"CLEAR AND PRESENT DANGER" (1994)

A screenplay

Doi.. -:...~stevart

From tb• Hovel

llfflSEp

Bovember 10, 1912

The Chief hurries forward -- stares into the cabin.

THE SALON (FROM THEIR POV)

It's a vision straight out of De Sade: a man in his fifties and ayounger woman are lying in a tidepool of their own blood, strippednaked, slashed and butchered beyond belief.

The salon's been ravaged, too, pillows and cushions ripped apart, carpets askew, great chunks ofpaneling torn frOJD. the bulkheads.

Then a BOAT ENGINEbarks to life off the port bow. The Chief and Seaman run forward, just as a jet black Scarab digs away. Two MEN are inthe boat, both Latins.

The Chief whips out his sidearm, PUMPS~~ SHOTS after them, turns and yells to his Captain on the cutter.

The Scarab arcs around in front ofthe yacht, heading off. and away.

The Captain turns to a GUNNER manning a .so caliber.

The Gunner squeeze& the trigger; the fifty BELCHES.

Slugs tear into the Scarab; the boat EXPLODES.

Marine choppers crowd the pad.

Admiral JAMES GREER and four other men are seated before a fireplace. Three ~f the me~ are in their SO's, one slim, preppy, another short and fat with cryptic, owlish eyes. The third man is pale, fragile-looking, and the fourth tall and tan, with silver hair; looks lik:ea rich old cow])oy.

CLEAR ANO PRESENT DANGER

FADE ZN:

A Coast Guard CUTTER PASSES INTO FRAME. The bridge cf the cutter: A Radar TECH calls from his station.

'l'ECH Sir •••could you take a look at this?

The CAPTAIN turns away from a chart, crosses over to the display; the Tech points to a blip on the screen.

'l'ECB No, sir, seems to be d.rit~ing- has been since I came on watch.

The Captain s~dies the b"lip.

Be turns to his WHEELSMAN.

The cutter veers aff.

'l'IMECtJTTO:

ANOTHER PART OF 'l'HESTREAM

'l'heEmpireauildgr. a sleek 100-foot Feadship, lies adrift in the water.

The cutter appears -- throttles back -- comes alongside the yacht. ~-CH!~F and SEAMAN leap forward; the Seaman goes forward, the Chief makes for the stem.

'l'hesailorreaches the hatch to the salon -- stops in his tracks -- sucks in a breath.

A sixth man is standing:before them with his back to the fire. He's inhis middle years, a simple, hardscrabble face (thatmasks a fierce determination): Meet the PRESIDENT of the United States, who, at this moment, is fuming with indignation. ·

The Pres crosses to a table covered with Sx10 photo blow-ups of the crime scene. He picks up one of the shots, grim~ces, tosses it ~ack, zeros in on the PaleMan.

FBI Director D{IL JACOBS nods.

Suddenly, the Ac1miralwinces; the Pres catehes it.

Greer mops his (perspiring)brow.

The President turns back to 'thefire; Greer winces (again).

He spins back to the room, nails OWl Eyes.

••

National security Advisor JAMES CUTTER shifts his considerable bulk.

CUT'l'ER What sort of message, Mr. President?

He turns to the Cowboy.

CIA Director Judge ARTHUR MOORE'Seyes ricochet off cutter's, back to the Pres.

The Preppy leans torward• .

WILLIAM RITTER, CIA Deputy Director/Operations, shares an eye with cutter. cutter turns back to the President.

The Pres waves a hand at Greer, Ritter, and the Judge.

CU'l"l'ER This type of endeavor requires maximum resources.

- PRESIDENT Interpret that for me, please.

s.

The -Presidentturns, looks at the fire, then turns back to the o:t,hers.

He starts out of the room. cutter and Ritter exchange a conspiratorial look; Greer catches it -- then he suddenly ooofs out a breath -- starts to rise -- clutches his middle -- and crashes to the floor, groaning.

GO 'l'0BLACK

FADE UP:

Establish.

_Ryan comes down a corridor, stops at a door, opens it.

Greer's on a bed, stable now, talking to a doctor. When the door opens, both men look to it. Ryan stops, starts to back out of the room.

Ryan enters, Greer gestures at the doctor.

·GREER captain Collins -- Jack Ryan.

Ryan and COLLINS share a nod. 'l'here•saCPO working on Greer's bedside phone. He bangs up the receiver and turns to the Admiral.

He picks up his tool box and exits; Greer gestures at Collins.

.. COLLINS Well, sir •••the tests indicateyou -havea cancerous growth on the lower rig~t quadrant-of your pancreas.

Perhaps •••

A beat, then Ryan jumps in, impatient.

He looks to Greer, shakes his head in apology.

They both turn back to Collins.

Greer looks away for~ moment, then .backto Collins.

The Doctor exits; Ryan turns back to Greer, frowning.

.. RYAN I•••.·~'mvery ups~t, sir.

Ryan blinks, taken aback..

He shakes his head, starts to protest. Greer bolds up his hand.

Ryan's brow knits.

RYAN "'· For what, sir?

He beckons him closer; Ryan leans in.

Ryan steps back, shakes his head.

Establish.

A stripper's on sta;e, grinding her stuff for a handful of customers.

Ritter and a man are at a table in the rear of the club. The guy's mid-SO's, solid build, gunfighter eyes. Ritter's just said something; the man's weighing his words.

RI'l"l'ER Retribution is a more acceptal>le word.

RI'rl'ER Precisely.

RI'l"l'ER The targets represent a clear and present danger to the security of the United States.

:RITTER His words. can you do it?

RIT'l'ER Agreed.

I'll need an insertion teu.

You _canpick them yourself.

Done.

He checks bis watch, takes an envelope out of a briefcase, passes it to the nan, wbo opens it, glances inside.

Ritter gets up; they exchange a stare.

He walks off; CLARK sucks a tooth.

It's a huge, rambling adobe sprawled across a mountain top, surrounded by walled gardens, festooned with concertina wire and blinding floodlights; sort of Frank Lloyd Wright meets Ludwig theMad.

Two men are in the room. One is behind a desk, mid-40's, a patron-type right down to the white suit and stiletto cigar. The other guy's younger, slicker, soap opera-handsome.

Colonel CARLOS CORTEZ shakes his head.

ERNESTO ESCOBEDO sits up; the line got his attention.

Escobedo takes a beat.

Escobedo sits back, firesup his cigar.

CORTEZ • Three million, perhaps, to begin.

COR'l'EZ I'm here to serve you, and the cartel.

Escobedo studies him, gets up.

I y

Escobedo starts out of the room; Cortez smiles, thin.

Establish.

Judge Moore is behind his desk. Ryan's standing across from him.

'l'heJudge'sINTERCOM BUZZES; he leans into the J:>ox.

The door opens and Ritter enters.

Ritter tries to hide his surpriae.

JU'l"l'ER Really •••?

His eyes hit Ryan's, they sharea look; it's obvious there's no love lostbetween these two.

Moore picks up a letter, rises.

Ryan takes it from him.

Ryan's eyes flicker cff:Ritter, back to Moore, who extends his hand.

Ryan shakes the Judge's hand.

He st~rts out Ofthe office.

ll'l"l'ER Ryan •••

Ryan stops, turns back.

RI'l"l'ER Need-to-know still applies.

Ryan walks out, R~tter turns to Moore, shaking his head.

RI'l"l'ER

'- Too soon, Judge. You brought him ' along too fast.

Ritter nods, grudgingly.

RIT'l'ER I guess•••

The screen is black - but it isn't matte. it's more organic -- as if the darkness were alive.

:, We HEAR a man's voice OVER. \

.. 15 •

ANOTHER ANGLE - SLIGHTLY LIGHTER

We're on the camouflaged face of ayoung Hispanic-Alnerican soldier. He speaks into a radiomike.

' SOLDIER Just around that corner,Captain. Five of them.

ANOTHER ANGLE

We SEi a campfire inthe middle distance.

ANOTHER ANGLE-- On the CAPTAIN, also H-A, also in warpaint.

He CLICKS the radio off, gestures O.S. Two more troopers come forward; he points to the right and left. The grunts nod and hurry Ot.JTOFFRAME.

ANOTHER ANGLE

Back to the Soldier as be moves through the darkness in a tight crouch, exaggerating his steps, putting each ~oot down carefully, silently.

FLASH COT - We SEE the Soldier illuminated through a pair of night goggles.

SACK TO SCENE

'·

The Soldier·stops -- his head swivels slowly -- something's bothering him; he doesn't know~. FLASH COT -- flie night goggles POV.

l I I 16. I I BACK TO SCENE I I The Soldier takes a moment, shakes it off, and continues forward, pausing 20 yards from the campfire, where he I kneels, sights his rifle on the sentry, and FIRES A I (SILENCED) ROUND. I

I The sentry drops like a stone. I The man at the fire starts to get up -- the Soldier F~RES again; the man goes down with a thud. The three guys who were sleeping come out of their bedrolls, groping for their weapons.

The two other troopers that the captain sent forward spring out of the darkness and RIDDLE the three men.

The Soldier rises, shoulders his weapon.

The Soldier jerks around, startled; Clark grins at him.

Floodlights suddenly pop on, illuminating the (training) ,__ area. The five "dead" men are back on their feet, removing their flak jackets, picking off the wax bullets they took during the action.

Clark gestures at the Soldier.

Come on.

They walk over to the Captain and his men.

He gestures at the Soldier.

The Soldier lays a bard eye on Clark, who smiles and holds up a pair of night goggles.

( CLARlt ··....._ I cheated, kid••• I froze every time

your head turned. What you beard was my breathing.

Clark sticks out ahand.

The Soldier shakes his hand.

Shoot!

He pats Chavez on the shoulder; walks off.

Establish.

Ryan and CATHY are getting dres_sed. She's got a phone to her ear.

She slams down the phone, exasperated.

RYAN ~- Who?

Williams. That creep!

She starts to walk past him; he takes her arm.

J

A beat; she_sighs.

.. CATHY It can-be saved -- maybe.

'l'IMECOT:

THE RYAN KITCHEN

Ryan's at a window, sipping coffee; cathy's at the stove, fixing breakfast. He turns, their eyes connect.

CATHY

i I Yes. ' - ·

They share a look.

She leans into him; he pats her back.

He holds her back, smiles.

He kisses her forehead; she scrunches up her face.

They kiss -- then we BEAR a boy child o.s.

Ryan and Cathy turn to the sound •••and there's a towheaded three-year-old in p.j.'s, clutching a small plastic submarine.

Ryan reaches down and swoops the kid into his arms.

JOHN PATRICK RYAN, JR. blinks.

Ryan looks to Cathy, grins; proud poppa.

Cathy's eye catches something out tbe window. She steps over and looks down; there's a.black Lincoln towncar idling in the driveway. A driver's at the wheel.

Ryan (and J.R.) step over to the window; be looks down, sees the car.

Cathy raises an eyebrow.

we HEAR their ten-year-old daughter SALLY call from o.s.

'

She turns back to Ryan, smiles, wicked-like.

He smiles back (same way)•.

Shep~cks at his nose"and exits; Ryan and son smile after her •.•

Ryan's standing at a wall covered with photos. One of them is a formal portrait cf Greer in full uniform. Ryan studies the photo, melancholy.

