Stephen Metcalfe

Rock Paper Bone

A Screenplay excerpt by Stephen Metcalfe
All Rights Reserved

EXT. LONDON – NIGHT

Establishing.

EXT. A CLUB – SOHO – NIGHT

A POV — A line of people outside, waiting to get in. Moving past them, past the doormen, entering into –

INT. CLUB – CONTINUOUS

POV – An indoor rave, fueled by drugs and alcohol. An overflowing dancefloor, a huge bar – a bartender staring – moving through and around towards –

THE REAR OF THE CLUB – CONTINUOUS
POV – Passage way towards rest rooms – people milling; a couple
doing drugs – moving past them down towards the end of the hall,
turning –
AROUND A CORNER – CONTINUOUS
– to see the elevator. Two well dressed, tough looking men,
loitering, bored. Looking up in surprise –
– high on the wall – wham – the surveillance camera explodes

BACK TO –
The dance floor.
BACK TO –
– elevator doors squeeze shut.
UPPER FLOOR – LOFT SPACE – NIGHT
In the darkness, the lights from one of several computer screens
illuminates the stressed out face of a man, 60’s. LIAM
GALLAGHER is on his feet, cell phone to his ear. Open bottle
of Jamesons on the desk – next to a pistol.

LIAM

(Irish accent)No, Brigit – no! Don’t tell me, you
can’t do nothin’ cause you’re
supposed to do it, it’s your job t’
do it, y’ stupid bitch!
(Then:)
Oh, for Chri — I have tried! You
think I’m stupid! I have no fuckin’
connection!
(Then: softly)
Brigit, there’s no connection.

There is a distant history of New York in the voice.

RAY (O.C.)

You’re off-line, Liam.

Liam turns with a start. The man, mid 50’s, wears an expensive
suit and mock-turtle; his eyes are tired. Liam glances at the
pistol on the desk as if considering it – and then he sighs and
sags down into the chair.

LIAM

Aw, Bone. Why you a’ all people.

RAY

Wish I knew.

LIAM

I had some lads downstairs.

RAY

Come on, Liam.

Liam glances at a monitor. Two bodies on the floor.

LIAM

(a sigh)
Yeah…
(then:)
I never trusted computers. Do you?
Stupid question. You’ve never
trusted nothin’, have ya, Bone.
(Cigar box)
Y’mind?

The man called Bone doesn’t say no. Liam now calmly taking out
a cigar – lighting it –

LIAM (cont’d)

If it makes a difference I was just
peddlin’ scraps. Does it? Make a
difference?

RAY

No.

LIAM

Didn’t think so.

– putting the lighter down – close to the pistol.

LIAM

How’s Pammie?

RAY

She passed away six months ago.
Cancer.

LIAM

No shit. I didn’t know. And Ellie?

RAY

(hesitating slightly)
…Chicago. Living with a guy.

LIAM

He treat her right?

RAY

He better. April and the boys?

LIAM

April’s taken care of.
(pointedly)
The “boys” can take care a’
themselves.

Liam realizes his cigar has gone out –

LIAM

Shit…

He reaches for the lighter – and goes for the gun – and fumbles
it – and sees that it was pointless anyway – Ray’s silenced gun
is already out and aiming at him.

LIAM

See you in hell, Bone.

RAY

Tell the guys, I’m coming.

Ray shoots. Liam falls. Ray stares a moment. He puts down
his gun. He picks up the bottle of Jamesons. He turns away.
He stands, a silhouette against the floor to ceiling windows,
Soho in front of him. He drinks.
EXT. DULLES – WASHINGTON, D.C. – DAY
Establishing. A jet lands.
INT. INTERNATIONAL TERMINAL – DAY
People move through Customs. Ray at a custom’s counter – his
passport handed back to him.

AGENT

Welcome home.

TO: BAGGAGE CLAIM
Ray lifts a suitcase and an expensive, gun-metal briefcase off
the carousel.
TO: INSPECTION
Agents going through luggage. Ray, waiting. An agent
finishes –

AGENT

Next.

Ray approaches and lifts his bags up onto the counter. Ray and
the agent hardly looking at one another. The agent opens the
suitcase. Lifts some neatly folded shirts – and palms the roll
of bills beneath. The agent closes the suitcase.

AGENT

Good to go.

Ray, taking his cases and moving on.
EXT. HOUSE – CHESAPEAKE BAY – DAY
A nondescript sedan comes up the drive towards the secluded
house. Chesapeake Bay out beyond it. Ray gets out, moves to
the trunk for his bags.
EXT. THE HOUSE – EVENING
Sunset. Ray sitting out on the deck, casually dressed now,
drink in hand, looking out at the water – tired; hardly seeing
the view.

LIAM (V.O.)

How’s Pammie?

RAY (V.O.)

She passed away six months ago.

LIAM (V.O.)

And Ellie?

Ray blinks at the sound of a cell phone. He rises.
TO:
LONG ANGLE ON – Ray goes back into the house. Chesapeake
beyond.

RAY (O.S.)

Yeah. I just got in.
(a beat)
Where.

DISSOLVE TO:
Tendrils of jungle green casting shadows. We’re:
EXT. SAN DIEGO ZOO – DAY
An orangutang munches contentedly. Another, a female, plays
with its baby – the baby, a comedian. Ray sits on a bench,
quietly watching; soft leather jacket, tailored slacks.
Frowning now at the sound of a voice –

GIDEON (O.C.)

Do something. Come on, ya big doof.
Ray, glancing over at him – a slob: bucket hat, cargo shorts,
walrus moustache and goatee, Chargers jersey. Eating from a
large bag of popcorn. Throwing some of it against the glass
where an adult male sits.

GIDEON

You cost me twenty-five bucks, you
gonna do something or what?
(To a woman)
What are you lookin’ at?

She moves quickly away. The man seemingly notices Ray for the
first time.

GIDEON

Orangutans, uh? Sposed to be
amusing. A fat bag of towels with a
stick up its nose. I got dirty
laundry more amusing.
(Back to the glass)
Yeah, that’s right, I’m talking about
you.

The guy, GIDEON, wads the bag, tosses it towards a waste basket,
missing. He approaches and sits down next to Ray.

GIDEON

(voice soft and efficient)
Nice jacket, Bone.

Ray, really looking at him.

GIDEON

Though in my opinion, it doesn’t work
in a zoo full of mutants, wetbacks and
white trash tourists. You stand
out.

RAY

Where’s Artie?

GIDEON

No, you’re supposed to say, do
firefighters cook as well as we’re
told. And I say, you can accept it
as truth and be no worse off or –

Ray grabs him by the back of the neck.

RAY

I will hurt you.

GIDEON

People are looking.

RAY

Artie.

GIDEON

He resigned.

RAY

He would have told me.

GIDEON

Part of his package, he promised not
to.

Ray releases him. Gideon rubbing his neck, looking up at –

GIDEON

What do you say we take a ride in the
sky bucket?

EXT. TRAM RIDE – DAY
The tram heaves out of the shed and lifts towards the sky.
INT. TRAM – CONTINUOUS
Ray and Gideon sitting across from one another, pole between
them. Gideon holds out a hand.

GIDEON

Larry Gideon.

RAY

I don’t need your name. Just tell me
who.

GIDEON

That’s not how I work.

RAY

It’s how I work. You know nothing
about me, I know nothing about you.
You have my attention till the ride’s
over, unless I throw you out in the
next 30 seconds.

GIDEON

There is an individual who has
recently come into a position of
influence.

RAY

Meaning?

GIDEON

He is in control of certain
resources.

RAY

Meaning.

GIDEON

Resources our client wants.

RAY

They could ask him to share.

GIDEON

He wouldn’t listen.

RAY

So you want this guy eliminated.

GIDEON

No. The people he works with are
every bit as uncooperative as he is.
In this regard, the individual is
like a hydra.

RAY

A hydra.

GIDEON

A nine headed beast, one head immortal.

RAY

They might have one in the reptile
house. You can check it out on your
way down.
Gideon; raising the small pistol he’s been holding/hiding.

GIDEON

Do you know how one deals with a
hydra, Bone? You cut off every head
and as you do, you cauterize each neck
so nothing can ever grow again. And
then you take the final head, the
immortal head, which is the soul of
the beast and you bury it under a rock
so it can never see the light of day
again. I would suggest this is
beyond even you.

RAY

— ten — nine — eight —

 

GIDEON

The client doesn’t wish to replace
anyone. The client wishes to
influence.

Ray

I don’t do influence.

GIDEON

No. But I’m sure you’ll agree that
what you do can have enormous
influence.

RAY

I don’t disagree. Which takes us
back to beginning. Who.

INT. RESTAURANT – EVENING
The girl in the dinner jacket is in her early 20’s.

GIDEON (V.O.)

The individual has a daughter.
Coffee complexion, lustrous black hair and eyes.

ALIAH

Thanks very much. Have a nice
evening.

The departing diners murmur their thanks. Aliah glancing at
the credit card statement. Registering disgust. She’s been
stiffed.

ALIAH

Come again! Not.
______________________________________________
______________________________________________
_

WAITER’S STATION – MOMENTS LATER
Another waitress going through tickets. Aliah approaching,
putting down her tray –

ALIAH

This night cannot be over soon
enough.

Both turning as the maitre’d sticks his head in.

MAITRE’D

Customer at table 3.

The two women look at one another, neither wanting the job.

WAITRESS 2

I got kids at home?

THE DINING ROOM – MOMENTS LATER
Table 3 is a booth. The customer looks up from the menu.
Stares a moment. Looks back at the menu.

RAY

You still serving?

ALIAH

(Forcing a smile)

Yes, sir, of course we are.

THE DINING ROOM – LATER

The dining room is now empty. Except for Ray. He sits; quietly
sipping coffee. Aliah puts the bill in leather jacket on the
table. Ray takes it; glances at it.

RAY

I kept you waiting.

ALIAH

Not at all, it’s been my pleasure.
Ray puts crisp bills into the bill folder.

RAY

It was very good.

Rising, he hands the folder to Aliah.

RAY

Thanks very much.

She watches as Ray turns and exits. She opens the folder looks
at the bills – reacts with disbelief.

ALIAH

Sir, this is —

He’s gone. The bills are all hundreds.
EXT. RESTAURANT – DOWNTOWN SAN DIEGO – NIGHT
Late. The street deserted but for a single passing car. Aliah
comes out, leather jacket over her waiter’s uniform. She
starts across the street.

RAY

Miss! Excuse me, miss?

Aliah turning – to see Ray approaching.

RAY

Can I talk to you for a moment.

Aliah, more disappointed and resigned than nervous.

ALIAH

Look, I wait tables. That’s all I
do, no matter how much money you have
to throw around.

RAY

Hey, no, I’m sorry, you got it all
wrong. I lost my hotel.
(a slip of paper)
Which direction do I go to get…
here.

Aliah hesitates; takes a look – and Ray sprays from the small
cannister in his hand. Aliah gasps and falls into Ray’s waiting
arms. Lifting her – not liking this — turning –
EXT./INT. HIGHWAY(S) – EARLY MORNING TO MID MORNING
IN CUTS – North of San Diego, a heavy, not too new, Ford Explorer
speeds north on California I-15. Ray grimly holding to the
speed limit.
TO:
Passing under the arch bridge at the SR-76 exit.
TO:
Wheels turning; sun breaking towards the east over the Laguna
mountains.
TO:
Off the highway at Temecula – heading northeast on 371.
TO:
Down into the Anza Valley.
TO:
Flying past – San Bernadino National Forest – scrub pine and
rock, dry chaparral.
TO:
Chaparral turning to granite rock.
TO:
And finally coming around a curve to see the entire Coachella
Valley 3,000 below.
EXT./INT. EXPLORER – INDIO, CA. – DAY
Ray drives down 101 towards the south eastern edge of the valley;
undeveloped as yet but the golf courses and retirement
communities are already encroaching.
TO:
Palm farms. Dilapidated ranch houses.
TO:
On the dash – the outdoor temp is 101 degrees.
TO:
Past the high school. A bill board announcing the school’s
athletic program – the Fighting Arabs – hooked nosed Arab with
a knife in his teeth.
TO:
The Explorer moving southwest on a dusty road back towards the
granite face of the mountains –
TO:
Coming up the road – dirt now – Ray seeing it up ahead, beyond
some palms – the stone fence…
EXT. THE GATE – CONTINUOUS
The Explorer stops in front of the closed iron gate. Ray
punches in a code. The gate opens and Ray drives through.
EXT. THE HOUSE – CONTINUOUS
On clean pavement –
TO:
through the rear window, the gate closing behind Ray –
TO:
— up and around a curve and then, there, in the blinding desert
sun – at the top of the crest —
EXT. THE HOUSE – DAY
The house. No telling how much many fortunes it cost; a huge
two story, stone and glass edifice seemingly built into the grey
rock that rears up behind it; an oasis surrounded by rock and
wasteland.
TO:
The Explorer comes up to a stop and Ray gets out. He looks
around, not impressed. He moves around the Explorer and opens
the rear door. He lifts a sheet away. Aliah blinks up at him;
dazed; silver electric tape binding her wrists and ankles,
across her mouth. She struggles weakly as Ray lifts her and
carries her towards the house.
INT. HOUSE – DAY
Industrial warehouse meets art gallery. Glass and granite –
high ceilings – skylights – open space divided by partitions
– metal stairwells leading to multi-levels. The art and
furnishings are austere, abstract. Somewhere air conditioning
hums. Ray enters carrying Aliah. He moves down into a sitting
area and puts Aliah down on a couch. Taking off his suitcoat,
he turns away.
INT. KITCHEN – DAY
The kitchen is large and modern. Restaurant quality stove.
Large, metal sided, Sub-Zero refrigerator set in the wall. At
the sink, Ray fills a glass with cold water. He drinks. He
stands a moment, looking at nothing. He pours another glass.
Turns –
INT. HOUSE – DAY
Ray enters from the direction of the kitchen, carrying the glass
of water. He moves to Aliah. He puts the glass down. He sits.
She blinks at him, a little more alert now.

