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Direct Sunlight By Simon Davies C 1998 4b Union Road Chippenham Wilts SN15 IHW EXT.HOTEL/STREET DAY A limo, it`s windows blacked out, pulls up on the street in front of the hotel. Two men, dressed in dark suits and glasses, appear from the hotel main entrance, checking out the street and surrounding area. A third man, Robert Valdez, leaves the hotel and the three men move swiftly to the car. INT.APARTMENT THRU CAMERA LENS: We see Valdez and his bodyguards heading for the car. We zoom in and two shots are taken. EXT.HOTEL/STREET Valdez gets in the back of the car. One of the bodyguards gets in next to him, the other in the front next to the driver. INT.APARTMENT A man sits by the window and lowers his surveillance camera.He turns to a second man, two way in his hand, and nods. FIRST MAN It`s him. SECOND MAN (into two-way) Yes, sir. Positive ID. It`s Valdez. CUT TO: INT.OFFICE DAY Cameron Fisher, a man in his late 50s/early 60s, writes at his desk in his spartan office. He looks up at the sound of a knock at the door. A younger man, Anthony Childs, enters the office without waiting for an answer to his knock. CHILDS You were right. Miami. The team can Be in position in twenty minutes. FISHER Very well, Mr Childs. Childs turns back to the doorway, and is about to leave, but stops himself, looking back at Fisher. CHILDS How clean does this one have to be? FISHER Spotless. CHILDS But sir Fisher takes off his glasses and stops Childs dead with a look. CHILDS cont. Yes, sir. Childs leaves the office, closing the door behind him. Fisher casually checks his watch, replaces his glasses and continues writing. CUT TO: EXT.STREET DAY Valdez` car moves through the thin traffic. INT.LIMO The driver watches the street ahead, scanning the rear view mirror. The bodyguard next to him watches the street and the surroundings, a submachine gun on his lap, his jacket flapping open to reveal a holstered 9mm. In the back, the second bodyguard hands Valdez a drink. INT.PURSUIT CAR (CHASE 2) Two of Childs` men, Lawrence and Hanks (driving), both in casual clothes watch the limo six cars ahead. Lawrence rests his elbow on the open car window and leans his face into his hand. In his hand, a small two-way handset. LAWRENCE (into two-way) Approaching the lights now. INT.STORE BACKROOM Another operative, Villiers, sits at a hastily set up computer, keyboard and video monitor. The monitor shows a black and white view of the traffic on the street. VILLIERS Shadow 1, affirmative. Villiers taps at the keyboard. EXT.STREET/TRAFFIC LIGHTS A small device, no bigger than a remote control, is attached to the lights. A tiny light on it flicks from red to green. INT.SEWER Two men operatives, Finneman and Casse, both in black and wearing two-way headsets, wait at the bottom of the access ladder. FINNEMAN (into two-way) Shadow 2, affirmative, Chase 2. Finneman removes an explosive device from his bag. He thumbs a button on a remote control and the device bleeps once. CASSE How clean is this gonna be? FINNEMAN Are you kidding? I position this right, We won`t even scratch the guys in the front. Finneman grabs the ladder and steps onto the first rung. Casse slides the machine gun off his shoulder and flicks off the safety. INT.CHASE 2 LAWRENCE (into two-way) Chase 1, take position. CHASE 1 (on two-way) Affirmative, Chase 2. EXT.STREET An old car changes lanes, sliding directly in front of Valdez as it approaches the lights. INT.LIMO The driver brakes hard to prevent the junker in front scraping the limo. DRIVER Asshole. The bodyguard next to him tenses and checks the street, his hand resting on his submachine gun. INT.CHASE 1/JUNKER The driver casually glances in the rear view at the limo directly behind him. He allows himself the briefest of grins. INT.STORE BACKROOM Villiers watches the traffic on the monitor screen. INT.SEWER Casse waits at the foot of the ladder, gun raised, checking the tunnel up and down. Finneman is at the top of the ladder, an elevating device fitted under the manhole cover above him, waiting for a signal. EXT.STREET Chase 1 approaches the lights, Valdez` limo on his tail. The lights ahead are green. A car in front of Chase 1 reaches the lights. INT.CHASE 1 CHASE 1 (into two-way) Go. INT.STORE BACKROOM Villiers taps at the keyboard. EXT.STREET The lights change to red. Chase 1/junker stops abruptly at the lights. INT.LIMO The driver stamps on the brakes. DRIVER Jerkoff. The bodyguard watches the car ahead. He`s suspicious of something. BODYGUARD Yeah. His hand takes a firm grip on the butt of his gun. EXT.STREET The limo is stopped directly over the manhole cover. INT.SEWER Finneman waits under the cover, bomb in one hand, elevator handle in the other. LAWRENCE (on two-way) Shadow 2, go. Finneman pulls down the handle and the elevator frame hisses into life. EXT.STREET Under the limo, the cover is raised up by the framework and swung to one side. Finneman`s head and hand appear, attaching the bomb to the underside of the car. INT.SEWER Finneman ducks back into the manhole. FINNEMAN (into two-way) Package delivered. Finneman grabs the handle and tries to push it back it won`t move. FINNEMAN cont. Shit. He tries again, but it won`t move. Casse looks up the ladder. CASSE What? FINNEMAN It`s stuck. The fuckin` cover`s stuck. (into two-way) Chase 2, Shadow 2, the manhole cover Won`t close. Repeat, the lift`s jammed. INT.CHASE 2 LAWRENCE Christ. HANKS Those lights don`t change soon, they`re Gonna LAWRENCE I know, dammit. INT.SEWER Finneman shoves the handle, but it won`t budge. FINNEMAN Come on, goddammit. Close, bitch. EXT.STREET Finneman`s upper body appears from the manhole, squeezed under the car, and reaches around the cover. He tries pulling the cover and the elevator frame back towards him. INT.CHASE 1 The driver glances up at the red light. He checks his watch. CHASE 1 What`s goin` on? INT.LIMO DRIVER What`s with these fucking lights? BODYGUARD I don`t like this. He cocks his weapon. INT.STORE BACKROOM Villiers waits, his fingers poised over the keyboard. A clock counts the seconds. VILLIERS (into two-way) Chase 2, Shadow 1, I can`t hold these Lights much longer. EXT.STREET Impatient car horns start to blast. INT.CHASE 2 LAWRENCE Jesus, Jesus. (into two-way) Shadow 2, any luck? EXT.STREET Under the car, Finneman pulls on the cover without luck. FINNEMAN (into two-way) Negative, sir. Fucker won`t budge. INT.STORE BACKROOM LAWRENCE (on two-way) Shadow 1, flip the lights. VILLIERS Roger that. Villiers hits the keyboard. INT.CHASE 1 The driver watches the lights change from red to green. CHASE 1 Thank Christ. EXT.STREET Chase 1/junker rolls forward and across the junction. Under the limo, Finneman starts to slide back into the manhole. Valdez` limo starts to roll forward. Finneman`s foot slips on the ladder, his head raises and it bangs under the car. INT.LIMO Valdez has heard the thump. VALDEZ What was that? INT.SEWER Finneman, stunned, slips down the ladder, his legs tangling in the rungs and flipping him upside down. He hangs, dazed and semi-conscious, halfway down the ladder. Casse sees his partner from the bottom of the ladder and starts up towards him. EXT.STREET The limo moves away from the exposed manhole and it`s cover. INT.CHASE 2 HANKS Don`t look back. Lawrence watches the limo ahead. LAWRENCE Fuck it, we can`t wait. (into two-way) Shadow 2, blow it. No response from Shadow 2, no explosion. INT.SEWER Casse gets to the upside down Finneman and attempts to free him. CASSE (into two-way) Two`s down,sir. LAWRENCE (on two-way) Then you`ve got the ball. INT.CHASE 2 LAWRENCE (into two-way) Blow the car. INT.LIMO The driver watches the traffic behind in the rear view. A car makes a right at the junction and, for a second, the driver sees the open manhole. He stamps on the brakes. DRIVER Out of the car! EXT.STREET All four doors fly open on the limo and the men inside bundle out. INT.SEWER Casse takes the remote from Finneman and thumbs the FIRE button. EXT.STREET Valdez` limo explodes, the rear doors flying off, flames licking at the driver, the rear windshield bursting. INT.CHASE 1 The driver sees Valdez and his men escape from the blast. CHASE (into two-way) Chase 2, misfire. The target is safe. You want me to take him? INT.CHASE 2 LAWRENCE (into two-way) Negative, Chase 1. Abort. EXT.STREET One of the bodyguards helps Valdez up. The other bodyguard, Uzi in hand, strides across the junction, oblivious to the panicked bystanders watching him, heading for the open manhole cover. INT.SEWER Casse manages to get Finneman the right way up. LAWRENCE (on two-way) Casse, get outta there! A shadow falls across Casse and Finneman, and Casse looks up. The bodyguard stands framed in the open manhole. He aims the Uzi into the hole. EXT.STREET The bodyguard`s submachine gun blazes into the open hole. INT.STORE BACKROOM Villiers sees the killing on the monitor. VILLIERS Motherfucker!! He grabs a machine gun and leaves his post. INT.CHASE 1 The driver sees the shooting and grabs his own gun. He gets out of the car. INT.CHASE 2 Lawrence sees Chase 1/Harris leave his car and head for the bad guys. LAWRENCE (into two-way) Negative, Harris. Abort mission. EXT.STREET Harris raises his weapon at Valdez and his men. The limo driver sees Harris and goes for his own gun. LAWRENCE (on two-way) I say again Harris discards his two-way and blasts the driver. Shadow 1/Villiers bursts from the store main entrance and targets the bodyguard by the manhole. The bodyguard looks up in time to see Villiers before a fusillade of rapid fire rips through him. INT.CHASE 2 Lawrence watches the gun battle with horror. LAWRENCE Get us out of here. HANKS But sir LAWRENCE This was not out assignment. Hanks grudgingly nods and turns the wheel. EXT.STREET As Chase 2 pulls out of the line of traffic a car speeds around it from behind and blocks it`s path. INT.CHASE 2 HANKS What the EXT.STREET A machine gun barrel protrudes from the blocking car`s window and sprays Chase 2, peppering the windshield, killing the men inside. The last bodyguard exchanges gun fire with Harris, hurrying Valdez to safety. The blocking car speeds around the traffic and across the junction, into the gun battle. Harris takes cover as machine gun fire sparks off the road around him. The car skids to a halt and a rear door flies open. The bodyguard bundles Valdez towards the waiting car. Villiers targets the car and opens fire. Valdez gets in, but the last bodyguard is cut down by fire from both Harris and Villiers. He staggers back, squeezing of a final blast as he hits the ground. A young woman screams as the random fire tears through her stomach and legs. The car speeds away. Harris and Villiers loose a last volley of fire at the fleeing car, then lower their weapons. They looks around at the bodies, the wreckage, the flaming car. HARRIS Christ, let`s get the fuck outta Here. They return to the junker/Chase 1 and leave the scene, the sound of sirens getting louder as their car screams around a corner and out of sight. CUT TO: INT.CONFERENCE ROOM DAY Childs and Fisher sit either side of the long conference table. A TV screen flicks from one dead member of the assassination squad to the next with every click of Childs` remote. FISHER Four dead operatives, Mr Childs. All Members of your beloved Dante Squad. CHILDS Yes, sir. On the plus side, one of the Bodyguards has been identified as Tomas Romero A picture of the dead bodyguard appears on screen. CHILDS cont. - who, I`m sure you will recall, was wanted for the murder of several DEA undercover agents. He`s been on our list for quite a while now. FISHER But he was not the assigned target. CHILDS No, sir, I appreciate that. I`m just Pointing out the mission was not a Complete disaster. FISHER I beg to differ, Mr Childs. Four of Your men, dead. A young woman crippled. The Testament Organization is not in The business of petty assassinations. Our charter was the removal of untouchables, Targets beyond the reach of the law. (pause) Thankfully, it looks like we are going to Get a second chance. Intel has confirmation That Valdez is meeting with his associates. CHILDS Do we have a location? FISHER The Pacific Industries building, Dallas. Tomorrow night. CHILDS Perfect. An Apache could take out the Entire floor. Fisher laughs and stands, heading for the door. FISHER I think you read too much Tom Clancy. FISHER cont. Contact Mr Curtis. CHILDS Sir, I must protest Fisher stops at the door. FISHER Contact Mr Curtis. I want his man Briefed and ready in twenty four hours. Childs stands. CHILDS Sir, I don`t like using this operative. I never have. His methods FISHER I understand your concern, Anthony, but We don`t have much choice. If Valdez Disappears again, he may never resurface. I need a guaranteed removal. Dragon Provides that guarantee. Contact Curtis. Fisher leaves. CUT TO: INT.CURTIS` OFFICE NIGHT Curtis sits at his desk, the room lit only by an old lamp. In his late 60s, but still looking fit, Curtis looks out his window at the lights of the city. CURTIS He won`t like this. Childs sits on the other side of the desk, almost in the dark, smoke from his cigarette lit by the lamplight. CHILDS It`s his job. CURTIS You know the agreement we have with This man. CHILDS I don`t give a damn, Curtis. He`s one Of our assets and he`ll follow orders. Curtis smiles and turns from the window to Childs. CURTIS And who`ll make him? You, Tony? Childs leans into the light, stubbing out his cigarette. CHILDS You`re his control. Call him. He`ll Need to be briefed and on a plane tonight. Curtis watches Childs stand and leave. He picks up his phone and dials. CUT TO: EXT.HILLSIDE NIGHT A man in his late 30s sits alone on the hillside. He watches the distant line of the traffic on the freeway below. He looks up at the moon and the stars above. His phone rings. He takes it out of his jacket and Mikael Riva answers it. RIVA (into phone) Hello? CURTIS (On phone) It`s me. Black Sunday. RIVA (pause) I understand. He clicks off the phone and slips it back into his coat. He turns his gaze back to the stars. CUT TO: EXT.TRAIN STATION NIGHT Riva and Curtis stand on the empty platform, Curtis in a heavy coat, Riva in a light jacket, RIVA I thought we had an agreement, Gary. CURTIS We do, but we also agreed there would Be exceptions from time to time. Riva smiles. CURTIS cont. Hey, Fisher knows your record, Mikael. Over the years, you`ve been Testament`s Best retrievals operative. You`ve saved This country billions in stolen information. RIVA And people. I have saved a few lives. CURTIS And Fisher is grateful, believe me. But Your unique ability It does make you Ideally suited to other operations. RIVA I haven`t killed anyone since (pause) Jesus! CURTIS That long? Shit. I hope you`re not too Rusty. Riva smiles at his friend, but it does not mask the sadness in his eyes. RIVA So who is this guy? Curtis slips a file out of his coat and hands it to Riva. CURTIS