Ryan turns to the woman; she's mid-S0's, qrey-haired, a handsome, tailored lady, carrying a carclboardbox.

WOMAN • Good morning, Doctor.

NANCY sets the box on the desk, and begins packing up Greer's personal items.

She smiles, They share a beat,then it#s back to the ~- moment.

Whereabouts?

She picks up the cardboard box and walks out, closing the door behind her.

Ryan goes behind the desk, reaches under the center drawer -- we HEAR a FAINT BUZZ - then a panel on the left wall slides back, revealing a safe.

He crosses to the safe, cocks his head, recalls the combination, spins it in.

The safe door pops open; Ryan lifts out a thick manila envelope labeled EYES ONLY. He closes the safe, steps back to the desk, sits down, opens the envelope, and takes out a dossier on Wesley Hardin and his wife, Elaine.

There's a stack of press clippings on top: nMulti-Millionaire and Bride found Murdered on Yacht" -- "Hardin International Buys United Intelligence" -- nHardin Lands Panama Project." etc. It appears the man was a major player.

Ryan sits back, starts reading into the file.

TIME CtJ'l':

THE OFFICE

Ryan's in front of a computer screen, studying-• financial statement for "HARDIN INTERNATIONAL.•

The door opens, Nancy looks in.

He looks back to the screen,makes an entry ina notebook, slips the bock intohis coat,shuts otf the terminal, crosses back to the desk, gathersup the dossier, steps to the safe, opens it,and places the envelope inside.

Ther~s a stack of papers ona lower shelf. He lifts them out, riffs through them, startsto put them back, then his eye catches something: The shelf is covered with a rubber mat -- at the edge of the mat, the tip 0f a (3x5) card is visible.

Ryan lifts the mat, slips the card out, and we SEE a safe combination (R7-L12-Rl6-L14)lettered in ink.

He studies the card a moment, then places it back under the mat, closes the safe door, steps back to his desk, pushes the under-drawer BUZZER,_and the wall panel slides shut•

..

Ryan stares at .thepanel a moment, then turns and starts out of the office.

Establish.

Emil Jacobs is behind his desk. Two men and a young woman are seated across from him and a dark, attractive, 30-ish lady is at his elbow, taking notu.

The office door opens and Ryan walks in. Everybody gets up (except Jacobs).

...

Morning, Doctor Ryan.

The First Agent extends his hand.

Walt smith, Treasury. · ·

Handshakes all around; Jacobs gestures at the lady taking notes.

~\.COBS Moira Gomez, my executive assistant.

Ryan and Moira share a nod; he settles into a chair next to Murray.

◄

- ,

She nods, makes a note. Jacobs sits back, studies Ryan.

Jacobs gets UP.,crosses to a window, looks out to the west (towards·the·White House). The Director takes a beat; sighs.

We're in a VIP lounge on the top floor. Greer's in a wheelchair, Ryan's standing across from him. The Admiral's been leafing through Ryan's notebook; he looks up.

; CREER

So, what if your hunch . doesn'tpan out?

Ryan frowns; Greer nods.

He pa:ssesRyan the notebook.

A Navy CORPSMAN enters the lounge.

Greer holds up his hand.

He turns back to Ryan.

Greer waits for it.

RYAN ~- Today, when I was putting some things in your safe •••

GREER

~ •~fe, Jack. ·-- RYAN

Yes, sir -- I stumbled onto something.

Ryan blinks, doesn't get it.

He turns, calls to the Sailer.

There's a Dodge panel van parked at tbe edge of tbe clearing. Clark is standing next to it. The vehicle's rear door is open, revealing two (communications) TECHNICIANS sitting before an array of sophisticatea transmission equipment.

~-

we hold amoment, then one of the 'l'eehSgetsup, steps to the van door, and calls to Clark.

Clark turns -- looks up -- we HEAR the WHOP-WHOP of a HELICOPTER'S ROTORS.

Suddenly, a huge, black~d-out Sikorsky Pave Low chopper THUNDERS in over the treeline.

The helo arcs around and touches down in the middle of the clearing.

A CREWMAN appears in the door, shouts.

Go! Go!

The squad of Hispanic-American soldiers (from the earlier SCENE).start pouring out of the chopper. The men have switched their camouflage fatigues for tan khaki; each grunt is loaded to the gills with weapons and ammo.

Eight men come out -- then Chavez -- followed by his Captain. As eaeh man hits the ground, they turn hard left to avoid the tail rotor -- race ten steps from the helo and drop to their bellies under the whirling blade.

The Crewman shouts into the helicopter.

The chopper's "ENGINESWHINE -- the main rotor CHtraNS, whipping up a hundred-knot downwash. The copter lifts off, and in the blink cf an eye, its spectral shape vanishes into the night sky.

Clark hurries over and ducks down next to the Captain.

Nice insertion, captain. Everybody okay?

Chavez crawls up and INTO FRAME; Clark smiles at him.

He looks to the Captain, nodding at Chavez.

The Captain nods; Clark looks back to Chavez.

, _ Ready, kid?

Clark and Chavez rise, drop into a crouch, and disappear : into the jungle.

Ritter's at a window; tense, on edge, waiting. A PHONE RINGS.

He steps to his desk, picks up the receiver, listens fora moment, hangs up, turns, looksPAST CAMERA.

cutter's ina wing chair, suckingon an unlit pipe. He removes the briar, looks atRitter, nods with a curious smile.

C'U'l"l'ER Congratulations, Bobby! Now, you hav• yom- own ~ittlewar.

Cortez, Escobedo, and a thirdman areon a terrace overlooking the grounds. The new guy's fat and flashy; cocaine-chic. In the b.g. we SEE swarms cftroops setting up gun emplacements, clearing fire zones, plantingmines. The fat guy gestures at the action.

GtJY Are you are expecting an invasion, Colonel?

DIAZ shakes his bead.

"'l.

We HEAR aman call from o.s.

Cortez turns, looks PAST CAMERA. i•

ANOTHER ANGLE -- as two'men approach (withtheir backs TO CAMERA).

ANOTHER ANGLE-- ON SIPO; athin, mustached Latin with a bright red scar onhis leftcheek.

ANOTHER ANGLE --ON RAMIREZ; he's a big one, rodent-eyecS, black-as-coal, scary ashell.

Sipo and Ramirez CLICK their heels; the Major turns to Cortez.

Escobedo nods; the Colonel and his Officers walk off.

Diaz watches after them a m0111ent,turnsback to Escobedo, snorts.

Ciaz smiles back at him.

The Empire Builder is end-tied off a pier. A phalanx of ~- armed seamen stand guard over her.

The deck of the yacht is awash with FBI agents, searching every nook and craMy of the boat.

31 •

..

More agents, plus Murray, Rita, a C.G. LIEUTENANT, and Ryan, who's standing at a bookcase, riffing through a volume. He sets it down, picks up another; his eye snags the Lieutenant.

Back to the book.

Two AGENTS are disemboweling an inflatable Zodiac rubber boat, slicing the vessel into pieces, examining each new section with care. One of the Agents slices open a panel, squeezes it; his face lights up.

.. FIRST AGENT HelioJ

The Second Agent turns, watches as the First extracts a small waterproof pouch from inside the rubber panel.

The First Agent slits the pouch open, reaches in, takes out a clearplastic box; inside are five PC computer disks.

Ryan's staring atthe box; the rest of the gang is staring at him. He looksto Murray.

Ryan and Murray are at a terminal; a TECH is scrolling through a (blank)disk.· The disk ENDS; the Tech looks up.

I :

I t 32.

I

T~at's it -- 'nother blank.

II '

MURRAY

I Shit!

If TECH

Anymore?

I l Ryan opens the plastic box, takes out the last disk, passes it to the Tech, who slips it into the pert, calls it up -- I: and BANG! -- there it is: Columns of figures and rows of (coded} words. I

I

Yes!

,

A (typical) drug smuggler layout; narrow runway hacked through the cane, small fuel shack, piles of gas cans, • scattering o~ guards.

: There's a Be~hcraft King Air on the strip; guys are humping cartons of you know what into the plane.

We HEAR Chavez's VOICE OVER.

ANGLE -- on Chavez and three other squad members, crouched down next to a stand of trees that border the runway. Chavez has a cellular phone to his ear.

INTERCDT - CLARK'S COMMUNICATION VAN

one ofthe Techs is on with Chavez.

Clark steps in behind the Tech, takes the phone from.him. ('

CLAlUC (into phone) Reno, can you read the tail number? over.

.. 33 •

BACK TO SCENE

Chavez rises up a bit; he can't see the numbers from his POV.

INTERCO'l'-THE VAN

Clark snaps a switch on the panel, barks into a mike.

Clark picks up the phone•

.. - CLARK Assets are at plus one hour, Reno.

BACK TO SCENE

Chavez smiles.

TIME CUT - THE AIRSTRIP - NIGB'l'

It's raining now, pouring, in fact. The runway is iit by a line of sputtering flares; the Xing Air is at the far end, ENGINES REVVING.

Chavez and squad are hunkered under the trees, squinting into the rain.

The engines PEAX -- the plane RTJMBLESdown the strip -- lifts off over the trees••• and disappears into the rain.

Nobody did; Chavez grabs up the cellular phone.

Clark's at the panel •..

He turns to the Tech.

Sic 'em!

A U.S. Air Fors:eF-15 SCREAMS INTO FRAME.

The RADIO CRACKLES.

• MAN fOVF;R) Two-six-Alpha, this is Eight-Three, Quebec. Do you read? over.

The fighter PILOT answers.

The Pilot dials in his navigation computer; the jet banks left, flashes out of sight.

The King Air DRONES INTO FRAME.

'.f TWo young Americans are crewing the plane; the PILOT is at the ccntrcls, the CO-PILOT'S dozing in his chair.

GARTH BROOKS CROONS from a CD PLAYER.

The F-15 appears; the Pilot spots the Beechcraft a hal~ mile ahead, three thousand feet below.

The Pilot flicks a switch en the communication panel.

Pil,OT Eight-Three, Quebec, this is Two•~~~-Alpha. I have eyeballs en targe~. Tallyho!

The fighter swoops down and tucks in behind the Ring Air. The Pilot throttles back, matches the Beech's airspeed.

The Pilot switches on the jet's landing lights; flicks a toggle on tileeom panel.

The Pilot bolts up in his seat.

The co-Pilot wakes with a start.

CO-PXLO'l' What •••?

The F-15 Pilot's VOICE BOOMS from the speaker.

'

--PILOT(OVER) Aircraft in view, if you do not identify I will open fire. over.

ThePilot leans intothe stick; the Beech dives down.

EXT~ THE SKY

The F-15 Pilot kills his lights;hits the throttle, zooms up five thousand feet, executes ahammerhead, and tucks the plane into a nose-down attitude.

The King Air's on thedeck now, twenty feet off the water.

The F-15's redar locks en the Beech. The Pilot sucks in a breath, flexes-his finger on the "guns" button.

The King Air appears on t.hefighter's Heads-Up Display; the Pilot FIRES.

A line cf green tracers lancethrough the darkness.

The Beechcraft EXPLODES ina fiery ball.

The F-15 flares t1Pand OUT OF FRAME.

GO TO BLACK

Establish.

"t.

The lights are DOWN. Cutter, Moore, Ritter, Jacobs, Murray, and two other MEN are seated at a conference tal:lle. Ryan's standing next to a projection screen.

