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Killing Angels
by Christopher Ball (cwball1@triad.rr.com)

Rated: R   Genre: Action/Adventure   User Review:

Human Trafficking.

Registerred with the Writers Guild Association, East.


An empty subway station, the interior, is seen, silent.
Suddenly a subway tram pulls through the station, not
stopping, barely a flash of light.
The same subway car is seen pulling away from a different
deserted subway station. It is dark, a few lights
illuminate the surroundings asthe tram pulls off, into a
dark tunnel.
Mitchell Frye, a man in his mid 20's, sits in subway seat,
on that train, one in a row of five. He wears a sweatshirt
and a hood pulled over his face, with dirty, torn jeans. He
wears facial hair, scruffy, not long, as if it has been two
or three days since a shave. He looks tired, as if he's
just been through a long day. Mitch Frye leans back,
closing his eyes.
The tram stops, and through the open doors, a badly dressed
businessman in his late fifties walks drunk, into the tram,
with a young woman not much older than 18 at his side. The
man is forceful, as he holds her arm in a tight grip,
throwing her into the tram. He enters quickly, and rubs his
finger across his nose, wiping away white crystal
remainders. The woman has bruises across her face, and
across both arms and legs. She is dressed nicely though, in
a short dress. She is very pretty, underneath her scars.
The man snorts loudly and turns to face the young woman, who
cringes as he faces her.

Mitch and the woman make eye contact before she flinches
again, as the man leans in close to her, and whispers
something in her ear. Mitch stares down at the floor and
the man steps back and slaps the woman hard.
The train's doors close, the lights blink, and the drunk man
notices Mitch, who still has his eyes closed. The man pays
him no mind, and turns to the young woman, and begins
kissing her neck. She makes no movement, and the man grinds
his teeth, and stepping back, he hits her again. She falls
to the ground. The lights blink, then turn off.

Suddenly, Mitch grabs the man, from behind forcefully, and
throws him against the row of seats on their right. The
girl screams and runs to the back of the tram, cowering in a


corner row.

Mitch walks slowly to the man, who, in his drunken stupor,
is surprised, and trying to figure out why he is on the
floor. He gets on his hands and knees, and tries to pull
himself up by grabbing the plastic seat in front of him.
In a small mechanical room, at the front of the tram, an
older man sits in a metal chair, watching the dark rail line

He yawns, and turns his head to look at a set of three
camera monitors, each showing three different cars. The
monitor shows all trams to be empty. The conductor turns
back to line, and stares ahead.
Mitch has the man in his grasp, his arms flashing in the
darkness, as he throws the man, hard, into another row. The
man grimaces. The woman cowers in a corner, underneath a
row of seats. Mitch approaches him, the man closes his
eyes, exhaling deeply, obviously in intense pain. The man
holds his stomach, and throws up into the floor. Mitch gets
closer, yanks his hair up, putting the man into a crouching
position, his eyes open.

Mitch holds a small picture, of Gabriel Vaughn, the head of
a global human trafficking syndicate. Gabriel is very dark,
and bald, in his fifties. The man looks at the picture,
still dry heaving.
The girl wimpers and Mitch looks at her as the train stops.
Mitch nods his head to the door and she gets up, looking at
Mitch, as if to thank him, but is too weak. She stumbles to
the door, right as they begin to close. Meekly, she walks
out of the train. The doors close, and the train continues
to move. Mitch turns back to the man.
                       MITCHELL FRYE
      (softly, but in
Kennen Sie ihn? (Do you know
The man gasps, trying to catch his breath, Mitch hits the
man, opening a cut in his mouth. The man yelps.


      (quickly, in pain)
Nein!! Nein, nein, nein!
Mitch drops the man, and he falls, eyes closed, into the
row, gasping. Mitch takes another picture from his
sweatshirt, a young girl, Dana, Mitch's wife, who is also in
her mid 20's. He puts it in the man's face. The man's eyes
open, and he looks at the picture.
                       MITCHELL FRYE
      (softly, more
Kennen Sie sie? (do you know
The man stares at the picture, he takes too long looking,
and Mitch slams him up, against the wall, next to the row of
seats. The man looks into Mitch's face.
Sie... Ist gut... (She...is good)
Mitch drops him, disgusted. The man looks up, Mitch reaches
behind him, and withdrawals a pistol from his waistband. He
aims it at the man's head. The man reaches up to Mitch, as
Mitch pulls the trigger on the gun. The bullet explodes
through the man throwing him into the plastic seats behind
him. The tram stops, and Mitch walks out, leaving the man's
remains. The Tram's lights blink.
The lights from the subway turn into auditorium spotlights,
illuminating a stage. A middle aged man, Daniel Turner, CEO
of the World Justice Mission, WJM, walks across the stage, a
black leather folder in his hand. He walks to a podium,
towards the front of the stage. He is dressed in business
casual attire, a navy jacket, khakis, no tie.
The auditorium is mostly full, with a few pockets of empty
seats spread evenly across the auditorium. The audience
consists of professors, graduate students, and a few
undergrads. The crowd is attentive.
Turner steps up to the podium, laying out his folder,
exposing organized pieces of paper. He looks up into his
audience, and pauses before speaking.


                       DANIEL TURNER
      (Pointing to a
       powerpoint to his
An average of seven hundred
thousand humans are forced to
travel across international
borders, against their wills, each
      (The powerpoint
       changes, Turner
       looks at the
Of those seven hundred thousand,
80 percent are women and children,
who will join the countless
already in bondage within the
worldwide human slave trade.
Turner steps out from behind the podium, and stands next
to it, on the right, his left arm resting on the podium.
                       DANIEL TURNER
      (Still to the
       audience, the
       switches to show
       the following)
This year, the Justice Department
reported to Congress that an
average of sixteen thousand
foreigners enter the United
States, again, against their will,
to participate, unwillingly in
either the sex, or the slave
trade, given over to labour camps,
within the United States.
      (Turner pauses,
       looking into a
       few faces, all
       eyes are on him)
At home, the Justice Department
estimates that two hundred
thousand of American children are
in constant danger of being
abducted, and forced into *our*
domestic sex trade.
Turner steps forward, now standing on the very edge of the


                       DANIEL TURNER
Slavery is not dead. In fact,
slavery is more alive, and
thriving then ever before. It is
underground, international, and
very dangerous. It has so many
faces, that national governments
don't have a clue how to approach
their own country's problem, yet
alone how to face this current
international crisis.
Tuner steps back to the podium, and leans against it. He
                       DANIEL TURNER
This situation is not hopeless, as
you may be thinking, for in fact,
I am proud to present to you a
solution that is currently being
supported around the world.
The World Justice Mission works to
combat Human Trafficking, the
slave trade, and the sex trade,
both at home and abroad. Because
we are a private company, we are
able to cross international
borders and work with a variety of
national governments in order to
combat human trafficking
Turner clasps his hands together.
                       DANIEL TURNER
In a world with increasing
national and international
tensions, we are the answer. We
are the support, and the
providers, the comforters, and the
healers. We are the future in the
growth and support of Human
Rights, world wide.
Turner steps back, looking at the powerpoint as the lights
dim. A WJM promotional video begins.


A mixture of young women, and young girls are tied to the
walls of the trailer, more line the inside of that group, as
in a circular motion. Most cry, or have tear lines on their
faces. The trailer is very dark, light spilling in from
various small cracks in the walls.
                       MALE VOICE
The sex trade is the third largest
Criminal Enterprise
internationally, behind only that
of trafficking drugs, and weapons.
The doors in the back of the trailer are opened, flooding
the inside with bright, mid-day light.
Five black and latino men work, shirtless, sweating,
grimacing, in a corn-field. A white man stands behind them,
a whip in hand.
                       MALE VOICE
In two thousand and four alone,
there were more humans seized
internationally, for their use in
labour, then in four centuries of
the Trans-Atlantic Slave Trade.
An older man, in his fifties, lays naked, asleep in bed. The
shot pans to the floor next to the bed. A young girl, 12
years old, leans against the wall in a small, dirty night
gown. Tears fall from her eyes.
                       MALE VOICE
Worldwide, there are two million
children held within the market of
illicit prostitution.
An old man stands, chained, with only a loin sheet covering
his body. An Asian man stands behind him, in some kind of
uniform, and whip in hand. The old man's head is bowed, his
eyes closed.
                       MALE VOICE
In two thousand and three, over 25
percent of African Prisoners had
contracted aids due to the
subhuman conditions and treatment
they recieved while in prison.


The girl from the bedroom, a man from the labour fields, and
the old man stand together, the old man holds the girl's
                       THE THREE
What will you do for us?
Turner stands at the bottom of the stage, in the middle,
speaking to professors and students who have come to talk to
him about his presentation.

A man in his late fifties approaches. He is dressed in a
casual suit, khakis, a navy blazer and a nice tie.

As he approaches, two students finish talking to Mr. Turner,
and a man in a nice black suit steps up to speak with him,
flanked by two other important looking men. The man in the
khakis, Mike Shade, stands to the side, unnoticed.
The Suit shakes hands with Turner.
                       DOCTOR GUTHRIE
      (Shaking hands
       with Turner, both
       men smile)
Fabulous presentation, Daniel.
Mind blowing material.
                       DANIEL TURNER
       releasing the
Thanks Mark. I'm glad you guys
enjoyed it.
Turner motions to the men next to Guthrie. They smile, and
one approaches Turner, shaking his hand.
                       HARVARD ALUM REP.
      (shaking Turner's
Of course. Mr. Turner, as
president of the Harvard Alumn
organization, I believe that I may
speak on all of our behalfs when I
say, that we would love to sponsor


                       HARVARD ALUM REP. (cont'd)
your work.
Turner finishes with the man's hand, then looks at all
three, smiling.
                       DANIEL TURNER
Not as much as I would, I'm sure.
All four laugh. Mike, off to the side, smiles amused.
The two men turn, and Mark Guthrie smiles at Turner as he
starts to walk backwards.
                       DOCTOR GUTHRIE
      (winking and
       smiling at his
I'll be in touch Dan, take it
                       DANIEL TURNER
      (Waving slightly)
Thanks Mark.
The men walk away, and Mike walks up to Turner. Pockets of
people stand around the auditorium talking, some laughing.
Turner turns to him, and smiles, as he knows Mike. Mike
stands next to him, leaning against the stage, hands in his
pockets, watching the men walk away. Turner faces him, and
Mike smiles.
                       MIKE SHADE
      (crossing his arm,
       back against the
The future of the growth and
support for Human Rights?
Turner laughs and moves to stand next to him, also leaning
against the wall.
                       DANIEL TURNER
A little dramatic, I guess.
Whatever gets the job done, hey,
If I had known the director of the
WJM was coming, I would have let
him rep the company.


                       MIKE SHADE
I think I do enough of that
      (motioning to the
But I'm impressed. I don't know
many people on a first name basis
with the President of Harvard.
Turner turns to look at his friend, then turns back to Mike.
                       DANIEL TURNER
Yea, Mark and I were room mates at
Oxford for three years.
                       MIKE SHADE
Ah, ok.
Turner nods, then looks at Mike.
                       DANIEL TURNER
Alright Mike, what's up? The
director of the Mission doesn't
come to my college presentations,
whats going on?
Mike smiles, then looks at Turner.
                       MIKE SHADE
The board wants me to talk to you,
to get some things clear, nothing
huge, they just need to know a
couple things, shouldn't be a big
      (Turner frowns)
It's nothing too serious, not
involving you anyway. They just
need a little cooperation, you
                       DANIEL TURNER
      (exhaling, then
Sure, what do they want to know?
                       MIKE SHADE
Something about Project Angel...
      (looking at Turner
       for a clue of


                       MIKE SHADE (cont'd)
       Turner shows
They didn't tell me a lot, said
they'd give me more information
later, but you know how this
works, they came across something
or someone they aren't comfortable
with, and you just need to make
them feel better about what you
are, or were working on.
Turner nods. Mike walks in front of him, back pedaling.
                       MIKE SHADE
      (walking slowly,
Tomorrow morning, my office, eight
thirty, ok?
                       DANIEL TURNER
Sure thing.
Mike is about to turn and walk away...
                       MIKE SHADE
      (smiling, pointing
       at his friend)
Nice work tonight, Dan.
Mike turns and walks away from the stage. Turner watches him
go, then turns to some students, waiting to speak to him.
A nice black sedan drives slowly through the nice, shopping
district of Munich, weaving in between what little traffic
remains in the dark of the night. Inside the car, Gabriel
Vaughn, the man from the picture, sits in the back of the
car, leaning against the side of the car, looking out the
window, watching the world around him.

In the drivers seat, Shelton Whitaker, a white South African
man, one of Gabriel's men, drives the car, slowly as to not
attract attention. In the passenger seat, Rashik Abidemi
sits straight ahead, watching the road.

The car pulls through traffic, and off into a smaller road.
The road takes them through a couple of blocks where the
scenery changes, almost immediately, from the nice shopping


district, to the shady ghettos of the outcasted african
people within munich.

The car takes another turn, into a small alley, which seems
deserted except for a broken down car, it's hood raised. No
one attends to the car.

The sedan pulls up slowly, and stops. Whitaker, and Rashik
step out of the car, and shut their doors behind them. They
retrieve pistols as their eyes scan the alley for any type
of movement. They approach the car, and walk around it,
scanning the insides of the car. They approve, and Whitaker
walks back to the car, and opens Gabriel's door. Gabriel
gets out of the car as Rashik fiddles with the trunk, back
on the opposite side, across from the sedan.

Slowly, Gabriel walks around the broken down car, followed
by Rashik. Whitaker opens the trunk as Gabriel walks around
the back, now able to see the interior.

Inside the trunk, a young (18), American woman lays, her
hands tied behind her, face up, curled into a ball. (This
woman is not Dana) She cries, not violently, as if all her
energy is drained. She is pretty, but obviously in pain,
and is dressed in only a nightgown dress. She gasps at the
fresh air, and the cold. She has no energy to talk, and
puncture wounds on her arm indicate that she has been
drugged to keep her in an amiable state.

Whitaker and Rashik step back as Gabriel steps forward. He
places a hand on her face, examining her. He lowers his
hand, rubbing her neck, then down, her upper body, and
slowly he moves his hand lower, into her lower body. She
closes her eyes, in discomfort.

Gabriel smiles. He steps back, and nods at Whitaker.
                       SHELTON WHITTAKER
      (responding to the
Will it work?
                       GABRIEL VAUGHN
      (smiling at the
       young woman)
She's perfect.
Gabriel walks back around the car, with Whitaker. Rashik
slams the car trunk down.


Turner walks into the building, the floor is designed to be
a reception center, and break hall for its patrons. To
Turner's right, a coffee shop is a step down from the
reception floor. A few men and women socialize while
drinking coffee, eating pastries, or reading the newspaper.
To his left, an empty reception center is a step up from the
entrance floor. Turner walks forward, past a man in a
business casual suit walking out. Turner walks up to the
reception desk.

A security guard stands to the side, using a metal detector
wand on another worker. He nods at the man, who nods back
and walks to the elevators.

A young secretary sits behind the desk, behind a computer.
She smiles at Turner.
Mr. Shade is expecting you, Mr.
Turner. Floor fifteen.
                       DANIEL TURNER
Thanks Kathy...
      (leaning over the
       counter, smiling)
Hey, do you know if they brought
the caterer in for this?
It looks like it's just you and
Mr. Shade, sorry...
Turner pretends to be disappointed and walks to the
security officer. Turner smiles as the guard wands his
body. The guard stops, and nods at Turner.
                       DANIEL TURNER
      (picks up his
       briefcase, looks
       over at Kathy,
Joking. Have a great day.
Turner winks at Kathy as he turns to the elevators.


Daniel Turner walks slowly down the hall. The walls
somewhat plain, and white, with little decorations, a framed
painting here and there. Turner passes people determined in
their walk, totally unconcerned with his presence. He holds
a phone to his ear, and looks concerned. He turns a corner,
sidestepping a hurried woman walking past him, her arms full
with folders.
                       DANIEL TURNER
      (walking, to the
Are you sure?
Ok, let me know, yea, just call.
He shuts the phone, and turns another corner, finding
himself face to face with a door at the end of the hall. It
is labeled, "Director, WJM". Turner shakes his head,
smiles, and knocks on the door to the room.
Turner opens the door, showing a nice, not spacious office.
Mike sits behind his desk, holding a phone attached to a
cord, which runs to his desk. He smiles at Turner, and
motions to a seat in front of the desk. Turner shuts the
door behind him, and takes a seat in the chair, across the
desk from Turner. Turner leans back, and closes his eyes,
rubbing his temple.
                       MIKE SHADE
      (to the phone)
Yes sir... I'll take care of it,
yea he just walked in, yes.
Mike puts the phone on it's receiver, exhales and smiles at

Turner sits back in his chair, his elbows resting calmly on
the arm rests. He looks at Mike, in no hurry.
                       MIKE SHADE
How you doing Dan?
                       DANIEL TURNER
Can't complain, good breakfast,
good cup of coffee, you know.


