Would you like to make this site your homepage? It's fast and easy...
Yes, Please make this my home page!
FACE/OFF
Written by
Mike Werb & Michael Colleary
First Draft
FADE IN:
EXT. SKYLINE -- NIGHT
Drizzling ... cold ... foggy ... gray sky vanishes into gray
sea without a seam ... fog so dense we move through it
blindly until ... looming huge: the GOLDEN GATE BRIDGE.
SUPERIMPOSE: SAN FRANCISCO -- THE NEAR FUTURE
Impossibly close, we soar through repair scaffolding and
over suspension wires ... glimpsing earthquake damage:
broken concrete, dangling cables, cracked support beams.
Turning south ... the familiar jewel-like cityscape ...
Fisherman's Wharf ... Russian Hill ... yet there are now two
Transamerica Towers and we CLIMB UP the new one.
Reaching the fogless PINNACLE ... peace reigns ... as we float
right through an ACCESS PANEL -- strangely wedged open -- and
INTO THE TRANSAMERICA-TWO SPIRE
A maze of wiring, ducts and maintenance-controls ... but behind
one DUCT -- something HIDES ... something GLOWING RED ...
TELESCOPE IN and find THE DEVICE. Unlike any other explosive
charge, it is complex in form and compact in size, with a
sectioned, multi-colored cube panel and a glass GLOBE core ...
MAGNIFY ... now we're INSIDE the globe ... in a gaseous soup ...
with a zillion microscopic parasites ... they crowd the
screen ... throbbing ... BUZZING like a swarm of angry wasps.
INT. TRANSAMERICA-TWO -- PARKING LEVEL LOBBY -- NIGHT
Late. The last few workoholics head for their cars. The
only sound is the sloshing of the Chinese JANITOR mopping.
Slosh. Slosh ... the FREIGHT ELEVATOR opens and out comes
GEOFFREY BARNES (30). Rumpled and out-of-breath -- the slim
Englishman bumbles into the Janitor -- knocking him down.
GEOFFREY
Thank goodness, a human being.
Fumbling with his briefcase, he kicks over the pail. Water
sloshes everywhere. The janitor starts yelling in CHINESE.
Barnes replies -- in perfect Mandarin.
GEOFFREY (cont'd)
[I'm terribly sorry, but
I feel like Icarus in the
labyrinth. Where the devil
is Parking Level Red-14B?]
The Janitor stares, then smiles and gives directions in
Chinese. BARNES graciously bows. The Janitor bows back.
INT./EXT. STREETS -- SQUAD CAR -- NIGHT
Cops MORRIS and HODGES wait for a green light at the
intersection of Van Ness and Lombard. The RADIO crackles on.
DISPATCHER
Attention all units -- 211 at
Pier 39. Suspect is a white male,
30's, 6 feet with specs, armed
and very dangerous. Heading
south on Van Ness in a blue Ford
sedan. Watch for this one,
fellas -- he's looney toons.
The exchange glances as ... a blue FORD SEDAN motors by.
INT. CAR -- MOVING -- NIGHT
Geoffrey Barnes innocently drives his rental car -- a blue
Ford Sedan. Tired, he stretches his long legs.
GEOFFREY
Another day, another - cop?
POLICE SIRENS blaze behind him. Concerned and annoyed --
Barnes finally pulls over.
Adjusting his specs -- Barnes fumbles to find the car
registration. He turns -- and sees a POLICE AUTOMATIC
pointing at his head. Morris waves him out of the car.
EXT. FILLMORE PRECINCT -- NIGHT
A modern multi-use high-rise. A window-washing "DRONE"
works its way up a grid-track. As the RAIN increases, the
drone stops cleaning and retracts into a maintenance shaft.
INT. PLEXIGLASS ELEVATOR -- MOVING -- NIGHT
The elevator ascends quickly -- glimpsing floors dedicated
to Evidence, Parking Authority, Civil Code, Small Claims,
Identification etc. A manacled Barnes trembles.
GEOFFREY
You're making a ghastly
mistake! I haven't been
to Fisherman's Wharf, I
don't even like fish.
Yeah, yeah, yeah -- like Hodges and Morris really care.
INT. BOOKING LEVEL -- NIGHT
A busy night processing hookers, homeless and alcoholics.
In the thick of it -- the BOOKING CLERK tries to lock Barnes's
hand onto a PRINT-SCANNER -- but he resists mightily.
GEOFFREY
Check my papers -- I'm with
the English consulate -- I've
got diplomatic immunity -- and
you've - got - no - right!
Barnes pulls away, eyes flashing angrily ... until a HUGE
COP grabs his hand and gently eases it down on the scanner.
INT. HOLDING TANK -- NIGHT
Barnes's thrown into a cell with a nasty group of drunken
GANG-BANGERS. He smiles nervously, goes to the payphone.
One WIRY HOOD trips him. They laugh as Barnes struggles up,
then inserts a "smart" card in the payphone slot.
GEOFFREY
Hello! Sorry I'm late, but
there's been a bit of a
muddle. I'm on the ninth floor
of the bloody Fillmore police
station. Could you come and
"bail me out" or whatever they
call it? There's a good chap.
He hangs up and glances at the threatening men. The WIRY
HOOD takes Barnes's glasses and snaps them in two.
INT. BAY VIEW HOTEL -- LOBBY -- NIGHT
Rain-soaked, POLLUX TROY (30's) anxiously checks in. He's a
human hummingbird -- skittish, edgy, a bit paranoid.
CLERK
-- I do have something on
the 26th floor facing west
-- but there's no view.
POLLUX
Yes -- there is.
POLLUX grabs the key and heads for the ELEVATOR. He holds
the elevator door open, waiting on a pair of muscular,
crystal-eyed twins -- LARS and LUNT MUELLER.
A helpful Bellhop reaches for Lars's large DUFFLE bag --
Lars yanks it back and disappears into the elevator.
INT. IDENTIFICATION FLOOR -- ANALYSIS ROOM -- SAME TIME
Chief analyst BRYCE shows a new TRAINEE the ropes. He grabs
a booking PRINT-OUT from a vacuum feeder tube: Barnes's.
BRYCE
If this guy took a shit off
the London Bridge -- we'll
know about it in two seconds.
Bryce feeds the computer which WHIRS into action -- scanning
the handprint. The Trainee considers Barnes's innocently
GOOFY MUGSHOT.
TRAINEE
This guy? I bet he never
even said the word shit.
FULL SCREEN -- MONITOR
BARNES'S prints match the record of one CASTOR TROY:
WANTED -- PACIFIC STOCK EXCHANGE BOMBINGS, 12 DEAD
WANTED -- ASSASSINATION OF CROATIAN AMBASSADOR
WANTED -- KIDNAPPING OF BRUNEI CROWN PRINCE
BRYCE and the TRAINEE look at each other -- stunned.
But the FELONY LIST goes on ... MURDER ... ARSON ...
KIDNAPPING ... TERRORISM ... with CD-ROM IMAGES of the
crimes. Finally ... at the bottom:
IF YOU HAVE ANY INFORMATION ON THE WHEREABOUTS OF THIS
PERSON CALL CMD. JON ARCHER, NATIONAL SECURITY AGENCY,
WEST COAST DIVISION, IMMEDIATELY.
INT. PSYCHIATRIST'S OFFICE -- NIGHT
Some office. There's a stunning 180-view of TOWERING
REDWOODS, a creek, even some ambling deer. DR. RACHEL
GARDNER (55) considers her fidgeting patient -- JON ARCHER.
Archer's around 30, decent-looking, maybe even handsome if
he ever smiled. His eyes reveal a broken soul, a soul
driven into the grip of obsession.
DR. GARDNER
How is the "date night" idea
going over with Eve?
ARCHER
Like gangbusters, doc.
(off her look)
Okay, I missed the last one.
DR. GARDNER
You missed the last three,
including her birthday.
(holds up a list)
Your wife's gripe sheet.
ARCHER
I've been working night and
day. I haven't had time.
DR. GARDNER
You're supposed to make time.
When was the last time you
told her you love her?
(Archer shrugs)
When was the last time
you two had sex?
Archer tightens up, says nothing. He goes to the bookshelf,
pushing IN a copy of "John Muir's Woods" -- and pulling OUT
Dashiell Hammett's "Maltese Falcon".
The redwood forest disappears from the "window". A B&W
action-view of the streets of old San Francisco replaces it.
ARCHER
One of my informants spotted
him -- right here in the city.
DR. GARDNER
I just asked you about making
love to your wife, and you
started talking about your job.
ARCHER
I'm not hiding in my work,
if that's what you're saying.
DR. GARDNER
You said it, Jon, not me.
Archer listens ... letting it sink in ... CONSIDERING.
DR. GARDNER (cont'd)
You put yourself in constant
jeopardy so you don't have to
face yourself. But what will you
do when the job is over -- and
there's no place left to hide?
The phone RINGS. Gardner picks it up, listens, then sighs.
DR. GARDNER (cont'd)
I am not your secretary.
When you're in here --
ARCHER
(grabs phone)
Jon Archer.
As he listens, his face becomes more energized, more alive.
ARCHER (cont'd)
I'll be right there,
Sergeant. Don't talk to
him, don't listen to him,
and for God's sake --
don't go near him ...
INT. HOLDING TANK -- NIGHT
Barnes signals Officer Morris, who is petting "Dinah," the
precinct's mascot CAT.
GEOFFREY
Excuse me, Officer. May I
have a private word with you?
(Morris puts Dinah
down and approaches)
I just wanted to say ...
(drops English accent
and speaks in his
natural American idiom)
Thanks for being one dumb fuck.
Barnes reaches through the bars, and SNAPS MORRIS'S NECK!
Morris sags lifeless as "Barnes" -- aka CASTOR TROY --
quickly and calmly grabs the unarmed cop's keys.
Transformed, this man is coordinated, aggressive, sexy.
INT. HOTEL -- NIGHT
Pollux and the twins hurry inside. The door cracks open
again as a hand hangs a DO NOT DISTURB card over the knob.
EXT. HOTEL ROOM -- SAME TIME
This room does indeed have a view -- of the precinct's SQUAD
ROOM -- through its steel-reinforced plexiglass windows.
The trio scan with INFRA-RED GOGGLES: HEAT SIGNATURES of
computers, coffee makers, the cat -- finally a bald COP.
LUNT
Number 6 -- the cue-ball.
LARS sights through his laser-sighted RIFLE. A harmless
SPOT of light momentarily tags the cop's bald pate, then
vanishes. An LED on the rifle's scope clicks from 5 to 6.
LARS
6 is tagged.
POLLUX
Hurry ...
INT. PRECINCT -- NIGHT
CASTOR picks his way through the back rooms of the precinct
when a DOOR opens in front of him.
A COP emerges from the head, zipping up his pants. CASTOR
silences the cop with a quick punch to the throat and drags
him back into the head just before --
BRYCE and cops charge by -- toward the holding tank.
CASTOR slips out after they've passed. Keeps moving.
INT. HOTEL -- NIGHT
POLLUX aims, fires a SILENCED five-barrelled weapon --
EXT. PRECINCT WINDOWS -- NIGHT
Five CHARGES sink into the reinforced plexiglass.
INT. HOTEL -- NIGHT
POLLUX turns to the twins -- they nod. Ready.
INT. PRECINCT -- NIGHT
HOLDING ROOM: BRYCE finds Morris dead, Castor gone. He
hits a button.
SQUAD ROOM: Busy Cops look up as the ALARM suddenly
screams. Then -- BOOM! The plexiglass windows EXPLODE
inward, leaving an enormous gash open to the whipping rain.
INTERCUT:
CASTOR emerges -- races for the gap -- as the COPS swiftly
recover from the blast. They grab their weapons and home in
on Castor. They move in fast -- and he's exposed as ...
LARS raises the laser-sighted rifle and FIRES.
A SWARM OF TRACER BULLETS roars toward the cops. Spiralling
and twisting, the armada of smart bullets SPLITS UP AND SEARCHES
OUT their marked targets. Just as Castor's surrounded ...
A DOZEN COPS are cut down at once. INSTANT SILENCE.
A SILHOUETTE appears among the dead cops.
LARS aims the rifle again, but Pollux stops him.
POLLUX
It's my brother ...
Indeed, the SILHOUETTE IS CASTOR. He grabs a pistol, stuffs
it in his belt and hurries to the edge.
POLLUX fires a piton. It sinks into the precinct wall at an
incline, fixing a STEEL CABLE between the buildings. Pollux
nods "scram" to the TWINS who grab their bags and exit.
CASTOR and POLLUX make eye-contact -- a silent communication
-- as CASTOR secures himself on an inverted T-Grip pulley
and starts slowly sliding along the rain-slicked cable.
EXT. HOTEL -- NIGHT
CASTOR is halfway across when -- GUNSHOTS. One grazes him,
the other cracks the pulley. It GRINDS to a halt.
BRYCE -- wounded -- shakily aims from the wrecked precinct,
about to fire again. Pollux can't get a clear shot.
POLLUX
Castor -- !
Hanging from one hand, CASTOR blasts back -- nailing BRYCE.
CASTOR
Go on -- GO!
Abandoning the broken pulley, CASTOR keeps moving -- hand-
over-hand. POLLUX hesitates -- then takes off.
EXT. HOTEL ENTRANCE -- NIGHT
A black van screeches to a stop. ARCHER steps out, followed
by veteran TITO BIONDI and rookie LOOMIS. Shattered GLASS
crunches beneath Archer's shoes.
HIGH ABOVE
CASTOR'S GRIP starts to slip. Struggling to hold on, he
drops his pistol. It falls -- TUMBLING -- as --
STREET BELOW
ARCHER looks up -- and catches the PISTOL.
EYE-CONTACT between Archer and Castor. Years of hatred pass
between them. Before Archer can open fire --
A RANGE ROVER roars toward him -- POLLUX shoots as he drives
right at the agents.
ARCHER and team returns fire. Wounded, LOOMIS goes down.
Shredded, the RANGE ROVER spins out and FLIPS.
INT. HOTEL ROOM -- NIGHT
CASTOR glances at the SWARM of authorities below. He hauls
himself INSIDE the room and sees that Pollux has left him an
automatic pistol and a steaming cappuccino.
INT./EXT. RANGE ROVER -- STREET -- NIGHT
Before bloody Pollux can come to his senses, ARCHER cuffs
him to the steering wheel.
ARCHER
You won't be using this
trick on me again.
He reaches into Pollux's shirt and yanks off a chain from
which hangs a tiny HANDCUFF KEY. Pollux flails helplessly.
Tito looks up from aiding Loomis -- whose ear is shredded
-- to see Archer disappear into the hotel.
INT. HOTEL -- 26TH FLOOR -- NIGHT
Gun ready, ARCHER emerges from the elevator. He scopes out
the cordite-reeking hotel corridor -- it's empty.
Likewise the hotel room ... just an empty coffee cup.
EXT. ROOF -- NIGHT
CASTOR skirts the rooftop dominated by an enormous NEON
hotel sign, searching for a way out.
He finds a hatch, set flush on the rooftop. He grabs the
handle, but it doesn't give.
Setting down his pistol, he grasps the hatch handle with
both hands and tugs hard.
The flashing NEON strobes CASTOR'S SHADOW on a tank beneath
the helipad -- marked "COOLANT UNDER PRESSURE -- NO SMOKING."
As Castor works, a SECOND SHADOW melts into his. For a
moment the two shadows MERGE. Then ...
ARCHER (o.s.)
Turn around.
CASTOR sees ARCHER standing behind him. Gun trained.
CASTOR
Jon, I'm getting a little
annoyed by your obsessive
need to spoil my fun.
ARCHER
And how much will your
"fun" net you this time?
CASTOR plays for time -- inching toward his pistol.
CASTOR
What's it to you? I
declare it. Here I am,
back in the States for
less than a month --
ARCHER
You're under arrest.
Incredibly, you still have
the right to remain silent --
CASTOR
What're you gonna do with
me gone? You'll drive
your wife and kid nuts!
I bet your daughter is
just about ripe by now.
What's her name, Janie?
ARCHER
Mention my family once
more and you're dead.
CASTOR
You can't kill me, Jon.
I've got something going
this Saturday night ...
it's gonna be worse than
anything God ever dumped
on the Pharaohs -- and
only I can stop it.
ARCHER
You can tell me all about
it -- from your prison cell.
CASTOR
Don't count on it.
CASTOR grabs for his gun. ARCHER dives away, firing, as --
Castor's shot rips into the COOLANT TANK. WHOOSH! The
coolant sprays out -- blasting full-force at Castor. He's
thrown back and --
CASTOR hits the neon sign. Tangled in the shattered sign,
rain-soaked CASTOR is ELECTROCUTED by a web of shorting wires.
ARCHER stumbles away from the torrent of sparks and madly-
whipping electrified wires. He backs into --
TITO
Tell me he didn't get
away again ...
The smoke subsides. CASTOR hangs crucified in the skeleton
of the neon letters -- "HOTEL" now reads simply "H - - EL."
Dead to the world, Castor's MOCKING SMILE still survives.
EXT. ROOFTOP -- NIGHT -- (LATER)
A stately woman, flanked by two bodyguards, coolly examines
CASTOR'S body as it's gurneyed into the freight elevator.
This is regional NSA director VICTORIA LAZARRO (40s).
She spots ARCHER waiting for the glass view elevator.
LAZARRO
Jon --!
ARCHER doesn't seem to hear. He gets into the elevator.