Robert Valdez. A born again bad guy. Riva flips open the file, looking at photos, reading pages. RIVA I`ll need safehouses. Guaranteed Safehouses. CURTIS I guarantee them. Riva lights a cigarette between his lips. RIVA No one else will know? CURTIS You have my word. Riva closes the file and sets it alight, dropping it into a garbage can as it burns. RIVA How many men with him? CURTIS Upward of 15. No more than 40. Riva closes his eyes and exhales. CURTIS cont. If it`s any consolation, no of them Are regular churchgoers. Riva opens his eyes at his friend`s attempt at a joke, looking into his eyes. Curtis watches Riva suck down another lungful of smoke. CURTIS cont. You know, those things are gonna kill You. Riva smiles. Both men laugh. CUT TO: INT.CURTIS` OFFICE NIGHT Curtis taps the keys on his computer keyboard. CHILDS (off) Do we have a problem? Curtis looks up from his screen. Childs stands in the open doorway. CURTIS You can tell Mr Fisher, Dragon has Accepted. CHILDS Very noble of him. CURTIS What is it with you, Childs? What have You got against this man? Childs enters the office. CHILDS The man is a timebomb waiting to go off. I don`t like relying on him, there are too many variables. Too many unknowns. In my opinion, he is the most dangerous Man on this planet. And a definite threat To this organization. CURTIS Really? Well, he`s been serving this Organization for more years than I can Remember. How do you explain that? Childs takes a seat. CHILDS I`m not denying what he`s done. I`ve Seen the files, read the reports. He`s Been very effective. But what happens If he ever changes sides? CURTIS After all this time? That`s ridiculous. He chose his side a long time ago and he`s Fought for it ever since. What have you Done? The two men lock eyes across the table. Finally, Childs smiles. CHILDS Maybe you`re right. Maybe I am over Reacting. You`ve known him a lot longer Than I have. How long is it? CURTIS A long time. Curtis turns to the window. CURTIS cont. A long time. Childs smile fades away. CUT TO: INT.AIRLINER NIGHT Riva has a window seat, his eyes looking out into the night. In the seat next to him, a sleeping child turns and rests her head against Riva`s arm. Riva turns from the window and looks down at the little girl. Her mother in the next seat stops reading her book and looks down at her daughter. She sees her using Mikael for a pillow. MOTHER Oh I`m sorry. She puts down her book and is about to move her daughter. RIVA That`s okay. Let her sleep. Riva smiles at the mother and looks back at the night. CUT TO: INT.HOUSE NIGHT The front door opens and Mikael enters, closing the door behind him. He slides the bolt, locks the door and puts on a chain. INT.KITCHEN Mikael checks the lock on the back door and the windows. He closes the shades. INT.BEDROOM He checks the window locks and closes the curtains. INT.BASEMENT A light flicks on and Mikael walks down the steps to the basement. He flicks on a TV and lies down in a cot.He watches the TV for a few moments, then closes his eyes. CUT TO: EXT.PACIFIC INDUSTRIES BUILDING DAY A car pulls up and man gets out from the front passenger side. He walks around to the rear door and opens it, checking his surroundings as he does so. Valdez gets out of the car followed by a second man, Newman. They head for the building main entrance, the bodyguard following. VALDEZ It`s all arranged? NEWMAN As requested, Mr Valdez. Your associates Should be arriving around nine. VALDEZ Excellent. And get some girls. Call Masters. I like his selection. And tell Him to pick me out a young one, the youngest he has. NEWMAN Yes, sir, Mr Valdez. They enter the lobby. CUT TO: INT.CONFERENCE ROOM DAY We see Fisher through the open doorway of the room as he is walking by. He glances in as he is passing, stops and enters. Childs occupies a chair at the conference table, an open file before him, a remote control in his hand as he watches the big screen. The conference room screen flashes up one file after another with every click of the remote, each showing a photo of a different man. Some are in uniform, some are not, but all bear the same stamp across them: TARGET REMOVED. CHILDS No back up. No extraction team. Nothing. He goes in alone, target removed, he comes Out alone. FISHER It`s the way he works. CHILDS (shaking head) Sir, this is not the way black ops should be run. FISHER You were new to Testament when he last Carried out a removal for us. This is His way. It`s the only way. (checks his Watch) Call me when we hear from Curtis. Fisher walks out. CUT TO: EXT.PACIFIC INDUSTRIES BUILDING NIGHT Maybe a dozen individual office lights are still on up and down the building. One floor is totally lit the fifteenth. EXT.OPPOSITE BUILDING / ROOFTOP Riva stands on the rooftop across the street from Pacific, this building several floors shorter. He watches the lights of the fifteenth floor. EXT.PACIFIC INDUSTRIES BUILDING/STREET A black limo drives down the street and turns into the lower drive to the building`s parking lot. INT.UNDERGROUND PARKING LOT The limo is stopped by a pair of armed guards. The driver`s side window rolls down to reveal the driver inside. DRIVER (to guard) Mr Silva. A rear window slides down to reveal the face of Silva. The guard checks a handheld computer. Silva`s face appears on the screen. GUARD Okay. The limo is allowed through. The car pulls into a space next to several other limos. Silva and his men get out and head for the elevators. INT.LOBBY A guard sits at the front desk, watching a line of monitors. His hand never strays from the butt of his gun. INT.CORRIDOR Two men, not security guards, but still armed to the teeth, patrol the corridor. INT.ELEVATOR Four prostitutes, all dolled up and ready for action, are accompanied by one of Valdez` men. One of the girls, looking no more than fourteen, looks nervous. One of her friends, still only around twenty, but clearly a pro, slips her arm around her. HOOKER Hey, the first time`s always the Hardest. One of the other hookers, grins, chewing on her gum. HOOKER 2 Literally. The last hooker laughs out loud. HOOKER Hey, knock that shit off! The young girl manages a smile, putting on a brave face. The thug just grins to himself. INT.EXECUTIVE LOUNGE A knock at the door. Another armed thug opens it and the girls enter. A party has already started, girls mixing with hoods and bosses, serving drinks and providing various other services. Valdez sees the new arrivals and gets up from his couch, leaving the hooker he was with. VALDEZ Ah ladies, welcome. He walks over to the new arrivals. VALDEZ cont. Thank you for coming. Edward`s taste Is as fine as always. (sees young girl) And you must be Jennifer. (kisses her Hand) Enchanted, my dear. Come, let me Get you all some drinks. Valdez slips his arm around Jennifer and leads them into the party. Silva stands with one of his own men, watching Valdez working on the young Jennifer. SILVA Dear God, how old is that one? Valdez` man, Newman, joins Silva. NEWMAN Mr Silva, glad you could make it. Silva manages a forced smile. SILVA How could I refuse? I understood this Was to be a business meeting. When do You think it might begin? Newman glances across the room. Valdez is leading Jennifer away to another room. NEWMAN Not too long now. CUT TO: INT.LOBBY - NIGHT The guard watches two of Valdez` men on the monitor. GUARD (into two-way) Six, anything? One of the men looks straight into the monitor screen. SIX Nothing. INT.ELEVATOR Two more hired thugs stand in the elevator. It comes to a halt and the doors slide open. THUG 1 Valdez wants a man in every elevator. You need a leak, you get permission, Then you get a replacement. Then you Can piss. Thug 1 leaves the elevator, the doors close and the elevator starts to rise. A bump is heard outside the elevator and Thug 2 looks around. Another thump and he puts his hand to the wall. Another and he looks down. He stands directly on the maintenance hatch. The hatch falls open and the man drops through. INT.SHAFT The guard drops his gun and grabs the edge of the hatchway as he falls through. He stops his fall, but finds himself face to face with Mikael Riva, also hanging under the elevator. THUG 2 What the - Riva grabs the man around the throat with his spare hand, squeezing. The thug struggles, lashing out with one hand, hanging on with the other. Gasping for air, not thinking, he lets go of the underside of the elevator to strike Mikael with both hands. He suddenly realizes his mistake and looks down. He looks at Riva. Mikael slams the man`s head into the elevator, knocking him out. He hangs the unconscious man from a hook under the elevator, grabs the edge of the hatchway and pulls himself in. INT.ELEVATOR Mikael pulls the hatch closed behind him and stands. The flood indicator dings and the elevator stops. Mikael looks to the doors. INT.CORRIDOR The elevator doors slide open and a guard, Clark, is about to enter when he looks inside and stops himself. CLARK Goddammit. The thug enters the elevator. INT.ELEVATOR Clark steps into the empty elevator, shaking his head. He hits the button for the floor he wants and the doors close. He grabs a two-way from his belt. CLARK (into two-way) Brandner, this is Clark. Who`s Supposed to be in elevator 2? BRANDNER (on two-way) Caesar. CLARK Well, he`s not here. You see him, you tell him to get his ass back here. I`m heading up to 14. Clark hangs the two-way back on his belt. Above him. The hatch in the ceiling slips open. CUT TO: INT.ELEVATOR The elevator doors slide open and Riva steps out, checking up and down the corridor, slipping two guns into his belt. He picks a direction and heads that way. INT.EXECUTIVE LOUNGE A knock at the door and an armed man opens it. Another of Valdez` goons falls through the doorway unconscious, hitting the floor with a thud. A hooker screams. Guests and thugs stops talking, drinking etc. All eyes turn to the door. Riva steps into the room noting thugs, bosses and girls, but totally unconcerned about the dozen or so automatic weapons levelled at him. RIVA I`m only here for Valdez. The rest Of you can walk away. A hookers starts to leave, but a thug grabs her and pulls her back. Another of Valdez` shooters cocks his weapon. RIVA cont. It doesn`t have to be this way. The thug guarding the door blasts Riva back out the doorway. He steps into the doorway himself, aims into the corridor and fires again at Riva. THUG (to crowd) What the fuck was his problem? A couple of men laugh. Two bullets rip through the shooter`s chest and flops into the room. Even as the man is falling, Riva leaps into the room no sign of his own wounds gun in either hand, picking targets and blasting bad guys. One hood gets it in the shoulder, another in the face, another in the chest. The mini army opens fire on Riva as he moves through the room, hitting every target he aims for, but none of their bullets have any effect on him, only the furniture and walls around him. Some girls dive for cover, others are frozen to the spot. Riva`s bullets fly around them, hitting bad guys to their right and left, but never hitting the girls themselves. INT.BEDROOM Valdez, in bed with Jennifer, panics at the sound of gunfire from the next room. VALDEZ Jesus! He leaps out of bed and grabs his gun. INT.EXECUTIVE LOUNGE One of Mikael`s guns clicks empty. He blasts a shooter at point blank range with his remaining gun and grabs a replacement from the dying man as he falls. INT.LOBBY An alarm indicator flashes on the guard`s desk. FRONT DESK GUARD Oh shit. He grabs his two-way. FRONT DESK GUARD cont. (INTO TWO-WAY) Emergency, emergency, code green. 15th Floor, executive lounge. INT.EXECUTIVE LOUNGE A thug grabs a hooker and uses her as a shield. Riva rolls across the floor, grabbing up another 9mm as he does, and fires on the thug without a pause. A bullet takes off the man`s ear. He screams and lets the girl go. Two more shots hit him in the chest and he topples backwards over a sofa. Riva spins on the spot and blasts another of Valdez` men. The hood goes down, but his machine sprays the room as he falls. The line of fire rips across a wall, speeding towards a girl, frozen where she stands. Another shot from Riva and the man`s trigger finger is blown off, the gun falling harmlessly to the floor. Another shot hits Silva and two more take out Newman. Mikael Riva stops shooting. He looks around the gun smoke- filled room. Bodies lie across the floor, flopped over chairs and tables, slumped against the blood-splattered walls. Some dead, some dying, some just injured. Amidst the carnage, all the prostitutes remain unharmed, some still standing, terrified, some cowering behind chairs. Mikael spots the bedroom door and heads towards it. INT.BEDROOM The door is kicked open and Mikael strides in, two bullets hitting him instantly. Valdez`s eyes widen as the bullets have no effect. VALDEZ Oh my God. Valdez backs away from the closing assassin, firing at him as he retreats. VALDEZ cont. Please, whatever you want! Anything! Mikael drops one gun and shoots Valdez in the throat with the other. Valdez drops his own gun, clutching at the neck wound as Riva grabs him. RIVA Your blood. Riva pushes Valdez` hand away and his lips lock around the spurting wound. Valdez tries to screams, but all he can manage is a sickly gurgle. Riva finishes his drinking and drops the man, shooting him once more in the head. He wipes the dead man`s blood from his lips. Two shots slam into Mikael`s back and he spins on the spot, shooting back at his attacker. The smoke drifting before him from his gun clears and Mikael sees his latest victim. Jennifer lies flopped across the bed, two bullets in her chest. Horrified, in shock, Mikael slowly walks over to the girl. He looks into her eyes as they go vacant and empty. The sound of charging feet is heard from the executive lounge, but Riva`s watering eyes remain fixed on the girl. GUARD (off) Jesus Christ. Bullets hit Mikael. He turns and levels his gun at his attacker, his face a picture of fury. The guard fires again, but still no effect. Mikael`s gun stays aimed at the man`s face. Slowly, the guard lowers his weapon and raises his hand. GUARD cont. Please. Mikael turns his gun to the window. He blasts the glass and dives through, disappearing into the night. The guard is lowering his hands as another guard enters. GUARD 2 What happened? Where`d he go? The first guard does not answer. He just stares at the shattered window. CUT TO: INT.FISHER`S OFFICE NIGHT Childs enters the office, a report in his hand. CHILDS We`ve got first word from Dallas. Local boys have confirmed, we got Valdez. Childs hands the report to Fisher, seated at his desk. He reads while Childs continues. CHILDS cont. Valdez, Silva, Donner. Whatever Reservations I had about Dragon, I take Them back. FISHER I see it wasn`t quite the surgical strike I`d hoped for. CHILDS What? The girl? A 14 year old hooker. Unfortunate, but still what I would Refer to as an acceptable