RAY

You feeling sick?

A quick nod.

RAY

It’ll pass. You thirsty?

She nods again.

RAY

I’m going to pull off the tape.

He does. She screams; struggling –

ALIAH

Heelllp! Help me! Ahhhh!

He calmly tapes her mouth shut again.

RAY

You finished? First of all, no one
can hear you. Except me and I don’t
want to. Second. From this moment
on, any grief you give me will come
back down on your head in bucketfuls.
Are we clear on this?

She stares at him.

RAY

Don’t make me repeat myself.

She nods. He takes off the gag. She is silent. He holds the
glass to her mouth and she drinks.

RAY

Not so fast.

She finishes. Ray puts down the glass. When he goes to wipe
a bit of saliva off the corner of her mouth, she sinks her teeth
into the fleshy part of his hand. Ray doesn’t make more than
a soft grunt; he doesn’t struggle – he just pinches her nose
shut with his free hand. She finally has no choice, she lets
go. Ray gags her with the tape, grabs her by the wrists and
drags her off the couch and across the room –
INT. CLOSET – INSIDE – DAY
The closet door opens and Ray throws the struggling girl in.
OUTSIDE – CONTINUOUS
Ray closes the closet door. He listens a moment to the sound
of her muffled cries. He turns away.
INT. KITCHEN – MOMENTS LATER
Water and blood turns the sink red. Ray quietly holds his
bleeding hand under the tap. He wets a hand towel, then wraps
the towel around his hand. A cell phone softly buzzes; on
vibrate. Ray takes it out and looks at the calling number. He
turns off the water. He answers.

RAY

Yeah.

INTERCUT: EXT. INDIO – DAY
Gideon, wearing a fuck-ugly bowling shirt,and shades, stands
by a parked car, on his cellphone. With binoculars, he looks
up towards the ridge – and the house.

GIDEON

How goes the work, Bone? You like
your accommodations?

Ray opening the Sub-Zero – some mayo. Frozen English muffin.

RAY

I’ve been in nicer meat lockers.

GIDEON

People in glass houses shouldn’t
throw stones.

RAY

Go be smart with somebody else.

Then cupboards. Can of tuna. Ray slams the cupboard shut –

RAY

I changed my mind. I want to know why
I’m doing this.

GIDEON

The girl’s father is Farah Shah Masud.

RAY

Rug salesman?

GIDEON

Afghan drug lord. Almost a billion
dollar’s worth of heroin moved
through Iran into Western Europe last
year. The client wants to know who
Masud’s paying off in Tehran to move
that product.

RAY

Why would he give them up for his
daughter.

GIDEON

The question is not why, the question
is will he.

RAY

And if he won’t?

Both men know the answer and it’s an ugly one.

GIDEON

Go shopping, Bone. Go play golf.
Consider yourself on vacation.

RAY

Golf is for morons with handicaps.
Ray disconnects. Gideon stares at his cell phone; amused…
but not really.
INT. THE CLOSET – MOMENTS LATER
Aliah starts as the door opens and light fills the black. Ray
reaches in grabs her wrists again.
OUTSIDE –
He pulls her to her feet; leads here across the foyer and down
a hall.
INT. BEDROOM – CONTINUOUS.
They enter. Ray heaves her up and onto the bed. She lies
there, her eyes closed, trying not to cry.

RAY

We’re going to try this one more time.
You can breath or not, your choice.

He takes off the gag. She is quiet. She stares at him.

RAY

Good. I’ll be right back.

He turns away.

ALIAH

Are you going to kill me?

RAY

I’m going to make you lunch.

He exits.
INT. KITCHEN – DAY
Tuna salad on a toasted English muffin. Ray picks up the plate
and another glass of water and he exits.
INT. BEDROOM – MOMENTS LATER
Ray enters. He stops. There is no one on the bed. And then
he hears it – a soft whimper. He moves around the bed. Aliah
is sitting on the floor, her back on the wall. She is holding
a wireless telephone in her bound hands; her face streaked with
tears.

ALIAH

The phones don’t work.

RAY

No.

He sits on the bed; holds half the sandwich to her mouth.

RAY

Eat. It’s tuna.

She takes a bite. She chews, staring at him.

ALIAH

It’s a possibility… isn’t it.

RAY

What’s that.

ALIAH

That you’ll kill me.

RAY

Whatever would put that idea into
your head?

ALIAH

I know who my father is.
(Another bite)
You’re just a drone, aren’t you.
Just a little killer bee, doing what
you’re told. My life is in the hands
of a brainless puppet.
(Spitting food in his face)
Your hands!! Your little puppet
hands.

He calmly puts the sandwich down. He picks up the napkin. He
rises. He carefully wipes his face.

RAY

Lunch is over.

ALIAH

Fuck you. Fuck you, fuck you, fuck
you.
(Screaming it)
Fuck you!

He picks up the plate and exits.
INT. THE HOUSE – CONTINUOUS
He comes down the hall. He stops. Oh, God, this stinks….
He takes a bite of the fucking sandwich.

ALIAH (O.S.)

Hey! Hey!!!(A moment)
Heyyyyyyyyyyyy!!!!!

Ray tosses the plate aside with a clatter. He turns back.
INT. BEDROOM – CONTINUOUS
Ray enters. Aliah has now pulled herself up off the floor.

RAY

You are yelling again.

ALIAH

My hands hurt.

RAY

Yeah?

Ray moves forward – thrusts his hand into Aliah’s face – she
flinches. The teethmarks are deep, red and vivid.

RAY

So does mine.

Ray reaches – draws the karambit from his belt- a flat, flexible,
3 inch ripping blade, the curve shape of a tiger’s claw. He
holds it in front of her face… and then he reaches down and
slits the tape at Aliah’s wrists.

RAY

I need to get some things from the
car.

He exits. Aliah begins to tear at the tape binding her feet.
EXT. THE HOUSE – DAY
Ray comes out of the house into the blinding sunlight. Leaving
the door open behind him, he moves down towards the car.
INTERCUT: INT. THE HOUSE – CONTINUOUS
Unable to loosen the tape, Aliah rises and jumps/falls/crawls
towards the door.
TO:
She comes out of the bedroom and down the hall.
TO:
Ray opens the car door – reaches for a garment bag –
TO:
Aliah hops down some stairs — and falls – taking out a small
side table at the bottom of the stairs.
TO:
Ray is about to grab the gun metal briefcase – – hearing the
crash inside – bolting towards the house –
TO:
Aliah picking herself up of the floor – – jumping on towards

TO: THE KITCHEN
Coming into the kitchen – looking around – going for a drawer
– pulling it out – dropping it; contents flying – going to
another –
TO:
Ray enters the house. And hears a crash back in the kitchen.
Throwing the garment bag aside, he bolts –
TO:
Aliah drags open another drawer, pulling it’s contents to the
floor, searching for a weapon. And then she sees it – down the
counter – a wooden block of kitchen knives of different shapes
and sizes. Grabbing a knife, begins to saw at the tape at her
ankles.
Looking up Ray enters. Ray starting forward. Aliah,
screaming/snarling – sweeping the knife blade in front of her;
trying to cut him. Back – forth –
Ray blocks the blade with his forearm – blood spurts – and elbows
her in the face. She slams back against the counter and falls.
The knife clatters away.
Ray grabs her by the hair and drags her –
INT. THE HOUSE – CONTINUOUS
– out of the kitchen – across the room – Ray, furious.

RAY

You try to be nice. Create an
environment. Five years ago —
three! – someone bites, I break their
jaw. Someone runs, I break their
legs!
(Stopping)
And in your case I might just break
your skinny neck!

He drags her on again.
IN FAST CUTS:
CLOSE ON — Electric tape around her wrists.
TO:
CLOSE ON – More tape around her ankles
TO:
CLOSE ON – Slash of tape across her mouth
INT. MAINTENANCE ROOM – MOMENTS LATER
Windowless. Cement floor and walls. Climate controls.
Locked security box. Locked circuit panels. Some stored
household items. The door opens and Ray drags Aliah in and
swings her/slides her across the floor.

RAY

Do anything – touch anything – and
yes, you will be very painfully dead.

He exits. Aliah hears the door lock. She begins to quietly
shake – sobbing.
INT. BATHROOM – DAY
Ray is in the huge, marble shower. Faucet like a dinner plate
above him. Ray’s body is scarred; his profession hasn’t been
good to him. Old gunshot scar on shoulder. Dimple where the
screwdriver went in on his lower ab. Slash on his arm now
seeping blood. Ray. Head down. Staring.

LIAM (V.O.)

See you in hell, Bone.

RAY (V.O.)

Tell the guys, I’m coming.

Suddenly he hits the shower wall with his damaged fist – again,
shattering the tile. He stands. He let’s the water pour down

TO:
– red into the drain.
INT. HOUSE – DAY
Dressed in slacks and linen shirt, Ray makes his way towards
the maintenance room. He stops – prepares himself – unlocks
the door.
INT. MAINTENANCE ROOM – CONTINUOUS
Aliah lies on her side on the floor. Ray stares a moment and
then moves forward. He gently lifts her to a sitting position,
back against the wall. She starts, frightened.

RAY

Shhhh. I’m going to take this off.

One – two –

He rips the tape off her mouth.

RAY

Shhh – shhh. Let’s take a look.

He pulls out a handkerchief – she pulls away – he gently wipes
blood away.

ALIAH

(a moment; staring at him)
What’s your name.

RAY

No names.

ALIAH

Aliah. Mine’s Aliah.

He examines her nose.

RAY

It’s not broken.

(Her mouth)
This tooth is loose. Be careful with
it.

ALIAH

I can’t feel my hands or feet.

The knife. He cuts her bonds.

RAY

Come on. We’ll get you comfortable.

She tries to rise – she can’t – rubber legs. He lifts her, turns
for the door.
INT. UNDER GROUND GARAGE – DAY
Huge. Half a dozen luxury cars. Ray enters, supporting
Aliah. He moves to the Bentley coupe. It’s already parked
against the wall, blocking the driver’s side door. A classic,
refurbished Daimler waits to block the passenger side door.
The Bentley’s passenger door is open, the seat reclining back.
He places her in it.

ALIAH

(not looking at him)
If I fuck you, will you let me go?

RAY

You’re a stupid kid.

Ray closes the door. He pushes the Daimler forward until it
blocks the Bentley’s passenger door. Ray looks in the Bentley.
Aliah is staring into space. Ray exits.
EXT. SHOPPING CENTER – INDIO – DAY
The Explorer pulls into a shopping center, parks in front of
Vons and Ray gets out. He locks the Explorer and turns towards
the store. His metal case is still in the rear.
EXT. VONS SUPERMARKET – CONTINUOUS
In front of the store, an unshaven young man sits, playing his
beat to crap, shit-sounding jumbo guitar and singing a lousy
rendition of Summertime Blues. Knapsack and guitar case open
in front of him – some change in it. He looks up as Ray
approaches.

THE KID

Hey, man, hot enough for you?

Ray, ignoring him.

THE KID

Spare some change?

Ray goes into the store.

INT. VON’S – DAY
A package of steaks hit the cart.
TO:
Boxes of cereal.
TO:
Fresh vegetables.
TO:
A bottle of expensive wine. More wine. And more wine.
TO:
A bottle of high end vodka.
TO:
Ray is pushing his cart down the aisle. He stops to look at
cans of soup – picks one up, reads the contents – frowns.

RAY

(to a passing clerk)
You got organic?

TO:
Cans of organic soup are thrown in the cart.
EXT. PARKING LOT – CONTINUOUS
Guitar on his back, the Kid approaches Ray’s Explorer. He looks
in – sees the carry bag. He glances around, then reaching into
his pocket, he pulls out a set of auto jigglers; lock picks for
cars.
INT. VONS – CONTINUOUS
Ray, now with a ton of groceries, is in the check out line when
he hears a car alarm go off. It doesn’t register for a moment
– and then it does.

RAY

Hold these!

He bolts for the door.
EXT. PARKING LOT – CONTINUOUS
The Kid pulls out the pick and yanks open the door as – — Ray
comes out at a run – sees him –

RAY

Hey! Hey!!!

He races forward. The Kid quickly lifts the rear door, grabs
the molded carry case and – guitar and knapsack bouncing on his
back – runs. Ray, jumping into the Explorer. Starting up,
pulling out – pursuing.
TO:
Coming to the street. Seeing the Kid racing away to his left.
Ray peeling, cutting into traffic – ignoring the horns.
TO:
The Kid turning off the sidewalk, running towards an office
building. Entering at a run –
TO:
Ray turning into the drive – heading around towards the back

AROUND BACK –
Ray, coming around the corner just as the Kid comes out the back.
He stops, turning back into the building. Ray, stopping,
leaping out of the Explorer, racing into –
INT. OFFICE BUILDING – CONTINUOUS
Ray enters. Looking around the lobby – across it to the front
door –
EXT. OFFICE BUILDING – CONTINUOUS
– coming out – seeing no one – going back in –
TO:
The lobby quiet. Stairs going up – halls going both left and
right – rest rooms – one to either side. Ray moves to the men’s
room –
INT. MEN’S ROOM – CONTINUOUS
Ray enters. Empty. Stall doors open – except for the last one.
Ray moves forward – looks down to see the beat up sneakers, the
ragged pants – kicking the door in – to see a startled, terrified
Mexican janitor who’s been sitting, reading a Spanish
newspaper. Ray turns and runs for the door.
THE LOBBY – CONTINUOUS
– into the lobby, rushing to the back entrance –
EXT. THE BUILDING – CONTINUOUS
– coming out just in time to see the Kid drive away – in his
Explorer.
INT. SHOWROOM – DAY
Ray. Sitting on a fake leather couch. Bags of groceries next
to him. On his cell phone.

RAY

I’ve run into a little problem.

INT. MOVIE THEATRE – DAY
Gideon. He is in a not too crowded movie theatre, cell phone
in the crook of his neck. On screen, half naked sorority girls
are running from something, screaming.

GIDEON

What kind of problem?

RAY

Someone stole my tools.