INT. HOTEL -- GLASS ELEVATOR -- NIGHT
ARCHER hits "down." Before the doors close, LAZARRO
squeezes inside. The elevator descends.
LAZARRO
Fine work, Jon.
ARCHER
Yeah, real fine. Especially
all the casualties.
LAZARRO
I'm complimenting you.
Can't you ever just say
"thanks"?
ARCHER
(grudgingly)
... Thanks.
LAZARRO
Try to kiss my butt just
once before I'm transferred.
ARCHER
Sorry, Admiral. It wasn't
mentioned in the job
description.
The elevator doors open. They've arrived in --
THE LOBBY
Filled with agents, cops and press. A REPORTER snaps a
photograph of the pair.
REPORTER
Hey, Archer, what's going
on? How about a statement?
Routinely, Archer gives his "statement" -- grabbing the man's
Nikon. He rips out the film -- then hands the camera back.
LAZARRO
Jon -- bad press means bad
publicity means budget cuts.
(Archer doesn't respond)
Just have your report on my
desk by noon.
Lazarro looks at Archer like he's some long-extinct species
and walks away. TITO steps up and slings an arm around Archer.
TITO
Go home, Jon. Tell Eve ...
EXT. SUNSET DISTRICT -- CAR -- MOVING -- DAY
Exhausted -- ARCHER drives through the middle-class
neighborhood, sipping a carton of milk.
INT. AN ORDINARY HOUSE -- DAY
At the KITCHEN WINDOW: EVELYN ARCHER (30) -- handsome,
strong, reserved -- watches as ...
ARCHER'S CAR rolls right past the house -- then jerks to a
stop. In reverse, it backs down the street -- back toward
the house. EVE shakes her head. Same old story.
EXT. ARCHER HOME -- DAY
On his way to the house, ARCHER picks up a basketball and
takes a shot. His form is terrible -- he misses by a mile.
INT. ARCHER'S HOME -- DAY
ARCHER enters and sees EVE in her medical scrubs. Her fiery
auburn hair may be down, but she's decidedly cool.
ARCHER
Hi ...
(no response)
Where's Jamie?
She nods toward the KITCHEN. JAMIE is there -- a sullen and
hard 12-year-old. She's flanked by TWO COPS.
EVE
She complimented her "D"
in physics with an "F"
in grad theft auto ...
EXT. ARCHER'S FRONT PORCH -- MINUTES LATER -- DAY
Smiling, ARCHER shakes hands with the cops -- as they leave.
INT. ARCHER'S HOME -- DAY
ARCHER shuts the door -- his smile disappears. He turns and
looks at Jamie, matter-of-factly pouring herself coffee.
ARCHER
Stealing a police car
from a car wash! Are
you out of your mind?
JAMIE
That's right. Don't even
ask me what happened.
Archer looks to Eve for help. Eve shakes her head -- nope.
ARCHER
Okay. What happened?
JAMIE
Like you'd ever believe
me over a fucking cop!
She bolts. In anticipation, Eve calmly opens the door as
Jamie rushes out, then closes it behind her.
EVE
Well, you tried. You failed
miserably, but you tried.
ARCHER
Everything I say is wrong.
I can't talk to her anymore.
EVE
She's only 12. Some day
she'll understand that apathy
and absence are just special
ways of saying "I love you."
ARCHER
Is that what you think?
EVE
Jon ... we just remember
how it used to be.
(heads for door)
You staying for a while or
is this just a piss-stop?
ARCHER
We need to talk.
EVE
I'm late for surgery.
ARCHER
It's important.
EVE
So is finishing my residency
and passing my boards ...
But as Eve opens the door -- something in her husband's
expression makes her stop cold.
EVE (cont'd)
Jon -- what is it?
But he's too overcome. He starts to speak -- but can't.
EVE (cont'd)
Is it -- him? You
got him?
Emotions avalanche across his face until he finally looks up.
EVE (cont'd)
It's over, Jon? It's
really over?
For the first time -- ARCHER allows himself a thin SMILE.
EVE pulls him close -- a sheltering embrace for them both.
ARCHER
I'll make it up to you and
Jamie. I'll put in for a desk
job. This time, I mean it.
INT. ARCHER HOME -- MORNING
Freshly dressed, Archer heads down the hall. He pauses at
the door to Jamie's room when he sees --
INSIDE
Fully clothed, Jamie is fast asleep on her bed cluttered
with clothes and assorted girl-stuff.
ARCHER steps inside -- looking at his daughter's now-
peaceful face. He looks around at her room ... sees the
stuffed animals collecting dust ... make-up, jewelry ...
his little girl is growing up fast. And he's missing it.
ARCHER carefully pulls the blanket up over her. With a
bittersweet smile, he slips out of the room.
EXT. PRESIDIO -- NSA HEADQUARTERS -- DAY
A sprawling, high-security compound. ARCHER negotiates the
no-nonsense check-point manned by heavily-armed guards.
GATE GUARD ED
Print, please, Commander.
ARCHER presses his thumb to a scan-pad as guards inspect the
car. ED waves "all clear." Archer drives in.
INT. LOBBY -- DAY
The entry is dominated by the NSA OFFICIAL SEAL -- A cobalt-
and-white glass mosaic of a stalwart eagle clutching a key.
Color-coded elevators denote security status. ARCHER uses a
mag-card to enter the restricted "RED LEVEL" elevator.
INT. BULLPEN -- DAY
Efficient as a beehive, agents, cryptologists, support staff
buzz through their routines. ARCHER strides past -- drawing
assorted congratulatory nods and "thumbs up" signs -- but
no one breaks work-stride. He enters his ...
RECEPTION AREA
Archer's team is there. Applauding. Proud. But Archer's
uneasy with plaudits.
ARCHER
Much appreciated. Now let's
get back to work, okay?
He herds the disappointed agents out.
WANDA
(to Buzz)
Is that stick ever gonna
fall out of his ass?
Archer shuts the door, then turns to his attractively-built
secretary -- KIM BREWSTER (25).
KIMBERLY
(holds up champagne)
The CIA sent this over.
What should I do with it?
ARCHER
Send it back and tell
them to stop wasting
the taxpayers' money.
(a beat)
And Miss Brewster --
KIMBERLY
Yes, Commander?
ARCHER
It's against the law to
smoke in a federal building.
He OPENS THE DRAWER, stomps out her cigarette, then exits
to his inner office. Kimberly sighs and turns to a CLERK.
KIMBERLY
Three years -- and he still
calls me "Miss Brewster."
INT. ARCHER'S OFFICE -- DAY
MOVING past photos, newsclips, clues and totems of CASTOR --
a monument to his obsession -- we FIND ...
ARCHER on the computer. Like a guy who can't help but stare
at a train wreck, he scrolls through ...
CASTOR'S HOMICIDE VICTIMS FILE
Face after face -- some innocent, some not -- flash past.
Finally he stops at the image of a LITTLE BOY.
All smiles and ruddy cheeks. MATTHEW ARCHER'S a child with
all the time in the world.
Light floods in as TITO enters.
ARCHER
How's Loomis?
TITO
Apparently, fine. He's
coming into work. That's
the good news ...
ARCHER
Go on.
TITO
Castor's still alive --
(off Archer's reaction)
Technically. He's a turnip,
on total life-support ...
Tito pops a micro-disc into the desk-top.
TITO (cont'd)
... And I found this --
at his brother's flat ...
A HOLO-IMAGE appears -- a 3-D image of the DEVICE. Archer
sags -- he knows it's a bomb ... and a complex one.
Using a remote, Archer ENLARGES THE 3-D IMAGE. The "bomb" is
now 5'x5'x5' -- virtual reality without the helmet. We step
with Archer RIGHT INTO THE BOMB as he studies it.
TITO (cont'd)
Porcelain casing ... thermal
neutron cloak ... I didn't
recognize the payload.
ARCHER
Some kind of designer toxin.
(moving into the core
then inspecting it)
Probably biological.
Definitely airborne.
Archer's eyes sharpen -- it sinks in.
ARCHER (cont'd)
"Worse than anything God
ever dumped on the Pharaohs."
Enlarging the IMAGE, Archer examines it even more closely.
ARCHER (cont'd)
Castor's sociopathic, but not
suicidal. He wouldn't handle
anything this unstable without ...
He traces a finger along the bomb's guts to a small
appendage on the globe. It's got a button.
ARCHER (cont'd)
-- Here. A fail-safe -- in
case the bomb goes critical
while being installed.
(a beat)
Find out how it works.
And call Lazarro -- tell
her I'm on my way up.
DISSOLVE TO: INTERROGATION FOOTAGE
Pollux under the 3rd degree. Wired to a complex machine --
the interrogating Agents seem to have him on the run ...
INT. BRIEFING ROOM -- DAY
ARCHER, LAZARRO and various NSA OFFICIALS watch the monitor.
POLLUX
(on screen)
-- That bomb was just a
crossword puzzle to me ...
a mental exercise. I
never built it ...
Weary, LAZARRO shuts down the monitor ... turns to Archer.
ARCHER
He's lying.
LAZARRO
Jon, he's hooked up to
a full-spectrum polygraph.
No one has ever beaten --
ARCHER
I don't care -- he's
manipulating it. That
bomb has been built and
it's out there, somewhere.
LAZARRO
What do you expect us to
do -- shut down the city,
evacuate two million people
on a hunch?
Archer looks from Lazarro to the other officials. He knows
it's hopeless -- and gets up to leave.
ARCHER
It isn't a hunch and
Castor doesn't bluff.
It's going to happen ...
INT. CORRIDOR -- DAY
ARCHER stomps along, Tito at his heels.
TITO
We can send in a plant
-- try to get Pollux to
spill the location.
ARCHER
He'd see that a mile away.
(a beat)
The only person he'd talk
to about that bomb is his
brother. Unfortunately,
turnips can't talk.
Archer's mind races, there's got to be a way.
TITO
I'll be damned. Loomis ...
LOOMIS is in the Squad Room -- not a scratch on him.
ARCHER
Which ear was it?
TITO
The left, I think. Those
surgeons in Witness
Protection can fix things
nobody's even broken yet.
ARCHER says nothing. Something dawns on him. Something
brilliant as it is insane. Or is it simply insane ... ?
FULL SCREEN: LIFE-SIZE HOLOGRAPHIC IMAGES OF A MAN ... just
an ordinary man ... flat nose, big brow, an uncertain chin.
HOAG'S VOICE
This informant marked
himself for death by
testifying against a drug
cartel, so he was sent to
me for a little makeover.
PULL BACK TO:
INT. MEDICAL WING -- PHYSIOLOGICAL CAMOUFLAGE UNIT -- DAY
Expertly working a joy-stick is DR. MALCOLM HOAG (50's).
This man exudes genius and arrogance. Archer's beside him.
HOAG
A rhinoplasty here, a
mentoplasty there ...
The Informant's NOSE narrows. His CHIN strengthens.
HOAG (cont'd)
Blepharoplasty, otoplasty ...
Everywhere a plasty, plasty.
The Informant's big EARS shrink and his EYES morph. The end
result -- literally a NEW MAN. Hoag nods matter-of-factly.
HOAG (cont'd)
Physical augmentation, vocal
enhancement implants -- More
snitches have disappeared in
here than in San Francisco Bay.
(a beat)
Of course, it's easy to
make someone look like no
one ... But I'm always
tinkering with other methods.
Using the joystick, Hoag strips away the Informant's "new"
face and replaces it with a rotating FACIAL-SHELL -- fixed
at various anchor-points. Hoag's OWN IMAGE adheres on the
shell and he "sculpts" it to fit the Informant's skull.
HOAG (cont'd)
Using a morpho-genetic
template, the sub-structure
can be molded to the exact
shape of one man's skull;
the outside -- exactly like
another's.
(admires his own image --
now on the Informant)
Vast improvement, isn't it?
ARCHER
So it is possible?
HOAG
To temporarily borrow another
man's face? Oh, yes. I can
think of only one reason why
it's never been done --
(a beat)
-- no one's ever asked.
ARCHER
But will you do it?
HOAG
Without approval -- totally
off the books as you say?
Commander, your proposal
would cost me my job and
get me banished from every
respectable medical
society in the world.
(a beat)
That's why I like it.
But can you find a
volunteer in time?
ARCHER
-- I already have.
HOAG almost asks "who" -- then stares at Archer and
understands -- there's no one else for this job.
INT. ARCHER'S HOUSE -- NIGHT
The door to JAMIE'S room is plastered with news headlines
and disturbing photos of police beatings and government
corruption. Loud music pounds out from within. ARCHER
pauses to knock -- then doesn't. He lets it go.
INT. BATHROOM -- NIGHT
ARCHER undresses, looking in the mirror. Smooth-chested and
reasonably toned -- he's getting a bit of a gut.
INT. BEDROOM -- CONTINUOUS -- NIGHT
EVE is in bed. ARCHER comes in quietly and sits beside her
-- studying her peaceful, half-sleeping face. She stirs.
EVE
... I was dreaming ...
ARCHER
Something good?
EVE
We were back in high school.
You wanted to join the sky
diving team, but I wouldn't
let you.
ARCHER
Must've been after we
got engaged.
EVE
Actually -- in this dream
-- I was your mother.
ARCHER
So you had a nightmare.
EVE
Totally -- you were being
very, very bad. You went
up in the plane and jumped
out. You had a parachute,
but it didn't open.
ARCHER
Were you there to catch me?
EVE
No.
ARCHER
How come?
EVE
I don't know ...
(nuzzles him)
Maybe because you've
never needed my help.
They kiss -- and keep kissing. Their passion building, EVE
runs her hands over his body -- reaching, touching.
She pulls apart his shirt -- buttons popping -- revealing a
thick round SCAR on his chest. Her fingertips touch the
bullet scar. ARCHER freezes mid-caress.
EVE (cont'd)
It's all right, Jon.
But he is pulling away. She won't let him -- she tugs him
back onto the bed and enfolds him in her arms, holding him.
ARCHER
Five years ... I still
can't get it out of my
head -- an inch to the left,
Matty would still be alive.
EVE
And you wouldn't be.
No response. The pain hidden in his stoic detachment chills
Eve. She musters a hopeful tone.
EVE (cont'd)
Things will get better
now that you're home.
Everything will be better
now that ... that man is
finally out of our lives.
ARCHER
Eve ...
He starts to mouth the words. He wants, needs to share the
truth with her. But he can't. Instead --
ARCHER (cont'd)
... If I had to do something
to find some closure ... I
should do it, shouldn't I?
... No matter how crazy?
EVE
What are you saying?
(realizes)
Oh, God -- you're going
on assignment again ...
ARCHER
One last time. It's important ...
EVE
You said you'd be here!
You promised me -- you
promised Jamie! What
could be more important
than that?
ARCHER
I can't tell you ...
except only I can do it.
EVE
You want me to tell you
it's okay to leave? Okay,
go on! GO!
Fury erupting, Eve pushes Archer out of the bed. He
stumbles out of the room.
INT. HALLWAY -- NIGHT
Archer trudges past Jamie's room.
INT. BEDROOM -- NIGHT
He enters a boy's room -- neat and tidy, like a museum
exhibit which, in a sense, it is.
ARCHER clicks the wall switch -- no bulb. He lies down on
the small bed and stares at the ceiling.
A STARFIELD
twinkles back at him ... made of stick-on fluorescent stars
and comets and day-glo stardust that spells "Matthew."
ARCHER
Am I crazy, Matty?
ARCHER'S weary eyes close as the stardust twinkles brightly.
DISSOLVE TO: BRIGHT LIGHTS -- the San Francisco skyline --
dominated by the twin Transamerica Towers.
INT. TRANSAMERICA-TWO BUILDING -- NIGHT
A MAINTENANCE WORKER sweeps up -- until a RAT scurries by.
Annoyed, the man follows the vermin with the broom -- poking
around -- trying to flush it out.
Squeezing behind some DUCTS -- he spots something HIDDEN ...
something GLOWING RED -- tapped into this a/c vent.
He leans in closer and ... BREAKS AN ELECTRIC EYE -- the
bomb's self-defense motion-detector. Instantly a YELLOW
LIGHT BEAM flashes -- finds the MAN'S FACE. HISSSS!
A pinpoint of gas sprays him. He recoils and runs out.
EXT. BUILDING -- CONTINUOUS -- NIGHT
Gasping for breath, the Man forces open an access door.
That's better. Then ... he CONVULSES VIOLENTLY. Twitching,
shuttering, he FALLS ... dropping like a wounded bird.
EXT. ALLEY BELOW -- CONTINUOUS -- NIGHT
Splattered in the gutter, the man looks like just another
jumper in the heartless big city.
INT. NSA -- ARCHER'S OFFICE -- DAY
Archer memorizes the CD-ROM images before him:
Surveillance footage of CASTOR dancing in a crowded night-
club with a sexy but doped-up WOMAN. They're necking.
ARCHER
Sasha Plummer, 28, single,
mother of one. Met Castor
Troy in Berkeley at a Pearl
Jam reunion. Felony convictions:
two counts, drug running.
She has a tattoo of a 1956
Buick on her right ankle.
ZOOM in on the tattoo as the door opens -- TITO enters.
TITO
Castor himself didn't
know half this crap,
and it was his life.
(hands Archer a disk)
What do you want with
the prison lay-out?
That place is so tight,
you couldn't squeeze
a fart out of there.
Archer keeps working -- the image of Sasha MORPHS into
footage of a slick, Eurotrash-type -- DIETRICH HASSLER (45).
ARCHER
Dietrich Hassler. 45.
Biochemist. Dismissed from
the FDA on charges of ...