loss. Fisher closes the report. FISHER Yes, Mr Childs. I`m sure you would. CUT TO: EXT.CHURCH NIGHT A car stands parked outside the old church. A church window hangs open. INT.CHURCH Riva stands in the aisle of the church, several dozen lit candles flickering as a breeze blows from the open window. Shadows dance across the walls. Riva approaches the large stone cross at the front of the church. He reaches out and places his hands upon it. His eyes close. INT.CAR (PARKED) Riva gets in and slams the door closed behind him. He starts the engine and looks up at the mirror. Mikael has no reflection. Riva smashes the mirror. CUT TO: INT.CURTIS` OFFICE NIGHT An answering machine clicks on. CURTIS (on machine) You`re through to the office of Gary Curtis. I`m not at my desk right Now, but if you leave your name and number, I`ll get back to you. Bleep. RIVA (on machine) Gary, it`s Mikael. I`m sure you`ve Already heard. (pause) It`s over, Gary. You know the rules. I made myself a Promise. Don`t come after me. INT.RIVA`S CAR (DRIVING) Riva drives with one hand, holding his phone with the other. RIVA (into phone) Goodbye, Gary. Riva clicks off. He slides down his window and tosses his phone out. EXT.DESERT ROAD The phone bounces off the road and into a ditch, the car`s taillights speeding off into the night. CUT TO: INT.TESTAMENT BUILDING CORRIDOR DAY Curtis steps out of an elevator and starts up the corridor towards his office. CHILDS (off) Gary. Curtis stops and looks back at Childs, hurrying up the corridor towards him. CHILDS cont. Look, I`d like to apologize about Yesterday. They continue up the corridor together. CURTIS No need. CHILDS I disagree. After your guy`s Performance last night CURTIS He hasn`t called me. CHILDS We got confirmation from Dallas PD. One direct hit and a shitload of bonus Scores. You should bring him in. They reach Curtis` door. CURTIS He doesn`t come in. He doesn`t meet. Curtis unlocks his door. CHILDS I`d just like to shake his hand. CURTIS He doesn`t shake hands either. Curtis enters his office. INT.CURTIS` OFFICE Childs follows him in, smiling, trying to be polite. CHILDS It just seems to me we`re not Maximizing his potential Curtis puts his briefcase on a chair. CURTIS Our relationship with Mikael Riva Is a tightrope walk. We push him and We could lose him. CHILDS But this hit We haven`t got all the Details yet, but it`s extraordinary. I mean, pity about the girl, but Curtis stops, halfway through hanging up his coat. CURTIS What girl? Curtis looks to his answering machine. A light is flicking He`s got a message. CUT TO: INT.CONFERENCE ROOM DAY Childs and Curtis sit on one side of the table, Fisher on the other. RIVA (on speaker) You know the rules. I made myself A promise. Curtis clicks off the recording. CHILDS That`s it? Who does this guy think He is? CURTIS Mr Fisher, we did have an agreement with this man. We knew this day would come. CHILDS That`s your defence? And what`s with These rules? What promise? CURTIS Mikael Riva is an honorable man. He`s Served his country for over 50 years. I think that definitely makes him Eligible for retirement, don`t you, Tony? CHILDS Don`t give me that. We both know the Nature of this man. Normal rule don`t Apply. CURTIS No. They don`t. CHILDS So, what`s he talking about? CURTIS He killed an innocent person. Something You or any of your Dante Squad wouldn`t Think twice about. But it means Something to Mikael. To the best of my knowledge, in all the missions this man has carried out for us, he has never killed anyone he didn`t have to. And he promised himself he never would. CHILDS Well, what a fucking boy scout. Mr Fisher, I do not see how we can just let this man walk away. FISHER That was the contract me made with him. CHILDS Sir, Mikael Riva makes the threat of nuclear weapons, chemical weapons, vanish Into insignificance. He is the most lethal Weapon this planet has ever known. CURTIS You`re talking about a human being. CHILDS No. No, I`m not. FISHER Mr Curtis, is there any way you can still Contact Dragon? CURTIS There may be certain channels still Open. FISHER Please do so. I know our agreement, but I would like Mr Riva to reconsider. Let`s At least give him the option. CURTIS Very well, sir. Curtis gets up and leaves the table. Childs waits for Curtis to leave the room before speaking. CHILDS Sir, if Mikael Riva cannot be controlled By us, I don`t see how we can let him go. What if a foreign organization were to Learn of his existence? FISHER You think he might switch sides? (shakes Head) FISHER cont. Unlike most of our assets, Riva was not purchased. His loyalties have nothing to do with money. CHILDS How do we know his loyalties haven`t Changed? When he joined Testament, the World was at war. FISHER The world is always at war. Mr Curtis is Right. Dragon is a man of honor. We`ll Make contact, ask him to reconsider. CHILDS And if he won`t? FISHER (pause) I`ll make my decision at that time, Mr Childs. Thank you. INT.CORRIDOR Childs leaves the conference room, closing the door behind him. CHILDS Jesus. Childs heads for his office. INT.CURTIS` OFFICE Curtis is at his desk, working the keys of his keyboard. A map of Texas appears on his computer screen. It zooms in, focusing on Dallas and the surrounding area. Curtis hits RETURN and the screen clears. He types again. ON SCREEN: List all safehouses used 1942-1998 Agent codenames DRAGON, HAWK, KNIGHT Texas area. The computer responds. ON SCREEN: Access? Curtis smiles and types one word. ON SCREEN: F R I E N D The screen blanks for a few seconds then the list appears. Curtis scans down the list then hits PRINT. His printer starts spilling out the addresses Curtis blanks the screen and is about to leave when he stops himself. He looks at the screen. He types again. ON SCREEN: Erase all safehouse files agent Codenames DRAGON,HAWK, KNIGHT. The computer responds. ON SCREEN: E R A S E D Curtis types again. ON SCREEN: Access all known contacts for agent Codenames DRAGON, HAWK, KNIGHT domestic And foreign. CUT TO: INT.UNDERGROUND PARKING LOT DAY Curtis crosses the lot, unlocks his car and gets in. INT.CURTIS` CAR Curtis starts the engine, then checks the glovebox. He takes out a handgun and checks to see if it is loaded. It is. He slips it into his pocket. EXT.TESTAMENT BUILDING Curtis` car drives out of the parking lot and onto the street. INT.CHILDS` OFFICE Childs, phone in hand, watches Curtis drive away. CHILDS (into phone) Harris? Childs. Ready the squad. As he watches Curtis` car, a second car pulls out and follows. CHILDS cont. Briefing in two hours. CUT TO: INT.BEDROOM NIGHT A bare lightbulb hangs from the ceiling, lighting the room. Curtains are drawn across the window and a wardrobe pushed across it. A chair is jammed against the door. A watch alarm bleeps and Riva opens his eyes and sits up, instantly awake as if never really asleep. EXT.MOTEL Mikael walks out of the front office and heads for his car, an old man following him. OLD MAN It`s the strangest thing. I`da sworn You`d stopped here before but a real Long time ago. Just something familiar About ya. Riva smiles at the old man as he opens his car door. RIVA I have that kind of face. He gets in his car, starts the engine and drives away. CUT TO: EXT.INTERSTATE NIGHT Curtis` rental car mingles with the night time traffic, moving into an inside lane and accelerating. INT.CURTIS` CAR Curtis checks his mirror. He sees the sign ahead for an approaching exit. EXT.INTERSTATE Curtis` car moves slowly around the inside of a truck. The exit gets closer. INT.CURTIS` CAR Curtis checks his mirror once more, then floors it. EXT.INTERSTATE Curtis` car speeds around the truck and cuts across it. The Truck``s horn blasts as it brakes. Curtis` car narrowly misses the exit sign as it gets off the interstate and speeds away. INT.CURTIS` CAR Curtis checks his mirror again. CUT TO: INT.RIVA`S CAR (DRIVING) NIGHT Riva checks the empty road ahead before turning his attention to the spread-out map on the seat beside him. He fingers a town and draws a line along the road to it. Mikael checks his watch 11.35 He checks his speed 65mph. EXT.DESERT HIGHWAY Mikael`s car speeds along the empty road, his headlights flashing on an old roadsign. CUT TO: INT.COFFEE SHOP NIGHT The place is almost empty save for a few truckers and a young couple. Riva sits at a table by the window as the waitress comes over with a coffee pot. WAITRESS More coffee? RIVA Thank you. The waitress refills his cup and leaves. Riva sips at his coffee as he reads his map. He checks his watch again. A man sits down opposite him and he looks up. It`s Curtis. CURTIS Hello, Mikael RIVA I should have guessed. This town Wasn`t on the list. CURTIS That`s what made me think of it. I remember you mentioned the food Here. (looks around) Never thought You meant this place though. RIVA You should try the pepper steak. CURTIS This late? At my age? You, maybe, but Not me, pal. RIVA Why did you come? The waitress comes over. CURTIS (to waitress) Just coffee, please. She pours a cup and leaves. CURTIS cont. (to Riva) Fisher asked me to. He wanted you to reconsider. RIVA I don`t need to. CURTIS I know. RIVA How old was the girl? CURTIS Mikael, that`s RIVA How old? CURTIS Fourteen. RIVA (nodding) I figured 15, 16. CURTIS I`m sorry. RIVA Do you know how many people I`ve Killed for your company? CURTIS I never kept count. RIVA Three hundred and sixteen. And I can See every face. It`s strange, I thought Of it till now, but they all had a Similar look about them. Something in Their eyes, almost as if they accepted Their fate. All accept the girl. All I Could see in her eyes was terror. Confusion. I broke the first rule, Gary. I can`t kill for you people anymore. Curtis sips his coffee and puts the cup down. CURTIS Okay. CUT TO: EXT.COFFEE SHOP NIGHT Curtis and Riva step out of the coffee shop and head for Curtis` car. CURTIS You know, any time you`re in town, You can call me. RIVA I don`t think so. An old truck pulls into the lot. CURTIS What will you do? RIVA I really don`t know. They get to Curtis` car and stop. Curtis extends his hand. CURTIS Well,whatever,good luck, Mikael. Riva takes his friend`s hand. RIVA Goodbye, Gary. A man gets out of the truck, dressed in jeans, check shirt, jacket, cap pulled down just a little too far, shielding his eyes. His left hand is visible, his right is behind his back. Curtis glances over Riva`s shoulder at the man from the truck. As the man crosses the lot, his hand appears, a gun held in it. CURTIS Goddammit. Curtis pulls his own gun from his coat. Riva turns on the shooter. The shooter raises his weapon and fires. The bullet hits Riva in the shoulder as he turns, blood bursting from the impact, knocking him back against the car. Curtis returns fire, opening his car door and shoving Riva inside. The shooter dives for cover. Two more cars speed into the lot. Two shots ring out and hit Curtis, one in the side, one in the stomach, and he falls back into the car, pulling the door closed behind him. The two cars skid to a halt and armed men get out. INT.CURTIS` CAR Curtis is in the driver`s seat, Riva beside him. Curtis starts the engine as his window shatters. EXT.COFFEE SHOP The shooters advance on Curtis` car as wheelspins and speeds away, banging another car out of the way. Harris and Childs appear from the trees by the coffee shop, a sniper rifle in Harris` hands. INT.CURTIS` CAR Curtis checks out his mirror. He sees Childs. CURTIS Childs, you bastard. Curtis grimaces in pain, holding his stomach with one hand, steering with the other. He looks over at his friend, his hand clamped to his own bloody wound. CURTIS cont. How the hell did that happen? EXT.COFFEE SHOP Harris ejects a bullet from the rifle and catches it. The silver slug glints in the light from the coffee shop. CHILDS Well, that seems to work. (into two-way) All units, target heading north on 70. Make this work, gentlemen. The two cars speed out of the lot as a chopper appears over the trees and lands. Childs and Harris head for it. EXT.HIGHWAY Curtis` car tears away from the pursuers. The company cars close the gap. The chopper zooms in above, it`s spotlight targeting Curtis` car. INT.CURTIS` CAR Curtis looks back at their pursuers, then at his friend. CURTIS You gonna be okay? RIVA (checking wound) It should heal. I don`t know, this is New to me. How about you? Curtis grins, but he starts to cough blood. CURTIS I don`t think so. Curtis rolls down his window and fires at the chopper. INT.CHOPPER A bullets sparks off the window by Childs` head. CHILDS Take him out. Harris leans out of the chopper and lets rip with a volley of automatic fire. EXT.HIGHWAY Bullets tear up the road as Curtis` car skids off the highway and onto a dirt road. The pursuit cars follow. INT.CURTIS` CAR Curtis hands his gun to Riva, coughing more blood. CURTIS Spare ammo`s in the glovebox. Riva grabs two more clips from the glovebox and reloads. RIVA Any more weapons? CURTIS Yeah, in the trunk. RIVA Perfect. Riva winds down his window, takes aim at the lead pursuit car and opens fire. EXT.DIRT ROAD The lead pursuit car`s hood flies up as Riva`s bullets tear into it. The front tires burst and the car skids sideways. INT.PURSUIT CAR 1 Another shot from Riva hits the driver in the side of the head and he slumps forward. EXT.DIRT ROAD The lead pursuit car flips over and the second swings wide to avoid it. INT.CURTIS` CAR Riva targets the chopper and opens fire. EXT.CHOPPER Bullets spark off the fuselage around Harris, one bullet hitting his arm and he falls back inside. EXT.DIRT ROAD Hanging out the car window, Riva fires again at the chopper. The chopper`s searchlight bursts in a shower of sparks. Curtis` car bounces off the dirt road and back onto a proper road. INT.CHOPPER HARRIS Where`s this asshole going? Childs views the road ahead through a nightscope. CHILDS Just where I want him. THRU SCOPE: The green lit image shows a river ahead and a bridge across it. EXT.BRIDGE A half dozen cars pull up on the far side of the bridge, blocking the way. Armed agents get out. INT.CURTIS` CAR Curtis sees the roadblock ahead. CURTIS Dead end. More gunfire hits Curtis. EXT.BRIDGE Curtis` car skids to a halt on this side of the bridge. The 2nd pursuit car pulls up a hundred yards behind it. The armed men on the far side take aim. The chopper hovers over the scene. INT.CHOPPER Childs watches the scene below, lit by the various car headlights. CHILDS That`s right. Nowhere to run to. INT.CURTIS` CAR Curtis slumps back in his seat, bullet-riddled and bloody, his eyes on the roadblock ahead. CURTIS I`ve got a plan. Riva looks at the line of cars, the bridge, the water below. RIVA Don`t do this. CURTIS I owe you. Curtis flips the car into gear and stamps his foot down. EXT.BRIDGE Curtis` car speeds towards the line of cars ahead. The agents open fire, blasting the car to pieces, Curtis` car swings left and smashes through the bridge`s barrier. INT.CHOPPER Childs sees the crash. CHILDS