He CLICKS the remote; a DEA mug shot of Escobedo flashes on the screen.

CLICK; another SLIDE pops on, this one of Hardin behind a broad expanse of desk (with an autographed photo of the President in prominent display).

Another SLIDE: It's the rows of figures and coded words from the disk, now encrypted to read as an accounting ledger.

Ancther SLIDE: Swiss money transfer records.

CU1'1'£R Who had access to it?

RITTER

I

Is the money still there?

I RYAN

Every penny.

I

Ryan nods; the Judge grins.

, MOORE

Screw 'em! We spend that much a month-trying to keep their dum drugs out of here.

Ryan CLICKS again; the room lights come OP. cutter turns to Moore; they share a look.

"'· .' MOORE I guess you'd better tell the old man.

CUTI'ER

''--.-• No way, Juage, ft's not my

investigatio~.

He looks back to Ryan, smiles.

"'

:1 Ryan blinks.

The President is standing behind his desk, a flustered look on his face.

Ryan's standing across the desk; Cutter, Ritter, and Moore are seated around him.

The Pres looks away, sighs.

.. PRESIDENT Jesus) -I knew the man for forty years. We went to school together, for Chrissake. Hunted -- fished -- catted around. Hell, for a- time, there, he was my very best friend.

He turns back to cutter.

PR!SIDEN'l' Why, we damn near went into business, once.

CtJ-I•tD It's a good thing you didn't, sir. There's enough damage to control, aa it is.

He looks away aqain, shakes his head.

l>RESIDENT (more to himself) Wesley, Wesley, Wesley••• you no-good, rotten son-of-a-bitch! How could you .s!,Qthistome?

Eyes shift around the room; the Pres turns back to Ryan.

The President.turns to cutter.

Cutter's eyes flick off Ritter's l:)acktothe Pres; Ryan catches the look.

Ryan's eyes narrow.

Ryan's at the Admiral's bedside.

GREER ... : But, you ~ to know, Jack! You're a Chief of Directorate, now. There isn't anything that goes 0n in that agency that you aren't supposed to be aware of. You ~ know.

i.

You brief Congress, remember?

Greer pulls himself up in bed.

Greer's smile-suddenly disappears; he grabs his middle, lets out a mo~n. - . .

Ryan sprints to the door, opens it, calls out.

A NURSE and two Corpsmen are at a station up the hall; they turn to Ryan.

The Nurse snaps to.

She dou1:>le-timesdownthe hall with the Corpsmen on her heels. Ryan steps aside, the Corpsmen rush to the Admiral.

Ryan starts l:>ackintothe room; tbe Hurse hold.aup her 'Ill. band..

...-· Ryan hesitates.

Ryan takes a beat,nods, backs out of the room.

Our POV is THROUGH NIGHT VISION GOGGLES, FRAMED on a cocaine processing plant (which isreally nothing more than a couple of tin-roofed shacksand a half-dozen peasants cooking down coca leayes ina bathtub-like kettle).

There's a guy with an AX-47 standing sentry over the action.

Our VIEW WIPES to semi-darkness -- CLOSE ON CHAVEZ. He's in full warpaint, a small radio at bis lips.

INTERCUT - TH:ECA:PTAIN

He's surrounded by five of his squad.

The squad (andCaptain) hurry OUT OF FRAME.

SACK 'l'OSCENE

He clicks off the radio, raises his rifle -- counts out in silence -- and when he reaches ten, be FIRES a (SILENCED) ROUND into the sentry. ...

The guard collapses like a house of cards.

The peasants at the kettle grab at a stack cf M-15'&. The ,- Captain and his men burst out of the jungle, FIRING from the hip. ~e six campesinos bite the dust in the blink of an eye.

Chavez runs forward to the Captain; their eyes flash off the bodies, back to each other'••

There's a large pile of~bagged leaves nextto them; Chavez nods at it.

'I'heCaptainshakes his head.

The Captain whirls around, shouts at his squad.

Chavez's eye catches the body cf the fallen sentry. He stares down at the man -- his first •kill.•

.. • CAPTAIN (O.S.) Chavez.~.

Chavez takes another beat, then turns and vanishes into the cane.

Establish.

INT• .DR.WILLIAMS' OFFICE

WILLIAMS, a skinny, flint-eyed man, is on his feet. So's Cathy; both in surgical greens, both red hot.

A third man sits in the middle of their haranque, calmly ~-

•

evaluating the dialogue.

·oTHY And I'mtelling you, Williams, if you subject that eye to six thousand rams cf cobalt, you're going to fry it to a cinder. And ~ where is she, Doctor?

He sighs, shakes bis head, turns t~ the seated man.

POLK clears his throat, looks up at Cathy.

Cathy frowns, Williams smiles.

POU: . However, since the possibility of a Stage Five recovery is unfavorable, at best, and if her parents are fully cognizant of the risks involved•••

CA'l'HY They are.

Cathy's eyes flash on Williams, back to Polk.

CA'l'HY I am.

POLlt ~ - Then I see no reason why you shouldn't attempt the surgery.

Now, Cathy smiles, Williams frowns.

He gets up, starts out;:Cathy and Williams share a glare.

A chopper's WHOOPING UP in'the b.g. 'l'hePresidentis hurrying towards it, dodging questions from a horde cf REPORTERS.

The Pres cups a hand behind an ear (Ronnie Reagan-style). He squints, shakes his bead, "tries" to recall.

The President reaches theboarding stairs of the 'copter, turns back to the press, smiles.

He shakes his head, holds the smile.

A Marine Guard salutes, the Pres returns it, gives the •- assembled a big wave, and disappears into tbe helo.

Establish.

He's on the.phone. Major Sipo and Captain Ramirez are across the room, playing cards.

The room door bursts open; Escobedo struts in, followed.by three CARTEL-TYPES.

Cort~~ jumps to his feet.

He hangs up.

A little dandy named ROJAS pops off in a squeaky tenor.

JtOJAS Three plants in ten days. What do you say about that, Cortez?

FIRST CARTEL 'l'YPE I have lost fcur planes. And, •. furthermore •••

A servant enters with a cellularphone. Escobed0 holds up a hand.

He takes the phone frcm the servant.

.. 47 •

Clark's communication van isparked under a tree.

Clark'& studying a map table. The Techs are on duty in front of the panel. Suddenly,one of them perks up.

Clark hurries over to thepanel.

The Tech FLICF? a SPEAKER on.

INTERCUT - THE DINING ROOM

Escobedo frowns.

- ESCOBEDO (intophone) What happened?

INTERCUT - EXT. DIAZ'S HACIENDA

He's in a bathrobe, standing next to a pool, with a pbone to his ear. A trio of young monokini'd senoritas frolic in the .b.g.

INTERCUT - ESCOBEDO'S

INTERCUT - THE VAN

The transmission ends; Clark takes a beat, smiles. I I

BACK TO SCENE

Escobedo hands the phone to the servant, turns en Cortez.

He and the others start for the dcor.

Escobedo stops, turns back.

Escobedo turns to the others.

They exit. Cortez jerks his head at Sipo and Ramirez; they step out onto a terrace off the room.

.. 49•

Escobedo slams a fist on the desk.

Escobedo's eyes go bard.

Escobedo takes a beat, nods to hidelf.

Cortez reacts·,-shakeshis head, adamant.

Escobedo reacts, suspicious.

CORTEZ ~- But, it'simt, senor. If you kill him, they'll come down on us like the wrath of Goe!. There'll be no defense from it, Jefe. It could cost you everything.

Escobedo weighs the Colonel's words.

Escobedo takes another beat, grunts.

They -sharea look, Escobedo grunts again, walks out of the room. Cortez turns; Sipo and Ramirez are standing in the · terrace doorway.

The Colonel grins, conspiratorially.

Ryan's limo purrs at idle in front of the house. Cathy swings her car do'Jnthe drive, parks, gets out, nods at the limo driver, ~nd starts up the front steps.

He's behind his desk, packing a briefcase. He unlocks a drawer, takes out a file, drops it into the case, looks hack to the drawer.

There's a 9 mm automatic lying there. He picks up the gun, studies it.

ANGLE - THE FRONTHALL

Cathy pulls off her coat, drops it on a bench, starts for the door to Ryan's office.

BACK TO SCENE

Ryan hefts the automatic (as if, perhaps, he's trying to decide whether to take it with him or not).

Cathy appears in the doorway, stops, SEES the gun in his hand, bites her lip. ~.

He stares at the pistol a moment longer, then sets it back down, closes the drawer, locks it.

Cathy sighs audibly.

Ryan turns -- they share a look -- a PHONEon the desk RINGS; he answers.

"RYAN ( intophone) Hello? Yes, hello, Captain Collins -- How is he? ••• I see ••• Please keep me p'luggedin •••Thank you, Captain, I appreciate it. Goodbye.

He hangs up; his eyesdart back tohers.

She crosses to him.

Ryan snaps the briefcase shut.

~YAN All~done.

He steps to her, pulls her close, they kiss, separate.

Another kiss, then be picks up the briefcase, slings a trenchcoat over his a:r1n,grabsa carry-on Dag, and we TRACK them OUT cf the office and DOWN the hall.

As Ryan and Cathy reach the front door, ten-fear-old SALLY RYAN and her brotherJ.R • .bounddown the stairs.

Sally's first into Ryan 7sarms.

A kiss, then it's J.R.'s turn.

Sally clucks, rolls her eyes.

J.R. takes the lecture to heart; he looks like he's about to burst into tears. Ryan ruffles his son's hair.

He sets him down, leans over, gives Cathy a peck, then gathers up his gear; his eyes shift back to her.

Ryan exits; the family watches after him.

A Cadillac limo idles on the tarmac next to a Chevy sedan. The caddy's rear window is down, a distinguished-looking gent peering out, his patrician brow wrinkled with concern•

...

'!l'helimoandcar are surrounded by six Colombian Police Jeeps bristling with soldiers and machine guns. Everyone's up, alert: something major's going down.

A U.S. Air Force executive jet fl~~es in overhead, touches down and starts taxiing for a remote cargo hangar. The Jeeps peel out after it with the limo and Chevy in their wake.

'!l'heplanerollsto a stop, the Jeeps screech up, the soldiers pour out and form a perimeter around the area.

The jet's door opens, a·man drops down ontothe runway,

unfolds, ~yan and a secondman comedown fast, followed by Jacobs.

The Cadillac and Chevroletpull up. The lime's rear door opens andU.S. Ambassadorto Colombia,ANDREW FERRIS, hops out, shakes hands with Jacobs.

They shakehands, Ferris gesturesat the open limo door, Jacobs enters the car. Ryan'sabout to follow -- Ferris holds up ahand, smiles,points at the Chevy.

Would you mind ridingin the chase car,Doctor? Ihave a couple of things I'd liketo go over with the Director.

He gets in the car, theman who jumped down from the plane gets intothe front seatnext to the driver. Ryan and the second man·get into the Chevrolet. One cf the Jeeps moves off, followed by the limoand sedan, trailed by another Jeep.

We PAN the vehicles out ofthe airport.

Major Sipo lowers his fieldglasses, reaches into a coat pocket, pulls out a cellularphone, punches SND.

"'·

A beat; Ramirez answers.