GIDEON

Your tools. Can they be traced.

RAY

No.

GIDEON

(Sarcastic)
Shall I Fed Ex you some new ones?

RAY

I’ll take care of it.

GIDEON

Then what is it you want, Ray?

RAY

I want off this.

GIDEON

Not possible.

RAY

You can get somebody else.

GIDEON

No one else is available. You think
I’m enjoying this? You think I like
sitting around, twiddling my dick,
waiting for something to happen?
A theatre patron shushes Gideon from behind.

GIDEON

(cont’d)Do that again, you’ll be eating those
nachos with your ass.
(Into the phone)
This is the job. You don’t like it,
take it up with management.

RAY

There are some added expenses.

GIDEON

Just bring receipts. I don’t want to
hear this kind of shit again.

He disconnects. Ray disconnects. A guy, all smiles, is
approaching. Ray rises. Ray is in a car showroom. The
salesman holds out car keys.

CAR SALESMAN

She’s all set.

Outside the window – a late model used station wagon. Ray takes
the keys. Perfectly serious.

RAY

I need a receipt.

EXT. THE HOUSE – EVENING
Sun setting behind the mountains, etching them in blue.
INT. HOUSE – CONTINUOUS
Soup into bowl –
TO:
— drops of liquid into soup –
INT. DINING ROOM – EVENING
They dining area is dominated by an enormous, thick glass table,
The area looks out floor to ceiling glass windows towards the
mountains. Ray and Aliah sit across from one another; Ray
watching as Aliah slowly eats soup.

ALIAH

Have they contacted my father?

Ray is silent.

ALIAH

Because if you approach him the wrong
way…

RAY

The people handling it are very
competent.

Ray is silent.

ALIAH

Americans. You think you know
everything. Like you’re dealing
with someone who thinks like you do.
You want to know what my father’s
philosophy is? If you give an inch
to anyone, that inch is lost forever
and you will never get it back. Try
negotiating with that.

She eats some soup. Then:

ALIAH

My mother ran from him half a dozen
times. And every time he found a way
to bring her back. Not because he
cared but because she was his. So
she made a deal. Let me go, she’d
never run away again. Swiss
boarding school. I was eight years
old. I haven’t seem him since.

RAY

And your mother?

ALIAH

He grew tired of her. He decided to
divorce her. He watched as she set
herself on fire and burned to death.

(Looking at Ray) That is what you’re dealing with.
Silence.

INT. MAINTENANCE ROOM – NIGHT
A mattress with sheets, blanket and pillow already on the floor.
Ray, half carries a groggy Aliah in. She moans softly.

RAY

Shhh. Just something to make you
sleep.

A mattress, sheets, blankets are already on the floor in front
of her. Ray gently lowers her down.

RAY

(Staring a moment; then:)
Ray.

She looks up at him.

RAY

My name is Ray.

He exits.
INT. THE HOUSE – NIGHT
The house is dark. Ray sits at a grand piano, glass and vodka
bottle to the side, softly playing a minor key chord
progression. He stops. He drinks; puts down the glass. He
sits, staring to space. And now he begins to play again –
EXT. THE HOUSE — CONTINUOUS
— Moon River.
EXT. ANOTHER SHOPPING CENTER – INDIO – DAY
Establishing. Less upscale; older. Liquor store. Cheap
fast food. Between them the gun shop; buy-sell.
TO:
Between two cars, Ray is parked in his station wagon across the
lot. Open view. He’s been here awhile. He’s on his third
bottle of water, his second sandwich. He sits up as –
TO:
The Explorer pulls into the lot.
TO:
The Kid slowly cruises the lot, carefully checking out the cars,
the shoppers. He passes the station wagon – no one in it. At
the end of the row, near the gun shop, he pulls into a space
between two cars. Reaching for the briefcase, he opens the
door. He’s getting out when –
– Ray moves to the car door and smashes it back into the Kid’s
body. As the Kid crumbles, Ray does it again – the door smashing
into his head this time.
TO:
FAST CUTS – Carry case is opened — in fitted compartments are
a Biretta M9, a concealable Taurus .45 and a 9mm Glock and
silencer –
TO:
The Taurus — chamber a round –
TO:
Ray puts the muzzle against the Kid’s head.
THE KID
Don’t, man, don’t! Please!
A few solo shoppers have stopped; not sure what’s happening.
THE KID
I won’t tell anybody I promise.
RAY
Tell them what. What?
THE KID
… the car, there’s no registration
— the guns, no serial numbers… I
just wanted to get a couple of bucks
for’m, man.
More people stopping, staring.
RAY
Get in the car. Move!
Ray pulls the Kid up and pushes him in. Taking the case, he
follows him in, closes the door. He starts the SUV and peels
away.
INT. EXPLORER – MOVING – DAY
Ray, driving with his right hand. Left hand holding the gun,
aiming it across his lap at the terrified Kid.

RAY

Couple of bucks, huh? How much for
the car?

THE KID

I wasn’t stealing your car, man – I
was just trying to get away… man,
you had me scared shitless.
(Cringing)
You still do.

RAY

You start crying on me, I’ll push you
out the door right now.
They are moving fast.

THE KID

What are you going to do to me, man.
Ray elbows the Kid across the side of the head. The Kid cries
out and cowers. Ray settles back, disgusted.

RAY

Other than that, I don’t know yet.

EXT. INDIO – DAY
The car speeds on towards the desert.
EXT. HOTEL ROOM – DAY
A fork hits the plate of a cheap room service lunch. Gideon
rises from the tiny balcony table, on his cell phone.

GIDEON

(pissed)
A fucking kid!?

Gideon staring out over the balcony – Palm Canyon Drive below
– older west end of the Coachella Valley.
INTERCUT: INT. THE HOUSE – DAY
Ray, also on his cell phone. The Kid sitting on the floor across
from him, frightened and wide-eyed.

RAY

How old are you?

THE KID

Nineteen?

RAY

You asking me or telling me?

THE KID

I’m nineteen, man.

RAY

He’s nineteen.

GIDEON

So a fucking teenager stole your
tools.

RAY

He’s precocious.

GIDEON

And you decided to bring him the fuck
home.

RAY

Just shut up and listen. Tell the
client the girl’s father doesn’t care
about her.

GIDEON

How do you know that?

RAY

She said so.

GIDEON

How is it she’s talking, Ray? How is
it you’re listening?

RAY

Just pass it on.

GIDEON

(sarcastic)
Sure. And then maybe we’ll all just
give up and go home.

Ray is silent.

GIDEON

What are you going to do with this
kid?

RAY

I haven’t decided.

GIDEON

You want a suggestion? Bury him in
the back yard.

He disconnects. Ray disconnects. He looks at the Kid.

THE KID

Nice digs, man.

RAY

Digs.
Digs.

EXT. THE HOUSE – DAY
Ray finishes shoveling the last of the dirt. He looks down.
The Kid is buried up to his chin in the dirt; only his head
showing.

THE KID

This is not only uncool, it’s not
legal, man.

RAY

Count your blessings. You’re in the
shade.

Throwing the shovel down, Ray turns away.

THE KID

(calling after him)
What if there are snakes, man?
Coyotes?

RAY

They’re not nearly as dangerous as
me.

Ray turns away

THE KID

Man, couldn’t we discuss this over a
cold shower?!

INT. MAINTENANCE ROOM – DAY
Aliah sits, arms around her knees – pensive – alert. She
glances up as the locks turns. Ray opens the door. They stare
at one another.

ALIAH

I’m hungry.

INT. KITCHEN – DAY
Sub-Zero door opens – Sub-zero door closes –
TO:
Eggs cracked into a bowl.
TO:
Bread down into the toaster.
TO:
Coffee starts to drip.
TO:
A plate of golden yellow scrambled eggs. Toast with jam.
Coffee. Aliah eats. Ray, sits across from her, sipping
coffee.
ALIAH
You make good eggs, Ray.

RAY

It’s hard to screw up eggs.

ALIAH

You could make them too hard, too
soft. You could burn them. No, it
takes talent to make eggs like this.

She looks out the glass doors. There is a swimming pool,
brilliant, clear-blue in the sun.

ALIAH

You married, Ray?

RAY

No more talking.

ALIAH

That’s a yes.

(Eating)

So what does she think about what you
do? Does she know? Well?

RAY

She knew.

ALIAH

Knew.

RAY

She’d dead.

ALIAH

I’m sorry.

(Eating)
Any children?

RAY

Don’t make me put you back in the
closet.

ALIAH

Mmm.

Aliah wipes her mouth; puts the napkin down. She looks out at
the pool. The sun sparkles off the water of the pool.

ALIAH

Can I go swimming first?

EXT. THE HOUSE – DAY
The pool is in keeping with the house – huge, long and wide.
Ray standing, looking nervous; watching as Aliah, in a T-shirt
and underwear, moves down the steps into the clear blue water.

RAY

Stay in the shallow end.

ALIAH

You’re not a swimmer, are you.

RAY

Unless you’re a fish, swimming is
overrated.

She lazily swims towards the deep end.

ALIAH

So why didn’t she didn’t leave you,
Ray? Your wife. Knowing what you
did. I would have.

RAY

I wouldn’t let her.

ALIAH

Really. Don’t tell me, because
you’re the kind of guy who doesn’t
give that inch either.

RAY

No. Because I loved her.

CLOSE ON:
Aliah’s face. Her sadness – her fear – her resignation.

ALIAH

You can’t escape, Ray. No matter how
you try. You can’t escape your life.
And then closing her eyes, she goes under.
TO:
Underwater – Aliah let’s all her air out and sinks down towards
the bottom

RAY

Hey. Get back to the shallow end.
Aliah rests on the bottom now – eyes closed, mouth open – jerking
as she sucks water —

RAY

Hey! Hey! What do you think you’re


– Ray, pulling off his shoes, as he runs down the side of the
pool to the diving board – launching himself out into the middle
of the deep end –
TO:
Aliah. Above her – SPLASH! – Ray – clawing his way down to her
– grabbing her – fighting his way back to the surface –
TO:
– surfacing – hardly able to keep his own head above water, let
alone hers – flailing, struggling; choking – in the middle of
this goddamn huge pool.
– Explosion of water!
It’s the Kid. He grabs Ray and he pulls/swims him and Aliah
towards the side of the pool – grabbing the edge – pulling Ray
with him – Ray pulling Aliah to the edge – both of them gasping,
coughing – Ray, puking – dirt turned to mud dripping down into
the Kid’s face.

RAY

How’d — you get out?

THE KID

(grinning)
Snowboarding, man. Gotta know how
to dig out from an avalanche.

They struggle out of the pool.

INT. A BEDROOM – DAY
A room that belong to the woman of the house. Feminine.
Perfumes on the dresser. Aliah lies on the bed, on her side,
a blank look on her face; turned away from Ray, staring. Ray
puts a blanket on her.

RAY

You gonna be okay?

ALIAH

Why do you care?

RAY

I don’t.

(Then:)
Just don’t make me put you in the
closet again.

She is silent. He starts to the door. He hesitates.

RAY

…a daughter.

ALIAH

Hmm?

RAY

I have a daughter.

ALIAH

What would you do if she was trapped
in a house with a man like you, Ray?

RAY

Kill him.
She hears of the locking door.

INT. HOUSE – DAY
Ray comes down the stairs. He stops – hearing just the hum of
the air conditioning – where’s the Kid?
INT. KITCHEN – DAY
The Kid, still unwashed, streaked with mud, is making himself
a sloppy sandwich.

THE KID

Got any mayo?

Ray opens a cupboard and hands him a jar.

RAY

How come you didn’t get out of here.

THE KID

It’s the middle of nowhere, man.
Besides –
(a big bite; smiling)
– I like this place.
(Chewing)
So just what is it you do, man? The
guns, the girl. I figure you’re,
like, what, a kidnapper?

RAY

Yeah. I’m a kidnapper.

THE KID

Cool. Need some help?

RAY

Help.

THE KID

You want to take a break, go to the
john, I mean, you know… anything.

RAY

Why would you do this.

THE KID

(obvious)
The bucks.

RAY

Okay, look. You pulled me out of the
pool. You want to stay here, I
wouldn’t, but fine, go ahead.
In a quick move, Ray grabs the Kid by the T-shirt and slams him
up against the refrigerator.

RAY

But you don’t ask questions and you
stay away from the girl.

THE KID

(pointing at his head)
Saved on the hard drive.

Ray roughly releases him; turns and exits.

THE KID

(admiringly)

Cool.

INT. BEDROOM – DAY
Ray enters the bedroom. Grabbing a carry bag, he opens it and
dumps a pile of pre-paid cell phones onto the bed – at least
eight of them. He picks up one, he dials.
INT. HOUSE LIBRARY – DAY
Dark wood and book lined shelves. A phone is ringing in another
room. It stops. A moment later, a woman, pokes her head in.

ARTIE’S WIFE

Arthur?

Artie Shaw, now 60’s, looks up.

ARTIE’S WIFE

It’s Ray.

She retreats. Artie hesitates…. picks up the phone.

ARTIE

Ray?

INTERCUT: INT. THE HOUSE – CONTINUOUS
Ray, cell phone to his ear.

RAY

Hey, Artie.

ARTIE

Give me a number, I’ll call you back.

EXT. GEORGETOWN – A PARK – DAY
Establishing. Artie, walking, talking on a cell.

ARTIE

Ray. I cannot help you, I’m not in
the game anymore.

INTERCUT: EXT. THE HOUSE – CONTINUOUS
Ray, out in the cactus garden, on his cell phone.

RAY

You’re not out till they bury you.
You know that.

ARTIE

I’m not even supposed to be in contact
with you. And believe me, they paid
me a hell of a lot not to.

 

RAY

Not enough. You owe me.

ARTIE

Bullshit. I owe you like I owe an
undertaker and I’m not even dead yet.
I’m retired.

RAY

You know people, Artie. It’s what
you do best. Something stinks here,
I smell it. Now I need to know what’s
going on.

Artie; totally conflicted.

ARTIE

What you’re smelling is your own
shit.