No! EXT.BRIDGE Curtis` car flies off the side of the bridge, spinning wheels screaming in mid-air, and plunges into the river below. Agents run to the side of the bridge, looking over the edge, runs still ready. The taillights of Curtis` car glow beneath the surface of the bubbling water and the car is gone. AGENT Get me some lights! A dozen flashlight beams hit the water and the agents open fire again. INT.CURTIS` CAR - UNDERWATER The car fills with water, pouring in through shattered windows and bulletholes. Riva watches the bobbing form of his dead friend, oblivious to his own wounds, his leaking blood clouding the water around him. Riva cracks open the door and swims out. EXT.UNDERWATER Riva watches the distorted image of the men above, bullets fizzing around him. EXT.BRIDGE Childs and Harris join the other agents on the bridge as they stop firing. CHILDS Christ. Where`s the nearest station? AGENT Amarillo, sir. CHILDS We`re going to need more men. Boats, Choppers and a team of divers. I want This river dredged. Now! AGENT Sir, they`re either shot dead or drowned. HARRIS Carry out your orders, Gregson. Gregson nods and leaves, Harris and Childs still watching the water. HARRIS cont. (quietly) You really think he`s alive? CHILDS Until I know otherwise. CHILDS cont. (to Gregson) And I want men along the riverbank! Both sides! A half mile, east and west! EXT.UNDERWATER Riva unlocks the trunk and opens it. His hand searches the inside wall until he finds a hidden button. A panel slides open to reveal more weapons. Riva grabs a handgun and a submachine gun and ammo, and loads them into an old bag. He swims around to the front of the car and pauses by his old friend, still in the driver`s seat. Riva checks the surface above, then reaches into the car. He pulls Curtis out, then with the bag over his shoulder and dragging his friend, he swims away. CUT TO: EXT.RIVERBANK NIGHT An agent walks along the edge of the river, gun in one hand, flashlight in the other. The beam searches up and down the river. On the opposite riverbank, a second searchlight beams scan the water. The agent holsters his sidearm and grabs his two-way. AGENT (into two-way) Angel 6, Angel 9, anything? ANGEL 6 (on two-way) Negative, nine. You believe this shit? A chopper swings into view from above, it`s new searchlight scanning the water, Harris sitting in the open side door. HARRIS (on two-way) Six and Nine, unless you have anything Constructive to add to the search, I Don`t give a fuck what you believe. Harris leans out of the chopper and drops something into the water. The chopper lifts further into the air. The dull thump of an underwater explosion is heard, then the water erupts. EXT.UNDERWATER Riva recoils at the blast ahead of him. EXT.RIVER The chopper swoops in low and Harris drops another charge. EXT.BRIDGE Childs stands on the floodlit bridge with Gregson, the sound of the blast in the distance. CHILDS How long? GREGSON Extra choppers are on the way, sir. Divers in 20 30 minutes. Childs shakes his head. An old tow truck is backed up to the river edge by the bridge, it`s cables running into the water. A battered old boat chugs over the crash site, two agents in the rear, their weapons trained on the surface. An old man stands by his truck, an agent with him, operating the winch in the back of the truck, winding up the cables. OLD MAN What are you boys up to here? AGENT Sorry, sir, that`s classified. OLD MAN Ain`t it always. The water is disturbed. Something`s coming up. On the boat, the agents have seen it. BOAT AGENT We`ve got something. Curtis` car slowly surfaces. AGENT (to old man) Sir, would you come with me? He starts leading the old man away. The agents are all ready as the car surfaces and is dragged up onto the riverbank, water spilling out of it. The car comes to a halt and an agent moves in, gun aimed at the vehicle. The driver`s side door swings open and flashligh beams fill the car empty. AGENT 2 Clear! Agent checks the rear of the car and flips open the trunk. AGENT 3 And he`s tooled up. Childs watches from the bridge. CHILDS We`ve lost him. GREGSON Sir, when we get more boats CHILDS Drag the bottom. Tell me when you find Curtis. Childs walks away. CUT TO: EXT.RIVERSIDE/WOODS NIGHT Riva`s head surfaces from the water and scans his surroundings. Riva climbs out of the river, dragging Curtis` body. He lays him down in the mud and sits beside him. He checks his injuries which have stopped bleeding. He looks down at the corpse. RIVA Sorry about this, Gary. Riva pulls open Curtis` shirt and finds a gaping wound. He checks his surroundings one more time, then places his lips to the wound, drinking deeply. His thirst quenched, Riva pulls himself away from the wound, flopping back in the mud, gasping for breath. He re-checks his wounds and already they seem to be healing. Riva gets up and drags Curtis back into the river, slipping under the water without having to take a breath. EXT.UNDERWATER Riva carries the corpse down the riverbed, it`s arms flailing in the current. Mikael takes rocks from the river bottom and fills the dead man`s coat, laying larger stones on his chest to weigh him down. Mikael takes one last look at his friend, placing his hand on his face, then swims back to the surface. EXT.RIVERSIDE/WOODS Riva squats at the edge of the trees and checks the contents of his bag. The handgun is okay, but the submachine gun is buckled by gunfire hits. Mikael slips the handgun into his belt with the other gun, zips up the bag and throws it into the river. He watches the bag sink, then disappears into the woods. CUT TO: INT.FISHER`S OFFICE NIGHT Fisher sits at his desk. FISHER What happened, Mr Childs? Childs face is on a video screen. CHILDS (on screen) As I suspected, sir, it was a double Cross. INT.CHILDS` CAR (DRIVING) Childs sits in the back of the car, Fisher`s face on a monitor screen. CHILDS It would appear DRAGON only agreed To meet with Curtis to remove this Final link with Testament. FISHER (on screen) Curtis is dead? CHILDS We haven`t recovered the body yet, but Members of my surveillance team confirm They saw Riva open fire on him. FISHER What do you suggest? INT.FISHER`S OFFICE CHILDS (on screen) Sir, this is our worst fear realized. Riva must be hunted down and destroyed. INT.CHILDS` CAR CHILDS I`d like to request you arrange a Meeting with all agency heads as soon as possible. FISHER (on screen) That`s a rather unusual request. CHILDS These are unusual circumstances, sir. Testament has never had a target like This, no agency has. A joint effort may Be the only solution. INT.FISHER`S OFFICE Fisher nods. FISHER Very well, Mr Childs. 9.00 AM tomorrow Morning. Fisher flicks off the screen with a remote. INT.CHILDS` CAR Harris sits opposite Childs and flicks off the screen. HARRIS If the old man finds out the truth CHILDS I did what was necessary. I carried Out orders that moron would have given If he had half a mind. HARRIS An all agencies alert? Isn`t that overkill? CHILDS Make no mistake, Harris. EXT.DIRT ROAD Riva runs along the side of the road. CHILDS (off) Mikael Riva is the most dangerous Mark you`ve ever been given. EXT.FIELD Riva leaps over a fence and charges through the ploughed field. CHILDS (off) He`s taken out every target assigned Him. There`s no one he cannot kill. EXT.RIVER Riva`s feet splash through the shallow river. CHILDS (off) Now our greatest predator has become Our deadliest prey. INT.CHILDS` CAR Childs slips a whiskey flask from inside his coat. CHILDS You`re on the hunt of your life, Harris. Good luck. He takes a jolt from the flask. CUT TO: EXT.ROADHOUSE NIGHT C&W can be heard on the jukebox inside the rundown old roadhouse. Three old trucks are parked outside. A man staggers out, letting the doors bang behind him. WOMAN (inside) G`night, Frank. Frank half waves back at the doors, drunkenly zig-zagging towards his truck. He gets in, fumbles with the ignition and starts off. As the truck hits the road, Riva appears out of the dark, sprinting after the truck and diving into the back. INT.TRUCK Frank looks back over his shoulder at the sound of the thump. He sees nothing and turns his eyes to the road ahead. EXT.BACK OF TRUCK Riva pulls the slide on his 9mm and slips into inside his jacket. He pulls an old sheet over himself. CUT TO: INT.CHOPPER (IN FLIGHT) NIGHT The pilot looks down at an old barn, swinging the chopper in low,the searchlight swooping across the building. EXT.BARN The searchlight beam cuts through the various holes in the walls, the missing doors and windows. INT.CHOPPER Next to the pilot, his spotter checks the barn with a nightscope. PILOT Anything? SPOTTER Can`t tell. We`ll need a ground unit. PILOT Mark it and call it in. EXT.BARN/CHOPPER The chopper pulls up and away. CUT TO: EXT.RIVER NIGHT A patrol cruises down the river, searchlights cutting back and forth across the water and the banks on either side. CUT TO: EXT.AIRFIELD NIGHT Childs stands with Harris and Gregson, their hair whipped by the blast from a waiting chopper`s blades. CHILDS Keep me informed of any and all Developments. Childs runs to the chopper, ducking under the baldes and getting in. The two agents watch the chopper take off before heading for their car. GREGSON You`re one of Childs` regulars. What do you make of this? HARRIS I don`t, I just follow orders. They get in the back of the car and it drives off. INT.CAR (DRIVING) Harris flicks on a light and checks a map. HARRIS Average foot speed 4mph, 4 hours, Gives us a max radius of 16 miles to Cover. GREGSON Four hours? HARRIS Till sunrise. Then we`ve got his ass. CUT TO: EXT.ROAD NIGHT Frank`s truck rumbles along the road, the dark sky just starting to lighten. INT.TRUCK Frank sings along to a country and western song crackling on the radio. EXT.BACK OF TRUCK An alarm bleeps on Riva`s watch. He checks the time. He throws back the sheet and looks at the sky. RIVA Dammit. Riva throws the sheet off completely and rolls out of the truck. INT.TRUCK Frank catches a glimpse of something in the mirror. FRANK What the hell? EXT.ROAD The truck pulls up and Frank gets out. Riva rolls across the road and vanishes. Frank looks around, gun in one hand, beer in the other, but sees nothing. He gets back in his truck. CUT TO: EXT.DESERT VALLEY NIGHT/MORNING Mikael charges through the brush, glancing up at the black- turning-grey sky. He stops and looks around at the desolate surroundings. No buildings as far as the eye can see, only rocky hills and cliffs. RIVA Shit. Riva sees something in a rockface. He changes direction and runs towards the cliff. The grey sky gets lighter. Riva reaches the rockface and starts up it, fumbling as a rock gives way in his hand, but still scrambling up the cliff as fast as he can. INT.CAVE Riva`s hands claw over the edge of the cave mouth and pull him in. Riva drags himself up and backs into the cave, looking out at the lightening exterior. EXT.DESERT VALLEY The sun starts to rise over a cliff wall across the valley from the cave entrance. INT.CAVE Riva backs up against a rock wall, watching the desert outside the cave light up and turn orange. He shields his eyes. The first rays of sunlight hit the cave and creep in. Backs along the wall, edging away from the approaching sunlight. He takes cover behind a rock as sunlight spills in, flooding the cave. EXT.DESERT VALLEY The sun climbs higher over the valley. INT.CAVE The long shadow cast by the rock, providing Mikael with his shelter, slowly shrinks around him. It crawls past his foot and, for a second, Mikael`s shoe is caught in the light, bursting into flame. Mikael reacts, pulling his foot in tighter, but his elbow gets caught and, again, starts to burn. Mikael pats out the flames on his jacket, stamping out the fire on his shoe, pulling himself ever tighter into a ball, trying desperately to keep in the shadow. EXT.DESERT VALLEY The sun climbs higher still. INT.CAVE The sun is now only half visible in the mouth of the cave, climbing higher, slowly disappearing. Mikael hugs himself tighter, shaking with fear and pain. The sun vanishes from the mouth of the cave. The cave is back in the shade. Mikael reacts instantly, relaxing, gasping, unfolding. He lies down, spread out on the cold rock floor. He checks his foot, slipping off the shoe to reveal to burned toes. He removes his jacket to find another terrible burn, the skin still popping and sizzling. Mikael limps to the mouth of the cave and, steadying himself against the wall, looks out. EXT.DESERT VALLEY/CLIFF Mikael stands in the shade, framed by the cave entrance, looking out across the bright barren landscape, his face a mix of fear and fascination. CUT TO: INT.CURTIS` OFFICE - DAY Harris` face is on a video screen. HARRIS (on screen) We`ve found Curtis. No sign of Riva. Childs is at Curtis` desk, working his computer keyboard. HARRIS cont. Car rentals hasn`t thrown up anything, No stolen vehicles, but I`m guessing He grabbed a ride. CHILDS Extend the search zone. Childs flicks off the screen without even looking and continues his work. He types a command - ON SCREEN: Request access Safehouse File agent Dragon. The computer replies - ON SCREEN: File deleted. Childs types another request - ON SCREEN: Request access Contacts File agent Dragon. The computer replies - ON SCREEN: File Deleted. CHILDS Son of a bitch. CUT TO: INT.CONFERENCE ROOM - DAY A dozen men and women sit around the table, some in uniform, some in expensive suits. Fisher sits at the head of the table. GENERAL What`s this about, Cameron? Childs enters the room. FISHER I`ll allow Mr Childs to answer that Question. CHILDS I apologize for my late arrival. (to Fisher) Erased. Every personal file - gone. All we have left is mission histories. FISHER Continue. Childs doesn`t sit, standing at the far end of the table, the large video screen behind him. CHILDS I`d like to thank you all for coming At such short notice. WOMAN You`re welcome, Mr Childs. No what Trouble have you Testament boys gotten Yourselves into? CHILDS I assure you, director, this problem Effects us all. All of you are Familiar with the work we do. We have, At one time or another, provided Services for all of your agencies and Organizaions, be it intelligence Gathering, rescue and retrieval - or Removals. MAN/LEWIS We`re all big boys and girls, Tony. You Can say killings. A few smiles and the odd laugh. CHILDS Thank you, Mr Lewis. Since the Second World War, Testament has acquired a Reputation in our community. If ever a Target seemed untouchable, we had an Operative who could carry out the job. Whoever they may be, we had a man who Could get to them. From `42 to`60 we Had an assassin codename KNIGHT. An older man, Abbott, nods with recognition of the name. ABBOTT I remember KNIGHT. He was a damn legend. CHILDS `60 TO `77, there was HAWK. A few more nods. CHILDS cont. Most recently, we had agent DRAGON. GENERAl Where is this going, Mr Childs? CHILDS KNIGHT, HAWK, DRAGON (pause) They`re All the same man. Glances are exchanged