Ramirez is standing next to a PUblic Works truck which is parked in the center of a busy intersection.

He snaps off the phone, turns to the truck's DRIVER.

The Driver grabs a two-way radio, exits the truck, climbs up onto the cab, gets into the tub of a cherry picker, and begins craning up towards an overhead traffic light.

Ramirez turns, hurries off towards a building across the intersection.

The motorcade._rushe6PAST CAMERA.

Jacobs is staring out the side window. Ferris has just said something -- the Director turns to him.

JACOBS_ That wasn't my question, Andy. I asked if you think they'll play ball?

Jacobs looks back to the window, back to the shanties and rampant poverty; he sighs, muses.

FERRIS

I- Democracy comeshard down here.

Our POV is from the cherrypicker. 'l'hetruck Driver is staring up the highway --then he spots the motorcade -- picks up the radio, snaps iton.

THE INTERSECTION ..ANOTHERANGLE

We're in a third floor apartment. Ramirez is standing at a window overlooking the square. He's got a radio to his ear.

Ramirez clicks the radio cff, looks out across the square towards a similar building where anotherLatin is standing in a third floor window. Their eyes lock; Ramirez raises his fist, then turns and foeuses on another man in a building diagonally across the intersection. ·

He repeats the gesture, 'thenlooks back to the room and beckons at two men with an antitank grenade launcher.

The men set up the rocket at the window, the loader slips a projectile into the tube, taps the gunner on his shoulder, the gunner takes aim on the intersection.

THE CHERRY PICKER •••as 'themotorcade approaches, preceded ~y an aging pick-up with a ))edfullof kids and dogs.

The Driver flicks a switch on the traffic signal; the light goes GREEN (in favor of the motorcade). •-

The traffic accelerates.

Then the Driver hits the switch again --the light goes RED.

The pick-up driver reacts, sl&JllJllingon hisbrakes. The lead Jeep skids up behind the truck.,the limo driver wrestles the Cadd.yto a lurching step.

QUICK CUTS TO THE THREE APARTMENT WINDOWS••• as t.hegrenade launchers FIRE their missiles.

The ROCKETSSCREAM down in perfect triangulation -- t.he LIMO EXPLODESin a blinding FLASH.

Ryan and the second man from the plane are in the rear, a THIRD MAN is next to the driver.

All four react to the explosion.

The driver stands on the brakes, doors fly open, Ryan and t.heother men pour out of the car.

Ryan starts for the limo -- the Caddy's gas tank ignites -- a sheet of flame billows out, forcing him back.

He stands there, staring at the burning wreckage, helpless, unable to respond.

GO TO BLACK

FADE UP:

The President's alone, behind his desk, watching a TV set.

INSERT - THE TV

A live CNN Special Report on• ••• the assassination of FBI Director Emil Jacobs in Bogota, Colombia, earlier today."

A MAN speaks OVER a floodlit shot of the intersection where the motorcade was attacked. The picture carries an acknowledgement: Courtesy HOYTV.

The Pres frowns, reaches for a phone.

MAN {OVER,CONT'D) Jacobs, a Towson, Maryland, native, graduated from Notre Dame University and Fordham Law. He began his FBI career •••

The Pres MUTESthe SOUND.

INTERCUT - EXT. GEORGETOWN - DAY

Establish (cutter's) elegant townhouse.

cutter and Ritter are on their feet, eyes riveted to the TV.

cutter pinehes a remote, turns to a SPEAKER PHONE.

cutter's eyes ricochet cff Ritter's.

CU'rl'ER We don't know, Mr. President. We're looking into it.

iNTERCOT - OVAL OFFICE

I I

I 58.

I !>RESIDENT I ( Me, too, I guess -- though I gotta

adJllit,Ididn't think they were stupid enough to pull a stunt like

I

that.

I CU'r.l'ER

I'm afraid they are, sir. They truly believe they can get away with anything.

INTERCUT - CVTTER'S L~BRARY

Cl1T'l'ER. Loud and clear, Mr. President.

The Pres CLICKS OFF; cutter ha~gs up the phone, looks away, takes a beat, turns back to Ritter.

C'OT'l'ER Does he have the target identified?

RIT'l'ER Yes•••

A beat; Ritter gets it.

~- RITTER We hit it!

COT'l'ER Hard!·

rt could be done -- but I need some extraordinary resources.

,.

Establish.

Ryan and three other men are in the room. One cf them i& 30-ish, dark, Hispanic-American. Another's dressed in tbe uniform of a U.S. Army MAJOR. The fourth man is older, swarthy, a COLONEL in the Colombian Police.

Ryan's hefting a grenade launcher (like the ones used in the assassination).

• RYAN It used·to be issue, Major they replaced it two years ago.

Ryan turns, eyes the Colonel.

The Colonel shrugs, offers no counter. Ryan sets tbe launcher down on a desk, the office door opens, an AYDE sticks his head in, addressing the Hispanic :man.

MORALES tenses; Maeven• hit a nerve. ..

POWERS nods, exits. Morales steps behind the desk, gestures at the phone.

He lifts the receiver, turns his back to the others.

j MORALES (intophone) Morales •••

~ORALES (OVER) I'll tell him..• (lower) -But-I still think it's a mistake. •- -~ _ RITTER I don·'tgive a shit what you think, Morales. Is he there?

INTERCUT - THE EMBASSY

Morales turns back to the roomL his eyes land on Ryan.

Ritter hangs up, so does Morales, nodding at the phone.

Morales BUZZES an INTERCOM; Powers answers.

Morales looks up, smiles.

Ryan _gives him a side-of-eye; this·guy needs watching.

Cortez and Escobedo, face-to-face in a living room.

·; CORTEZ Yes·,-se-nor,andI believe you. But the Americans may not.

A WOMAN appears in a doorway.

He waves her off, turns baek to Cortez.

ESCOBEDO ....' What more can they do to us, Cortez?

COR'nZ I hope we don't find out, Patron.

The aircraft carrier u.s.s. Ranger PASSES to the WEST, cruising into a fiery sunset.

62 •

..

This is the ship's ammo center; all the ordinance for the carrier is stored here.

CAPTAIN ROBBY JACKSONand a CPO are at a test bench, inspecting a 54C Phoenix air-to-air missile.

Ten to twenty.-- enough to tell whether the fix works or not.

A tractor RUMBL~~ UP, towing a pallet of sky-blue two-thousand pound "smart" bombs, fitted with seeker heads on their noses and movable fins on the tails. The tractor pauses, waiting for an elevator.

Robby eyes the bomb, the CPO eyes him. They share a look, the Chief smiles.

He raps a knuckle on the bomb casing -- the SOUND is DULL -- not metallic.

Robby reaches out and taps the bomb.

There's a launch in progress; A-14's SCREAMING down the catapults, vaulting off into the darkening sky.

Robby's in the greenhouse, overloo~ing the flight deck.

The iast F-14 hurtles up and off; Robby turns to the LAt?NCII DIRECTOR.

Robby looks to a computer screen that outlines the launch activity.-

Robby steps over to the window; scansthe deck.

An A-6 Intruder is taxiing into launchposition. One of "those" baby-blue bombs is slung underthe airplane.

Robby spots the bomb; his eyes narrow. The Intruder hooks up in the catapult -- flashes down thedeck -- disappears into the mist.

Robby stares after it; looks away inthought •

Our POV is from a nearby hilltop. We SEE Rojas and his bodyguards in the courtyard of an cpulent mansion. Limo-loads of cartel-types are arriving. ..

Cl~rk turns away from the glasses, looksto Chavez who's st.andi;-1gnexttoa tripod-mounted GLD (Ground Laser Designator).

Clark checks his watch.

CLARK

I! Okay, now all we have to do iswait.

Clark studies Chavez. II I

Staying in?

, CLARK

Donrt be too sure. Imight just hav~ a slot open.

They share a look; Clark smiles.

Chavez holds his look.

The restaurant's perched on the top of one of the city's ~- tallest buildings. It'sa formal kind of place; upscale diners, a white-tied stringquartet.

An elevator door opens,Ryan and Morales get off. Morales steps to the MAI'l'RED',steps back to Ryan.

They cross to a bar; Mo~ales signals the BARTENDER, who hurries up to them.

He looks to Ryan.

Morales looks back to Ryan, who nods.

The man walks.OUT OF FRAME. Ryan gives the place an eye.

Prett·yclassy.

The Bartender returns with theirvodkas. They each pick up a glass, Morales raises his.

Ryan nods, they both take hits, share a look.

"· MORALES When would that be?

MORAl.,ES (smiles back) Of course not, Doctor. Just let me know when you're ready so··thatI can arrange your flight.

A Bogota POLICE CAPTAIN walks past, spots Morales, stops.

They shake hands; Ryan eyes the uniform.

·; DIEGO Si.· ••-I"amtheDirector of Criminal Investigation.

Diego shifts his weight; he's net used to answering questions. Morales reads hi~, steps into the breach.

.. 67 •

Diego waves o.s.

The captain hurries off.

f RYAN He heard I was coming down? How could that be?

Morales smiles, shakes his head.

The Maitre d' approaches.

Morales gestures.

Ryan turns, walks off; Morales frowns.

A 600SEL Mercedes is WAILINGdown a narrow road, bordered on both sides by dense jungle.

Escobedo and Diaz are on the rear seat, Cortez is up front next to the DRIVER.

'II,,

INTERCUT - THE ROAD AHEAD

Major Sipo is kneeling ten yards off the concrete, hidden by the undergrowth.

We HEAR the CAR approaching.

Sipe raises a (silenced) sniper's rifle, fitted with a night scope.

.. 68•

The car rushes INTO FRAME -- Sipoaims for the right rear wheel -- FIRES••• the TIRE BLOWS.

The DRIVER cranks the wheel-- the Mercedes sloughs across the road, skids to a rude halt.

He looks to Cortez.

Cortez slips _a cellularphone out of his pocket, dials.

lNTERCOT • A HIGHRISE APARTMENT ON MIAMI:BEACH - NIGHT

A WOMAN is sittingat adesk in a negligee, filing her nails. A PHONE RINGS. Shepicks it up.

INTERCUT - THE MERCEDES

BACK TO SCENE

The Woman places the phone in the cradle of a switching box and presses a button.

INTER.COT- THE MERCEDES

We HEAR a BUZZ-BUZZ -- Rojas answers. •-

INTERCU'l'-THE HACIENDA~

Rojas is in a hallway, on a phone. The cartel-types are milling around in the ~.g., huffing· andpuffing.

The LINE CLICKS off.

The A-6 Intruder (with the smart bomb attached) WHISTLES INTO FRAME. ..

The Pilot's onliis radio.

Clark grabs up the radio.

CLARI: ZuluX-Ray, this isBravo Whiskey. Read you five-~ive. over.

we are inplace. Mission is90. say again, mission is 90.

INTERCOT - THE HILLTOP

Clark turns to Chavez.

Light her up!

I I I 70. I I Chavez throws a switch on t.heGLD-- peers into the laser's eyepiece. I I Now, we're FOCUSEDon a white Cadillac limo parked in front I of the Hacienda. A red dot appears in the FRAME -- Chavez maneuvers it -- centers it on the Caddy. I I CHAVEZ I The target is lit. I

CLARK

I (into radio) I The music is playing ••• I I INTERCUT - THE A-6

The BOMBARDIER/NAVIGATOR is in the rear seat, staring at his scope. The red dot appears int.he lower left quadrant.

