

Counterpane, a screenplay by bob chartain,

Hi- Thanks for stopping by – I wrote this a time ago - it was written on speculation but never pushed around Tinsel Town – I really enjoyed writing this and fell in love with the characters – who took on a life of their own – I was only their scribe - I'm glad to be able to share it with you.

This screenplay is written in the easy to read format of William Goldman "Butch Cassidy" – although this format has never been widely accepted it makes for the easiest read for those who have no understanding of the screenplay format. It can also be a better read for the educated as they generally read down the center of the page and pay the most attention to dialog.

Usual scene headings or slug lines are usually like this; EXT - HOUSE – DAY and really slow the reader down.

Simply notes for reading this is to remember that in a screenplay it's difficult to delve into a characters psyche and internal dialog as everything must be shown on the screen.

Try to visualize the scenes and read the location setups with care as they might contain the keys to the actions.

I also took the liberty to minimize the (Continued) command, eliminate page numbers and the numbering of scene headings.

FADE IN:

A DARK AND FOREBODING ALLEY IN AN EASTERN BLOC CITY

DAVID CARSON, lean and ruggedly handsome moves furtively past

DAVID CARSON, lean and ruggedly handsome moves furtively past

closed shops and darkened doorways. He glances over his shoulder, then -

FUMBLES IN HIS POCKET –

and pulls out a wadded piece of paper. He studies it carefully, then looks down the alley for the address.

DAVID DUCKS INTO A DARK ALCOVE -

as the SOUND of marching footsteps breaks the silence.

SIX STERN AND REGIMENTED RUSSIAN SOLDIERS -

goose-step across the far end of the alley.

DAVID WIPES THE SWEAT FROM HIS BROW, -

waits pensively until the footsteps fade into silence.

DAVID STEPS BACK INTO THE ALLEY -

and then retreats quickly, as a tin can hits the glistening cobblestones and a disfigured, large rat scurries back into the nearby refuse.

DAVID, NOW MORE ALERT THAN EVER, -

makes his way to an unmarked doorway several yards down the alley and hesitates, fighting with himself.

DAVID

(mutters)

Women.

DAVID KNOCKS -

a predetermined staccato. A small window in the door opens slowly.

DAVID

Catmon.

David lifts the crumpled paper to the opening where the dim light glistens off pearly white teeth.

A BLACK HAND WITH AN EXTRAORDINARILY LONG NAIL –

on the little finger reaches out and snatches the paper, then recoils like a snake. David sighs with relief at the SOUND of several latches being simultaneously unfastened. Soldiers'

FOOTSTEPS are again heard, running on the cobblestone street. "Anne Frank" like, European sirens WAIL closer. The door is thrown open and David is yanked into the \-

THE DARKENED ROOM.

He looks up, into the mesmeric eyes of the hawk-featured CATMON, a Caribbean Islander with a sardonic smile. David 3 quickly shifts his glance to the sparse room with it's Oriental, shadowy ambience. Catmon taps David on the shoulder, then -

SLOWLY UNFOLDS HIS HAND, PALM UP.

DAVID fumbles in his jacket, then methodically fills the hand with a pile of large U.S. bills.

CATMON RAISES HIS OTHER HAND -

to David's eye level. Several phosphorescent green tablets are clenched between his thumb and index finger. He LAUGHS an insidious laugh and -

THE LUMINOUS CAPSULES -

roll slowly off the long finger nail into David's outstretched hands. After a beat.

CATMON

(insidiously)

Live long and well, mon'..

A GOVERNMENT BUILDING OVERLOOKING A PLAZA - NIGHT..

PETROVSKY, an official somewhere in Eastern Europe, moves in the shadows, from the window overlooking the plaza to the chess board below the desk light. He picks up an elaborate -

PAWN, A SOLDIER ON HORSEBACK -

and methodically moves it forward a space -

TO A CHECK MATE POSITION.

MOVIE TITLE COMES UP:

"COUNTERPANE"

A CEILING SHOT of an undulating checker-board coverlet on a water bed. The SOUND of laughter and barely audible sexual AD LIBS by male and female voices. Then, -

DAVID AND SHERRY LYNN -

come up for air from beneath the sheets in \-

A PLUSH BEDROOM IN THE SANTA MONTICA MOUNTAINS.

SHERRY LYNN, in her early thirties, has striking black hair and a beautiful, somewhat wistful face. She reaches for a cigarette, David sighs and grabs his drink on the bedside table.

DAVID

God Sherry! You're like good wine.

Better with age.

SHERRY

(wincing)

Thanks for nothing.

(a smile)

I love you anyway.

David, seemingly preoccupied, plays with her hair and pats her reassuringly.

SHERRY

You're distant, David.

(lights cigarette)

Things go okay in Europe?

DAVID

Sure.

David pulls on his briefs and carries his drink to the view window. Sherry drags on her cigarette and watches.

SHERRY

David, we've been together eight

Years... I still don't understand you.

OVER DAVID'S SHOULDER AND OUT THE WINDOW

DAVID .V.O.

I'm reassigned, Sherry.

To Central America.

Sherry angrily tosses her hair back, crushes the cigarette and yanks her robe on.

SHERRY

(moving from the bed)

I knew it, damnit!

She walks to the vanity and abstractly arranges her hair in the mirror.

SHERRY

(now deceptively calm)

When do you have to go?

David moves to the closet and pulls out a tuxedo.

DAVID

Day after tomorrow.

IN THE MIRROR, Sherry's face is expressionless.

SHERRY

Let's get married, David. Tomorrow.

I need something more than a shadow.

DAVID

I'm sorry, it's not in the company's

manual. You know that.

Sherry's face is stone; she has heard this before. She moves to the bathroom. David, dressing, watches, half guilty, half angry. Over the SOUND of running water.

DAVID

It's a different war down there.

(beat, then defensively)

I can't help it, babe. That's what

I do for a living, damn it!

Sherry appears at the door, drying her face.

SHERRY

Don't tell me you can't help it.

(throwing towel on the floor)

Men can never help it.

David shrugs.

SHERRY (cont'd)

Every man I ever met is obsessed

with toys and games... the older they

get it, the more its takes more to satisfy them.

With you, it's spies and counterspies.

DAVID

It's not that simple.

SHERRY

(moving to her closet)

No. After all the blood spilled

in this world. You're building a new

improved version of the same insanity.

Sherry pulls on an expensive evening gown and moves to the ヘ

dressing table. David pops a -

RED PILL.

SHERRY

Do you really like what you're

doing, David?

David turns, struggling with the cummerbund on the tux.

DAVID

It's a job.

IN THE MIRROR, Sherry silently pouts and primps.

DAVID V.O.

(breaking the silent tension)

Are you so crazy about the modeling

rat race?

A TIME-DISSOLVE IN THE MIRROR, -

where Sherry gives her glamorous image a once-over, frowning at the crow's feet.

SHERRY

Well how do I look?

DAVID

You look beautiful.

Sherry smiles, moves to David and hugs him.

SHERRY

I'm sorry, handsome. I didn't want

to fight with you. Not tonight.

DAVID

The answer is yes.

Sherry's quizzical look.

DAVID

I love you.

SHERRY

I didn't ask. I was chicken.

DAVID

Let's get that god damned party over with,

so we can get back here and have our own.

SHERRY

(gayly)

Si, si, Senor.

She takes a last look around the bedroom, moves to the bedstand and tosses some personal effects into the drawer.

A QUICK CLOSE UP OF A GREEN CAPSULE IN THE DRAWER.

SHERRY

Got the keys?

A BLACK TIE AFFAIR IN LOS ANGELES, -

David and Sherry make their entrance and walk down elegant stairs past groups of kibitzing upper-crusters. A cluster of gawking -

LEGGY AND PRISSY, MODEL TYPES, -

AD LIB about David's good looks. "Get a load of that hunk," etc. In the b.g. Sherry, reconciled to the status quo, holds David's hand, and leans against his shoulder.

MODEL

Good God. Did you see who he's

with? That's Sherry Lynn.

I didn't know she was that old.

MODEL #2

She doesn't know it, either.

SHERRY AND DAVID ON THE DANCE FLOOR.

DAVID

(fidgeting with collar)

God, I hate these parties.

SHERRY

It's part of my job.

(beat)

Will you be gone a long time?

DAVID

I'll keep in touch as best as

I can. You going to be okay?

SHERRY

Don't worry about me. I'm a big girl.

David, you really do love me, don't you?

DAVID

Do fish swim? Birds fly?

SHERRY

What do bees do?

A WINDY, DUSTY PLATEAU ABOVE THE CENTRAL AMERICAN RAIN FORESTS

MANUEL RAMIREZ, an older, mustachioed Mexican-American C.I.A. Operative, disguised as a peasant, and several swarthy ethnics are unloading equipment from several rugged trucks with the USGS logo and stacking it near a partially completed camp site.

DAVID, NOW UNSHAVEN, SHIRTLESS AND DIRTY, -

takes a break from the work to survey the forests below with -

HIGH POWERED BINOCULARS.

There are quick movements in the dense jungle foliage. Far in the distance, silent wisps of mortar smoke float gently up.

DAVID

Hurry Manny, they're almost here.

MANNY

I'm hurrying jefe.

MANNY, -

quickly moves the USGS cartons and crates away from the real cargo - heavy crates of armaments with Russian markings that were captured in the Mideast.

MANNY

Jose, de'me una barra. Pronto!

Manny takes the crowbar and opens the crates of weapons.

A RAGTAG AND MOTLEY COLUMN OF SOLDIERS -

winds their way up the plateau and into the camp. In the b.g. Manny passes mortar shells to waiting hands at the back of the truck. David studies the worn, dispirited soldiers and grins a poor soul smile.

JOE, the leader, smiles back, wearily. He is a boyish, shy, ungainly hunk and also C.I.A, but assigned to the military.

DAVID

Hey Joe, you're a long ways from

Texas, cowboy.

JOE

Bubba. You son of a gun.

Where's my love letters?

DAVID

They can't write in Texas, buddy.

If they did, you couldn't read 'em.

JOE

You desk jockeys can read okay.

But you bleed warm piss.

JOE PULLS OUT A KNIFE, digs the point into a festering wound on his arm and flicks out a maggot, studies his men who are loading the make do supplies and ammunition.

JOE

(good natured bite)

Doesn't anybody in Washington give

a damn? Can't we get some decent

men and equipment? I'm worn out

fighting with one hand tied behind my back.

David smiles sadly as Joe's men move wearily in the b.g.

JOE (cont'd)

The bad guys are bringing in new weapons

by the boatload and we're just suckin' air.

DAVID

How they getting the stuff in? We're

watching all the ports from satellites.

JOE

You watching those little islands off

the coast?. One of my boys saw 'em

unloading a submarine out there.

DAVID

Impossible. There's too many reefs.

JOE

Shit, what do I know? That's your job.

They've probably blasted out a

submarine pen for all I know.

Take care of the grass on your side of

the road, Bubba, and I'll take care of mine.

A SOFT CLOSE UP OF SHERRY WRITING A LETTER IN HER GARDEN.

SHERRY'S NARRATIVE V.O.

My dearest David, I hope this letter finds

you safe and well. Believe it nor not,

I'm in the garden where I'm spending more

and more time. Things at the agency are so

slow. maybe I can't accept the fact that

I'm getting older. You would really be

proud of me, I haven't gone to one party,

had a drink or a cigarette since you were here.

I miss you darling. Have you quit. The hell

with it.

SHERRY CRUMPLES THE LETTER –

and tosses it, then in deep thought moves through the garden.

A HONDURANIAN DC-3 IN THE FLUFFY SKIES ABOVE THE CARIBBEAN.

DAVID, -

even more scruffy is sprawled across several seats.

OUTSIDE HIS WINDOW the engine spews black oil and SPUTTERS in an intermittent drone. The plane bucks and bounces through the hot air pockets, but David sleeps on as -

THE ATTENDANT announces their descent into Coxen Hole.

TWO WOMEN TOURISTS -

in the seat behind David nonchalantly GIBBER about their adventures.

TOURIST

Mildred isn't this exciting?

Did you know that five thousand pirates

once lived here.

TOURIST #2

I'll bet some still do.

TOURIST

I hope so.

A SEQUENCE OF SHOTS, COVERING SEVERAL MONTHS.

DAVID'S ENDING POSITION MATCH DISSOLVES INTO THE NEXT SCENE.

DAVID, - standing in fatigues in the doorway of a Huey helicopter above the island watching the local shipping.

MATCH DISSLOVES TO:

DAVID, - standing in shoddy work clothes on the deck of a coastal freighter.

In the b.g. shipmates handle small packages.

MATCH DISSLOVES TO:

DAVID, - standing on a hill top, pulling out a TELESCOPE, -

in which he sees a small coastal tanker anchored offshore with an array of lines and hoses running to the something that looks like conning tower of a submarine. Men load the same packages on the submarine. David collapses the telescope and stands on the hill.

MATCH DISSLOVES TO:

A ROADSIDE STAND IN COXEN HOLE, ROATAN, HONDURAS -

where David stands in casual clothes, then bends and examines a voodoo effigy amidst the vials and bags labeled "health," "wealth," "love" and packets of green pills with a hand scrib bled "for a long life." MOMMA JAMES, an ancient relic, partially hidden under a large fedora steps away from the fetishes in the rear. David notices the wrapping paper from one of the packages, then shakes his head with a "just looking motion,"

turns and walks past the colorful locals to -

A RUSTIC BAR.

Manny sits near the entrance, watching a football game on the TV over the bar.

DAVID

How's it going Manny?

MANNY

The Rams just scored. Hijo!

I'm gonna loose my ass.

DAVID

You should be so lucky.

ON THE TELEVISION - The Niner quarterback completes a long pass for a touchdown. Manny jumps up and yells, drawing a lot of cold stares from the unenthusiastic clientele. In the b.g. Catmon walks by, unaware of David's presence.

DAVID

There's a tanker outside the harbor.

Looks like they're in the drug business, too.

MANNY

(paying half attention)

Oh yeh? Too bad - you know how I hate

water?

DAVID

Yah, you probably walked across

the Rio Grande.

MANNY

Sorry, hombre, I wouldn't be

any good to you on this one.

THE TELEVISION Only Manny watches as Sherry endorses the latest beauty product.

MANNY

Davy, there's that girl you

showed me a picture of.

Sherry something?

DAVID

Yah.

MANNY

Still seein' her?

Embarrassed, David twists his glass. Manny's accent is now intermittent and more fatherly.

MANNY

You goin' to make an honest woman

out of her or just sit there and

believe all that crap the company

hands you about relationships?

DAVID

You know how it is, Manny.

MANNY

No, I don't know how it is.

How is it?

DAVID

Can we change the subject?

MANNY

Hell no. You're my partner, but I'm

the Senior on this job and when

something affects you, it affects me.

(David squeezes the glass)

You don't even write her, do you?

DAVID

That's about the size of it.

AT THE OTHER END OF THE BAR, CATMON'S HAND

with a the very long little fingernail coils around a glass and squeezes till the knuckles turn white. In the b.g. David and Manny continue their discussion.

CATMON

(seeing David)

Carson. Shit, Mon!.

Catmon pulls his hat down around his ears and walks past David to the door.

MANNY

You're afraid aren't you, amigo?

Afraid of a commitment.

DAVID

Hell, Manny, I don't even know

where I'll be tomorrow. Or if

I'll even be alive. How can I

get married?

MANNY

Who said anything about marriage?

Manny swigs his beer like a sailor.

MANNY

David, I'm married. The hell with the

consequences. You think that by ignoring

Sherry she'll just go away and disappear

and you won't have to face your feelings?

You just can't live that way, hombre --

CLOSE ON A WOMAN'S BEAUTIFUL HAND AND NAILS

JANE, a manicurist, paints the "latest" designs on long and delicate fingers at a -

FANCY BEAUTY SALON IN BEVERLY HILLS.

JANE

You haven't even told

the guy? I think you're nuts.

Jane moves to the last finger as the hairdresser hands Sherry a mirror.

JANE

You can't be a model forever, sweetie.

Besides, kids need fathers.

Sherry sits nonplussed, covered by a cape and thoroughly enjoying the attention and pampering.

SHERRY

I know.

It's something I always wanted.

Sherry slowly rises from the chair, removes the cape and reveals her very pregnant state.

JANE

Well at least call him or write him.

Do something ! You're too cool

for own good, sweetie.

DAVID AND MANNY ON A NONDESCRIPT SHRIMP BOAT OFF ROATAN.

THE SMALL COASTAL TANKER BOBS IN THE DISTANCE -

just beyond the reef. With Manny, David checks the instruments, then points to the -

SCREEN OF THE DEPTH FINDER, -

it shows an indentation capable of handling a submarine. The CAPTAIN of the boat walks toward them.

DAVID

That's it - the only way in, or out.

CAPTAIN

I can't maintain this position without

being spotted.

MANNY

(raises finger)

One more minute.

SHERRY'S BEDROOM.

Sherry's hair is tied back with a red ribbon and she holds her stomach in pain as she waddles carefully to the bed. She looks at the phone with a longing glance.

SHERRY

Call...damn it...Call.

SMUDGE, HER IRISH SETTER, ENTERS THE ROOM -

and nuzzles her as she sits on the bed. She pats the dog's head with great affection. The baby kicks once again and Sherry reaches for a glass on the bed stand and downs it like

A sailor. Painfully, she scoots herself up on the bed, rolls on her side and pets Smudge in nervous repetitive strokes. Tears well from her slowly closing eyes.