                       MIKE SHADE
      (nodding, getting
       to business)
Ok. Here's the deal, Dan.
      (moving some
       papers on his
The board needs a little
clarification from your end, on a
few key issues.
                       DANIEL TURNER
Mike takes a file from a file holder on the corner and top
of the desk. He lays it in front of him, opens it and
slides a picture over to Daniel, who looks at the picture
and frowns.
                       MIKE SHADE
      (picking up on the
Do you know who this is?
The picture is of Mitchell Frye, an agent with the mission,
who has worked with Turner.
                       DANIEL TURNER
      (still looking at
       the picture)
Sure, Mitchell Frye.
      (looks at Mike)
He worked with me, in the field,
Europe, for a couple months.
                       MIKE SHADE
      (looking at Turner)
                       DANIEL TURNER
Yea, starting about a year and a
half ago, in Hamburg, Germany.
Mike nods, he takes the picture and flips it over, picks up
another, and passes it to Turner. The picture is of a big
black man in a nice suit.

Turner looks at Mike, surprised.


                       DANIEL TURNER
He was a target in an operation we
                       MIKE SHADE
      (Leaning back,
       hands behind his
Who is he?
Turner leans back, looking at Mike, making eye contact,
searching for some key as to what exactly was going on.
                       DANIEL TURNER
      (holding up the
       picture of the
       black man)
Gabriel Vaughn. South African. He
runs the largest Human Trafficking
network in the world.
Mike nods, he points to the picture of Mitch.
                       MIKE SHADE
And how does Mitchell Frye fit in
with Vaughn?
                       DANIEL TURNER
      (Takes a breath,
       looking at Mike,
       biting his
       lip,then exhales)
Mitch was everything.
No one is around, except for Turner and Mitch.

Mitch stands, after sliding back from the table. Turner
sits across from Mitch, and keeps his calm.
                       MITCHELL FRYE
      (anger, voice
Don't act like you know me!
An Asian couple beyond them turn, worried. Turner leans


                       DANIEL TURNER
Mitch, Dana was...
                       MITCHELL FRYE
      (stepping to the
       table, anger)
Don't you pretend like you fuckin
know, Daneil. Because you don't.
Turner frowns at Mitch, obviously offended. Mitch takes a
picture out of his pocket and throws it down, in front of
Turner. The picture is bent, a small portion showing Dana's
smiling face, Dana is Mitch's wife, the rest of the picture
is bent over, not visible to the camera.
                       MITCHELL FRYE
      (pointing at the
There, now you can look at her
face, and know, that you, and your
fuckin company could have kept her
alive, and you did what? You did
Mitch walks away from the table. Turner watches him go,
then looks at the picture, showing very little emotion,
maybe disappointment.
Turner leans back, Mike leans forward, elbows on the desk,
confusion on his face.
                       MIKE SHADE
Turner bites his lower lip, and nods.
Turner's voice narrates the following.
                       DANIEL TURNER
Mitch met Dana while he was
studying a semester abroad in
Rome. Mitch was in school back in
the states. Dana was an Art
student from Milan. They hit it
off pretty hard.


A sign on a nearby street shows the place to be 220 km from
Florence. A small car is parked on the side of the street,
leading to the field.

It is obviously summer, the sun is shining, mountains are
seen in the distance. Mitch and Dana lay together, in the
field, on a towel, a basket is seen with some leftover food
off the towel. Dana lays close to Mitch, their bodies
touching as Mitch holds her to his chest. They both watch
as the clouds move.
      (looking at the
Come with me.
Mitch frowns, and looks down at her, kissing her head. He
settles back in to the towel. She continues looking at the
                       MITCHELL FRYE
I am with you.
Dana smiles.
I mean, come away with me.
                       MITCHELL FRYE
      (smiling, kissing
       her shoulder)
Where will we go?
Dana smiles as she turns, and moves smoothly on top of
Mitch, bending down to his face, and cradling his face with
her hands.
                       MITCHELL FRYE
      (smiling, halfway
      (bending lower,
       before kissing


They kiss, and Mitch moves her over, taking the top spot,
taking his hands and placing them lower on her stomach,
moving them up, and under her loose shirt. She smiles.
Mike leans back, Turner sits up straight, watching Mike
struggle with what he was hearing.
                       MIKE SHADE
So you recruited him?
                       DANIEL TURNER
      (shaking his head
       back and forth)
In the beginning...
I gave him an oppurtunity.
                       MIKE SHADE
An oppurtunity?
Turner nods, and smiles.
                       DANIEL TURNER
A priest stands in front of the pews, where he speaks in
Latin. Mitch is crouched, head bowed praying. He opens his
eyes, and they drift to a young Italian Woman, Dana, who is
also praying. They catch each others eyes and she turns
back to face the front. She smiles, he bows his head,
Mitch and Dana, sit with their chairs close. They sip on
coffee, hold hands, and recline, relaxed and happy.
Mitch and Dana lay in bed, naked, but covered by the sheets.
They are awake, and Mitch leans over her, kisses her, while
his hands hold himself over her.


                       DANIEL TURNER
After a couple months though, he
was supposed to head back. She
persuaded him not to go. They
moved away together, to Germany,
Hamburg. Not the richest of newly
weds, but they were content,
Mike nods.
The following is narrated by Turner's voice:

Dana and Mitch walk, hand in hand, Dana's knapsack against
her side, she and Mitch browse a market booth. She notices
a young girl, behind the bazaar, leaning around a door,
leading to an alley, the girl is looking at her. When Dana
smiles at the girl, the girl hides, but is still barely
visible. Mitch smiles at the girl, and keeps browsing,
moving to the other side of the bazaar. Dana tilts her
head, confused. The girl leans back out, and looks at Dana.
Dana notices the girl has been crying. Dana walks quietly
up to the girl, and the girl shakes her head.

A man appears behind Dana, and silences her with his hand
around her throat, and grabs her, carrying her, kicking,
into the doorway, which closes behind them, closing off the
alley. Her knapsack drops to the ground.

Mitch comes around the other side, and notices the knapsack.
He looks around, and the shot focuses quickly on the faces
of those around him, a man, a woman, and another man. Mitch
grabs the knapsack and looks at the alley door.
                       DANIEL TURNER
Turns out, Hamburg ended up being
host to some pretty nasty
trafficking groups, which is
pretty common with European Cities
these days. Dana was taken early
in the summer. No one contacted
Mitch, no one saw who had
kidnapped her, and no one claimed
responsibility. She just


The door bursts open, Mitch trips in, regains his balance,
after shouldering open the door. The alley has no doors,
and is no bigger than two rooms, all stone, with a wall at
the end.
Mitch stares back at the door, then back at the empty alley.
Mike leans back in his chair frowning. Turner sighs...
                       DANIEL TURNER
Hamburg police found Dana's body
in a street gutter, about a month
and a half later.
Black and White:

Men huddle around a squad car, while two men in official
police/ medical uniforms crouch down next to a sprawled
Dana, laying on the side of the road, dead.
Mike gets up, and walks to a coffee machine on a small
table, across the room. He fixes two cups while Turner
                       DANIEL TURNER
      (looking at
       Mitch's picture)
The police contacted us. They had
some leads that connected Dana's
death with a large syndicate
responsible for a large amount of
Germany's trafficking and
prostitution cases.
Mike nods, and walks back to the desk, handing Turner a cup,
and dropping back into his seat. He sets his down, and
grabs the folder, and holds it up, flipping through it.
                       MIKE SHADE
      (leaning back,
       browsing the
So, how did you get in touch with


                       DANIEL TURNER
      (placing the
       coffee down on
       the desk)
The funeral.
A small group of locals stand behind Mitch, who holds
flowers. It's raining. A catholic priest crosses his
chest, Mitch steps forward, places the flowers on the
casket, crosses himself, closes his eyes, and turns around.
With anger in his face, Mitch steps away from the casket,
and out from under the tarp, and away from the ceremony and
into the rain.
Turner stands at the back with the locals, he frowns, in
apparent sadness, or empathy.
Mitch sits alone, at a table, across from the bar. The
bartender cleans a mug, then steps into the back room. The
front door opens and Turner walks in.
                       DANIEL TURNER
      (voice only)
I found Mitch drinking his way
through a bar the night of Dana's
funeral. He was angry, and so it
wasn't the greatest of my
Turner steps forward to the table. Mitch sits, face away
from the door. Turner approaches him, stands to his side,
at the head of the table. Mitch glances up, then back down
to the table, he drinks a beer. Shot glasses sit to the
side, empty.
                       DANIEL TURNER
Can I join you?
Mitch is silent, and he simply drinks. Turner drops a
yellow envelope on the table. Mitch's eyes are drawn to it.
Turner starts to pull the chair out from under the table.
Mitch looks up at Turner.
                       MITCHELL FRYE


Turner stops. He nods. He tosses a card on the table, on
top of the envelope. It says WJM, and it has a number
                       DANIEL TURNER
      (Looking at Mitch)
If you want to know what really
happened to Dana, let me know. I
can help you actually do something
about her death.
Turner walks away, out of the bar.
Mitch sips from a half of whiskey. He stands, and walks to
the kitchen, where he lays down the handle. He sees
Turner's card, on the small kitchen table, cluttered with
leftover meals. He looks at it. He looks at the time, 2:30

He grabs the card, and walks to an old, ring dial phone, on
the wall next to a small bar, under cabinets. Mitch takes
the phone off the hook, and dials the number on the card. He
tosses the card onto the bar, and he leans against the wall.
He rubs his temple.

The phone rings.
Turner sits in a small hotel room, in Hamburg. He lounges
in a chair, sipping a glass of water, and reading some
papers. He has more paper spread out around him, on the
bed, next to the chair.

His cell rings, it lays on the bed. He looks at it,
displaying a number. He lays the papers on his lap, and
reaches for the phone, taking it, opening it, and putting it
to his ear.
                       DANIEL TURNER
Mitch leans against the wall, quickly looking back at the
                       MITCHELL FRYE
Daniel Turner?


Turner reclines back farther, recognizing the voice.
                       DANIEL TURNER
Yes. Is this Mitchell?
                       MITCHELL FRYE
      (voice only,
       quickly said)
                       DANIEL TURNER
      (leaning forward,
       elbows on knees)
Ok. We need to talk. Do you know
the Berimouthe Pub?
Mitch nods, slowly. Massaging his temple, still leaning
against the wall.
                       MITCHELL FRYE
      (to the phone)
Yea, I know it.
                       DANIEL TURNER
Good, meet me there.
Mitch looks at the clock, 2:37 am. He frowns.
                       MITCHELL FRYE
You want to meet now?
Turner leans forward, his elbows on his knees. He bites his
lip, rubbing his chin.
                       DANIEL TURNER
      (to the phone)
I'm not sleeping Mitch.
Mitch nods, understanding.
                       MITCHELL FRYE
Ok, I'll be there in 25 minutes.


Mitch hangs up the phone, pauses, leaning against the
counter, and exhales, pushing himself off, and walking out
of the kitchen.
Turner and Mitch sit at a small table, both drin coffee,
which sit in saucers. Mitch's has barely been touched,
while Turner sips periodically on his. Mitch looks very
tired, as if he hasn't slept in days. Turner looks a little
more polished, but also sports black bags underneath his

The rooftop shows Hamburg well, the downtown section around
the building, for a few blocks, and then expanding to the
surrounding green farmland, around the city.
Turner takes a file out of a black leather briefcase,
sitting on the ground, next to his chair. He lays the file
in front of Mitch. Turner motions for him to open it, then
Turner picks up his coffee and sips.
Mitch looks at Turner, then looks down at the file. He
opens it up.

On the first page, a small picture of Dana is clipped to a
piece of notebook paper, with scribbled, barely legible
notes. Mitch flips over Dana's picture, revealing another
small picture, this time of Gabriel Vaughn, the head of the
Human Trafficking Syndicate. Gabriel is in his early 50's,
and of African heritage.

Immediately, a scene change occurs.
The man, Gabriel Vaughn, is black, bald, and seen in a nice
suit, walking with two women on both sides, through a
brothel, which is seen to be dark, and somewhat grimy. It's
almost as a club, with seating in the corners, and a bar in
the corner of the large room.

As they walk through the center of the room, the shot picks
up on people glancing over at the group, then back to their
conversations. "Couples" go in and out of doors leading to
small rooms to the side of the room. The camera can linger
on an opening in one of these doors, showing a young woman
laying on a bed, the man walks, out of the room, clothed.

Gabriel walks with his group, up some stairs, in the back,
after nodding to two burly security men guarding the


entrance. Gabriel opens the door, letting in a bright white
light from the outside of the brothel.
Mitch holds the photo of Gabriel, and he leans over the
table, slightly. Mitch looks up at Turner, who sips on his
coffee, leaning back.
                       MITCHELL FRYE
      (very serious)
Who is this?
Turner sets his coffee down and exhales. He looks at Mitch.
                       DANIEL TURNER
Gabriel Vaughn is the manager, per
say, of the world's largest Human
Trafficking syndicate. He was
born in South Africa, where he was
introduced to the world's
cruelties, and it's systems.
A military truck, with troops exposed, sitting side by side
on the back, passes through the shot. Gabriel, younger, is
seen on the back, solemn faced, holding a rifle.
Wooden shacks are burnt, soldiers roam the streets, torches
in hand, their shirts untucked, whisky bottles in some
hands. A group drag young women into a small hut, not lit
on fire. Gabriel is among them.
Mitch leans back, looking at Turner critically.
                       DANIEL TURNER
      (still leaning
       back, coffee is
He and two of his buddies,
      (Turner takes two
       pictures out from
       deeper in the
were court marshalled, thrown out
of the South African Army, quite a


Mitch studies the photos.
                       MITCHELL FRYE
So then, they did what, exactly?
                       DANIEL TURNER
      (exhaling, leaning
They created a goddamn
corporation, or Gabriel did. The
others are just pawns, Vaughn is
the brains, of course, they just
manage his enterprise...
                       MITCHELL FRYE
      (picking up the
       two photos)
And you think one of these men
kidnapping Dana?
Turner shakes his head, no. He leans forward.
                       DANIEL TURNER
No, Dana was kidnapped by lower
levels. But the night the German
police found her body, we found
      (pointing to one
       of the pictures,
       big black man)
Rashik Abidemi. In Hamburg.
                       MITCHELL FRYE
      (leaning forward)
                       DANIEL TURNER
      (leaning back)
And, we can put Rashik with
Gabriel, in Hamburg, only hours
before the police think Dana died.
                       MITCHELL FRYE
      (leaning back)
So why are you talking to me, what
can I do?
                       DANIEL TURNER
In a couple days, we'll have him
in, "Custody", but he won't talk
to me, we know that.


                       MITCHELL FRYE
                       DANIEL TURNER
I want you to scare him, Mitch.
Scare the hell right out of him.
We don't need him, he'll know
that, so we make him give us
something we don't know yet, some
intelligence or whatever he has.
      (Mitch nods)
You intimidate him, and he'll give
us something leading to Gabriel,
or we forget him, and pursue other
sources, which we have available
to us.
Mitch leans back and looks at Turner, who smiles at him.
                       DANIEL TURNER
It's your opportunity. You can
bring Dana's murderers to justice
                       MITCHELL FRYE
      (Turner nods)
                       DANIEL TURNER
      (smiling, although
       said seriously)
Mitch, We aren't a government,
there is no geneva here.
Turner stands looks out over the roof. Mitch stares at him
from his seat.
                       MITCHELL FRYE
      (from his seat)
And Gabriel?
Turner just stares at the city, and doesn't look back at


Mike leans back in his chair, surprise on his face. Turner
leans back, his elbows on the chair rests, his hands
supporting his chin. He drops his hands as Mike starts to
                       MIKE SHADE
      (staring at Turner)
No Geneva?
                       DANIEL TURNER
      (rolling his eyes)
I used his emotions, but I kept
him on a leash, at first...
                       MIKE SHADE
      (surprised, leans
At first?
                       DANIEL TURNER
      (biting his lip)
He kept it under a tight lid, for
the first couple months.
Mike leans back.
                       MIKE SHADE
Did you give him any training?
                       DANIEL TURNER
A little.
The room is dark, but is illuminated at the middle, where
Mitch stands in a ring with a male agent, Murphy. They wear
sparring masks, and box. Turner stands to the side of the
ring, watching, his arms crossed.
Turner looks at Mike, who nods.
                       DANIEL TURNER
The boy was in shape. He just
needed a couple, rarer skills.