Tito shuts down the machine.
TITO
Jon, this is goddam insane.
You can't go through with it.
(no response)
What about Eve?
ARCHER
She doesn't know -- and she
never will.
TITO
You haven't got a chance in
hell of fooling Pollux.
Castor drinks, smokes and
walks around with a 24-hour
hard-on. He's nothing
like you.
ARCHER
Don't worry. I've done
my homework. I'll get
Pollux to talk.
TITO
Either way, come Saturday
morning -- I'm pulling you
the hell out of there.
EXT. HOAG INSTITUTE -- DAY (ESTABLISHING)
The sun rises over a gated compound in the Berkeley hills.
INT. FACILITY -- O.R. -- DAY
ON MONITORS: CASTOR'S body is being prepped.
PULL BACK: Hoag confers with the ARCHIVE TECHY who's taping
the procedure.
DR. HOAG
Let's walk through it, Commander.
(a beat)
Your blood types are different,
but surgically compatible. The
height difference is negligible
-- within 1/2 an inch. The feet
are close enough. Penis size,
flaccid, essentially the same.
(a beat)
Substantial.
TWO NURSES exchange a glance.
DR. HOAG (cont'd)
Eye color will be handled
with a retinal dye. Body
hair -- with micro-grafts.
Teeth, a little cosmetic
bonding. The tattoos will
be -- tattooed. Fingerprints
-- we'll use an organic skin
mold and a little Crazy Glue.
ARCHER
Kid's stuff.
THE TRANSFORMATION
TATTOOS: A tattoo artist recreates the COLOSSUS OF RHODES
on ARCHER'S thigh as his assistant outlines the remaining
six "Ancient Wonders of the World."
TEETH: DR. HOAG works like an artist -- matching the color
and shape of CASTOR'S teeth.
EYES: Lids pinned back -- micro-needles plunge into
ARCHER'S eyeballs. His irises WASH from brown to blue.
BODY HAIR: Hundreds of tiny grafts are "plugged" onto
ARCHER'S chest.
STOMACH: HOAG prods ARCHER'S love handles.
DR. HOAG
Abdominoplasty, Commander?
It's on the house.
ARCHER
Abdomino -- what?
DR. HOAG
A tummy tuck.
ARCHER
Do it.
Globules of adipose tissue siphon from ARCHER'S obliques.
CHEST SCAR: HOAG runs a finger along the jagged line.
DR. HOAG
You realize, Commander --
this has to go.
ARCHER looks at the scar -- then nods without a word. Two
surgeons begin to remove the dead tissue.
DR. HOAG (cont'd)
Let's see if I missed
anything before I get
my hands really dirty.
HOAG leads ARCHER to a mirror. Archer's amazed to see:
HIS OWN HEAD ON CASTOR'S BODY
He's got a flat stomach, chest hair, blue eyes -- the works.
Archer touches where his chest scar once was -- now gone.
EXT. HOAG'S FACILITY -- NIGHT
Clear and calm. God's night. Someone's God anyway.
INT. HOAG'S FACILITY -- NIGHT
ARCHER is wheeled into the high-tech surgical bay, CASTOR
beside him. Hoag wipes his brow -- he and his team have
been working for hours and now comes the hard part.
DR. HOAG
Here we go, Commander.
Through the Looking Glass ...
ARCHER nods as the anesthesiologist injects his IV line. As
he drifts off, he can hear HOAG'S final instructions ...
DR. HOAG (cont'd)
-- initial incision will be
made above the ear, extending
down behind the left earlobe,
then back up into the hairline.
Hoag turns to the ARCHIVE TECHNICIAN who's video-taping all.
DR. HOAG (cont'd)
Make sure you get everything
-- I'll need to study the tape
before reverse surgery.
Hoag sets the tip of the LASER against Archer's forehead.
A RED TARGET BEAM -- slender as a hair -- appears. HOAG
sights through the optical memory, squeezes the trigger and
-- a COBALT BEAM cuts above Archer's ear.
HOAG'S ASSISTANT performs the same procedure on CASTOR.
HOAG peels ARCHER'S face away from his skull.
HOAG carefully sinks Archer's face into a saline drip-tank.
DR. HOAG (cont'd)
Vault it.
The Nurse takes the container and rushes off. HOAG pulls
the MILKY TEMPLATE out of a saline dip and fits it over
Archer's facial sub-structure. It's a perfect fit.
DR. HOAG (cont'd)
Come on -- the other one!
His Assistant hurries -- peeling CASTOR'S face away.
CASTOR'S CONSISTENT EEG READING suddenly SPIKES RADICALLY --
for a moment, it almost seems to stabilize. The Assistant
glances over -- too late. The read-out returns to normal.
DISSOLVE TO:
A head swathed in gauze. The bandages start to fall away.
INT. RECOVERY ROOM -- DAY
HOAG removes the gauze. Gathering courage, Archer turns to
the mirror and sees his new face. The face of his most
hated enemy -- now HIS face.
Astounded, sickened to his core -- Archer has to catch his
breath as he realizes ...
JON ARCHER HAS BECOME CASTOR TROY
TITO enters. Instinctively, he grabs for his holster.
ARCHER
It's me, Tito. It's Jon.
Tito smiles, realizes his reflexive stupidity.
ARCHER (cont'd)
It worked ...
(clears throat)
Except for this.
DR. HOAG
Yes -- the voice.
ARCHER'S voice still sounds exactly like ARCHER. HOAG
prods around Archer's adam's apple.
DR. HOAG (cont'd)
I implanted a micro-chip
onto your larynx -- a
prototype developed for
throat cancer survivors.
HOAG switches on a digital recording. ARCHER repeats CASTOR'S
words as HOAG adjusts the chip with hand-held remote.
CASTOR'S VOICE ARCHER
I'm a Catholic, goddamn I'm a Catholic, goddamn
it! Why would I shoot it! Why would I shoot
the Pope? the Pope?
After a few repetitions, ARCHER'S VOICE matches perfectly --
if a little hoarse.
DR. HOAG (cont'd)
As your chords adjust, the
scratchiness will pass.
ARCHER yawns, squints and furrows his brow -- testing every
muscle. Slowly he turns to ...
CASTOR. Motionless, swathed, dead to the world -- but
something about Castor's EYES -- those mocking eyes ...
TITO
Now what?
ARCHER
Call Lazarro. Castor
just came out of his coma.
EXT. NSA HELIPORT -- DAY
A squad of MARINES double-time through a concrete passage
and takes up position around a helipad. A jet-black
helicopter drops from the sky like an angry wasp.
EXT. HELI-PAD -- DAY
A second squad of Marines marches out. In their midst --
Tito escorts a heavily-manacled "Castor."
TITO
This is it, Jon. For
the next 72 hours --
you're on your own.
ARCHER
Just make sure you're
there. On time.
Two armed AGENTS leap from the chopper and take charge of
"Castor." He follows them pliantly until --
TITO
Watch this hard-case --
he'll bite your nuts off
if he gets the chance!
ARCHER gets the message. He starts to resist the Agents and
must be muscled into the chopper. He's manacled down.
An AGENT starts to pull a HOOD over Archer's head. EYE-
CONTACT between Archer and Tito -- both aware of this very
real point of departure. The hood comes down.
ARCHER
Do I get a meal on
this flight?
The AGENT smashes his elbow into ARCHER'S gut. The door shuts
-- the CHOPPER lifts off like a twister and screams away.
EXT. BALCONY ABOVE -- DAY
The gang breaks up, wanders back to work.
LOOMIS
What a week for Commander
Archer to go on vacation.
Maybe we should let him know.
WANDA
Forget it. He left strict
orders not to be tracked down.
BUZZ
He'll shit when he finds
out Castor pulled through.
WANDA
If he shits at all.
BUZZ
Probably doesn't.
DISSOLVE TO:
INT. STEEL HOLDING PEN -- EREWHON PRISON
Day or night? Who knows -- there's no natural light.
Groggy, ARCHER stirs -- and removes his hood.
He gets up -- and paces the tiny cubicle. There are no
doors, no windows -- the room appears seamless. Even more
odd, his movements don't make a sound. TOTAL SILENCE.
Archer BANGS on the wall, silently. Then he opens his mouth
and YELLS, also silently. Has he gone mad?
The faintest PNEUMATIC sound causes Archer to whirl. Now
behind him: a pair of gleaming METAL BOOTS.
VOICE
Put on the boots
He examines them -- they're lined with electro-skin sensors.
VOICE (cont'd)
Don't sniff 'em, you
perv. Just put 'em on.
Archer does as he's told. Instantly, the boots
automatically lace -- they shrink and lock onto his feet.
The WALLS PART -- revealing head guard WALTON.
Archer tries to move -- he can't, not even an inch.
ARCHER
They're too tight.
WALTON
So's a noose. Now keep
your mouth SHUT.
For emphasis, WALTON jolts ARCHER with his high-voltage
SHOCK-STICK. Archer buckles. Two more GUARDS enter. They
cut away Archer's clothes.
WALTON (cont'd)
You are now an inmate of the
world's toughest prison. In
here -- you are no one. You
own nothing. When I say
your ass belongs to me -- I
mean it. Bend over.
Archer hesitates -- but Walton hefts the shock-stick.
Archer relents -- his face reflects the degradation. Naked,
he exposes all to the cavity-searching Guard.
WALTON (cont'd)
The entire prison's one
big magnetic field. The
boots'll tell us where
you are -- every second
of the day. Now WALK.
Archer takes a clumsy step -- acclimating to the boots.
INT. SECURITY -- ANNEX
Archer enters, now dressed in plain prison blues. From this
annex, he can see into SECURITY CENTRAL. It looks like an
air traffic control tower -- with monitors designed to keep
problems and privacy at a minimum.
Walton grabs Archer's RIGHT THUMB and presses it into a
console security screen. It forms an ELECTRONIC PRINT --
positively identifying "Castor".
WALTON
I've got fifty bucks says
you're dead by dinner.
Don't disappoint me.
INT. GENERAL POPULATION -- DAY
Totally enclosed -- except sunlight and cloudy blue skies
peek through a small SKYLIGHT -- five stories above.
100 Inmates crowd tables as Trustees dole out the food.
Silence falls as ARCHER enters. One huge inmate, DOBBS,
does a slow burn on seeing "Castor."
ARCHER stares the inmates down and takes a seat. he scans
the room -- looking for Pollux.
LITTLE MAN
Hey, Castor -- remember me?
ARCHER looks across the table. The mustache is familiar.
ARCHER
Waxy Wright. Didn't
Jon Archer bust you for
poisoning five members of
the Canadian parliament?
WAXY
They never should've voted
against U.S. statehood --
the scumbags.
(a beat)
We heard you got wasted.
ARCHER sees the other inmates sizing him up.
ARCHER
Do I look wasted -- asshole?
WAXY
(nervous)
You look great, Castor.
Really. Here -- I got a
shot of your favorite --
Mescal. Even has the worm.
WAXY hands over a baby-food jar filled with Mescal. ARCHER
eyes it with trepidation, but everyone's waiting. He downs
it -- choking, sucking back his urge to puke.
ARCHER
-- Hit the spot.
Suddenly DOBBS leaps onto ARCHER and starts pummeling him.
They slide across the table -- spilling everyone's lunch.
INT. SECURITY CENTRAL -- DAY
The DEPUTY gets two RED BLIPS on his monitor.
DEPUTY
I've got bio-rhythm jumps
-- two -- at the eatery.
SECURITY CHIEF
Lock 'em down.
INT. GENERAL POPULATION -- DAY
INMATES encircle them as Dobbs throws Archer across the room
and stalks him. Dazed, Archer staggers to his feet -- and
sees the inmates looking at him -- unimpressed.
Especially his "brother" Pollux -- who stares dubiously.
DOBBS wades into Archer again -- this time Archer is ready.
He blocks Dobbs's fist and punches back -- then ...
ZAP! The magnetic boots lock both Dobbs and Archer in
place. They can't move their feet. Dobbs flails hopelessly
-- but Archer's just out of reach.
CRACK! WALTON punches ARCHER in the diaphragm.
ARCHER
What? He started it!
WALTON smashes ARCHER harder -- he hits the floor.
ARCHER (cont'd)
When I get out of here --
WALTON
You'll what?
ARCHER
I'm going to have you fired.
His statement is so ludicrous, WALTON laughs. Everyone does.
From the inmates' reactions, ARCHER knows he's been accepted.
Walton turns his steely gaze on DOBBS.
WALTON
That's two strikes, Dobbs.
One more -- you know
where you're going.
The veiled threat dampens Dobbs's rage.
WALTON (cont'd)
Back to your "suites,"
-- or no dinner.
POLLUX waits as ARCHER drops into the line of cons.
ARCHER
Hey, bro ...
POLLUX
You're not my brother.
(eyes dissecting Archer)
The brother I knew would
never have been caught by
that dumb fuck Archer.
(then ... grinning)
At least tell me the bomb
is still going off.
ARCHER
They haven't found it
yet -- Listen, Pollux ...
WALTON
Shut up!
Walton jabs Archer with the shock-stick -- Archer drops as
Pollux moves on -- finally chancing a concerned look back at
his "brother" -- being abused by the Guards.
INT. ARCHER'S CELL -- NIGHT
Archer sits in the tiny, steel framed cell. Isolated,
lonely, he realizes how easy it would be to go insane here.
He stares out the skylight -- at the evening sky above.
EXT. HOAG INSTITUTE -- NIGHT
An insanely starry night. Van Gogh's night. The night he
cut off his ear, anyway.
INT. INTENSIVE CARE UNIT -- NIGHT
CASTOR'S body lies inert. His life-support machines
flatlining. Until the EEG SPIKES. Once -- twice -- three
times. Brain wave activity increases -- and stabilizes.
The fingers on CASTOR'S hand begin to move. Then his fist
clenches -- hard. CASTOR'S head is swathed in gauze. But
his EYES pop open.
Reflexively, CASTOR wrenches from the bed -- tearing out the
tubes and wires that tether him to life-support. He goes
down -- in agony -- groaning.
He struggles to his feet -- staggering through the lab --
haphazardly upending equipment as he goes to the window.
OUTSIDE: He sees the lights of San Francisco across the
Bay. Much closer -- is UC Berkeley's Campanile tower.
Castor's hand grips a wall-mounted phone. He dials.
CASTOR
Lars ... it's me ... well,
believe it! Somewhere
in fucking Berkeley ...
(shuffles some papers)
The "Hoag Institute." Just
get the fuck over here. And
bring me a double cappuccino,
'cause Jesus, do I have the
mother of all hangovers ...
What? ... Yeah, low-fat.
He hangs up -- then catches the reflection of his bandaged
FACE in the window. He quickly unwraps the gauze.
THE DISCARDED BANDAGES fall at his feet ... we don't see
what Castor sees -- but we hear him SCREAM.
INT. HOAG'S PRIVATE OFFICE -- NIGHT
HOAG removes his scrubs, then washes up -- the work-day over.
His wife BRIDGET enters with dinner.
Taking a bite, he HEARS something. Listening, he calms down
until -- the door BLOWS OPEN. Castor's bodyguard LARS
storms in -- the weapon trained on the terrified couple.
INT. CORRIDOR -- NIGHT
Lars manhandles Hoag and his wife through the lab doors.
INT. LAB -- NIGHT
At the COMPUTER STATION -- LUNT is at a retrieval terminal,
scrolling through endless pages of data ... absorbing it all
-- including the video log of Archer's surgery.
HOAG
Who are you? What
do you want?
Lars shoves Hoag into the towering figure of ...
A MAN WITHOUT A FACE
Through shadows, we GLIMPSE at raw muscle, cartilage and
bone. The man takes a sip of cappuccino ... then grimaces.
CASTOR
I want my face.
INT. "POPULATION" -- PRISON -- DAY
Exercise hour. ARCHER tosses up an air-ball to the jeers of
the other inmates. He heads toward POLLUX who lies on the
infield astroturf, staring upward.
ARCHER
Pollux ...
POLLUX
Shut up.
POLLUX seems totally focused on the sky above -- a BIRD
swoops over the skylight and disappears.
POLLUX (cont'd)
There it goes again --
a bearded bellbird!
ARCHER
So?
POLLUX
So? The procnias averano is
a South American bird. The
flight here was only three
hours! And yesterday a
European swallow flew by!
Where the fuck are we?
ARCHER shrugs. POLLUX lights a cigarette and passes it.
Afraid of blowing his cover, Archer takes a drag -- gags.
POLLUX (cont'd)
What's gotten into you?
ARCHER
What do you mean?
POLLUX
You shoot hoops like a
chick, you smoke like a
wuss, and -- I don't know
-- you're different.
ARCHER takes a second drag and holds it -- then exhales
right in POLLUX'S face.
ARCHER
I was in a coma, Pollux.
I still feel like shit.
POLLUX
Let me have a look.
He sticks his finger under ARCHER'S eye and pulls down like
a vet examining a sick dog. ARCHER pushes him off.
ARCHER
Do you know what it is
to be in a coma? It
fucks up everything --
including your memory!
I can't even tell you why
Dobbs jumped me yesterday!
POLLUX
You porked his wife the
day he was arrested. How
could you forget that?
ARCHER
I don't know. Everything's
jumbled -- so you're going
to have to help me fill in
a few blanks.
POLLUX
A few blanks? Like what?
ARCHER
Like ...
Archer rolls up his shirt, exposing the PYRAMID tattoo.
ARCHER (cont'd)
... I know I got this on
my tenth birthday. But
I can't remember why.
