by bob chartain
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.
R
OSY
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.