EXT. THE HOUSE – EVENING
Sunset over the desert. The rock mountains turning silver;
clear behind sky behind them.
INT. BEDROOM – CONTINUOUS
Aliah sits, bathed; dressed in cloths she’s found in the
bedroom; putting on some light make-up. She looks up as the
lock clicks – the door opens just a crack. Aliah almost smiles.
EXT. THE HOUSE – EVENING
The Kid sits on the patio, banging at his big toneless guitar,
doing a shitty Bob Dylan – Like a Rolling Stone.

THE KID

Once upon a time, you looked so fine,
give a bum a dime, didn’t you!! —

INT. HOUSE – CONTINUOUS
Ray stands at a floor to ceiling window, looking out over the
expanse of desert that abridges the house. He turns. Aliah
approaches.

ALIAH

(the clothes)
I figured the owner wouldn’t mind.

RAY

They look good.

She looks at the Kid outside –

THE KID

How does it feeeeel! To be on your
own!

 

ALIAH

Friend of yours?

RAY

Not even an acquaintance.
Silence. She stands next to him.

ALIAH

I’ve decided something, Ray. I’m
safe with you.

 

RAY

Whatever would give you that idea?

Side by side – she rests her head against his shoulder.

 

ALIAH

I’m safe. I know it.

CLOSE ON — Ray.

INT. KITCHEN – EVENING
A knife – IN FAST MOTION —– dices vegetables.
TO:
Sub Zero door opens – Sub Zero door closes.
TO:
Pilaf is expertly flipped in a large saute’ pan.
TO:
Steaks are thrown on a hot indoor grill.
TO:
Salad is tossed.
TO:
Pop! A bottle of fine red is uncorked.

EXT. THE HOUSE – EVENING
The Kid has moved on to Knockin’ on Heaven’s Door. The guitar
sounds like as brick with strings. The glass door slides open
and Ray comes out.

RAY

Hey, Bob Dylan. You hungry?

INT. DINING ROOM – EVENING
Ray, the Kid and Aliah sit, eating. The Kid has the table
manners of a goat; eats like he’s never seen food before.

THE KID

Aw, man, you did this? – man, this
steak is, like – mooo! – and this —
what’s this – ?

RAY

Pilaf.

THE KID

What is it Jews say? Oi! And this
wine!(Gulping)
This wine is so — French!
The Kid laughs. Then:

THE KID

So what do you do, huh? The
“kidnappee”.

He grins at his own wit; not seeing Ray stiffen slightly.

ALIAH

I’m a student.

THE KID

Yeah? What a’ you studying.

ALIAH

(glancing at Ray)
Psychology.

THE KID

Cool. I was a student once. It
didn’t agree with me.
(Then:)
What about you, man? Let’s see…
you are – were — military.
(To Aliah)
See, he’s not saying no. My old man
was too, I know the type. What was
that one war – Viet something? We
lost that, didn’t we? Was that your
fault? Then there was that island in
the Caribbean where we freed the med
students. And now we got the latest
model, the crazies, blowing people up
which totally sucks. Though I gotta
admit, 40 virgins in the Garden of
Allah sounds very cool.
(To Aliah)
Especially if they look like you.
(a beat)
Am I talking too much?

OUTSIDE – NIGHT
The Kid is buried up to his neck in the ground again.

THE KID

Aw, come on, man! Let’s at least
have dessert!

BACK INSIDE –
Ray sitting down at the table. Sipping some wine. Beginning
to eat again.

RAY

Is that what you’ve been doing?
Psychoanalyzing me?

ALIAH

I’m just a waitress.

RAY

As a waitress, what do you think?

ALIAH

I think you’re one of those guys you
see in restaurants, sitting by
themselves, acting like they’re
there by choice. You look at the
menu, you order the best food, the
most expensive wine, you eat. And
you would trade every bite for
crackers and water, if it came with
company.

Ray is silent.

EXT. HIGHWAY 111 — MORNING
A big rattlesnake moves out of the cactus and across the road.
And is run over.
INT. CAR – CONTINUOUS
A rental car; a convertible. Gideon. Kerchief on his head.
Mirrored shades. Toothpick. Cell phone to his ear.

GIDEON

(cheerfully)
We have a problem.

INTERCUT: EXT. THE HOUSE – CONTINUOUS
Ray, in back on the patio – empty, blinding desert to the south
and baking rock east into the mountain. Already hotter than
hell.

RAY

We?

GIDEON

The girl’s father has indicated he
needs persuasion.

RAY

Meaning.

Ray, staring at the ground – at the empty hole. The fucking
Kid has somehow gotten out again.

GIDEON

For someone who doesn’t want to know
anything, you seem to require an
awful lot of meaning in your life,Bone.

Gideon passing the car in front of him.

GIDEON

Move it, shithead!
(Then:)
Still there?

RAY

What kind of persuasion.

GIDEON

How many kinds are there?

RAY

In my experience, this is not the way
to go.

GIDEON

Really.

(Amused; then:)
Thermal. I’ll see you in an hour.
Gideon disconnects. Ray disconnects. And stares.
INT. BEDROOM – DAY
Aliah, dressing – looking up startled, covering herself as Ray
slams the door open and enters. He looks furious – determined
– glaring at Aliah — and then, he sags — he can’t do it. He
looks at her again.

RAY

I need nail polish.

INT. KITCHEN – DAY
Ray enters. Well dressed. He’s carrying a small cooler.
The Kid, again filthy dirty, is at the table, eating yet another
jaw breaking sandwich. He grins. Ray yanks open the freezer
and begins furiously filling the cooler with ice cubes.

THE KID

Road trip?

Moving to the Kid, Ray takes the sandwich, tosses it away and
yanks the Kid up and out of his chair.

THE KID

Hey!

RAY

Go out, start the car and turn on the
air conditioning.

THE KID

What about her?

RAY

She’s in the closet.
(Pushing him)

Move!

The Kid exits. Ray moves to the counter. There’s a wooden
chopping board. He reaches for the block of knives – and
selects the cleaver. He puts his hand on the board. The nail
on his little finger has been polished red.

RAY

Never take the gag off. Never let
the job become a person.

He slams the cleaver down.

EXT. THE HOUSE – DAY
Ray comes out into the driveway. His hand is newly bandaged.
He carries the cooler. The car is running.
INT. THE CAR – CONTINUOUS

The Kid is in the passenger seat. The door opens.

RAY

Move over. You’re driving.

The Kid clambers into the driver’s seat. Ray gets in.

THE KID

What’s in the cooler?

RAY

Beer.

To:
The car moves out and down the drive.
EXT. INDIO – DAY
The Explorer heading west. Past the bones of future golf
communities.
INT. THE EXPLORER –

RAY

Turn right up here.
Thermal.

EXT./INT. THE EXPLORER – DAY
Sun baked landscape. Palm farms. The Kid glancing over.
THE KID
You’re bleeding, man.
Ray’s right hand. Blood seeping out the bandage – at the
bottom. Ray is silent.
EXT. AIRPORT – DAY
The Explorer turns into Jacqueline Cochran Regional Airport.
EXT. AIRPORT – CONTINUOUS
Hangars. Small terminal. Fencing surrounding the runways.
The Explorer passing —
TO:
— and moving through a gate in the fence and onto –
EXT. THE TARMAC – CONTINUOUS
A private jet is waiting. Gideon – sloppy and out of place
against the sleek backdrop of the private plane – two men in
shades are waiting by the gangway. Gideon starting forward —

RAY

Keep it running.

Gideon approaching the car as it rolls to a stop. Ray, putting
his bandaged right hand down by his leg, hiding the blood stain.

RAY

Open the window.

The Kid does so. Gideon bending to look in.

GIDEON

Chauffeur, Ray?

RAY

Apprentice.
(To the Kid)
Give him this.

The Kid takes the cooler and hands it to Gideon. Gideon opens
the cooler to see –
TO:
— packed in ice – a painted finger tip; cut above the second
knuckle.
TO:
If it doesn’t look suitably feminine, Gideon’s expression
doesn’t show it.

RAY

Don’t let the ice melt.
(To the Kid)
Let’s go.

The Explorer circles and heads back through the gate. Gideon
watching it go –
T0:
The Kid peering in the rear view mirror as Gideon turns back
towards the plane –

THE KID

Who is that guy, man?

RAY

Fed Ex.
They drive on.

EXT. LA QUINTA – SHOPPING CENTER
The Explorer pulls up in front of a large pharmacy – one of a
chain – and Ray gets out.

THE KID

You want me to come in with you?
That might be the dumbest thing Ray’s ever heard.

RAY

Go get some gas and come back.

THE KID

Uhhhm…

Ray takes out and tosses the Kid some bills. The Kid
grins/cackles and drives on.

INT. THE PHARMACY – DAY
A box of gauze tape hits the shopping basket.
TO:
A bottle of antiseptic –
TO:
Rolls of surgical tape.
TO:
Tums.
TO:
The register. Ray, having paid, taking his bagged purchases.
EXT. THE PHARMACY – DAY
Ray comes out. Pauses to take a Tums. And looks up as –
TO:
a car screech to a halt in front of him – two armed men leaping
out –
TO:
Ray turning and bolting –
TO:
– the men firing; one with a Mac 10. machine pistol –
TO:
– pharmacy windows shattering –
TO:
Ray, moving fast –
RAY
Down – get down!
— people screaming and hitting the pavement as a bullets whine
– – Ray now seeing another car come into the lot; turning into
the Von’s Supermarket as –
TO:
The car shrieks to a stop and three men get out. The first two
men come running up. They are Liam Gallagher’s sons, PATRICK
and FRANK.

PATRICK

(Irish accent)
You two round back – you with us.
Two men break away – three move into the store

INT. VON’S – CONTINUOUS
Ray moving down the frozen food isle towards the back – Patrons
glancing up –

RAY

Get out of here! Leave the carts –
go!!

They scatter.
TO:
Patrick and Frank and the hired man entering – patrons backing
away, terrified.
PATRICK
You, that way – you, that way.
The men split up at a run.
TO:
Ray comes to the end of the isle – backs into the potato chip
display – draws and check the load on his own weapon – the Taurus
45. Looking for the exit – either up left through the butcher
department or down right through produce –
He starts towards produce – and is forced back by the sudden
chatter of Patrick’s machine pistol – cracker boxes are
pulverized; potato chip bags burst and fly –

PATRICK

Long time no see, Bone!

RAY

There’re people here, Patrick – they
have nothing to do with this.

PATRICK

Fuck’m!

Another burst from the machine pistol – cans burst, bags fly.

PATRICK

M’ Dad’s dead thanks to you!

RAY

He was playing both sides, Patrick.
If it hadn’t been me, it’d have been
somebody else.

PATRICK

But it wasn’t, was it!
Patrick opens fire again, advancing —

TO:
Ray turning away – just as Man 3 comes out of dairy – Ray shoots
first and the man goes down – – and now shots from the other
side –
TO:
Frank coming out a far isle –
TO:
Ray fires, making Frank retreat and then he runs and vaults over
the meat counter.
TO:
Patrick firing –
TO:
— glass shattering – meat pulverized —
TO:
Ray, crouching, moving along and behind the counter to the door
to that leads to the cutting room –
TO:
Patrick reloading –
INT. CUTTING ROOM – CONTINUOUS
— Ray entering the cutting room – just as one of the other two
men enter from the back – surprised to see Ray – Ray falling
back as the first man opens up – then shooting from behind the
door – the second man goes down – Ray moving back to the counter,
crouched low –
TO:
— Patrick, opening up – the windows to the cutting room,
exploding — Patrick running through the clip – and the moment
it’s out, Ray rises and fires – Patrick goes down –

FRANK

(running towards him)
Patrick! Patrick!

Frank kneels over his brother — Frank looks up at Ray.

FRANK

You’ve killed him, you son of a bitch!

RAY

Don’t do it, Frank.

Frank rising, gun in hand – Ray shoots him once. Frank shudders
with the impact. He falls.
TO:
Ray comes out from the behind the counter – a sound and he turns
– the last man has come out about 20 yards down the store – gun
raised but trembling – just a kid really.

RAY

Go home.

The young man turns and runs. Ray sags – and then starts back
through the store.
TO:
Shell shocked looking people staring at Ray as if he’s the angel
of death as he passes.
EXT. VONS – DAY
Ray comes out. There’s the sound of police sirens in the
distance. And now the Explorer enters the lot and pulls to a
stop in front of him. The window comes down. The Kid is eating
a Slim Jim.

THE KID

Where’s your stuff?

Ray gets in the Explorer, takes the Slim Jim and throws it out
the window.

THE KID

Man, what a’ you got against
nutrition, man?

Shaking his head, the Kid puts the Explorer in gear. They drive
towards the exit, turn and are gone.
INT. THE HOUSE – DAY
The living room. The Kid and Aliah sitting in front of the TV.
On the TV – the shopping center parking lot – a reporter –
ambulances and police cars in the background.

REPORTER

— been confirmed that five
unidentified men were killed in the
sudden and unexplained shoot out on
Washington and 101, this happening
just hours ago –

INT. BAR – CONTINUOUS
Gideon, on his cell phone, looks furious; trying to keep his
voice down.

GIDEON

You’re on the fucking news, Ray.
Gideon turning – the TV on behind the bar – same newscast; sound
off –

INTERCUT: INT. THE GARAGE – CONTINUOUS
Ray, leaning against a Bugatti, massaging his eyes.

RAY

How’d they know it was me who did
their father?

GIDEON

How do I know?

RAY

How’d they know how to find me?

GIDEON

I don’t know!! Who gives a shit?
(Lowering his voice)
The fact of the matter is you should
have gotten the fuck out of there.

RAY

Yeah, well, the meat room was
crowded. I want to know how they
knew. You find out.

GIDEON

Or what.

RAY

Or I quit now and find out myself.

GIDEON

(coldly furious)
Anything else?

 

RAY

Yeah. Nothing happens to the girl
from now on.

GIDEON

Nothing has. How’s your finger,
Ray?

RAY

It wants to shoot somebody.