THE SHRIMP BOAT, -

David quickly puts on a wet suit and diving gear.

THE COASTAL TANKER, -

Catmon hastily puts on a wet suit and diving gear.

SHERRY'S BEDROOM: A DREAM SEQUENCE

Sherry's eyes slowly open. A soft, warm, glowing smile covers her face. A new-born infant rests on her flat tummy.

SHERRY

Hi, Tommy. I'm so glad you're here.

We're going to have such a good

time together. There's so much to do.

(beat)

You're going to have a dog and play football

and have lots of toys. I bet you're going

to be really smart and grow up to be

a great man just like your father.

TOMMY

Mommy.

SHERRY

Yes, Tommy.

TOMMY

Where's daddy?

SHERRY AWAKES, COVERED WITH PERSPIRATION, -

as Smudge licks her face. She looks at the clock; it's still early. Quickly, considering her condition, -

SHERRY MOVES TO THE CLOSET -

and rummages through some of David's belongings, looking for some clue to his whereabouts. She pulls a business card from a suit pocket, studies it, -

PICKS UP THE PHONE AND DIALS

RECEPTIONIST'S VOICE

(flat and damnedly impersonal)

Mr. Benson's office. May I help you?

SHERRY

Yes, I want to reach David Carson.

RECEPTIONIST

I'm sorry. There's nobody here by

that name.

SHERRY

But I'm his - ah - his wife.

RECEPTIONIST

Just one moment, please.

BENSON'S VOICE

Benson here --

(fading into)

THE SHRIMP BOAT STILL OFF ROATAN.

THE CAPTAIN POKES HIS HEAD OUT OF THE COCKPIT.

CAPTAIN

Carson, there's a call for you.

DAVID

Not now.

CAPTAIN

It's from control. It's your wife.

DAVID

(astonished)

My what?

CAPTAIN

Make it snappy, you're on the priority line.

MANNY GIVES DAVID A FRIENDLY SHOVE FORWARD -

and he stumbles, duck-style in diving fins, the few steps down to the phone.

DAVID

Who the hell is this?

SHERRY

David. This is Sherry, Sherry Lynn.

Remember me?

The conversation sounds impersonal and tinny, peculiar to ship to shore calls.

DAVID

(angry as hell)

What the hell. How did you

get this number? Don't you realize.

SHERRY

David, I'm pregnant. The baby is

due in four weeks.

David is speechless. He looks wildly at the radio set and then counts the months on his fingers.

SHERRY

David. are you there?

DAVID

I'm here

SHERRY

Did you hear me?

DAVID

I heard you

There is silence on the other end. The speaker crackles with static, then clears.

DAVID

(static again)

You'll have to get an abortion.

SHERRY

What?

DAVID

I said , you'll have to get an

abortion!

SHERRY

David, I can't.

(static)

. weeks left

(static)

. be wonderful.

David, worried that Manny and the Captain have heard too much of his shouting, fiddles with the controls nervously. As the channel clears, he speaks slowly and surely.

DAVID

I know you can hear me now. My receiver

is bad. Now listen.

(moving knob)

I can't come back there right now.

I'll be there as soon as possible.

(unheard conversation as David fidgets)

Sherry, Sherry.

Don't - repeat don't - use this channel

again! For anything .

He bangs down the mike, sits back and looks at the cabin roof with anger and despair.

MANNY, NOW IN THE COCKPIT,

puts his arm on David's shoulder in a calming motion.

MANNY

Cigars, anyone?

UNDERWATER, IN THE CORAL REEFS, DAVID –

has a panoramic view of the beautiful tropical fish and coral formations. He examines some freshly blasted coral rock and is suddenly grabbed by -

CATMON'S HAND WITH THE VERY LONG FINGERNAIL .

ANOTHER BLACK MAN -

slashes the line to David's regulator and inflicts a serious wound across his chest. Now -

DAVID -

sinks to the bottom as -

THE TWO BLACK DIVERS -

let him go and swim away. Suddenly --

TWO WELL AIMED SHOTS –

from Manny's spear gun plunge into the backs of the divers.

DAVID –

rises slowly from the bottom, breathing directly from the tank without a regulator. David moves some -

CANNISTERS -

hidden on a coral rock outcropping, sets the timer and with -

MANNY –

heads slowly to the surface.

THE CORAL ROCK EXPLODES INTO A THOUSAND PIECES -

SHERRY'S HOUSE - THE DOOR SLAMS.

IN THE ROSE GARDEN, -

THE CAMERA paints a serene and peaceful picture of Sherry, dressed peasant style with a red bandanna in her hair, lovingly tending the roses around the poolside patio. Smudge chases butterflies around the garden and keeps her company. David, in the shadows turns and walks away.

A MAHOGANIED OFFICE AT CIA HEADQUARTERS, LANGLEY, VIRGINIA -

where David sits in front of a large desk with it's computer and American flag. Next to the flag, a larger - than - necessary framed photo of a stereotypical Chevy Chase family \- Father, Mother, and the required three cute Children.

David studies the pastoral scene outside the window when BENSON a CIA Bureau Chief, strolls in with his head buried in a report. Ignoring David, he sits behind the desk with a show of importance. Benson, thirty five-ish, and self-consciously Ivy League,

affects a silk tie and reading glasses. He has thin lips and a pinched mouth; his hair is carefully trimmed and brushed to conceal a receding hairline. Benson is the consummate bureaucratic appointee. He is small-minded, class-conscious, and vindictive toward anybody or anything that threatens his ass-licking status within his little empire. Finally, he is a world-class example of the Peter Principle - incompetent and

concerned only with "the record." As one might expect, there is no love lost between these two.

As Benson frowns and delicately coughs at the material he is reading, David loses patience.

DAVID

Fascinating stuff, huh, Benson?

Benson lowers his reading glasses and looks up as though just aware that Carson has been waiting. He coughs again delicately.

BENSON

Sorry, Carson. The synopsis -

(tapping it)

of the Caribbean incident isn't clear.

DAVID

No? Why not?

Benson rises, walks over to the view window and stares out. From behind him:

BENSON V.O.

I'm not sure "why not," as

you put it. I rather hoped you

could help us on that.

DAVID

Get to the point.

Benson turns, showing anger, and walks back to the desk, picking up the report and slapping it down.

BENSON

Did Ramirez directly authorize

the use of explosives under the

circumstances?

DAVID

There was a submarine pen there,

Benson.

(nerviously fidgets with pencil)

What are you getting at?

BENSON

(as though to a child)

What I'm getting at, Carson, is this

proclivity of yours to take matters

into your own hands. we are not

interested in drug trafficking.

Is that clear?

The phone RINGS and Benson picks it up.

BENSON

Yes? .

Of course. Put him on.

David stands and begins pacing.

BENSON

Hello, Stuart, good of you to call.

No, not at all.

(looking casually at David)

Yes, we're looking forward to it,

all of us.

Plan on it, Stu. The family will

enjoy the diversion, I'm sure.

Thank you, Stu. 'Bye.

Benson hangs up, smiles as though he has a secret.

DAVID

(stops pacing)

Done with the important stuff?

Benson leans back in the chair, hands clasped to his chin - the thinker in deep reflection. In a deceptively casual voice:

BENSON

We'll overlook the incident - for now, Carson.

Something rather more urgent we need to discuss.

Benson reaches into a drawer, and presses the button on a sophisticated tape recorder. Sherry's call begins to play.

RECEPTIONIST

There's nobody here by that name.

SHERRY

But I'm. Ah, Ah, his wife.

David stares at Benson as the tape plays.

RECEPTIONIST

Just a moment, please.

DAVID

She violated Rule four B in the manual.

Ain't that a bitch? ヘ

TAPE (cont'd)

Benson here.

Benson shuts off the recorder, smiles smugly.

BENSON

As I understand it, she's a.

(with distaste)

model. ?

David, flushed, doesn't answer.

BENSON (cont'd)

What you people do in your private

life neither concerns nor interests

me, Carson.

Unless it reduces your effectiveness.

David glares at the man.

BENSON

Your. Ah. friend used an

agency line - a secure line - for

this distasteful business.

(flips his rolodex)

I'm prepared, however, to overlook

that also. Provided you terminate

this compromising relationship.

DAVID

Why, Goddamn you and your.

(searching for words)

Tight - ass little soul!

Benson rises, blustering.

BENSON

Careful, Carson. You may be a

big man with the illiterates down

there, but up here you're nobody .

David, with cold contempt, starts for the door.

BENSON

Get rid of her, Carson.

David is at the door now, his back to Benson.

BENSON (cont'd)

. and the child and those pills.

David leaves, slamming the door almost off its hinges.

THE OUTER OFFICE, -

Manny, in a three piece suit, sits on the secretary's desk showing off pictures of his grown family and his wife, ROSARIO.

MANNY

. and this is my wife, Rosario.

David storms through and Manny follows with a puzzled look.

BENSON ON THE PHONE IN HIS OFFICE.

BENSON

.that Sherry Lynn matter, Bob.

See what you can do.

A STAIR CASE AT THE END OF A CORRIDOR WHERE -

Manny tries to "shush" David as officious-looking people walk by.

MANNY

Calm down, amigo.

(looking around)

This is the real jungle.

DAVID

We're nobodies to these sons of bitches,

Ramirez!

(mimicking Benson)

"Terminate this compromising relationship".

I'd like to "terminate" that little Ivy

League asshole!

MANNY

(chuckling, despite himself)

The Son of a Killer Tomato?

Come on Davy,

(pats David on the back)

This is a game. You know it --

I know it. The guy with the most points

at the end of the game -- he wins.

DAVID

Nobodies!

MANNY

Forget it. Now go home and do the right thing.

We all need someone. a woman to remind

us that we're human. so we can laugh

and cry and piss our pants when we're scared.

Just like real people.

DAVID

You could've made a fortune if you

weren't a dumb Mexican, Manny.

MANNY

(pushing David with a grin)

So who says I haven't?

SHERRY'S PATIO, AN ARTIST'S EASEL, -

where Sherry, dabbed with paint, works contentedly on a -

PORTRAIT OF TOMMY -

at the age of six. TOMMY is a cute little bugger with curly hair, freckles and big, big eyes that are windows to his soul.

DAVID MOVES OUT OF THE SHADOWS -

walks softly towards Sherry, then pokes his head around the canvas.

DAVID

So hows' about somethin' to eat

for a famished warrior?

Sherry looks up in astonishment.

SHERRY

(flustered)

David! Oh David.

SHE RISES AND MOVES TOWARD DAVID AND - FREEZE FRAME - THE TEARS IN HER EYES.

AN ITALIAN RESTAURANT CLOSE ON SHERRY WIPING THE TEARS FROM HER EYES -

and AD LIBS apologies to David for not being able to control her emotions.

SHERRY

I'm sorry. I thought I had it under control.

thought I had it all under control,

DAVID

It's okay, I'm here now.

A beat, then -

SHERRY

David, did you come back because of

the baby?

David absently twirls spaghetti on his fork and some falls.

DAVID

What twisted messes lurk in the

hearts and minds of men?

Sherry is obviously troubled but afraid of re-opening old wounds.

DAVID

I'm not sure, to be honest.

How does someone figure out

why they do something, really .

I just do what I have to do.

David eats ravenously like someone unaccustomed to civilization. Sherry reaches for his hand but he absently pulls it back, then moves to fill her wineglass; she puts her

hand over it. He nods, fills his own, and drinks.

DAVID

That picture you were painting out

in the yard, Sherry.

SHERRY

Yes?

DAVID

It was of the baby, wasn't it?

SHERRY

Yes.

DAVID

How.Did you have. ah - amio.

You know. One of those tests?

Sherry fiddles with her silver and seems very shy.

SHERRY

Amneocentesis? No. I had a dream.

It sounds silly.

(laughs)

I thought you always wanted a boy.

DAVID

I do?

They both laugh and David reaches for her hand.

SHERRY'S HOUSE, TOMMY'S ROOM, -

there are lots of nice baby things. David, in old work clothes, paints a wall blue, while Sherry in the corner on a stool, tries to fasten a hanging mobile above the new crib.

SHERRY

Do you realize how ridiculous you look?

David steps on the short stool with Sherry and takes the mobile and attempts to hang it.

THE STOOL ROCKS PRECARIOUSLY.

SHERRY

David! I'm going to fall.

David grabs her around the middle and then rests his arms in a hug. David kisses the back of her head and smiles.

DAVID

A brilliant strategy!

SHERRY

It worked, didn't it?

DAVID

(back painting)

What do you mean, "ridiculous"?

SHERRY

Huh?

DAVID

You said I was ridiculous.

SHERRY

I said you "looked" ridiculous.

(turning from her work)

There you are -- superspy.

Painting a wall \--

(giggling)

\-- just like any other poor slob!

David turns, throws a brush at her, missing closely deliberately.

DAVID

And there's the sexy model all the

poor slobs' wives are jealous of - \-

doing the same things they do.

Only not as well.

THE DOORBELL RINGS.

SHERRY

I'll get it.

David hangs the mobile, looks at the crib and then returns to his painting. O.S. Sherry signs for a delivery.

SHERRY WALKS INTO THE ROOM CARRYING A BEAUTIFUL, SMALL, PACKAGE.

SHERRY

I wonder who this is from?

She tears open the card. David shrugs.

SHERRY

(mystified)

It says, "A tisket a tasket, a red and yellow

basket.". What on earth?

DAVID

(taking the card)

Huh?

David tears open the package and finds a silver spoon and a letter addressed to David. Taped to the handle of the spoon, a message scrawled in Spanish.

SHERRY

Well? What does it say?

DAVID

(tearing it off and reading)

It says: "Vaya con dios, nino, de Manuel

y Rosario.

(laughing)

Some good friends of mine, Sherry.

They're betting on a boy too.

David opens the letter and reads it silently.

RAMIREZ V.O

Davy: I hope your little President

of the United States to be is

better looking than his daddy.

I talked to the Tomato -- you've

got a month's leave. You're too valuable

to lose. Besides, you know too much.

Regards, Tortilla Fats.

David laughs and pockets the letter.

SHERRY

(archly)

Too funny to share?

DAVID

No. It's about work.

Not important.

He puts his arms around her, but a shadow crosses her face.

A SOUND STAGE IN HOLLYWOOD.

Sherry sits at the edge of the set having her face touched up by a MAKEUP ARTIST, who looks quizzically at her neck.

MAKEUP ARTIST

I've never seen anything like this before.

SHERRY

My doctor tells me that a lot of

women get them during pregnancy.

The makeup man dabs the spots.

MAKEUP ARTIST

There. That should do it.

Now go get em' and break a leg.

Sherry heads for the set in a regal waddle. O.S. the DIRECTOR AD LIBS a setup for a commercial.

DIRECTOR V.O.

Okay, roll it.

SHERRY

Hi! You know me. I'm Sherry Lynn.

The Shampoo my husband and I always use

is Crown 500. It keeps your hair manageable

all day even in the most strenuous activities.

On the word husband , David in the shadows, winces, turns and walks through the giant doors into the glaring sunlight.

DAVID WALKS ALONG THE SANTA MONICA BEACH -

picks up a piece of driftwood and breaks it, and tosses the pieces into the water. He stops and with a forlorn look, watches the setting sun bathe the waterscape, then picks up another, longer piece and writes –

NOBODY in the sand.

A QUIET, NEIGHBORHOOD BAR, ON THE WEST SIDE OF L.A.

David has been doing a little controlled drinking by the count

of empties on the bar. His words to the BARTENDER are slurred.

DAVID

You know buddy, I might be a nobody,

you know, a chameleon, a man without

shape or form but --

BARTENDER

You said it.

DAVID

\-- but I'll be damned if my kid is

going to be a nobody .

David slams his glass into the bar and it shatters.

BARTENDER

I'm going to get you a ride home, buddy.

A PARK IN FULL BLOOM

David lies against Sherry's stomach on a blanket, a picnic basket at their side.

DAVID

I just felt the little guy move.

(turns to face stomach)

Hi! Can you hear me in there?

(puts hand to stomach)

He moved! He moved! He heard me!

Sherry's hand finds David's.

SHERRY

You'll be a great father, David Carson.

A SERIES OF HIGHLY STYLIZED SHOTS TO APPROPRIATE MUSIC:

SHOWING DAVID ACCEPTING FATHERHOOD.

AT THE DOCTOR'S OFFICE, DOCTOR DODD -

hands David the stethoscope - David listens intently to the heartbeat, then smiles.

AN INFORMAL LAMAZE GATHERING -

with a group of expecting parents, in the living room of an INSTRUCTOR'S house. She AD LIBS breathing and relaxation instructions as -

SHERRY, STRETCHED OUT - on the floor, snuggles against David's shoulder.

SHERRY'S BEDROOM, -

David and Sherry hang the completed portrait of Tommy, which now has a bursting star above Tommy's shoulder, over the bed and in a warm and tender expression of feelings,

THEY KISS.

A LONG SHOT OF DAVID AND SHERRY -

walking down a tree-covered lane in the late afternoon, hand in hand and looking like a commercial for the wonderfulness of all the things expected from childbirth and love.

A BEACH, -

where David throws a football high into the air and then catches it. Sherry sits under an umbrella contentedly watching his every move with the book "A CHILD'S GARDEN OF VERSE" at her side and --

DAVID SLIDES IN, TO AN IMAGINARY TOUCHDOWN -

beside her, then snuggles up to her tummy and AD LIBS an imaginary conversation with the unborn child. "It's going to be a great life. I'll teach you how to fish and swim and play ball and I'm going to cut back on work, maybe even quit."

