcing the driver to stop completely.
The man gets out, arms raised. Chen limps into the drivers
seat and starts to pull away.

Kyle, running at top speed, grabs the tailgate and throws
himself into the box of the truck.

HAROLD

gets up in time to see Kyle jumping into the truck.

HAROLD
Where's that damn fool goin'!

He heads out the door.

HAROLD
(calling out)
Get the police out here now!

INT. TRUCK - DAY

Kyle struggles to maintain his footing as Chen begins to
accelerate the truck.

Seeing Kyle in the back, Chen swerves, knocking Kyle down.

KYLE
Motherfucker!

HAROLD

follows in his car.

120.

HAROLD
You're gonna get yourself killed,
you idiot!

CHEN

attempts to drive and shoot at the same time, firing his
weapon out the back window. Kyle ducks low, as the window
explodes, spraying him with glass.

Chen barely misses an oncoming car, and is forced to swerve
onto the shoulder of the road.

Kyle gets back to his feet and lunges at Chen through the
busted out window. They struggle for a moment, the truck
swerving wildly across the road.

Chen tries to shoot again, but Kyle wrestles him for the
gun. It goes off, firing several shots at the floor.

Underneath the truck, gas begins spilling out as a bullet
punctures the tank.

HAROLD

sees the trail of gas spewing out from under the truck.

HAROLD
Shit!

He speeds up, coming up beside the truck.

CHEN

sees him, and turns into him. The impact causes Kyle to fall
back again.

Levelling his gun, Chen fires at Harold, who ducks as the
side window is shattered. Harold's car falls back.

Satisfied, Chen looks up in time to see that he is on the
wrong side of the road, with a larger truck barrelling down
on him.

Cutting the wheel sharply, Chen pulls the truck violently
onto the shoulder of the road, where it spins almost
completely around.

Kyle, realizing that the truck is hanging on the edge of an
embankment, throws himself out of the back, rolling hard on
the ground below.

121.

Chen struggles with the wheel, as the truck, seeming to hang
in slow motion for a moment, finally tips over the side. It
rolls down the side of the hill, over and over, until coming
to a stop at the bottom.

KYLE

gets up just as Harold comes to a stop a few feet away. He
looks down over the embankment as Harold approaches.

HAROLD
You okay, man?

KYLE
Yeah, I'm cool.

As they look on, flames begin to light up in the truck.
After a moment, the truck is completely engulfed.

HAROLD
You done now?

KYLE
(grinning)
Shit, I was just gettin' warmed
up.

INT. LIVING ROOM - DAY

Heather watches out the window as Kyle and Harold walk
toward the house. She runs out, embracing Kyle.

INT. HOSPITAL ROOM - DAY

INSERT ON T.V.

Adewale Idibia stands on a podium, giving a speech.

REPORTER (V/O)
...vetoed by the Senate
Intelligence Committee earlier
this month. And to add to his
troubles, the UN has announced
that they will be looking into
allegations of human rights
violations.

The sound goes mute as a nurse turns the television volume
down. She walks across the hospital room to where a doctor
is speaking to a group of interns.

122.

DOCTOR
We're still trying to figure out
his identity, but he seems to be
in a state of shock.

A figure lies on the hospital bed, covered by blankets, his
face wrapped in bandages.

DOCTOR
Once he comes out of it, he'll
need massive plastic surgery.
Luckily, his internals all appear
to be functioning normally.

The doctor leaves the room with the interns in tow. The
nurse takes readings from the machines the man is hooked up
to.

The man's head moves slightly, looking at the nurse. She
turns to face him, just missing it as he looks away. She
eyes him suspiciously, before leaving the room.

In the now empty room, the man raises his hand. Turning his
fingers into the form of a gun, he points it at the image of
Idibia on the TV screen, and makes a small play of shooting.

THE END

Feedback

From Nick Hanks	Date 1/13/2009
I'll give you points for one thing, there is alot more action explaining what's happening than dialogue which is great. One thing I can lend to you is to start your scenes in the middle of the action. Actually in the very first scene you did this quite well I thought. Another thing is read up on subtext, it's really a great tool to use. Subtext is nonverbal language and that can speak much louder in your action than actual words. I actually liked this effort but it needs work. Give it a rewrite and you'll be suprised, trust me. Every script I've ever had optioned was rewritten several times.

From Thomas Simmons	Date 9/8/2008
Another one I would pay to see. I loved the pacing of this story. The dialogue flowed, really smooth and brisk. This one played in my head really well. I'd like a chance to see it at the multi-plex.

From Kevin Mitchell	Date 7/31/2008
It ticks me off when I see Action/Adventure movies on the big screen and it turns out to be garbage. I read this and it felt like I was reading a real seasoned hollywood vetern writers piece like an Akiva Goldsman. I like your descriptions the most, how you keep it simple BUT detailed there's no filler or excess words to confuse the reader and I think that's why it was such an easy read. I don't read fast I take my time and I enjoyed every hour of your script. I would say that some of the dialogue at times felt slightly un natural (moments few and far between. You clearly have a talent and this should be on the BIG screen where it belongs. GET ER DONE! LOL

From Tri Xuan	Date 6/24/2008
I agree with what Chris said ....... WELL DONE!

From Jeff Helton	Date 6/23/2008
Congrats Dave, you're becoming one of the better disciplined writers currently on the site. The story is really coming around along with the characters since your first post.

From Chris	Date 6/18/2008
thoroughly enjoyed. good pace. keeps you interested from the get go. I had a few problems visualizing some of the scenes. You simply just need a few more adjectives here and there, they tend to help a lot. Story is solid, very in-depth characters. You're generous with the comedic lines. Your formatting is spot on, easy to read as you break up the paragraphs. Dialogue isn't overdone, its simple and real. You make good use of describing how the characters say what they say within the brackets. Good job.

Leave Feedback

You must be logged in to leave feedback.

Home My Account Products Screenwriter Community Screenwriter's Corner Help