Murphy and Mitch walk up to a car. Murphy looks around,
then turns to Mitch and nods. Mitch ducks under a car. He
wears a raggedy sweatshirt and dirty jeans. He holds
something under the car, then gets up and runs, with the
other agent, towards the camera. The car explodes.
Mitch stands with a submachine gun, listening to a female
agent, who will work with Mitch and Murphy later. She
talks, but we don't hear what she says. A target is set up
50 yards away. Mitch nods, and holds the gun up, aiming at
the target. He depresses the trigger, and a three round
burst hits the target, very close to the center. Mitch
Mike nods, and Turner has his arms behind his head, leaning
                       MIKE SHADE
So he was good?
                       DANIEL TURNER
A natural.
Jamal, a middle 20's, black WJM informant who works inside
Gabriel's syndicate sits at a small table across from Mitch.
The bar is empty and Jamal drinks a beer. Mitch drinks
nothing and seems calm, while Jamal seems nervous, looking
over his shoulder throughout the conversation. They sit in
the back of the bar, torwards the back rooms. Mitch sits
facing the door and Jamal across from him. A pack of
cigarettes lays next to the beer.
Mitch leans forward, and Jamal leans back.
                       MITCHELL FRYE
Where is he, Jamal?
Who's that?
Mitch stares at Jamal, staring him down.

Jamal pauses, and nods. He grabs the pack of cigarettes, and


takes one out, puts it in his mouth, lights it, and leans
his head back, exhaling upwards. He turns to look at Mitch.
is in Hamburg for the rest of the
week. He's living in the
safehouse on 17th.
Mitch leans back, frowning.

Jamal takes a sip of his beer, nervously.
      (putting down the
You don't believe me?
                       MITCHELL FRYE
I don't trust you.
I have no reason to lie to you.
Mitch rotates his body, nochalantly, revealing a pistol
strapped under his arm, beneath his jacket.

Jamal notices, and slowly looks at Mitch, taking a drag on
his cigarette.
Mitch stares at Jamal, then nods and stands up. He turns to
the door. Jamal stares at his back.
      (a little
Next time you need my help, send
Mitch smiles, slightly, and turns back to face Jamal.
                       MITCHELL FRYE
Do I make you uncomfortable Jamal?
Jamal sips on his beer, and ashes his cigarette. He stares
at Mitch, nervous again. Mitch smiles and turns to the
door, and exits the bar. Jamal drains his bottle and places
it slowly down on the table.


Mitch walks out of a bar, and enters the crowd of people
heading back to work from lunch. His cell phone rings, he
opens it and puts it to his ear.
                       DANIEL TURNER
You get him?
Mitch keeps walking.
                       MITCHELL FRYE
      (Eyes wandering
       across the people
       in front of him,
Oh yea.
Mitch closes the phone, and puts it in his jacket pocket. He
keeps walking, in the crowd. He smiles, slightly.
The room is small, but open, with only a chair where Rashik
sits, not tied down, just sitting, voluntarily. He wears a
button up shirt, and is in nice clothes. He sits in his
chair, smugly. There is no mirror-window. The room is
closed, and only a security camera watches from a dark
corner, illuminated only by a small red light.

The metal door behind the chair opens, and Turner walks in.
He is dressed in a button down, a navy jacket, khakis, but
no tie.

Rashik turned as the door opened, rotating, putting his arm
over the backside of the chair. His face is not nervous, as
he sees Turner, recognition is obvious as he identifies
Daniel through the partial darkness.

Turner shuts the door, and walks past Rashik, his hands in
his pockets. The two men stare at each other, as Turner
stands in front of Rashik, somewhat casually.

Rashik smiles.
                       RASHIK ABIDEMI
      (motioning around
The underbelly of the World
Mission? I was expecting torture
machines, and execution chambers,
I am a little disappointed, Mr.


                       RASHIK ABIDEMI (cont'd)
Rashik's size becomes obvious as he chuckles at his own
joke. He shifts his weight. He looks at Turner, surprised
at receiving no reaction. Turner just stares.
A group of men, with ski masks, and black clothing, huddle
behind a wall, at the side of the complex, waiting, watching
the entrance to the large building.
An Asian man walks to the entrance, from the other side, and
opens the door, after opening with a key, and walks inside.
The group pull down hoods, and ski masks. They take out
silenced weapons, and run to the swinging door. The point
man gets to the door before it shuts, and holds it open,
watching the Asian man walk down the entrance hall, not
realizing what happened. The man turns a corner, and the
men enter the building, the door closes softly behind them.
Rashik stares at Turner, not understanding why Turner is
showing no emotion.
                       DANIEL TURNER
Mr. Rashik, I need some
      (making eye
I need to find your boss.
Rashik smiles, silently jeering at Turner.
                       RASHIK ABIDEMI
Do not patronize...
Turner moves closer, and Rashik braces himself, but Turner
only bends down, crouching next to the chair. Turner looks
up at Rashik, who looks at the camera, which still has the
red light on.
The masked men walk lightly and quickly through an empty
hallway. The Asian man walks, around a corner, casually
ahead of the team.


Turner looks into Rashik's face. The large man seems
nervous, despite the difference in the two men's body sizes.
Turner takes a picture of Dana from his pocket, he holds it
for Rashik to see.
                       DANIEL TURNER
       studying Rashiks
Do you know her?
                       RASHIK ABIDEMI
      (looking up at
       Turner, making
       eye contact)
I mean I've seen her, but she
wasn't with me...
                       DANIEL TURNER
Then why was she found dead in the
same city you were in, on the same
day you were hanging around with
Gabriel Vaughn?
Turner holds up a picture for Rashik to look at, one with
Gabriel and Rashik standing together, both smoking
cigarettes. Rashik swallows, and looks up at Turner.
The Asian man opens a door, and walks in, shutting the door
behind him. As the door closes, the team walk quickly to
the door, weapons drawn. They get to the door.
                       DANIEL TURNER
Listen, Rashik. I don't have to
get your information. The beauty
of this business is that it is
based on the capture of
intelligence from many sources,
ok. So stop bullshitting me, and
help me out, and you can go.
Turner stares at Rashik, who just stares back. Turner
frowns, and turns, leaving the room, slowly. Rashik bends
down, and exhales. The camera light goes out. Rashik
notices. The door opens.


From the inside, the door is busted open. The team rush in.
The man stands over the bed. A young girl, 12-15, lay
under him, partway naked. One of the agents tackles the
Asian, throwing him on the floor. The young girl screams,
and the bathroom door opens. Another man, European comes
out, and is leveled by a punch from Murphy.
Mitch walks around the chair. Rashik is very nervous, as he
doesn't know this man. Rashik looks back at the camera,
apparently off. Mitch smiles.
                       MITCHELL FRYE
Do you know who I am?
Rashik shakes his head.
                       MITCHELL FRYE
      (motions to the
       picture of Dana,
       still in Rashik's
But you know who she is, yea?
Rashik swallows, Mitch walks around behind Rashik, who looks
back at Mitch, then back to the door.
                       MITCHELL FRYE
If work with me, Rashik, I can
help you.
      (whispering in
       Rashik's ear)
But if you don't, I will kill you.
Rashik looks away.
Turner stands, watching a computer monitor. The camera is
still on, although in the room, it looks like it's off.
Turner watches the tv curiously.

His cell phone rings.
                       DANIEL TURNER
      (to the phone,
       still watching
       the footage)


Murphy, his mask off, stands, looking at another team
member, who works on a laptop, code flashing across the
screen. The two European men, along with the Asian man lay
in the corner, and the female team member, sits with the
young girl.
                       MURPHY-MALE AGENT
We got it.
Turner smiles and closes his phone.
Mitch throws Rashik across the room. The chair lays against
the far wall. Rashik's face is bloody. The man moans.
Mitch walks forward, rage on his face.

The door opens.

An analyst stands, in the doorway.
We got it.
The door closes. Mitch stares at Rashik.
Two Interpol agents walk down the hall. They wear Interpol
Jackets. Turner walks past them, they nod. Mitch walks out
of the room, torwards Turner, falling in line. The interpol
agents walk into the room, closing the door behind them.
Mike and Turner walk together, passing assistants, still
busily going about their business.
                       MIKE SHADE
      (stopping, looking
       back at Turner,
What the fuck did Interpol say?
                       DANIEL TURNER
They didn't have a problem.
      (getting closer to
       Mike's face)
Is this what this is about? That


                       DANIEL TURNER (cont'd)
we knocked around a piece of shit,
that doesn't deserve to breathe
the same air that we do?
Mike frowns and looks back and forth, but no one is around.
The hall is empty. Mike leans in close to Turner.
                       MIKE SHADE
You know better than that.
Everyone in this company is fully
behind you, and we want to get the
job done.
Whatever it takes.
                       DANIEL TURNER
      (not fully
Yea, right.
Mike stares at Turner, then turns and keeps walking. Turner
follows, they round a corner.
                       MIKE SHADE
      (glancing back)
So, what was on the computer?
                       DANIEL TURNER
The location of the Gabriel's
labour center.
An aerial shot of Milan, Italy is seen.
Turner, Mitch, the female team member, and Murphy all work,
unpacking and setting the room up. The beds are moved to a
corner, and they have a long table lining one end of the
room. On it they set up computers, and in a window they set
up a heavy duty camera.
Amy, the female agent, grabs a case from the floor, and
hauls it to the bed. She works to unpack it, as Mitch also
grabs a bag, dropping it next to her.

Mitch is slightly taller, and as he unzips his bag, he looks
down at Amy, who is grabbing some technical gear out of the

Their eyes meet, and hold for a second. Mitch turns back to


the bag, and Amy takes the tool she was holding and moves
across the room setting it up.

The four agents continue to work, unfazed.
                       DANIEL TURNER
      (Voice, while the
       above takes place)
The laptop had financial
information on a club in Milan,
apparently owned by Shelton
Whittaker, another of Vaughn's
Two men walk into a club, passing a heavy security guard. In
front of them, crowds of people line the wall, some sit in
couches next to each other, in the crevices on the wall. The
space is similar to that of the club where Gabriel was seen

A server walks past them with a tray of foods. The men are
dressed in suits, and they look around with serious looks on
their faces.

Shelton Whitaker walks out from a crowd, wearing a gray
suit, sees the men and smiles.
                       DANIEL TURNER
      (voice,during the
       directions below)
Whitaker runs a club Gabriel owns,
in Milan. He negotiates with
labour runners, where they can
pick up "their property", and the
price to move and buy.
Dance music is heard from a disc jockey at the side of the
Whitaker walks up to the men and and leans in close,
whispering things to one, than after embracing, does the
same to the other. After smiling, he turns, and leads the
men to another room.

In the new room, paintings hang from the walls, and people
stand in circles, socializing. A few people notice the
owner as he and the men walk by. They walk past a catering
table, where people stand, filling their plates with finger


The men walk together past the table, passing a group of
people watching soccer on a large tv.

Mitch turns around, he was standing with some of the soccer
fans in front of the tv. He watches Whitaker and the men
leave the room.
Mike and Turner stand next to each other, Mike stands closer
to the vendor. The server makes a hotdog behind the
                       MIKE SHADE
How do the men go about purchasing
and picking up the slaves?
                       DANIEL TURNER
It really depends. It's a case by
case thing. We think, in that
case, Whittaker acts as a middle
man. Gabriel runs the teams who
round people up, whether it's in
Africa, Asia, whatever. Then
Whitaker rounds up buyers, and he
puts the two together.
      (Mike takes his
       hotdog from the
That's where we usually come in.
If we can get someone in
undercover, then we can nail them
on the drop. But these guys are
good, they do their research.
      (Mike nods,
       looking at
       Turner, who
       watches the man
       make the hotdogs)
If we can't get in ourselves, we
ambush on the trade deal. In
Milan, with the information from
the laptop, we were able to id the
buyers, and start to watch them,
and make a move on the deal.
Mike nods, Turner grabs his hotdog from the man, and sets
some money down. They turn to walk.


Whitaker leads the men out the back of the club, and into a
closed alley, where men and women stand around an urban
garden, socializing. A few notice the men, and watch as
they go through another door, in the same building, and into
a stairwell. As they walk up, they pass a few people
walking down.
The men reach the top, they enter the second floor of the
building, a hostel, where they pass another security guard,
and the room has more art layering the walls. People
socialize, and women in lingerie walk around the hall,
leading men in and out of rooms.
Turner and Murphy stand, on the second floor next to a
smaller catering table, holding beers, alone. They watch the
men enter an office, and close the door behind them. A
woman in lingerie comes up to Turner.

Turner smiles at the woman.
                       DANIEL TURNER
Sorry, not tonight.
She frowns, and turns to Murphy. He smiles and raises his
hands, as if to say he's taken. Murphy shakes his head. She
pouts and walks away.
Turner turns away from the table and the two walk to the end
of the hall, and stand together, against a wall, looking out
a window, where they can see their hotel room.
                       DANIEL TURNER
      (into a small mic
       on his wrist)
The lights on in the office. You
see em?
Behind the camera, the female agent stands, working it,
looking out the window.
Through the camera's lens, the video shows Whitaker pulling
the shades on his office window, showing briefly the two men
inside, sitting down next to his desk.
                       ANOTHER MALE MEMBER
      (into a radio)
Shades down, we're good to go.


Turner smiles, and sips his beer, finishing it. Both men
toss their beers in a trash can.
Mitch enters an individual bathroom. He takes a ski mask
out of the inside of his suit jacket, and places it over his
head. He takes a pistol out of the jacket, and screws a
silencer on also. He breathes in and out.
Murphy walks to a breaker box and takes a lockpick, and
quickly opens the lock, then flips the lid open.

He speaks into a mic on his wrist.
                       MURPHY-MALE AGENT
It's open, I'm waiting for the go.
The female agent stares, not through the camera, looking at
the window.
                       AMY-FEMALE AGENT
      (through her radio)
I called it in, we have five
Turner stands at the food table, picking up a plate, and
pretending to get more food.
                       DANIEL TURNER
      (into his mic)
We're good up here, make the call
Mitch leans against the door. He inhales.
                       MITCHELL FRYE
Rescue is a go.


Murphy flips the lights off.
The music stops, and the light switches off. Murmurs rise
as people stop moving, and looks around.
Turner, joined quickly by Murhpy, both walk quickly behind
the security guards, knives drawn. They stick both knifes
into each man, their hands covering their mouths. The men
drop to the floor. Some of the more aware patrons scream.
Mitch leans his back into the door, busting it open. He
spins around, he's in the unlit office. Whitaker is on his
feet, halfway across the room, to the light. One of the men
is on his feet, all spin around and look at Mitch, who aims
his gun in the direction of the three.

Whitaker jumps for the door, and the man standing up takes a
gun out of his jacket. The man in the air drops to the

Whitaker throws open the door, and is leveled by Murphy, who
was running at the door. Both fall to the floor. Turner
comes in, mask on, and gun in hand.

Murphy stays on the ground, holding Whitaker down. Mitch
kicks the man on the ground in the face as he spins so that
Turner and Mitch have their guns trained on the man
standing, who has his gun pointed at Mitch.
                       BUYER 1
Who the fuck...
                       MITCHELL FRYE
      (stepping closer)
Doesn't matter.
Turner grips his gun harder. Nervously. Murphy holds
Whitaker down, who seems to be struggling. The other man
groans. Mitch kicks him.

Suddenly the window explodes, and the buyer drops, his head


The female team member had replaced the camera with a small
rifle, silenced. She smiles, looking out from the scope.
Murphy forcefully picks Whitaker up, roughly, and Mitch
looks down at the other buyer. He grabs at Mitch's leg.
Mitch kicks him in the face.
Mike and Turner walk down the street. Turner sips on a
coke. Mike has his hands in his pockets. He frowns.
                       MIKE SHADE
So you killed three men?
                       DANIEL TURNER
Yea. And we saved over a hundred
people. And those three men, they
aren't shit. They aren't human. I
thought you were behind us,
whatver it takes?
Mike nods, looking down, as they walk.
Blue and white lights flash, as the shot takes in police
cars lining the entrance to a commercial dock.

A mixed team of plain clothed agents, and police officers
move together as a unit, heading to a specific cargo box.
The team edges to the cargo door, and set up around it. They
open it, revealing at least a hundred people of mixed race,
all tired, and ragged.
Mitch and Turner stand on a pier, leaning on the rail,
looking out over some European sea. They wear khakis,
docksiders, and button downs with the sleeves rolled up.