BOMBARDIER/NAVIGATOR Got it!

The Driver's changing the tire. Escobedo'• standing over him, anxious.

The Driver tightensthe last lug nut, rises, starts to pick up the ruptured tire.

Escobedo jumps intothe back seat,the Driver races around the car, gets inbehind thewheel; theMercedes SCREECHES away •..

The Bombardier-Navigator's clocking his scope; the

•I

crosshairs are converging onthe red dot.

BOMBARDIER/NAVIGATOR Any time now •••

71•

...

We're CLOSE ON the bomb as four SHOTGUN SHELLS FIRE, driving down the "ejector feet" onto small steelplates on the upper side ofthe bombcase.

The bomb separates -- the aircraft jerksup; it just lost eleven hundred pounds.

Pit,OT Breakaway, breakaway! coming in,

FLASH CUT - 'l'HEHILLTOP

Clark turns to Chavez.

CLAlU( Better brace yourself!

FLASH COT --THE MERCEDES

The car come~ up over a rise -- we SEE Rojas's hacienda in the distance•

..

The bomb soars in -- nails the Caddy mid-roof -- DETONATES with a THUNDEROUS ROAR. The explosion's shock wave penetrates the house and grounds, disintegrating everything into millions of tiny frag1nent,.

FLASH CUT - THE HILLTOP

Clark and Chavez stare at the action.

FLASH CtJ'l'-THEMERCEDES

'l'heDriver'seyes pop open, be hits the brakes. Escobedo lets out a gasp.

FLASH CUT - THE ROOFTOP RESTAURANT ...

Ryan and Morales are at a table; Ryan has his back to the skyline.

-,.......

I I i I RYAN •. Who said he killed them? I I MORALES I You don't think it was him -- his

people?

I I RYAN

It could have been -- but, as you

I

point out -- what was his motive?

II I . MORALES Il Yeah, that's the question. I

mean •••

I I He stops talking -- stares PAST CAMERA -- his eyes 90 wide.

I Ryan turns •••the sky behind them is lit up with a great white light.

What thehell is~?

.. MORALES

i Ah ••.;heat lightning, probably.

It's f1erce down here.

The SONIC BOOM fromthe explosion ECllOESacross the landscape. ·

The ROAR FADES; Ryan turnsto Morales.

Ryan's ~row wrinkles.

Establish.

"t.

Be's scanning an 11EYESONLY• brief. The INTERCOM BOZZES.

CUtl-ER Yes?

WOMAN'S VOICE

I

Director Ritter is here.

'·-··

Send him in.

.. 73•

A beat, the door opens,:Ritter bounds in, an excited smile on his face~

The line jars cutter.

ctrrrER What do you mean?

cutter bol~s up straight in his chair.

ctrrl'ER But -- this is coldbloodedmurder.

RiffER (hotter). You said the gloves were off. You said treat it as a war. I'm sorry if there were extraneous people around --but, dammit, there always are.

curI'ER What if the papers get hold of it? ...

RIIJ'l'ER Tell youwhat - if you don't tell the newsies, neither will I.

ctrrrER Get serious, Bobby. If the media•••

the death of innocentpeople •••

I I He looks out across the courttowards the oval Office.

I CUTTER

And, more importantly,neither had

I He. I

RITTER

I So, ,:on'ttellhim. i I cutter spins around, staresat him.

l JU'ITER

That's not my call,Jimmy.

He starts forthe door.

Ritter walks out without answering. c:;utterturns, looks back towards the oval Office.

Ryan is standing in a courtyard,talking to Colombian Army Major and a Bogota Police Officer (MOS).

Our POV is from a window in Morales' office on the second floor of the embassy. He's standing at the corner of a drape, looking down at Ryan and talking on the phone.

MORALES 'II.. (intophone) Yeah, he's crawlinq all over it -- talking to the local cops -- bugging the National Police.

INTERCUT - EXT. A TENNIS CLUB IN GEORGETOWN - DAY

Ritter's in whites, a cellular phone to his ear.

BAClCTO SCENE

He hangs up, peeks ouL ~he window; Ryan and the others are gone. He turns back to 'theroom -- Ryan's standing in the doorway-~ Morales blinks, recovers.

....

bombsite.

His eyes narrow; Morales shifts his weight•

.. MORALES Anything else•••

Ryan holds his stare a moment, then shakes his head, walks OUTOF FRAME. Morales lets out a breath.

Ryan's dressed in field clothes, ~tanding at a window, looking out on a flight line.

Ryan turns; Clark smiles, amused.

C:I..All Are you the gent who wants to go take a look at a hole in the ground?

Clark sti~ks out a paw.

..

I'm Clark, Doctor Ryan. Nice to know you.

A Piper Chieftain runs up its props, swings into the wind. Clark's flying the plane; Ryan's in the right seat.

...

The Chieftain hits the power curve, Clark releases the brakes, the Piper scurries down the runway and lifts off, J:,ankingtothe southwest.

Clark jerks a thumb to the rear.

C 77.

He turns in his seat, picksup a thermos,pours Clark a cup -- turns back to set thethermos down -- spotsa pair of MAC 10 machine pistols anda 12-gauge riot gun.

Ryan:looks back to Clark.

They fly along in silence a moment; Ryan Dreaks it.

Ryan clocks him; somehow be doesn't lggk like a gold prospector.

More silence. Now, they're at 2,000 feet, crossing a highway lined with army vehicles. Ryan gestures at the convoy.

.. Not 11uch.

CLARI: Lots·of temptations;•• Say you're a captain - One night you decide to patrol cne part of your area, but not another. That could be worth a hundred grand.

◄ 78.

CLAIU{ With a lotmore territory.

Break? (turnsto Ryan) No way, Doc! The drug biz is bulletproof.

_ RYAN You ._makeitsound hopeless.

CLAR)( That's not a favorite word cf mine, but, yeah, it's about as close to hopeless as it gets.

Clark banks the Chieftain left, begins climbing into an overcast sky.

rNT. ADMIRAL PAINTER'S QUARTERS ABOARD THE KENNEDY

The Admiral comes through the hatch, followed by Robby. PAINTER crosses to a bar, pours himself a drink.

79 •

..

Painter takes a swallow·~

No, Robby, I didn't.

Painter slams his glass down.

They share a look.

ROBBY • For what it's worth, sir, I have a good friend who's pretty senior there.

Painter catches himself, smiles.

~- I PAINTER Yeah, Ryan -- good man. Go talk to him.

80 •

..

..

The Chieftain slips out of a fog bank, swoops down intoa valley. Rojas' ruined hacienda lies spread out below. An enormous crater yawns where the house once stood. Dozens of ambulances and security vehicles dot the scene.

Ryan and Clark survey the damage.

Ryan looks back to the bombsite, flashes a skeptical frown.

-

The Chieftain·;touchesdown.

Ryan, Clark, Captain Diego, and assorted other uniformed types are surveying the wreckage. A pair of ambulance attendants pass by, toting a c9rpse on a stretcher. Ryan's eyes follow the pair, then back to Diego's.

Man, they must have lit a ton of dynamite to get a pop like that.

RYAN ... Try fm tons -- and even then you couldn't punch a crater that deep.

..

He walks OUT OF FRAME. Ryan and Clark share a look; follow afte:r.·the~aptain.

The shattered remains of the white Caddy limo (that Chavez sighted on), are spread out over the floor of the shed. Ryan's inspeeting the collage of rubble, picking up pieces of metal and trim, studying them, placing them back, picking up another.

Finally, a torn section of roof panel attracts his careful attention.

Clark nods; Ryan holds up the roof section, traces a finger along the ragged edge of the painted surface.

-·

·--

fragments? We've searched the area with great care. None have been found -- net a trace.

We HEAR a COPTERWHOPPING IN overhead.

A jet Ranger circles a pad, sets down. TWO security-types drop to the tarmac, big, mean apes with shoulder-holstered Mac's over their Hawaiian shirts. Then Cortez steps out in full uniform, followed by Escobedo in a flowing white trenchcoat.

Two of the military-types in Ryan's party excuse themselves a.ndhurry over to the new arrivals; handshakes and bear hugs all around.

Escobedo and the others start walking off towards the bombsite.

..

Cortez lingers~ moment; his eyes find Ryan's, they hold a stare, then the Colonel turns and walks after his boss.

Clark nods at the group.

The dude in the white coat's Escobedo.

Ryan studies Clark.

The Chieftain breaks through a cloud; Bogota's up ahead. The plane's RADIO is SQUAWKING.

CLAlUt (into radio) I copy Bogota, runway nine. Thanks, Eddie.

Clark shuts off 1:heradio.

Clark gestures behind them (changing the subject).

Clark returns the smile, looks back to the horizon.·

The Pi~er taxis up to a closed hangar door. Clark kills the switch, Ryan opens the door, gets out, Clark follows him down.

There's an Embassy town car in the b.g. A y0Ung DRIVER'• leaning against a front fender. As Ryan hits the tarmac, the Driver snaps up straight.

"l.

Then 0ne of Clark's Techs starts rolling bac:kthe hangar door, revealing the communications van, the other Tech, and a wall cf shelving loaded with weapons and electronic equipment.

The Teeh turns toward the plane -- his eyes hit Clark's -- Clark shouts.

The Tech jWDps inside the hangar, yanks the door shut. Clark turns to Ryan, grins.

Ryan takes a beat; this guys definitely no gold prcspector.

Ryan .takes-anotherbeat, noels.

He turns, makes for the town car. Clark watches after him..

Ryan's asleep;.the PHONE wakes him up.

IN'l'ERCUT-MORALES' OFFICE

He's on the phone; his Aide's ~tanding across from him.

Morales looks to a paper on the desk.

..

BACK TO SCENE

Ryan twists around, his fe~t hit the floor.

He hangs up, gets up, hurries OUT OF FRAME.

Our POV is THROUGH a NIGHT SCOPE: We're FOCUSED ON another processing plant (far larger than the earlier site).

Scores ofworkers shuffle through the clearing, humping coca bales, stirring giant kettles,·loading product onto trucks. Armed guards walk the perimeter; this.on•'• no piece a' cake.

our VISION WIPES -- to Clark and Chavez -- who are two hundred yards from the plant. Clark sucks that tooth, shakes his head.

He picks up a_radio, speaks into it.

·; CLAJtK What's it look like, Captain?

INTERCUT - THE CAPTAIN (AND ANOTHER WIDE POV OF THE PLANT)

His eyes roam over the landscape.

The Captain looksto his watch.

BACK TO SCENE

..

Clark checks his chrcnograph, punches a wtton.

He snaps cff the radio, tucks it into his jacket, turns to Chavez; they &bare a look.

..

Clark grins, Chavez returns it.

He eyes his watch, cocks his machine pistol.

Stay close.

He pushes CL'.·towardsthe plant; Chavez dogs hi& heels.

Clark and his'people burst out of the jungle, laying down a HAIL of GUNFIRE.

Some guards are hit, but most take cover -- start RETURNING FIRE -- suddenly, we've got a semi-gunfight going an.

A pair of 6X trucks are lumbering up the road.

Major Sipo i~ in the first truck, next to the driver. The SOUND ofGUNFIRE echoes through the cane; Sipo cocks an ear, _strains to listen.