SHERRY

You believe in fairytales, don't you?

DAVID

Of course. I'm prince charming aren't I?

DAVID AND SHERRY WALKING DOWN A VILLAGE STREET

eating the biggest ice cream cones you can buy with a childlike simplicity.

DAVID

(over music)

I love you, babe.

SHERRY'S FREE HAND - finds it's way to David's back jean pocket.

A PICKLE BARREL in the Farmers Market, where David holds a dripping -

FRESHLY DUNKED PICKLE -

and Sherry moves her head in a "no way" motion.

A GIANT OAK TREE, WHERE SHERRY SWINGS INTO VIEW -

and David, pushing from below, is - LAUGHING and childlike.

SHERRY

(above music)

Higher and higher into the

sky so blue.

THE SUBJECTIVE CAMERA - takes a few swings, leaps and -

SHERRY LANDS IN DAVIDS ARMS .

MATCH DISSLOVES TO:

THE SHORES OF LAKE TAHOE

AS "THE WEDDING MARCH" PLAYS.

DAVID MOVES INTO THE CAMERA -

and carries the radiant Sherry down a set of steps and away from the waiving WELL WISHERS, who include Manny, his gentle wife, ROSARIO (ROSY) and Joe, who looks out of place anywhere but in the jungles.

SHERRY TOSSES THE BOUQUET, - and unbelievably it lands in Joe's folded arms as everyone gets a good LAUGH and in the f.g. -

DAVID AND SHERRY MOVE - on towards their car.

SHERRY'S BEDROOM

DAVID STANDS OVER SHERRY STILL IN BED.

DAVID

Come on, come on. You can't stay in

bed all day. The world awaits.

David throws open the drapes and then the doors and stretches, breathing deeply.

SHERRY V.O.

God, I'm happy.

DAVID

I never knew that life could be so beautiful.

Sherry rolls over and smiles at David. The splotches on her neck are more visible now and David frowns as he sees them.

DAVID

(bending over to look)

The doctor sure these are only

from your pregnancy?

SHERRY

(pulling him down)

Yes. You worry too much.

(beat)

But it's nice.

A TOY SHOP WINDOW -

filled with custom-built models of ships, planes, trains and dozens of hand-painted toy soldiers all in a row.

FROM POV - INSIDE THE WINDOW, DAVID WATCHES WITH FASCINATION.

IN A MODERATELY STEP-PRINTED SEQUENCE:

the "Giopetto" like shop keeper stands in the window and moves with -

DAVID'S POINTED FINGER -

on the other side of the glass, to each toy he picks out as -

SHERRY WATCHES IN AMAZEMENT.

THE WINDOW EMPTIES, ITEM BY ITEM -

until only the leaden toy soldiers are left.

THE OLD SHOPKEEPER LOOKS AT THE TOY SOLDIERS -

and shakes his head as David, hesitates, looks at Sherry, then -

NODS A YES AND THE \-

SHERRY V.O.

You men and your war games.

\- THE TOY SOLDIERS DISAPPEAR.

A WONDERFULLY OLD, CARVED DOOR OPENS - and David laden with packages above his head trundles out with -

SHERRY, JUST BEHIND HIM, -

pulling a shiny red wagon, filled to overflowing with toys.

DAVID

You know we're crazy, sweetheart.

SHERRY

Isn't it fun?

THEY WALK A FEW PACES

Then suddenly, Sherry falters and grabs for David's arm.

SHERRY

(with urgency)

David! Get me to the hospital!

A SHOT OF DAVID FRANTICALLY THROWING PACKAGES

all around Sherry in his small sports car.

THE OVERFLOWING CAR MOVES -

through the city streets with -

SHERRY IN PAIN, -

but trying to keep the toys and packages in the car.

THE FAMILY BIRTH CENTER IN THE HOSPITAL, -

furnished to make one feel at home, with bright wallpaper and casual furniture. DR. DODD a wiry, weasel of a man, with a face that would wilt a flower, flits around the room, giving directions to a NURSE in a nasal, high-pitched voice.

DAVID STANDS BY SHERRY'S SIDE, -

COACHING her with the Lamaze instructions. Sherry CRIES out with pain and David wipes her forehead.

DAVID

Relax. Relax. Now try again.

(beat)

Okay, push. Harder.

Breathe sweetie. A deep breath.

Again, push.

After a beat.

DAVID(cont'd)

Now relax. try it again. concentrate.

David's face reflects Sherry's pain.

DAVID(cont'd)

That's good. Push again. Harder.

Now breathe.

Sherry's face is a mass of painful contortions and then A BABY'S CRY fills the room with excitement.

DAVID

By God, Sherry, we did it!.

The Nurse places the newborn baby on Sherry's chest, in the same position as in her dream . David takes off his shirt.

NURSE

It's a boy, Mrs. Carson. A darling little boy.

SHERRY GENTLY CARESSES THE CHILD -

against her breasts and then lovingly hands him to David, who holds him against his bare chest in a bonding gesture.

SHERRY

Welcome to the world, Thomas David Carson

She hands the baby to David, who looks at the infant with amazement. The baby SQUALLS as Dodd leaves the room.

DAVID

I'd yell too, buddy.

He gingerly places Tommy back on her chest as she grimaces in pain as the unseeing nurse leaves the room.

SHERRY

David, something's wrong . I feel

like I'm lying in a puddle.

David pulls back the sheets to the spreading puddle of blood.

DAVID

What the hell. ?

SHERRY

(almost hysterical)

Where's the doctor?

Where's Tommy?

David unglues .

DAVID

Tommy's right here, Sherry.

(looking around wildly)

The nurse has gone for the doctor,

Babe, hang on!

The growing pool of blood spreads across the sheets between Sherry's legs and she CRIES OUT in pain. David pushes the call button above the bed, then takes Tommy off Sherry's chest. The infant CRIES.

DAVID

(yelling)

nurse. Nurse. NURSE! .

The nurse comes flying into the room, looks at Sherry, pushes the emergency button, and takes Tommy from David.

NURSE

I'm sorry Mr. Carson but you'll

have to wait outside.

David gives Sherry a helpless look.

SHERRY

I'll never leave you and Tommy,

David. Not ever.

David grabs Sherry's hand.

NURSE

Mr. Carson.

DR. DODD AND SEVERAL OTHER NURSES - briskly enter the room, David walks reluctantly to the door and glances back.

DAVID

Sherry, I love you.

SHERRY RISES PAINFULLY - off the bed and blows David a kiss.

THE OPERATING ROOM

Dr. Dodd works frantically over Sherry Lynn, now comatose. IV's and plasma tubes run to her body as they try futilely to stop the bleeding.

DODD

(in desperation)

Nurse. Get Doctors Bradley

and Hodgson in here, immediately!

IN THE HALL

David paces up and down like a caged lion, slamming his fist into his cupped hand. A nurse rushes by him and David hooks her with an outstretched arm.

DAVID

What's going on in there?

NURSE

(pulling free)

Mr. Carson go down stairs

and get yourself a cup of coffee.

It's going to be a long night.

LATER, IN THE OPERATING ROOM, -

several DOCTORS including Dr. Dodd are still frantically working to stop Sherry's hemorrhaging. Sherry's vital signs are failing as indicated by sophisticated instruments hooked up to her. Doctor 1 looks at them with despair.

DOCTOR 1

God damnit, Dodd. Did you

do a biopsy on those splotches?

Dodd shakes his head and the EKG flattens out with a BEEP. Doctor l looks at the EKG, sighs, and stops working. His shoulders sag in defeat. Dr. Dodd looks bewildered and

frightened.

DOCTOR 1

Nurse. I want all the records

on Sherry Lynn - Carson.

OUTSIDE THE COFFEE SHOP -

David, now with coffee, continues to pace and then walks to the cigarette machine, tosses the money in and looks at the headline on the nearby newspaper rack.

INSERT:

MYSTERY SUB TRAPPED IN CARIBBEAN CORAL REEF.

BACK TO:

DAVID'S FIST GOING FORWARD, -

Yes...

\- in a punch of victory, then stopping short as the Nurse moves into view behind him and places her hand on his shoulder.

NURSE

We did everything we could

Mr. Carson, but we lost her.

DAVIDS HANDS FIND HIS

NURSE

Your son is beautiful.

DAVID

(dully)

So was his mother.

NURSE

(cuddles baby

You can take him home tomorrow.

But David is gone.

A CEMETARY, -

on a dreary day, where an ornate burial ceremony in the b.g., is conducted by a Catholic Priest.

SEVERAL TINY ALTAR BOYS -

with curly hair and big eyes swing -

THE INCENSE BURNERS, -

on chains, slowly back and forth, misting the ceremony. Well behind the mourners -

DAVID PULLS HIS HANDS AWAY -

from his red – unshaven face. Dark circles outline his eyes; his hair is total chaos.

THE CAMERA MOVES OVER -

the group, which includes Manny, Rosy and Joe as the Priest gives the last eulogy and -

DAVID - opens a small box, pops a red pill then -

TURNS AND WALKS AWAY.

FADE OUT:

TO THE JUNGLES OF CENTRAL AMERICA.

Subtitle: FIVE YEARS LATER

GRADUALLY, TINY LIGHTS FLICKER AND THEN DIE ON THE BLACK SCREEN. AFTER A BEAT, A VOICE BREAKS THE SILENCE.

BENSON O.S.

Carson. The man responsible for

the death of several Marines in the

capital is "Cajon." Bring him to justice.

CLOSE ON A ZIPPO LIGHTER IGNITING -

and the shadows of several men fade into the screen.

DAVID

Joe. Give me a smoke.

JOE

If you going to take up another nasty

habit, I wouldn't start with these, Bubba.

David grunts.

THE SCREEN FADES TO A DEEPER, "GREENER" BLACK -

the RUSTLE of men moving through the jungle can be distinctly heard for a few beats.

MANNY

(rustling closer)

They're down by the river, Davy.

(beat)

Rosy found a real nice Stanford Grad

student to take care of Tommy.

DAVID

Yeah.

MANNY

She knows an awful lot about children.

Where you going Davy?

(beat)

Anyway her name is Jean Morrow and she'll

be living in your. Damnit Davy. You don't

even care do you?

DAVID

I - don't - do - kids!

A FIREWORKS DISPLAY OF -

blue tracer bullets and fiery explosions lighting -

THE GUERRILLA CAMP BY THE RIVER AS THE -

SURVIVORS run from David and his men. David with machine gun BLARING and enjoying every minute, runs into one of the make shift huts as -

JOE AND THE REST OF THE COMMANDOS -

carefully skirt the huts and the perimeters of the encampment looking for stragglers.

A FIRE-LIT CLEARING -

at the rear of the engagement. Manny works the combat radio.

MANNY

Okay, let's get the hell out of here.

DAVID MOVES INTO THE CLEARING -

pulling MARIA, a soft, beautiful, dark haired wisp of a young woman with fiery eyes and a temper to match. Several younger children follow.

DAVID

Keep an eye on them.

They're dangerous.

MARIA

(pulling away, accented)

No good. no good banditos.

Tu eres la mismo.

Todo gringos es la mismo.

MARIA AD LIBS more lines of vulgar dialogue in Spanish , then spits in David's face. He starts to slap her, then checks. The GUNFIRE is now intermittent.

MANNY

It's okay, muchacha. It's okay.

Soy Americanos. Tu eres libre.

Soy, amigos. Donde is su

pueblo? Ta gusta regressa?

SUBTITLES AS NEEDED:

Maria stops her struggle.

MARIA

I don't believe you.

MANNY

(in English)

David, let her go.

(in Spanish)

You're free Senorita.

MARIA STANDS BEWILDERED, -

then moves away cautiously, the children follow. She bumps unseeingly into the bulk of Joe who practically knocks her over. Joe, steadies her and then removes his hat in his best country Texas manner.

JOE

Sorry Ma'm.

JOE PULLS OUT A CANDY BAR, -

hands it to Maria. She takes it, hesitantly, then shares it with the children. Joe can't keep his eyes off her.

MARIA

(Spanish to Manny)

I was forced from my home

along with my brothers and sisters,

(gathering them in)

to keep their camp clean.

(beat, embarrassed)

Then I was forced against my will

to sleep with "Cajon" their leader.

. And my parents had to bring them

food and supplies to insure our safety.

MANNY

Did you guys understand that?

JOE

(hand on her shoulder)

It's Okay, little missy. Yo comprendo.

MANNY

What happened to "Cajon"?

MARIA

He got out through the tunnels.

.

DAVID SLINKS INTO THE FOLIAGE

MARIA (con't.)

He's in the mountains by now.

MANNY

Did you hear that Davy?

(looking around)

Where the hell's Carson?

TOMMY'S BEDROOM -

PAN over scattered toys and playthings and then STOP on Tommy, five years old, snuggling up to his mother's dog, SMUDGE. THERE'S A TEAR IN HIS EYE, \-

he SOBS, then -

PETS SMUDGE -

in a repetitive motion, similar to Sherry's.

THE DIM LIGHT CASTS SHADOWS ON TOY SOLDIERS -

lined up in battle formations, covering his bed and some of the floor.

THE CAMERA PICKS OUT ONE SOLDIER BY A TROPICAL PLANT AND

MATCH DISSOLVE TO:

DAVID, GUN IN HAND, STALKING THROUGH THE JUNGLE -

as the early morning sun breaks through the trees. David tracks THE CAJON and doesn't realize he's a dozen yards ahead.

A TWIG SNAPS -

CAJON FREEZES.

DAVID FREEZES.

CAJON MOVES FORWARD, -

soaked with perspiration and fearing for his life, moves cautiously. A bird's CAW gives Cajon a start and he pumps the last rounds from his submachine gun into the trees and the gun jams. Cajon fights with his gun as -

DAVID MOVES IN FROM BEHIND, -

CAJON turns, trembling -

A LOOK OF FEAR COVERS HIS FACE.

Speechless, he sinks to his knees, fumbles in his pockets and pulls out a roll of currency. He holds it up to David.

DAVID

(taking the money)

Sure, pal. Mordida. I understand.

DAVID SHOOTS, - the man jerks back, and in rage David shoots again and again, -

CUTTING THE MAN TO RIBBONS.

David bends over and stuffs the roll of money in Cajon's mouth.

THE COMMANDO CAMP AT THE BREAK OF DAWN,

Manny, Joe and several other MEN sit around the camp drinking coffee and talking informally as Maria offers refills.

MANNY

(to Maria)

No, no more.

(to Joe)

Carson worries me, Joe.

JOE

(looking at Maria)

Speaking of Carson, what did he ever

do about that kid of his?

MANNY

Rosy found him a live in nanny.

Its a god-damn shame.

DAVID STRIDES INTO CAMP AS PROUD AS A LION -

and covered with blood. In the clear light, David has visibly deteriorated, his hair is longer, stubble covers his face and his chest is bare.

MANNY

Where the hell you been?

DAVID THROWS THE BLOODY HEAD -

of Cajon into the middle of the men. Every one jumps. Maria lets out a CRY of anguish.

DAVID

(breezily)

There's your god-damn pervert.

David, unconcerned, walks over and pours a cup of coffee.

MANNY

You. you're more of an animal

than they are.

(very harshly)

They're going to take you back

in a cage, Carson.

David sips coffee, his face expressionless.

A SERIES OF SHOTS COVERING A PERIOD OF TIME:

DAVID, hunts rebels, stalking through the rain forest alone.

ANOTHER CAMP -

with different men, David sitting alone eating.

ON A PLATEAU OVERLOOKING THE SEA, -

DAVID sitting, arms on knees, looking somewhat more human, showing pain for the first time, fighting it.

DAVID AT A ROADSIDE CAFE IN A SMALL VILLAGE, -

watching children play in the dusty street. David is dressed in clean clothes, is shaven, and though still not a candidate for most eligible bachelor, the new lines in his face give him a thoughtful, expressive appearance.

MANUEL AND DAVID WALKING A BEACH IN THE EVENING -

in brief companionable silence. David pulls out the pill box and Manny knocks it away with a sweep of his arm.

DAVID

(kicking sand)

I'm sorry, Manny. Thanks for

hanging in there.

MANNY

No sweat.

(beat)

Thing is, amigo, you've lost a

lot. But you still have part

of Sherry. the boy.

(beat)

Don't let him go. like

that asshole Benson -

David stiffens at mention of the name.

MANNY (cont'd)

\- wants you to.

DAVID

What can I do? God help me, I

can't walk out -

(gesturing)

\- on this.

MANNY

A man can always do something .

Do what feels right, amigo

(beat)

And to hell with the rest.

DAVID'S MODEST HOUSE IN SAN FRANCISCO, -

in a bedroom turned into a makeshift study, JEAN MORROW, the new housekeeper/nanny works at a desk. She is about David's age, slender, dark, sad eyes, but attractive. She gives the impression of a bright, sensitive woman who has been hurt,

has withdrawn somewhat and buried herself in her graduate studies. Outside the open door, Tommy, now about four, and with his back to us plays with some large computer-looking toys in the nearby, cluttered living room. The phone RINGS and she picks it up.

JEAN

Hello?

(beat)

I can't. can't hear.

(beat)

Oh, Mr. Carson. Yes, yes.

Just a moment.

(closes the door)

Mr. Carson.

(beat)

He's doing fairly well.

(long beat)

No he's fine, but he does tend to

stay by himself. He's awfully shy

and he doesn't make friends very easily.

Jean takes a deep breath as though bracing herself for what she has to say.

JEAN (cont'd)

Mr. Carson I'm worried. He starts school

this year and he needs you or someone.