Archer lays the trap. Suspicious, Pollux falls right into it.
POLLUX
Come on ... that was the
wort day of our lives!
ARCHER feigns a "struggle" with his memory. He lights a
butt with the old -- chain-style ... then "remembers."
ARCHER
Oh, God -- Mom OD'd
at County General.
POLLUX
Retching and convulsing
while those bastards didn't
even try to save her sorry
ass. You gave her mouth to
mouth -- man -- even then
you had some constitution.
ARCHER reacts -- he didn't know this side of Castor.
POLLUX (cont'd)
Remember what you swore
to me at the funeral?
ARCHER
Uh -- to kill the doctors?
POLLUX
After that. You promised
you'd always take care of me.
ARCHER
And I bet I've kept
that promise ...
POLLUX
Only one you've never broken.
Pollux looks at him with great affection. Uncomfortable,
Archer returns the look -- then returns to his true task.
ARCHER
Fuck the past. We've
got the future to look
forward to.
Archer pulls out a couple of liquid-filled baby food
containers. He passes one to Pollux and smiles.
ARCHER (cont'd)
We still have Saturday night.
Pollux downs the booze. Archer just takes a sip.
POLLUX
No shit. Man, that was
going to be one big pay day.
Archer refills Pollux's container and lights another
cigarette for him. He gulps it down.
POLLUX (cont'd)
Five million bucks -- and
now the fucking Taiwanese
get to keep it all.
Taiwanese? Archer's mind whirls as he pours Pollux another.
ARCHER
That's not the worst part.
POLLUX
What's worse than losing
five million bucks?
ARCHER
Being stuck in this rat-hole
when it blows. Bro, what you
built was a work of art.
That little fucker belongs
in the Smithsonian.
Pollux beams and keeps drinking. Archer hangs on every word.
POLLUX
Yeah -- well ... the
new Transamerica Tower
will have to do ...
ARCHER'S eyes widen almost imperceptibly. But he simply
nods -- solemnly keeping a straight face.
ARCHER
Thanks, Pollux.
POLLUX
For what?
ARCHER
For being one helluva guy.
POLLUX
"Thanks?" I guess they
really did fuck you up.
Pollux chuckles -- until his eyes light on Archer's jar --
still filled to the brim with booze.
INT. ARCHER'S CELL -- DAY
ARCHER jots down notes when his cell door rolls open.
WALTON is looking at him with cool respect.
WALTON
Somebody wants to see you.
ARCHER smiles to himself -- pleased at Tito's timeliness.
INT. INTERROGATION ROOM -- DAY
ARCHER sits as the steel barrier rises. But his confidence
evaporates into unspeakable horror. Because he finds
himself staring into the brown eyes of --
JON ARCHER. This man has Archer's face -- his real face.
IMPOSTOR
What's the matter? Don't
you like the new me?
ARCHER studies the image of his former self -- trying to
understand. Then he recognizes the SMIRK on the face, the
mocking TWINKLE in the eyes and he says what he cannot say ...
ARCHER
-- Castor?
CASTOR
Not anymore.
ARCHER
It can't be. It's impossible.
CASTOR
I believe the phrase Dr.
Hoag used was "titanically
remote." Who knows? Maybe
the trauma of having my face
cut off pulled me out. Or
maybe God really is on
my side after all.
(a beat)
By the way, I know you don't
get the papers in here.
He holds up the current Chronicle. The headline reads:
"INFERNO AT HOAG INSTITUTE -- Malcolm Hoag, Six Others Dead"
CASTOR (cont'd)
Terrible tragedy. Hoag was
such a genius -- but selfish
with his artistry. I actually
had to torture his wife
to convince him to perform
the same surgery on me.
ARCHER
You killed them?
CASTOR
Of course I killed them,
you DUMB FUCK. And torched
every shred of evidence that
proves who you really are.
(a beat)
Swallow this one, Commander.
You are going to be in here
for the rest of your life.
ARCHER
What are you going to do,
Castor?
CASTOR
Let's not confuse things
anymore. I'm Archer.
You're Castor. But if
you need proof --
CASTOR opens his shirt -- there is a jagged BULLET SCAR
identical to the scar once on Archer's chest.
ARCHER'S mind reels -- he's shaking, losing control.
ARCHER
What are you going to do!
CASTOR
You've given me the freedom
I haven't had in years, and
the power to make it pay off
in ways I never thought
possible. But hell -- this
is America. One day a
pauper, the next day, a prince.
And I owe it all to you.
Now if you'll excuse me,
I've got an important
government job to abuse,
-- and a beautiful wife
to fuck. Excuse me --
I mean "make love to."
ARCHER freaks out. Two Guards grab his arms and try to drag
him down, but Archer throws them off.
CASTOR impassively buttons his shirt as Archer pounds on the
barrier -- trying to break through -- as Walton zaps him.
ARCHER
That's not me! That's not me!
The Guards finally drag the kicking Archer out the door.
WALTON
Sorry, Commander.
CASTOR
It's quite all right.
You never know what
to expect from a
psychopathic criminal.
INT. CELL BLOCK -- DAY
The Guards dump ARCHER into his cell.
WALTON
You better be nice, Castor.
You could get mighty lonely
now that Pollux is gone.
ARCHER
Pollux is -- what?
WALTON
Archer cut him a deal for
turning state's evidence.
He's free.
ARCHER
Walton, you have to let
me see the warden --
WALTON
Or what? You'll have me fired?
Walton pushes a button. STEEL PANELS close off the cell --
silencing Archer's protesting voice.
INT. CELL -- SAME TIME
ARCHER pounds at the mirrored cell door, finding no release
from the horror. He stares at the face of his enemy -- the
enemy who now has total command of his life.
EXT. STREETS OF S.F. -- DAY
Castor drives Archer's car. He punches into the vehicle's
portacomp and smirks as the computer obeys ...
EXT. NOE VALLEY -- NIGHT
TITO lugs grocery bags up to his Victorian flat.
INT. TITO'S APARTMENT -- NIGHT
TITO enters and drops his gear, making his way to the
refrigerator. He opens it -- throwing LIGHT into the room
-- revealing a MAN sitting at the wet bar.
Tito whips out his gun, then sees it's "JON ARCHER."
TITO
Jon? What the hell happened?
CASTOR
You're a secret agent
-- you tell me.
CASTOR has laid the bait. He waits ... and waits ... as
TITO studies him. Then, Tito lowers his gun.
TITO
Christ, you're in a mood.
(pops a beer)
Okay -- you had to pull
out. Pollux wasn't
fooled for a minute.
Castor knows all he needs to know.
TITO (cont'd)
That's what happened, right?
CASTOR
Dead right. Now -- how
about a beer for me?
TITO
You ... sure. Hang on --
if Hoag's dead, how'd you
switch back? And ...
(uneasy)
... who pulled you out?
CASTOR
Nobody.
CASTOR watches the terror build in Tito's eyes. He waits
just long enough for Tito to go for his gun, then ... BOOM!
Castor fires and TITO slumps to the floor.
CASTOR (cont'd)
I'll take that beer now.
INT. ARCHER'S CAR -- MOVING -- NIGHT
Sipping a beer, CASTOR cruises through the middle-class
neighborhood. He smokes absently, clutching Archer's
address on a Post-It.
He drives past peaceful scenes of suburban bliss: men on
hammocks; women chatting; kids playing tag.
CASTOR
(sickened)
Jesus, what a life.
CASTOR tries to catch a street address and rolls past ...
ARCHER'S HOUSE
Dressed for work, EVE watches blandly as the car goes by.
A moment later, it backs up and parks.
CASTOR forces a smile -- then realizes there's a cigarette
in his hand. He quickly stamps it out.
CASTOR
Hi, uh -- Eve. Can
you believe I drove
right by the house?
Eve rolls her eyes -- what else is new? Castor looks her
over -- she's much sexier than he expected. But EVE
misreads his fascination with her cleavage -- and brushes a
loose thread off her blouse.
EVE
What happened to your
big "assignment"?
CASTOR
What do you know about it?
EVE
As much as ever. Nothing.
CASTOR
(relaxing)
It didn't work out as planned.
Where are you off to?
EVE
The hospital.
CASTOR
The hospital?
(spots her medical bag)
Oh, that's right --
you're a doctor. Ha-ha.
EVE
Jon -- I don't have time
to play games. There're
leftovers in the fridge.
CASTOR
Have fun at work.
CASTOR kisses her -- rather hard -- on the mouth.
EVE
What is with you tonight?
CASTOR
Don't I usually kiss my wife?
EVE
No.
She gets in the car and pulls out.
INT. ARCHER'S HOUSE -- NIGHT
CASTOR steps inside, looks around.
CASTOR
What a dump.
INT. MASTER BEDROOM -- NIGHT
CASTOR sifts through Christmas cards from holidays past,
studying the ones with photos. He's memorizing -- matching
names to faces -- Wanda's, Buzz's, Lazarro's, etc.
Then something catches his eye. He pulls down a
floral notebook -- EVE'S DIARY -- and pages through it.
CASTOR
He hasn't done her in
two months? What a loser ...
(checks his pockets)
There's gotta be one
cigarette in this hole.
INT. ARCHER'S OFFICE -- NIGHT
CASTOR rifles through the immaculate desk, searching for a
cigarette, when he hears a voice. He turns and glances
across the hallway. He sees ...
GLIMPSES OF JAMIE
As she walks back and forth in her room, talking on the
phone -- and wearing only panties and a cropped t-shirt.
CASTOR steps closer -- enjoying the view.
INT. JAMIE'S ROOM -- NIGHT
Miffed, JAMIE stamps out her lit cigarette.
JAMIE
-- You're lying, Karl, I
E-mailed you three times --
(spots CASTOR at door)
Hang on a sec ...
She slams it -- but he gets his foot inside. Castor pushes
menacingly into the room.
JAMIE (cont'd)
I'll call you back.
(to Castor)
You're not respecting
my boundaries.
CASTOR
Screw your boundaries,
Janie. You have something
I want.
JAMIE
Janie?
Castor spots her correct name embroidered on a pillow. He
gazes seductively, unnerving JAMIE as he steps toward her.
CASTOR
I don't think you heard
me ... Jamie ... You have
something I want ...
He reaches for her -- and RIGHT PAST HER. He picks up a
pack of cigarettes from the desk.
JAMIE
Clarissa left those here.
CASTOR
(shrugs and lights up)
I won't tell mom if you don't.
JAMIE
When did you start smoking?
CASTOR
You'll be seeing a lot
of changes around here.
Daddy's a new man.
CASTOR blows a perfect smoke ring in her face, then goes
out. JAMIE just stares, astonished.
EXT. THE STRAND -- NIGHT
Pollux and the twins hustle Hookers when Castor arrives. He
flashes a smile, then his NSA badge. The girls scram.
POLLUX
You merciless bastard!
CASTOR
Business first.
(to twins)
I went into the "Warrants"
system and erased your
records. You're clean.
(tosses them money rolls)
In fact, you're now on
the informant payroll.
Castor sees Pollux studying "his" face -- with disgust.
POLLUX
I can't even look at you
without wanting to vomit.
CASTOR
You better get used to it.
That bitch Lazarro is getting
kicked upstairs.
Guess what white-bread family
man is going to replace her?
CASTOR shoots Pollux a cheesy white-bread Archer smile.
POLLUX
You can't be serious --
Then Pollux falls silent, his mind clicking like an abacus.
Suddenly ecstatic, he kisses Castor.
POLLUX (cont'd)
It's the perfect cover.
You'll have the highest
security clearances, access
to everything and everyone, a
private army at your disposal!
If information is power --
CASTOR
-- I'll be one of the most
powerful men in the country.
Didn't matter how much cash
I made pulling wet jobs --
I was still too low on the
food chain -- always with
somebody like Jon Archer
after me. The best part
is -- I'm the GOOD guy.
POLLUX
No -- the best part is,
since it's a government
job -- they can't fire you!
(a beat)
But how can you be sure
you'll get the appointment?
CASTOR
Trust me. You're gonna
love it ...
INT. EREWHON PRISON -- "POPULATION" -- DAY
ARCHER and the other inmates are herded into the main room.
A TV IMAGE appears and dominates one entire wall.
WALTON
A special privilege today --
TV -- courtesy of Castor Troy.
ON SCREEN: CNN ...
REPORTER
A biological bomb was
discovered this morning in
the climate control system
of the Transamerica-Two Tower
in San Francisco. A group of
Japan's leading geneticists
were the target ... (etc.)
ARCHER watches in stony silence as --
ON SCREEN -- THE TRANSAMERICA-TWO BUILDING
The squad LEADER emerges -- the complex bomb cradled in his
arms. He dramatically unscrews a detonator cap -- and
heaves the now-harmless device into the disposal container.
People cheer as the leader removes his helmet and breathes a
sigh of relief. It's CASTOR. He turns to the cameras and
smiles broadly -- giving a "thumbs up" sign.
REPORTER
NSA Special Agent Jon Archer
-- who found the device --
risked his life to diffuse
it only moments before it
was set to explode. We go
live to the scene where the
media-shy Archer is holding
his first press conference --
EXT. TRANSAMERICA-TWO BUILDING -- DAY
CASTOR'S eating up the attention of the REPORTERS.
REPORTER
Commander Archer -- who
do you think planted it?
CASTOR
That's classified. But
if he's listening I have
a message for him: Nice
try. Now you know who's
really in charge.
BACK TO ARCHER: Totally enraged. And totally powerless.
Then his eyes focus ... he watches closely as --
A GUARD uses his "Thumbprint ID" to get through the SECURITY
DOORS. Archer's eyes fall on the THUMBPRINT SCAN-PAD.
EXT. NSA COMPOUND -- CHECKPOINT -- DAY
As Castor presses his thumb into the scanner.
CASTOR
How's the wife -- Ed?
ED
(signals "gate up")
Fine, Commander.
INT. NSA -- BULLPEN -- DAY
Castor enters. Some workers nod, some give a "thumbs up,"
some smile -- but no one stops working. They know better
than to react, much less applaud.
CASTOR
Don't you guys watch TV?
Where's the parade?
They look at each other -- afraid. But proud rookie LOOMIS
starts clapping, so everyone else joins in rousing applause.
CASTOR (cont'd)
-- Buzz, uh -- Wanda, Loomis
... all of you, thanks from
the bottom of my black heart.
WANDA
Stop the presses -- Jon Archer
found a personality ...
He grins and heads for his office.
INT. ARCHER'S RECEPTION AREA -- DAY
CASTOR enters to find MISS BREWSTER bent over the filing
cabinet. He watches her butt until she notices.
KIMBERLY
Oh -- Commander. I
didn't see you ...
CASTOR
Well, I saw you -- Kim.
KIMBERLY
Kim?
CASTOR
That's your name, isn't it?
KIMBERLY
You always call me Miss Brewster.
CASTOR
Let's try to be a little less
formal from now on, shall we?
He gives her a playful slap on her rump. She's stunned.
KIMBERLY
You've got someone in
your office.
CASTOR
Get rid of them.
KIMBERLY
The Admiral?
INT. ARCHER'S OFFICE -- DAY
CASTOR enters to find LAZARRO ensconced on the sofa. She's
fixated by the repeat TV coverage of the bomb being diffused.
LAZARRO
Look at you, Jon -- at your
age -- an American hero!
(a beat)
I'd buy you a drink but I
know you'd just turn me down.
CASTOR
Normally, I would. But today ...
Castor opens a drawer and pulls out a bottle of Jamesons and
two high-ball glasses. He expertly pours two healthy shots.
CASTOR (cont'd)
To the future, Admiral.
Yours -- and mine.
LAZARRO
(picks up a legal pad)
Practicing our executive
signature, are we?
CASTOR takes away the pad on which he has, indeed, been
practicing Archer's handwriting.
LAZARRO (cont'd)
If I didn't know any better,
I'd say you were finally
kissing my butt ... and I
bet I know why.
CASTOR
You're the only person in
this place who can see
right through me.
LAZARRO
You've made us look pretty
good in the past week. And
the way you handled the press --
CASTOR
Just following your example.
LAZARRO
D.C.'s very high on giving
you the promotion. There's
just one problem.
CASTOR
What's that?
LAZARRO
Me.
(a beat)
I have doubts about your
ability to stick with what
is essentially a desk job.
CASTOR
I had doubts too. I always
looked at a desk as though
it were a ball-and-chain.
But something happened ...
She nods -- waiting for the confession. He leans in.
CASTOR (cont'd)
I came back from a mission
and found strangers in my house.
Only they weren't strangers,
they were my wife and child.
(misty-eyed)
Five years my life was on hold.
While I chased the elusive, but
brilliant, Castor Troy. I've
earned the right to start living
again. So when I look at this --
(taps desk)
I don't see a ball-and-chain.
I see an anchor -- for me and
my family.
Castor waits as Lazarro lets the speech sink in. Then ...
LAZARRO
You'd have to start
immediately.
CASTOR
Done. In fact, I was
already plotting about
the best way to meet the
foreign bureau chiefs.
LAZARRO
Jon, you're starting to
remind me -- of me.
(warm smile)
Congratulations.
LAZARRO exits. Castor eases himself into Archer's leather
chair -- he picks up a framed photo of Archer & family and
grins wide -- trying to ape Archer's dumb photo smile.
CASTOR
Jon -- you'd be so proud ...
Castor puts the photo down, then pulls out a handbook:
"You and the N.S.A: A Primer for New Employees."
EXT. ARCHER'S HOME -- DAY
CASTOR, carrying grocery bags, comes into the backyard where
JAMIE practices free throws. He watches her miss again.