across the table, some confused, a few smiles. GENERAL The same man. Well, next time you issue Him a weapon, make sure you service his Wheelchair. A few laughs. WOMAN How the hell can that be? CHILDS He`s a vampire. What laughter there was, dies. LEWIS Mr Fisher, if this is some kind of a Joke - FISHER Allow Mr Childs to finish, please. CHILDS It`s no joke, sir. No details were Ever given on any of his missions for The simple reason you wouldn`t believe Them. These targets were untouchable. These assignments were impossible. No Regular operative could get to these Marks, let alone kill them and walk away. WOMAN A fascinating story, and I`m not saying I believe a word of it, but I`m curious As to why you would make such an outlandish Confession after all these years. CHILDS We`ve lost control of hi. We believe DRAGON Has been turned. GENERAL (smiling, shaking head) We`ll, that`s two for the price of one. CHILDS I appreciate how unusual this may sound, But I assure you, it`s true. HAWK, KNIGHT, DRAGON - The three deadliest assassins in Our history, all the same man. Grasp that If you can and you will still be nowhere Near comprehending how lethal this person Is. WOMAN And you want our help to catch him. CHILDS We want your help to kill him. LEWIS But if he really is a GENERAL (laughing) Go on, Charlie, spit it out, boy. LEWIS How do we kill someone like this? GENERAL Hell, he`s gotta be in his 70s.Sneak Up behind him and yell BOO! That oughta Do it. A few more smiles. CHILDS With all due respect, General, unless You have anything intelligent to say, Kindly shut the fuck up. The General`s smile fades, his face reddens. CHILDS cont. This man can kill anyone. You, me, the President. Anyone, anywhere. He can Breach any security and tear your Fucking throat out. Years mean nothing To this man. Bullets can`t stop him. Only one thing can kill Mikael Riva Direct sunlight. CUT TO: EXT.DESERT VALLEY DAY The sun boils high in the sky over the barren landscape. INT.CAVE Mikael sits at the rear of the cave, a crack in the wall, darkness beyond. Riva puts his eye to the crack. INT.CAVERN Mikael`s eye is visible through the crack, looking left and right. Water drips down the cave wall around the crack. INT.CAVE Mikael grabs a rock and starts banging against the crack, chipping away at the rock, widening the gap. CUT TO: EXT.DESERT VALLEY ROAD DAY A sheriff`s car cruises along the straight road. INT.SHERIFF`S CAR (DRIVING) The sheriff drives, Frank next to him. SHERIFF How`s this look, Frank? Frank looks out at the desert around them. FRANK Looks about right. I mean, I thought It was just some hobo, but when I found The bullet The sheriff slows down. SHERIFF You did the right thing. EXT.DESERT VALLEY ROAD Frank and the sheriff get out of the car. SHERIFF Federal boys had some kinda search goin` On last night. Don`t know what they Were lookin` for, but it`s worth Checking out. (sees approaching car) Frank, you didn`t call anybody else, did Ya? FRANK No, sir. The new car pulls up across the sheriff`s and three suited men get out, one of them, Villiers. VILLIERS Sheriff Bates? (flips open badge) Federal Agents. I`d like to see the shell. SHERIFF How the hell do you know about that? Who`re you guys lookin` for? VILLIERS The bullet, sir? SHERIFF It`s at my office. VILLIERS (to agent) Escort these gentlemen back to the Sheriff`s office. SHERIFF Whoa, back up, son. I`m not bein` Sent home like some kid that`s Misbehaved. I wanna know what`s goin` On? VILLIERS I`m sorry, sir, but it`s a national Security matter. Local law enforcement Will be fully briefed at the earliest Opportunity. SHERIFF Horseshit. The sheriff heads to his car, agent in tow. VILLIERS (to Frank) You`re the one who found the bullet? FRANK Yes, sir. Back of my truck. Knew it Wasn`t one of mine. VILLIERS The man bailed out here? FRANK That`s right. VILLIERS What time? FRANK Dunno. Just before sun-up. Frank gets in the sheriff`s car. VILLIERS Perfect. CUT TO: INT.CAVE DAY Riva is still banging at the crack now wider in the rock wall. A distant rumbling, juddering sound slowly grows louder. Mikael stops his work and turns to the cave entrance. EXT.DESERT VALLEY An Apache attack chopper roars around a cliff wall and into the valley. A humvee bounces across the desert floor. CUT TO: EXT.SHERIFF`S OFFICE DAY The agent exits the office, taking out a phone and dialling. AGENT (into phone) The shell checks out. It`s one of ours. EXT.DESERT VALLEY ROAD Villiers pockets his phone as another agent hands him a two- way. VILLIERS (into two-way) We have confirmation on the shell. I Want every inch of this valley searched. INT.APACHE PILOT (into two-way) Roger that. Starting on west cliff face. EXT.DESERT VALLEY The Apache turns to the cliff wall and begins a slow search across it`s face. INT.CAVE Riva sees the shadow of the helicopter and takes cover behind a rock. INT.APACHE CO-PILOT Hey, what`s that? He`s seen the cave. EXT.DESERT VALLEY/CLIFF The chopper hovers in closer to the cave. PILOT (on two-way) Ground 2, we have a cave. Please Investigate. On the ground, the humvee pulls up at the foot of the cliff. INT.APACHE The pilot looks into the cave he`s seen something. PILOT Wait We`ve got something INT.CAVE Mikael looks across the cave floor from behind his rock. One of his guns is out in the open. EXT.DESERT VALLEY/CLIFF Four men, all armed, get out of the humvee, the sand around them whipped up by the chopper above. PILOT (on two-way) Visual confirmation, Ground 2. Proceed With extreme caution. The agents all ready their weapons. AGENT No shit. Two agents fire grappling hooks trailing ropes. The hooks fly straight up over the top of the cliff and land in a rocky outcrop. The agents pull on the ropes and the hooks take hold. INT.APACHE The pilot watches the cave entrance and the two agents starting up their ropes, weapons slung over shoulders. EXT.DESERT VALLEY ROAD Villiers watches the operation through binoculars. INT.CAVE Mikael lies on his back behind the rock, his second 9mm held across his chest. INT.APACHE The pilot watches the two agents hanging either side of the cave entrance, slipping their weapons off their shoulders. INT.CAVE The two agents swing into the cave as one, weapons raised. Mikael rolls out from behind the rock and opens fire. Both agents squeeze off a round as Riva`s bullets wing them. EXT.DESERT VALLEY/CLIFF The two agents fall 15 feet before jerking to a halt. The Apache`s guns roar. INT.CAVE Mikael rolls back behind the rock ad the chopper`s heavy ordnance blasts chunks of rock out of the walls, the floor, the ceiling. EXT.DESERT VALLEY/CLIFF The chopper`s guns blaze into the cave. VILLIERS (on two-way) Cease fire. Repeat Villiers` car races towards the cliff, bouncing across the rough terrain. VILLIERS cont. - cease fire. INT.VILLIERS` CAR (DRIVING) Villiers bounces around in his seat. VILLIERS (into two-way) If he`s in the cave, we`ve got him. He`s Going nowhere. EXT.DESERT VALLEY/CLIFF The Apache hovers facing the cave entrance. The two injured men are helped to the ground by the rest of their team. INT.APACHE The pilot`s eyes stay focused on the cave, his finger never straying from the FIRE button. INT.CAVE Mikael lies on his back, still behind the rock, rubble all over and around him. The crack at the rear of the cave is now wider, a good six inches. Mikael gets up and fires at the chopper. INT.APACHE Bullets spark off the canopy. CO-PILOT This guy`s crazy! PILOT Was crazy. Past tense. EXT.DESERT VALLEY/CLIFF The Apache fires two missiles into the cave, the cave exploding in a burst of flames and flying debris. The chopper pulls back and fires two more, the cave exploding and collapsing. The ground team move back to avoid the landslide of rubble. The dust clears to reveal the collapsed cave entrance. Villiers` car arrives and he gets out, looking up at the sealed entrance. VILLIERS Christ. CUT TO: INT.CONFERENCE ROOM DAY The various directors, section chiefs and military are leaving the table, Fisher remaining seated. The general stands with Childs, Childs gathering up his papers and slipping them back into their file. GENERAL So who came up with the bright idea of Silver bullets? CHILDS I found a note in one of his mission Histories that seems to have been ignored. In 1959, while carrying out the assassination Of an ex-Nazi colonel, Riva was stabbed With a silver blade. It seems silver is the Only thing that can pierce his skin. GENERAL But it won`t kill him? CHILDS No, but it will incapacitate him. GENERAL (shaking head) Well, I`ve heard everything now. I don`t Know whether to laugh or cry. Childs finishes collecting his papers and closes the file. CHILDS Cry. The general leaves. Childs is about to follow, but stops at the sight of his chief, still seated at the end of the table. CHILDS cont. Is there anything wrong, sir? FISHER Not wrong, just curious. Riva and Curtis Worked together for 30 years. If such a Thing is possible, I`d say they were friends. (he stands) And yet Riva kills him without a second thought? CHILDS That`s the kind of man we`re dealing with, sir. Cold, ruthless, the perfect assassin. If you`ll excuse me? Child slips his file under his arm and leaves. Fisher just watches him. CUT TO: EXT.DESERT VALLEY / CLIFF DAY More vehicles have gathered around the base of the cliff, the Apache now grounded. Harris and Villiers stand with the pilot and co-pilot. HARRIS Were the orders now clear enough, Major? PILOT We were fired upon. I returned fire. HARRIS That`s it. That`s your excuse. (to Villiers) How long to sunset? VILLIERS About 5 hours. HARRIS (to pilot) You`d better pray he`s under there. Harris starts walking away. PILOT So what do I do? HARRIS Get a shovel. Start digging. FADE TO: INT.CAVE - DAY A team of diggers work through the cave-in, loaded rocks into containers to be lifted away. A second team, armed and ready, stand to one side. EXT.DESERT VALLEY/CLIFF Harris watches the excavation, finishing one cigarette and starting another. HARRIS (into two-way) Anything? A man appears above in the cave mouth. AGENT (on two-way) Nothing yet. Harris checks his watch and looks up at the sky. INT.CAVE Two diggers pull rocks away from the far wall to reveal a gaping hole and a cavern beyond. DIGGER Oh shit. Harris ain`t gonna like This. CUT TO: INT.CAVERN DAY Mikael Riva, still limping, splashes through the pooled water in the cavern tunnel, his lighter lighting the way ahead. CUT TO: INT.CAVE DAY Harris squats by the hole in the rear wall, looking through and smiling. HARRIS How many fucking lives does this guy Have? Harris stands and turns to the men in the cave. HARRIS cont. Okay, four teams, fully armed. And make It fast, gentlemen, the clock is ticking. CUT TO: INT.CAVERN TUNNEL 1 Team 1, 4 men, make their way cautiously through the tunnel, almost doubled over due to the low ceiling, all wearing mic & ear piece two-ways. Guns raised, flashlight beams scan the tunnel ahead. INT.TUNNEL 2 Team 2 make their way down a sharp rocky decline. Rubble falls to one side and all weapons turn that way. A rat scurries away. INT.TUNNEL 3 Team 3 move through a pool of gathered water, chest deep, weapons and lights held above the water. AGENT 1 I thought this was Texas, man? Where`d all This fuckin` water come from? AGENT 2 Shut up and (pause) Anybody hear anything? The other team members scan the tunnel. AGENT 1 Like what? AGENT 2 Like something under the water. The team swing their flashlights across the surface of cold, murky water. INT.UNDERWATER Riva hugs the bottom of the pool, watching the four sets of legs close by, beams flicking across the surface. INT.TUNNEL 3 Agent 3 slowly moves towards one side of the tunnel. INT.UNDERWATER Riva backs up against the wall as the legs move towards him. INT.TUNNEL 3 Agent 1 stops and scans the surface with his flashlight beam. AGENT 1 Fingers in ears, ladies. He lets rip with a burst of deafening automatic fire. INT.UNDERWATER Riva grimaces, but cannot scream as a bullet rips through him. He clamps his hand over the entry wound. INT.TUNNEL 3 AGENT 2 Anything? Agent 1 watches the murky surface for a moment, then moves on. AGENT 1 Nah, nothin`. The team follow their leader. INT.UNDERWATER Mikael, holding his wound, crawls along the bottom of the pool until he reaches a gap in the far wall. With his free hand he grabs it and pulls himself through. INT.CAVERN MOUTH/POOL Mikael surfaces in a sizeable pool of water. He looks around, but the cavern is empty. Daylight is visible around the corner of the cavern mouth an exit. Mikael drags himself out of the water and onto the rocks. VOICE 1 (off) You want us to check up there? Mikael reacts to the voices so close, echoing from deeper inside the cavern. He checks his watch. VOICE 2 (off) No. Looks light up there. Mikael looks towards the voices, then towards the daylight around the corner, then back towards the voices. He gets up and edges away from the voices, towards the light. EXT.DESERT The starts to sink over the hills. INT.CAVERN VOICE 1 (off) Hey, I don`t want Harris up my ass. The sound of approaching boots. Mikael edges nearer to the daylight, edging forward the more it creeps back. EXT.DESERT The sun sinks lower, almost gone, a sound in the distance, a metallic rumbling. INT.CAVERN The footsteps are louder as Mikael forces himself around the corner and nearer the dying daylight, almost gone, but still he grits his teeth in pain. An agent enters the cavern and looks around. He sees the large expanse of water blocking his way. AGENT 3 Fuck that, I ain`t getting wet. He turns to leave. Mikael`s foot slips on some rocks. The agent stops. He`s heard. He looks back. Slowly, he moves forward, entering the water, weapon raised. Mikael tries to chamber a round on his last gun, but it`s jammed. The agent crosses the water, the distant rumbling getting louder. Mikael watches the sunlight darken and die, a train horn blasting outside. The agent starts out of the pool on Mikael`s side. Mikael runs for the entrance. EXT.CLIFFTOP Mikael runs from the cave mouth and charges across the clifftop towards the edge, the rumbling louder than ever, another blast on the horn. He throw himself off the edge. The agent runs out of the cave entrance and looks around, but there is no sign of Mikael. He runs to the edge of the cliff and looks down. On the desert floor below him, a train hauling cattle cars rumbles past. AGENT 3 (into two-way) Leader, this is 3. CUT TO: INT.CATTLE CAR NIGHT Riva swings himself into the car through the open door. He lands with a painful thud. He closes the door and slumps against the wall of the car. He examines his wounds which have stopped bleeding, but aren`t yet healing. Mikael lies down in the old straw and closes his eyes. CUT TO: INT.RESEARCH OFFICE NIGHT Childs sits at a computer screen. He types a request ON SCREEN: Request access mission histories Agent codenames KNIGHT, HAWK, DRAGON. The computer replies ON SCREEN: Options:- INFORMATION GATHERING RESCUE & RETRIEVAL ON SCREEN: cont. REMOVALS (CLASSIFIED) Childs types ON SCREEN: Rescue & Retrieval. The computer responds with three lists of mission histories, one for each agent codename. Childs scans the three long lists. CHILDS Shit. He pauses then types ON SCREEN: List all missions where mission Objective is still living. The computer lists the missions. It is still a long list. Childs loosens his tie and continues typing. FADE TO: EXT.JUNGLE CLEARING - NIGHT Two American soldiers and a Vietnamese girl appear on the edge of the jungle and check their surroundings. One of the soldiers checks his watch in the moonlight. SOLDIER 1 They`re late. SOLDIER 2 They`ll be here. (to girl) You okay? The girl smiles and nods. A sound of movement is heard from the jungle behind them. All three turn and look back into the darkness. Two dark figures move slowly between the trees. Soldier 2 sees them. He taps Soldier 1 on the shoulder and points. The thudding of an approaching chopper can be heard. More dark figures appear. The three squat and wait on the edge of the clearing. The chopper roars over the treetops and into the clearing, gunfire erupting from the jungle. The two soldiers open fire on the VC. SOLDIER 1 Let`s go! All three run for the helicopter gunship as it sets down, it`s gunner blasting into the bush. A VC soldier appears from the jungle and fires at the fleeing soldiers. Soldier 2 and the young girl get hit and fall. Soldier 1 lets loose a volley of fire, cutting down the VC who fired at them. He drops his gun and grabs his fallen comrade, picking him up and throwing him over his shoulder. SOLDIER 2 Don`t leave her. The injured girl looks up at Soldier 1, their eyes meeting. SOLDIER 1 I`m sorry. Soldier 1 heads for the chopper, the gunner covering them, ripping up the jungle. Soldier 1 gets to the chopper and heaves his friend inside. SOLDIER 2 I`m not going without her! GUNNER We ain`t got time! A figure inside the chopper leans forward out of the darkness- it`s Mikael. He jumps down out of the chopper. RIVA Give me 30 seconds. He grabs a gun and runs for the girl. The two US soldiers and the gunner watch Riva as runs across the clearing, blasting at the enemy, ignoring hit after hit as bullets thud into him. SOLDIER 1 What is this shit? Riva reaches the girl, picks her up and turns back to the gunship, bullets slamming into his back as he runs. The gunner covers them as they get back to the chopper, Mikael lifting the girl in. GUNNER Go! The chopper takes off even as Mikael is climbing in. The VC burst from the jungle and continue to blast at the chopper until it disappears from sight. INT.CHOPPER (IN FLIGHT) Soldier 1 checks his friend`s wounds. Riva kneels by the girl and tends to her own injuries, the girl looking at him, confused. GIRL Who are you? Riva pauses, not sure whether to give his name. RIVA Mikael. My name`s Mikael. GIRL Thank you, Mikael. She squeezes his hand. Mikael notices her blood on his other hand. He raises the hand to his lips, but stops himself. He wipes the blood on his jacket. CUT TO: INT.CATTLE CAR NIGHT Mikael wakes with a start. He checks his surroundings. He`s awake, the dream fading, but the sound of chopper blades is growing louder. A searchlight beam cuts through the wooden slats of the car. EXT.TRAIN/TRACKS An attack chopper hovers along side the moving train, it`s beam sweeping the cattle cars. INT.DRIVER`S CAB The driver looks at the tracks ahead. DRIVER What the hell? Trucks block the junction ahead. The driver slams on the brakes. EXT.TRAIN/TRACKS The train slows and comes to a stop at the crossing, armed men swarming around it, the chopper buzzing overhead. Villiers approaches the driver as he is climbing down. DRIVER What is this VILLIERS What`s your cargo, sir? DRIVER My cargo? I`m empty. Villiers signals to the chopper The chopper opens fire, it`s machine guns tearing up the first cattle car, then moving back along the train. DRIVER cont. Jesus Christ, you can`t do that! The chopper finishes shredding the last car and pulls away. The armed men move in the train, taking a car each., pulling open what`s left of the doors, checking inside. EXT.HILL Mikael watches the search from a distant hill, then moves away. CUT TO: EXT.GAS STATION NIGHT A truck roars past an isolated gas station on an empty road. Mikael appears out of the darkness and crosses the road to an old phonebooth. He picks up the phone, feeds in some change and dials. RIVA (into phone) I want to speak to Fisher. Tell him It`s Mikael Riva. CHILDS` OFFICE Childs picks up his phone, smiling. CHILDS (into phone) Mikael. I was hoping you`d call. INTERCUT BETWEEN THEM: RIVA (pause) Childs? CHILDS Look, Mikael, I`m sorry the way things Have escalated, but we need to talk In person. RIVA You killed Curtis. CHILDS That was unfortunate, I admit. RIVA Unfortunate? CHILDS Bad choice of words. Curtis was an Accident. He was my friend. RIVA No, Childs, he was my friend. I don`t Have too many. CHILDS All the more reason for you to come Back in, Mikael. We need you. RIVA Just leave me alone. That`s all I want. Childs lights a cigarette. CHILDS You know I can`t do that. We can`t let your unique talents fall into the wrong hands. RIVA That`s it? You`re afraid I`ll go over To the Russians? The Chinese? I`m out, Childs. CHILDS I wish I could believe that, Mikael RIVA Just stay the fuck away from me. Riva slams down his phone. INT.CHILDS` OFFICE Childs presses the button for another line. CHILDS (into phone) Did we get him? INT.TRACING ROOM An agent sits at a computer screen, scanning the map on screen. AGENT Sorry, sir, not long enough, but he`s Still INT.CHILDS` OFFICE Childs disconnects. He stubs out his cigarette and leans back in his chair, staring into space. CUT TO: EXT.GAS STATION NIGHT A container truck pulls away from the gas station, Mikael spread eagled on top of it. CUT TO: INT.HOUSE/BEDROOM NIGHT A banging on the front door awakens a middle aged Vietnamese woman in her double bed. She immediately reaches over to the other side of the bed, but it is empty. She flicks on the light and sits up, still looking at the empty side of the bed. ANNIE Time to let go, Annie. Another knock at the door and she gets up. INT.HALLWAY Pulling her robe around her, Annie goes to the door. ANNIE Who is it? MIKAEL (behind door) Annie? Annie pauses at the door. She knows the voice from somewhere. She unlocks the door and opens it as far as the chain will allow. She looks out at the familiar face. ANNIE (shocked) Mikael? CUT TO: INT.KITCHEN NIGHT Annie pours tea for herself and Mikael and sits at the table opposite from Riva. RIVA I shouldn`t have come here. I`m Sorry. Annie takes his hand. ANNIE I`m not. RIVA I just need somewhere to rest for the Day. John`s not home? Annie releases Mikael`s hand. ANNIE He died. Just over a year ago. Cancer. MIKAEL I`m sorry. ANNIE He would have liked to have seen you Again to thank you. MIKAEL He thanked me, you both did. A long Time ago. ANNIE Why won`t they let you go? MIKAEL I`m too valuable an asset. Mikael winces as he sips his tea. ANNIE What can I do for you? MIKAEL I lied, Annie. I need more than a Place to stay. Do you still work at The hospital? CUT TO: INT.HOSPITAL CORRIDOR DAY Annie, in nurse`s uniform, walks up the corridor. INT.ANNIE`S HOUSE/BEDROOM The curtains are drawn, a cupboard across the window, the door closed. Mikael picks up a photo of the younger Annie and the soldier 2, arm in arm. He looks at another photo of their wedding. Mikael puts the photo back on the bedside table and looks up at himself in the mirror it`s empty. He closes his eyes and lies back on the bed. INT.HOSPITAL CORRIDOR Annie stops at a door, glances casually up and down the corridor, then opens the Door and enters the room beyond. INT.BLOOD STORAGE ROOM Annie opens the fridge door and looks inside at the stored blood within. CUT TO: INT.TESTAMENT BUILDING/ID OFFICES DAY A printer slips out a computer generated portrait of Mikael Riva, The ID specialist hands the picture to Childs. Childs examines it. CHILDS Excellent. Fax it to Harris and any other Agents who`ve seen Riva. Once they`ve Confirmed the likeness, I want it circulated To all field agents. The ID specialist takes the portrait and leaves as Fisher enters. CHILDS cont. CGI have run the portrait. With no photo on File, it`s the next best thing. FISHER Very good. You have 24 hours. CHILDS Sir, this operation has only been running 36 hours. FISHER That`s correct, Mr Childs. And in that 36 Hours Mikael Riva has slipped through your Fingers 3 times. CHILDS For which I apologize, sir, but I assumed It was understood, this was never going to Be easy. FISHER 24 hours. After which, I will be taking over over control. CHILDS Sir, I Fisher stops him with a look. Fisher leaves the room. Childs sits and grabs a phone. CHILDS cont. (into phone) Get me Harris. Secure line. Put it through to My office. Childs puts the phone down. CUT TO: INT.CHOPPER (IN FLIGHT) DAY Harris sits beside the pilot wearing a two-way headset. HARRIS (into two-way) This is Harris. INT.CHILDS` OFFICE Childs is at his desk, phone in hand. CHILDS (into phone) Have you anything new? INTERCUT BETWEEN THE TWO: HARRIS Nothing yet. The names on your list are Spread Across the country, but there are still 13 living in the area. They`re the immediate targets. CHILDS Good. Find him and find him quick. I`m changing the mission objective. INT.CHOPPER Harris listens to Childs on the headset. HARRIS Sir, are you sure (pause) Understood. Harris flips off the two-way. PILOT Anything wrong? HARRIS Just fly the chopper. CUT TO: EXT.ANNIE`S HOUSE DAY A car pulls up across the street from the old bungalow, alone amongst some trees. INT.CAR Gregson and Villiers look across at the bungalow. VILLIERS Who`s this one? Gregson checks his notes. GREGSON Annie Cassidy. VILLIERS Right. The Vietnamese woman, married the Marine. GREGSON Died a coupla years ago. Villiers studies the front of the house. All the curtains are drawn. VILLIERS Curtains are closed. GREGSON Maybe she works night shift. She`s a nurse. VILLIERS Yeah? What hospital? CUT TO: EXT.HOSPITAL PARKING LOT DAY Annie hurries across the parking lot towards her car, a bulky bag in her arms. Villiers and Gregson step into her path, Villiers showing his badge. VILLIERS Mrs Cassidy? I wonder if we might speak with You? Annie is nervous, she takes a step back, clutching the bag to her. GREGSON Something wrong, ma`am? Gregson takes the bag from Annie and looks inside. He holds the bag open for Villiers to see. Inside are two containers of blood plasma. CUT TO: INT.ANNIE`S HOUSE/BEDROOM DAY Mikael`s eyes flick open. The sound of the TV can be heard from the lounge. Mikael sits up and swings his legs off the bed. He stands and looks to the covered window. The faint glow of daylight can be seen through the edge of the closed curtain. INT.LOUNGE Cautiously, Mikael enters the room and stops. Harris sits in an armchair, the TV on before him. He cradles a submachine gun on his lap. HARRIS Hey, Mike. Riva looks around the room. RIVA Where is she? HARRIS Safe. Take a seat. Riva remains standing. HARRIS cont. I don`t mind saying, you are some piece Of work, my friend. You are one tough Motherfucker to pin down. Riva stakes one step towards Harris. Harris turns the gun on him. RIVA You know that won`t kill me. HARRIS No? Harris turns the gun away from Riva and blows a half dozen holes in the wall, daylight pouring through like laserbeams. Riva jumps back, the beams cutting across his path, separating him from Harris. HARRIS cont. Now I know you`re no fool, Mikael. I could Blow out the windows, you`d be dead in an Instant. (shakes head) All the shit we`ve Been through trying to nail your ass, I finally catch you with your pants down and I`m told to hold fire. Unbelievable. RIVA What do you want? Harris flicks off the TV with a remote. HARRIS Childs has a favor to ask. RIVA Who`s the target? HARRIS Fisher. Take him out, the woman walks. RIVA Director Fisher. Head of the organization. Your boss. HARRIS Hey, I take orders from Childs only. RIVA Why? HARRIS You ask a lotta fuckin` questions ... But you`re right. No reason we can`t keep this civil. You want a drink drink? Harris reaches into the bag by his side lifts out one of the blood containers. He places it on the coffee table between them. Riva`s eyes flick to the blood, then back to Harris. HARRIS cont. I tell ya, Mike, I have seen some bizarre Shit, but when Childs told me about you..? (shakes head, smiles) You are one hell of a role model. How many kills is it? 300 and something, right? Shit. I`m way behind. (pause). Even including your friend Curtis. Riva flinches, his jaw tenses. HARRIS cont. Sorry about that, by the way. RIVA Tell Childs, no deal. Harris stands, keeping his gun trained at Riva. HARRIS Don`t act the hard-on, Mikael. You`re Not gonna let another friend die. Mikael moves to step around the beams of light, but Harris blasts four more holes in the wall. RIVA You`re going to kill her anyway. Riva takes a step back, edging closer to a side table, a vase upon it. HARRIS Yeah, well, maybe. What the fuck can you do about it? Riva`s hand moves like lightning, whipping the vase off the table, launching it at Harris. Harris blasts at Riva, but the vase it`s his gun, knocking out his aim. Mikael dives for the doorway, bullets scraping his back, more holes blown in the wall, a light beam burning Mikael`s arm as he vanishes through the doorway. INT.CAR (PARKED) Two agents sit in the car outside Annie`s house. The sounds of gunfire can be heard from inside the house. One agent moves to open his door, but the other stops him. AGENT 1 Harris said he wanted to fuck with this Guy a while. Let him have his fun. INT.LOUNGE Harris ejects the clip from his gun, slams in a fresh one and sprays the wall between the lounge and the hallway. HARRIS Okay, you wanna play, asshole? Fine by me. Harris walks to the doorway and blasts into the hall before stepping through. INT.HALLWAY Harris blasts through the door to the bedroom. HARRIS We`ve got a good half hour before sunset, Mike. He kicks open the bedroom door and looks inside. Empty, He moves down the hall. HARRIS cont. Plenty of time for me to kick your ass. He blasts into the kitchen. INT.KITCHEN Pots, pans, glasses explode, bullets ripping through cupboard doors and shattering the windows, the shades flapping wildly. INT.HALLWAY Harris stops at the front door and turns around, looking back up the hall. HARRIS I`m impressed, Mike. That`s quite a Vanishing act. He starts back up the hall, but stops halfway. He looks up at a trapdoor in the ceiling. HARRIS cont. What are you, a fuckin` cat? Harris blasts a dozen holes in the ceiling, plaster and chipped paint falling around him. INT.ATTIC A dozen holes blast through the roof, a dozen beams of light spilling through only inches from Mikael`s face. Slowly, trying to be quiet, he edges away. INT.HALLWAY Harris moves up the hall, gun pointed at the