I just feel.

The door slowly opens and Tommy, unseen, peeks in.

JEAN (cont'd)

(beat)

I know. He's a very intelligent boy.

so intelligent it scares me.

(beat)

You know I only agreed to stay until

I finished my dissertation.

Tommy silently disappears.

JEAN (cont'd)

(beat)

Yes I'll be here for a few more.

(the phone goes dead)

Hello. Hello?

Jean opens the door and looks at Tommy innocently playing.

JEAN

That was your father, Tommy.

He sends his love.

TOMMY

Are you leaving Jeanny?

JEAN

What ever gave you that Idea, Tommy?

INTERCUT:

A SERIES OF ELAPSED TIME SHOTS IN THE SAME LOCATION:

A PHONE BOOTH OUTSIDE A CRUMBLING ADOBE, WITH DAVID -

talking on the only pay phone in town. About a dozen people of all varieties wait in various stages of impatience.

DAVID

If it's a question of money,

I'll give you anything you want.

A LITTLE OLD LADY -

pounds in anger on the door of the phone booth. David tries to shoo her and listen at the same time. The CROWD fidgets in increasing anxiety over David's long call. ヘ

BACK TO:

DAVID'S HOUSE -

where Jean talks on the phone again with David. As she talks this time, Tommy, sits amidst even more toys and through the window, watches other children flying kites on the Marina Green.

JEAN

I'm truly sorry Mr. Carson.

The boy needs you. He's too

bright for his own good.

THE PHONE BOOTH -

where David in different clothes stands and returns the glares of the now larger CROWD, made up of many of the same people who were in the previous Phone Booth Scene. The same little old lady walks slowly up to the side of the booth and begins to pound as the angry crowd CHANTS in Spanish to get off the phone. In the b.g., Maria and Joe watch in amusement.

DAVID

Jean, I can't get back

there right now.

And an even larger crowd made up of many familiar faces. Now the little old lady pounds on the door with her cane.

DAVID

I'll be home in a week.

Lets talk about it then.

The crowd is agitated this time. The little old lady pushes the booth and is followed by others. The booth rocks back and forth. In the b.g. Joe and Maria double over with laughter.

DAVID'S HOUSE

JEAN

(to Tommy)

Do you want to say "Hi" to your Daddy?

THE VILLAGERS CONTINUE ROCKING THE PHONE BOOTH -

as David tries to talk. A real pandemonium of flying chickens and scrambling pigs.

BACK TO:

DAVID'S HOUSE

JEAN

Hello. Hello.

The phone RINGS dead.

TOMMY

(sweetly)

Can I talk to my Daddy?

THE PHONE BOOTH,

Maria and Joe pull David from the fallen booth and the wrath of the little old lady. Maria shoos away the crowd in Spanish.

JOE

(extending hand)

Why not use the company phone?

DAVID

(staggering out)

Thanks, guys.

(thoughtfully)

Did you know my kid's

a genius?

David shakes the dust from his clothes and Maria grabs Joe's hand affectionately.

JOE

Sure.

(frowning)

Every Pappa says that about their kids.

But very few let their kids know it.

As they walk, Joe lingers and whispers a few sweet nothings to Maria. David walks on, oblivious.

THE CAMP, where David talks with Manny.

MANNY

How's the boy?

DAVID

I've got problems with Jean and Tommy

that won't quit.

MANNY

It figures.

Don't forget Rosy's offer. She'd

love to take care of the kid for awhile.

(chuckling)

Ya, nothing she'd like better.

DAVID

Thanks. I've gotta handle

this myself.

SAN JOSE, COSTA RICA

An early morning , misty haze hangs over a barrio as Manny, Joe and David masquerading as Costa Rican Policemen, carefully work their way down a deserted street like a SWAT team under fire. In the shadows at Manny's side, David looks around carefully.

BENSON O.S.

Carson, The "coyotes" have kidnapped

four American businessmen in Guatemala

City. The Secretary of State would

like to get these men home at the earliest

possible opportunity.

This is a delicate operation.

I repeat a delicate operation.

Carson, your psychological profile

has been under intense scrutiny.

I advise you to be especially careful.

David mouths, to himself "Go to hell Benson".

DAVID

Benson thinks I'm a rogue elephant?

MANNY

No killing, unless absolutely necessary.

David nods as Joe brings up the rear, uncomfortable in a uniform ヘ

much too small.

JOE

Hey, fellas where's the action?

MANNY

Nods (to top of the street).

What took you so long?

JOE

(pulling on tight collar)

Maria. that little filly makes me

happier than an piss ant in a sugar bowl.

(beat)

Are we the good guys or the bad guys?

MANNY

Sometimes I wonder -

THE CAMERA PULLS AWAY AND MOVES UP AND OVER THE ROOFTOPS TO:

AN AERIAL SHOT OF THE BARRIO -

MANNY V.O.

\- and the way Benson plays the game,

even I need a score card.

They are not alone. Another group of a dozen real Guatemalan

POLICEMEN march in a column up another street, leading to the ヘ

same hilltop, while their commander shouts orders to them in Spanish.

THE INTERIOR OF THE TWO LEVEL HILLTOP HOVEL WHERE THE ヘ

HOSTAGES ARE BEING HELD -

THE MORNING LIGHT BREAKS THROUGH THE SINGLE WINDOW OF THE ヘ

LOWER LEVEL.

A group of four despondent looking MEN, tied, gagged and recently beaten, repose in various states as a swarthy, submachine-gun clad, GUARD enters carrying a stinking gruel on a tray. He leaves the door slightly ajar and hushed voices in Spanish can be heard from the other room. An older, gray haired PRISONER slides, unseen, closer to the door as the guard kicks at the other prisoners.

GUARD

Here's your stinking breakfast,

Gringos.

From the other side of the door to the upper level an unmistakable voice AD LIBS in Spanish about getting the best ransom from the USA. The guard pulls down the gags of the prisoners, one by one and places a spoon between their tied hands. He notices the

gray haired prisoner close to the door and shuts it quickly, between belly laughs at the attempts to eat.

GUARD

No - no - no, jefe no like.

GREY HAIRED PRISONER

What's a jefe?

GUARD

(laughing)

Zhe' big boss.

MANNY, DAVID AND JOE CHECKING THEIR WATCHES, -

then moving quickly up the hill towards the hovel. ヘ

MANNY

Okay, guys. By the numbers.

The sharp sound of GUNFIRE comes from the next street over.

JOE

What the hell was that?

I thought this was supposed

to be a surprise.

David moves out without hesitation.

MANNY

Davy. wait.

But the words are too late and he moves out of earshot.

THE HOSTAGE'S HOVEL –

the guard rushes to the upper room on the SOUNDS of gunfire. ヘ

IN THE UPPER LEVEL -

the unmistakable voice of the CAPITAN fills the room. He steps into view, an ugly, officious man, wearing the braided uniform of a high ranking Guatemalan Policeman.

CAPITAN

(in Spanish subtitles)

Move to the windows and fire.

They mustn't take us alive.

The Capitan waits till the three BANDITOS are at their positions, firing at the approaching enemy, then picks up a machine gun and mows them down from the back as

DAVID SMASHES THROUGH THE REAR DOOR OF THE UPPER ROOM, -

rolls, and immediately checks his weapon as the obsequious Capitan turns.

CAPITAN

Ah! Senior Carson, just in time.

You see what a good student I am. I am,

how you say, indebted for your training.

A bandito rolls over with a thud and starts to say "Cap-i-tan" and the Capitan finishes the word with his machine gun.

CAPITAN

Three more dead guerrillas, no?

THE HILL, -

Manny leads Joe in a race towards the gunfire. From another direction, the column of policemen crest the hill.

INSIDE THE BUILDING -

David's knowing blank stare ices the Capitan. Manny bursts into the room and David silently motions Manny towards the door of the lower room. They advance with guns ready and a twisted, sardonic smile breaks across the Capitan's face.

OUTSIDE THE BUILDING -

a real POLICEMAN edges his way around the corner near the entry.

IN THE PRISONER'S LOWER ROOM -

the door crashes in. David, low, moves quickly, followed by Manny, high. Seemingly out of nowhere, the POLICEMAN comes in shooting and hits Manny in the chest as the prisoners duck.

MANNY LIES IN A GROWING POOL OF BLOOD.

MANNY

I made somebody's day, amigo.

Who was it?

Manny looks at the face of the Capitan who smiles, sadly. The Policeman sports a stupid grin, as David tries to stop the bleeding.

DAVID

Take it easy, Manny.

The room is bedlam now, as Joe and the rest of the policemen enter. Joe stares at Manny as the prisoners are freed, then looks at David in bewilderment.

JOE

What God - forsaken son of a bitch –

CAPITAN

(acting outraged)

I will punish him later.

(to a soldier with a walkie - talkie)

An ambulance, stupido. Rapido!

In the general confusion, the Capitan notices the gray-haired prisoner approaching David and moves between them barking AD LIB orders to one of his men.

CAPITAN

Pablo!

(points to the policeman who shot Manny)

Take his gun -- NOW!

DAVID rests Manny's head on his lap and lets his cold stare pierce the Capitan's quick gaze.

OUTSIDE THE BUILDING, -

Manny is loaded into a primitive ambulance. The gray-haired prisoner moves to David as the Capitan watches from a few yards away.

GREY HAIRED PRISONER

The Capitan over there --

DAVID

I know. Now get out of here and

keep quiet.

David jumps into the now moving ambulance and the Capitan waves vigorously.

CAPITAN

Adios, gringos.

(under breath)

Go back where you belong.

A LIMOUSINE IN A WEALTHY NEIGHBORHOOD IN THE EARLY EVENING. ヘ

INSIDE THE LIMO -

CAPITAN

(to an aide)

(Spanish, subtitled)

The yanqui Carson. I think he knows.

But so what? What can he do?

He's a little nobody, a cog in the wheel.

DAVID A FEW HUNDRED FEET DOWN THE STREET -

steps from behind a tree and puts the finishing touches on a set of wires leading to the street.

CAPITAN (cont'd)

Their boss - Benson - wants guerrillas.

(shrugging)

We give them guerrillas. Big ones, little

ones, anything -- C-A-R-S-O-N.

DAVID, WAVES, SMILES AND PUSHES THE BUTTON ON HIS CONTROL

and the limo explodes.

DAVID'S HOUSE IN SAN FRANCISCO - EARLY EVENING

Tommy sits in the middle of the living room floor and simultaneously plays with a sophisticated computer, watches television and shovels down a peanut butter and jelly sandwich. Smudge, at his side, waits eagerly for the leftovers.

A KEY FUMBLES IN THE FRONT DOOR LOCK, -

the door opens and David enters, looking worn and haggard. In the foyer, he yanks off his London Fog and drops his Haliburton. Jean moves quickly from the study to the foyer but Tommy beats her to David's side. Smudge BARKS.

TOMMY

DADDY, Daddy. daddy.

And throws his peanut buttered hands around his fathers legs. ヘ

TOMMY

(above the din of Smudge barking)

Oh, Daddy, I have a new friend -- and

some more software for my computer --

and wait until you see what I built --

David puts his hand on Tommy's head and and motions to the dog.

DAVID

(half-shouting)

SMUDGE!

TOMMY

You already know Smudge.

Remembering, an expression of sadness moves over David's face.

DAVID

(still patting Tommy absently)

I'm sorry, Tom. I've had a long day.

Hold the calls, please, Jean.

JEAN

Tommy, go back and play now.

Your father will see you in the

morning.

Tommy slinks back dejectedly as David just stares as if lost in space.

THE BEDROOM, WHERE DAVID SLEEPS, -

a large lump moves under the bedcovers at the bottom of the bed.

SUDDENLY THERE ARE TWO LUMPS.

The muffled laugh of a child and the bark of a dog wake David with a start. He looks around the room in wild confusion.

Again the LAUGHTER.

DAVID LIFTS THE BEDCOVERS –

and there is Tommy under the covers with a flashlight, reading a comic book to Smudge.

TOMMY

Hi Daddy, can you read us a story?

THE MORNING LIGHT FILTERING INTO A HOSPITAL ROOM

Manny Ramirez lies in bed with tubes and medical instruments everywhere. He is pale, heavily-bearded. Rosario, his wife, strokes his hair, speaking to him in Spanish with a low, musical voice. Rosario is handsomely beautiful - her weathered face reflects a life of love and dignity.

DAVID YANKS TOMMY INTO THE ROOM

TOMMY

Daddy, I'm scared.

Rosy moves toward the door.

ROSY

(smiling sweetly)

It's okay, hijo. Remember. We're your

daddy's friends. Come, lets talk.

I'll bet you know lots of things.

Tommy hesitates then moves forward.

DAVID

How is he?

Rosy shakes her head.

ROSY

Stubborn as an ole mule.

He just doesn't listen to the

doctor.

Manny stirs and painfully rolls to face David. He crooks his finger in a "come here" motion and David moves closer, but not close enough. Manny crooks his finger again and David moves closer until his ear is right by Manny's mouth.

MANNY

(soft to booming)

Davy -- Where -- in the hell

\-- is -- the goddamn -- BED PAN?

Manny, suddenly rises up, grins and slaps David on the back.

MANNY (cont'd)

Like the good book says \--

I have arisen. How the hell

are you Davy boy?

Rosario affects shock.

ROSARIO

Manuel!

DAVID

Well, I'm not a disciple, bearded one.

MANNY

You could've fooled me, amigo

(in a low voice)

I hear that El.

(each syllable)

Cap - i - tan had a bad accident.

In the b.g. Rosy looks up from the corner where Tommy is showing her magic tricks with coins and shakes her head.

ROSY

Manuel. remember what the doctor said.

Talk some sense into him, David.

MANNY

Watch out for Benson, Davy.

(frowning in thought)

That operation down there --

We were set up -- had to be.

DAVID

(frowning)

Doesn't make sense.

Tommy's laughter PEALS out.

TOMMY

That was an eazy puzzle, Rosy. You

know things get easier when your Seven.

MANNY

My Rosy. When she talks to kids

her voice doesn't flicker a flame.

After a beat.

MANNY (cont'd)

Is it all right if she sees Tommy while

you're away, Davy. Think about it.

DAVID

(getting up)

Sure.

(to Tommy)

Let's go, son.

TOMMY

I don't want to go!

As they leave.

MANNY

You're on your own, amigo.

IN THE HOSPITAL CORRIDOR -

where David walks with Tommy. David, bothered by something, slows and stops, gives the boy some coins.

DAVID

Get us a coke, son. There's a machine

around that corner.

TOMMY

(grabbing the money on the run)

Sure.

David goes to the house phone dials then hangs up and walks to the vending machine/newspaper rack area. Tommy fiddles with the coke machine.

DAVID

No coke?

Oblivious, Tommy bangs the coin return.

DAVID

What are you doing?

TOMMY

If you hit this just right.

DAVID

Put the money in, son. Some guy

makes a living off these machines.

TOMMY

(fishing out coins)

Jeez.

David notices a headline on one of the rack papers.

INSERT:

NEWSPAPER HEADLINE: CIA IMPLICATED IN COSTA RICAN KILLING.

David frowns as the coke cans fall.

TOMMY

(offers the coke and laughs)

Better buy it Dad.

(indicating paper rack)

Some guy makes his living writing that stuff.

DAVID'S HOUSE –

where Tommy slinks in and out of the hall closet attaching wires that run from his computer.

INSIDE THE CLOSET, -

he attaches them to a small device which he places on the combination lock of the Haliburton briefcase and numbers -

FLASH ON THE DEVICE'S DIGITAL SCREEN

THE STUDY IN DAVID'S HOUSE -

where David and Jean talk. David is earnest \-- almost pleading -- and Jean's protective shield seems a lot closer to breaking.

DAVID

Won't you reconsider, Jean.

You've been good for Tommy.

(beat, spreading hands)

I don't have anyone else.

JEAN

David, I. I.

(bracing herself)

I'm in an impossible situation.

(looks at door)

I've almost raised the boy as a

mother. In fact, I.

(almost breaking)

I'm not his mother! I took this job to

finish my dissertation. I appreciate it

believe me. It's given me a chance to \--

think -- to --

DAVID

\-- love?

Jean flushes gets up and walks to the window.

DAVID

Your personal life is none of my business.

Jean. You've given me a chance -- a chance to

get myself straightened out. You've given

Tommy a chance too -- to have someone to love.

(beat)

I've asked too much. If you have to go,

I understand.

Tommy walks into the room with feigned innocence.

TOMMY

Jean, who is Masters and Johnson?

JEAN

Not "is." Are.

TOMMY

Huh? Are what?

David and Jean break into laughter.
JEAN

It's okay Tommy.

(to David)

Now you see what I mean.

DAVID

Tommy, can you leave us for a few minutes?

JEAN

Let him stay, David. He should know.

I'll stay on.

(beat)

But only on the condition that we set

a time limit.

Tommy throws his arms around Jeans neck.

DAVID

Thanks, Jean. I promise.

THE SAME ITALIAN RESTAURANT

Tommy sits twirling his spaghetti as David struggles to express to Tommy the feelings he has kept pent up for so long.

DAVID

Tommy!

TOMMY

(twirling absently)

Yes Dad.

DAVID

You haven't heard a thing I said.

I wanted to tell you why I.

Tommy moves closer to his father and with a fork full of spaghetti throws his arms around David and hugs him.

TOMMY

It's no biggee, Dad.

DAVID

(Tommy pulls back)

Tommy, I love.