Ray disconnects. He turns, looks towards the house. Aliah is
at the glass, watching him. She quickly turns away.
INT. THE HOUSE – DAY
Aliah and the Kid watching the wide screen TV.

BROADCASTER

— eye witnesses report an older man
in a suit coat was seen running down

Click. Ray has picked up the remote and turned it off.

THE KID

(awed)

Man… was that you?

RAY

Shut up. You’re hired.

THE KID

I’m what?

RAY

You asked for a job, you got one.

THE KID

Cool! What do I do?

RAY

Her. You protect her – simple as
that.

THE KID

Do I get a gun?

Ray looks at him.

RAY

A gun. You want a gun?

IN FAST CUTS –
A sniper’s rifle is assembled. Parts slam into place – stock
assembly – click –
TO:
– trigger bolt assembly – click –
TO:
– feeding & operation assembly – click –
TO:
– sights and scope – click –
EXT. THE HOUSE – DAY
Ray, moving towards us, the assembled sniper’s rifle in his
arms. He is loading ammunition into the breach. Aliah and The
Kid follow.

RAY

Customized US military M40.
Launches a 150 grain, thirty caliber
bullet at 2800 feet per second.
Range, 700 to 800 meters for
first-shot kills.

Hardly pausing, Ray raises the rifle and fires. Two hundred
yards out, a cactus explodes at head level. Ray quickly ejects
the cartridge and fires again – ejects and fires – three bullets
in the ten ring – the cactus is mush.

RAY

Who wants to try?

TO:
The Kid, in a sitting position, grimaces and turns his head away
as he fires.

RAY

Nice shot. You hit a mountain.

THE KID

It’s loud, man!

The Kid tries again – nervous now – and flinches as he fires.

RAY

I wouldn’t trust you with a water
pistol.

He takes the rifle, offers it to Aliah.

RAY

Your turn.

She takes it.

ALIAH

How do you know, I’m not going to use
it on you.

RAY

Go ahead.

She aims it at him. A moment; staring at one another.

RAY

A gun needs bullets.

Ray takes the rifle from her.

RAY

Sit.

She does. He loads and hands her the rifle. She raises it.

RAY

Knees support the elbows. Aim.
Breath, hold and fire.

She fires. Hit. Fires again. Hit. Fires a third time. The
head of the cactus falls away. She looks up at Ray, surprised
and elated.

RAY

Now imagine that’s a human being.
Aliah suddenly looks a little sick. Ray takes the rifle.

RAY

When somebody dies, somebody cries.
Never forget it.

He turns back to the house.

THE KID

(admiration)
Whooo.

EXT. BEDROOM – EARLY MORNING
Establishing.
INT. THE HOUSE – CONTINUOUS
Hum of air conditioning. Aliah, asleep.
INT. THE HOUSE – CONTINUOUS
A couch. The Kid, asleep, snoring; quivering like a dog having
a dream.
INT. BEDROOM – DAY
CLOSE ON – One of the cell phones on the bed vibrates. It’s
picked up before it can go a second time.
TO:
By Ray. We sense he hasn’t slept.

RAY

Talk to me.

INTERCUT: EXT. LANGLEY, VIRGINIA – MORNING
A car, moving. Past a city sign. Langley – the name of the
McLean, Virginia neighborhood in which the CIA resides.

ARTIE

The company is no longer an agency
contractee, Ray.

INT. CAR – CONTINUOUS
Artie, behind the wheel of the car.

ARTIE

Hasn’t been, since Congress learned
they were supplying the military with
hit squads.

RAY

That was three years ago.

ARTIE

Ray, these assholes may be full of
crap but eventually they find the
toilet. They’re on the company’s
ass now. They want names,
contracts. It’s a long list, Ray,
and you are on it. They oughta be
givin’ you a medal but instead you’re
probably gonna get a subpoena.

Ray, rocked by the news.

RAY

So who’s the company been working
for?

ARTIE

My guess is private parties.

RAY

…Jesus Christ…

ARTIE

Yeah.
(A beat)
So you want, I’ll keep digging.

RAY

Go retire, Artie.

ARTIE

Hey. My name’s on that list too.
(Then:)
Ray. You know Hogan’s out there.

 

RAY

Yeah.

Ray disconnects. He settles back on the bed. Thinking.
INT. BEDROOM – MORNING
IN FAST CUTS – Lightweight slacks from the closet.
TO:
A golf shirt from a drawer.
TO:
Feet slip into tennis shoes.
INT. HOUSE – KITCHEN – DAY
Aliah and the Kid, at the table, looking up as Ray enters; all
desert casual.

RAY

Let’s go.

THE KID

Where we goin’, man?

RAY

We’re taking a little trip.

EXT. THE HOUSE – DAY
The three of them moving towards the Mercedes, which Ray has
brought out of the garage.

ALIAH

Not a bad look for you, Ray.
That evokes a small smile from Ray.

THE KID

You think this is a good idea, man?
Like, people saw our faces.

RAY

Put a bag over your head.

They get in. Drive down the driveway.
INT./EXT. THE MERCEDES – DAY
IN A SERIES OF CUTS – The Mercedes heads south through the
Coachella Valley – Colorado Desert and Santa Rosa Mountain to
the west – more desert and mountains to the distant north east.
A burned wasteland. A jet passes high overhead, etched against
the blue.

ALIAH

Bones of pioneers must look up and
scream.
That amuses Ray. They are heading towards –

EXT. THE SALTON SEA – DAY
To the south and from a distance. The Salton Sea. Over three
hundred square miles of squalid water surrounded by salt flats,
mud and cracked earth.
TO:
The Mercedes turns west into the foothills.
EXT. THE CAMP PERIMETER – DAY
An oasis in the middle of no-where; no-where being the mountain
foothills overlooking the sea. Chain link fence, razor wire
on top. Sky so blue it hurts. The Mercedes drives through the
open gate.
IN THE CAR –

THE KID

Looks like someone’s expecting us.

EXT. THE CAMP – DAY
The Mercedes rolls to a stop. Ray gets out and stares at gray
sheet metal buildings. Old, rusting utilitarian looking
vehicles. A rusting vintage Cadillac convertible. Deep well
water pump. Chickens and goats. Aliah and the Kid getting out
of the car now – not sure what this is all about.

ALIAH

Someone lives here?

Ray doesn’t answer. The man who steps out from around the side
of one of the buildings does.

HOGAN

I do.

BOB HOGAN is a black man, 60. Bearded; burned juiceless by the
sun.

HOGAN

Hello, Bone.

RAY

Bob.

HOGAN

These yours?

RAY

Yeah.

HOGAN

Strays, huh? Well…

Hogan holds it up — four feet long, thick as a forearm – and
decapitated.

HOGAN

I hope they like snake for lunch.

Hogan grins.

EXT. THE CAMP – DAY
A woodfire crackles. Rattle snake is searing on the grill.
TO:
In the shade of a canopy, Hogan, the Kid and Aliah sit at a
battered wood picnic table. Fruit and a pitcher of water are
on the table. And a platter of grilled snake.

HOGAN

Ray! Come on and eat!

Ray is over by the water pump.

RAY

You eat it for me.

HOGAN

Dig in, children!

Hogan eats with gusto – Aliah, politely picking up a piece –
the Kid looking uncertain as to whether he even wants to touch
it. Hogan, grinning – pushing over the bottle of –

HOGAN

Hot sauce?

Aliah shakes her head. Takes a tentative taste.

HOGAN

Doesn’t taste like chicken, does it.

ALIAH

… no.

 

The Kid picks up a piece.

HOGAN

You ask me —

Hogan, contemplating a big bite –

HOGAN

— snake tastes like —

He stuffs it in his mouth.

HOGAN

Burned carpet!

The Kid, looking sick, puts down his snake and rises –

HOGAN

What’s the matter? Snake got your
tongue?

Hogan laughs uproariously.
TO:

The Kid approaches Ray.

THE KID

Who is this guy, man?

RAY

Somebody I used to work with.

THE KID

What is he, some kind of wackjobsurvivalist?

RAY

Hogan! The kid wants to know what
you’re doing out here.

HOGAN

Do? I live, young friend.

He rises. Plate in hand, he approaches, eating.

HOGAN

Without rules, without laws other
than my own. Without decadence or
deceit. Without lies. I need
nothing. I need no one. The world
is imploding, young friend. And
when the shit hits the fan and it
will, very soon, I will be safe here.

THE KID

Dude… are you serious?

HOGAN

(laughing uproariously)
Not even a little bit!

Throwing the plate aside, he wipes his mouth with his sleeve.

HOGAN

(serious now)
I’m not a fool, young friend. I live
here because the sun cleanses my
soul. Which is, yes, very much in
need of cleansing.
(Pointedly)
Is yours?

He sees now that Ray is staring up towards the satellite dish
on the house.

HOGAN

Looking for a hook up?

INT. MAIN BUILDING – LATER
A room where Hogan keeps connected to the outside world.
Monitors – data storage – short wave. Hogan at the computer,
Ray, watching.

RAY

Sure you don’t want me to do this?

HOGAN

I was hacking into websites while you
were learning how to use a phone.
Besides… I helped design this one.

INTERCUT – THE SCREEN – THE KEYBOARD –
Hogan uses LENOX as a computer platform. His fingers fly around
the keyboard. Going quickly to the website of –
HOGAN
Copperhead LLC! – limited liability,
I love that.
(website slogan)
Protecting what matters – that’s good
for a laugh too.
Code fills the screen as he types –

HOGAN

Okay, let’s stick it… right…
up…. their ass.

Typing, moving through layers of security – until – scrolling
data fills the screen.

HOGAN

Amateurs. That was too easy. What
we are looking for?

RAY

He says his name’s Gideon.
Hogan, searching – then:

HOGAN

Uh-uh. Got anything else.

RAY

(a beat)
Hydra.

HOGAN

Melodramatic but not unimaginative.

Hogan, typing – and then:

HOGAN

Bingo. That him?

On the screen – Gideon. Clean shaven, in the uniform of Army
Special Forces.

RAY

That’s him.

HOGAN

Eight years, Special Forces. Moved on
to Military Assistance Command –
which means agency field work. Left
to join Copperhead in 06′.

RAY

Operations history?

He types – hits enter. Words scroll down, filling the screen.

HOGAN

Well, well… not an incapable
individual. Want me to print it out.

RAY

Yeah.

Hogan key the printer.

HOGAN

Let’s take a little walk down memory
lane, shall we?

Hogan types. And brings up a photo of himself – younger,
sleeker.

HOGAN

Now there’s a handsome devil.

Under the photo, a word blinks – unknown.

HOGAN

And that’s how it should be.

Hogan, typing – and bringing up – a younger Artie, sitting in
a cafe, caught in conversation with an man in Arab garb –
blinking word – retired.

HOGAN

(the man in Arab garb)
You know, I think I killed this guy?

RAY

You did.

Hogan glancing at Ray, not liking that answer.

HOGAN

Let’s see what you’re up to.

Hogan typing. On the screen – Ray’s picture.

HOGAN

Guess what. You’re dead, Ray.

Under it the picture, the word blinks — decommissioned.

EXT. THE HOUSE – NIGHT
Night sky like crystal. Hogan and Ray, sitting at the picnic
table. Hogan is drinking from a bottle of rum.

HOGAN

Death. Is everywhere. A newspaper
man is shot and killed on a street in
Lebanon from a distant of five
hundred yards. Maybe he deserved
it. A bomb goes off in Bagdad
compound killing 40 insurgents.
Maybe they didn’t. We are all but
bubbles in a pot of boiling water. We
rise quickly to the surface. And
then we pop.
(A drink; then:)
Copperhead is in shit up to their
ears. You know that, don’t you.

Ray nods.

HOGAN

You’re a free agent now.

RAY

I’m a criminal.

HOGAN

It made a difference, you thought you
were working for your country?

RAY

To me it did.

HOGAN

A crime is a crime, Bone, doesn’t
matter who you do it for.
Ray doesn’t answer. Hogan drinks. Out of the dark:

ALIAH

Mind if I join you?

Aliah steps forward.

HOGAN

Pull up a board.

She sits. He offers her the bottle. She hesitates – then takes
the bottle and drinks – grimaces – drinks again. Hands it back.

ALIAH

Why do you call him Bone?

Hogan glances at Ray.

HOGAN

Shall I tell her?

Ray shrugs. Hogan puts down the bottle.

HOGAN

(using his hands)
Rock – paper – scissors.
(Fingers spreading)
Bone. Bone rips paper. Bone throws
rock. Bone crushes scissors. Bone
wins every time.

He raises the bottle.
LONG ANGLE ON –
The three of them. Silhouetted against the clear sky and stars
beyond.

HOGAN

(Toasting)
To death, my children. To
inevitable death.

REVERSE ON –
The Kid. He has been quietly watching and listening.
EXT. THE CAMP – MORNING
Establishing.
TO:
Ray and Hogan shake hands. Aliah and the Kid, waiting by the
car.

RAY

Take care of that soul of yours, Bob.

HOGAN

You know, you could always walk away,
Ray. Disappear.

RAY

And do what?

Ray moves to the car. Hogan watches them go.

EXT. GAS STATION – DAY
Station in thew middle of nowhere. Ray finishes filling the
tank. Puts the nozzle back. Ignores the Kid, as he leans out
the window:

THE KID

Hey, man, what about breakfast?

Ray gets in the car.

THE KID

Aw, come on, man, I’m hungry!

They drive away. And then the car skids to a stop and the Kid
jumps out and runs for the station –

EXT./INT. THE CAR – DAY
Two lane road, rock strewn hills to both sides. The Kid in the
back seat, eating a donut and drinking a coke. Ray and Aliah
in the front. The radio crackles – news of yesterday’s fiasco
– “police are still searching for…”. Ray turns off the radio.
Silence.

THE KID

Anybody want a donut?

He is ignored.

RAY

We get back to the house, you drop me
off, you leave.

Aliah and the Kid glancing at one another.

ALIAH

What if I don’t want to go, Ray?

RAY

It’s not your decision.

THE KID

Hey, if she’s staying, me too.