They each sip on a beer, corona. Turner puffs on a cigar.
                       MITCHELL FRYE
      (looking off into
       the sunset)
What do you think they do now,


                       MITCHELL FRYE (cont'd)
after being freed so quickly?
                       DANIEL TURNER
      (looking at Mitch,
       who looks at
       swallowing beer)
                       MITCHELL FRYE
      (looking back at
       the sea)
I mean, what type of life could
these people possibly lead now,
after everything they've been
through? Do they have families,
do they have anything to go back
to? You know?
Turner nods, and looks out at the sunset also.
                       DANIEL TURNER
      (after a pause)
Shit doesn't make sense.
                       MITCHELL FRYE
You got that right.
The two start to walk back down the pier, away from the sea.
                       MITCHELL FRYE
      (after a long
       moment of silence)
Where do we go now?
Whitaker sits in a chair, tied down, shirtless, in boxers,
bleeding, bruised, and barely conscious. An interrogator,
we never see his face, squats low, and whispers something in
his ear. He stands up and pushes Whitaker, tipping the
chair over, Whitaker falls, landing hard, still tied to the
Turner looks at Mitch, Mitch finishes his beer.
                       DANIEL TURNER


                       MITCHELL FRYE
What's in Munich?
                       DANIEL TURNER
      (smiling, puffing
       on his cigar)
Gabriel is in Munich. The sex
trade, the core, the brain.
Everything, is in Munich.
The club is dark, people dance on a crowded but large floor.
Couches line the side of the room, making booths. In one
dark corner, Gabriel sits with two women flanking each side.
He leans back and smiles.
Turner throws his cigar into the water.
                       MITCHELL FRYE
      (looking ahead as
       they walk)
So when do we leave?
Two fisherman cast off as Turner stops walking, Mitch
notices him stop and stops as well, turning to look at
                       DANIEL TURNER
You leave with Murphy and Katelyn
I'm heading to New York tonight.
Our investors want a more
centralized briefing system. I've
been promoted.
                       MITCHELL FRYE
Turner looks out over the water, then back at Mitch.
                       DANIEL TURNER
Yea, I'm handing this operation
over to you. You'll be reporting
to me, I'm running all the
European Operations.


                       MITCHELL FRYE
From New York City?
                       DANIEL TURNER
      (looking at Mitch)
Yep, But you'll be in control
Mitch. Your the boss.
      (Turner starts to
       walk, turns back
       to look at Mitch)
I'll be watching.
Mike leans back in his chair, frowning. Turner looks at
him, not understanding. Turner holds a soda can from lunch.
                       MIKE SHADE
So you left him, after a month and
a half? You gave him an entire
Turner frowns. He puts his hands behind his head.
                       DANIEL TURNER
It's easy for you to sit here, now
and question my judgement. Then,
at that time, I thought he was
ready, and looking back, I would
have done it all again.
Mike grabs another cup of coffee from the maker, and sits
back down, facing Turner, who still holds a can of soda from
                       MIKE SHADE
      (looking at Turner)
So we brought you back here?
                       DANIEL TURNER
Yea, I was promoted to Operations
Manager, European division, a big,
luxorious office in NY city...
Mike shakes his head, chuckling.


A European man, with a briefcase, steps into a busy terminal
where he stops in the middle of the hall. People pass him,
busy in their own worlds, not noticing the man.

He looks up and down the large hall, as if he's looking for
something. Down the hall, twenty paces, a corridor door
opens, it is marked "Flughafen Personal Nur".

A man in white airport personnel clothes leans out the
partially opened door. He makes contact with the European
man. The man walks the distance to the door, and walks in,
the door held open by the worker, who looks around, making
sure no one noticed, and he closes the door.
The European man sets his briefcase down on the floor, he
stands next to a door. In front of him, is a makeshift bed,
taking up most of the room. A window shows a plane taking
off outside the airport.

The man smiles as he views a young, naked, woman, probably
16 or 17, laying on the bed. The woman takes a needle from
her arm, and her eyes fluttering she lays down, on the bed,
her arm, and needle, laying over the side of the bed. The
needle drops out of her hand and onto the floor beside the

The man smiles as he starts to unbutton his jacket. The
girl's eyes close.
The Airport staff member, that let the man into the wing is
being held and gagged by the female member of Mitch's team.
She holds him, forcefully, against the wall, his hands tied
with a pull tie, his face pressed against the wall, opposite
the door, where Mitch works on opening very slowly.

Mitch and the female member wear similar clothes to those of
the staff member.

Mitch quietly opens the door, showing the man over the young
woman. Mitch quietly sneaks to the foot of the bed. He
stands behind the bed, watching, hate in his eyes, the act
in front of him.

The young girl sees Mitch, and her eyes flutter open and


                       DANIEL TURNER
      (Voice only)
Munich was a different world. For
Mitch, life became surreal, there
was just so much of the evil that
he detested.
Mitch stands above the European man, chained to the chair.
Mitch simply stares down at the man, who is bloody and
beaten. Mitch shows no expression, he just takes in the
man's misery.
                       DANIEL TURNER
      (voice only)
Every woman we saved became Dana
for Mitch, every life he saved
reminded him of her death, and his
The young woman from the airport lays on the bed,
unconscious. Mitch sits in a chair, next to the bed, his
elbows on his knees, his hands together. He looks up at the
woman's face. Mitch looks down again, tears fall from his
A lot of people dance, close together, the room is very
crowded. The shot shows the couches, in a VIP section,
where Gabriel sits, alone, smiling.

A light flashes.
                       DANIEL TURNER
      (voice only)
And no matter how close he seemed
to get, Gabriel was, to Mitch,
forever away.
Snow falls slowly from the sky. The streets of Munich
aren't too busy because of the cold.
Mitch is dressed like many of the Germans around him, so
that he blends in, his hair grown out a little, facial hair,
stubbing across his face.


Mitch walks, slowly down the street.
The Frauenkirche is seen quickly, then the shot shows Mitch
standing at the entrance to a bar. He stands next to a
black bouncer. People walk past them, in small groups, or
individuals, paying them no attention. Mitch holds a
cigarette between his lips.
                       MITCHELL FRYE
      (leaning towards
       the man, his
       hands searching
       his own pockets)
      (reaching in his
The bouncer extends a lighter, and Mitch inhales, lighting
the cigarette, they both hold their hands around the
cigarette to keep the wind from blowing the flame out. Mitch
steps back and smiles, the bouncer nods and looks down the
street. Mitch exhales, and quickly thrusts the cigarette
and his hand into the man's neck, the bouncer yelps, not
expecting the attack, Mitch chops the man in his throat, and
lowers him to the ground. A few Germans stop to marvel at
what just happened.

Mitch quickly enters the bar.
The bar's walls are made of dark wood. One man sits at the
bar, he is black and the bartender stands behind the bar,
talking to him. Mitch walks behind the bar, approaching the
man. He looks at them as he passes, and they look at him,
oddly. He walks past them, and into a small hall leading to
a bathroom.
A black man stands at a urinal, just zipping up his pants.
Mitch enters the bathroom quickly, and takes the man and
throws him against the wall. The man starts to yell, and
Mitch bends down to him, holding him down, and he gags him,
and hits him across the face.


Mitch sits at a table, the black man across from him,leaning
back, not in fear, but in contempt as he is not afraid of
Mitch, but rather offended at being held and questioned.
Mitch leans over the table, a folder in front of him. Mitch
wears a button down, a tie, loosely pressed against the
collar, and his sleeves rolled up.

He stares at the black man, who has tissue stuck in a bloody
                       MITCHELL FRYE
      (looking into the
       eyes of the man)
Where is he?
                       GABS ASSOCIATE
      (staring at a wall
       then back at
       Mitch, casually)
Here, and there.
Mitch glares at the man.
                       MITCHELL FRYE
Don't fuck with me.
                       GABS ASSOCIATE
We know about you, Mitchell
      (Mitch leans back,
       showing nothing)
Did you know that?
Mitch stares at the man.
                       GABS ASSOCIATE
      (looking into
       Mitch's eyes)
Oh yes, you, your little
operation. We know where you are,
where you sleep. And we know your
story, yours and your bitch.
Mitch gets up, and starts to walk to the other side of the


Two men, one is Murphy, jump from their seats, monitors show
Mitch throw the man across the other room. The men run to
their door, and throw it open, exiting. The monitors show
the door in the other room open, and the men run in, and
pull Mitch off the man. They pull him off, and hold him
against the wall on the other side of the room.
Mitch sits on the bed, a cell phone in his hand, held to his
ear. He bends over, his elbows resting on his knees, he
looks at the wall.
                       MITCHELL FRYE
How do we know he's here?
Turner sits in his chair, resting his elbows on the chairs
arm rests. He spins the chair, and looks out his small
window, taking in the city, at daybreak.
                       DANIEL TURNER
Because of the phone records, and
the money that has changed hands.
Gabriel wouldn't let this much
money walk out of his accounts
without being close by.
Mitch is now leaning against a wall, still holding the phone
to his ear, he looks out his window, looking at Munich, the
sun high in the sky, a few clouds on the horizon.
                       MITCHELL FRYE
                       DANIEL TURNER
      (voice only)
What's up Mitch, what's going on?
Mitch raises his arm and rubs his temple, and closes his
                       MITCHELL FRYE
      (not much louder)
I don't know...
      (more resolutely)
and I'm sick of missing him, I


                       MITCHELL FRYE (cont'd)
guess. Of working so goddamn
Mitch moves to the window, and looks out at the city.
Turner walks down a dark hallway, a large window at the end
of the hall, opposite the shot, and to the back of Turner,
shows that the sun has set over the cities buildings. Turner
walks to the camera.
                       DANIEL TURNER
We're gonna get him.
Mitch leans against the wall, next to the window, still
looking out at the city. He exhales.
                       MITCHELL FRYE
I know.
In the same hall, Turner walks by the shot, and closes his
cell phone.
Mitch sits on the edge of a bed in the hotel room, leaning
over the bed slightly. Bright street lights illuminate the
room, streaming through two partially draped curtains. A
lamp on a small brown desk lights half of the room, so we
are able to see Mitch with some clarity.

Mitch rests his elbows on his knees, clasping his hands
together. He stares across the room, not really looking at

Cases of the teams gear litter the floor around Mitch.

A small bathroom door, across the room is closed, and bright
lights from the inside of that room spill out into the hotel
room as the door opens.

Amy, the female agent walks slowly out of the bathroom,
switching off the light as she exits. She turns slowly to
face Mitch. Amy wears a sleek black nightgown. She looks
over at Mitch, studying him.


Mitch looks up as Amy exits the bathroom. His eyes are
dark, he looks very tired. He looks at Amy sadly, their
eyes meet.

She walks over to Mitch, slowly, and sits down next to him
on the bed. He leans farther out over the bed, lowering his
body, as if stretching.
                       AMY-FEMALE AGENT
      (looking down at
He's here Mitch. In this city.
You know that?
                       MITCHELL FRYE
      (still staring
       across the room)
Amy nods. Mitch lowers his head. Amy frowns, and leans in,
placing her arm carefully around Mitch. Mitch doesn't
react, as if he was expecting this.

Amy leans her face over to Mitch's and whispers into his
                       AMY-FEMALE AGENT
This is it Mitch. We're gonna get
him. All the people he's hurt...
He's done.
Mitch nods, and turns his face to look into Amy's slowly.
Mitch places his hand on her thigh, and the other braces
himself agaist the bed.

Slowly their faces move closer together. Mitch's hand moves
up Amy's leg, as she places her hand on his chest. Amy
closes her eyes as their lips graze.

Suddenly Mitch stops, and his hand, which grasps her side,
freezes. Amy's eye blink, as he lowers his face.
                       AMY-FEMALE AGENT
      (barely whispering)
Let it go Mitch, you can move on.
You owe yourself...
Mitch places his hand back on her side. The lights flash.


The small hotel room has a medium sized window, open,
allowing a light breeze to enter the room, and twirl the
light window shades. Outside the window, in the distance,
The top of St. Peters is seen.

Inside the room, Dana and Mitch sit on the bed, in the exact
position that Amy and Mitch sat in just moments ago. Dana
wears a small white dress, in contrast to Dana's black one.
Mitch and Dana kiss passionately, as Mitch's hand rises up
her side.
Mitch holds Amy's side, and his lips graze the side of her
face. Amy closes her eyes, enjoying his touch.

Amy's hand, placed on Mitch's chest presses Mitch down onto
the bed. Mitch falls slowly, and Amy pulls her dress up a
little, and slowly moves on top of Mitch. His hands grab
her waist, as her hips begins to slowly move up and down.

Mitch opens his eyes, and looks up, to see Dana, not Amy, on
top of him. Dana leans her upper body down, so that her
face moves past his, so she can whisper in his ear.
I love you...
Mitch's eyes water, and he closes them, and as he opens them
again, Dana becomes Amy. Mitch stares at her, and as she
closes her eyes, Mitch's hands move up her sides, slowly,
and he pulls her off, gently and lays her next to him. She
opens her eyes, surprised. Mitch leans up, and looks down
at her.

Mitch's eyes water. She leans up, meeting him, and
knowlingly she smiles sadly.
                       MITCHELL FRYE
I'm sorry...
Mitch looks down, his eyes still damp from tears. Amy
reaches up to his eyes, and wipes the tears away with the
back of her hand.

Mitch looks into her face, she nods at him.


                       AMY-FEMALE AGENT
It's ok.
Mitch nods as Amy slides off the front of the bed. She
adjusts her dress, rubbing her hands down the front of it,
staightening out the new wrinkles. She rotats torward
Mitch, who is also standing, next to the bed. Mitch walks
slowly to the window, and he pulls the drapes back,
revealing a large glass building across the street.

Amy walks over to Mitch and stands next to him. Mitch looks
over at Amy and grabs her hand. She returns the stare and
squeezes his hand. They stare out the window together.
Mike leans back in his chair, confused by what he was
                       MIKE SHADE
      (squinting at
So what? They, fucked?
                       DANIEL TURNER
      (shaking his head)
Hell no. Mitch was too broken for
that. He couldn't betray Dana's
memory, not like that.
Mike nods.
Men in black clothes, bullet proof vests, ski masks, and sub
machine guns run into the room, after breaking open the
door. They quickly spread out, before realizing no one was
                       DANIEL TURNER
      (voice only)
So he cracked. Mitch had seen
enough, and had done as much as he
could, within the companies
Turner bites his lips, and puts his hands in his laps, as if
to indicate giving up.


                       DANIEL TURNER
      (looking at Mike)
He tried everything, we tried
everything. Gave him more men,
more money, but...
                       MIKE SHADE
      (frowning and
They were always a step ahead.
Turner nods and looks away.
                       MIKE SHADE
What next?
Turner glares at the wall, then closes his eyes, and opens
them after pausing, then looks back at Mike.
                       DANIEL TURNER
We had him. He fell right into
our hands, it was a fluke really.
We got a tip from one of our
sources inside, who thought he
might be eating dinner, or getting
drinks with a high priced
Mike leans forward, anticipation on his face.
                       MIKE SHADE
So you set him up?
                       DANIEL TURNER
Mitch did...
                       MIKE SHADE
What happened?
Turner doesn't make eye contact. He just nods.
Mitch lays on a bed, that has been moved sideways, so that
the foot of the bed points to a medium sized window, with a
good view of a nice building across the street, and a
restaurant on a high floor, the wall made entirely of glass.


The hotel room lights are off. Mitch cradles a high
powered rifle, with a silencer attached to the end. He
wears a head set, with a radio set up next to him on the
bed. He breathes slowly.
                       AMY-FEMALE AGENT
      (over the radio)
I have eyes on the Angel. Middle
table, for five. Confirm for me.
The room is full, set up in a ballroom, and tables are
spread across the room. The lights are dim, not completely
out, but they are dimmed to about half power and candles
illuminate each table. Waiters in tuxes walk with trays
around the room, talking to their patrons.

Gabriel Vaughn, dressed in a suit, stands, greeting four
others, also dressed nicely, the others include a variety of
origins, an Italian, two Germans, and another African.

The shot shows the female agent sitting farther away in a
booth for two, no one sits across from her. She wears a
nice black dress, and has a small flesh colored earpiece in
her right ear.
                       MITCHELL FRYE
      (voice only, from
       the radio)
Got him.
The female agent nods.
Mitch breathes and touches his earpiece.
                       MITCHELL FRYE
      (to his radio)
Murphy, you ready?
Murphy waits at the door to the ball room. He is clean
shaven and he wears a waiter staff tux, and has another
small earpiece in his right ear. He nods, hand on the door.
                       MURPHY-MALE AGENT
On your mark, Mitch.