David catches Tommy's pensive look then turns to see the spaghetti draped over his jacket. A smile breaks across David's face. Tommy laughs and David gathers him into his arms.

TOMMY

I know Daddy. Please stay home.

A PRIMITIVE BAR SOMEWHERE IN CENTRAL AMERICA

Where David sits solitary in a group of greenhorn American COMMANDOS and military advisors, who will shortly join him on a raid. Joe and Maria sit near David and his pile of empty bottles, cooing at one another.

JOE

Okay, try it again, little missy.

Joe. Joe Bob Baker.

Maria tries, but her J's sound like H's.

JOE

Pretty good. Again.

MARIA

Hj-yo Bop Baker,

J-yo Bob Baker.

(staccatto)

Joe Bob Baker, Joe Bob Baker,

JOE BOB BAKER.

MARIA

(with glee,turning to David)

I got it. I got it.

David, is not that wonderful?

DAVID

Joe Bob. Everybody in Texas have

two first names?

JOE

Naw. My brother's name is Keeper.

That's what you call a fish when

he's to big to throw back in.

DAVID

(looking at Maria)

What are the people back in Moosejaw or

where-ever, going to say about Maria?

JOE

It's Muleshoe. Muleshoe, Texas.

How many times have I got to tell you.

I dunno. I just might stay down here.

With a little persistence and some

elbow-grease a guy could make out.

DAVID

(fiddling with beer)

You thinking of gettin out?.

JOE

I'm tired, Bubba.

I don't know whether I'm comin or going.

(beat)

You ought to think about it too,

buddy, before they carry us both out

in coffins.

(beat to no response)

How's that kid of yours?

DAVID

Okay. I guess.

(beat)

Let's hear another English lesson.

JOE

(winks)

Watch this.

(turns to Maria)

Hey muchaca, let me hear you give out

with that old Rebel Yell.

MARIA

Ya -- Hooo.

The other Americans LAUGH and AD LIB.

DAVID

(looking over group)

You think these guys are going

to be all right?

JOE

I dunno. Ask Benson, he sent 'em.

DAVID

I don't like working with guys

I've never seen before.

JOE

I miss Big Daddy.

DAVID

So do I,

(in thought)

So do I.

DAVID'S HOUSE, TOMMY'S BEDROOM,

which is decorated in early Salvation Army and kid modern. Tommy talks on a toy military headset, amidst piles of toys and keepsakes from Disney and the movies. Dozens of tiny models of planes and spaceships hang from the ceiling and a toy train runs on a fancy layout in the corner. The place HUMS and Tommy picks up a model of a -

SUBMARINE -

and places it on the railroad track and picks up a paper Stamped in Red -

TOP SECRET.

TOMMY

Blue Fox leader interdict combat

team red four and proceed to destination

Tortuga in the Caribbean.

THERE IS A SOFT KNOCK ON THE DOOR -

JEAN

(enters)

I thought you were working

on your math problems.

Tommy points to the blackboard where the algebraic equations have been handily solved and sets the Top Secret Paper down, blank side up. Manny and Rosy poke their heads in the door behind JEAN.

JEAN

Tommy, some friends of your father --

TOMMY

(rushing)

Rosy, Rosy. I've got some new tricks

to show you.

They end up in a hug as Manny moves weakly into the room.

MANNY

Buenas dias, Tomas.

TOMMY

Ola, Manuel. Did the ort-is-cop-ic

(mangling "arthroscopic")

surgery get all of the bullet fragments?

MANNY

Si sen~or. I'm as fit as a fiddle.

The toy train crashes into the submarine.

TOMMY

(panicked to headset)

Blue Fox leader abort mission,

report to Benson at Langley.

I repeat, report to Benson at

Langley. Petrovsky has our number.

MANNY

(amazed and wondering)

Tomasito, who taught you that?

Tommy looks at Manny with a blank stare as Manny pats him on the back.

MANNY (cont'd)

That's not a funny game.

ROSY

The child's only playing, love.

THE HOT COMMANDO TRAINING CAMP IN THE CENTRAL AMERICAN JUNGLES

A jungle war training the course made up of tires, logs, nets and ropes etc. David finishes then stops and pulls out a stop watch as Joe finishes and moves beside him.

DAVID

See how it's done. Okay Bernstein, you

first, then the rest.

The commandos, in shorts and college T-shirts, move to the line.

DAVID

Go!

The men stumble through the course, some exceeding, but most don't come up to the expectations of David and Joe.

JOE

This is bad, Bubba.

Shii-eet, we'd be better off with

my rag-tag bunch of chicanos.

(beat, then in different voice)

David?

DAVID

Yeah?,. Okay, go.

(presses stopwatch)

JOE

David?

In b.g. a trainee staggers and falls into the tires.

DAVID

Goddamn Benson's Ivy leaguers.

(to Joe)

What?

JOE

Take care of Maria, will you?

I want my little rug rat to grow

up in the USA.

DAVID

What are you talking about?

JOE

My kid, David. My kid.

DAVID

Your what ?

JOE

Maria's pregnant.

DAVID

Good God, Joe. You want to bring a

kid into this kind of world.

David stops in mid-sentence as both he and Joe realize the stupidity of the remark, and look at one another.

DAVID'S HOUSE -

where Tommy works on a project in his usual place in the middle of the living room floor; television blaring, cookies, milk and sophisticated toys scattered all around. Smudge licks the milk glass. A maze of wires and various pots and pans and

other resurrected parts are being laboriously assembled to the top secret plans of the "atomic" device in David's papers.

Jean walks into the room and backs in front of the television, then turns it off. Tommy looks up, startled by the silence.ヘ

JEAN

Young man, the living room is

no place for these things.

Tommys quickly shuffles David's papers under some paraphernalia.

TOMMY

Jeanny, do all wrist watches have

radium on their dials?

A BUNK ROOM INSIDE A SUBMARINE IN THE CARIBBEAN, -

where David dons the last of his commando gear, then opens the -

HALIBURTON BRIEFCASE, - pulls out a water proof envelope and examines it methodically.

DAVID'S LOOK TURNS WORRIED, - he ruffles through the top-secret papers again and again .

DAVID

(worried)

Don't tell me, I couldn't have.

THE MARINA GREEN - SAN FRANCISCO

Tommy, wearing a school uniform, sits with with several classmates gathered around him. He shows them the plans he has taken from David's briefcase.

TOMMY

My Dad's real important.

See, these plans are marked top

secret.

LITTLE BOY

You don't know what it says.

LITTLE GIRL

Gee Tommy can you read that.

TOMMY

I can do better than that.

I building it at home for my Dad so

he won't have to work so hard.

LITTLE GIRL

You must be really lucky to have such

great parents.

THE MISSION:

TWO - MAN RAFTS ON THE SEA, BENEATH OMINOUS CLOUDS.

DAVID, JOE AND THE GREEN HORN COMMANDOS

in war paint paddle away from the USN SUBMARINE in the b.g. David looks up at the thunder clouds.

BENSON O.S.

An atomic device has been stolen from one of

our NATO friends, Carson. We want it returned.

Quickly.

JOE

Can you read those deactivation plans, Bubba?

With that, several large droplets hit the raft. Everyone paddles faster as the rain falls in sheets. Now the rain pours so hard that its difficult to keep sight of the other rafts, which bob in and out of the giant swells.

DAVID TOSSES A LINE TOWARD ONE OF THE BARELY VISIBLE RAFTS.

DAVID

(shouting)

Lash yourselves together!

They paddle and bail, fighting the storm for their lives.

TOMMY'S BEDROOM, -

the computers and other toys have been moved into his bedroom, in contrast to his previous run of the house. Jean moves into the room where Tommy sits dejectedly with Smudge.

TOMMY

Jeanny, it's not fair. You always

let me play in the living room.

JEAN

(moving to Tommy)

I know it's not fun, Tommy, but you need

discipline and balance. You're older now.

She sits down beside him and rubs his curly locks.

TOMMY

Jeanny, what's balance?

JEAN

You may be to young to understand this.

Balance means keeping things in perspective.

Life is series of opposing forces. ヘ

The more experience you have

the better able you are to deal with them.

TOMMY

Oh, I see. Balance comes with experience

and experience comes with mileage.

JEAN

(laughing)

Something like that.

(pats his head again)

Balance is something we all could use

a little more of.

TOMMY

(looking up to her eyes)

You know Jeanny, you're the only person

who ever explains anything to me.

A LONG SHOT FROM THE TOP OF THE WATER, OF DAVID'S RAFT, IN ヘ

MOONLIGHT, LONELY AND DRIFTING WITH THE CURRENTS.

The storm has let up, not another raft is in sight. David, worn from the storm, pulls the raftless rope in and -

EXAMINES THE WAY THE ROPE HAS BEEN CLEANLY CUT, -

and then gives a predetermined code whistle, but there is no answer. Joe is impassive.

DAVID

I knew it. I felt it in my bones.

THE SUBJECTIVE CAMERA UNDERWATER (AS AN ENEMY FROGMAN) -

looms up towards the dark bottom of the raft with it's two paddles breaking the water in rapid strokes. A knife blade flashes in the f.g. corner SCREEN.

JOE

They could of gotten lost

in the storm.

DAVID

I don't think so.

The raft slowly deflates. The HISS of escaping air grows louder.

THE SUBJECTIVE CAMERA IS HALF IN AND HALF OUT OF THE WATER -

as Joe trying to keep his balance on the rapidly sinking raft, fires rapidly at THE CAMERA. David stays low and removes his shoes and clothes.

JOE

They're all around us, Bubba.

A BULLET SPLASHES DIRECTLY IN FRONT OF THE SUBJECTIVE CAMERA.

and there is a GROAN.

JOE

Ya-hoo. I got one.

A DIVER FIRES A SPEAR GUN BEHIND JOE, -

and he bends forward, hit in the back and slumps into David's arms in the sinking raft.

JOE

David, you'll --

DAVID

Don't talk, save your --

JOE

(sweetly)

Take care of Maria.

and my kid.

Remember your prom.

David nods as Joe dies in his arms. David silently slips off the remains of the raft into the water.

DAVID DIVES TOWARD THE SINKING BODY OF THE DIVER, THAT JOE SHOT.

THE OTHER DIVER, - sees that David is now under water and goes after him as -

DAVID, -

now quickly swims as fast as he can to the body of the dead diver as -

THE OTHER DIVER -

closes in on him and fires his spear, which grazes by David's ear as -

DAVID -

reaches the body of the dead diver and uses it as a shield for another spear gun barrage. David's face is dark from lack of oxygen and -

THE OTHER SPEAR GUN RESTS FAR BELOW, ON THE BOTTOM.

DAVID -

takes a quick breath from the dead diver's regulator and then moves toward the bottom and the spear gun as -

THE OTHER DIVER -

takes his last shot, misses and moves forward knife in hand. ヘ

DAVID AT THE BOTTOM - picks up the spear gun, and as -

THE OTHER DIVER, LUNGES, -

he receives David's shot in the chest.

DAVID'S HOUSE, TOMMY'S ROOM.

The partially completed "bomb" has now been moved to a corner as Tommy scrapes -

THE RADIUM FROM VARIOUS WATCH DIALS -

and there is a knock on the door.

JEAN

Tommy, Manny and Rosy are here.

TOMMY

(moving to the door, rapidly)

Oh great!

Tommy "secretly" opens and closes the door, then runs towards Rosy, but Manny, now completely healed, intercepts and tosses him high in the air, then drops him gingerly.

MANNY

Tomasito.

TOMMY

I'm glad you guys are here.

There's no one around to play with.

MANNY

Hey Tomasito, Rosy cooked your favorite.

TOMMY

(mouth watering)

Tamales and empaner-diters.

MANNY

Empanaditas? Si, practica, Tomasito.

ROSY

Oh Manny, we only see the boy once

a week. That's not often enough

for him to learn Spanish.

(beat)

Come Tommy, help me get these ready.

(to Jean)

Is that all right with you Jean?

JEAN

All right? It's a pleasure.

They move toward the kitchen but Tommy lingers and grabs Manny by the hand and pulls him towards his bedroom.

TOMMY

Excuse me. Excuse me.

(getting attention)

I have to ask Manny some questions.

We'll be back in a minute.

MANNY

Why so serious, little one?

Tommy opens the door to his room and closes it secretively, whispering:

TOMMY

You and my dad work for the same company

don't you?

Manny acknowledges Tommy with a nod.

TOMMY

Do you know where I can get

some uranium?

MANNY

(astounded)

What do you need uranium for?

TOMMY

I'm building a present for my dad.

I tried scraping radium off of watch dials,

but I can't get enough. so I went to the

library and found out that I need uranium.

MANNY

What are you building?

Tommy proudly points to the corner of the room. The nuclear device, almost completed, pulsates between two mountains on the train layout.

TOMMY

Isn't it neat?

It's a nuclear device. Dad

needs it in his work.

Tommy hands the Top Secret Document from the briefcase to Manny, who almost faints at the sight of it.

MANNY

A WHAT?.

Where did you get this paper?

TOMMY

From my dad's briefcase.

MANNY

You opened your dad's briefcase?

TOMMY

(sheepishly)

I was trying to do something nice

for him, so that he would -- would love me.

(Tommy's head drops)

Manny moves closer to the boy, puts his arm around him and looks at the secret papers, shaking his head.

MANNY

You've put your father in

danger, son. I know you didn't

mean to, but --

Tommy breaks into tears and Manny hugs him.

MANNY (cont'd)

Your daddy loves you and you know

that Rosy and I do too.

Manny looks at the papers and shakes his head. ヘ

THE EARLY MORNING - DAVID SWIMMING QUICKLY.

He discards the borrowed air tank. In the distance -

THE SUBMARINE -

waits patiently for the commandos to return.

DAVID -

striving for speed, discards his remaining clothing and the spear gun. The sub's engines start and as he nears the sub, it slowly moves.

THE CONNING TOWER OF THE U.S. SUBMARINE, -

where a lone SEAMAN keeps watch.

SUB COMMANDER V.O.

(on loud speaker)

Anything yet?

SEAMAN

(into speaking tube)

No more rafts in sight, Sir.

COMMANDER V.O.

All right, prepare to dive.

The diving klaxon SHATTERS the waterscape. David, swims like mad and AD LIBS pleas "to wait" as the sub dives under the surface just in front of him. David traces the sun's path with his finger and then slowly and methodically starts a slow swim pace in the opposite direction. In the far b.g., a shark's fin breaks the surface.

LATER IN TIME,-

David swims at an even slower pace. The hot afternoon sun beats ヘon his brow. Flying fish whizz past his head and -

SOMETHING BUMPS HIM -

from underneath, almost throwing him out of the water.

A SHARK FIN BREAKS THE SURFACE -

and moves around David, curious. David grabs his knife, puts it in his teeth and pushes his swimming to the limit. To his rear and unseen by David a -

MILITARY HELICOPTER - ヘ

crosses his trail, hesitates, then flies on. ヘ

DAVID'S HOUSE

The kitchen phone rings and Jean, Manny and Rosy are finishing supper in the dining room. Tommy, red eyed from crying, races past them as Jean rises from the table.

TOMMY

I'll get it, I'll get it

MANNY

(catching Tommy as he passes)

Wait, Tommy. Did you take that

thing apart?.

TOMMY

It's in the trash.

Tommy reaches the phone on the third ring, fumbles and then picks up the receiver as Jean moves into the room.

TOMMY

Hello. No, but this is Thomas Carson.

Mr. Benson?

(pause for unheard dialogue)

Miss Morrow is here, sir.

Yes Mr. Benson.

The boy hands Jean the phone.

TOMMY

It's Mr. Benson from Washington.

He wants to talk to a grownup.

JEAN

Jean Morrow here.

(long beat)

I see. Yes.

(beat)

No. I'll take care of it.

Jean hangs up slowly, looks at everyone, then at Tommy.

JEAN

It's your father, Tommy. He's missing.

Tommy sobs uncontrollably as Jean moves to his side.

TOMMY

My Daddy's missing and it's all my fault.

Jean bends and gathers Tommy in her arms.

JEAN

Don't say that, Tommy. Of course it

isn't your fault.

TOMMY

It is too! I took his papers.

IN THE DINING ROOM -

where Manny and Rosy are finishing dinner and discussing Tommy.

ROSY

I think Jean could use my

help. It would give her more

time to - -

Tommy runs into the dining room sobbing.

TOMMY

Manny, my daddy - he's missing!

DAVID IN THE WATER AT DUSK –

as the shark has now left and a group of friendly porpoises play around David's painfully slow swim. A sailboat sails against the sunset far in the distance and David uses his last

energies to try and hail it.

BENSON'S OFFICE AT LANGLEY -

where Manny sits across the desk and they discuss David's disappearance.

MANNY

You know damn well those guys may still be

alive. What happens next?

Benson shrugs delicately, examines his fingernails.

BENSON

Nothing, Ramirez.

(beat)

We're doing what we can.

Given the circumstances.

MANNY

(sarcastically mimicking)

"Given the circumstances", I'm

going down there.

BENSON

(smoothly)

No you're not. You're going to Berlin.

(eyes down at papers)

Seven-Three-Oh twelve hundred.

Manny flushes in anger, rises, stands over Benson's desk, and sweeps the papers off the desk.

MANNY

Don't "Oh twelve hundred" me ,

you little suck - up. I know where so

many bones are buried I'll make you

a graveyard. You'd hire the devil

if he'd suit your purposes.

Benson taps his pencil in a staccato. ヘ

MANNY (cont'd)

Your Capitan friend we wasted down there.

the big anti - Communist - does the Chief

know that he snatched those hostages?