CASTOR
Get a higher arc on the
ball, Jamie. And for
Chrissake, square your
shoulders to the basket.
JAMIE
Like you know anything
about it.
CASTOR grabs the ball. Despite the encumbrance of the
groceries ... SWISH! He crisply sinks the ball.
CASTOR (cont'd)
Now square your shoulders
to the goddamn basket.
He goes inside. Then JAMIE takes his advice. Shoulders
squared, Jamie sinks a clean shot. She's impressed.
INT. ARCHER'S HOME -- NIGHT
Laden with text-books, EVE is greeted at the door by JAMIE.
EVE
Where are you going?
JAMIE
Chinatown.
EVE
On a school night?
JAMIE
Dad said it was OK. Have fun.
JAMIE kisses her and exits. EVE'S confusion grows when she
sees the dining room -- it's set for a candlelight dinner.
CASTOR enters, dressed nicely, opening a bottle of wine.
CASTOR
Hurry up -- the salad's
getting warm and the
pasta's getting cold.
EVE
-- I've got to study.
He confidently pulls the books from her grasp.
CASTOR
I can't believe you forgot.
Eve -- it's Date Night.
DINING ROOM -- LATER
CASTOR'S eyes twinkle as EVE looks up from her pasta.
EVE
Why do I feel like I'm
on a blind date?
CASTOR
They say love is blind.
Do you think that's true?
EVE smiles playfully as he pours her more wine.
EVE
I think -- you're trying
to get me drunk.
CASTOR
Wouldn't be the first
time -- or would it?
EVE
You wouldn't even sip
champagne at our wedding.
We were underage -- you
wouldn't break the law.
(giggling)
Remember what my brother
called you?
An awkward silence ...
CASTOR
Who could forget? I was
so young and clumsy then --
Castor "accidentally" knocks over his glass, spilling wine --
and, of course, conveniently changing the subject.
CASTOR (cont'd)
Some things never change.
They both mop up the mess with napkins until their fingers
lightly touch, then intertwine. A charge of sexual tension.
As they almost kiss ... she becomes cautious.
EVE
So -- how long will you
be gone this time?
CASTOR
Gone?
EVE
Isn't that what all this
is about? Letting Jamie
go out, cooking me dinner,
-- your next assignment?
CASTOR
I'm not going anywhere.
EVE
You always say that --
then you leave.
CASTOR
Can't you see I'm trying
to change? I sent Jamie
off because I wanted to be
alone with you. I wanted
to see the candle-light
dance in your beautiful --
Uh-oh. CASTOR can't tell the color of EVE'S eyes. He leans
in "romantically" -- but WE know the real reason.
CASTOR (cont'd)
-- brown eyes.
He smells her hair, then her shoulders, her skin. She's
aroused, but wary. So Castor goes in for the kill.
CASTOR (cont'd)
I wanted it to be just
right ... when I told
you about my promotion.
EVE
-- what?
CASTOR
I'm replacing Lazarro.
Nice, safe desk job --
just like you wanted.
EVE
... That's great.
CASTOR
So you see, I'm not
going anywhere. Unless
it's upstairs with you ...
CASTOR sweeps EVE up in his arms and heads for the stairs.
INT. BATHROOM -- NIGHT
CASTOR carries EVE into the shower and spins on the water.
EVE
You're wearing your suit --
CASTOR
Call me spontaneous.
There's nothing she can do as he rips her clothes apart --
on her like a vulture to carrion. They drop to the floor of
the stall -- water filling up around them.
CASTOR (cont'd)
... I feel like I'm having
you for the first time ...
INT. ARCHER'S CELL -- NIGHT
Desperately alone, seemingly without hope -- ARCHER huddles
in a skimpy blanket. He barely stirs as ...
WALTON does his rounds of the darkened cells, then stops at
the CELL BLOCK SECURITY DOOR. The head guard uses his thumb
print to clear security -- then types in his clearance code.
BACK TO ARCHER'S CELL
The instant the DOOR SLAMS shut, ARCHER rights himself. He
pulls out a LIGHTER and sparks it -- holding the flame to
his THUMB.
The skin melts like wax, but Archer doesn't cry out. He
peels off the skin graft -- the mold of Castor's fingerprint
-- revealing his OWN.
INT. AQUACADE ANNEX
The inmates are naked -- but still wearing their lock-down
boots -- as they are herded into the prison SHOWER.
ARCHER
Don't they ever let us
take these boots off?
WAXY
Not unless you're sent
to the "Clinic."
ARCHER
You mean if I get sick?
WAXY
They don't give two fucks
about your health. The
Clinic's where they send
the real hard-cases for
attitude adjustment.
(whispering)
Look at O'Neill --
WAXY gestures to an inmate nearby -- O'NEILL -- who smiles
blankly, oblivious to the streaming delousing spray.
WAXY (cont'd)
-- Toughest bastard I
ever saw -- after you,
of course -- now he's
a fucking drool case.
ARCHER looks hard at O'Neill, whose eyes are glazed like a
jelly donut. Something BAD happened to this man.
ARCHER
What did he do?
WAXY
He hit a guard.
BY THE AQUACADE ENTRANCE
A GUARD reads a magazine. Suddenly water drips on the
pages. The Guard looks up to see Archer standing a little
too close to him -- he leaps up.
GUARD
Looking for trouble, Castor?
ARCHER
Actually ... yes.
CRACK! Archer decks the Guard. A second Guard charges in
-- Archer heaves him across the shower. Suddenly --
WHAM! Archer is flung hard against the shower wall. He
can't resist as HIS BOOTS spin him like a tornado and CRASH
him into the opposing wall. He collapses -- out cold.
INT. PRISON -- POPULATION -- NIGHT
Night-time: crescent moon, twinkling stars and a HOOT OWL.
Searchlights sweep past the skylight.
WALTON and a GUARD herd ARCHER toward a hydraulic steel door.
INT. THE "CLINIC" -- NIGHT
The air-locks WHOOSH open. The Guards enter and dump Archer
on the floor. He gets his bearings -- sees he's lying in a
PUDDLE of something. He looks up -- and recoils.
ARCHER'S P.O.V.: DOBBS is strapped to a verticle-gurney --
post-procedure. His limbs are stiff, his eyes blank as a
Mako shark's. And his feet are bare -- BOOTLESS.
MED-TECH
Get a mop, he puked
all over the place.
An Assistant unstraps Dobbs and drops him on a rolling
GURNEY; the Guard wheels him out.
MED-TECH (cont'd)
(mopping up)
-- next time, bring them
in BEFORE dinner ...
ARCHER cases the place: equipment fed by tubes and cables
run upward through the overhead ceiling grid. Above the
grid is the VIEW WINDOW of the Security Central Control.
Walton muscles Archer into the gurney. The Med-Tech smirks.
MED-TECH (cont'd)
Oh happy day -- Castor Troy.
Too bad Jon Archer isn't
here to see this ...
The Med-Tech wheels the ECT HEAD-GEAR cart into place: twin
needle-like BOLTS ready to fit into ARCHER'S ears. A single
blue static spark jumps from the bolts.
WALTON roughly wedges ARCHER'S HEAD into the head-gear,
shoving the chewed-up bite-strap into Archer's mouth.
WALTON
Bite hard, scumbag, 'cause
you'll be gumming baby
food from here on out.
MED-TECH
Get his boots, Sergeant.
WALTON unlocks ARCHER'S first boot and pulls it off. As
the Med-Tech starts to fasten Archer's arm -- Walton unlocks
and pulls off the second boot.
ARCHER'S FEET are free. CRACK! He yanks his foot up hard
-- Walton reels back, stunned.
One ARM still restrained, Archer BACKROLLS in the gurney and
KICKS the Head Gear cart away -- knocking it into the Med-
Tech who collapses onto it, hitting "TEST" --
ZAP! The head-bolts fire, catching the Med-Tech through the
shoulder -- he drops to the floor, his synapses shot.
The Assistant flees in terror as WALTON gropes for his
weapon. But ARCHER pulls his arm free and cracks Walton
across the chin -- putting him out.
ARCHER grabs Walton's shock-stick, hears the ALARM. He
shuts the door -- then jams the shock-stick into the key-
mechanism. ZAP! It fuses shut.
Using the floor-to-ceiling MATRIX OF SUPPORT CABLES --
Archer free-climbs upward.
A groggy WALTON forces open the door from inside.
GUARDS pour in. Walton grabs an auto-rifle and opens fire.
SLUGS chase ARCHER as he climbs higher. Riddled, tubes
BURST, raining fluids and gases down on the Guards.
ARCHER'S now directly in front of the Security Control
window. The Deputies inside watch frantically as Archer
grabs the nearest cable and swings --
INT. SECURITY CENTER CONTROL -- NIGHT
CRASH! The window explodes inward. ARCHER rides the cable
into the booth -- and gets jumped by the Deputies inside.
ARCHER slams the Security Chief into the control panel, then
jolts the Deputy with the shock-stick. The place is HIS.
He finds what he's looking for: a CROSS-CUT SCHEMATIC of
the prison. He traces his finger -- confirming his way out.
He hits the keys -- typing furiously.
FULL SCREEN -- THE MONITOR
It splits into four sub-screens, each filled with the CGI of
various HELICOPTERS .. ARCHER commits to memory each ship's
TETHER CODE ... "Dancer," "Prancer," "Comet," etc.
Then he wildly yanks out wires and shatters the computer
banks. FLAMES burst out -- shorting the circuitry.
A DRONING SOUND rises -- the magnetic power monitor shows a
dangerous surge. ARCHER takes off into the corridor.
AROUND THE PRISON: Total chaos.
EATERY: Table and chairs FLY to the ceiling and STICK.
THE KITCHEN: The Staff scatters as KNIVES and POTS and
STEEL UTENSILS hail through the kitchen,
POPULATION: GUARDS duck and flee as PRISONERS are flung
about like rag-dolls by their short-circuiting BOOTS.
INT. ELEVATOR CORRIDOR -- NIGHT
ARCHER rushes into an empty elevator. Before he hits a
button -- he HEARS Guards running toward him.
INT. CORRIDOR -- NIGHT
WALTON leads his men around the corner as the elevator doors
CLOSE. WALTON opens fire -- riddling the doors.
They pile into the adjoining stairwell -- going down.
BEHIND THEM -- a narrow door clicks shut.
BEHIND THE DOOR -- Archer is in a narrow fire-escape tube.
He climbs the steel rungs of the ladder upward -- toward the
NIGHT SKY. The HOOT OWL leaves its perch and circles above
-- in search of prey.
INT. STAIRWELL -- NIGHT
Following his men down -- WALTON suddenly stops. His eyes
narrow with growing suspicion.
INT. ESCAPE TUBE -- NIGHT
ARCHER is climbing, climbing -- the serene sounds of
CRICKETS CHIRPING grow louder as the open air of the NIGHT
SKY looms closer and closer.
INT. SKY ROOM -- "NIGHT"
ARCHER pulls himself from the tube.
But instead of FREEDOM -- he finds himself in a huge dome
dominated by an enormous BLUE SCREEN CANOPY.
THE SKY ROOM: Designed to disorient the prisoners, hide the
prison location and prevent escapes -- a computerizes arc-
lamp provides simulated "Sunlight" and "Moonlight."
ARCHER looks down through the sky-light into the prison
"population area" far below -- where Guards and Prisoners
alike scramble frantically during the alert.
Suddenly Archer is jolted back to reality as SOMETHING
swoops past his head -- the stuffed "HOOT OWL" flies by --
attached to a cable track. Then -- the owl EXPLODES.
WALTON emerges from the escape tube -- firing.
Wild SHOTS tear gaping HOLES in the "sky" -- revealing
cables and catwalks -- chasing ARCHER out of the room.
INT. CORRIDOR
ARCHER rushes up to a steel SECURITY DOOR. Through its
porthole, he can see a short ramp leading to a door marked:
EMERGENCY EXIT ONLY
SAFETY LINES REQUIRED
ARCHER presses his thumb to the Security Door's key-pad.
To his horror:
SECURITY BOX
Print unreadable.
Approaching fast: charging footsteps and shouts. ARCHER
licks his thumb, tries again. Finally:
SECURITY BOX
Confirmed: Archer, Commander
Jonathan T. Please enter
classified security code.
Archer does. The door slides open -- Archer squeezes out.
INT. EXIT CORRIDOR
ARCHER races straight at the door and plows right through --
SMASH CUT:
EXT. PRISON -- DAWN
ARCHER'S blinded -- it's DAYTIME in the real world.
And worse -- a GIANT WAVE crashes over Archer, knocking him
hard on his ass. Drenched, he grabs a guard-rail.
PULL WAY, WAY BACK TO REVEAL:
THE PRISON'S in the middle of the goddamn ocean, in what
appears to be just an OIL RIG PLATFORM. Seas are
choppy and there's NO land in sight.
Pounded by peaking waves, ARCHER struggles to his feet and
starts climbing a ladder to the top of the PLATFORM.
EXT. PRISON PLATFORM -- TOP-LEVEL -- DAWN
ARCHER reaches the top and peers over. There's a row of
helicopters: TRANSPORTS, SUPPLY SHIPS, A GUNSHIP.
ARCHER rushes to the nearest chopper -- a metal-fatigued
supply ship -- and pauses at its landing skids.
THE SKIDS ARE BOLTED TO THE DECK
Instantly ARCHER goes to the LOCK-BOX on the chopper's
tether-bolts and keys in the code "Comet."
The indicator flashes RED -- no access. He keeps trying.
ARCHER
Come on, Vixen ...
Donner ... Blixen ...
Nothing. SHOUTING. ALARMS. Archer keeps trying as GUARDS
close in. Finally -- RUDOLPH. The tether bolts retract.
INT./EXT. SUPPLY SHIP -- DAWN
ARCHER jumps into the cockpit and throws switches.
Instantly the chopper whirs to life.
ARCHER yanks down the pilot's canopy as BULLETS bounce off
the bullet-resistant glass. He draws back on the control
stick -- too much.
THE CHOPPER'S tail jerks out wildly.
INSIDE -- Archer battles to regain control. The chopper
lifts off -- takes a sickening nose-dive over the edge of
the platform -- and disappears.
GUARDS rush to the side -- then drop to the deck in fear.
THE CHOPPER spirals upward -- roaring over the platform.
The GUARDS keep up their furious fusillade -- blowing chunks
out of the supply ships' guts.
TRAILING SMOKE, Archer's chopper ROARS off. It disappears
-- flying low over the water.
ARCHER engages the RADAR CLOAK, then turns back and sees the
receding "oil rig" vanishing in the morning mist.
APPROACHING FAST -- the green Marin headlands. Coming into
definition -- the under-repair Golden Gate Bridge.
GLANCING BACK -- Archer sees Pursuit Helicopters closing in.
Suddenly the temp gauge starts beeping. The wounded chopper
is overheating -- losing its trim, breaking up fast.
ARCHER steadies the controls -- trying to stabilize the
wildly swaying craft.
The Pursuit Chopper, carrying WALTON, closes in. The
Weapons Officer lets loose with a rocket.
ARCHER'S CHOPPER -- out of control -- veers sharply. The
missile shoots by harmlessly.
WALTON
Damn, he's good.
In ARCHER'S CHOPPER, he struggles frantically to regain
control. But up ahead a swarm of PURSUIT CHOPPERS appear
from the Presidio -- tightening the noose.
ARCHER veers down -- beneath the Golden Gate Bridge.
Looking for a way out, he spots --
A STRING OF BUOYS dotting the Bay. An idea. He hauls back
on the stick, turning the chopper 180 degrees.
PURSUIT CHOPPER: They've got Archer in their sights.
WALTON
South, North, East, West.
You've got no where to go.
But his words dry up when he sees --
ARCHER'S CHOPPER -- heading straight for him.
THE CHOPPERS are about to crash head-on when ...
ARCHER'S CHOPPER suddenly nose-dives. It keeps descending
as the ocean looms closer and closer. Then -- CRASH.
SURFACE OF SAN FRANCISCO BAY: The chopper bobs up -- next
to the string of buoys. Stamped on the nearest one:
"Maintenance Bay 4 -- Prop. Bay Area Rapid Transit."
The chopper slowly sinks, but Archer sits tight.
THE PURSUIT CHOPPER circles above.
WALTON
What's he doing?
Inside ARCHER'S CHOPPER -- the water is pouring in.
ARCHER
What - am - I - doing?
The ocean swallows him up.
UNDERWATER
Archer gulps air frantically as the chopper sinks --
seawater rushes in over his knees.
EXT. BAY -- DAY
Divers drop from the circling pursuit choppers.
INT. UNDERWATER
Archer's chopper settles to the murky bottom.
ARCHER'S POV: The transbay BART Tube -- and one of the
Emergency Service Ports -- about 20 metres away.
ARCHER swallows a deep breath, opens the door -- and fights
against the sudden crush of seawater. He squeezes out,
tearing his shoulder on the buckled cockpit door.
Blood clouds the water as ARCHER SWIMS free. Lungs bursting,
the swim seems endless, yet somehow he reaches the Service
Port. He yanks on the release handle -- it won't open.
The DIVERS are coming this way.
ARCHER yanks harder and WHOOSH -- the porthole dilates open.
Archer swims up and into it.
INT. EMERGENCY SERVICE BAY -- DAY
ARCHER pulls himself up, out of the porthole, shuts it down
and tightens it. He collapses -- exhausted -- until he
hears the divers POUND -- trying to get inside.