RAY

She’s not, you’re not. End of
discussion.

Crack! The bullet tears through the windshield and takes off
the top of the Kid’s.

THE KID

Fuckkk!

TO:
The front tire explodes as another bullet hits it –
TO:
The car careening to the right –
TO:
Ray, fighting the wheel.

THE KID

(holding his ear)
Son of a bitch – !

RAY

(pulling Aliah down)Get down!
Crack! Another shot splits the side window.

TO:
The car careens off the road in a cloud of dust – and crashes
up onto some small boulders – almost tips – comes to stop, angled
towards the shooter.
TO:
Ray is out the door almost before the car has come to a stop.
Moving through the blinding dust towards the back – opening the
trunk – a bullet pierces the metal trunk lid. Ray, dropping
to his knees – reaching for the long metal case – another shot
– he falls back – reaches again – and gets it.

ALIAH

Ray!?

RAY

Keep behind the engine block!

The Kid huddling down beneath the front seat. Aliah struggling
to unbuckle her belt – a bullet collapses the windshield
completely –

IN FAST CUTS –
Barrel to stock – rock –
TO:
– scope to barrel – paper –
TO:
– cartridges slammed home – bone –
TO:
Rifle in hand, Ray moves alongside the car to the open door –
using it as a shield, he raises the rifle.
TO:
His POV – crosshairs – as he scans the hills, looking for the
position.
TO:
A bullet shatters glass near his head – Ray doesn’t flinch.
Scanning – to catch a flicker of movement – a man scrambling
– changing his position for a better line of fire –
Ray squeezes off three fast shots – too late – the man is gone
– Ray moves – countering the move on the hill – running low to
the ground – moving to protection –
TO:
The sniper settles into a seated position, aims – and fires –
TO:
– into the gas tank of the car.
TO:
He fires again.
TO:

THE KID

(through gritted teeth)
Shit, he’s gonna blow the fucking
tank!

TO:
Ray, in a prone position – through the scope – searching –
TO:
– another shot into the car-

THE KID

Fuck this, we are out of here!
He scrambles out of the back, reaches for Aliah’s hand.

 

THE KID

Come on!

Another shot into the car’s gas tank. Aliah frozen in fear.

THE KID

You want to get blown to bits?

Another shot. The Kid and Aliah bolt from the car –

TO:
– Ray seeing it now –
TO:
on the hill; the rifle cannister – and just a tiny sliver of
the man’s head over the rock.
TO:
The sniper fires –
TO:
– and the Mercedes blows up behind the Kid and Aliah, sends them
flying =
TO:
Ray. Breath, hold, fire.
TO:
The top of the snipers head explodes in red.
TO:
The Kid and Aliah pick themselves up off the ground. Ray
approaching fast.

THE KID

My ear, man…

RAY

I’ve got worse cuts shaving.

Ray starts up the hill. Aliah follows.

EXT. THE HILL – DAY
Ray and Aliah approach – and now they see it – the body of the
sniper – moving closer – Aliah gasps and turns away – the man’s
eyes are open in death – his hat and head have been blown away.
It’s Hogan.

ALIAH

Ray?

RAY

Don’t talk.

Down below –

THE KID

Hey! Heyy!!

Ray turning.

THE KID

There’s a car parked up ahead!

Ray quickly searches the body for keys; finds them.

RAY

Let’s go. I said, let’s go.

Aliah takes a last look at Hogan’s body – then follows Ray down
the hill.
AT THE BOTTOM OF THE HILL –
Ray, taking things from the smoldering Mercedes – cases – bags
– tossing them to the ground.

THE KID

Careful with the guitar, man!

RAY

Grab something. Move!
Taking his cases, he turns away.

EXT. HIGHWAY – CONTINUOUS
Approaching Hogan’s beat up Cadillac. Ray opens the doors and
trunk – throws things in. Aliah and the Kid follow suit.

THE KID

People are trying to kill you, man!

RAY

Shut up and get in.

Ray jumps in behind the wheel. Aliah and the Kid getting in.
Ray starting the car up and peeling off as fast as he can
INT. THE CADILLAC – MOVING
Ray driving; Aliah in the front; the Kid in the back.

RAY

(To the Kid)
The black bag – hand it to her.

He does. She looks in. Wallet, keys, etc.

ALIAH

These are my things.

RAY

I’m taking you to the airport, you’re
getting on a plane –

ALIAH

No –

RAY

You are out of here! You – Kid. You
got a driver’s licence?

THE KID

Duh?

RAY

You’re out of here too.

THE KID

Do I get severance?

Driving on –
EXT. PALM SPRINGS INTERNATIONAL AIRPORT – DAY
The Cadillac drives into the airport proper. Wind farm in the
immediate distance – swirling props –
EXT. TERMINAL – DAY-
Tires squeal as Ray turns between two cars, up and onto the curb
– stops – all of them getting out.

THE KID

What about the wheels?

RAY

(tossing him the keys)
You can come back for it.

They race into the terminal – the Kid with his guitar and pack

TO: THE TERMINAL
The three of them moving down the concourse, through crowds of
travelers.

ALIAH

Ray. We can help you, Ray.

RAY

No. You can’t.

Ray, moving to flight info. Quickly –

RAY

There’s a flight leaving for San
Francisco in 30 minutes.

Turning, moving on –

TO: THE TERMINAL
The three of them approaching the airlines counters.
Ray, suddenly stopping – up ahead, off to the side – between
them and the counter – two black men, both Somali – one of them
with ritual scars on his cheek – eyes scanning the terminal;
no luggage; wearing leather jackets that conceal something when
it’s 90 degrees outside. Ray, in his goddamn golf clothes,
looking around now – spotting two more out-of-place Somalis by
the door; one of them an angry looking young woman with a Mohawk
and a carry bag. Ray, pulling out bills – hundreds – – handing
them to Aliah –

RAY

Here. Go to the counter. Don’t
look back.

ALIAH

What’s going on?

RAY

Nothing. Just go.

ALIAH

Am I going to see you again?

RAY

No. Now get out of here.

Ray turns away, moving back through the crowd.

THE KID

Come on.

They turn towards the counters.

TO:
The man and woman by the door, just catching the moving figure
– starting after him –
TO:
Ray moving down the busy concourse – across the atrium –
TO:
The man and woman in uncertain pursuit –
TO:
Ray, ducking into a bookstore.
INT. ARTIE SHAW’S HOUSE – LIBRARY – DAY
Ringing phone. Artie – checking the number – picking up.

ARTIE

Ray?

INTERCUT: BOOKSTORE – CONTINUOUS
Ray “looking” at books; on his cell phone.

RAY

Berlin 93′, the target in front of the
Adlan Hotel, who was he?

ARTIE

Gordon Habeb. African arms dealer,
moving weapons into Mogadishu,
making a fortune.

 

RAY

Friends of his are vacationing in
Palm Springs.

ARTIE

Shit. Get out of there, Ray.

RAY

Too late for that. Artie, look out
for the girl, for me.

Ray disconnects.

BACK TO –
Near the ticket counters, Somali’s 3 and 4, eyes moving, as the
Kid and Aliah pass by them –
TO:
Som+alis 1 and 2, bumping into people as they move down the
concourse – not seeing Ray –
TO:
Ray. Taking a large, hard cover cookbook from the wall.
TO:
The Kid and Aliah at the counter.
TO:
Ray, exiting the book store; book in hand –

CASHIER

Sir – hey, sir!

Ray keeps going.

TO:
Ray, coming out of the book store – and right into his pursuers

TO:
Ray drives the edge of the hardcover book into the throat of
the man, rupturing his windpipe – as the man goes down, Ray whips
the heavy book into the woman’s face – she falls, losing her
bag – which sends the machine pistol that’s in it, skidding
across the floor
TO:
— bystanders screaming, backing away, running –
TO:
– Ray, turning for the exit —
TO:
— the man, choking, gagging – the woman, nose and mouth
bleeding, rising to her knees, on her cell phone –

SOMALI 1

(in Somali)
He’s here.

TO:
The ticket counters. At the counter, Aliah, watching the two
men, one on his cell, hurrying away.
COUNTER ATTENDANT
(handing over tickets)
Thank you, have a nice day.
EXT. AIRPORT – DAY
Ray coming out, hurrying across road through moving cars,
towards the parking lot.
EXT. THE PARKING LOT – CONTINUOUS
Ray comes into the lot, moves between two of cars – looking for
an unlocked car. Fuck it – he stops at an old clunker and uses
his elbow to break the side window. He gets in, breaks the
ignition with the intention of hot wiring it and –
– the side window explodes –
TO:
– across the lot – Somalis 3 and 4, armed with automatic weapons,
firing again – cars veering away from them –
– travelers with suitcases screaming and hitting the pavement
TO:
– a woman pulling her children down –
TO:
– a man carrying a golf club carry bag is hit – bullets through
the bag – and goes down –
TO:
– Ray, covered with glass pellets, ducking, crawling across the
car seat, pushing the passenger door open, out the other side
of the car – onto the ground – up and scrambling, bent at the
waist, moving between the cars –
TO:
– Somalis 3 and 4 moving and firing –
TO:
– car windows around Ray, bursting –
TO: THE TERMINAL
A airport security policeman, gun drawn, terrified, on his
phone, babbling –
SECURITY POLICEMAN 1
We need help here, we have people with
guns!
“Dancing” as he is riddled with bullets from behind – by the
Somali woman – machine pistol in hand – she ejects and slams
home another clip –
TO:
Somalis 3 and 4 moving forward into the parking area – careful,
experienced – like a military tag team –
TO:
— Ray coming out from between two cars – starting forward, low
– and being hit by a slow moving car; knocked hard to the pavement
– the driver leaping out –

DRIVER

You okay?!

– bullets from another direction suddenly riddle him, the
windshield of his car shatters. The bullets are coming from

TO:
– the Somali woman – in front of the terminal – people
screaming, fleeing – the woman cursing, again reloading –
TO:
— Ray, up and running –
TO:
— the woman, slamming the clip into place – and suddenly turning
at the sound of – – the speeding, oncoming Cadillac –
TO:
– The Kid behind the wheel – Aliah next to him –
TO:
– bearing down on the woman – who raises the gun, firing –
TO:
– a short burst riddles the grill of the Cadillac but –
TO:
– too late — the Cadillac hits the woman dead on, flipping her
into the air and to the pavement –
TO:
— Aliah, half stunned with what’s just happened – – the Kid
twists the wheel –
TO:
– the car crashes across the cement median, through a fence and
into the parking lot.
TO:
Somali gunman 3 – screaming at the sight of the woman – his lover
– on the ground.

SOMALI 3

Fiala!!

He runs towards her. Somali gunman 4 stops, uncertain what to
focus on –
TO:
– the Cadillac as it speeds down a corridor of cars –
TO:
– or his partner, running towards the terminal –
TO:
The Cadillac reaches the end of a row and crashes into an
oncoming car.

THE KID

Shit!
(Yelling out)

Asshole

Putting it in reverse, he floors it, drives away backwards.
TO:
Somali gunman 3 races up to the woman.

SOMALI 3

Fiala!

He kneels, putting his weapon aside. Turns her head – to see
dead eyes.

SECURITY POLICEMAN 2

On the ground, hands on your head!!
Somali gunman 3 looking up to see three airport security men
carefully approaching, weapons drawn

SECURITY POLICEMAN 2

On the ground!!

The man lunges for his weapon. The three policeman open up as
one, shooting him down.

TO:
The last Somali gunman snarls at the stupidity of what he’s just
seen happen. He turns his attention back to –
TO:
— the Cadillac — which, several rows away, engine smoking,
wheels burning, has become an easy target —
TO:
— he raises the weapon — and Ray steps up and into him, knocking
the gun up, driving a knee to his groin – the heel of his hand
into the man’s nose, driving it upward – the man goes down. Ray
staggers; panting, hurt and exhausted.
TO:

ALIAH

Ray!!

TO:
Ray turns for the Cadillac, moving as fast as he can which isn’t
very fast. He throws himself into the car’s backseat, slamming
hard into the Kid’s guitar case –

THE KID

I tried to get her on the plane, man!!
She wouldn’t listen!

The Kid forces the shift into drive and floors it – back through
the lot – around the damaged car and towards the exit – – crashing
through the exit arm — and on –

EXT. THE HOUSE – DAY
The Cadillac makes its way up the drive, on its last legs. It
wheezes to a stop. The Kid, Aliah and Ray get out. Ray,
staggering.

THE KID

Man, you don’t look so good.

Understatement, Ray is a bleeding, bruised mess.

RAY

You a doctor now?
(a moment; then:)
Go to the garage, get another car.

THE KID

Which one?

RAY

One that won’t draw attention on your
way out of here.

The Kid glances at Aliah as Ray turns away. Ray starts for the
house – he stops, suddenly dizzy –

ALIAH

Ray, are you okay?

Ray nods; starts forward again – and then his legs suddenly give
out and he falls.

ALIAH

Ray!

She rushes to him. Ray, on the ground. His POV – looking up
at her. Aliah’s voice seems far away — Ray’s eyes close.

INT. HOUSE – BEDROOM – DAY
– and snap open. Ray jerks up – ready to attack/defend. It
takes him a moment to realize where he is. He falls back;
exhausted.
INT. KITCHEN – MORNING
Ray. Tosses some Advil back. A sip of coffee, then:

RAY

Why are you still here?

REVERSE ON: The Kid and Aliah are sitting at the kitchen table.
INT. GARAGE – CARS — DAY
FAST CUTS – From inside the cars – car door opens – Ray looks
– slams the door shut –
TO:
– another car – door open – look – shut – open – look —
TO:
Ray slams the door shut – hard. The Kid and Aliah, watching.

THE KID

I told you, man. No keys in any of’m.
Somebody’s been here, man. What are
we gonna do?

RAY

Walk.

ALIAH
No – – we’re staying, Ray– staying
right here with you!
Ray pulls his gun and aims it at – right into her face.

RAY

Have you ever heard of Stockholm
Syndrome? It’s when hostages start
feeling sympathy for their captors.
I don’t need your sympathy or your
help.