More GUNFIRE.

He leans out the side window and motions for the other truck to speed up; the convoy accelerates down 'theroad.

..

Clark and Chavez are next to a boiling kettle, BANGING away at the guards.

Suddenly, the trucks swing into the clearing -- the tailgates drop -- and out come Cortez's troops, who hit the ground FIRING.

87 •

..

A line of slugs RIPS into the kettle. Clark slips on his night vision ~oggles, PANS the clearing -- picks up the Captain and his guys dug in on the left, taking HEAVY FIRE.

He pulls off the glasses, yells at Chavez.

He ·starts away -- stops, turns back·--SEES Chavez in a crouch, moving into the action.

A STREAM of BULLETS rains in -- Clarkducks down, starts after Chavez -- the streambecomes a TORRENT.

Clark BANGSoff a CLIP --the torrent turns into a FLOOD. There's no way he can move forward •••sohe backs off, trailing into.the jungle.

Sipo's head comes out frombehind a tree. He surveys the firefight -- gesturesto a soldier, who steps near him.

The soldier nods, waves to his squad; they vanish into the night OUT OF FRAME.

Clark's a hundred yards away now, clocking the action with the night goggles: The Captain and his seven guys are knee-deep in shit andrunning out of ammo.

sipo's tro·opers rushin behind them and open FIR!:. Three of the ninjas go down (onedead, two wounded). The captain and the four others fight their way out of the trap and fall back to the cane line.

Sipo's men start inafter them, but the Major call■ tha off. •

Clark follows tbe action with tbe goggles, tben PANS BACX to the plant.

Chavez is standing in the middle of the clearing, his hands~- up, flanked by two of Sipo'• thugs.

The Captain and his guys come running up towards Clark; he calls out.

Captain -- here!

The Captain jogs up to him.

The Captain nods, trots off with his guys.

Clark watches them disappear up the trail. He looks back to th~ clearing, his eyes narrow.

Ryan's limo swings into the entrance drive. Ryan hops out, starts into the hospital.

Ryan come$ up the hall, stops at Greer's room, opens the door.

His jaw falls-;the bed's en,pty. He steps into the room, stares down at the bed; his shoulders slump.

Ryan spins around; Greer's across the room, in an annchair, his feet up on an ottoman, a blanket around his shoulders, that old warm smile on his face.

Ryan blinks, confused.

.. 89•

Ryan adds it up, sha.kes,.hishead.

Ryan crosses ever, sits downon the arm cf a Chair, frowns.

TIME CUT - 'l'HEHOSPITALVIPLOUNGE

Greer's in awheelchair, Ryan's standing across from him.

The Admiral's face lights up.

They share a lo~k.

Floodlights rake across an inner courtyard. Chavez and the two other (wounded)ninjas are chained to a wall surrounded by their captors. One of the guys is sagging fast; he looks like he might not make it.

Our POV is from a window in Escobedo's study. Cortez is looking down on the prisoners, with a phone to his ear. He turns ~nd looks out onto a terrace where Escobedo and Diaz are arguing (MOS).

•. CORTEZ No suspicions, whatever••• I u positive -- Yes, very well, I will try.

He hangs up, looks back to the ninjas a moment, then turns and steps out onto the terrace; his eyes lock onto Escobedo. Cortez smiles.

~- I do.

They both wait for it. :

Escobedo studies Cortez.

Escobedo and Diaz exchange a look; the Patron turns back to the Colonel.

He CLICKS his HEELS, exits; Escobedo and Diaz share a look ....

They hold the look.

..

Ryan's limo comes up the drive and stops. He gets out, the Driver opens the trunk, takes outthe luggage, and follows Ryan up onto the porch. The Driver sets down the bags.

Ryan looks at his watch, looks_backto the Driver.

He walks off, Ryan turns to the alarm panel, punches in the code, keys tbe lock, enters the house. ,.

She's fast asleep; Ryan's standing over her. He b2nds down, brushes her cheek with his lips.

93 •

•

The door opens, Ryan tiptoes in -- but, accidentally, steps on a plastic duck. The TOY SQUEAKS -- J.R. stirs.

INTERC'U'l'-JACXAND CATHY'S BEDROOM

Cathy bolts awake at the SOUND -- freezes -- listens.

BACK TO SCENE

J.R.·,rollsover goes right off to sleep. Ryan crosses to his son's bed, kneels down, smiles.

INTER.CUT- THE HALLWAY

Ryan's bedroom door opens, Cathy comes out, two-handing a

cat.

BACK TO SCENE..

Ryan's still kneeling by J."R.'sbed. Cathy appears in the doorway -- swings the gun up -- realizes it's her husband -- relaxes, crosses over, kneels down behind Ryan, wraps her arms around him.

They rise up and kiss; the DOORBELL RINGS. They exchange a look, Ryan starts for the door.

%NT. RYAN'S FRONT DOOR

Ryan swings the door open; it's Robby (in uniform).

Ryan smiles, steps aside, Robby walks in, they shake hands.

Cathy appears at the bead of the stairs, pulling on a robe.

TIME CUT - RYAN'S STUDY

Robby's sipping coffee; Ryan's behind his desk, thinking.

They share a smile; Ryan concentrates, noels.

.. RYAN -~_ {to himself) Cellulose -- that's why there were no bomb fragments.

He looks back to Rob~y.

Ryan gets up from behind the desk.

Ryan comes across the parking lot, enters the Agency.

He slips his I.D. necklace on, crosses the lobby, nods at a guard, starts up a staircase.

He enters, crosses to the desk, reaches under the drawer, BUZZESthe wall panel aside, steps to the safe, opens it, lifts up the lower mat, and slips out the JxS card (with Ritter's combination on it).

Ryan memorizes the number, puts the card back, closes the safe, turns back to the desk, BUZZESthe panel into place, heads for the door.

Two security guards walk past the .tmI'sdoor. A beat, the door opens, Ryan steps out, checks the corridor, crosses it, and tries a door marked ,r;mQ.

Ryan slips in, walks through the secretary's area, and enters Ritter's private office.

He crosses to t.hedesk,-reaches under the drawer -- we HEAR a BUZZ -- a panel on the side wall slides away, revealing a safe. · ·

Ryan walks over to the safe -- thinks a moment -- starts spinning the dial.

A last digit -- the safe door springs free -- Ryan opens it,takes out a stack of files~ sets them on Ritter's desk, turns on a lamp, starts culling through the folders.

Inside the front cover of each file is a swamary sheet describing what Operation "WHATEVER" is all about. He riffs through EAGLE EYE, CAPER, RECIPROCITY, finally hits SHOWBOAT, scans the summary; sucks in a breath.

He shakes his bead, keeps onreading.

XNT. A COPY CENTER AT CIA

Ryan's at a Xerox, feeding in documents from the SHOWBOAT file. He pick& up a SAT photo, stares at it: %t's a downshot of Rojas' ruined hacienda.

Ryan copies the photo.

A limo pulls up -- the driver gets out, sprints around the car -- opens the rear door; Ritter exit& the limo, starts into the building.

96•

..

J \' Ryan turns away from a window (still dressed as he was last night). He walks into his bathroom, turns on the tap, looks into the mirror, sta~ing at his reflection.

Ryan holds the stare a moment, shuts his eyes.

Ritter comes through the door, nods at a pair of SECRETARIES.

FIRST SECRETARY SECOND SECRETARY

Morning, sir. Good morning, sir.

The First Secretary gets up, grabs a pad, follows Ritter into his cha.lnber,shutsthe door, starts reading from her notes.

The office door bursts·open, Ryan pushes into the room, trailed by the Second Secretary.

\ -- The ladies l00k to Ritter; he nods, they exit.

RYAN f I'm asking you the same question.

Ritter reacts, but holds his mud.

RI'rl'ER You are way out of line, mister. That is a paramilitary counter-terrorist op.

Ritter's eyes flash off his safe,back to Ryan.

He turns, walks out of the office;Ritter bites his lip.

Establish.

He's at the mantel, fingering a string of worry beads. Ritter's across the room, fuming.

RI'rl'ER

~-·-

I~ the Judie he was making a mistake with h m. The guy's nothing but a fucking Boy Scout.

cutter takes a !)eat,pockets his beads.

cutter sits '-,;....,-'nbehindhisdesk,putshisfeetup, leans back, schemes.

How do~ get out?

RIT'l'ER Come on --you know Clark. He'd come up hereand cut my nuts off.

Cutter takes a beat, looksback to Ritter, nods at a phone.

... 99•

We're FRAMED ON a tidy, one-story ranch; suburbia, Colombian-style.

A PHONE RINGS OVER THE SHOT.

Clark's at a dining room table, studying photo blow-ups cf Escobedo's house and the fortifications surrounding.the hacienda. · --. . A PHONEbehind him keeps RINGING; he finally turns and picks it up.

~.ITTER (OVER) The party's overt

Since when?

CLAlU{ That can't l:,e.

INTERCUT - CUTTER'S OFFICE

Cu'l'tER "l. (into speaker phone) ~ happened, Clark.

He and Ritter exchange a look.

INTERCUT - CLARK'S HOOSE

CU'lTER(OVER) Like I said -- the Doctor stuck his big nose into it. He ca~e back fr0lD Bogota -- said he knew all about SHOWBOAT -- threatened to take a walk up the Hill if we didn't close the store immediately.

INTERCUT - CUTTER'S OFFICE

No! I can't raisemy people without it.

He CLICKS OFF the SPEAKER, looks to Ritter.

... RI'l"l'ER (grins) Very nice, Jimmy. Why didn't I. think cf that?

(:_ ctnTER

··(grins back) 'Cause you didn'tgo to Yale, Bobby, that's why.

Ritter'·s limo glides through traffic.

He's on the phone.

He hangs up, makes for the door.

There's a Caribe Airlines cargo jet on the tarmac, motors at the IDLE.

one of Clark's Technicians is behind the wheel of the communications van, steering the vehicle up the plane's loading ramp. 'l'heether'l'echisin the cargo bay, directing the procedure.

lNTERCUT - THE AIRPORT ENTRANCE

A Jeep ccmes ROARING through the gate; Clark's at the wheel.

BACK '1'0SCENE

....

The communications van inches into theplane, hits the shocks, the jet's ENGINES start WINDINGUP.

ANGLE - '1'HEAI~PORT

The Jeep SCREECHES around a corner,heading for the cargo jet.

one of the Techs spots Clark at thewheel.

I 102. I I ,__ TECH I Cqme on, move it! I The cargo door starts closing, the pilot releases the I brakes, the plane begins roiling down the apron. I I A U.S. Embassy sedan is parked in the foreground; Morales is in the back seat, clocking the take-off. He, too, spots I Clark. I I MORALES I Oh, shit!

(atthe driver)

I

Let's get out of berel

I The sedan takes off.

Clark stands on the Jeep's accelerator, racing after the jet.

The jet swings out onto a runway, the pilot pours on the gas, the plan~;hurtles down the tarmac, lifts off into the sky. .

Clark slows the Jeep to a stop, stares after the jet, slams his palm on the steering wheel.

He sits there for a moment, formulating his next move, reaches a decision, u-turns the Jeep, heads back towards the airport.

The Captain and his five ninja& are dug in, just off a trail. One of the TROOPERS is working on the radio.