ARCHER throws open the interior door and -- BOOM! A BART
Train rushes by at an insane speed -- inches from his face.
In another second -- it's gone.
INT. BART TUBE -- DAY
ARCHER limps west. Suddenly the tracks shake. Archer turns
and sees a BEAM OF LIGHT growing brighter. A bullet train
is roaring toward him.
ARCHER looks around for a way out as the train screams in --
right over the spot where Archer was just standing.
THE CEILING: Archer has wedged himself high up in the
support panels. He watches the first cars roar by -- then
gathers his courage. He drops down -- onto the ...
ROOF OF THE TRAIN. Archer tumbles back -- spinning out of
control -- as he grapples for a hold on the slick surface.
He's running out of train -- scooting headfirst onto ...
THE LAST CAR. Slipping across its length, he plunges into
oblivion. But his pant cuff catches on the rear wind scoop
-- and holds fast. Archer grabs the railing -- securing
himself against the window.
ARCHER'S POV (through window): A woman's back. Holding her
infant child, she reads the paper. The baby stares
straight at Archer. It reaches out to touch his funny-
looking, squashed nose.
Archer reads the paper's UPSIDE DOWN headline:
BOMB HERO LANDS NEW POST
Promoted to NSA's West Coast Chief
And a photograph of "himself" yucking it up with Lazarro.
BOOM! The train disappears into the blackness.
INT. ARCHER HOUSE -- BEDROOM -- DAY
EVE'S asleep. CASTOR looks down at her like Cortez at
Montezuma -- triumphant, with overwhelming power.
CASTOR
(to himself)
Use it or lose it, Jon.
EXT. DRIVEWAY -- DAY
Heading for the car, CASTOR is about to light up a smoke when --
EVE (o.s.)
Last night, I thought --
this isn't my husband.
He pockets the smoke. EVE is there, dressed somberly.
EVE (cont'd)
Obviously, I was wrong.
CASTOR
What's on your mind?
EVE
Jon, it's the tenth. I
know how difficult it is
for you, but we still
have to go.
CASTOR
I'm late. Gotta protect and
serve the world, y'know.
EVE
The world can wait, Jon.
You're going.
CASTOR
Okay, if you insist.
But -- you drive.
He climbs into the front seat beside her.
INT./EXT. CAR -- MOVING -- DAY
Beyond the suburbs -- a pastoral, hilly area.
EVE
I think Jamie's been
seeing Karl again.
CASTOR
Great.
EVE
Great? He's 17 -- you told
her to stay away from him.
CASTOR
Oh, that Karl.
EVE
Yes, Jon. That Karl.
CASTOR
I'll have a talk with her.
By the way, you never said
anything about last night ...
He moves closer, stroking her hair. Eve starts to respond
-- but without knowing exactly why, she tenses up.
EVE
Jon -- this is hardly
the time or place.
EVE stops the car and gets out. CASTOR stares around in
surprise because he sees he's in --
A SPRAWLING CEMETERY
CASTOR follows EVE through the ocean of headstones -- with
no idea where she's leading him. Then, she stops. Castor
joins her in front of -- A TOMBSTONE. It reads:
Matthew Archer, Age 5
Beloved Son & Brother
We Cherish You Always
Stunned, CASTOR stares as EVE places flowers on the grave.
EVE
Happy birthday, Matty.
Every day we think of you.
You're part of everything
we are and everything we do ...
(breaking down)
I wish you could know
the lifetime of joy and
happiness you brought us.
Overwhelmed with grief, she collapses into CASTOR.
EVE (cont'd)
He took our baby, Jon.
He took our little boy.
FULL SCREEN -- CASTOR'S FACE
He stares at the grave of the boy he killed -- the boy whose
mother is weeping into his chest.
Shutting his eyes to the grave, CASTOR stiffly returns EVE'S
embrace -- maybe, just maybe, feeling the victim's pain.
CASTOR
Stop crying ... stop
crying ... stop ...
EXT. NSA HQ -- DAY
Shrugging off his funk, CASTOR whistles his way inside.
INT. NSA "DEBRIEFING" AREA -- DAY
A vigilant NSA agent stands watch outside a glass-enclosed
booth. INSIDE, Pollux is working at a computer.
CASTOR
How's our star witness?
AGENT
Spilling his guts. Obviously
his guilty conscience has
finally caught up with him.
CASTOR
Obviously.
Castor dismisses the agent and enters THE BOOTH.
POLLUX
Don't get mad, but I just
went for a little stroll
through the company switches.
CASTOR
You're supposed to be snitching,
making me look legit.
POLLUX
Don't worry, nobody knows I'm
inside. Check it out. Remember
that fat fuck agent who roughed
us up in Thailand? He's being
treated for bone cancer at the
V.A. Thanks to the miracle of
NSA grid-technology ...
(finishes typing)
-- Ooops! His radiation does
just quadrupled.
CASTOR
Are you TRYING to give us away?
For somebody with such a big
brain, you think awfully small.
POLLUX
I'm just having some fun.
CASTOR
There's fun, bro. Then
there's FUN.
INT. WAREHOUSE -- DAY
An enormous warehouse stocked with weapons and equipment.
POLLUX picks through the technical hardware ... WE SEE each
weapon as he sings like a kid on Christmas morn.
POLLUX
Eight pocket stingers ...
seven piper uzis ... six
cobra carbines ...
(aims at Castor)
five - net - launch-ers ...
CASTOR
(grabs weapon away)
Yeah -- it's Santa's Magic
fucking Village. Your
present's in here.
CASTOR unlocks a door marked "EVIDENCE STORAGE."
INT. EVIDENCE STORAGE -- DAY
CASTOR leads POLLUX down corridor after corridor of
confiscated weapons, drugs, contraband.
CASTOR
As the new chief of covert
operations, I've planned a
little get-together with
the Pacific Rim station
chiefs. Friday night.
CASTOR finds a locker, checks the number, then opens it up.
POLLUX
And when they "get-together"
-- what happens?
Castor reveals POLLUX'S BOMB and other confiscated
paraphenalia. Pollux gasps, thrilled.
CASTOR
We gut the organization --
and rebuild it with more
reliable friends.
POLLUX
Most of the current chiefs
-- they must have pretty
hefty prices on their heads.
CASTOR
All of them do. We'll
kill twelve birds with one
bomb. And we'll be rich.
POLLUX
Good, because I checked your
salary -- and it bites. How
the everyday working-class stiff
survives in today's economy is
something I'll never ...
Castor shuts up Pollux by tossing him a small steel
cylinder. Inside it is a vacuum-sealed culture tube.
CASTOR
You'll need to recultivate
that virus.
POLLUX
No problem.
WANDA (o.s.)
Commander!
INT. ARMORY -- DAY
CASTOR emerges from Evidence Storage and finds his team.
WANDA
You picked a helluva day
to leave your beeper off!
CASTOR
What happened?
WANDA
Castor's escaped!
CASTOR
Escaped? From Erewhon?
(staggered)
I want everyone on this
-- our entire force and
the SFPD.
BUZZ
SFPD? Castor isn't stupid
enough to come back to the city.
CASTOR
Trust me, he's already here.
Get going!
Wanda and Buzz run off. Pollux emerges; he's heard.
CASTOR (cont'd)
Have the twins watch my
"wife." He'll try
to get to her.
POLLUX
What about me?
CASTOR
A lot of people think you're
a snitch. It's dangerous ...
POLLUX
Like I fucking care? I'm
not just sitting here!
Determined, Pollux heads for the door. Castor stops him.
CASTOR
Take my Glock. It's
a jungle out there.
CASTOR slaps his weapon in his brother's palm -- Castor's
gesture of filial love. Pollux takes it -- touched.
EXT. GOLDEN GATE PARK -- PHONE BOOTH -- NIGHT
Archer punches a button. A GASH on his injured shoulder
bleeds through his tattered clothes.
ARCHER
Collect call to Evelyn
Archer at 392-0888.
OPERATOR (V.O.)
Who's placing the call, please?
ARCHER
-- Her husband.
Archer waits. He pinches his throat -- trying to somehow
dislodge the vocal implant micro-chip. His voice scrambles
into garbled static -- then reverts back to Castor's voice.
ARCHER (cont'd)
Goddamn it.
INT. HOSPITAL -- NIGHT
EVE is in scrubs, dissecting a cadaver's skull with a
handheld LASER BONE-SAW. Other students watch the procedure
-- along with their dour PROCTOR.
EVE
Jon? Hello?
INT. PHONE BOOTH -- NIGHT
ARCHER listens longingly. Just hearing her voice ...
EVE
Is someone there?
ARCHER
Eve, listen carefully.
(a beat)
The man you think is
your husband -- isn't.
INT/EXT. SILVER SAAB -- NIGHT
LARS and LUNT are parked outside the hospital. They're
huddled over their surveillance equipment -- listening.
LARS
(starts car)
-- Got him.
INT. HOSPITAL -- NIGHT
EVE is confused, distracted. The Proctor waits impatiently,
grading pad in hand.
EVE
Who is this?
ARCHER
Never mind that! Just
take Jamie and get out
of that house. Don't
tell anyone where you're
going -- especially not
him -- just GO.
EVE
Okay, you're having an
emotional crisis. You
need to seek the help
of a trained --
ARCHER
Think about it, Eve!
Everything he's done
recently has been
peculiar, right? He's
said and done things your
husband would never do ...
EVE
Whoever you are, don't
call again.
ARCHER
Don't hang up ...
She clicks off. Disturbed, she's forgotten where she is.
PROCTOR
Doctor, we're waiting ...
Eve shakes off her instinctive chill and goes back to work
-- SPLITTING the cadaver's cranium with the laser.
EXT. PARK -- NIGHT
ARCHER sags in futility. But a SECOND CLICK on the phone
line makes him snap alert. Was that a phone tap?
Suspicious, ARCHER dashes out. He scans the parking lot --
several cars and a pick-up truck plastered with Playboy
centerfolds. Then Archer sees ...
IN THE DISTANCE -- car HEADLIGHTS speeding toward the park.
Only the truck is unlocked. ARCHER slips in and starts to
hot-wire it. The engine grinds and chokes.
THE SAAB reaches the edge of the park.
ARCHER finally starts up the truck. He finds a cowboy hat
on the seat and shoves it on his head as he drives away ...
THE TRUCK exits the far end of the parking lot and rounds
the bend ... just as the Saab arrives.
LARS and LUNT leap out and scan around. Archer is gone.
EXT. TITO'S APARTMENT -- NIGHT
Sagging yellow CRIME-SCENE TAPE seals off the door.
ACROSS THE STREET: Archer watches from the truck. His face
reflects the nightmarish truth: Tito is dead.
ARCHER
No, Jon ... think like Castor.
Where would he go ... who
would he turn to?
EXT. STRIP MALL -- NIGHT
SASHA PLUMMER exits a beauty shop. She's a hardened, but
sensual woman. She gets in her old Lexus and takes off.
INT. LEXUS -- MOVING -- NIGHT
She slows down to check out a POLICE FORENSICS TEAM that's
swarming all over Archer's abandoned pick-up truck.
SASHA
Uh-oh, somebody's in trouble.
ARCHER
Yeah -- me.
In a flash, SASHA grabs some pepper-spray. ARCHER --
hunkered down in the back-seat -- stares into the nozzle.
SASHA
Jesus Christ, Castor.
ARCHER
Drive.
SASHA
The last time I took orders
from you I ended up with
five years probation.
She stops the car -- mere yards from the milling police.
One VETERAN COP looks her way -- scrutinizing.
ARCHER
Just get out of here --
please. I -- I'll ...
ARCHER'S losing consciousness. SASHA looks at him harshly
-- like a woman trying to hate someone she still loves.
Then, she sees the blood seeping through his shirt.
SASHA
Damn it, Caz.
She hits the gas and drives off.
INT. ARCHER'S HOME OFFICE -- NIGHT
CASTOR'S on the phone as he scrolls through CD-ROM files.
CASTOR
-- you don't have to rat out
anybody ... nothing changes
except now you've got the
blessing -- and protection --
of the NSA ...
(now in Spanish)
[No. Santiago's spoken for
... you can have Panama City
or Acapulco. Take Acapulco,
the food's better.]
Something catches Castor's attention. He sees --
DOWN ON THE STREET
A jet-black Firebird SCREECHES up to the curb.
CASTOR (cont'd)
Bueno ... I'll be in touch.
He hangs up and watches the Firebird. The thumping MUSIC
from within goes quiet, but no one emerges.
INT. FIREBIRD -- NIGHT
JAMIE is inside, struggling with big, amorous KARL (17).
JAMIE
No ... no, please.
(he doesn't stop)
My father -- he's got a
gun -- he'll -- he'll --
KARL
That wimp won't do shit.
(pulls open belt)
Anyway, you said he's
never home --
SMASH! The window explodes inward. CASTOR drags KARL out
by his hair. JAMIE scrambles toward the house as ...
CASTOR
Who are you to call
Jon Archer a wimp?
Karl stammers, terrified. Enraged, CASTOR pulls Karl
eyeball-to-eyeball -- the kid goes white with fear.
CASTOR (cont'd)
You dickless suburban puke,
get out of here before I
eat your fucking spleen.
CASTOR heaves Karl into the windshield -- spiderwebbing it.
Somehow the kid finds his feet and stumbles behind the
wheel. The Firebird lurches away.
INT. HOUSE -- NIGHT
CASTOR enters to find JAMIE, still shaken up.
CASTOR
What are you -- stupid?
JAMIE
You haven't changed at all!
Some guy tries to rape me
-- and you side with him!
CASTOR
Did it look like I was
siding with him? Did it?
(she falls silent)
You want to play with
the bad boys, you
better be prepared. Do
you have protection?
JAMIE
You mean like ... condoms?
CASTOR
I mean like protection.
With a fluid motion, CASTOR expertly snaps open a well-
oiled BUTTERFLY KNIFE and hands it to an astonished Jamie.
JAMIE
For me?
Castor's surprised, flustered as Jamie tearfully hugs him.
CASTOR
-- Now, uh, brush your
bed and go to teeth --
it's a school night.
JAMIE kisses him and heads up stairs. After she's gone ...
CASTOR (cont'd)
Jesus, Jon, how did you
deal with this family shit?
The phone RINGS. He rushes to the den and picks it up.
CASTOR (cont'd)
Jon Archer.
(immediately alert)
Where is he?
EXT. STREET -- NIGHT
POLLUX TROY is half-hidden in the shadows, peering into an
underground parking structure.
POLLUX
(into cellular)
-- Some condo complex on
Telegraph Hill. I played
a hunch he might contact
an old friend of yours ...
POLLUX'S P.O.V. -- THE GARAGE
SASHA helps a half-conscious ARCHER toward the elevator.
EXT. NSA MARSHALING AREA -- NIGHT
Dressed and armed for battle, the NSA assault team is
loading into a variety of waiting vehicles.
CASTOR arrives, dressed in standard-issue black squad suit
and flak vest. BUZZ tosses CASTOR a machine-pistol as he
climbs aboard the lead vehicle. The convoy moves out.
INT. SASHA'S CONDO -- NIGHT
ARCHER'S eyes open ... he snaps awake. SASHA is stitching
up his cleaned wound.
ARCHER
Where am I?
SASHA
My place.
ARCHER
You shouldn't have brought
me here ... it's dangerous.
SASHA
Better than you bleeding
all over my car upholstery.
Trust me, Caz, you won't
be here long.
With a flourish of her extravagant nails, Sasha finishes up
the stitches -- a passable sewing job.
ARCHER
I hear you're a manicurist
now -- got your own business
and everything. I'm glad
you've stayed clean.
SASHA
Like I had a choice with
that anal-retentive Jon
Archer rising my ass at
the probation hearing.
(shrugs)
At least he took an interest.
You took off without leaving
so much as a Post-it.
ARCHER
I'm not the same person
you remember.
She studies him with her sharp, intelligent eyes -- eyes
which soften dramatically as she smiles for the first time.
SASHA
Take the rest of those
filthy things off.
I'll be right back.
SASHA disappears into a back bedroom. ARCHER looks out the
window -- the street's clear. He sits down, unties his
trash-dumpster shoes. He touches his shoulder -- it hurts.
SASHA (cont'd)
(entering)
You're still dressed.
She puts down a pile of men's clothes and starts to loosen
his belt. She stares deep in his eyes.
SASHA (cont'd)
You really have changed,
haven't you?
ARCHER
More than you'll ever know.
Gently, tenderly, she moves closer and kisses him on the
mouth. She lingers as Archer carefully pulls away.
ARCHER (cont'd)
-- Can we just talk?
SASHA
(amused)
Talk? The only talk I ever
heard from you was "take
it off," "sit on it," "I'll
see you around."
He backs off -- as something catches his eye. A sleepy
LITTLE BOY (5) is standing in the bedroom doorway. He
watches curiously as Archer buttons up a fresh shirt.
ARCHER
Perfect fit.
SASHA
Should be. It's yours.
Awkward silence as Archer dresses. The boy comes over
shyly, climbs into Sasha's lap. Archer's self-conscious.
ARCHER
Nice-looking kid.
SASHA
Of course he is ...
(very uneasy)
-- He's yours too.
EXT. SASHA'S CONDO -- NIGHT
Their SILHOUETTES are visible against the shades. Suddenly
a TETHERED SURVEILLANCE DRONE whirs up to the second-story
window -- scanning the building.
EXT. ROOFTOP ACROSS -- NIGHT
CASTOR, BUZZ, WANDA and LOOMIS peer at the drone's THERMAL-
VIDEO FEED of the silhouettes in Sasha's apartment.