The press - not to mention your buddies on

the Hill would love that.and what about

the drugs.

BENSON

(trying to bluff it out)

You're speculating, Ramirez.

MANNY

Try me, tiger.

(as though remembering)

The Sherry Lynn thing out on the Coast.

You terminated her career.

If Carson's really gone,

and that got out --

BENSON

Carson's Oh Dee'd, .He's a madman,

Ramirez. You know that.

(beat, then shrugging)

If you want to have a look, go ahead.

But you damm well are on your own.

MANNY

Where did the raid originate?

Benson points at the wall map.

INSERT: A MAP OF THE CARIBBEAN

THE CAMERA MOVES TO A TINY SPOT; THE ISLAND OF DRY TORTUGA.

EARLY MORNING, -

where David lies at the edge of the surf in front of an old Spanish colonial, brick fort that covers the whole island.

DAVID MOVES -

his head, then falls back as COMMANDANTE UNO, a tall, imposing

man wearing riding boots and an SS style cap moves toward him, flicking a riding crop and holding a large Doberman on a leash. He is followed by two SOLDIERS.

DAVID struggles up as far as the -

RIDING BOOTS AND THE GROWLING DOBERMAN -

COMANDANTE UNO

Ah, Mr. Carson. We've been

expecting you.

DAVID

(then mutters weakly)

Some water --

The Comandante easily rolls him over with his boot, then pulls the waterproof envelope from Carson's clothing. He tosses David's pill box into the sea as David watches in anguish.

COMANDANTE UNO

You won't need those, Mr. Carson.

Take him away and get some life

back into him. After all we can't

mistreat our guests.

The soldiers pick up David and move toward the Fort as -

THE DOBERMAN GROWLS -

and then nuzzles up to the Comandante' who twists and lights a Russian cigarette, then walks slowly toward the fort, where a lone SEAMAN keeps watch.

A SAN FRANCISCO EVENING AT CHRISTMAS TIME -

DAVID'S HOUSE -

Rosy rearranges ornaments on the Christmas tree, as Manny silently enters, moves behind her noiselessly and kisses her on the neck and puts his arms around her.

ROSY

(startled, taking his hands )

Manuelito.

MANNY

I thought you'd be here.

ROSY

(turning)

Feliz Navidad, Manuel.

(wiping away a tear)

Tomas has no one.

(beat)

And now you're leaving. . .

MANNY

(a rough but tender hug)

Wish me luck, novia.

ROSY

Buen suerte, mi amor.

And gives him a hug and Manny moves to the door.

ROSY (cont'd)

Aren't you going to say goodbye to the boy?

MANNY

(shaking his head)

It's better if he knows nothing.

Manny leaves through the kitchen door. After a beat.

ROSY

(to other room)

Tommy. You can put the star on top.

Tommy - mechanically - moves into the room, climbs the ladder and places the shining star on top of the tree without enthusiasm.

INSIDE THE OLD SPANISH FORT, -

David sits next to the Comandante in the banquet hall at a large baronial table. Two GUARDS stand rigidly by the door, under tall banners. A waiter sets a heaping plate in front of the silent and emaciated Carson and then pours wine.

COMANDANTE UNO

Enjoy your supper, Mr. Carson.

(beat,lifting wineglass)

A good vintage.

DAVID

(cutting, sarcastic)

Comandante Uno. You're one of the

freedom fighters the people at home

read about --

COMANDANTE UNO

(drily)

As they say --

DAVID

Why are you holding me here?

COMANDANTE UNO

Holding? Let's say it's a little

friendly detention.

David stares without expression.

COMANDANTE UNO (cont'd)

You have some papers that

we need very badly.

DAVID

What kind of papers?

(pulls out empty envelope)

I have nothing left.

COMANDANTE UNO

Then I trust that you have a very

good memory.

DAVID

What are you talking about?

COMANDANTE UNO

The nuclear device, my dear David.

DAVID

You have it?

COMMANDANTE UNO bows slightly, studies David over his wineglass. After a beat,

COMANDANTE UNO

I also have a problem. We have

inadvertently triggered the timing

mechanism. It goes off in five hours.

David rises involuntarily, staggered. The guards move his direction threateningly. Comandante Uno mimics a toast with his wineglass.

A DUNGEON UNDER THE FORT -

where David tests the length of his leg shackles. He shakes visibly. Crudely made Christmas decoration hangs from the ceiling and against the wall sits the -

NUCLEAR DEVICE -

armed and counting down minutes and seconds on a green digital clock. Only four hours and forty minutes to go.

COMANDANTE UNO .V.O.

You will disarm the device for us,

David.

DAVID

(to cell door)

Guard. guard.

The guard pokes his head above the door opening.

GUARD

Si senor.

DAVID

Tell Uno to call his buddy,

Benson at Langley.

The guard looks uncomprehendingly and slams the window. David takes a long hard look at the small hand tools lying near the device.

THE COMMAND QUARTERS OF A SUBMARINE, UNDERWATER

where Manny talks to the CAPTAIN about his mission. Simple holiday decorations are evident.

CAPTAIN

I can't put you on the beach now.

Guillermo will tear you to ribbons.

MANNY

GUILLERMO? Who the hell is Guillermo?

CAPTAIN

What.

MANNY

WHAT, WHAT?

CAPTAIN

It's WHAT the hell is Guillermo.

The Captain starts to chuckle.

MANNY

Okay. What the hell is Guillermo?

CAPTAIN

A tropical storm.

MANNY

So. What's a little wind?

CAPTAIN

(into com. system)

Bosun. What's the reading on the surface?

BOSUN V.O.

One hundred and ten knots per hour, Sir.

MANNY

How long before it breaks?

CAPTAIN

(shrugging)

Six, maybe seven hours.

THE DUNGEON UNDER THE FORT -

where David sits morosely in a corner, seemingly unconcerned with the Device whose clock now shows one hour and fifty minutes. The wind, now fierce, howls through the corridors.

COMANDANTE UNO

(from the door)

Mr. Carson. You have a responsibility

to your country to disarm the device.

He holds several red pills.

DAVID

So you can free your people?

(laughing)

You're German, Uno, but you know

what mordida is, don't you?

You want to know what my mordida

is? A call to the New York Times. Now.

COMANDANTE UNO

Then die in shame, Mr. Carson.

Comandante Uno clicks his heels turns and walks away.

DAVID'S HOUSE, -

Rosy takes Tommy by the hand and walks towards his bedroom with milk and cookies. Tommy wears his dad's Stanford T-shirt, which drops past his knees.

ROSY

(to Jean, o.s.)

I'm putting Tommy to bed, Jean.

JEAN (O.S.)

Thanks Rosy.

Tommy's room is a lot cleaner now, but still cluttered.

ROSY

Tommy, has anyone ever taught you to pray?

Tommy shakes his head no. Rosy moves to her knees and Tommy follows.

ROSY

Madre - de - Dios, please protect - Manuel

and David - from danger - and bring

them back - safe and sound.

Tommy repeats every word and a tear rolls down his cheek.

TOMMY

And God, please pray for my Mommy

in heaven.

THE SUBMARINE BRIDGE, - Manny paces the deck in circles around the Captain. The bosun watches the instrumentation.

FLASH TO:

THE BOMB'S CLOCK showing twenty minutes.

BACK TO:

CAPTAIN

Go down and get some sleep.

We'll call you when Guillermo

lets up.

MANNY

Bosun, what's the weather topside?

The BOSUN looks at the captain who nods an approval.

BOSUN

Twenty one, point seven six miles

per hour. We're in the center of the

storm.

MANNY

Get me up there right now.

I have a funny feeling in my gut.

CAPTAIN

We can't do it, Goddamnit!.

It's the eye of the hurricane.

Within five minutes the winds will --

MANNY

That's all I need.

THE FORT -

Comandante Uno and a few men brave the wind and run towards a small seaplane beached on the island with it's engines revving. Commandante Uno looks back at David's cell window.

COMANDANTE UNO

Stupid gringos, they'll never

understand.

MANNY AND A COUPLE OF OTHER SEAMEN -

on a raft in the heavy seas that seem beyond human capability.

SEAMAN

(yelling)

You're going to kill us. Ramirez.

Manny - green himself, glares at him, grunts and then hangs his head over the side.

DAVID'S CELL -

Above his sleeping body there are only minutes left.

TOMMY'S BEDROOM –

the shadowy figure of Tommy moves from his room and down the hall.

THE CHRISTMAS TREE LIGHTS blink softly against the wall. Suddenly, Tommy turns on his battery - powered lantern and with Smudge at his side, he looks exactly like the "forties," Fisk ad, "It's time to retire." He moves into Jeanie's room. She stirs, then rises with a start.

JEAN

Tommy! You startled me.

She turns on a bedside lamp. There are tears in Tommys eyes.

JEAN (cont'd)

What's wrong.

TOMMY

I couldn't sleep. I'm scared.

JEAN

Did you listen for the sandman to say

Ho Ho Ho, Tommy are you asleep?

TOMMY

I tried and tried. but all

I could hear were the fog horns and

they sounded like Daddy, Manny, and

Santa Claus all talking at once.

THE HALLS OF THE DUNGEON -

where the wind whistles an un-godly SOUND and the sinister shadow of Manny moves ominously along the slimy block walls.

DAVID IN HIS CELL –

in a fetal position, staring at the weathered limestone blocks.

THE BLOCKS -

waver, then form the outline of a face, then waver again.

DAVID watches, then hits his head.

THE BLOCK SLOWLY TAKES ON THE FACE OF SHERRY

SHERRY

(V.O,echoing)

Higher and higher into the sky so blue.

The most wonderful thing a child can do.

Sherry swings up and up with Tommy on her lap.

THE IMAGE FADES

DAVID

(husky)

NO, Please. Don't go.

Don't take Tommy, Oh God.

DON'T LEAVE.-

THE CELL DOOR creaks open.

MANNY O.S.

\- Why should'nt I leave you.

You dumb sonna of a bitch.

You walked right into a .

Manny sees the nuclear device and the clock.

ONLY FIVE SECONDS REMAIN.

MANNY

DAVY, what the hell have you done?

Carson motions Manny to come closer with his finger. His catatonic stare goes through Manny, who freezes in fear.

THE CLOCK COUNTS DOWN -- THREE -- TWO -- ONE \-- ZERO

MINUS ONE -- MINUS TWO -- MINUS THREE.

DAVID'S LAUGHTER PEELS THROUGH THE ROOM.

GOLDEN GATE PARK ON A CLOUDY DAY,

where children play in the beautiful gardens and ride the carousel. Tommy and a friend play with the latest radio controlled off road cars.

FRIEND

What are you doing for Christmas, Tommy?

TOMMY

I dunno. The usual, I guess.

You need to adjust your camber.

As they race the cars a sad look comes over Tommy's face.

FRIEND

I'm going to Hawaii with my mom

and dad.

They both rises as the cars come closer to the finish line. Several other children gather around and in the AD LIBBED excitement Tommy grasps his neck then falls forward with the control in his hand.

FRIEND

What's wrong Tommy?

TOMMY

I'm all right but my neck burns.

A group of children gather around Tommy's prone body. He struggles to get up.ヘ

A MONTAGE OF SHOTS:

THE UNION SQUARE AREA OF SAN FRANCISCO

IN A DOCTOR'S OFFICE -

the joyous sounds of the Christmas season RING up from below the window. The doctor applies ointment to a blotch on Tommy's neck, nods his head in to Rosy then leads Tommy to the door and hands him a candy cane.

AT A SALVATION ARMY POT ON THE SIDEWALK, -

Tommy tugs Rosy to a stop and puts in a donation.

ALONG STORE WINDOWS JAMMED WITH EVERY GOODIE A KID EVER WANTED -

Tommy and Rosy turn and walk through the aisles of an elaborately decorated department store on their way to see Santa Claus. Rosy checks Tommy's list of presents and sees:

MY DADDY HOME, underlined.

AT SANTA'S THRONE -

Tommy ducks shyly into Rosy's skirt, then reluctantly climbs on Santa's lap as Rosy shoos him on. The glare of a flash bulb blinds Tommy as Santa asks what he wants for Christmas and Tommy mouths my D - A - D - D - Y.

OUTSIDE DAVID'S HOUSE - KICKING A TIN CAN -

in a soft drizzle as Christmas lights reflect from the puddles.

IN DAVID'S HOUSE -

MAKING CHRISTMAS COOKIES.

THEN DECORATING THE CHRISTMAS TREE

Tommy picks at the blotch on his neck, slowly climbs the ladder and puts the angel on the top, almost loosing his balance.

TOMMY RUNS TO THE FRONT DOOR IN HIS NIGHT CLOTHES -

throws it open, expecting his father, but it's Manny. Tommy's disappointed expression changes as Manny sets his packages down, grabs Tommy's face and kisses his forehead.

TOMMY

Where's my Daddy?

Manny shrugs an I don't know. Rosy runs to Manny's embrace.

MANNY

Rosy.

ROSY

Manny. Did things go well?

(he nods)

IN HIS ROOM - TOMMY LISTLESSLY PLAYS WITH TOYS -

that once brought pleasure. His movements are slower and he picks at the spot under his sweater.

AT BEDTIME -

Tommy drowses off to sleep with a medical book in his hand.

IN THE MORNING -

Tommy is out cold as Jean and Rosy both try to awaken him.

JEAN

Come on Tommy, rise and shine.

ROSY

Come on Bambino.

It's time for breakfast.

AN AIRPLANE AMONG THE CUMULUS CLOUDS ABOVE THE CARIBBEAN, -

David stares pensively at the shimmering sea and cloud formations. A few fluffy clouds assume amorphous shapes, blotting out the rest of the sky. A collage forms in the sky, as David reminisces.

A SERIES OF DREAM SHOTS:

ON A JUNGLE ROAD, David's jeep moves rapidly past a collection of peasant houses and enters a clearing in front of -

MARIA'S HOUSE.

David turns off the motor. There is no life other than the relentless CROWING of the rooster. He walks toward the house, hesitates at the door, knocks, then knocks again.

THE DOOR opens slowly and MARIA'S MOTHER, dressed in black appears. Her face is ageless, chiseled in sorrow.

IN A DREAM-LIKE pantomime, we understand the grief and sorrow.

DAVID takes his helmet off, looks down and speaks.

MARIA'S MOTHER listens without expression, then makes the sign of ヘ

the cross on herself and disappears for a moment.

MARIA APPEARS IN THE DOORWAY, dressed in black and as pregnant ヘ

as one can get. DAVID'S look expresses his deep anguish as - MARIA gently puts her and on David's lips to shush him, tears well from her eyes. David hands her an -

AMERICAN VISA and an envelope we can presume is cash.

She disappears for a moment, then returns with the well-worn cowboy hat Joe always wore and hands it to David, who takes it reluctantly. David shakes his head, Maria insists, he turns to go and Maria hugs him impulsively.

IN THE JEEP, David watches the doorway frame the two womens' sorrow, then drives off and the jeep moves into the clouds.

END OF MONTAGE -

\- BACK ON THE PLANE:

THE STEWARDESS' HAND AWAKENS DAVID FROM HIS REVERIE.

STEWARDESS

Excuse me, Sir. Please fasten

your seatbelt. We're about to land.

The stewardess takes his tipping drink as he wipes a tear.

BENSON O.S.

Carson, you are to report immediately

to Langley for debriefing and reassignment.

A WET SAN FRANCISCO EVENING AND -

A PANORAMA OF UNION SQUARE - THE WONDERS OF CHRISTMAS.

DAVID V.O.

Benson. Screw you.

FROM A TAXI -

David watches a young boy kicking a can along the street and then motions the cabby to pull over in front of a large store.

THE STORE -

where David, like a recalcitrant Scrooge, loads up with practically all the goodies a boy might want - computer games, baseballs and footballs, etc. DAVID, really into the spirit of Christmas, AD LIBS - "GOOD TIDINGS," etc. to one and all as well as -

LEAVING VERY GENEROUS TIPS and DONATIONS to every one he sees.

OUTSIDE THE STORE, A SALVATION ARMY WORKER THANKS HIM PROFUSELY.

DAVID

And a Merry Christmas to you.

(balances his packages)

I'm going home.

David sees a special set of toy soldiers in the window, loads his packages in the taxi and goes back in.

TAXI DRIVER

Hey bub, you're going to get me arrested.

DAVID

(to the driver)

Don't worry, I'll be right back.

FROM AN OUTSIDE POV

David points and an amused clerk loads boxes.

DAVID'S HOUSE

David juggles the packages as he enters the quiet house.

DAVID

Hello.

(pats Smudge, who greets him)

Hey! I'm here!

Where is everybody?

A NOISE FROM THE KITCHEN --ROSY'S VOICE.

ROSY V.O.

Dios mio! David!

DAVID fumbles the packages and they spill all over the hallway as Rosy appears in a flour-covered apron, wiping her hands. She hurries to David, hugs him with enthusiasm. David hugs her back but frowns.

DAVID

Where's Tommy?

Rosy steps back, looks David over.

ROSY

Uno momentito, joven.

(helping him out of a wet coat)

I'm so glad to see you.

Manny's off on business.

DAVID

(concerned)

Where's Tommy?

ROSY

Jean took him to the doctor.

He'll be back soon.

(beat)

You need a cup of coffee.

She drags him into the kitchen and past the Christmas cookies -

DAVID

(sharply)

The doctor? Why? What's wrong?

\- then pours the hot coffee and pushes the cup to him.

DAVID

How long ago did they leave?