Mitch nods. He looks through his scope, watching Gabriel
sit at the table with the other men. Gabriel chuckles at an
unheard joke.
                       MITCHELL FRYE
Murphy breathes and pushes the door open, showing much of
the ball room, as Murphy walks to the table, the door swings
Mitch watches through his scope as Murphy walks to Gabriel's
table, and bends close to Gabriel's ear. He whispers
something to him, Gabriel nods, and he stands up, excuses
himself and follows Murphy across the ball room to another
room, on the same side of the building so Mitch can follow,
watching through the windows.
The female agent exhales, nervously as she watches the two
enter the other room.
The small room is illuminated by lights, and has wooden
walls. It has two doors, one leading to the ball room, and
another across from the other door. In between are
bathrooms, and a phone. There is also a window, looking out
over the street.

Murphy walks to the phone and presses a few buttons, Gabriel
waits patiently behind him. Murphy holds the phone out to
Gabriel, who takes it.
                       GABRIEL VAUGHN
      (looking out the
Two WJM agents lean against a wall next to the door. This
room is very dark, and the only light comes from the crack
under the door. They wear all dark clothes. They have
bullet proof black vests with grey, WJM letters across the


front. They hold silenced pistols. One leans close to the
door listening.
                       ANOTHER MALE MEMBER
      (barely breathing)
I see him, Mitch.
Mitch breathes evenly, and looks through his scope. Gabriel
is alone in the room now. Mitch nods. From his scope,
Mitch can see Gabriel hold the phone out, look at it then
put it back to his ear, confused.
The female agent is watching the door, nervously. Suddenly
a man in a nice suit, European, British, walks up to her
table and sits across from her. She stares surprised.

The man smiles, and takes a badge out of his jacket pocket,
                       INTERPOL AGENT
Tell Mitchell to call off the
The female agent looks at the man not sure what to do.
                       INTERPOL AGENT
      (leaning forward)
Mitch presses on his ear. The female agents voice cuts him
off, right before he speaks.
                       AMY-FEMALE AGENT
Mitch, Interpol's here. They're
ordering us to stop.
                       MITCHELL FRYE
      (angry, to
       himself, quietly)
Mitch shifts his rifle to the ball room glass wall, and
fixes it on the female agent's table. The interpol agent is
looking right at him.


                       MITCHELL FRYE
      (to himself)
Mitch shifts the rifle back, Gabriel is still on the phone,
and has his hand on the wall, leaning, opposite the
window.Gabriel holds the phone, dialing a number.

Mitch breathes, and cocks the gun.
The WJM agents look at each other confused, they lower their
guns, and the one looks through a crack at the door, his gun
in only one hand.
The female agent stares at the interpol agent, both people
frown. The interpol agent leans forward, his hands on a
cell phone, holding it tightly.

The female agent presses a finger to her ear.
                       AMY-FEMALE AGENT
The interpol agent stands, and holds the cell phone up to
his ear, as he walks away from the table, and to the exit to
the hall, not to the room with Gabriel.
                       INTERPOL AGENT
      (to the phone)
Shut them down.
Mitch has the scope lined on Gabriel's head. Gabriel puts
the phone back on the hook, and turns to face the window,

The rooms lights turn off. Mitch looks up, out of the
scope, at the dark window across the street.
The door to the hallway flies open, the agents look quickly,
Interpol agents rush the room, and the agents hold their
guns up as two police put the men, forcefully on the ground,
the others rush the other room, where Gabriel is.


The female agent gets up from the table, and holding her
purse, walks determinedly out of the room, drawing stares
from some of the patrons.
The drapes are closed, and the lights are on. Amy and
Murphy sit on the bed, nervous. They watch Mitch, who
paces, clearly angry. Mitch looks determined as if he's
waiting for something, not as if he's trying to figure out
what to do.
                       MURPHY-MALE AGENT
      (watching Mitch)
Maybe they aren't going to call.
Mitch keeps pacing. Amy looks at Mitch, responding to the
                       AMY-FEMALE AGENT
They will. Turner said he'd make
it happen.
Murphy looks at Amy doubtfully.

Mitch's phone lays on the brown desk. Suddenly it's lights
flahs on, and after a second, it begins to vibrate.

Murphy and Amy stare at the phone. Mitch moves to it,
slowly, determined.

He picks it up, clicks the green phone button, and puts it
to his ear.
                       MITCHELL FRYE
      (steadily, into
       the phone)
Where the hell is Gabriel Vaughn?
Mitch turns to face Murphy and Amy, both of whom stare at

A voice on the phone responds.
                       INTERPOL AGENT
      (slowly, voice
That doesn't matter.


Amy lowers her head, and Murphy glares at the response.

Mitch turns back around and responds.
                       MITCHELL FRYE
Fuck you,
      (a little faster)
It doesn't matter. I've been
chasing that bastard around Europe
for months.
                       INTERPOL AGENT
      (voice only)
I'm sorry Mr. Frye, but honestly,
I don't care about you, and your
little operation.
Mitch spins around as the phone clicks off. Mitch lowers
the phone, and looking at the small screen, speed dials a
number. Amy and Murphy stare at Mitch. Mitch raises the
                       DANIEL TURNER
      (voice only)
                       MITCHELL FRYE
      (looking at Amy
       and Murphy)
Where's his office?
                       DANIEL TURNER
      (voice, slowly)
Mitch, listen...
                       MITCHELL FRYE
      (anger showing)
Daniel, give me the goddamn
There's a pause as Turner breathes, slowly. Mitch waits.
Mitch and the female agent stand together on one side of a
conference room, no windows, no decorations, just a table
and a phone. They wait alone.

Suddenly, the doors open, and two men enter the room, one of


whom is the agent from the call and the ball room. He is
followed by another agent. They cross the room, and stand
across the table from Mitch and Amy.

Amy and Mitch stand, tersely, facing the two agents, who
seems less intense.
                       MITCHELL FRYE
Where is he?
The interpol agent from the ball room smiles. The other
lowers his head, frowning.
                       INTERPOL AGENT
      (meeting Mitch's
Doesn't matter.
The female agent grinds her teeth, looking at the i-agent.
Mitch stares, not believing what he was seeing.
                       MITCHELL FRYE
      (anger rising)
You took our subject...
                       INTERPOL AGENT
Our subject, Mr. Frye. Ours, not
                       AMY-FEMALE AGENT
Why didn't you tell us, you knew
we were looking into Vaughn's
The Interpol agent leans back, and glances at his associate.
Mitch steps forward, close to the table.
                       MITCHELL FRYE
He's a fucking source, isn't he.
That's why we couldn't get him
before, you're protecting him.
The two interpol agents glance at each other, the new agent
looks at Mitch.
                       OTHER INTERPOL AGENT
      (matter of factly)
The European Union has bigger
problems then...


                       MITCHELL FRYE
I don't believe this. Gabriel
Vaughn is on more than a dozen
most wanted lists, and you're
hiding him.
                       OTHER INTERPOL AGENT
We weren't helping him, Mr. Frye.
                       AMY-FEMALE AGENT
Really? How did you get your
information, then? Bribe him,
supply him, or did you fuck him
for a little intel?
                       INTERPOL AGENT
      (leaning on the
       table, pointing
       at the girl)
Fuck you.
Mitch mirrors the man's action, and leans very close, so
that they are face to face.
                       MITCHELL FRYE
You helped that piece of shit,
rape and murder men, women,
children. You have torn families
apart, Europeans, included. You,
are no better.
      (leaning closer)
He better still be in Munich. And
you better stop housing him, or
the American government will come
calling on your goddamn doorstep.
The president invests in this
company, so you can fuck yourself,
or get the fuck away from Gabriel
Vaughn, I don't care.
Mitch looks at the Interpol agent, who stares back. Mitch
stands, and he and the female agent walk out of the room.
The interpol agent from the ball room stands slowly and
looks at his partner. They have slightly annoyed looks,
surprised at Mitch's boldness.


Mike leans forward, his hands covering his mouth, very
surprised. Turner sits straight, not smiling, knowing that
his boss might not appreciate what he just told him.

Mike takes his hands off his mouth and leans back, he
                       MIKE SHADE
      (making eye
Your boy told Francis Wilson to go
fuck himself?
Turner nods, slowly. Mike looks at Turner, he takes a
breath, pausing.
                       MIKE SHADE
Dan, the president doesn't work
with us...
Turner chuckles.
                       DANIEL TURNER
This happened three weeks ago. I
never got a call from Interpol.
Mitch bluffed the shit out of 'em.
                       MIKE SHADE
So we have Gabriel in custody?
Turner's smile fades. Mike leans forward noticing the
change in Turner. Turner looks away.
                       MIKE SHADE
Turner looks up at his friend. They make eye contact.
Turner sits at a desk, in the corner of his small office, a
laptop in front of him as well as an office phone. Turner
holds the phone to his ear, the cord dangling down, and back
onto the desk. He has his other arm across his chest,
tapping on his other shoulder, in anticipation, he waits.


Turner looks at his watch, 3 pm.
                       DISGUISED VOICE
      (over the phone)
Turner nods, and leans forward, his arms on his knees. He
holds the phone next to his ear.
                       DANIEL TURNER
I need to know where he is.
                       DISGUISED VOICE
He's out of Munich, he...
                       DANIEL TURNER
      (leaning back, his
       eyes intense)
Do not lie to me. You owe me.
      (Turner waits,
Don't make me...
                       DISGUISED VOICE
Do you have a pen?
Night--The shot shows the gate to a BMW, (clearly labeled)
Re-Construction Facility. The place stores Recycled BMW
parts, and old BMW Automobiles, for tests or storage.

Inside the gate, a group of 6 WJM agents, dressed in black,
zig zag through the lot. They carry sub-machine guns, and
assault rifles.

They wear masks, but as the shot shows the group move past
trashed BMW cars, or trailers storing old engines, it is
obvious that the lead agent is Mitch.

Suddenly, Mitch holds up his hand, and the group moves
quickly to cover, Mitch and another crouch behind an old BMW
car, 2 others behind a trailer, and 2 others on the ground,
hidden in the dark.

Beyond them, the door to a large security trailer, the
outside lit by one large light, is opened, and a German man
walks out. He smokes a cigarette and carries a radio.
Mitch looks sideways to the agents behind the trailer. They
look to him. Mitch raises a finger, and rotates his arm in
a circular motion, signaling them to move. They move around


the other side of the trailer, away from the security guard.
Mitch moves his MP-5 so that he holds it in both hands. The
men on the ground grab their guns, and look at the security

The light, illuminating the outside of the security trailer,
busts, leaving the security officer in the dark. He pulls
out a pistol and rotates, looking back to the light.

Mitch, still in mask, knocks the man in the back of the
head, with his gun. He leads the team, all together now,
towards the large security trailer. He approaches it, and
at the last second, bends off to the right, followed by his
partner, and the group from the ground, while the two hiding
behind the trailer move into the security trailer.
The two enter the trailer, which is laid out like a small
office, with two desks, on opposite sides, and computer
monitors lining the wall in between. The two agents fan
out, and stop in the middle of the room, finding themselves
alone. They move to the security monitors, and bend down, a
little, to see the video feeds, from across the site.

The shots switch, showing different areas of the site, all
are lit by lights, and each video feed has a number in the
top corner, identifying the camera.

1. A warehouse, storing car parts.
2. A junk pile, where old and busted car parts are seen.
3. The entrance.
4. 5 men, three are black, stand on the outside of a trailer
in an outside storage section. One man works with the lock
of the trailer. A large moving truck sits, parked close by.

One of the agents nods, and looks at a sheet of paper,
tacked on the wall. He locates number 4 on the list of
cameras. He turns to the door, and grabs his radio, he
walks to the door, the other agent follows. Murphy raises
his mask above his mouth so he can speak clearly.
                       MURPHY-MALE AGENT
      (to the radio)
Got em, Mitch, top side, the
storage trailers.
The five men stand around the trailer. The man working on
the lock steps back and opens the trailer.

Inside the dark trailer, two dozen young girls, from 10 to


18 line the trailer, some laying, unconscious on the floor,
others sitting together, trying to stay warm, their breath
is seen coming from their mouths, as they gasp at the fresh

It begins to snow.
A small crack of the gravel lot is heard, and the men spin
around, away from the trailer.

The 6 WJM agents stand, panned out in a semi-circle around
the trailer, engulfing the five men. The agents hold their
submachines out, pointing at each of the traffickers.

One of the traffickers, the one who did the lock, black,
reaches for a gun in the back of his pants.

Mitch glares at the man, and squeezes the trigger of his
submachine gun.

The man falls to the ground. The agents approach the other
men, and one by one, cuffs them, and puts them on the

1. An Asian man, in his early thirties, tattoos on his face.
2. A black man, late thirties, tattoos on his neck.
3. A white man, early 20's, tattoos on his hand.
4. A black man, late twenties, no tattoos.

Mitch walks to the man he shot, who now lays, face first in
the gravel. Mitch kneels down, and looks at his face.

Two of the agents move from the traffickers and enter the
trailer to help with the girls.

Mitch holds the man's face, not Gabriel. Blood trickles
from his mouth. Disgusted, Mitch drops the man's face.
Police cars, and ambulances roll slowly into the lot, the
gates held open by police officers.
Mitch stands in a telephone booth, wrapped in warm clothes
against the cold. He holds the phone in a tight grip
against his head. Anger is evident on his face.
                       MITCHELL FRYE
What do you want me to do?


                       DANIEL TURNER
Just take it easy, I'll come over,
I'll fly out tomorrow, we'll work
it out.
Mitch shakes his head, frustrated.
Turner sits on his desk, holding the phone, rubbing his
                       MITCHELL FRYE
We can talk it out on the phone
Daniel, and it won't work. He's
not here. We got nothing, and I'm
through with this.
                       DANIEL TURNER
      (motioning with
       his hand)
Just wait, he'll come to us, just
take it easy Mitch.
Mitch looks around, and shakes his head, angrier.
                       MITCHELL FRYE
No, I'm done waiting. You need to
end this, bring the house down on
your end, because I'm done
following the companies rules.
Turner rubs his temple, closing his eyes.
                       DANIEL TURNER
Can't Mitch, they got me tied down
here. Look if you just...
The phone clicks, a dial tone is heard.
The booth is seen, open, and the phone is hanging on its
line, the dial tone is heard. Mitch is seen, walking
steadily down the street.


Mike stares at Turner, not quite understanding. Turner
stares back.
                       MIKE SHADE
So, that's it?
                       DANIEL TURNER
      (leaning back)
Yep. Fell off the map, he left
the others, and went out on his
                       MIKE SHADE
      (looking at the
       file, then back
       at Turner)
Do we know where Gabriel is?
                       DANIEL TURNER
      (shakes his head)
I brought the team back, to
debrief, Mitch was the leader,
they couldn't organize without
      (he looks at his
You can talk to them, in a couple
hours. They should be over the
Atlantic right now.
Mike bites his lip, then stands.
                       MITCHELL FRYE
      (from his chair,
       not sure if Mike
       buys it)
Turner stands up, Mike nods, and walks to the door to his
                       MIKE SHADE
      (nodding, opening
       the door)
Turner walks to the door. Mike stops him.
                       MIKE SHADE
      (holding his arm
So you haven't talked to Mitch,


                       MIKE SHADE (cont'd)
recently, he hasn't called you,
for help?
Turner shakes his head.
Turner walks slowly down the hall, passing people determined
in their walk. He holds his phone to his ear, a concerned
look on his face, he turns a corner.
                       DANIEL TURNER
Are you sure?
Mitch stands in the booth, dressed in warm clothes. He
looks around.
                       MITCHELL FRYE
      (to the phone)
Yea, it's a brothel, but I'll go
in late, the girl told me the
owner plays cards with Gabriel's
men. He's there.
He looks up and down the street.
Turner sidesteps a hurried woman.
                       DANIEL TURNER
      (to the phone,
Ok, let me know, yea, just call.
Turner shakes his head.
                       DANIEL TURNER
Sure haven't, sorry man,
      (turns walking
       backwards, down
       the hall)
Let me know if you need anything
Mike nods, Turner turns and walks down the hall, a few
workers walk up and down the hall as well. Mike watches


Turner turn the corner. Mike frowns and enters his office,
and closes the door behind him.
Mitch, without a mask, in dark clothes, has one arm on
Gabriel's associate, from the bar. He is gagged, and his
hands are tied behind his back. Mitch guides him down a
hall. In Mitch's other hand, a silenced pistol is held over
the associates shoulder. Mitch guides the associate down
the hall.

As they move, open doors on either side of the hall show men
under covers, passed out, with naked women of different ages
lying next to them, also asleep.