CASTOR
(into cellular)
We've got him sighted.
Okay, Pollux, pull out.
BUZZ
What makes you so sure
this guy's gonna set up
his own brother?
CASTOR
I've never been more
certain of anything.
Get everyone in position.
-- And get the word
out -- shoot to kill.
Buzz starts to object -- but Castor's steely eyes say
"don't argue -- that's an order."
BUZZ
You heard the Commander
-- let's saddle up!
Buzz and Wanda move off -- leaving Loomis with Castor.
INT. SASHA'S CONDO -- NIGHT
SASHA leads the shy boy to his "father." Archer's stunned.
SASHA
Go on, Adam ...
(a beat)
I'm not asking you for
anything -- I was never
even going to tell you.
But hell, I never thought
I'd see you again, either.
ARCHER
How old is he?
SASHA
Five. No one knows you're
his father. I thought
someone might want to hurt
him -- just to hurt you.
Archer's emotions take him to a darker place. Hands
shaking, he holds the boy, perhaps a bit too roughly.
ARCHER
Yes ... someone might want
to tear him apart -- snuff
him out -- for revenge.
SASHA
You're not holding him
right ... Caz ...
ARCHER isn't hearing SASHA. He's lost in his own MEMORY ...
a SQUEAL of tires ... Castor FIRING ... glass SHATTERING ...
a child's fading CRIES. He's RELIVING his own son's death.
ARCHER
In one awful moment
-- he could be dead.
ARCHER'S grip tightens around Adam -- his big hands
dwarfing the little boy's body.
ADAM looks straight at Archer with a child's eyes. Big,
naive -- innocent. It pulls something up from inside
Archer ... something STRONG.
He regains control, dumping the child into Sasha's arms.
ARCHER (cont'd)
He's not my son.
SASHA
Yes, he is. Caz --
SOMETHING alerts Archer -- maybe the fleeting SHADOWS that
blot out the window-light for the barest second.
ARCHER
Get down! GET DOWN!
K-BOOM-BOOM-BOOM-BOOM! The window panes shatter -- as TEAR
GAS GRENADES and GUNFIRE riddles the room.
OUTSIDE
On the rooftop across the way, CASTOR directs the firepower.
INSIDE
Coughing, ARCHER crawls through the roiling smoke toward the
door. He's almost out when ...
ADAM'S WAIL of fear freezes Archer. He looks back -- and
sees Sasha. She's knocked-out.
ADAM stands beside her -- frantically pulling on her limp arm.
ARCHER'S face betrays his conflict. A child -- but his
worst enemy's child. He watches as --
BULLETS shred the wall around Adam. The boy's frozen.
ARCHER moves -- he crawls toward Sasha and Adam, grabs them
and pulls them out into --
THE HALLWAY. Archer hauls them down the corridor as the
walls disintegrate behind them.
EXT. STREET -- NIGHT
CASTOR and his Team race toward the smoke-filled building.
CASTOR
Split up. I want to know
the second he's spotted.
INT. CONDO COMPLEX -- CORRIDOR -- NIGHT
Momentarily safe, Archer rouses Sasha. She comes to and
hugs Adam, making sure he's okay.
SASHA
Thank you, Caz ...
BOOT STEPS and SHOUTING VOICES. ARCHER takes off.
INT. STAIRWELL -- NIGHT
ARCHER rushes through the roiling tear-gas -- and stops short.
CASTOR is there. He raises his machine-gun -- too late.
ARCHER leaps -- slamming into Castor. FACE-TO-FACE -- they
slug it out, bashing and butting.
ARCHER
Stay away from my family!
CASTOR
Too late, your kid worships
me. And your wife -- she's
an animal. Even I can't
keep up with her.
Enraged, ARCHER heaves CASTOR -- he plunges down the stairs,
head-over-heels, and lands in a heap. LOOMIS arrives,
firing, driving Archer back up the stairs -- toward the roof.
EXT. ROOFTOP -- NIGHT
ARCHER runs along the length of the roof to the opposite
fire-escape railing. But as he turns ... he finds himself
looking right into the barrel of POLLUX'S PISTOL.
POLLUX
Peek-a-boo, dumb fuck.
Pollux KICKS Archer hard -- Archer slips down on the guard
rail -- but manages to hold on by his fingers.
POLLUX (cont'd)
Remember me? Your
big brother?
Pollux steps down -- grinding Archer's fingers into the
steel fire-escape rung.
BELOW: CASTOR and LOOMIS race over. Loomis aims his
machine-pistol -- but Castor stops him.
CASTOR
Wait for a better shot.
ON THE ROOF: Pollux puts his full weight down on Archer's
hand. In agony, Archer sees his one chance --
THE RUSTED RIVETS that fix the fire-escape to the brick
wall. ARCHER plants his feet on the wall and pushes as
Pollux cocks his pistol -- aiming right at ARCHER'S head.
POLLUX
You tricked me into telling
you shit I never told anyone.
Now take it to your grave.
THE RIVETS strain -- then give. With a shriek, the fire-
escape pulls away. Pollux loses his balance --
POLLUX PLUNGES three stories and pancakes onto the street.
CASTOR
Pollux ... Pollux!
POLLUX is almost gone. CASTOR looks up and sees --
ARCHER -- scrambling over the ledge onto the roof.
EYE-CONTACT between predator and prey, killer and cop.
CASTOR opens fire --
ARCHER ducks the bullets as he disappears over the lip.
EXT. ROOFTOP -- NIGHT
ARCHER catches his breath -- then SEES something. It's the
small, steel CYLINDER Pollux took from NSA Evidence.
EXT. STREET -- NIGHT
CASTOR desperately performs CPR on Pollux -- to no avail.
POLLUX slips away ... and dies.
CASTOR
(to Loomis)
Get a medic -- now!
Hang on, Pollux ...
LOOMIS
Forget him, sir. It's
only Pollux Troy ...
Castor snaps. Without hesitation, he jerks up his gun and
puts a bullet right in the middle of Loomis's head.
CASTOR looks at the dead kid -- his rage barely abated as --
BUZZ and WANDA arrive on the scene and see Loomis's body.
WANDA
What happened?
CASTOR
What the fuck do you
think happened? Castor
Troy just shot him!
(a beat)
What are you waiting
for? GO!
After Buzz and Wanda take off -- CASTOR gathers Pollux up in
his arms -- totally devastated.
INT. MARINA -- DRY DOCKED FREIGHTER -- DAY
The old ship's hold has been converted into a laboratory.
At a work table, a sealed ISOLATION TANK is filled with
healthy RATS ... one-by-one, they convulse, then drop dead.
DIETRICH (o.s.)
Mother nature at her finest.
One part per trillion of this
stuff will kill you faster
than a mailman with a grudge.
PULL BACK to reveal ARCHER with DIETRICH HASSLER (45) -- an
illicit chemist recognizable from Castor's dossier.
He holds up the steel TUBE Archer found on the roof.
ARCHER
And this thing can grow it?
DIETRICH
Yes. Pollux bought one
along with the original
batch. Obviously, he
found a way to make more.
ARCHER
Why would he need more?
DIETRICH
He's your brother, you
figure it out. Maybe he
made another bomb.
ARCHER
(realizes)
Or reactivated the first one.
DIETRICH
Right ... like Jon Archer
would ever let that happen.
INT. ARCHER'S NSA OFFICE -- DAY
CASTOR is alone -- staring blankly at POLLUX'S image on his
computer monitor. Ironically, he has been encoded as
"Castor's" latest victim. LAZARRO pops her head in the door.
LAZARRO
I just heard about Castor's
fratricide -- rather poetic,
don't you think?
CASTOR
What is it, Admiral?
I'm under the gun here.
LAZARRO
I just thought that --
under the circumstances
-- you might want to
postpone the meeting
with the station chiefs.
CASTOR
No. Most of them are in
transit by now. I'm heading
over to the hotel to
personally oversee security.
LAZARRO
Okay, then. I leave
it in your able hands.
Lazarro exits. CASTOR picks up the framed photo of EVE and
JAMIE -- staring at it with unbridled hatred.
CASTOR
My able hands.
Fury rising, he crumples the frame -- and the photo -- in
his clenching grip. He hurls it, choking back his rage.
EXT. NEW ST. MARKS -- DAY (ESTABLISHING)
A tower with a dramatic REVOLVING RESTAURANT on its roof.
INT. SERVICE ROOM -- DAY
CASTOR wires the BIO-BOMB into the climate control system.
CASTOR
For you, bro.
He hits the ACTIVATION switch. The bomb WHIRS to life.
INT. CAR WASH -- DAY
Two SFPD COPS watch from the PICTURE-WINDOW as their car is
pulled through. It disappears into SOAP CYCLE.
SOAP sprays everywhere -- coating the observation windows,
obscuring the Cops' view of their car.
COP
Crap, I wanted hot wax.
The soap ceases. The Cops gawk -- their car is GONE.
EXT. COP CAR -- MOVING -- DAY
The squad car's windshield wipers whisk away the beaded
water -- revealing ARCHER behind the wheel.
INSIDE
ARCHER hits a switch -- the car's tinted windows DARKEN
automatically, obscuring him from the outside.
EXT. STREET -- DAY
ARCHER slows the squad car.
UP AHEAD: Parked cop cars block both lanes of the main road
-- a ROAD-BLOCK check-point for all traffic.
ARCHER pulls off the road, out of sight. He flips open the
portacomp and starts to type rapidly.
ON SCREEN -- the computer registers a PRIORITY ALERT from
Commander Jon Archer.
INT. NSA -- DAY
A Dispatcher's SCANNER clicks to life.
DISPATCHER
All units. I have a confirmed
code zero-zero priority alert.
Proceed at once to Army Street
Terminal. That's Army at Third.
QUICK SHOTS:
NSA MOTORPOOL -- TAC SQUADS pile into armored jeeps.
HELIPORT -- CHOPPERS lift off and veer east.
ARCHER'S HOUSE -- The surveillance cars roar away.
EXT. ROADBLOCK -- DAY
ARCHER watches as the checkpoint of COP CARS pulls apart and
screams east on the main road -- passing Archer. Once the
armada is gone, he pulls out and heads west.
INT. NSA -- DAY
CASTOR arrives. He bumps into Wanda -- she's shocked.
WANDA
Commander, what are you
doing here?
CASTOR
Where should I be?
(looks around)
Where's everyone else?
WANDA
Backing you up! Didn't
you track Castor to the
Army Street Terminal?
CASTOR
What?
WANDA
It was confirmed by your
personal security code.
Nobody knows that code
but you!
CASTOR
Obviously someone else
knows it! Get everybody
back to their posts -- NOW!
INT. ARCHER HOME -- SUNSET
ARCHER tiptoes through the house -- listening. He hears
WATER RUNNING upstairs.
MASTER BEDROOM -- CONTINUOUS
ARCHER walks in and steps toward the bathroom -- passing the
bed. He stops. On top of the rumpled covers: Eve's
nightgown and a pair of Castor's black mesh briefs.
Overwhelmed, he sits down -- not noticing the water has
stopped. Eve steps in from the bathroom.
ARCHER
Eve ...
The look of horror on her face snaps him back to reality.
She runs, but Archer grabs her. She struggles -- fighting
and kicking him -- but somehow he keeps her mouth covered.
ARCHER (cont'd)
I'm not going to hurt you.
Just don't scream, okay?
(no response)
Okay?
She finally nods and he eases off her. Her face betrays her
utter fear -- and her building anger.
EVE
I know you -- you're the
one who called. You're
Castor Troy. You killed
my son --
ARCHER
-- I called, but I'm not
Castor. I'm your husband.
ARCHER holds onto her as she struggles again.
ARCHER (cont'd)
This time you're going
to listen. Last week --
we were in bed -- we had a
fight after you touched my scar.
I told you I had to go away.
(a beat)
My assignment -- Jon
Archer's assignment --
was to enter a federal
prison as Castor Troy.
EVE is startled by this intimate information but she reveals
nothing. SIRENS approach the house, the cops are returning.
She keeps an eye on the door. Playing for time.
EVE
How did he expect to
do that?
ARCHER
An NSA surgeon gave me
Castor's face. He handled the
transplant, the vocal implant,
everything. But somehow
Castor came out of his coma
-- and killed everyone who
knew about the mission.
But not before he was
transformed into me.
The front DOOR clicks open. A voice booms out.
COPS (o.s.)
Dr. Archer, are you okay?
ARCHER
If you need hard evidence,
get it. Your husband's
blood type is O negative.
Castor's is AB.
Archer glances at the balcony -- but doesn't budge as
FOOTSTEPS clomp up the stairs. Eve is about to answer -- or
scream. But then ...
ARCHER
Remember the parachute
dream? I'm falling, Eve,
and I need your help ...
The blood drains from her face as ... ARCHER slips over the
balcony and disappears.
INT. ARCHER HOME OFFICE -- LATER -- NIGHT
EVE pauses at the door and peers in.
IT'S A MESS ... legal pads, cappuccino cups with cigarette
butts, diskettes marked NSA CLASSIFIED scattered everywhere.
Funny, the office never looked this disorganized. Ever.
Eve sifts through the paperwork. Finds a legal pad with
with NUMBERS in dollars corresponding to abbreviations:
HCMC ... N ... HK ... SD.
EXT. ARCHER HOME -- NIGHT
CASTOR pulls up, tiredly smoking a cigarette. Sees Cops
hanging around, keeping watch. Notices something.
CASTOR
Hey -- keep off the lawn.
INTERCUT: CASTOR AND EVE
EVE is at the computer work-station, scrolling through
NSA organizational schematics ... charts & graphs ... dry
bureaucratic verbiage ... gibberish to her.
Frustrated, she hits Escape ... the system resets to PROGRAM
MANAGER. And suddenly -- a connection.
THE SCREEN has reset to its SUB-DIRECTORIES: Ho Chi Minh
City ... Nandi ... Acapulco ... Santiago. 12 in all.
STAIRCASE: CASTOR trudges upstairs.
EVE at the work-station. Concentrating. Oblivious.
CASTOR peers in the bedroom -- nobody there.
EVE looks up. Did she hear something?
CASTOR hustles down the hall and pushes open the office
door. On edge, he draws his pistol. His hand touches the
door knob as ...
EVE concentrates on the computer. Suddenly, CASTOR is there.
CASTOR
What are you doing?
EVE
-- Studying.
Suspicious, Castor swivels around the monitor -- and sees a
hi-definition CD-ROM of the human vascular system.
EVE (cont'd)
You scared me half to death.
CASTOR
Baby, I'm working on some
very sensitive documents
here. If you don't mind
-- use the laptop.
Eve silently assents, quickly heading for the door, but
Castor stops her.
CASTOR (cont'd)
What's wrong?
EVE
Nothing.
CASTOR
I disagree.
(a beat)
You think I've been acting
strange. Like a completely
different person.
EVE
-- Yes.
CASTOR
Okay, I have a confession
to make. But you aren't
going to like it.
CASTOR wraps his hands dangerously around her slender neck.
CASTOR (cont'd)
I read your diary. I've
been trying to change
-- I'm trying to be the
man you want me to be.
EVE reacts to the explanation. There is a logic to it.
CASTOR (cont'd)
You forgive me, don't you?
EVE
-- Of course I do.
INT. ARCHER'S BEDROOM -- NIGHT
Castor and Eve slumber peacefully. Then -- EVE'S EYES
slowly open. Quietly, she turns and spoons into Castor.
Eve starts rubbing his shoulders. Castor responds but doesn't
wake as EVE'S FIST opens up -- revealing a tiny LANCET.
With frightened eyes, she presses the needle to his flesh,
about to sink it -- but he stirs. She kisses him tenderly
as he falls back asleep.
Eve takes a deep breath and carefully pricks Castor --
DRAWING BLOOD. An instant later -- the lancet is out.
INT. HOSPITAL -- NIGHT
Nothing happening here at 4 AM. Nothing indeed.
INT. HOSPITAL -- LAB -- NIGHT
EVE paces anxiously as the blood-analyzer clicks away.
EVE
Please be O-neg. Please ...
The machine stops clicking. It reads MALE -- TYPE AB. She
buries her face in her hands -- completely stunned.
ARCHER (o.s.)
Thanks for believing me.
ARCHER emerges from the darkness of her office -- but EVE
pulls a pistol -- aiming it with calm authority.
ARCHER (cont'd)
What are you doing? Where
did you get that gun?
EVE
I took it from my fake husband.
ARCHER
Why point it at me? I'm
the real thing.
EVE
I don't know that. Maybe
Jon's already dead.
ARCHER
What more proof do you need?
EVE
Tell me what happened on
April 9th -- 13 years ago.
Archer looks blank. April 9th? 13 years ago?
ARCHER
It was my first real date ...
I borrowed my dad's car and
took her out for ribs -- not
knowing she was a vegan.
To make it worse, she broke
her tooth on a pebble that
somehow got into her salad
-- and we drove around all
night, looking for a dentist.
I thought the date was a total
botch -- but she kissed me.
Even though it must have hurt --
she leaned over, ice-pack on her
cheek, and kissed me goodnight.
(smiles)
She still has that pebble
in the top drawer of her
jewelry box. And I think
it still hurts her sometimes
-- to kiss me.
EVE looks into his eyes -- searching beyond their color.
Then she puts the gun down, fighting off tears.
EVE
Christ, Jon! How could
you do this to yourself?
How could you do this to us?
(quietly)
Do you know -- do you know
what he did to me ...?