A WIDE AERIAL SHOT OF A HOSPITAL AT NIGHT.

HOSPITAL CORRIDOR OUTSIDE TOMMY'S ROOM –

where David finishes a conversation with a DOCTOR who shakes his head sadly.

DOCTOR

A week or two on the outside.

Only a miracle will save him.

TOMMY'S HOSPITAL ROOM,

Tommy sits, propped on pillows, under a beside lamp, and in the dim light he looks mortally ill. On the smoothed-out bedsheets, - ヘ

THE TOY, LEADEN SOLDIERS -

that David bought long ago are lined up in battle positions. Tommy moves a piece with great difficulty as –

DAVID KNOCKS SOFTLY, -

and enters. Tommy smiles, and waves feebly.

DAVID

Hi kid. How ya' feelin?

TOMMY

(more slurred than ever)

Hi, Daddy. Okay, I guess.

DAVID

(studying soldiers)

The good guys winning?

TOMMY

Which ones are the good guys?

DAVID SITS on the bed as Tommy struggles to place the -

TOY SOLDIERS, ON THE SHEETS.

TOMMY

Dad, I.

DAVID

Yes, Tom?.

TOMMY

I've read all those diagnostic and

pathology books. --

A LARGE PILE 0F BOOKS lies on a nearby table.

TOMMY (cont'd.)

A guy here, got them for me.

The doctors here don't think I

know. or understand. but I do.

TOMMY STOPS PLAYING and looks directly into David's eyes.

TOMMY (cont'd.)

. They all think It's some

tropical disease you picked up in

Central America. and gave me.

DAVID, WORRIED, LOOKS AT HIS INSECT SCARRED HANDS.

TOMMY (cont'd.)

They're wrong , Dad.

DAVID

They know their business.

TOMMY

\-- I know what's wrong with me, Dad.

(David is shocked)

It's a drug. Mom took some kind of

drug, Dad, . before I was born.

DAVID

Tommy, you're guessing.

TOMMY

Listen to me, Dad. I know .

I'm not blaming you. or Mom.

but it's my only chance. I have to

know what drug it was.

David is defense, but soft to his dying son.

DAVID

Tom! Your mother. didn't

take drugs. She may not have been

the smartest mother in the world, but she

didn't take - need - any damned narcotics .

TOMMY

(calmingly)

I didn't say narcotics , Dad.

I said some drug.

DAVID'S EXPRESSION FREEZES IN A FLASH OF MEMORY

TOMMY (cont'd.)

Something you might have taken.

A SPFX, starry night fills the window behind him.

DAVID

The green capsules \-

The weird guy with the finger nail.

TOMMY WATCHES INTENTLY AS DAVID POUNDS HIS FOREHEAD.

DAVID (cont'd.)

Your mother, Tommy. Your mother

was a model and she was getting older.

And like a lot of models she was a

patsy for "youth" drugs.

(grimacing)

. stuff that supposedly gets rid

of wrinkles . helps a woman .

stay young-looking.

A REVERSE POV, OUTSIDE THE WINDOW as if someone was looking in.

DAVID V.O.

I was on assignment in this Iron

Curtain country. Your mother heard

there was a wonder drug available

that wasn't licensed here.

I brought back some -- green capsules \--

God knows what was really in it.

BACK IN THE ROOM.

DAVID (cont'd)

(now extremely distraught)

She took them when you were conceived.

They were meant for me. Tommy,

I killed your mother.

David holds his head again. Tommy, with great courage and his slurring even more pronounced:

TOMMY

Don't blame yourself, Dad.

Somebody wanted to kill you and

instead they killed mommy.

(David, wet eyed, nods)

I tried to get her records.

But I think they've burned them.

DAVID

(husky)

I don't know what to do, son.

Tommy tries to pat his dad on the arm.

TOMMY

Get me out of here, Dad. We'll find

the man. find out what it was.

(beat)

It's my only chance.

(long beat)

Can you do it, Dad? Can you and me

at least try.

David, now standing, absent-mindedly moves a toy soldier.

DAVID

(arms around Tommy)

Damned right we can try, Tommy.

(to himself)

Manny'll help us.

A WIDE AERIAL VIEW OF THE HOSPITAL, THE LIGHTS EXTINGUISH UNTIL

ONLY TOMMY'S WINDOW IS LIT.

Below, David enters his car.

DAVID V.O.

I'll be back, Tommy.

TOMMY LOOKING OUT THE WINDOW AT THE SPFX NIGHT, -

one star seems to twinkle a little brighter than the others.

FROM THE REVERSE POV:

THE AERIAL CAMERA FLOATS SLOWLY TOWARDS TOMMY'S WINDOW,

SHERRY'S VOICE with the same ethereal quality of the earlier dream sequence, begins to speak softly and lovingly:

SHERRY V.O.

"WHEN I WAS SICK AND LAY ABED,

I HAD TWO PILLOWS AT MY HEAD,

AND ALL MY TOYS BESIDE ME LAY

TO KEEP ME HAPPY ALL THE DAY".

TOMMY'S DARKENED ROOM

Tommy is outlined on the bed with the shadows of toy soldiers scattered among the covers. Sherry's voice is picked up again in the Stevenson Poem.

SHERRY V. O.

"AND SOMETIMES FOR AN HOUR OR SO

I WATCHED MY LEADEN SOLDIERS GO,

WITH DIFFERENT UNIFORMS AND DRILLS,

AMONG THE BEDCLOTHES, THROUGH THE HILLS."

DAVID'S HOUSE IN SAN FRANCISCO ON THE SAME NIGHT, -

David with Rosy's and Jean's help, tensely and fatalistically finishes packing travel bags. David moves quickly to the bedroom and bundles up the sleeping Tommy and moves rapidly toward the door.

DAVID

They're going to be here soon. All

of them. Cops. Company goons. ヘ

everyone.

(moving towards door)

Make it easy on yourselves,

but I'll appreciate all the headstart

I can get.

(they nod)

ROSY

(in the door way)

Vaya con dios, big and little amigos.

JEAN

Go with god, David.

DAVID

(moving out door)

Thanks -- both of you.

DAVID'S CAR MOVING ALONG A COUNTRY ROAD.

Tommy sits mummylike, wrapped in swaddling blankets and clutching a -

TOY SOLDIER -

while David, somberly concentrates on driving.

THE HEADLIGHTS OF THE CAR -

catch on a revving, twin-engine Beechcraft. David slides to a stop and -

A NONDESCRIPT MAN, SWIFTLY AND SILENTLY, STOWS THE LUGGAGE.

DAVID

Where's Manny?

The man shrugs an "I don't know."

DAVID

(shaking the man's hand)

Tell him thanks. I know what's coming down.

THE BEECHCRAFT TAXIS AND THEN LIFTS OFF.

DAVID'S HOUSE IN SAN FRANCISCO, -

several official looking cars are parked in front.

IN THE HOUSE

MAN ONE and MAN TWO, Benson's operatives stand in the doorway. Rosy makes it plain she is not an ignorant Mexican housewife.

MAN ONE

Look here, Miss.

ROSY

Ramirez. Mrs. Ramirez to you.

MAN TWO

(losing his temper)

Listen, Mrs. Ramirez. Carson has

committed a felony. He is a traitor.

MAN ONE

(interrupting brusquely)

This man Carson, Mrs. Ramirez, is

a fugitive from justice. That is a

federal offense. and maybe a breach

of national security.

ROSY

Where is your warrant?

FBI MAN

We don't need a warrant.

ROSY

That's what you think.

She grabs a broom and swings at the first leg in sight. GRUNTING, the men leave quickly.

ROSY

(yells)

And don't you touch my Tomasito.

JEAN

Do you think they'll be okay?

ROSIE

(an expressive shrug)

Dios sabes. Que Sera, Sera.

MEXICO CITY AIRPORT - EARLY MORNING.

IN THE PASSENGER TERMINAL, -

David and Tommy munch on junk food waiting for a flight. David is unshaven and tired. Tommy looks wan but is in good spirits. Manny in the disguise of an old man watches, unseen from nearby.

TOMMY

(between bites,

with difficulty)

Dad, are we going behind the

Iron Curtain?

DAVID

(off in space)

What? Oh yea, behind the Iron Curtain,

DAVID NODS, - then surveys the terminal for signs of danger.

TOMMY

You got our passports and everything?

DAVID

(irritably)

Yes. No, I mean. I've got

everything we need.

TOMMY LOOKS HURT, HANGS HIS HEAD AND DAVID HUGS HIM TENDERLY.

DAVID

I'm sorry, Tom. I've got a lot

on my mind.

TOMMY

I know, Dad.

(beat)

Boy this is neat. A real mission.

Don't worry dad, we'll find it.

I wish Mom were here.

AD LIBBED boarding info in Spanish and David and Tommy head toward the gate.

CLOSE BY BUT UNSEEN:

MAN ONE AND MAN TWO, SIT INCONSPICUOUSLY, WATCHING DAVID

AND TOMMY. THEY DON'T MOVE AT THE ANNOUNCEMENT OF THE FLIGHT.

IN THE PLANE,

David helps Tommy into a seat by the window, then sits beside him. A few seats in the rear are empty. The cabin attendants begin their routines as the engines start. David checks his watch.

DAVID

We're late.

THE TERMINAL GATE, where the two MEN spurt through the opening

flashing badges.

IN THE PLANE, -

Tommy presses his nose to the window and watches the two men hurry across the tarmack. The door opens to let them on board.

TOMMY

Those guys better hurry.

DAVID

(over Tommy's shoulder,

looking out)

What's that.

The two come through the entry, receive AD LIB reprimands from the flight attendant, and are seated in front of Manny, who peers over a magazine. David glances back for a long moment and then calmly begins the assembly of a plastic hand gun from various parts hidden in the hand luggage

AN EASTERN EUROPEAN STREET IN THE AFTER-NOON.

A TAXI COMES INTO VIEW.

POV FROM THE TAXI, David and Tommy look at the city.

TOMMY V.O.

Is this the place, Dad?

DAVID V.O.

This is the city, son.

(beat)

But it has changed.

THE REAR VIEW MIRROR, -

another taxi follows with the two men in it.

DAVID

(to the driver)

What street is the hotel on?

DRIVER

(very thick accent, almost

not understandable)

Dzhorsky.

David shrugs.

AN OLD EAST EUROPEAN ROCOCO HOTEL

IN THE HOTEL ROOM -

with it's high ceilings and ornate woodwork, David sullenly unpacks the suitcases as Tommy does his best to help and tries to keep up a facade of cheerfulness.

DAVID

Tommy, I seemed to have slipped

a cog. I don't know if I can

find it.

TOMMY

Don't be discouraged, Dad.

You'll find the place -- I

know you will.

THE PHONE RINGS - David jumps to answer it.

DAVID

Hello.

(beat)

Who?

(beat)

I don't have any old acquaintances

in this city, friend.

(beat)

I don't need any friendly conversation

\-- with you or your KGB pals!

He slams down the phone. Tommy looks at him curiously.

TOMMY

Who was that, Dad?

DAVID

Vultures hovering for a kill.

(beat)

Bastards!

A CAFE ACROSS THE STREET FROM THE HOTEL.

Man One of the two following men sits at a table. Momentarily, Man Two returns from the phone, and sits down.

MAN ONE

Did he make contact yet?

MAN TWO

(shaking head)

Petrovsky's men are all around

the hotel. He's an old hand and

remember. he's dangerous.

MAN ONE

Do you really think Carson's selling out?

MAN TWO

No, I don't think so.

But ours is not reason why.

MAN ONE

Why else is he here?

Man Two nods, shrugs.

THE CITY - NEXT MORNING

The sidewalks and street are crowded - with an air of expectancy. People appear to be waiting for something - some event.

DAVID PUSHES HIS WAY THROUGH THE CROWDS.

Every so often he stops, looks around, then continues. At a large plaza which is cordoned by the police, he stops at the barricade and addresses a policeman:

DAVID

What is it? What's going on?

The policeman shakes his head angrily, pushes David back inside the cordon.

A PAN OF THE PLAZA,

STOP ON -

AN OFFICIOUS LOOKING BUILDING OVERLOOKING THE PLAZA

PULL IN to the outline of PETROVSKY looking out an open window searching the crowd. He spots David and the Two Men following. The interior of the office is dimly lit and details of the furnishings cannot be seen.

CLOSER ON DAVID from PETROVSKY'S POV

THE PHONE breaks the silence, Petrovsky turns, to answer it.

PETROVSKY

(in Russian)

Petrovsky. .

Horo-ish-hon. (I understand.)

He listens, playing with the cord, then replaces the instrument thoughtfully. Petrovsky's mannerisms and looks resemble Benson's in an uncanny way.

CUT BACK TO:

THE PLAZA, -

now surrounded with people. Amidst camels, gypsies and other exotic delights from the mid-east, two DERVISHES suddenly appear and begin dancing. From somewhere, drums, cymbals, and strange string instruments are HEARD.

DAVID, - near the front of the crowd now is pinned in. He watches in fascination as they begin to whirl - slowly at first. THE CROWD CHANTS as the Dervishes spin faster and faster, around each other. From the crowd, two glistening, curved scimitars are thrown to the Dervishes who catch them without missing a beat of the rapidly increasing music. Now almost a blur, they swing at one another with the wicked blades, missing by inches.

DAVID - watches the Dervishes, then scans the -

FACES IN THE CROWD.

They are hypnotized, caught up in the action on the plaza. The people chant louder now and cold steel flashes and in the crowd another -

BLADE FLASHES -

and plunges into the rib cage of Man One who points his gun towards David's head. Manny in disguise, moves calmly away as Man One staggers forward and is held upright by the vise-like tightness of the crowd. The -

DERVISHES blend to a blur of silk and steel.

In a climax of NOISE and movement, the dance ends suddenly - as though the dancers are frozen. The SILENCE is deafening, as the crowd, apparently anticipating the climax, is suddenly silent.

DAVID -

wipes perspiration from his forehead, moves through the loosening crowd, and a -

GASP is heard as -

MAN ONE falls fatally to the ground.

THE HOTEL LOBBY

David moves to the desk phone, dials and waits. The SOUND of the phone ringing seems interminable.

PANIC spreads across David's face.

DAVID, -

runs to the ancient elevator, knocking people aside. The elevator indicator SHOWS the elevator on an upper floor. DAVID sprints up the stairs, then dodges carts and trays in ヘ

the long hallway.

DAVID FUMBLES FOR HIS KEY -

FROM THE REVERSE POV

The door bangs open and David's silhouette appears as he switches on the light.

IN THE LIGHTED ROOM -

Tommy's bed sits rumpled and empty.

THE TOY SOLDERS ARE SCATTERED AROUND THE FLOOR.

DAVID, -

now unhinged, fights for control.

DAVID

(screaming)

Tommy!

His scream ECHOES through the large room as he paces the room wildly. He spots something on the -

HOTEL DRESSER - A RUSSIAN BUSINESS CARD -

with an address, telephone number and a name: "N. Petrovsky"

DAVID, - moves to the telephone and dials the number. The phone rings, a RECORDING IN RUSSIAN is HEARD which is not understandable. David slumps into a chair, then pulls several -

RED PILLS -

from his pocket, studies them and with all his might, throws them into the fire place.

A TAXI IN THE STREETS AT EVENING

David is a man possessed. He partially withdraws the gun from his pocket for comfort and checks it.

DAVID

Hurry, for God's sake!

DRIVER

I'm telling you, Mister, that

office is closed.

DAVID

Never mind, get me there.

The taxi pulls up to the same officious building overlooking the plaza. David pays the driver and runs to the dark, barred entrance. David shakes the bars in frustration.

DAVID

(shouting, his voice echoing)

Open the God damned doors, Petrovsky.

you bastard!

After a silent beat, David turns back toward the waiting taxi. ヘ

DRIVER

Where to, Mister?

DAVID

Let me describe this street to you.

It's an alley about four blocks long

and it's very old with cobblestones and \-

(fading)

THE ENTRANCE OF THE ALLEY WHERE IT ALL STARTED

PAN DOWN THE ALLEY –

where rats scurry under the cabs headlights. The cab door CLOSES.

DRIVER O.S.

\- Rats.

Rotsplatz. The place of rats.

David moves from the cab.

DRIVER

You want, I wait?

DAVID

Not this time, partner.

AT THE ALLEY ENTRANCE - FRAMED IN THE LIGHT

Man Two appears as a silhouette, unseen by David.

DAVID - moves from one darkened alcove to another till he finds the familiar doorway; it's a different store now and it's locked.

MAN TWO –

at the end of the alley moves forward and cocks his gun and -

DAVID -

whirls at the SOUND.

AT THE ENTRANCE, -

Man Two man moves slowly toward David, he turns to the other entrance, where Manny also -

SILHOUETTED -

steps from the shadows.

MAN TWO

John?

David is trapped - men at each end of the alley.

THE MEN ADVANCE,

David braces with gun drawn and prepares for the offensive.

MANNY O.S.

Remember Davy, a good defense is

quick offense.

DAVID

Aieeeeee!

He springs from the doorway, rolls, aims, -

A SHOT ECHOES DOWN THE ALLEY -

and Man Two falls before David can fire.

DAVID TURNS, -

MANNY -

at the other end of the alley has disappeared.

A MEDICAL LABORATORY, -

Tommy lies strapped and drugged on a table with wires and tubes of all shapes and sizes attached to his body. A bevy of smocked and bearded men move around him in a frenetic manner. An DR. RINSKY fumbles through some reports.

THE OFFICIOUS LOOKING BUILDING OVERLOOKING THE PLAZA

David quickly climbs the steps. The GUARDS stiffen and block him.