They come to the end of the hallway, a door lies barely open
straight in front of them. They pass a final door to their
right. Another man lies in a small bed, asleep. But a
woman sits on the edge facing the door. She cradles her
head in her arms. As Mitch and the associate pass, she
looks up, surprised to see anyone. Mitch looks at her, then
stares ahead at the door. They move to it. Mitch leans
around the associate and kicks it open, and throws the
associate through.
In the room, three men were sitting around a table. On the
table, four guns, pistols, lay untouched. An unfinished
bowl of weed sits to one side, a pack of cigarettes lay in
the middle, next to an ash tray. One man smokes a
cigarette, exhaling upwards, and another looks at the
previously closed door, talking on a cell phone, surprised
to see it open.

Quickly the body comes through the door.

The shot shows Mitch from his back, taken from the hall.
Bright flashes echo, as silenced shots streak from his gun.
He stops and stands, looking at what happened.

Mitch walks slowly into the room.

One of the chairs, from around the table, has been turned
over, it's occupant now lays on the floor, next to the
fallen chair, blood splattered next to him, on the floor.
The associate, that Mitch had thrown into the room lays on
the floor, closest to the door, a shot in the back of the
head, and a shot in between his shoulder blades. He doesn't

Another man lays, gasping quietly, on the floor closest to
the door. His chair is still standing, albeit moved. The


other man still sits in his chair, he is slumped over the
table, a phone next to his hand. Blood drips out of his

The shot shows the phone, laying on the table. Mitch's
glove hand takes the illuminated phone.

It says, New York.

Mitch places the phone to his head.

Breathing is heard from the other line.
                       MITCHELL FRYE
      (voice only)
Who the fuck is this?
                       MITCHELL FRYE
I'm coming.
Mitch drops the phone back to the table. He walks to the
doorway, a body crawls from the floor, and an arm grabs at
Mitch's leg. Mitch stops, points the gun, and squeezes two
silenced shots into the body, which drops, now lifeless.
Mitch exits the room, and closes the door, softly.
Turner's apartment is medium sized, for New York standards,
two bedrooms, although one is turned into an office. Doors
to these rooms are on opposite sides of a small living room,
which is home to a single couch, and a medium sized tv.
Across from the tv, and couch, a small hall leads to the
entrance, a single door. An alcove, in this small hall leads
to a small kitchen where a table and a single chair sit in
disorder. Chinese trash litters the table, a pizza box sits
half open next to a sink, and a trash can sits near the door

The door to the apartment opens. The apartment is dark,
unlit. Turner flips a switch as he closes the door behind
him, showing Turner to be wearing a tan coat and holding a
briefcase. Turner walks past the kitchen, through the
living room and into his bedroom.

The bedroom, in contrast to the rest of the house, is neat.
No clothes line the floor, a cabinet sits in a corner and a


small bedside table is home to a small lamp and novel.
Turner places his briefcase on the floor next to the bed and
tosses his jacket off and onto the bed.

Another door in the room leads to a small bathroom. We
never see the inside of it, as Turner walks in and closes
the door, cutting off the camera's shot.
The shot picks up from the inside the office. The office,
unlike the bedroom, is disordered. A laptop sits on a desk,
in the corner, alongside a few folders sitting next to the
laptop, some opened, some closed. A small filing cabinet
sits in the other, with various drawers hanging open and a
stack of papers sitting on top.

Turner walks in, his tie off, and his sleeves rolled up. He
carries his briefcase in, walks behind his desk and sits in
the chair. He puts the briefcase on the desk, on top of the
folders. Turner turns on the laptop, which creates a buzz
of sound and he reaches for the phone taking it off the
hook, Turner presses a few buttons on the receiver and sits
back in his chair.
                       PHONE VOICE
Voice Mail box for,
      (Turner's Voice)
Daniel Turner
You have one new message. From
unknown caller, at 2:45 pm.
                       MITCHELL FRYE
      (voice over the
I found him.
      (Turner leans
       forward, his eyes
He's in the city. I'm coming, I'll
be at your place by 12, assuming I
get through customs ok. I'll see
you then.
                       PHONE VOICE
To go back to voice settings
Turner replaces the phone, on it's hook, and sits back,
exhaling, then he leans forward resting his elbows on his
knees, his head lowered. Turner nods, suddenly excited,
then looks up at the computer, an air of confidence coming
through. He sits, waiting for his computer to boot.


Turner notices a small picture, bent slightly sitting under
his briefcase, in an open file. He reaches for it, as his
windows computer displays it's background.

The picture is from the patio in Hamburg, Germany, the one
Mitch gave to Turner, bent to show Dana only, although the
full picture shows Dana, Mitch, and Turner, all smiling and
posing together in a Hamburg square. In the picture, a sign
must be present showing their location in Hamburg, Germany.

Turner stares at the picture, solemnly, then puts the
picture down, sliding it under one of the opened folders, so
it is only partially visible, showing only Mitch's face, and
Turner turns to his computer.

A squeak is heard from the living room. Turner turns
quickly, and he smiles, expecting Mitch. He stands and
walks around the desk. Another sound is heard, the trash in
the overfilled can spilling onto the floor. Turner stops,
not expecting that. He reaches the cabinet, and withdrawals
a pistol from one of the drawers. Turner edges to the side
of the door, leaning against the wall, listening.

Turner sneaks his head around the door, and looks into the
living room.

All is silent. Turner takes a step around the door frame,
his gun slightly extended.

Suddenly, a large, black hand crashes down on Turner's arms,
and the gun drops to the floor. Another arm grabs Turner
and throws him into the couch. A small table at the end of
the couch topples over, and the couch slides across the
floor, as Turner comes to a stop behind it, sprawled on the
floor. Two men are visible in the shot, both with masks,
and covered with long black shirts, although some visible
skin shows both men to be black.

One of the men holds Turner down, Turner struggles, and the
other takes a syringe from his jacket, and injects Turner's
neck with the needle, depressing the plunger. Slowly Turner
stops struggling. The men stand, and look down at Turner as
he passes out.
A man cloaked in a large jacket, to keep warm, walks down
the sidewalk, on an empty street outside the apartment
building where Turner lives. The man passes across a dim
street light and we recognize Mitchell Frye, walk past the


light, and up the stone steps to the apartment building. He
reaches into his jacket pocket, and as he looks up and down
the street, takes a key out, and opens the door, enters and
closes it softly behind him.
From the inside of the apartment, we hear Mitch place the
key into the lock, and open the door, from the outside, and
walk in, closing the door behind him. Their is a small
overhead light on in the kitchen, and a lamp on in the
living room. The lights are on in the bedroom, and in the
office, as well as in the bathroom in the bedroom.
Immediately, he notices the trash, that was originally in
the trash can on the inside of the opening to the kitchen.
The trash has fallen, so that it litters the floor close to
the entrance to the kitchen.

Mitch stares at the trash, then looks up to the end of the
small hall, to the living room. He reaches behind his back,
behind his jacket. He pulls out a pistol, and walks slowly
down the hall.

Mitch walks into the living room, gun raised, and
immediately notices the fallen table, and the misplaced
couch. He looks in on Turner's bedroom, which was untouched.
He walks to the couch, and past it, walking slowly into the
office room.
Mitch immediately sees the Turner's pistol lying on the
ground. Mitch places his pistol in the back of his pants,
and surveys the room. Mitch walks to the desk and walks
around to look at the laptop, and the folders that still lay
open. He looks at the laptop, which displays only the home
desktop page.

Mitch turns to the open folders, and immediately sees the
picture of himself, Dana, and Turner.
Mitch walks away from the table, and down the street, behind
Turner, angry. Turner lets him go, staring at the picture
laying in front of him. He slowly reaches for it, and picks
it up, unfolding it. Tears slip down his eyes as he reveals
the full picture, of Dana, Turner, and Mitch all together,
all smiling.
Mitch picks up the picture, slowly, so as not to get his
fingerprints on anything else. He puts the picture in a
inner jacket pocket, and walks around the desk, and past the


gun, out of the office.

Mitch walks into the bedroom, and into the bathroom, to make
sure there was nothing to be seen, no one hiding. He takes
a baby wipe from a box on the sink. He walks out of the
bathroom, and out of the bedroom. Mitch walks to the
kitchen, but passes it, sidestepping the trash, and opens
the door, with the wipe, cleaning the previous prints. Mitch
closes the door behind him.
The shot shows Mike Shade talking to Kathy, the secretary at
the front desk, while the security guard fans him with his
wand. Mike smiles at Kathy, as the security guard nods at
him, Mike picks up his briefcase from on top of the desk,
and he walks to the elevators. Mike walks up to them, and
presses the up button.
Mike walks around a corner, walking into the shot,
sidestepping a hurried assistant, and continues down the
hall. He approaches his door, as another assistant, male
walks past him. Mike turns and nods at the young man, who
nods back.
                       MIKE SHADE
What's going on?
                       PHONE VOICE
      (in passing)
Mike turns back to his door, and reaches for his key,
shuffling his briefcase to the other arm. He takes the key
out of his pocket, and places it inside the lock, except
that the force of this action opens the door, slightly. Mike
turns his head, slightly, confused. He presses forward on
the door, opening it fully.
Mike stands in the frame of the door, stunned. Behind his
desk, a man sits in his chair, looking the other way, out
the window. The man swivels the chair towards the door,
revealing Mitch Frye to be the man in the chair.

Mitch wears somewhat indistinct clothes, so that he doesn't
stand out. Mike stares at Mitch, who rests his elbows on
the arm rests of the chair. Mike slowly steps into the


room, and closes the door behind him.

Mike drops his briefcase next to the chair, across from the
desk and he takes off his jacket placing it on a hanger next
to the door. Mike slowly drops into the chair, across from
the desk and stares at Mitch, who stares back. They hold
eye contact.
                       MIKE SHADE
      (after the long
You've caused a lot of trouble for
us, you know that?
Mitch moves his head, as if to better analyze Mike. His
elbows still rest on the arm rest.
                       MITCHELL FRYE
      (holding the eye
It's not over.
                       MIKE SHADE
      (staring at Mitch
                       MITCHELL FRYE
They're here. Turner's gone.
Gabriel has him.
Mike stares at Mitch, then looks out the window. Then back
to Mitch, suddenly angry.
                       MIKE SHADE
Do you have any idea what you've
Mitch squints at Mike.
                       MIKE SHADE
      (anger rising)
You and your goddamn agenda?
Drawing everyone close to you into
this ridiculous scheme, this
endless quest for revenge? You
brought this monster here, to the
heart of everything that we do
here, this company, and now your
mentor is gone, a casualty to your
addiction to the hunt and you sit
here without an ounce of regret or


                       MIKE SHADE (cont'd)
                       MITCHELL FRYE
      (leaning forward,
       holding back his
Regret? You don't know a fucking
thing about regret, or shame. It's
easy for you to sit here, and
analyze me, critiquing my mission,
but honestly, you don't know a
thing. You'd like to think you do,
but you don't, and you never will.
Until you have had something
ripped from you, taken from your
very being, you won't know shit.
      (leaning back,
And you think you know Daniel. You
have no idea. He's had more
ripped, taken from his life than
you could ever dream of.
Mike leans back, staring at Mitch, suddenly confused.
                       MIKE SHADE
What are you talking about?
                       MITCHELL FRYE
      (shaking his head)
Dana. That's what I'm talking
Mitch takes the picture from the inside of his jacket, and
tosses it, still bent, to Mike, who leans forward, and picks
it up, revealing the full picture. Mike stares at it, then
looks at Mitch.
                       MITCHELL FRYE
      (still leaning
       back, his hands
Dana was Daniel's daughter.
A young mother, who looks similar to Dana, holds Dana, the
new born. She cradles her softly, admiring the babies
features. Daniel Turner stands next to his wife, looking at
his baby. Daniel wears a polo shirt, with the WJM logo


printed on the chest. Next to them monitors are attached to
the mother, Turner's wife. They pulse normally.

A doctor knocks on the open door letting them know that he's
coming in. Turner looks up and smiles at the doctor, before
returning his gaze to Dana. The mother never looks up.

The doctor walks to the monitors, and checks the pulses,
after he nods and looks at the couple and the baby.
      (looking at Turner)
She's beautiful...
      (Turner looks up
       at the doctor,
What did you decide to name her?
Turner looks back down at his wife, who looks up at the
                       TURNER'S WIFE
Danielle Turner,
      (turning to look
       at her husband)
After her father.
Turner bends down and kisses his wife on the lips. They
hold the kiss for a second or two.
Suddenly, the machines, next to the bed start to beep,
abnormally, at the same time, that Turner pulls away from
his wife's kiss. She has closed her eyes, in pain, and laid
her head back almost violently. The baby is startled and
begins to cry. The doctor moves quickly to the machines and
Turner supports the baby, taking it from his wife's hands
which grasp at air in pain.

Turner looks to the doctor, who is still studying the
                       DANIEL TURNER
      (to the doctor)
What is it, what's wrong?
Dana's mother moans, and the doctor moves quickly to her
bed, raising the sheets up. He throws them off, showing a
pool of blood surrounding her legs. Turner gasps, and steps
back. The doctor flips an emergency button, and intercom,
quickly. Starting a small siren outside the room.


      (to the intercom,
I need a blood transfusion now!
The doctor crowds around Dana, checking her vitals as Nurses
run in and out of the room, immediately after the siren.
They yell things to each other and Turner steps to the back
of the room. Dana cries but he holds her close to him, as
he stares at his wife, who opens her eyes, tears fall from
the pain and makes eye contact with her husband for the last
time, before closing them in pain.
Turner sits on a couch, in the middle of a spacious living
room, not extravagant, but somewhat large. Dana moves
quickly around, throwing things into a travel bag, going
from room to room, to bathroom, to kitchen. Turner eyes her
                       DANIEL TURNER
       watching Dana
       walk into her
So when do you think you'll be
      (from the bedroom)
Sometime next week. Mitch wants
to go see some of the countryside,
      (walking into the
       living room, to
       the bag)
I promised him I'd take him to our
place at San Gimingano.
Dana stops moving and looks at her father, affectionately.
Turner looks nervous. Dana walks over to the couch, and
sits next to him, close, holding his hand.
                       DANIEL TURNER
What about...
       looking at her
I know your worried Dad, and
believe me, I know how Europe is.
But Mitch is a good guy, a strong
guy. He'll be with me the entire


                       DANA (cont'd)
time, ok?
Turner smiles and nods. Dana gets up, and walks to her
suitcase, then walks to the bathroom. Turner gets up, and
walks to an open kitchen, on the other side of the room, he
opens the refrigerator, then turns, over his shoulder to
talk to Dana, across the room.
                       DANIEL TURNER
So when am I going to meet Mr.
Dana walks out of the bathroom, flipping the light switch,
and placing some things in her bag. As she talks, she zips
the bag up and puts it on her shoulder.
Whenever Mike can let you off for
the weekend.
      (walking over to
       her father, in
       the kitchen)
You work too hard Dad, take a
weekend off next month, come to
Rome with me. The world will
survive for a weekend, you know?
Turner smiles at his daughter, they embrace.
                       DANIEL TURNER
      (hugging Dana,
I wish...
      (they finish, she
       steps back)
Be safe, and have a good time.
Turner leans against a wall, as Dana steps away, to the
door. She turns and smiles at her father as she opens the
Mike leans back in his chair, surprised at what he was
hearing. Mitch sits up straight in his chair, looking
intensely at Mike.
                       MITCHELL FRYE
      (softly, but
Do not pretend that you know
Daniel Turner. Because, really,
no one ever did. He gave


                       MITCHELL FRYE (cont'd)
everything, to this *company*. He
had his wife taken, and then his
daughter. This mission, my hunt,
my revenge, was his first.
Mike stares at Mitch, Mike's expression softened.
                       MITCHELL FRYE
      (still softly)
Dana never knew her mother. She
loved her father, and I loved her
more than anything else. No
matter what you think about what
we've done, I won't stop. So you
can help me, or not. Just don't
get in my way, because,
      (Mitch leans
       forward, speaking
I am going to kill Gabriel Vaughn,
and anyone that tries to stop me.
Mitch gets up, and walks to the door. Mike stares ahead,
not watching him go. Mitch opens the door, and leaves,
closing it behind him. Mike looks out the window. It's a
beautiful day.
Mitchell Frye walks, alongside a few dozen patrons into the
main concourse, from the main entrance. The patrons head
off into different directions, most covered in business
jackets, heading home. In the concourse crowds of people
roam, and linger, taking their time before heading to their

Mitch passes the subway entrance, and walks past an unmanned
ticket counter. The patrons, instead, using an automated
ticket machine next to the counter. Mitch walks past the
group, and into a small alcove beyond, host to half a dozen
wall phones, again unused. One has the phone hanging off
its hook.