ceiling. HARRIS Come on, Mikael. This is waste of both Our times. He lets rip with another volley at the ceiling. INT.ATTIC More beams of light shine through close to Mikael. Carefully, he moves back towards the trapdoor, squeezing around the deadly rays. A wooden board creaks and he freezes. INT.HALLWAY Harris turns. He`s heard the creak. He moves back towards the trapdoor. He raises the gun, the barrel almost touching the ceiling. Suddenly, the trapdoor swings open and smashes Harris full in the face, knocking him down. Mikael swings down and dives onto Harris. Harris raises his weapon, but Mikael smashes it from his hand. He grabs the dazed Harris, Mikael`s eyes wild like an animal`s, and licks blood from his face. Harris struggles, but Mikael keeps him pinned down. Harris` hand slips into his pocket and pulls out a switchblade. The silver blade gleams as Harris flicks the knife open and jams it into Mikael`s arm. Mikael screams and falls back, clawing at the knife. Harris pulls himself up and Mikael kicks him in the groin, kneeing him in the face as he doubles up. Mikael grabs the handle of the knife and yanks it out of his arm, flame bursting from the wound as the blade is removed. INT.LOUNGE Harris crawls through the lounge, reaching the two-way on the coffee table. Mikael enters the room, but stops, the beams of light criss- crossing the room. He sees Harris reaching for the two-way and dives over the beams, rolling across the floor and grabbing Harris, dragging him away from the handset. RIVA Where is she? Harris spits blood in Riva`s face. Riva licks the blood from his lips, his eyes still wild, his features almost feral. RIVA cont. You taste good. Riva bites Hraris on the arm. Harris screams, more with horror than pain. RIVA cont. Where is she? HARRIS Airfield near Snowflake. Childs wants her. You can`t get to her in time, Mikey. Mikael looks up at the covered windows. Harris grabs up a bottle of blood and smashes it against the side of Mikael`s head. The blood bursts across Mikael`a face, his eyes closing in ecstasy, his grip tightening on Harris. Harris watches Mikael`s face, realizing his mistake, truly scared for the first time in his life. Mikael`s eyes open. They`re blood red. Harris screams. Mikael`s mouth opens to reveal sharpened fangs. EXT.ANNIE`S HOUSE Harris` screams are heard from within the house and the two agents burst from their car, running to the front door. INT.HALLWAY The front door crashes open and Agent 1 appears, gun raises, checking the hallway. He enters and moves cautiously up the corridor. INT.KITCHEN The back door flies open and Agent 2 enters, gun raised, scanning the wreckage. Agent 1 appears through the kitchen doorway, moving up the hall. Agent 2 steps through the debris and joins him. INT.LOUNGE Agent 1 enters the lounge and sees Harris AGENT 1 Jesus. In here! Agent 2 joins him. He sees Harris. The look on his face says it all. He swallows hard to stop himself from puking. AGENT 2 This fucker`s a ghost. He can`t go outside, Not yet. AGENT 1 He`s not in any rooms, this place doesn`t Have a basement. Two drops of blood splatter on Agent 1`s gun hand. AGENT 1 cont. Shit. They both look up. Bullets rip through the ceiling, fired from the attic above, cutting both agents down. CUT TO: EXT.AIRFIELD SUNSET The sky is dark orange over an old hangar, agency cars parked outside and around the field, two choppers standing idle, a third taking off. INT.HANGAR Several agents stand guard around a jet being fuelled up. Villiers and Gregson enter the hangar, heading for the jet. VILLIERS Any word from Harris? GREGSON Not yet. VILLIERS As soon as we`re fuelled up, we go. Villiers enters the jet. INT.JET Annie sits with two agents. Villiers nods to them and the agents move away, Villiers sitting with her. ANNIE Why are you doing this? Why can`t you Just let Mikael go? VILLIERS He`s a dangerous man. Do you know how Many people he`s killed? ANNIE For you. All he wants to do is stop. VILLIERS This isn`t the kind of business where you Can just hand in your resignation. ANNIE Whatever it is you want him to do, he won`t Do it. VILLIERS Yes he will. As long as we`ve got you. CUT TO: EXT.HIGHWAY NIGHT Mikael`s car speeds along the highway. INT.MIKAEL`S CAR Mikael is at the wheel, his face returned to normal. Various guns and ammo clips lie on the seat next to him. CUT TO: EXT.AIRFIELD/FRONT GATES NIGHT Two armed agents watch an approaching set of headlights. One agent takes the two-way from his belt. AGENT (into two-way) Two, this is fourteen, we have an Approaching vehicle. I think it`s Harris. INT.HANGAR Villiers stands with the pilot, two-way in hand. VILLIERS About time. Start her up. The pilot boards the plane. EXT.FRONT GATES The car slows down and stops at the gates. The window rolls down and Mikael blasts the first agent. The second agent opens fire on the car. Mikael blasts him through the windshield. EXT.AIRFIELD Villiers runs out of the hangar, the sound of distant gunfire echoing across the airfield. VILLIERS Shit. Villiers runs back into the hangar. INT.JET Villiers climbs into the plane, an agent closing the door behind him. VILLIERS Get us out of here! Now! Villiers takes a seat with Gregson and two other agents. Annie smiles, looking out the window. INT.HANGAR The jet rolls out of the hangar. INT.MIKAEL`S CAR Mikael sees the jet leave the hangar and speeds towards it. EXT.AIRFIELD The jet leaves the hangar and heads for the runway. An agency car speeds towards Mikael, an agent hanging out the window, his machine gun blazing at Mikael`s car. Mikael smashes his own window with his elbow and fires back. The two cars speed towards each other, guns blasting, windshields shattering. INT.AGENCY CAR Bullets rip through the driver and he slumps over the wheel. EXT.AIRFIELD The agency car spins away from Mikael`s as he skids around it and heads for the hangar. The jet moves onto the runway. INT.JET Gregson watches the gun battle through his window. EXT.AIRFIELD An agent grabs a rocket launcher from the trunk of his car, heaves it onto his shoulder and takes aim at Mikael`s approaching car. He squeezes the trigger and the rocket launches. INT.MIKAEL`S CAR Mikael grabs one of the machine guns from beside him and throws open his door. EXT.AIRFIELD Mikael rolls out of his car as the rocket hits and blows it apart. Agents run to the flaming wreck as it rolls across the airstrip. Mikael rolls across the ground, gets up in one move and opens fire on the agents, running towards the hangar. The two choppers are starting up, their blades beginning to turn. Mikael charges towards the hangar, emptying his machine gun and grabbing the two 9mms from his belt, shooting at any agent who gets in his way. The jet`s engines roar and it accelerates down the runway. One chopper takes off, an agent hanging out of it, his machine gun spitting at Mikael. Mikael fires as he runs, his bullets twanging off the chopper`s tail rotors. INT.CHOPPER The chopper fights a losing battle with the controls. EXT.AIRFIELD Mikael keeps blasting at the chopper as it spins out of control. The machine gunner discards his weapon and jumps. The out-of-control helicopter bounces off the ground and flies into the hangar. INT.HANGAR The chopper smashes into the fuel truck and the two are blown apart in a fiery explosion. INT.JET Gregson watches the side of the hangar explode. GREGSON Jesus Christ! EXT.AIRFIELD The jet takes off. The hangar explodes, agency cars speeding away from the flaming debris. The last chopper is taking off as Mikael runs towards it, blasting two agents in his path. INT.CHOPPER 2 Mikael rips open the door and climbs in. The pilot throws off his seatbelt and reaches for his own door as Mikael`s gun is shoved in his ear. MIKAEL Do as I say and I won`t kill you. PILOT Deal. EXT.AIRFIELD Mikael pulls his door closed and the chopper takes off, leaving the burning hangar and the numerous bodies around the airstrip. EXT.JET (IN FLIGHT) The jet climbs higher into the night sky. INT.JET Everyone sits in silence, buckled into their seats as the plane climbs. EXT.JET Mikael`s helicopter swings in over the jet. INT.CHOPPER 2 Mikael, keeping his gun on the pilot, watches the jet climbing beneath them. RIVA Closer. EXT.JET/CHOPPER 2 The chopper moves in closer, moving with the plane as it climbs. INT.CHOPPER 2 Mikael opens his door and the rush of air blasts him. He removes his gun from the pilot`s head. The pilot lets one of his hands slip away from the controls and reaches down the side of his seat. Mikael starts to climb out the open doorway. The pilot pulls out a gun and fires at Mikael, but Mikael is too quick and the bullet misses. He fires back and hits the pilot through the head, the dead man falling forward, pushing the control stick. EXT.JET/CHOPPER 2 The chopper nosedives towards the plane`s starboard wing. INT.CHOPPER Mikael watches the plane, getting closer and jumps. INT.JET Everyone hears something thump against the outside of the plane. VILLIERS What the hell? INT.JET COKPIT The co-pilot looks back through his side window. CO-PILOT Jesus Christ! EXT.JET/CHOPPER The jet banks left and the falling chopper clips it`s starboard wing, it`s blades shattering. The chopper explodes, the jet`s engine bursting into flames. INT.JET Gregson and Villiers both look to the window, the flames from the exterior explosion lighting their faces. VILLIERS It can`t be. The jet`s main door is ripped open and Mikael swings into the plane, gun in hand, his clothes, his hair, whipped by the rushing wind. All four agents jump to their feet, guns drawn. Villiers gabs Annie and holds her before him as a shield, gun sticking in her back. VILLIERS cont. (in disbelief) It`s not possible. I don`t care what You are, this isn`t possible. RIVA I don`t want to kill any of you. Just Let her go. VILLIERS Go where? Maybe you can jump, but she can`t. The two agents behind Gregson look at each other, confused and starting to panic. Gregson looks from Villiers to Riva. He doesn`t like the way things are going. ANNIE Mikael, don`t VILLIERS Shut up! Villiers digs the gun harder into Annie`s back. VILLIERS cont. Drop the gun, Riva. Mikael looks at Annie and lowers the gun. RIVA Is that what Testament`s become? You`re a Bunch of animals. VILLIERS Fuck you, you`re the animal. Gregson turns his gun on Villiers. GREGSON Let her go. Villiers takes a quick glance back at Gregson and sees the gun pointed at him. VILLIERS This is no time to fuck around. GREGSON I`m serious, man. Let her go. This isn`t right. VILLIERS Are you fucking kidding me? The two other agents don`t know which way to turn. VILLIERS cont. (to agents) Kill him. That`s an order. The two agents turn their guns on Gregson. Annie and Mikael look into each others eyes. Suddenly, the plane bucks and Villiers` gun goes off and time stands still for a second. Slowly, Annie drops to the floor, a bullethole through her chest. Gregson blasts Villiers, the two agents shoot Gregson and Mikael kills the two agents. Mikael runs to Annie and cradles her head in his arms. The co-pilot runs into the cabin and Mikael shoots him without a second thought. Mikael looks down at Annie, tears in his eyes. RIVA Annie Annie smiles, blood leaking between her lips, and lifts her hand to touch Mikael`s face. ANNIE It`s okay. Her hand slips back to her side, her eyes go vacant. Mikael closes his eyes in agony, clutching his friend to him. A coughing makes him open his eyes and look up. Villiers tries to pull himself up, his chest bloody. Mikael gets up and walks over to him. He looks down at the agent and then to Gregson, also still alive, trying to move. Mikael looks from one to the other, then walks to the front of the plane and fires through the wall into the cockpit. INT.COCKPIT The pilot flops forward. EXT.JET The plane nosedives. INT.JET Mikael helps Gregson into a parachute and carries him to the door. Gregson stands in the doorway, rushing air whipping around him, and looks at Mikael`s face. Mikael nods. Gregson looks out into the dark and steps out. Mikael walks back to Annie and sits down, cradling her head. INT.COCKPIT The altimeter speeds downward as the plane plummets. INT.JET Villiers drags himself up into a seat. VILLIERS You`ll never get away from us. RIVA I know. Mikael kisses Annie`s forehead. EXT.DESERT HILLS The jet screams low across the sky, smashing off the top of desert hills, a wing tearing off, the engine exploding. The plane dives over the edge of the hills and crashes into the desert, bursting on impact. CUT TO: INT.CHILDS` OFFICE NIGHT Childs has his coat on, briefcase in hand and is about to leave as an agent enters. AGENT Harris`s jet is down. CHILDS Shit. CUT TO: EXT.DESERT HILLS/CRASH SITE NIGHT The wreckage still burns, flames lighting the black wilderness. Mikael walks away from the crash carrying a body wrapped in coats. CUT TO: EXT.CEMETARY NIGHT A makeshift wooden cross is dug in the ground, name scratched into it ANNIE LINN CASSIDY. Mikael drags more dirt and mud onto the grave with his bare hands, then gets up. He stands over the grave for e few moments, then turns and walks away, his face a picture of grim determination. CUT TO: INT.CHILDS` OFFICE NIGHT Childs is at his desk when his phone rings. He puts it on speaker. CHILDS Childs RIVA (on phone) Harris is dead. CHILDS I thought as much. INT.CAR (DRIVING) Mikael drives with one hand, phone in the other. RIVA (into phone) You made a mistake, Childs. You never Should have involved the woman. BACK TO CHILDS: CHILDS That was your mistake. You involved her. BACK TO RIVA: RIVA Maybe you`re right. Either way, it`s time To finish this. You win, Childs. I`m coming Back. BACK TO CHILDS: RIVA (on phone) For you. Childs flinches. CHILDS (nervous) Don`t be ridiculous, Mikael. You`ll never Get here before sunrise. RIVA (on phone) I`ll make it. CHILDS The Testament building is the most secure Building in the city. BACK TO RIVA: Mikael smiles. RIVA That`s my speciality. BACK TO CHILDS: Childs loosens his tie, he`s starting to sweat. CHILDS What do you think you`re doing, Mikael? RIVA (on phone) My job. BACK TO RIVA: RIVA Exterminating scum like you. Mikael clicks off and puts the phone down, his eyes focussed on the road ahead. BACK TO CHILDS: Childs is frozen to the spot, alone in his office. CUT TO: INT.FISHER`S OFFICE NIGHT Fisher stands at his window, finishing his scotch. His phone rings and he answers it. FISHER Fisher. AGENT (on phone) Sir, I have a doctor on the phone. He says He has one of our agents in his hospital. FISHER And? AGENT He says the agent wants to talk to you About the plane that went down tonight. CUT TO: INT.MIKAEL`S CAR (DRIVING) NIGHT Mikael drives, both hands white knuckle on the wheel, his eyes on the road, but his thoughts elsewhere. FLASH TO: INT.ANNIE`S BEDROOM NIGHT Mikael holding a photo of Annie at her wedding. BACK TO: Mikael driving. FLASH TO: EXT.GARDEN NIGHT Mikael kissing the younger Annie. Mikael embracing her husband. The