'l'ROOPER VARIABLE, this is KNIFE. Come in, please, over. (pause) VARIABLE calling kNIFE -- come in, please •••

He inspects the radio, turns to the Captain.

... .. TROOPER Batteries are starting to fade, sir. Should I stop?

The Captain frowns, shak~s his bead.

-~

·.---

JCeeptrying.

Our POV is THROUGH BINOCULARS; we're on a bluff three hundred yards from the bouae.

The front door opens, Cathy exits, dressed for work, tbe kids come out next, dressed for school, and then Ryan in sweats, dressed for a jog. They walk down to ·hercar, be buckles the kids in, pecks at their noses, comes around to Cathy's window, leans down.

They kiss, be stands back, the car pulls iavay.

Ryan watches after it amoment, does a stretch or two, then~~ starts jogging down the driveway.

- The BINOCULARS PAN him OUT OF ~ ::m.

Clark lowers the glasses, gets into a Dodge sedan, drives off up a dirt road.

\ He trots out of the drive, turns right, starts down a (deserted) blacktop.

The Dodge comes up over a rise, slows.

Clark squints; SEES Ryan in the distance. He pulls the Glock out of his belt, cocks the gun, lays it on the passenger seat.

Ryan keeps on loping down the road. The Dodge approaches -- he HEARS it coming -- but doesn't pay any attention.

Clark accelerates, coming up fast behind Ryan -- but just when we're certain he's going to hit him -- Clark swerves the wheel and nails the brakes.

Ryan dives for the ditch. The Dodge whips around, skidding to a stop. Clark jumps out with the gun.

Ryan craw~s up out of the ditch, spitting dust.

He stops; Clark approaches with the Glock leveled on Ryan. '·-

Ryan turns, Clark steps up, slips a pair of thumb cuffs on him, leads him back to the Dodge, opens the trunk, points at it with the gun.

Get in.

IN!

Ryan obliges; Clark slams down the trunk lid.

GO TO BLACK

..

FADE UP:

A dirt-streaked window affords us a buck-~.!glyviewof industrial D. C.·

The door opens -- Clark pushes Ryan into tbe room, shoves him down on a chair, shuts the door, picks up a phone, and sets it 0n a table in front of Ryan.

CLAlUC It's a company operation, man. "Authorized 11hasnothing to do with it.

Clark studies him, nods to himself.

Greer.

Clark's mood suddenly shifts.

That'• goocl.

A beat, and he's back to tough guy, pointing the Glock at Ryan's head.

Clark kicks it around.

CLARlC Okay, they could be lying. But, now that you know they're in there, what are you gonna do about it?

Clark steps behind Ryan, slips the cuffs off. Ryan massages his thumbs, picks up the phone, dials.

26th andM.

Ryan and Clark are standing across the desk from the DDO; Ritter's copping a plea.

RIT'l'D Look, come on - you said shut it "'· down, I shut it down! 'rbat••it, I'm out cf it.

't:LARK Stop screwing around, Ritter. I want those assets.

Ritter takes a beat, turns to Ryan.

Ritter points at Clark.

RI'l"l'ER I give him back his toys -- you give me back your proof.

Ryan wets his lips, takes a beat, nods, resigned.

Ritter bright~ns, sits down behind his desk, picks up a pen.

Ritter starts making notes.

..Whatkind of helos?

Ryan and Ritter both react.

RIT'l'ER Gunships?

t:LARK Not important. I'll bust 'em cut. Just get me the air suppo~.

Ryan takes a moment, gets e thought.

They both turn to him.

He turns, starts out of the office. Ryan looks to Ritter, the DDO shakes his head.

JU'l'TER Don't even think about it, Ryan. This is "OP's" -- you're Intelligence.

He pivots, follows after Clark.

Establish.

Cathy is poised over a table, assisted by her TEAM. There's a TV MONITOR suspended next to her.

I INSERT - THE MONITOR ( An ECU of Sara Winter's eye; the laser beam is flickin9 across the retina area, nsnippingh out black spots (the tumor&).

ANGLE - THE VIEWING ROOM

Doctors Polk and Williams are observing at another MONITOR. Polk sucks in a breath.

INSERT -MONITOR

The beam "kills" a spot.

BACK 'l'OSCENE

Pol], ~xhales, smiles.

Williams nods;~rel,uctantly.

Polk gives him a side•of-eye, looks back to the monitor.

Cathy's at a window, looking down 0n a children's playground where a half-dozen tykes are romping. She's sipping coffee, still in her greens.

The lounge door opens, Dr. Williams looks in, sees her.

She turns, they share a look.

He smiles, starts away; an ORDERLY approaches. "'·

..... ORDERLY

You have a call, Dr. Ryan -- line six.

She cresses to a desk, picks up a phone, punches ,i.

·.CATHY (into phone} >r.Ryan•••

A Caribe Airlines executive jet lifts off the runway.

INT~ fflEJ'E:r

It's a ten-passenger laycut; Ryan's in the rear, on a phone, Clark's up front with a map cf Bolivia spread out across a desk. The rest cf the plane is empty.

INTERCUT - THE LOUNGE

INTERCUT - THE J'E:r

Ryan's eyes flick ever the cabin. Boxes of ammo, qrenades, crates of machine quns are strapped into passenger seat.a.

Ryan's lest in thought.

/--- Ryan comes out of it. \ .._,,

lNTERCUT - THE LOUNG!::

Cathy's s~ilt!_fades.

-; CATHY Oh? ·Well, have a safe trip.

BACK TO SCENE

Ryan smiles at the line,.turns off the air phone, rises, walks up to Clark, who's pJiotti~gover the map •

A!herearethey being held? ...

......,

'

CLAR](

i,..-......_. Escobedo's Hacienda -- thirty clicks

east of Bogota.

He reaches in his briefcase, takes out the file of photo blow-ups, passes them to Ryan.

Ryan scans through the shots, whistles low.

CLAD: ~ I forgot••• Guess we'll have to find you a nice safe place to watch from.

Th~y share a look.

He turns back tc his map.

Chavez and the two TROOPERS are still chained to the wall in the courtyard. The more seriously wounded guy is moaning low, collapsing on his chains.

11'ROOPER I ain't gonna make it, Chavez.

He looks out across the=fields toward the hilltop where he and Clark ran the smart bomb op.

- Ryan's scoping out the house THROUGH BINOCULARS.

Ryan SHIFTS FOCUS -- FIRST ON the prisoners -- then a SLOW PAN tc the gate.

Ryan lowers the glasses, turns to Clark, who's making notes on a diagram cf the house and grounds.

Clark looks up, smiles.

He runs a finger along the diagram, tracing a path into the hacienda from the rear.

....--- (to hiDself)

Chain.·cut~ers•••

He makes a note; Ryan taps the map.

I I I I

1.14.

I I I RYAN I Smoke the rear of the house -- come \ I back out the same way. I I Clark studies him. I I CLARK I Marine Infantry, right? I

(as Ryan nods)

I

Yeah, I remember from your files.

I I RYAN I

Have you been checking me out, Mr.

I Clark? · I I CLARK I Just like to know who the players I are.

He folds up the diagram, takes the glasses from Ryan, studies the layout, then FOCUSES on Chavez.

-

That same caribeAirlines cargo jet is baek on the tarmac, now off-loading the communications van. Clark and Ryan are clocking the procedure. The van rolls off the ramp, one of the Techs FIRES it up, swings around and up to Clark. The Second Tech rolls down the passenger window.

Find 'em!

The van pulls off,heading for Clark's hangar.

(shrugs) Then I 90 inby myself.

He walks off; Ryan watches after him. ~-

A squad of Cortez's peQple ~r.e~oving through the bush, \ hunting tbe _ninjas.

The Captain and.his guys are hugging the ground. The Trooper with the radio is lying onhis side next to the officer.

Suddenly, a VOICE CRACKLES through the RADIO. '(. ' VOICE (OVER)

KNIFE, this is VARI--

The Captain grabs the Trooper, rolls him over on his belly, MUFFLINGthe SOUND••• but one of Cortez's guys heard it. He stops, dead still, listens -- turns around, pokes his AK-47 at a shadow, turns back, listens, walks on.

The Trooper sits up, dials down the volWDe, whispers into the radio.

Ryan and Clark are at a table, going over the diagram. Ryan points at a meadow leading down from the ridge.

Clark looks up.

CLARK • You may have missed your calling.

The Tech shouts o.s.

Ryan and Clark cross to the van, step up next to the.panel; the Tech FLIPS to SPEAKER.

'---- Get out your map •••

Cortez, Escobedo, and Diaz are in the courtyard. The floodlights are on, illwninating Chavez and the guys~

Diaz is pacing and ranting, as usual.

Eseobe~o turns to Cortez.

He walks off; Cortez and Diaz share a look.

A pair cf (long range) Cobra gunships lift off the flight •- deck, bank up and.away. A shard of lightning CRACXS across the sky, silhouetting the war bircls.

TIME CUT - EXT. A JUNGLE COASTLINE

The choppers SNARLTHROUGH FRAME, beading in-country.

117 •

...

..

:INT.THE LEAD COBRA

The PILOT FLICRS ON the RADIO

The communications van is in the foreground, flanked. by two Ford Broncos. Ryan's at the tailgate of one of the trucks, pas~ing cut ammo to the captain and bis six ninjas. .

Clark's next to the van, on a radio. We SEE there's a high chain-link fence halfway down the hill rrom their position.

SNAKE, this is VARIABLE, read you five-by-five. What's your ETA? over.

SNAXE, I copy four minutes. Get your reference up, over.

The Pilot dials in a computer screen: '!'hediagramof Escobedo's house appears, overlaid with a map grid.

He looks to his copy of the diagram; Ryan walks up next to him.

CLARJi: SNAKE, that double line running across grid square eight -- that's a fence. I'd like to lose a chunk of .. it, over.

PILO'l'(OVER) I copy, VAR.IABLE,over.

·.CLARK

I

Right •••

' (into radio)

SNAKE, the meadow running down to the house -- square nine -- cut me a path through there,please, over.

That'll do it, SNAKE. But, don't run off -- wemay need you coming out, over.

Clark turns offthe radio,Checks bis watch, looks around the area, backto Ryan.

.. CLARK Thisplace safeenough for you?

Ryan shiftshis weight, doesn't answer.

They share a lonqlook; Clark grins.

-see you 'roundthe campus, Doc.

He turns, calls out to 'theninjas.

CLARk Let's 11,oveout!

The Captain and his Troopers follow Clark to tbe edge of the field; the ninjas fan out along the line.

The Cobras dive INTO FRAME, skimming the treetops. tJp ahead, we can SEE the glow from Escobedo'• house.

,._I EXT. THE LINE AT THE EDGE OF THE FIELD

We HOLD a moment -- then the gunships ROARIN overhead, racing down the meadow, twenty feet off the deck, MINI-GUNS BLAZING - cutting a path through the field -- EXPLODING the mines. .

..

FLASH CUT RYAN

FLASH CUT - CLARK

FLASH CUT - CHAVEZ

FLASH COT - ESCOBEDO'S DINING ROOM

Cortez, Diaz, and the Patron are entertaining a quintet of Latin.lovelies. The revelry is interrupted by the GUNFIRE. The senoritas scream; Cortez leaps to his feet.