Mitch walks to one on the end, and takes some change from
his pocket and inserts them into the phone. He then takes a
piece of paper from his jacket and dials a number. He puts
the paper back, and waits, turning to watch people bustle
around him, Mitch is unnoticed.


The phone rings.
The shot has "Munich, Germany" at the bottom, identifying
the source of the call.
A black man sits in a corner section, on a sofa, loud music
coursing through the club. He sits alone, watching people
pass in front of him. Suddenly he feels a vibration in his
jacket and reaches inside, and takes his nice phone from his
pocket. It says only, M. He grimaces, and gets up, walking
even farther through to the back of the club.
Mitch frowns, and watches as a businessman on his phone
leads a pack of people, unrelated, to the ticket machine,
joining the small queue of people.
      (Voice, pulsing
       music is heard, a
Mitch turns around, facing the phone.
The black man leans against the wall, his phone against his
ear. He stands in a lit part of the hall, a large light
hanging from the ceiling, and farther down, similar lights
hang, although for a few paces darkness separates the
lights. The music is heard, although not as intense as
inside the club.
                       MITCHELL FRYE
Do you know why I'm calling?
The source looks up and down the badly lit hall. He stares
      (to the phone)
What do you want?
                       MITCHELL FRYE
      (voice only)
I want to know where he is, Jamal?


Jamal closes his eyes. He scratches the side of his head,
Listen, Mitch...
Mitch turns and looks at the Concourse. It's finally
slowing down, although there remains a steady stream of
travellers, passing continuously, the alcove with the
Is Daniel there, is he around,
because usually I work with him,
you understand, yes?
Mitch bites his lip, and puts his free hand in a pocket.
                       MITCHELL FRYE
He's got Daniel, Jamal. Turner is
There is a pause. Mitch looks at the far wall of the
concourse, at the American flag.
      (voice only,
Mitch nods slowly.
Gabriel Vaughn stands, leaning against a wall in a large
living room, speaking to some European men. Medium loud
music pulses through a speaker system, echoing across the
floor. People crowd the room, lounging on a couch, and
standing, drinks in hand, mingling. Everyone wears club
attire, and the lights are set to half, as to create a more
relaxed mood.

Gabriel motions to the hall, leading the men to a business
room to get away from everybody. The group walks out of the
living room, passing three different groups of people, the
first, notice the business men, but say nothing. The


second, it's members are too drunk to notice anything and
the third group Gabriel and the men pass is made up of three
of Gabriel's associates. These men nod at Gabriel as he
passes, and they follow the business men to the door.

Gabriel holds the door open, in the hall, close to the
living room, allowing the men to pass through. Gabriel
closes the door behind them and the third group, three men,
stand at the door, as if they were guards.
The room has a desk and a tv, attached to the wall. The
closed door blocks out most of the music. The three men
walk to the middle of the room where they stare at the wall,
across from the desk, nervously, unable to take their eyes
away. Gabriel walks in behind them and smiles at the other
side of the room. Turner sits, bloodied and beaten, barely
conscious and tied to a chair. The men look nervously at
Gabriel, who smiles and walks behind his desk.
                       GABRIEL VAUGHN
      (indicating Turner)
Gentlemen, this is what happens to
my enemies.
Gabriel drops his coat on his chair, and walks back around
his desk, past the men, and behind Turner, where he places
his weight on the back of the chair. Gabriel smiles,
maniacally at the men. They stare back at him.
                       GABRIEL VAUGHN
And to those that meddle in our
business. They are beaten,
tortured, and punished. Their
families are destroyed,
      (Gabriel stands
       back up, and
       walks back around
       to stand with the
and their lives are ruined. Be
wary, my friends, that our
business never sours, and that I
may never call you enemy.
Mike Shade, coat off, sleeves rolled up, and tie loosened,
walks quickly down a hall. Because of the late hour, no
assistants line the hall, and Mike quickly rounds a corner,
before he stops at a reception room, where three tired


agents, the agents who worked with Mitch, sit, waiting to be
The woman leans back, her head against a wall, her eyes
closed. Both men lean back as well. Murphy, one of the
men, leans forward as Turner rounds the corner.
                       MIKE SHADE
      (pointing at
                       MURPHY-MALE AGENT
      (standing, tired)
Mike steps in, so they can talk without anyone hearing them
from across the hall, despite the late hour.
                       MIKE SHADE
Did Gabriel Vaughn ever come here,
while you guys were keeping track
of him?
Murphy looks down, closing his eyes trying to think. The
other agent looks at the two standing, interested. The
woman still leans back, her eyes still closed.
                       MURPHY-MALE AGENT
      (looking back up
       at Mike)
The city?
      (Mike nods
       quickly, Murphy
       nods back)
Yea, once or twice.
                       MIKE SHADE
      (hands on his hips)
Do you know where he stayed, when
he was in New York?
                       MURPHY-MALE AGENT
      (pause, thinking)
If we do, it's in the records on
the computer, I can check and get
back to you.
Mike nods and back pedals.


                       MIKE SHADE
      (walking away)
I need to know, do you have my
Murphy nods as he is already going through his bags,
retrieving the laptop. The woman still leans back, her eyes
closed. Mike walks quickly away, and around the corner.
Mike paces his office, his hand rubbing his temple, nervous.
He paces a few times before his phone rings. Mike quickly
grabs the phone from his desk. He puts the phone to his ear,
and leans onto the desk, reaching for a pen and paper.
                       MIKE SHADE
      (leaning across
       the desk)
Did you find it?
Murphy sits next to the other male agent, who holds the
computer in his lap. Murphy holds his cell against his ear.
The female agent still rests her head against the wall.
Murphy stares at the screen.
                       MURPHY-MALE AGENT
Yea, it's a hotel in Manhattan,
you got a pen?
Mike hasn't moved, but he stands, his hand holding the pen
over a pad of paper, ready to write.
                       MITCHELL FRYE
Murphy looks at the laptop, relaying the information.
                       MURPHY-MALE AGENT
      (reading the
Ok, it's the Marriott, close to
Times Square. The room was always
under am attorney's name, Peter
Craige. The number is, 3504.


Mike scribble quickly on his paper. He underlines the name,
"Peter Craige".
The bright lights from the billboards light the sidewalk up,
showing Mitch, wearing a black hoodie, walking,
determinedly. He shows no expression. Mitch walks past
group after group of people, people hanging out, outside a
store, talking, smoking, etc. Mitch ignores all of them,
although he draws a few stares, because of his serious
The chief of police sits, suit off, his tie loosened, behind
his computer, working. He yawns, as he looks at an open
file on his desk, before turning back to the computer.

His phone rings, and the chief finishes typing, and turns to
the phone. He studies the caller id and picks up the phone.
                       CHIEF OF POLICE (ETHAN)
      (leaning back)
Mike, your lucky you got me, I was
just about to...
Mike stands, holding himself up with one arm, on the desk,
while holding the phone to his ear with the other.
                       MIKE SHADE
Ethan, we got a major problem.
Ethan leans forward, staring into nothing, listening to Mike
on the other end.
                       CHIEF OF POLICE (ETHAN)
What's that?


The large lobby is centered around an elevator in the middle
of the room. Couches face each other, all around it, while
restaurants line the outside of the room. The check-in
center is directly across from the elevators, close to the
main entrance. The manager of the hotel sits behind the
bar, chatting with a receptionist. It is late and very few
patrons remain in the lobby; the restaurants are closed.

Suddenly the entrance doors, double doors, fly open and a
dozen uniform cops file in quickly, followed by half a dozen
unmarked WJM agents. Mike Shade and the Chief of Police
lead the group.

The chief walks quickly up to the hotel manager, at the
check-in bar. The receptionist seems to back up, clearly
frightened by the sudden appearance of the police.

The manager holds his ground, although he is obviously
surprised and a little nervous.
Ethan and Mike both lean against the bar, the agents and
police wait anxiously behind them.
                       CHIEF OF POLICE (ETHAN)
      (indicating the
You are the manager for this
                       HOTEL MANAGER
Yes sir.
Ethan nods and retrieves a half a dozen pieces of folded
paper from his jacket. He lays the paper in front of the
manager, who looks down at the paper, then back up at the
Chief of Police.
                       CHIEF OF POLICE (ETHAN)
This is a warrant to check your
guest-list, shut down your
entrances, and if necessary,
pursue any party we see fit, do
you understand?
The manager flips the papers through, taking a second to
make sure the papers are legitimate. Mike taps his fingers
on the bar. The manager looks back up at the Chief of
Police. He nods, and retrieves a printed sheet of paper, a
client list.


                       HOTEL MANAGER
      (indicating the
That's everyone.
Ethan nods before turning to his men. He gives a signal to
his men, and they move to the elevator, guarding the front
of it, others go to various entrances and exits, including
the main one, guarding those. The WJM agents stay with
Ethan and Mike.

Mike takes the client list and runs his finger slowly down
the list.

He stops at Peter Craige, and taps his finger on the name.
                       MIKE SHADE
      (nodding to Ethan)
Got him, floor 57.
Ethan nods, and he leads Turner and the agents to the
elevator, where they get on, and the glass doors close
around the men. The elevator rises and the manager watches.

Slowly the manager moves his hand below his desk and presses
a red button. One of the guards looks at the manager, who
nods in return. The police officer looks away, detecting
The lights on the floor are still dimmed. The security
guards stand still, outside the office room. People hang
around, or walk casually through other groups of people.
Suddenly, red lights flash from the fire alarms. People
look up watching the red lights flashing all through the
floor. A murmur starts and Gabriel's three security men
exchange glances. One turns around and knocks on the door.
The other two step out into the crowds. The largest
addresses the murmuring crowd.
                       GAB. ASSOCIATE
Everybody out, party's over!
The large associate proceeds to usher the men and women to
the elevator, and stairs. The other two approach the door.


The associate that knocked on the door opens the door.
Gabriel looks over from his desk, leaning against it. The
two businessmen are looking up at the flashing lights. The
associate holds the door open.
                       OTHER ASSOCIATE
      (talking to
       Gabriel, very
Fire drill sir, we need to leave.
Gabriel nods, and stands up, motioning to the door. The
other associate walks into the room, and walks over to
Turner, who sits passed out in his chair. The associate
takes a syringe and injects Turner with some drugs. The
gentlemen stand and walk with Gabriel to the door. The door
is held open by the other associate. The two men walk out
of the room and wait for Gabriel, who walks out behind them.
                       GABRIEL VAUGHN
      (looking back at
       the men)
I'll call.
They nod and turn away. The third associate walks back out
of the office, directing Turner, who has been drugged, by
the shoulder, following Gabriel and the other associate.
Turner is no longer cuffed, but because of the drugs, has
very little individual motor abilities. From his
perspective, he can barely make out each figure, simply that
they are people. The associate has to direct him.
Groups of people walk the same direction as the businessmen.
Gabriel's associate stops, and stands, making sure no one
walks to where Gabriel and Turner were taken, obviously a
special exit. He watches the people walk down a slanted
Hallway, to the large elevator, and doors leading to stairs
downward. The elevator is rising.

From nowhere, a fist flies into the associates face. He
stumbles across the floor, holding himself up on the wall.
The associate turns, angered, facing Mitch Frye. The
associate lunges at Mitch's face, but Mitch ducks, and
dodges left, sticking a jab into the man's stomach. The
associate drops, and Mitch takes his elbow and drives it
into the man's neck, knocking him out. Mitch walks up the
hallway, towards the secret exit, and turns a corner in the
The elevator pulls up to the top floor, and the glass doors
open. Ethan and Mike are amazed, stepping out, into the
crowds of people, wondering how they had the tip off that
they were coming. The people aren't fazed by the police,


but simply keep walking into stairwells on both sides of the

Ethan looks at Mike.
                       MIKE SHADE
      (addressing the
Fan out, try to find Gabriel. Two
of you need to follow the crowd
down both sides, the rest search
the floor.
The agents nod, two walk to their immediate right, another
two, their left, and the rest follow Ethan and Mike into the
penthouse, searching for anyone they recognize.

Mike walks quickly up the hall, and through the people, sees
the unconscious associate. Mike motions forward, and he
pushes people out of his way, as he and the agents, plus
Ethan trek their way to the associate.
The shot is taken from the inside of the stair well. The
one associate leads Gabriel into the white walled flight of
stairs, while the other associate leads Turner, by the
shoulder. The four men hustle down the stairs and the door
behind them almost closes. The men turn a corner, following
the stairs. Mitch's hand stops the door from closing, and
slowly, he opens the door, letting himself into the
stairwell. The group doesn't notice as they move farther
down the stairs. Mitch moves slowly downward.
More police have showed up, so that now over 20 officers are
present in the hotel reception floor.

The police have the party goers in several lines, across the
floor. Police walk up and down the lines, holding several
pictures of faces, including Gabriel and some of his
associates; Mitch's face is also included in the pictures.
They compare the faces on the picture to each person. The
manager stands behind the check-in bar, watching everything.
The receptionist is gone, probably sent home.

One of the police officers finishes with a line of people
and turns around holding his set of pictures at his waist.
He looks for his superior officer. He finds the sergeant,
close by, going through another line. The younger officer
walks up to his boss.


                       POLICE OFFICER
      (to the side of
       his boss)
Hey Rick, I'm headin outside, I
gotta run one of these guys
through the scanner.
The sergeant looks back and nods.
                       POLICE SEARGENT
      (turning back to
       his line)
Ok. Hurry it up, I wanna get out
of here, waste of our time...
                       POLICE OFFICER
      (turning to walk
For sure.
The police officer walks out the front entrance.
The police officer walks outside, stopping at the edge of
the sidewalk and he looks around. All around the street,
police car lights are lit, although none of their sirens are
on and only a few officers sit in their cars, their presence
only to make sure no one messes with the cars.

The police officer nods to another cop walking in, and turns
to walk on the sidewalk, around the building and to a large
alley around the side. He walks into the alley and leans
against the side of the building. He takes a pack of
cigarettes and a lighter from his pocket and lights one up,
exhaling slowly upwards.
Gabriel's Associate sits, leaning his back against the wall.
He is barely conscious. Mike and Ethan squat down in front
of him, waiting for him to come to. Two agents stand behind
them, one holds a shotgun and the other leans against the
opposite wall, just watching, his arms crossed across his
From the associates perspective, his vision is hazy and he
can barely see the figures in front of him.

Ethan leans forward, his hand under the associates nose,
holding smelling salt to the man's nostril. The associate


breaths in and coughs, lurching involuntarily forward. His
vision clears up.

Ethan retracts his hands. Mike leans forward. The agent
crosses his arms the other way, still only watching.

The associate leans back, a few aggravated tears fall from
his eyes. He looks at the two men directly in front of him,
then his eyes wander to the two agents farther away,
noticing the shotgun and the agent simply leaning against
the wall.

Mike leans forward, making the associate look at him. Mike
makes eye contact with the man. Ethan holds himself on his
knees with a fist pressed against the floor.
                       MIKE SHADE
      (making eye
       contact with the
Where did they go?
The associate smiles, a little deliriously. Mike looks at
Ethan, nodding as to relay some message and Ethan stands and
walks away, towards the elevator and the stairs. Mike looks
back at the associate.

The agent leaning against the wall steps forward, looking at
the associate.
                       MIKE SHADE
      (a little slower)
Where did they go?
The associate stops smiling and looks into Mike's face. Mike
looks up at the agent who stares at the associate. The
associate looks at the agent, making eye contact.
                       MIKE SHADE
Let me tell you something...
The following occurs during Mike's next line:

At the elevator, Ethan walks into the open glass doors, and
spins around, facing the camera and the hall. The doors
close and the elevator begins to drop.
                       MIKE SHADE
      (voice only)
You are going to tell me where
they went. Tell me now and you
can make it easy on yourself;
because if you don't,


                       MIKE SHADE (cont'd)
      (indicating the
       agent behind him)
he's gonna make you talk.
All is quiet as the police officer takes a draw on his
cigarette. A cop car passes on the road perpendicular to
the alley. Suddenly halfway down the side of the building,
a somewhat hidden door opens. The officer drops his
cigarette, in surprise, and backs up into the shadows of the
building behind him. The associate leading Gabriel and the
other two walks through an open door held by another police
officer. As Gabriel passes the crooked cop, he hands him a
fistful of bills, rubberbanded together.

The leading associate looks up and down the alley. The
smoking police officer leans even farther back and he looks
quickly at one of his pictures, that of Gabriel Vaughn. He
inhales quickly and as the Associate leads Gabriel and the
other two down the opposite side of the alley, he sneaks
down, quietly to the other side.