He lowers the gun.

RAY

When it gets dark, you leave. You
don’t, I’ll throw you out and lock the
door.

He turns away.

INT. THE HOUSE – BEDROOM – DAY
The last of the cell phones. Ray picks it up – checks the caller
– and answers.

RAY

Talk.

EXT. THE ROAD – CONTINUOUS
Gideon by his beat up car, outside the fence, looking up at the
house.

GIDEON

How about we talk outside, Ray.

EXT. THE ROAD – DAY
Gideon hits the ground having been cold cocked. Ray, on him
in flash, knee on his chest, gun in his face.

RAY

Why have I been decommissioned.

GIDEON

Get off of me.

RAY

Answer me.

GIDEON

The company has a security breach.
Someone’s hacked the system. Maybe
even that friend of yours in the
desert. Oh, wait, that’s right –
(sarcastic)
– he’s dead.

Ray, considering that a moment. He rises. Gideon gets to his
feet, wipes the blood from his mouth.

RAY

(not looking at him)
Who am I working for?

GIDEON

I can’t tell you that.
Ray turns and aims it at Gideon’s face.

RAY

I’m not asking again.

GIDEON

Christ. Who do you think?
Afghanistan? Tehran? Who’d be
interested in them? Who’s the
oldest and best customer, Ray?

RAY

We don’t work for the government
anymore.

GIDEON

That depends what part of the
government you’re talking about.
We’re almost there, Bone. It’s as
good as done. Just sit tight for a
little while longer. Please.

They stare at one another a moment. Ray lowers the pistol.

RAY

Don’t ever let me see you again.
Ray turns away.

GIDEON

(calling after him)
We have people coming in. We will
protect you!
Gideon, shouting –

GIDEON

And when this is over we will find the
people who are fucking with us and we
will deal with them!

Ray doesn’t turn back. Gideon watches him go. And now the
sound of that fucking bad guitar –

EXT. THE HOUSE – DAY
The rear of the Explorer – the spare tire compartment is raised
– by Ray – no tire – another molded carry case – he lifts them
up –

THE KID (V.O.)

(Singing)
It’s two am, the fear is gone –

INTERCUT: EXT. THE HOUSE – CONTINUOUS
The kid sits on a section of lawn playing and braying/singing
– the song is Twilight Zone by Golden Earring –

THE KID

(Singing)
I’m sitting here waiting, the gun’s

still warm —

The song and the Kid continue as:

TO: BEDROOM – DAY
Carry case is opened – to reveal a number of small, laser-based
alarm systems – containers — flashlight sized metal
cannisters.

THE KID

Maybe my connection is tired of
taking chances.

TO: BATHROOM
In a sink, Ray mixes nitrated aromatics, collodion and oxidizing
inorganic salts —

THE KID

Yeah, there’s a storm on the loose,
sirens in my head –
– plastique.

THE KID

– wrapped up in silence, all circuits
are dead –

TO: BEDROOM
Ray inserts a marble sized bit of plastique into one of the
cannister.

THE KID

My whole life spins into a frenzy!!

TO:
Ray fills the cannister with heavy grain shot.
THE KID
Help, I’m steppin’ into the twilight
zone — !
TO:

THE KID

— place is a madhouse, feel like
being cloned — Help, I’m steppin’
into the twilight zone — !

TO:
Ray screws a small receiver into the bottom of the cannister
and places it on the bed – with the others. They are small,
deadly radio activated IED’s.

THE KID

My beacon’s been moved under moon and
star –
Ray now programs a number into a cell phone.

INT. BEDROOM – DAY
Aliah lies asleep in bed, as peaceful as a child. Ray stares
from the doorway. He almost smiles. He quietly shuts the
door.

THE KID

Where am I to go now, that I’ve gone
too far!

EXT. THE FRONT DOOR – DAY
Ray is putting one of the small alarm components into place.
He turns it on. A thin opaque beam crosses the entryway, knee
high, to reflect off the mirror on the other side. A cannister
is mounted chest high on the wall. Ray moves away.

THE KID

Soon you will come to know! When the
bullet hits the bone!
The song continuing as:

TO:
Back door. Laser alarm.
TO: UTILITY ROOM
The house’s fuse boxes. Cannister.
TO: DINING ROOM
Light fixture above the glass dining room table. Cannister.
TO: LIVING ROOM
Central, see-through fireplace – the cannister can blow in two
directions.
TO:
Upstairs hallway. Ray adheres a cannister to the wall
partially hidden by a framed painting.
INT. THE KITCHEN – DAY
Programed. Ray stares at his handiwork. This one is shoulder
high, on the wall and under a cabinet next to the entryway –
it’s blast pattern will fill the kitchen.

THE KID

Soon you will come to know! When the
bullet hits the bone!
The song/singing/playing ends as:

INT. KITCHEN – EVENING
WACK! A piece of chicken is dismembered with a kitchen cleaver.
FAST CUTS:
TO:
Garlic is expertly chopped.
TO:
Sub-Zero door opens – Sub-Zero closes.
TO:
Chicken is poured into a dutch oven over herbs, mushroom and
chicken parts.
TO:
Sub-Zero door closes.
TO: DINING ROOM –
FAST MOTION – Table is set – napkins, silverware, plates –
INT. DINING ROOM – NIGHT
The Dutch oven is uncovered to reveal a steaming coq au vin.

THE KID

(sceptical)
What’s this.

RAY

Coq au vin.

THE KID

Cock?

ALIAH

Chicken.

She serves.

EXT. THE GATE – NIGHT
Below the gate, the front of a black Cadillac Escalade, ENTERS
FRAME.
TO:
Several other SUV’s pull to a stop behind the Escalade.
TO:
A moustached man gets out of the lead vehicle. He stares up
at the house. He calls a quick command in Arabic.
TO:
Men get quickly get out of the vehicles, all heavily armed. The
leader gives quick orders. Men scramble over the gate. Others
move off around the periphery of the wall.
BACK TO:
The three of them sit, quietly eating; Ray at the head of the
table, the Kid and Aliah across from each other.
EXT. THE HOUSE – CONTINUOUS
Men are now quietly moving up the drive, groups alternating in
trained military precision –
TO:
– men moving in the shadows along the outside of the wall-
TO:
Ray, Aliah, the Kid – eating to the hum of air conditioner –
EXT. THE HOUSE – NIGHT
Men racing on the rocky slope above the house – a foot slips
and rocks and pebbles clatter down the hillside –
TO:
Ray puts down his knife and fork, carefully wipes his mouth with
his napkin. Ray reaches into his pants pocket. Comes out with
the phone.
TO:
— the drive – – the men splitting up – some moving forward;
the rest towards either side of the house
TO:
Sip of wine.
TO:
– – leader stops at the Explorer – quick, silent signs and two
men move towards the front entrance –
TO:
Clink of silverware.
TO:
– point man – moving carefully towards the front door — footstep
breaks the beam of light –
TO:
CLOSE ON: The cell phone vibrates.
TO:
Ray doesn’t react. Napkin to table.

RAY

(softly)
Get under the table.

The Kid and Aliah, looking at one another, confused.

RAY

Do it now.

Cell phone. Keyed. Aliah and the Kid moving –
TO:
— outside the point man reaches to open the front door –
TO:
Ray presses the send key –
TO:
– at the front of the house – explosion; just potent enough to
– IN SLOW MO – send the shot in a spreading half-circle pattern
– it rips through flesh – blows men back –
TO:

THE KID

Where the fuck, man!

Ray keys another number – Send –
IN THE UTILITY ROOM –
The cannister blows, destroying the fuse boxes.
INT. THE HOUSE –
Interior and exterior lights of the house go out. Hum of air
conditioner goes silent.
TO: OUTSIDE
The leader, the man with the moustache, now shouting orders in
Arabic.
IN THE DINING ROOM –
Hearing it, the shouts and orders.

ALIAH

Arabic! These are Iraqis!

Translating:

ALIAH

They’re coming in.

Ka-whoom! In a shower of glass an armed man kicks through the
terrace door into the dining room –
TO:
Ray is already diving – thumbing the send key on the cell phone

TO:
– which is tuned to the cannister on the lighting fixture
overhead –
TO:
WHAM. The shot explodes down and through the room – riddling
the walls and furniture and the attacker –
TO:
FROM BENEATH THE TABLE – pock marks appear like a sudden sheet
on the heavy glass surface above – Aliah, cringing in fear –
TO:
Ray coming out from under the table — moving to the dead man
– – grabbing his weapon; a 9mm machine pistol – – he rises, takes
Aliah’s hand –

RAY

Come on.

They exit at a run –
(Production note: Much of the following would ultimately be
based on the exact physical layout of the house. The original
description is:
“Exterior – a huge two story, stone and glass edifice, seemingly
built into the grey rock that rears up behind it. Lawns, stone
patios, cactus gardens, surrounded by desert wasteland.
Interior: glass and granite – 30 foot high ceilings – huge glass
skylights – gas fireplaces – partitions as if in an art gallery
– metal stairwells leading to open spaces on multi-levels.)
With that in mind –
EXT. THE HOUSE – NIGHT
Men moving around the inside periphery of the wall –
TO:
Three men come down the rock slope behind the house – leaping
to the roof –
INT. THE HOUSE – – CONTINUOUS
– Ray and Aliah, running – the )id isn’t with them –
ALIAH
Wait – what happened to –
Aliah screams as a high above a men shoot down through a skylight
– Ray returns fire – a man falls through the glass and down –
wham, onto the floor – Ray and Aliah move on, racing towards
the stairs –

RAY

We’ll find him!

TO:
Both of them coming up the stairs to the second floor –
TO:
Down a hallway – Aliah staring at the cannister on the wall as
they pass it — turning into –
TO:
– a bedroom. Ray going immediately to the window. To see, down
below –
TO:
– men racing across the patio –
TO:
– Ray picks up a cell phone off the bed, quickly dials a number,
hands the phone to Aliah –

RAY

Anybody tries to get in here, you hit
send. I’ll go get the Kid.

He exits.

INT. THE HOUSE – BEDROOM
The top of the old jumbo guitar is opened to reveal – no wonder
it sounds like shit – – and disassembled FN P90 submachine gun
wit flashlight, silencer, 50 round magazines and optical sight
aiming module – and half a dozen sets of car keys.
FAST CUTS — the weaponed is assembled – silenced barrel into
polymer stock – trigger assembly beneath stock – sight module
on top of stock – horizontal mag –
THE HOUSE – –
Ray moving down a hall – across a sitting area – to the balcony
– and falling back as vicious gunfire suddenly comes up at him
from below – –
TO:
Below Ray – three dark shadows in the gloom – an order is barked
– all of them opening up on the landing – laying down a fire,
expertly switching their positions, preparing for an assault

– Ray, plaster, artwork and metal pulverized around him – he
thumbs a number on his cell –
– the cannister in the fireplace –
– send –
– EXPLOSION! – shot mushrooms in two directions, riddling
bodies, lamps and furniture – everything in its path –
– Ray rises and painfully moves down the stairs – and across
the room – and out –
OUTSIDE –
– Ray, starting around the house.
TO:
Feet moving down a hall way.
INT. BILLIARD ROOM – THE HOUSE – NIGHT
Four men edging through the glass doors into a billiard room
– seeing nothing – moving forward – one of them turning as a
small disk of light hits his chest – rapid burst from a silenced
muzzle and the man goes down – the light quickly hits to the
other man and he falls, squeezing off a burst of shots in his
death throes – another man – another –
A figure moves forward out of dark – THE KID – a killer.
INT. HOUSE – CONTINUOUS
Ray stops, puzzled at the muffled sound of the shots – he moves
faster.
TO: BEDROOM
Aliah looks frantic.
TO:
The Kid’s POV as he races through the dark house – coming to

TELEVISION ROOM –
Hardly pausing as he surprises and shoots down three more men.
Moving on –
INT. HOUSE – CONTINUOUS
The Kid races down the stairs and into –
INT. GARAGE – CONTINUOUS
He starts across the vast room – and is forced to suddenly
retreat as three men burst in from the other side, firing.
TO:
A grill of vintage Thunderbird is turned to swiss cheese.
TO:
A line of holes ripples down the side of a Rolls.
TO:
Leaping across the hood of a Dodge Charger, the Kid rolls in
to an open firing lane – he shoots – one man goes down.
TO:
– the Kid rolls under the Dodge –
TO:
– the last two gunmen split up – one moves forward, wary and
ready as the other circles –
TO:
A small M67 grenade skitters across the floor – slides through
gunman one’s legs and under a Jag XKE. The man starts to turn
– too late. The blast lifts the car into the air, flips it –
and wipes the man out as it comes down –
TO:
The kid rises from behind the Dodge and shoots down the last
man. He moves on – as he passes the over turned Jag:

THE KID

Cool.

He exits the garage.
INT. THE HOUSE – CONTINUOUS
Two men climb cross the roof.
TO:
The bedroom. Aliah pacing, terrified at the sound of gunfire,
frantic at not knowing what’s going on. Turning as the two men
drop to the balcony outside the heavy glass doors – turning,
falling, as they shoot the glass out – scrambling towards the
door, opening it and out – as the men are slowed by the jagged
glass –
TO:
Into the hallway, scrambling up and running, cell phone in hand
as –
TO:
The men blast the rest of glass away and quickly enter.
TO:
Alicia racing past the cannister as –
TO:
The two men come into the hallway, turn to fire –
TO:
At the end of the hall, Alicia leaps –
TO:
– out onto the landing – landing hard – losing the phone – it
skids away across the slick floor –
TO:
The two men racing down the hallway.
TO:
Alicia clambering after the phone.
TO:
The men running towards the landing.
TO:
Aliah grabs the phone just before it goes off the landing.
TO:
The men coming out onto the landing
TO:
Key the phone.
TO:
The cannister.
TO:
Send.
TO:
The blast and the shot come down the hall and knocked the men
off their feet. Alicia rolling away – and hitting the balcony
rails hard with her head –
EXT. THE HOUSE –
Ray races across the patio – around the pool – – turning as the
moustached man, the leader, comes leaping down off the wall –
into Ray, tackling him – taking him into –
THE POOL
They struggle – moustached man behind Ray, arm across his throat

The machine pistol floats to the bottom.
– the moustached man breaking the surface for a breath; holding
Ray down – dragging him deeper again –
— Ray groping – for the small knife – flick of blade – Ray stabs
back into moustached man’s leg, ripping –
– blood – the man shrieking bubbles – Ray struggling free –
– the moustached man bursting the surface – –
– Ray kicking towards the bottom of the pool – for the machine
pistol –
– the moustached man – pulling the knife from his leg – taking
a furious breath – going under –
Ray grabbing the machine pistol – turning – the moustached man
coming at him – firing upward –
On the surface – the bullets almost lift the moustached man out
of the water – he crashes back – floating the frothing, spreading
red –
A beat –
Ray breaks the surface choking for air. He struggles towards
the side of the pool. As he starts to go under – his hand and
wrist are grabbed from above. Ray looks up at –

THE KID

This has become a habit, man.