He whips out a pistol, heads for the door. Escobedo and Diaz hurry after him.

CLARK and the~~injas spring up and start running down the meadow, following the path cut by the mini-guns.

The Cobras close on the chain-link fence -- their CANNONS BELCH -- a twenty-foot-wide section of the wire disappears.

Ryan's spotting the action with night goggles.

A squad of Cortez's soldiers appear beyond the fence. A FIRE FIGHT ensues -- Cortez's guys take some hits -- fall back.

Clark stands up, starts charging through the shattered wire -- catches a ROt1NDin his right thigh -- goes down.

Ryan sees him take the bit.

'I'beCaptainalso SAW Clark 90 down; be starts towards him -- then (he) gets whacked -- pitches forward into tbe dirt.

Ryan lowers the goggles -- takes a beat - then sprints .... down the hill and dives in next to Clark. _.-..,,

He inspects Clark'& wound, frowns.

I I I I

I I I RYAN I It's bad -- must have caught the I artery. I I CLARK I Screw it! Help me up ••• I I He twists around, grabs his machine pistol, starts to rise, collapses in pain. I I

RYAN

I

Forget it -- you're not going

I

anywher~.

I I Ryan looks up, spots the captain lying twenty feet away. I I RYAN

(at Clark) Stay put -- don't move!

He gets up into a crouch -- zigzags across the field -- falls in next to the captain: He'& .dm•

Ryan shut his eyes, snaps them open, grabs up the Captain's AR-15, tugs an.ammo belt off the dead man's shoulder -- stares at the -Officerfor a second -- then drops into the crouch and races back to Clark.

How is he?

Ryan shakes his head.

Shit!

The (late) Captain's radio Trooper is behind a roek, BANGING away with his rifle; Ryan calls to him.

The ninja ducks out from behind the rock, scurries over to Ryan and Clark.

He tugs the radio off, passes it to Clark. Ryan looks to the hacienda, turns to Clark.

I Call the Cobras back in -- tell them \.-··· to keep everyone past the courtyard

busy.

Ryan picks up the Captain's rifle, jams in a new clip of ammo, turn& to the ninja.

Wait•••

He reaches into a pocket, pulls out a pair of heavy-duty cutters, hands them to Ryan.

A HAIL cf SLUGS RAIN IN. Everybody ducks, then it'& heads back up.

They hurry off through tbe torn wire. Clark snaps on the radio.

Nothing; he whacks the radio against a rock, tries again.

Meanwhile, back at the hacienda, the other five ninjas have ~anaged to fight their way into the rear garden and are now only twenty yards from the courtyard (and the prisoners).

Then the gunships dive INTO FRAME, their mini-guns SPRAYING the house and grounds (beyond the courtyard).

,c

Cortez, Escobedo, and Diaz are on a terrace, pinned down by the Cobras' FIRE. A line of BULLETS RICOCHEToff the terrace railing.

He inches Up over the railing, '!'RIGGERSaROUND from his Beretta••• and then a SLUG NAILS his forehead, dead center. Escobedo's head snaps back against Diaz's chest; he cradles the dying man in his arms.

Too late; Diaz turns, glares at Cortez.

- -- DIAZ l:2Ydid this! You and your •plans" your hostages.

They stare at each other.

Cortez takes a beat, smiles.

His pistol comes up, he FIRES TWICE, Diaz staggers back, drops away, dead.

Cortez turns, checks out the fire fight -- decides it's time to go -- heads back into the house.

Rfa~ and the Trooper battle their way up to the other ninJas. Ryan surveys the action, gestures at three of the ninjas.

123•

He turns, starts for the courtyard with the four troopers right behind him.

Six guys with AK-47's are guarding·the prisoners, three at each-end of the court. Ryan and his t.roopscome up behind one·trio ~- the ninjas take the goons down -- the other three guards begin FIRING acro~s the court.

The (radio) Trooper pops all three; BING, BANG, BOOM!

Ryan and the ninjas rush up to Chavez and the others. Ryan pulls out the chain cutters, SNAPSChavez's bonds; the kid stares at him.

_ RYAN He's up on the hill.

Chavez picks up on one of the dead guard's AK-47's. Al"lothergoonappears behind Ryan -- about to whack him. Chavez swings up the rifle -- DROPSthe guard.

Ryan and Chavez exchange a look.

He spins back to the badly-wounded prisoner, cuts his chains. The guy slumps against Ryan; be calls to two of the troopers.

The ninjas hurry over, each gral)san arm, start dragging the guy out cf the courtyard.

Ryan cuts the last prisoner free. 'l'heninja'&got a leg wound, so be leans against Ryan and they hustle out of tbe

..

courtyard and start up the meadow.

The two •cover" ninjas come cut of tbe garden, backwards, PUMPING SLUGS and tossing smoke GRENADES at the remains of Cortez's "army.• '~--- ·· When they catch up with Ryan, one of them relieves him cf · thewounded prisoner, while the other ninja picks up his Captain's body, hefts it over his shoulder, and starts trudging up the field.

I I I I 124. I I EXT. THE HILL I I \_ Clark's SEEN it all (THROUGH HIS NIGHT GOGGLES); he lowers I the glasses, smiles (as best he can). I I Chavez runs up, drops in next to Clark. They share a look. I

CLARX

I Hello, Chavez. I I CHAVEZ

I knew you'd come.

I I Chavez spots Clark's wound,digs out his aid kit, starts I dusting the gunshot wound withantiseptic powder.

Ryan dives in nextto them..

Chavez wraps abandage pack over Clark's thigh, ties it tight. Clark looksto Ryan -- to Chavez -- back to Ryan.

A beat, Ryan nods, takes Clark~s arm.

GO TO BLACK

FAI>E'OP

Ryan's standing at a hallway window, lookini out over Rock creek. Greer's next to him in the wheelcha r.

A NURSE looks away from a phone. ....

'·- Ryan ~ceps :~ehindt?'.echair,begins wheeling the Admiral up a corridor.

Clark's in the becl --his eyes flutteropen -- the first thing he SEES is Greer's thou.and-watt smile.

I,o,Admiral.

Clark glances out the window, back at Ryan.

Bethesda? (asRyan nods) What the hell am I doing here?

I don't know, sir -- I've been in the bush a long time. I'm not sure I'm ready for civilization.

A 30ish NURSE sticks her pretty face through the door. She and Clark have a little eye contact; she smiles.

She closes the door. Clark looks to Greer, grins.

They share a moment.

'...____..

His eyes hit Ryan's; Ryan nods.

They _·holdthelook.

We're FRAMED on cutter's townhouse •

cutter is sitting behind adesk, staring PAST CAMERA.

ct.J'l"l'ER You are a loose cannon,manl I mean, Jesus Christ,what the hell did you go andkill Jacobs for?

REVERSE - CORTEZ

He's standing across the desk.

an-I'ER How do you figurethat?

'--- \.

- CORTEZ

(smiles) He couldn't be~ naive. We all know itwill never stop. If your citizens wish to destroy their brains -- someone will always make it possible. But, at least now, I can regulate the trade -- minimize the dislocation of your cities your society. The business is disorderly, violent. I can restructure it.

ctn"'l'ER In return for •••?

Cortez lifts an eyebrow.

ClJT'l'ER "Refreshmy memory.

we agreed that I would become a a, facto member of your organization.

cutter gets up, walks around the desk, shaking his bead.

Cortez's eyes sharpen.

COT'?ER I'm sorry, Carlos, I don't think I can do that.

CU'l'TER You can't blackmail the United States government.

A DOORBELL CHIMES o.s.: Cutter and Cortez share a look.

l.28.

Cutter exits, shuts thi door behindhim, crosses an entry hall and opens the front door.

It's Ryan, scowling; Cutterblinks.

Ryan steps in, cutter closesthe door, smiles cheerfully.

He starts into aparlor.

CU'l"l'ER I see.

cutter stops, turns back •

I ju~t-came out of Colombia.

Ryan's hand flashes out, gru,s cutter by the shirtfront.

Ryan tightens his qrip.

RYAN .... You ordered it, didn't you?

ctrrrER Ordered the u.s. military into combat? That's absurd, Doctor. I have no such authority.

And, then Ryan realizes:"who" did -- and cutter realizes (he's) figured it out.

The library door cracks open, Cortez peers out, cocks an ear.

CU'l"l'ER I applaud your intecp=ity,Doctor, but going public with this incident could have major consequences.

His eyes bit Cortez'••

Cortez stepsthrough the door, reaches into his coat, slips out a pistol. cutter's eyes flare at the gun; Ryan sense& his alarm, spins around, stares at Cortez -- recognizes him -- puts it together; turns back to cutter.

CO'I'i·ER I can explain •••

Cortez thumbs back the gun's hammer; Ryan reacts to tbe CLICK, grabs a coat rack standing next to him, burls it at ,..----, Cortez -- who ducks -- FIRES, misses. Ryan rushes the Colonel, they crash to the floor, Cortezdrops the gun, it skitters across the carpet.

The fight is brief - a .coupleof !)lows apiece - then Cortez breaks free, crawls to the gun, snatches up the pistol. Ryan divas in on hill,they struggle - the GOH goes OFF.

An anxious beat••• Cort~z falls back, dead.

Ryan gets up, turns to cutter, they stare at each other.

CUT'l'ER It's none of your business.

CU'lTER You gave him your word, Ryan.

Ryan's eyes get ic:y.

cutter bites his lip.

He brushes past him and out the fro~t door. Cutter looks back to Cortez, shuts his eyes.

..

Establish.

The President and Judge Moore are sitting by the fire, talking.

The door opens, a WOMAN steps in.

...'!!

r-----• ---·

The Pres turns to her.

The President and the Judge exchangea look.

The Pres takes a beat, nods.

She steps out, the President looks back to Moore.

\....

get out of here and let you find out.

He crosses the room, exits by another door. The President steps to his desk, BUZZESthe INTERCOM.

The Pres sits down behind his desk. The door opens, Ryan enters, steps to the desk, the President waves at a chair.

,,..,--.

He grlmtt.,sh.e..~es.his-~ad•

· The Pres shifts bis weight, agitated.

Ryan squares bis shoulders.

----

- PRESIDENT You really think them yahoos up there would've went along with it?

-, RYAN You 'redamn right I am. sirI

The President rears up out of his chair.

I

I

I r--...,-

PRESIDENT

-- this sacred chamber -- and bark at me like some junkyard dog. I AM

I THE PRESIDENTOF THE UNITED STATES

OF AMERICA! This is Et country!

There's a picture window behind the President. We can SEE the Washington Memorial -- the Lincoln Memorial the Jefferson Memorial -- the Capitol ~yond.

Ryan looks out at the icons of our liberty, waves a hand across the panorama.

He turns, starts for the door.

PkESIDEN'l' Ryal')•••

Ryan stops, turns back, the·Pres smiles.

r two-step, Jack••• ·, (winks)

That's the jig for us.

Ryan stares at him a moment, shakes his bead.

He turns, walks out; the Pres frowns.

A light rain is falling. Ryan comes through a pedestrian security gate, walks down to Pennsylvania Avenue, pauses, looks back cut at Jefferson and Lincoln and Washington, takes a moment, then nods, as if satisfied that be'& spoken for~--~ and for lll.•

Ryan turns, pulls up his coat collar, walks off into the' rain.

".!'HEEND