The police officer that let Gabriel's group through closes
the door, standing guard outside, looking up and down the
The door at the top of the high stairwell opens. Mike leads
two WJM agents into the stairwell. He walks quickly to the
edge and looks over the railing, the shot follows, looking
down the long and somewhat narrow stairwell. The two agents
start to walk, quickly down the stairs. Mike follows.
Two police officers stand behind the associate, now
handcuffed, and standing at the front of the elevator. The
elevator drops slowly.
Mitch walks quickly off the last step, at the bottom of the
stairs and walks to the door, determinedly. He grabs the
handle and throws the door open, and steps out into the


Mitch looks towards the back of the building, and takes a
step in that direction. Suddenly, the bad cop tackles Mitch
into the ground. Mitch rolls with the tackle, and the cop
straddles Mitch. Mitch holds the cops throat as the man
struggles to get at Mitch's face.
The smoking cop busts through the doors, with his superior
officer, the sergeant. The smoking cop runs quickly down
the sidewalk, the sergeant following.
                       POLICE OFFICER
      (breathing hard)
Over here!
They round the corner of the building, and run into the ally
but they stop suddenly.

Farther into the alley, Mitch throws the bad cop across the
alley, as Mitch is now on his feet. Mitch sees the two new
cops and takes off down the alley, heading the other way, as
the sergeant holds up the picture of Mitch, comparing the
two from the long distance.

He looks back up as the two cops start chasing Mitch, both
pulling out their guns.
As they get halfway through the alley approaching downed
officer, the secret doorway opens and the two WJM agents
bust through the door, followed by Mike. The two police
stop, immediately and draw their pistols on the agents.
Quickly the agents draw and Mike ends up in the middle of
the four. Mike raises his hands quickly.

As this happens Mitch turns away from the alley, and down
the street where Gabriel and his group headed.
                       MIKE SHADE
      (at everyone)
Whoa, Whoa, Whoa, Whoa! Everybody
just chill out.
All five men breathe heavily. The sergeant looks at Mike
                       POLICE SEARGENT
      (towards Mike)
Who the hell are you?


Mike indicates his jacket breast pocket, which sports a WJM
logo. All three WJM agents wear one, but the light was so
sparse, that the cops didn't see them.

The police officers nod, and lower their weapons, followed
by the agents. The sergeant starts to jog, indicating to
Mike to follow. The other agents follow while the smoking
officer bends down and checks out the downed officer,
picking up his radio, calling in medical help.
                       POLICE SEARGENT
      (to Mike)
We got four unidentified subjects,
escaping through that exit,
      (indicating the
plus another individual, all in
the last two minutes. I got men
shutting down a mile and a half
perimeter right now.
They hit the end of the alley, intersecting at a small
street. The men stop and look different ways.
                       MIKE SHADE
      (looking at the
Which way?
The sergeant breathes heavily looking both ways, then back
at Mike.
                       POLICE SEARGENT
Let's split up. Send one of your
boys with me, you have your radio
tuned to our frequency?
Mike nods and starts to walk one way, followed by one of the
agents. The sergeant jogs off the other way, followed by
another WJM agent.
Gabriel stands close to the street in front of a bus stop,
looking up and down the street. A few stragglers walk by on
both sides. Behind Gabriel, Turner and the two associates
sit inside the booth on a bench. The associates look
nervous. Turner leans back in the bench sweating profusely
his head bent back, eyes opening and closing at random.

Gabriel turns to look down the street as a bus turns the
corner and approaches the stop. Two cop cars speed down


that street, opposite the direction from which the bus came.
The bus rolls slowly closer to the stop, and brakes,
squealing through the quiet night. The sirens are heard
from down the street. Gabriel turns to his men as the bus
stops and the doors open.

One of the associates grabs Turner's arm and walks past
Gabriel and onto the bus, dropping a couple bills into the
tray. Gabriel stops the other associate, with a hand and
leans in to speak to the man.
Make sure no one follows us.
The man nods and turns, walking down the street towards the
noise and the flashing lights of police sirens. Gabriel
watches for a second, then gets onto the bus.

On the bus, Gabriel nods at the driver, who wears a hat, and
sports a medium long beard. His face is obscured by his
hat. Gabriel places a five dollar bill in the tray, and
moves back to the back; a woman sits towards the back. She
looks like she's on some strong drugs. She holds herself
and rocks back and forth. Her hair is grimy, and her eyes
blink, randomly. Gabriel sits next to Turner, who leans his
head back, his eyes closed, still sweating. The other
associate sits next to Turner. Gabriel stairs straight

The bus slowly moves forward. Outside, the other associate
walks down the street and turns left, back towards the
alley, his hands in his pockets, clutching a small pistol.
Mike and an Agent run quickly around a corner, away from the
alley and onto another long street. They keep running,
breathing heavily.
Mitch crouches, leaning against a wall close to the street,
in a small alleyway, waiting. The associate who left
Gabriel walks quickly towards the alleyway, his hands still
in his pockets. As he walks into the alley, Mitch moves,
quickly and grabs the man's neck and stomach and throws him
down onto the ground. The man gasps, his breath suddenly
gone, and Mitch kicks the man in the side. Mitch looks up,
and into the gun barrels of Mike and the agent he was with.

Mitch steps back, holding his hands up a little. The
associate wimpers.


                       MIKE SHADE
      (stepping forward
       a little, Mitch
       steps back)
What are you doing Mitch?
                       MITCHELL FRYE
      (taking another
You know, Mike. You know what
this is.
The agent looks from Mike to Mitch. Mike glares at Mitch.
                       MIKE SHADE
Let me handle this, Mitch.
                       MITCHELL FRYE
      (shaking his head,
That's not how this is gonna work,
you know that.
Mike takes another step forward. Mitch holds his ground.
                       MITCHELL FRYE
Don't push me, Mike.
Mike takes another step towards Mitch, his gun still raised.
                       MIKE SHADE
It's too late Mitch, you blew your
chance at these guys.
Mitch shakes his head, disappointed and immediately reaches
out, very quickly grabbing Mikes arm, twisting, and he
knocks the gun out. Mitch throw Mike into the agent and
lunges at the agents side, grabbing his neck, and thrusting
the agents head into Mike's side. The agent drops his gun
and Mitch elbows the man in the temple, dropping him to the
ground. Mitch quickly grabs Mike from the back and Mitch
thrusts his knee into Mike's gut, dropping him.

Both men lay on the ground, close to the associate. Mike
coughs, the agent lays still. Mitch jogs away, towards the
street with the bus.

Mike's radio buzzes, laying on the ground next to the men.


The bus pulls onto Times Square and the brightness
illuminates the mildly dark interior of the bus. Gabriel
blinks, and Turner suddenly sits up. From Turner's
perspective, the world is still very shady, but to him, the
lights are even more bright.
Gabriel exhales and leans back, breathing easy, as the
street is very busy and therefore, to him, it is unlikely
the cops could find them there. The bus maneuvers through
the traffic and pulls to another stop. The bus stops and
the driver opens its doors. A man with a sweatshirt slowly
walks up the steps, and drops a paper bill into the tray.
Gabriel watches as the man approaches. The man's face is
covered by his hood, the shadow covering his features.
Gabriel leans back, unworried. As the man passes the group,
Turner's perspective is viewed, and he sees Mitch as a
bright light, inside the outline of a person's body, passing
in front of him. The bus starts to move and Mitch walk past
them and sit towards the back, on the opposite side.
The woman continues to rock, and her eyes shift back and
forth, looking at the front of the bus to the back.
Mike slowly pulls himself up, onto a porch step and begins
standing slowly. He inhales air deeply, holding his side.
The agent holds himself up, his hands on the ground, leaning
over on his knees. He breathes slowly. The radio lays
untouched on the ground. Suddenly the sergeant and the
other agent run around the corner. They skid to a stop as
they see Mike, barely holding himself up. The second agent
walks quickly to his peers side, bending down to help him.
The sergeant looks at Mike, who looks up.
                       POLICE SEARGENT
You lose the radio?
Mike stairs, annoyed at the sergeant, who stands, hands on
his hips, exasperated. The second agent stands, his hands
at his sides and looks up and down the empty street.
The bus turns off of Times Square and onto a darker street,
a little shadier. The bus passes a bus stop with people
waiting. Three people sit at the stop, at the bench's stop
and watch, unbelieving, as the bus passes them. Two men and


one woman.

The bus picks up a little speed.

Inside the bus, Gabriel looks around looking out the side of
the bus then to the front, at the driver, who stares ahead
at the street as if nothing is wrong. The associate watches
his boss's nervousness.

Gabriel looks at the driver, as the bus brakes suddenly, and
turns, on a red light; although no traffic is around; right,
and accelerates through the turn. Turner leans back,
breathing hard, still sweating.

Gabriel looks at the driver incredulously. The woman
sitting towards the back of the bus still rocks back and
forth. Suddenly, the drivers eyes appear in the rearview
window, and make eye contact with Gabriel. Murphy's eyes
look intensely through the mirror. Gabriel looks suddenly at
the woman, who stands and turns to the group. The associate
puts his hand on the gun, as the bus stops accelerating. The
woman no longer looks drugged and we recognize her to be the
female agent.

Gabriel turns to the back of the bus, as Mitch stands,
pulling his hood off his face and stepping towards the
group. The associate and Gabriel stand up quickly, as
Turner remains sitting. The associate pulls out his pistol,
and aims it at the woman, but switches every couple seconds
to aim at Mitch.

Murphy pulls the bus over at the side walk, in a dark
street, an empty street. The parking brakes come on, and
the air pressure is heard, releasing. Murphy stands and
pulls a pistol out of his pocket, his hat revealing more of
his familiar face.

Gabriel stares, confused at Mitch. Mitch stares at him,
showing no emotion.
                       MITCHELL FRYE
      (softly, to
Do you know who I am?
The associate looks from the female agent, to Murphy,
glancing at each pistol, as if he's analyzing his chances.
Gabriel looks only at Mitch, holding eye contact.
No. Should I?


Mitch glares at Gabriel, Murphy and the female agent show no
emotion. Mitch takes a picture out of his sweatshirt
pocket. The picture is of Dana. He holds it up. The bus
little bit of bus lighting illuminates the picture.

Turner's eyes open, suddenly. The associate looks at him
nervously, then back at Murphy and the woman. Turner holds
the same position, staring straight forward breathing hard.
                       GABRIEL VAUGHN
      (nodding, slowly)
Aahh. I never forget a face.
Mitch glares at Gabriel, but not yet infuriated. The
associate looks at Murphy and the female, he grimaces,

Mitch steps forward, and the associate looks at his boss for
instructions, but Gabriel has eyes only for Mitch.
                       MITCHELL FRYE
      (holding eye
Do you remember her name?
Gabriel frowns.
Belfast Germany appears on the screen.

Dana lays on the bed, one arm cuffed to a bed post. She is
curled into the fetal position, naked, yet under some

She is alone. The door opens and Gabriel is led into the
room. Dana stares at the two, scared. An associate hands
Gabriel an identification card. Gabriel holds the card up
into the light and compares Dana's beautiful face to the
card's picture. A lone tear falls from Dana's watery eyes.
The card reads, Dana Frye.
Gabriel smiles, slightly. Mitch holds eye contact.
                       GABRIEL VAUGHN
      (said with
       emphasis, slowly)
Dana Frye.


Mitch lunges forward, into the light, and grabs Gabriel by
his throat, and holds him up to the window of the bus. The
lights show tears forming and falling from Mitch's eyes.

The associate spins, and presses his pistol against Mitch's
temple. Murphy and the female agent, step forward and aim
their pistols at the associate.

Turner sits in his feet, frowning, and he repeats:
                       DANIEL TURNER
      (slowly, and
       softly, in a haze)
Dana, Frye. Dana, Frye.
Mitch holds Gabriel up, their faces almost touching. Gabriel
gasps for breath, but shows no fear.
                       MITCHELL FRYE
Do you have any idea the pain you
have caused?
Gabriel looks into Mitch's eyes. Mitch looks into his,
searching. Gabriel holds the eye contact. He frowns.
                       GABRIEL VAUGHN
Mitch stares into Gabriel's face and suddenly, from nowhere,
Mitch explodes with anger. Mitch raises Gabriel from the
window and slams him back into it, Gabriel's head smashing
the glass.

The associate starts to pull his trigger, but the female
agent and Murphy put two bullets, a piece into his body,
throwing the associate back into the seat. The female agent
rushes forward and grabs Turner pulling him away from Mitch
and Gabriel.

Mitch grabs Gabriel harder and throws him across the bus and
into the other window which cracks. The female agent
quickly ushers Turner to the front of the bus. She lays him
in a seat and takes a syringe injecting Turner with its
contents. Murphy watches, intently, the explosion of anger
in front of him, without faze.
Turner closes his eyes, and leans back, in the seat.

Mitch walks slowly to Gabriel, who winces in pain. Gabriel
opens his eyes up as Mitch stands above him. Mitch raises


his arm, grabbing Gabriel with the other and pulling him up,
hits him across the face.
Mitch and Dana smile at each other as they hold hands across
the small table.
Mitch holds Gabriel up again, and hits him in his now
bloodied face, dropping him to the seat.
Dana hugs Mitch, as Mitch leans against one of the ancient
stone walls. Mitch looks out across the large ruin.
Mitch grabs Gabriel, his face now purple and bloodied, his
eyes barely open, and throws him across the bus, into the
other seat. Murphy continues to watch, the female agent
tends to Turner's injuries, kneeling beside Daniel.
Mitch takes out a pistol and aims it at Gabriel's face.
Gabriel looks up, barely able to keep his swollen eyes open.
                       MITCHELL FRYE
Your pain is nothing, compared to
the hell I have faced. Now, it's
your turn. Tell the devil I said
Mitch pulls the trigger, and the flash fills the bus.
Mitch lays in a bed, his body propped up on two large
pillows. A sheet covers his lower body. Dana lays next to
him, they look at each other, their eyes locked. She draws
herself closer to him.
      (about to kiss
Aren't you glad you met me?
They kiss. After a few seconds she drops off, facing away
from Mitch and lays back down. Mitch gets lower, nestling
his head slightly above hers. They look out a large, open


I love you.
Mitch smiles.
Mitch sits at a bench, wearing sunglasses, and an untucked
white button down, short sleeves. He has a small scruffy
beard. He has one arm up, resting on the back of the bench.
People of all color walk in front of him, some in groups or
pairs, speaking a variety of different languages. Yellow
taxis drive in the street in front of him, their horns
adding to the noise around him.

Street vendors sell jerkey to his right, a few paces and to
his left, they sell Jamaican baskets. Some tourists stop
and browse, or taste while others move along. Mitch stares
straight ahead.

Another American dressed in a tan suit, with sunglasses, and
is cleanly shaven, walks in front of Mitch and sits down
next to him, unbuttoning his jacket as he sits down.

Mike Shade leans back and smiles at Mitch, who has turned to
face his acquaintance. Mitch stares back forward grinning.
Mike also looks forward.
                       MIKE SHADE
      (above the noise)
Your a hard man to find, Mr. Frye.
                       MITCHELL FRYE
I'm not in the business of being
easy to catch, Mr. Shade.
                       MIKE SHADE
      (looking up and
       down the street)
but alone? Mitch, you dissapoint
Mitch looks at Mike. Mitch smiles and stares forward again.
                       MITCHELL FRYE
Don't be naive Michael.


Mike looks at the Jerkey booth again, and Murphy appears,
leaning against the side, dressed like Mitch, chewing on
some meat. He nods at Mike.
Mike grimaces, and looks at Mitch, who stares forward.
                       MIKE SHADE
And the girl?
                       MITCHELL FRYE
      (looking at Mike)
Busy, what do you want?
                       MIKE SHADE
      (holding eye
Have you talked to Daniel?
Mitch stares forward again, exhaling.
                       MITCHELL FRYE
Yea, I did, he was good, you know?
                       MIKE SHADE
      (looking at Mitch)
Did he talk to you about working
with us, again?
                       MITCHELL FRYE
      (staring forward)
                       MIKE SHADE
      (looking at Mitch)
                       MITCHELL FRYE
      (glancing at Mike,
       then back to the
And I told him that I don't work
with companies anymore.
Mike exhales, stands and buttons his jacket. He holds his
sunglasses in one hand, and turns away, then turns back to
Mitch. Murphy finishes his meat, and crumples his trash in
his two hands.


                       MIKE SHADE
      (looking down at
How many people have you killed in
the last month, Mitch?
Mitch turns, and looks up at Mike.
                       MITCHELL FRYE
How many have you saved?
Mike shakes his head, he puts on his sunglasses, and walks
away from the bench. Mitch stands, and walks the other way,
joined by Murphy, the shot shows both Mike and Mitch walk
away from each other.


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