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
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 wrapp
ed 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.