DAVID

(opens his wallet)

Carson, David Carson, I'm here

to see Petrovsky.

A guard studies David's identification suspiciously.

GUARD ONE

, (in Russian to other guard)

Watch him.

Guard One cranks the wall phone and after a beat, speaks into it.

GUARD

Demetov. There is an American here.

A Mr. Carson, to see Petrovsky.

(beat)

Yes.

He hangs up and nods to David.

GUARD

Fourth floor. Number seven.

David glares at both the guards, enters the foyer.

A LONG SHOT DOWN THE MARBLED FOURTH FLOOR HALLWAY -

from an ancient bird cage elevator. Some distance down the hallway, a Russian officer sits behind a desk. David exits the creaking elevator and his footsteps ECHO his apprehensions as he moves toward the icy Russian officer.

DAVID

Carson.

The officer picks up the desk intercom.

OFFICER

Carson is here.

The officer grunts and nods toward the door. David knocks a pile of papers off the desk and lifts his eyes in seeming surprise.

DAVID

Tough shitsky, comrade.

IN THE OFFICE

Petrovsky sits behind his desk, reading. As David enters, he glances up, then resumes reading. The office is a duplicate of Benson's at Langley, except for the Hammer and Sickle and the portrait of Gorbachev. David waits for Petrovsky's acknowledgement, anger twisting his face. He pulls the \-

GUN - from his jacket and cocks the hammer with a LOUD CLICK.

The Russian looks up, an amused grin spreads across his face.

PETROVSKY

I'm sorry, Mr. Carson. Things are

not what they seem to be.

We are civilized and rational people.

Put the gun down.

DAVID

I want my son back.

(beat, then sarcastically)

Why should I?

THE CLICKS OF SEVERAL GUNS AS -

Petrovsky's henchmen step from the shadows.

PETROVSKY

Our intelligence reports indicate that

you've been kicked out of the game and

might be looking for a new sponsor.

He opens a drawer, clicks a switch, and -

BENSON'S VOICE IS HEARD ON A CASSETTE.

BENSON V. O.

John, delete Carson's name from the

roster - permanently. He's a threat

to national security. We have every

reason to believe he may go over to the

other side.

DAVID listens with stunned disbelief.

PETROFSKY V.O.

(the running tape)

You are a liability to the company,

David. They're not far behind you now.

BENSON'S VOICE (cont'd)

Carson is vulnerable. He has

a son, at least he says it's his.

David sets the gun on the desk. Petrovsky motions his men to leave, rises and walks to the window, thoughtfully.

PETROFSKY

We know that you brought your son

here for treatment.

(turning and shrugging)

I admit, it was a way to command

your attention. The realities of this

business are cruel, to say the least.

(beat, moves to desk)

Your son is safe.

DAVID

Where do you have him, you bastard?

PETROFSKY

He's safe.

DAVID

He's sick. He's dying!

For Christ' sake, have you stooped so

low that you'd use a child as a pawn?

THE MEDICAL LABORATORY

Tommy sits groggily in a wheel chair, clutching a toy soldier, in the room with all the test equipment. The bearded, wizened Dr. Rinsky ruffles papers by his side as -

THE CAMERA PANS TO DAVID'S AND PETROFSKY'S ENTRANCE.

David races to Tommy's side.

DAVID

Tommy. Tommy.

RINSKY

He's under sedation.

TOMMY

(faintly)

I'm all right, dad.

David hugs him closely as Rinsky hands Petrofsky the papers.

DAVID

You can't use my son as a pawn?

Your're sick. You're all sick.

Petrofsky scans the papers. After a beat.

PETROFSKY

We know, he's desperately ill, David.

We wanted to give you. shall we say

an incentive, but that is not possible now.

RINSKY

It's ironic.

The toxin that's killing your son,

also makes him a genius.

Your son has a few days at best.

Take him home, Mr. Carson.

(beat to David's sadness)

It was a drug. Your son was correct.

PETROFSKY

Did you know you were followed.

DAVID

Two men.

PETROVSKY

No, three. You might need this.

IN SLOW MOTION:

HE FLIPS BENSON'S CASSETTE TO DAVID AND -

THE FLYING CASSETTE FADES INTO A LANDING PLANE.

PETROFSKY V.O.

Catmon James. The man you're looking for

is dead. He was an independent operative

and we think you killed him.

Dr. Rinsky believes the drug was something

from the Islands.

David stares out the window.

PETROVSKY (cont'd)

The tape also contains some interesting

information on your company's involvement

in the drug business.

ROATAN'S THATCHED CUSTOMS SHED

It is hot and humid as David and Tommy - the only disembarking passengers in sight - watch a listless customs officer examine their luggage disinterestedly until he does a name check and his eyes widen.

CUSTOMS OFFICER

Mr. Carson, I'm afraid I'm.

David, quickly puts a large bill into the man's extended hand and the officer waives them on.

A PANORAMA OF THE ISLAND'S BEAUTY AT SUNSET.

A RESORT BUNGALOW -

with large fans and shuttered windows where David makes a drowsy Tommy comfortable for the night.

DAVID

How are you feeling, buddy?

TOMMY

I'm tired, Dad. But I'll be okay.

DAVID

Hang tough. It won't be long.

(beat, rubs Tommy's head)

Now go to sleep, little one.

David folds the blankets, turns out the light.

THE BAR WHERE DAVID AND MANNY MET EARLIER

A new neon sign hangs over the entrance it reads: "SPURGEON'S".

THE SUBJECTIVE CAMERA ENTERS -

to the SOUND of a Steel Drum Band. The place is packed and deafening. Thick smoke - and the dim light \- make it impossible to see more than the silhouettes of the patrons who line the bar and fill the tables. The band is in full swing and it's obvious that drugs are part of the scene.

AT A TABLE -

David sits alone, sipping a drink and scanning the crowd. A WAITER bends over the table, flashing a toothy grin.

WAITER

Another drink, Mon?

DAVID

Okay.

SOME LOCALS PERFORM A SENSUOUS CALYPSO DANCE

THE WAITER ARRIVES -

with David's drink, sets it on the table and waits expectantly. David gives him some bills, hesitates, then puts more bills on the tray.

DAVID

I'm looking for a friend.

The waiter smiles lasciviously. David gives him a "you don't understand look."

DAVID (cont'd)

Maybe you know him.

The waiter grins.

WAITER

Maybe, mon. You like boys.

DAVID

No, No. His name is James.

(beat)

Has long, funny fingernails.

THE WAITER looks incredulous, then doubles over with laughter.

But David doesn't see the humor.

WAITER

James? You looking for a James boy?

(pointing over at bar)

Right over there, mon.

(bends down to his ear)

Be careful, they like women.

FROM DAVID'S POV, only the men's backs are visible at the bar.

DAVID

Any particular one, buddy?

WAITER

Just ask anyone there, friend.

David gets up and moves to the bar.

THE SUBJECTIVE CAMERA - PANS SLOWLY DOWN THE BAR -

where a row of men sit facing the bar.

THE CAMERA LOCKS THEIR FACES.

They are all identical - or almost - a row of cloned Islanders.

DAVID IS UNHINGED BY THE EERIE SIGHT.

Finally, still unbelieving, he speaks to the closest man.

DAVID

Excuse me. I'm looking for a

man named James.

THE ROW OF MEN FROM A DIFFERENT POV.

As each hears David's question they AD LIB, "did you hear that mon," "who is this dude?," "worst I ever heard," "lordie me," etc. They all look up and at him at exactly the same time.

TELE SHOT OF THE MEN'S IDENTICAL HANDS -

all have long, curved fingernails wrapped around various glasses and bottles. They toast David in rich, melodious island voices.

MAN ONE

Spurgeon James, mon.

(toasting gesture)

MAN TWO

(toasting)

Birnley James

And a third.

MAN THREE

(toasting)

Bracker James.

David shakes his head as though trying to clear it.

MAN FOUR

I'll bets youse looking for Catmon.

(shakes head)

Poor Catmon.

You better see MOMMA JAMES.

David looks blank.

MAN FOUR (cont'd)

But she be very busy tonight.

THE SOUNDS OF THE MUSIC AND CONVERSATION INCREASE IN TEMPO AS -

MAN FOUR V.O.

Yesiree, she be very busy.

Now hallucinating "cold turkey." David the once "man of steel" runs from the bar. The familiar LOUD LAUGH of Catmon, the dead Black man, is heard above the music and din, which -

DISSOLVES INTO:

A STYLIZED HOLY ROLLER - VOODOO CEREMONY -

in an ancient, moonlit, graveyard deep in the jungle.

WORSHIPPERS, -

thin, drawn and mummy like, sway to the enchanting beat. In many ways they "almost" resemble what Tommy has become. They are surrounded by putrid fetishes, graven images and gargoyles.

AT THE EPICENTER -

MOMMA JAMES, a wizened old relic, is draped in bright ragtags of color. She smokes a giant stogie and gently caresses the snake wrapped around her shriveled body.

THE JUNGLE

David moves cautiously through the tangle under growth.

THE GRAVEYARD

Momma James raises her fleshy arms and the drums stop.

MOOMA JAMES

He comin. Git ready.

THE JUNGLE

suddenly quiet, a -

TWIG SNAPS.

David stops short and a -

SHADOW moves over the undergrowth.

DAVID waits a beat, cautiously checks the surroundings, then

moves forward as the shadowy figure of Manny, moves behind him.

THE GRAVEYARD

MOMMA JAMES -

leads the drummers in a slow, steadily building beat as -

DAVID - stumbles into the clearing.

MOMMA JAMES

This way, David Carson.

DAVID

How do you know my name?

MOMMA JAMES

How did you know where to find me?

As David is pushed toward her she grabs a frothing bowl from a

disciple and downs it in one gulp.

HER FACE BECOMES RIGID AND -

HER EYES ROLL BACK -

and she falls only to be proped up by her followers. Now -

HER FACE DISTORTS -

in a dozen different ways as the -

VOICE OF SHERRY SPEAKS THROUGH HER

SHERRY'S VOICE

(as in a tunnel)

David.

DAVID

My almighty god, Sherry.

MOMMA JAME'S FACE -

becomes a study of conflicts as the -

VOICE OF CATMON TAKES HOLD -

CATMON'S VOICE

Momma, this is the man.

(face still in conflict)

You have lived long and well,

now you must.

SHERRY'S VOICE

David, take Tommy home.

MOMMA JAMES' FOLLOWERS -

move forward ominously but stop short as -

THE STRUGGLE -

for the "spirit" control of Momma James now moves to her body.

HER FRAGILE FRAME -

is ravished by fits that send her to the ground writhing in contortions of pain that send her to her death.

WORSHIPPER

Kill the Yankee!

Brandishing weapons, they surround the startled David, grab his

gun and then paw at him in a sickening, fawning manner as -

A BURST OF GUNFIRE -

erupts from the jungle and Manny, half out of the "old man"

makeup, charges in and mows them down.

MANNY

Lets go. Lets go.

Damn it Davy.

Just don't stand there.

Manny, machine gun blaring, grabs David and pulls him toward ヘ

the jungle as the few stragglers fire back. David regains his senses.

MANNY

You dumb hijo de playa.

I teach and I teach you.

DAVID

Did you see that? Did you see that?

MANNY

Too many drugs.

DAVID

Boy, am I glad to see you.

MANNY

Lets get out of here.

THE RESORT COTTAGE -

# David stands over the now stirring Tommy. Tommy forces his

eyes open and looks up at David with a jerk.

TOMMY

I had a dream about Mommy but she

disappeared.

DAVID

(pats Tommy's head)

I know Tommy, I know.

TOMMY

Did you have any luck?

David shakes his head sadly.

TOMMY (cont'd)

Dad. I want to go home.

I want to die at home.

Momma's house.

Manny moves from the shadows.

MANNY

Tomasito, You can't give up.

TOMMY

Manny. It's in God's hands.

MANNY

(with a tear in his eye)

Tomasito.

(wraps his arms around him)

Don't you let Rosy hear you talk like

that.

THE LOS ANGELES AIRPORT - NIGHT

David, Tommy, and a few other forelorn travelers wait for their luggage in the seedy Customs terminal. Tommy is on his last legs, resting his head on David's rumpled shoulder.

Emotions are drained from the futility of the situation, except for Tommy who is chipper and energetic.

Manny walks briskly toward them.

DAVID

Did you.

MANNY

It's all taken care of, we can go.

David lifts Tommy from the chair.

DAVID

You sure?

MANNY

(nods)

I sent Petrovsky's tape to some

Tomato killers I know.

Davy you did everything you could.

DAVID

Manny I feel so God damn.

MANNY

Life is hard and it's harder for

those who live hard.

He puts his arm around David.

OUTSIDE THE CUSTOMS AREA -

Rosy and Jean wait, somberly and quietly. The Customs exit door opens and David and Tommy emerge. Both women hug Tommy and his response is barely perceptible as they move toward the exit.

Rosy moves sadly to Manny's side and he silently comforts her with his hand.

POV SHERRY LYNN'S HOUSE IN LOS ANGELES.

David's headlights illuminate the weed and refuse strewn front lawn of Sherry's once beautiful house. Piles of circulars litter the front walk and patio.

DAVID TAKES TOMMY IN HIS ARMS, -

carefully keeping him bundled. As they approach the gloomy entrance, further signs of abandonment are visible, cracked window panes, plywood over the windows, broken lawn chairs etc.

DAVID, MANNY, ROSY AND JEAN –

move in a funeral like procession towards the door.

FROM THE REVERSE POV - INSIDE THE HOUSE -

the door slowly creaks open to the silhouettes of David and Tommy. David throws the light switch, hesitates, shadows flit by the baseboards, then he steps in followed by Manny and the two women.

THE INTERIOR OF THE ONCE LAVISH HOUSE -

is the essence of abandonment. Sheets and dust covers hide the furniture; the rugs are rolled up; cobwebs cover parts of the walls and the SOUND of scurrying animals can be distinctly heard.

ROSY AND JEAN -

move about the house opening windows and taking the white ghostly dust covers off the furniture. David holds Tommy in his arms.

DAVID

This was your mother's house.

TOMMY

It's so beautiful. Why didn't

you live here Dad?

DAVID

Tommy, I just couldn't handle

the pain. I'm so sorry for.

TOMMY

Pain, but Dad you're a soldier.

DAVID

It's not the same.

TOMMY

I'm tired now, can I go to bed?

DAVID CARRIES TOMMY -

down the hall into the once lavish bedroom as -

ROSY AND JEAN -

move quickly in front of him, removing more dust covers from the furniture and the bed.

MANNY -

flicks a few cobwebs from the door jambs as Rosy throws the windows open to the - CLEAR STARRY SPFX SKY.

David lays Tommy on the bed, Jean takes the sheet off the -

THE PORTRAIT OF TOMMY.

Rosy motions the group to the door, where they wait. David dims the lights.

ROSY

(holds Tommy's hand)

Tommy, did you remember your prayers?

She pulls the covers around Tommy, who drops the -

TOY SOLDIER -

he had been clutching. Rosy kneels by the side of the bed.

TOMMY

Dear God, please bless my family,

Daddy, Rosy, Jean and Manny.

Thank you for letting me spend some

time with my Dad before I have to go.

David cannot withhold the tears in his eyes and neither can anyone else.

TOMMY (cont'd)

God, I know that heaven is a beautiful

place and I will be happy there, just

like mom. But I would really like

to stay here unless you really don't need me.

SUDDENLY A SOFT GLOW FILLS THE ROOM.

In the background of the painting Sherry's face glows. In awe, the group moves back into the room.

DAVID

We need you Tommy....

I don't remember that.

TOMMY

(long beat)

She's here, Dad.

THE MELODIOUS, SOFT VOICE OF SHERRY STARTS A HYPNOTIZING CHANT

THAT ONLY TOMMY HEARS.

"AND SOMETIMES SENT MY SHIPS IN FLEETS

ALL UP AND DOWN AMONG THE SHEETS;

OR BROUGHT MY TREES AND HOUSES OUT,

AND PLANTED CITIES ALL ABOUT."

From TOMMY'S POV, the picture wavers as though in mist or fog; the star over the shoulder grows brighter. A smile covers Tommy's face as the light from the star hits the dresser.

TOMMY

The drawer, Dad.

DAVID

The drawer?

TOMMY

(pointing)

In there.

David opens the drawer and hesitates. The pain is obvious as all he sees is Sherry's comb and other personal effects.

DAVID

Just some old things.

TOMMY

Keep looking, Dad.

David spots the -

GREEN CAPSULE THAT SHERRY HAD TOSSED INTO THE DRAWER LONG AGO.

David puts the capsule in Tommy's hand and he beams.

TOMMY - throws his arms around David. Manny, Rosy and Jean gather around.

A LITTLE STAR TWINKLES BRIGHTER THAN THE REST -

THE SUBJECTIVE CAMERA ON TOMMY, PULLS BACK, OUT THE WINDOW AND UPWARD INTO THE SKY AND THE HYPNOTIZING CHANT CONTINUES.

"I WAS THE GIANT GREAT AND STILL

THAT SITS UPON THE PILLOW HILL

AND SEES BEFORE HIM, DALE AND PLAIN,

THE PLEASANT LAND OF COUNTERPANE".

MUSIC UP:

FADE OUT:

IN THE ENDING CREDIT SEQUENCE

INSERT:

THE DICTIONARY DEFINITION OF COUNTERPANE -

A pawn, a vassal, a patchwork quilt, a coverlet.