He pulls Ray out of the pool. Ray holds the machine pistol;
looks at the weapon in the Kid’s hands. The Kid grins.

THE KID

Let’s go get the girl, Ray.
Ray turns away. The Kid follows.

TO:
Aliah eyes flutter open. She’s been on the floor; knocked
senseless. The house is silent.
INT. THE HOUSE – NIGHT
Ray and the Kid enter the dark house, moving carefully forward.
Destruction… bodies…

THE KID

I think we’re cool.

TO:
Aliah hears the sound of the voice, is about to call out when:

A MAN’S VOICE (O.C.)

(In Arabic)
Dont’ shoot us!
(In accented English)
You have won!

THE KID

Put down your weapons, come on out.
(In Arabic)
You won’t be harmed.

Weapons are thrown forward. The last two men come out of the
shadows and into the light, hands up.

RAY

Tell’m to go home.

 

THE KID

Nah.

The Kid casually shoots both men down.
TO:
Aliah. Horrified.
TO:
Ray immediately has the machine pistol up and ready.

RAY

Who are you.

THE KID

I’m you, Ray.

The Kid moves, incredibly fast. Ray hesitating that one
precious moment – the Kid scrambling as Ray fires a quick burst
– coming up to squeeze off a burst — too late – Ray is already
moving to the cover of a partition –
TO:
Aliah, afraid to move.
TO:
– both men’s backs against respective cover –

THE KID

Shall we talk about it?

RAY

You talk too much.

Both men moving, the Kid firing at where Ray’s voice was –
TO:
both finding shelter – backs against a wall –

THE KID

The girl was never the target, Ray.

TO:
Aliah, listening.

THE KID

You are.

TO:
Rising, the Kid begins to quietly circle – moving from partition
to partition –

THE KID

They’re gonna pull you in for
questioning, Bone! Congressional
panel, what jobs you’ve done, who
for. And you’re the kinda guy’d give
honest answers, am I right?

TO:
Aliah, listening.
TO:

THE KID

Lot of people stand to lose from that.
Your shit head buddy in the desert?
Good thing he was a lousy shot.
(Copperhead slogan)
Yeah, you gotta protect what matters.

Both men suddenly moving at once – exchanging fire – changing
positions.

TO:
Aliah turns and runs.
TO:
The Kid expertly reloading – fifty shot mag out, fifty shot mag
in.

THE KID

How you doing on bullets, dude?

TO:
Not good. Ray palms one from the clip.
RAY
You’ve gone to a lot of time and
trouble to take out one guy.
TO:

THE KID

(laughing)
Taking out’s the easy part, Ray, you
know that. What’s hard is profiting
from it. I know! Why not give you
up to some of the people you’ve fucked
up over a long career. Charge’m for
it! They formed a line, man!

The Kid suddenly moving-firing – Ray retreating, not returning
fire, trying to conserve his ammunition; bullets peppering
around him –

INT. UPSTAIRS – CONTINUOUS
Aliah races down the hall and into the bedroom Ray has been using

INT. THE HOUSE – CONTINUOUS
Ray and the Kid on either side of a doorway; just the wall between
them – the Kid creeps towards the doorway –

THE KID

The Gallagher brothers. Then the
crazy Africans at the airport.
Wonder what they had for breakfast,
huh?Then these guys. Baghdad,
09′? Retaliation for the Foreign
Ministry bombing? Bonus round,
dude!

INT. BEDROOM – CONTINUOUS
Aliah, desperately searching for something – in the closet –
behind curtains – under the bed – nothing — racing out of the
bedroom –
TO:
Aliah – – down the hall – into another bedroom –
TO:
Ray and the Kid.

RAY

So where do you come in.

THE KID

I’m the referee, man. Cue in the bad
guys. Keep the game going. Clean
up the mess.

Ray turns and fires through the wall at the voice. The Kid
flinches, furious.

TO:
Click. Ray is out of bullets.
TO:

THE KID

And you, man, are now the last of the
mess.

The Kid moves – Ray is already retreating as the Kid comes
through the door – the Kid firing as Ray races into –
THE KITCHEN –
– crashing into a chair that’s fallen away from the table;
sprawling badly cross the slick floor – his weapon skidding away
– stunned, hurting in every limb of his body – the Kid entering
– Ray trying to get up, get to his weapon – – the Kid quickly
moving forward to kick Ray in the face –
TO:
Aliah looking under the bed – nothing.
TO:
Closet – nothing –
TO:
The Kid stands over Ray.

THE KID

I would have helped you earlier, Ray,
but you took care of it all yourself.
You really are – were – the best.
He aims down at Ray, his finger tightens on the trigger. And
suddenly a phone rings.

EXT. AT THE BOTTOM OF THE HILL – CONTINUOUS
A Mercedes sedan pulls to a stop by the Escalades. Distant
sound of a ringing up at the house.
TO:
Another ring. The Kid takes out a cell phone and answers. Ray
is now sitting across from him.

THE KID

Yeah? Right here. Not a problem.
Disconnect.

 

THE KID

The boss. He wants to pay his last
respects. Sometimes I wonder why I
work for such an asshole. And then
I say – oh, yeah, the money.

TO:
Aliah – pulling the mattress off the bed – nothing –
TO:
The last cannister is on the wall behind the Kid. Ray tries
not stare at it. Glancing over towards the counter. By the
Sub-Zero – another one of his cell phones.
TO:
Aliah. A thought – behind the bed board – the rifle case.
TO:
The two men, looking at one another. Ray on the floor; the Kid
leaning against the counter. Ray, pointing at the
refrigerator.

RAY

You mind I get something to drink?

THE KID

You’re kidding.
(Then; grinning)
Never let a man go thirsty.

And he aims the gun. Ray rises. Painfully hobbles cross the
kitchen.

THE KID

Make me a sandwich while you’re at it.

Ray opens the Sub-Zero – is partially hidden now by the heavy
door. The Kid is between Ray and the cannister.

THE KID

Gonna miss those meals of yours, Ray.

TO:
– hand casually to cell phone on the counter –
TO:
Aliah; trying to put the pieces of the rifle together – groaning
in frustration –
TO:

THE KID

Maybe I’ll bury you in a hole.

TO:
– Ray keys the pad –
THE KID
Head first.
TO:
Send – nothing happens. Wrong number.
TO:
Ray presses in another number – send – nothing happens.
TO:
Something tumbles across the floor, thrown by the Kid. It’s
the radio receiver from the bottom of the cannister.
TO:
The kid has his weapon trained on Ray. Ray, behind the sub-zero
door.

THE KID

Wrong number?

He fires.

TO:
Aliah, turning/shrieking at the sound of the shots. Fumbling
with the weapon. Almost by accident two pieces of the rifle
go together –
TO:
Silence. The Sub-Zero door is pock marked – the kids’s bullets
have gone through.
TO:
Ray lies on his back, on the other side of the refrigerator door,
eyes open, mortally wounded but still alive.
TO:
Ray’s POV — The Kid appears, seemingly far away, staring down
at him. And now another face appears, next to the Kid.

GIDEON

Hello, Bone.

Shaved. Barbered. Expensive suit. The boss.

TO:
GIDEON
Amazing. You’re amazing, Ray. Or
maybe just too stubborn to die. But
you’re sure as hell dying now. Close
your eyes, Bone. Close your eyes.
You’re decommissioned.
TO:
Ray’s POV – The faces/figures turns away.
TO:
ON Ray. Hearing them:

THE KID (O.C.)

Should I grab the girl? She might be
worth something.

GIDEON (O.C.)

No. Kill her.

TO:
The Kid and Gideon.

GIDEON

There’s a plane waiting at Thermal.
It leaves in ten minutes.

(Then:)
See you hell, Ray.

Gideon exits. The Kid ponders a moment. He sighs.

THE KID

Sorry, Bone. I tried.

He turns away.

EXT. THE HOUSE – CONTINUOUS
Gideon gets into the back seat of his car.
IN THE CAR –

GIDEON

Get us out of here.

The driver is the Irish kid from the supermarket – the one Ray
allowed to live.

BACK TO:
Ray turns his head – looks across the floor – at his gun. It
might as well be a mile away.

INT. THE HOUSE – CONTINUOUS
The kid enters the living area. Looking around; almost amused
at the mess.

THE KID

(calling back)
Man, I hope the owner has insurance!
(To himself)
Ah, maybe better to burn it down.
He moves forward.

TO:
Aliah – another rifle piece fits together – click.
THE HOUSE – CONTINUOUS
The Kid moves past a mangled partition into the next open space
– skylights far above — Gideon sighs –

THE KID

Aliah? Babe, I know you’re here.
Why don’t you come out now.

TO:
Aliah – last piece – click. Aliah turns quickly for the door.
TO:

THE KID

C’mon, I really don’t have time for
this, there are going to be cops here
soon.

Silence.

THE KID

I will hurt you.

Silence.

THE KID

Have it your way.
And then:

TO:
The barrel of a rifle clinks against a metal railing.
TO:
The kid looks up. Aliah is on the landing above him, Ray’s
sniper rife cradled in her arms, staring down the sight.

THE KID

(amused)
You wouldn’t.
A moment.

GIDEON

All right, go ahead. Do it. But
maybe I move and you miss, then what?
He feints. She trembles.

 

GIDEON

You do it once, babe, you don’t come

back.
She tries to force herself to pull the trigger. The Kid grins.

THE KID

See? You can’t.

She does. Click. The Kid stares, in stunned surprise.
A beat.
Ray steps up behind him, weapon in hand. He puts the muzzle
against the back of the Kid’s head.

RAY

A gun needs bullets.
Ray pulls the trigger.

TO:
The high calibre bullet lifts the Kid and blows him forward off
his feet –
TO:
A spatter of blood hits Aliah’s face.
TO:
The Kid hits the floor like a sack, on his stomach; open eyes
staring.
TO:
Ray totters and falls.

ALIAH

Ray!

She rushes down the stairs and to him; drops to her knees next
to him.

ALIAH

…oh, God, Ray…

RAY

Help me up. I don’t want to die in
this place.

She helps him to his feet. Sees now the blood all over her
hands.

ALIAH

It’s gonna be okay.

They move out of the room; Aliah, holding Ray up.

ALIAH

…everything’s going to be fine.

EXT. THE HOUSE – NIGHT
They come out. She holds him as they move across the lawn.

ALIAH

See? It’s okay. We’ll get in a,
we’ll you to a hospital and –
Ray staggers.

ALIAH

No! Ray, come on, you can do this.
Bone, you’re Bone, Ray! Don’t quit
on me!

Ray staggers and falls. She tries to hold him up but isn’t
strong enough. She follows him down.

ALIAH

Ray, please.

Ray shakes his head. Then:

RAY

… you reminded me of my daughter…

ALIAH

What?

RAY

…my daughter…. she was killed on
her way to her mother’s funeral…
drunk driver. She never made it to
the hospital…

 

ALIAH

Oh, Ray…

RAY

…people I loved, paid for the
things I’ve done.

ALIAH

No. It doesn’t work like that.
They loved you too, Ray. I know they
did. Like I do.
(Then:)
It’s okay. It’s okay. Take a rest
now.

She kisses his forehead.

ALIAH

They’ll be waiting for you.

Down at the bottom of the hill, Aliah sees them now – the lights
of the police cars.

TO:
She holds him — a pieta – Mary holding the body of a dying Jesus.
CIRCLING – PULLING BACK –
– from Aliah and Ray as police cars with their lights flashing,
come up the drive and pull to a stop.
DISSOLVE TO:
EXT. WASHINGTON D.C. – NIGHT
Establishing. Six months later.
EXT. HOTEL – NIGHT
Cold. Gideon comes out. Suit and overcoat and tweed cap.
With two other men.

GIDEON

So, we’re in business. You’ve
checked out the rest. You’re now
with the best.

MAN 1

We’ll wire the funds in the morning.

GIDEON

Always a pleasure.

The men turn away. Whistling to himself, Gideon turns and
hands a valet slip to the doorman.

GIDEON (cont’d)

It’s the black Beemer.

 

DOORMAN

Very good, sir.

He moves away. Gideon stands, enjoying the cold night air.
And now something floats/falls towards him from above. Hits
the ground in front of him. Gideon bends, picks it up.
It’s an old photograph – a younger Ray with his wife, a dark
haired woman, holding his daughter, a dark haired little girl.
TO:
Gideon looks up –
TO:
Gideon in the crosshairs – realizing. The muffled sound of the
shot –
TO:
Following the bullet down towards Gideon’s open, screaming
mouth –
TO:
– the tweed cap hits the pavement, heavy with blood and brains.
EXT. HOTEL BALCONY – CONTINUOUS
Aliah lowers the rifle. And then rises and turns away.
EXT. HOTEL – NIGHT
Rear of the hotel. A car is waiting. Aliah comes out and gets
in.
INT. CAR – CONTINUOUS
Artie Shaw is behind the wheel.

ARTIE

So what do we call you, kid?

ALIAH

Bone.

Artie nods his approval. The car disappears down the street
and into the night.
FADE TO BLACK.
9