three of them laughing. BACK TO: Mikael driving. FLASH TO: INT.CHOPPER (IN FLIGHT) NIGHT Mikael comforting the wounded younger Annie, holding her hand. ANNIE Thank you, Mikael. BACK TO: Mikael driving, wiping a tear from his cheek with the back of his hand. His teeth clench and he stamp his foot down on the accelerator. CUT TO: EXT.TESTAMENT BUILDING NIGHT Almost all lights are on up and down the building. INT.LOBBY Two armed agents patrol by the elevators. INT.BASEMENT Two armed agents patrol one end. Two more the other end, all wearing two-way headsets. INT.CORRIDOR More armed agents. EXT.ROOFTOP Armed agents patrol the helipad. INT.SECURITY ROOM Two agents watch row upon row of closed circuit TVs, each showing a different room or corridor of the building. Another man watches a row of thermographic displays, the screens showing red, green and blue images of different rooms and the people in them. INT.CHILDS` OFFICE An agent, Robbins, appears in the doorway. ROBBINS All patrols have checked in. We`ve got men on every floor from 1 to 15 plus agents in the basement and on the roof. Childs is at his desk. He`s starting to look worried. CHILDS This is a 40 storey building. Why only 1 To 15? ROBBINS You specified Dante personnel only, sir. We only have a limited number of people. But we do have 5 roving patrols covering The remaining floors. Childs nods, Robbins can see he`s still nervous. ROBBINS cont. Sir, this building is secured. I don`t Care how good this guy is, he is not Getting in. The agent leaves the office. Childs goes to his drinks cabinet and pours himself a large drink. FISHER (off) You`ve surpassed yourself this time, Mr Childs. Childs looks around to see Fisher`s face on a video screen. FISHER cont. (on screen) I`ve let your flagrant disregard for Testament policy go unpunished in the Past. But it seems that punishment is Catching up with you tonight (pause) With a vengeance. Now it`s just you and Your Dante thugs. Good luck, Mr Childs. The screen goes blank. Childs is left staring at the blank screen. INT.FISHER`S LIMO A video camera in the back of the limo flicks off. Fisher smiles to himself. EXT.STREET Mikael`s car speeds out of a side alley and slams into the limo. INT.LIMO Fisher is dazed by the impact. The rear door is torn open and Mikael dives in, shoving a gun in Fisher`s face. The limo driver turns in his seat, his hand going for his gun, but Mikael sticks a second pistol in the back of his head. RIVA (to Fisher) Nothing can save Childs. Give me a Reason to let you live. Fisher dabs at a bloody gash on his forehead with a handkerchief. FISHER I didn`t know the lengths Childs had Gone to. I had no idea Mikael shoves the gun harder against Fisher`s temple. RIVA You expect me to believe that? Fisher looks into Mikael`s eyes. He lowers the handkerchief. FISHER No. No I don`t. (pause) I`m sorry about The woman. Mikael looks at Fisher for a few moments, then lowers the gun. RIVA Childs. What does he look like? Fisher flips open a laptop and taps at the keys. Childs` face appears on the computer screen. Mikael`s eyes fix on the picture. CUT TO: EXT.TESTAMENT BUILDING/STREET NIGHT/MORNING Mikael stands across the street from the building. His watch bleeps and he checks the time. He looks to the sky above, almost blocked about by the tall buildings. The night sky is turning grey with the first light. As he watches, a helicopter flies into view heads towards a building next to the Testament building.. Mikael crosses the street towards the building. CUT TO: EXT.HIGHRISE ROOFTOP NIGHT/MORNING A door from the stairs is kicked open and Mikael strides across the helipad towards the chopper, it`s blades still turning. The pilot looks up as Mikael rips open the door to the helicopter. PILOT What the fu- Mikael rips him out of the chopper. CUT TO: EXT.TESTAMENT BUILDING NIGHT/MORNING The chopper swings around the tall building, moving from floor to floor. INT.CHOPPER Mikael studies the building as he flies around it. INT.CHILDS` OFFICE Childs is standing in the middle of his office as the sound of chopper blades grows louder. He turns to his window. Mikael`s helicopter swings into view and the two adversaries see each other for the first time. INT.CHOPPER Mikael stares across at Childs, frozen to the spot. EXT.TESTAMENT BUILDING The chopper pulls back from the building. INT.CHILDS` OFFICE Childs watches the chopper pull back, pause for a second, then head straight for him. CHILDS Oh shit. Childs runs for his door. EXT.TESTAMENT BUILDING The chopper slams into the side of the building, the blades shattering as they smash the glass windows. INT.CHILDS` OFFICE The chopper`s nose crashes through the window, the helicopter caving in the wall. Mikael dives through the shattered windshield of the chopper EXT.TESTAMENT BUILDING The chopper explodes, jammed into the side of the building. INT.CHILDS` OFFICE Mikael dives through the office door, the explosion licking his feet. INT.SECURITY ROOM Alarms sound, warning lights flash. Security men check the computer screens and monitors. SECURITY MAN Jesus Christ, we`ve got a penetration! 35th floor. INT.CORRIDOR Bullets tears into the wall next to Mikael`s head. He grabs two 9mms from the back of his belt and returns fire. He pulls himself up and runs for the open plan office at the end of the corridor. EXT.CITY SKYLINE The sun boils up over the horizon. INT.OPEN PLAN OFFICE Mikael runs through the room, blasting at agents as the orange light floods the room. He dives for cover behind a desk. Childs, hiding behind his men at the other end of the office, smiles as sunlight fills the room. CHILDS Now we`ve got him. Move in. The agents move in, blasting. Mikael cowers behind the desk as bullets chip away chunks of wood and plastic, light blazing around him. INT.SECURITY ROOM On a computer screen: ON SCREEN: PHASE 1 AUTOMATIC SHUTDOWN INT.OFFICE Steel shutters slide down across the windows. INT.OPEN PLAN OFFICE More shutters close over the windows. Childs looks panicked as the sunlight is shut out. CHILDS No! No! Mikael watches the burning orange vanish from the wall before him. He rolls out from behind the desk and blast at the advancing agents. Childs runs, leaving his men behind to guard his retreat. INT.20TH FLOOR CORRIDOR Robbins stands with some more agents, two-way in hand. ROBBINS Christ, he`s in. The agents charge up the corridor. INT.CORRIDOR Childs runs down the corridor, gunfire echoing from the office behind him, two-way in hand. CHILDS (into two-way) Open the shutters! D`you hear me? INT.SECURITY ROOM The security men work furiously at computer keyboards. CHILDS (on two-way) I say again, open the shutters! On a computer screen: ON SCREEN: SYSTEM OVERRIDE ACCESS DENIED SECURITY MAN (into two-way) Sir, we`ve been locked out. CHILDS (on two-way) Locked out? How? INT.FISHER`S LIMO Fingers tap at a laptop keyboard. Fisher finishes his tapping and closes the laptop, smiling to himself. INT.OPEN PLAN OFFICE Computers explode as bullets rip through them. Mikael dives across a desk, several wounds already bleeding, a glass partition bursting behind him. Two more agents are gunned down as Mikael rolls across the floor and blasts them. More agents fire at Riva as he closes in on them. AGENT The shutters! Blast the shutters! The agents open fire on the shutters, smashing the glass windows, but merely denting the heavy metal shutters. AGENT cont. Fuck this! The agent slides a rocket into the launcher slung underneath his M16 and fires at the window. A gaping hole is blown through the shutter, bright daylight pouring into the office. Mikael runs, but his arm is grazed by the sunlight, flames bursting from the wound, and he drops his weapon. INT.CORRIDOR An agent ejects a spent clip and fumbles to load a fresh one. Mikael appears around the corner and the agent blasts him. The bullets slams into Mikael, but not blood appears. AGENT Shit. Wrong ammo. Mikael slams the agent face first into the wall and knocks him out. He checks his burned arm, grabs the agent`s machine gun and spare clips, and moves on. INT.40TH FLOOR CORRIDOR Childs, four agents with him, rounds a corner and stops dead. A heavy door blocks his way, denying him access to the roof. CHILDS Jesus. (into two-way) Security, I can`t Get to the goddamn roof! INT.SECURITY ROOM The security team are still working at the access codes. SECURITY MAN (into two-way) Still locked out, sir, but we`re Working on it. Childs` face appears on a security monitor screen, CHILDS (on screen) Open this fucking door! INT.OFFICE Mikael moves through the room, screaming as bullets hit him, his blood splattering the walls, computer screens bursting around him, blasting anyone who gets in his path. INT.40TH FLOOR CORRIDOR Two agents try blasting the security door, but there bullets have no effect. AGENT (to Childs) No use. All security doors`ll be closed now. Every elevator`s locked down. CHILDS I want every agent with me. Now! INT.20TH FLOOR CORRIDOR A team of agents are blasting at another security door. Robbins stands back, talking on his two-way. ROBBINS (into two-way) Security, how long? SECURITY MAN (on two-way) Any minute. Robbins lowers his two-way. ROBBINS Asshole. INT.OFFICE A badly injured Mikael slumps against a desk, his clothes dripping blood. He looks down at the body of a dead agent at his feet. He kneels down next to the corpse and runs his fingers through the blood leaking from it`s many wounds. He raises his bloody fingers to his lips, pauses for a moment, then drinks the liquid, closing his eyes in ecstasy. He removes his fingers from his mouth to reveal sharpened fangs. His head goes down and his lips lock to a chest wound on the corpse, sucking on it`s blood. Mikael`s fingers, claw-like, dig into the dead man`s arms as he drinks deeply. Finally, Mikael tears his gasping mouth from the wound, his eyes blood red. He throws back his head and roars like some wild beast. INT.40TH FLOOR OPEN PLAN OFFICE Computers have been abandoned, info still spilling down their screens, but no one to read it. Desks are empty, chairs pushed aside. Fifteen agents stand to one side of the office, all armed, all watching the doors on the far side. Childs stands behind them, two-way in hand. CHILDS (into two-way) Anything? INT.SECURITY ROOM A security man watches the bizarre multi-colored images on the thermograph screens. SECURITY MAN (into two-way) Unusual readings on the east stairwell. I think it`s him. INT.40TH FLOOR OPEN PLAN OFFICE All agents raise their weapons and take aim at the doors across the office. The sound of approaching steps can be heard on the other side of the doors. Agents watch the doors, nervous, sweating, licking dry lips. Childs closes his eyes and whispers something to himself. The doors crash open. Childs` eyes flick open, terrified. Mikael stands in the doorway, 9mm in one hand, submachine gun in the other. His clothes a drenched in blood, his face is splashed with blood, blood drips from his wet fingers. AGENT Oh my God. Mikael sees Childs hiding behind the line of agents. RIVA Childs. CHILDS Kill him! The agents open fire as one. Mikael charges into the fusillade, firing back. Bullets rips into him, but he contines forward, screaming, his face an image of fury. One agent goes down, then another, then another as Mikael`s bullets slam into arms, legs, heads. INT.20TH FLOOR CORRIDOR Robbins and his men stand back as the security door slides open. ROBBINS Let`s go! They charge through before the door is even fully open. INT.40TH FLOOR OPEN PLAN OFFICE Mikael is staggered as another bullet slams into his chest. He drops his handgun and grabs an agent, pulling him closes and biting his neck. More agents blast at the vampire as he shoots one man and hammers another in the face. Childs watches the carnage in horror, backing away towards the wall. An agent staggers away from Mikael, clutching at a spurting neck wound, letting off a last volley of rapid fire from his Uzi. The bullets shatter the windows, but three penetrate the shutter, beams of light Cutting through. Mikael screams as his hand is caught in the daylight, his fingers burning. More bullets hit him and he punches an agent in the face with his flaming fist. INT.SECURITY ROOM On a computer screen: ON SCREEN: ACCESS GRANTED SECURITY MAN (into two-way) We`ve got the elevators back! INT.40TH FLOOR OPEN PLAN OFFICE Childs dives into an elevator, the doors closing behind him. Mikael blasts another agent at close range, his blood splattering across Mikael`s lips. The shutters start to rise. Mikael sees the shutters rising, he sees the elevator doors closing, he watches the room filling with sunlight. INT.ELEVATOR Childs breathes a sigh of relief, slumping against the wall, his eyes closed. INT.40TH FLOOR OPEN PLAN OFFICE Mikael charges across the office towards the elevator, screaming as his arm catches alight, his leg bursts into flames, his face starts to char. He smashes an agent out of his way, reaches the elevator doors and tears them open. INT.ELEVATOR SHAFT Mikael appears in the open doorway, looks down and jumps. INT.ELEVATOR Childs` eyes spring open at the sound of something heavy thumping onto the roof of the elevator. He looks up. The hatch in the roof is torn open and Mikael`s savage, burned and bloody face appears. CHILDS Please. INT.SHAFT/ELEVATOR ROOF Mikael jumps down into the elevator and sound of wet tearing mixes with Childs gurgling screams. INT.SECURITY ROOM The interior of the elevator is shown on a monitor screen, Childs` terrified face appearing for a second, then blood splashes across the screen. The image goes dead. SECURITY MAN (gagging) Oh Jesus. INT.ELEVATOR Mikael`s bloody finger stabs at the STOP button and the elevator`s descent is halted. He looks down at the remains of Childs. He looks at his burned arm, touches his burned face. Mikael`s finger hits another button ROOF. INT.SECURITY MAN The security man checks his screen. SECURITY MAN (into two-way) He`s going for the roof. INT.STAIRWELL Robbins and his team charge up the stairs. INT.ELEVATOR Mikael watches the numbers click higher and higher as he heads for the roof and daylight. EXT.ROOFTOP The sun blazes down on the roof as the stairwell doors crash open and Robbins and his men charge out, guns raised, checking their surroundings. Robbins heads for the elevator doors. His men back him up, guns levelled at the doors. INT.ELEVATOR Mikael looks down at the mangled corpse at his feet. He smiles. EXT.ROOFTOP The bells sounds as the elevator arrives. The doors slide open and the agents look inside. ROBBINS What the hell? Childs lies in a pool of his own blood. Otherwise, the elevator is empty. INT.BASEMENT Two agents lie unconscious on the ground, slumped over each other. A manhole cover is flipped to one side. INT.SEWER A figure staggers away through the tunnel, the splash of his footsteps echoing. Mikael Riva vanishes into the darkness. FADE OUT
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