ARCHER
Whatever happened, whatever
he did -- I know it's my
fault and I know I can never
make it up to you --
She pulls herself together -- regaining her composure.
EVE
But you're damn well
going to try.
INT. EVE'S OFFICE -- LATER -- NIGHT
Eve clicks on the light, then produces some xeroxed
documents. Archer quickly scrutinizes them.
EVE
He freaked out when he
thought I had seen this
stuff. I think it's a
list of cities -- Santiago,
Ho Chi Minh City, Nandi ...
ARCHER
Our Pacific Rim stations.
These numbers must be bounties.
Castor's not wasting any time.
EVE
What do you mean?
ARCHER
He's going to kill off our
bureau chiefs -- one-by-one.
EVE
-- Or maybe all at once.
(off his reaction)
There's a get-together
tonight at New St. Marks.
For all the bureau chiefs
and their families. He's
insisted Jamie and I be
there too.
A sinking feeling hits Archer.
ARCHER
You can't go. You can't be
anywhere near that place.
EVE
Jon, what is it?
ARCHER
The bomb. He's reactivated
it. And everyone there is
going to die.
EVE
Can't we call someone?
Admiral Lazarro?
ARCHER
I know Lazarro -- the first
person she'd call is "me."
We can't take the chance of
tipping Castor off.
EVE
Jon, if I'm not there, he
will be tipped off. I'll
get rid of Jamie -- but you
and I are in this together.
ARCHER
Eve ...
She kisses the face of the man who killed her son -- now her
husband's face. She is resolute.
EVE
Now -- what do we do?
INT. ARCHER HOME -- MORNING
Castor comes downstairs, rubbing his "stung" shoulder.
CASTOR
Where's my wife?
LARS
She went to the hospital
last night -- she was on
call. Didn't you know?
CASTOR
Find her -- and watch
her like a hawk.
EXT. NEW ST. MARKS HOTEL -- ENTRANCE AREA -- DAY
Business as usual -- except for the SFPD and the NSA
SECURITY TEAM keeping a discreet watch.
PULL BACK: ACROSS THE STREET
ARCHER checks out the NSA Security Team; there's no way
he's getting in there. Then he sees --
DELIVERY TRUCKS turning down the ramp beneath the hotel --
into the basement loading dock.
EXT. ARCHER HOME -- DAY
Dressed in a gown, Eve joins Castor at the waiting limo.
CASTOR
Where's Jamie?
EVE
That's what I'd like to
know. She stole fifty
dollars from my purse
and took off.
CASTOR'S eyes narrow -- trying to read Eve.
EVE (cont'd)
Don't act so stunned, Jon.
As if you don't know how
impossible it is to get
that girl into a dress.
CASTOR
I'll deal with her later.
EVE
Good. Because I'm fed up.
She leads him into the limo without hesitation.
EXT. LIMO -- MOVING -- DAY
Castor and Eve's limo picks its way through traffic.
ALONGSIDE
rumbles a refrigerator TRUCK from "Bay Gourmet," Inc.
FOLLOW both vehicles as they turn into the driveway of ...
EXT. NEW ST. MARKS HOTEL -- DAY
A high-rise tower with a "flying saucer"-shaped restaurant
set atop -- the revolving garden restaurant.
CASTOR'S LIMO turns into the circle.
THE BAY GOURMET TRUCK continues into the underground garage.
INT. LOADING DOCK -- DAY
NSA AGENTS poke around the truck as Workers unload icy-fresh
seafood crates -- onto long metal "roller belts."
EXT. HOTEL -- DAY
CASTOR and EVE exit the limo -- and greet arriving GUESTS.
INT. REFRIGERATOR ROOM -- CONTINUOUS
The fish, shrimp and caviar are stowed. The door shuts.
A MOMENT LATER -- in the largest crate -- a big black sea-
bass starts to quiver. This sea-food really is fresh. Then
a hand pushes the fish aside.
ARCHER emerges from beneath the ice and dozens of whole fish
carcasses. Freezing, he sniffs himself and heads for the door.
INT. LOBBY -- DAY
CASTOR, EVE and other guests head into the OUTDOOR ELEVATOR
-- flanked by NSA security agents. EVE checks her watch.
INT. HOTEL KITCHEN -- DAY
Kitchen workers load pre-prepared food onto the FREIGHT
ELEVATOR and hit UP.
INT. SHAFT -- DAY
ARCHER squats on the roof of the small freight cabin as it
ascends. He's cramped into the small space.
INT. REVOLVING RESTAURANT -- DAY
DING! The main elevator opens -- CASTOR and EVE are greeted
by more NSA security agents -- and a round of APPLAUSE from
the gathered BUREAU CHIEFS and their FAMILIES.
Behind them, a spectacular SUNSET.
INT. SERVICE CORRIDOR
DING! The FREIGHT ELEVATOR opens up -- hotel staff unload
it into the rooftop kitchen.
An NSA Security Agent climbs into the freight elevator and
pushes up the CEILING HATCH.
INSIDE THE SHAFT
The Agent scans around. Empty.
THE AGENT
hits down. The elevator descends.
INT. SHAFT
Below, ARCHER presses himself against the shaft wall as the
elevator drops behind him. He crawls into an ACCESS HATCH.
INT. MAINTENANCE SHAFT -- DAY
Cramped, noisy and crowded with AUTOMATED WINDOW-WASHING
DRONES. Crawling, Archer makes his way to an APERTURE in
the outside wall.
A DRONE creeps past Archer as it's fed out onto the EXTERIOR
TRACK. Archer takes a deep breath -- then grabs hold of it.
EXT. HOTEL -- DAY
Straining, the DRONE continues out of the shaft and UP the
side of the building.
ARCHER hangs on to the DRONE as it ascends -- finally
pulling him OFF the narrow ledge and upward -- toward the
restaurant level.
INT. RESTAURANT -- DAY
Chatting with the bureau chiefs and their wives, EVE turns
from Wanda to CASTOR.
EVE
I'm going to the powder
room.
CASTOR
Sure, baby -- go anywhere
you want.
(gestures to Lars)
But I have to give you
an escort. Security
reasons.
Eve, burying her concern, is forced to follow.
EXT. HOTEL -- DAY
ARCHER hangs from the DRONE. Reflexively, he looks down.
INSTANT VERTIGO -- a huge drop.
ARCHER regains control. He forces himself to look UP --
at a WARNING LABEL on the drone: "Not For Human Transport."
INT. POWDER ROOM -- DAY
LARS inspects the plush ladies room. Satisfied, he pushes
past Eve with barely-disguised contempt.
EVE shuts the door and hurries to the window. She sees:
INTERCUT: ARCHER
He clings to the straining, short-circuiting DRONE,
ascending toward her.
THE DRONE'S cover starts to CRACK under Archer's weight. He
can just see EVE in the window -- as he rises.
EVE pulls the surgical laser BONE-SAW from her purse and
sparks it up.
ARCHER'S coming fast. The timing must be perfect.
EVE scores the perimeter of the plexiglass window.
IN THE CORRIDOR
Impatient, LARS pushes open the door.
LARS
What's taking so long?
IN THE RESTROOM
Lars bursts in, scanning the room. When he heads toward the
window, Eve blocks his view by banging on the tampon machine
-- as if it just ate all her change.
EVE
Got a quarter?
Uncomfortable, LARS fishes into his pocket for two-bits,
then beats a hasty retreat. An instant later --
EVE lasers the last section of the window.
ARCHER grinds past, the DRONE breaking away from its track.
EVE stands back as ARCHER kicks in the window -- it CRACKS
along its scoring -- but doesn't give.
The DRONE breaks off the track and free-falls ... just as ...
ARCHER kicks again -- the window pops in. ARCHER dangles,
half-in, half-out. EVE rushes over -- pulling him in.
INT. CORRIDOR -- NIGHT
EVE exits the rest room. Lars studies her flushed, agitated
face -- as they return to the restaurant.
INT. RESTAURANT -- NIGHT
EVE watches as LARS whispers into CASTOR'S ear. She heads
for the band-riser and grabs the microphone.
EVE
Ladies and gentlemen, friends,
I know this is primarily a
business gathering ... but I'd
like to take this opportunity
to tell my husband how proud
I am of him ... and how much
I love him.
EVE nods to the bandleader; the band strikes up a 90's
golden oldie. She hustles Castor onto the dance floor.
THE ROMANTIC SCENE draws the milling guests and agents in
from the corridor -- allowing ARCHER to make it from the
restroom into the adjoining STAIRWAY.
ON THE DANCE FLOOR
EVE and CASTOR slow dance to Madonna's "Thief of Hearts."
EVE
Remember this from our
junior prom? Boy, were
you ever mad for Madonna.
CASTOR
Back then -- who wasn't?
EVE
Wait a second -- you hated
Madonna. Didn't you?
He kisses her neck playfully. Eve swallows her repulsion.
INT. OFFICE SUITES -- NIGHT
ARCHER silently picks his way through the deserted office.
he goes into the adjoining --
MAINTENANCE ROOM
ARCHER traces the twisted phalanx of climate-control ducts
until he sees a RED GLOW. He pushes the ducts aside to
reveal the BOMB. As he steps toward it -- a HULKING SHADOW
wraps around the wall -- coming toward him.
INT. REVOLVING RESTAURANT -- DANCE FLOOR -- NIGHT
More couples dance alongside Eve and Castor.
CASTOR
(notices something)
Well well. Here's a surprise.
EVE turns -- and goes pale. To her horror --
JAMIE stands there. Looking every inch a young lady, she
floats toward them in her formal gown.
CASTOR looks into Eve's face -- and he UNDERSTANDS. She is
too stunned to react as Castor gives Jamie a big hug.
CASTOR
There's my little darling.
(while looking at Eve)
The night wouldn't be
complete without you.
JAMIE
Yeah, mom cut me some slack
-- but I decided ... I'd
like to be here for you.
(produces cash)
Here, mom. You can have
it back. Thanks, though.
EVE is too stunned to react, so Castor pockets the money.
CASTOR
Jamie, have you met
Ensign Mancini?
CASTOR passes Jamie off to a young naval CADET, then turns
to EVE. She glances furtively around -- searching for a
solution -- as Castor closes in and speaks quietly.
CASTOR (cont'd)
Keep your mouth shut and
follow me -- or she dies.
Right now.
INT. STAIRS -- NIGHT
Alone, CASTOR muscles EVE up the stairs.
CASTOR
Too bad. Part of me was
hoping you didn't know.
Guess which part.
INT. OFFICE SUITE -- NIGHT
CASTOR pushes EVE to the floor. To her shock, ARCHER is
beside her, the twins' gun to his head.
CASTOR
Did you really think it would
be that easy, you dumb fucks?
I knew you'd make your move --
all I had to do was wait.
(a beat)
Here's tomorrow's front page:
In a suicide attack, Castor
Troy -- that's you, Jon --
eluded hotel security and
detonated a biological bomb,
killing dozens of NSA agents
and their families -- including
my beloved wife and daughter.
(a beat)
-- And the last three people
who could expose me are dead.
Playing for time, Archer scans the room and sees the TABLE
LAMP nearby -- the only light burning in the suite -- and
his only chance.
ARCHER
This is between you and me.
Leave my family out of this.
ARCHER looks at EVE. She glances down to her purse, spilled
out below her ... her hand hiding the laser BONE-SAW.
Archer and Eve share the thinnest, most desperate of smiles.
CASTOR
It was between you and me --
but you couldn't let it go.
(cocks pistol)
Even your son -- that wasn't
supposed to happen. Not
that I was sorry to see the
little bastard go ...
ARCHER'S heard enough. He uncoils -- slapping CASTOR'S hand
away just as --
EVE lashes out with the now-blazing BONE-SAW -- tearing
through LARS'S femur.
LARS pitches over, screaming, grabbing his stump.
ARCHER scoops up LARS'S PISTOL as he topples the lamp.
Sudden darkness is illuminated by staccato flashes as the
room erupts in gunfire.
ARCHER
Go -- get help!
EVE crawls through the fusillade and out of the office.
ARCHER blasts, his shots chasing CASTOR as --
LUNT charges at ARCHER from the darkness.
ARCHER turns, fires, ducks as --
LUNT -- riddled -- sails over ARCHER and smashes through the
window, plunging into the abyss.
ARCHER scans for CASTOR in the darkened office -- he's gone.
INT. RESTAURANT -- NIGHT
Reacting to the gunfire, the Security Team mobilizes ...
when EVE runs smack into Wanda and Buzz.
WANDA
We heard gunshots --
where's the Commander?
EVE
Wanda, I've got to tell you
something. Something crazy ...
INT. CLIMATE CONTROL -- NIGHT
ARCHER rushes in from the office, picks his way past the
SKYLIGHT over the Atrium and finds the BOMB.
THE LED counts down ... 24-23-22.
ARCHER carefully grabs the GLASS GLOBE and starts to unscrew
it from its base. 10-9-8 ...
ARCHER pulls the globe free -- but it trails a ceramic
DETONATOR mount. The LED hits 00:00.
CIRCUITS break as the electrical charge SOARS through the
machine. ARCHER wraps his hand over the detonator as a
storm of SPARKS volcano up through the base, searching.
The SPARKS silently recede. The bomb is dead.
CASTOR (o.s.)
Not bad.
Still cradling the bomb, ARCHER sees a bloody CASTOR
watching him from the hatch.
CASTOR (cont'd)
All you've done is postpone
the inevitable.
ARCHER
Kill me -- and you kill
yourself.
ARCHER squeezes the globe -- just enough to cause a CRACK.
CASTOR
What -- what are you doing?
ARCHER
Vacuum-sealed globe ...
shouldn't take long.
The crack SPIDER-WEBS through the globe.
ARCHER (cont'd)
Running out of time, Castor.
Put down the gun and I'll
neutralize it.
ARCHER shows CASTOR the FAIL-SAFE jet built into the globe.
CASTOR
Do it and your daughter lives.
ARCHER just smiles. Castor has no leverage at all.
THE CRACKS multiply, covering the globe like veins.
CASTOR drops the gun. ARCHER triggers the JET.
THERE'S AN INJECTION into the globe just as --
BOOM! The globe implodes, then explodes, filling the room
with deadly gas. ARCHER and CASTOR stare at each other.
CASTOR (cont'd)
Did you neutralize
it in time?
ARCHER
I don't know. How long
before it kills us?
CASTOR
Five seconds.
They wait ... the seconds pounding down like thunder.
Three, four ... five. Then six and seven.
ARCHER and CASTOR smile, inhaling deeply. This is the way
it should be.
Then CASTOR goes for his pistol -- ARCHER lunges and --
INT. ATRIUM -- NIGHT
The skylight EXPLODES downward as ARCHER and CASTOR crash
through it -- still entangled.
THE MEN collapse hard. THE GUN clatters across the terrace
toward the planter of trees.
ARCHER AND CASTOR brutally strangle each other -- digging
their fingers deep into their throats. They throttle each
other so hard, their LARYNX VOCAL CHIPS are dislodged.
THEIR VOICES change, echoing with garbled, robotic static.
ARCHER
Give up, Castor. People
are going to find out.
CASTOR
Not if I kill you first ...
They scramble for the gun -- but A HAND reaches out from the
Juniper trees and picks it up. Archer and Castor stop dead
in their tracks because -- JAMIE APPEARS, holding the pistol.
CASTOR (cont'd)
Give it here, Jamie.
ARCHER
No, Jamie. Don't do it!
Everybody gawks -- because ARCHER and CASTOR are now ...
SPEAKING IN THEIR OWN TRUE VOICES
And nobody is more confused than JAMIE: the man who looks
like her father sounds like Castor; the man who looks like
Castor sounds like her father.
ARCHER (cont'd)
Listen to my voice, Jamie.
I'm your father.
CASTOR
It's a trick, Jamie.
I'm your father.
Jamie swings the pistol back and forth -- baffled.
CASTOR (cont'd)
Shoot him, Jamie.
ARCHER
Jamie ...
CASTOR
Shoot him!
Jamie FIRES. Archer collapses -- a slug in his shoulder.
Castor snatches the pistol from Jamie's hand.
CASTOR (cont'd)
You idiot. No kid of mine
would miss so badly.
He aims the pistol at Archer's head.
WANDA (o.s.)
Hold it.
WANDA AND BUZZ have burst onto the terrace -- their guns
leveled. Eve and the bureau chiefs are right behind.
CASTOR
Just saving the tax-payers
the cost of a trial. So
take a hike.
BUZZ
What's the matter with
your voice, Commander?
CASTOR
Castor Troy almost strangled
me to death. Where the hell
were you?
WANDA
You're both in custody until
there's a DNA fingerprinting
and we can prove who's who.
Now put the gun down.
CASTOR
(a beat)
You can't blame me for trying.
He grabs JAMIE, shoves the gun under her chin -- and
drags her onto --
A GARDEN PATIO
Using Jamie as a shield, CASTOR backs toward the private
outdoor ELEVATOR ... ARCHER and the others following.
JAMIE fumbles to pull something from her pocket as CASTOR
elbows the DOWN button, then aims at the charging ARCHER.
CASTOR (cont'd)
Say goodbye to daddy.
JAMIE whips out the BUTTERFLY KNIFE -- snaps it open
expertly -- and sinks it into CASTOR'S thigh. Jamie dives
out of the elevator as its doors close.
CASTOR (o.s.)
You ungrateful delinquent!
JAMIE
Will someone PLEASE tell
me what's going on?
But ARCHER just rushes past her and leaps --
OVER THE RAIL
ARCHER soars -- landing hard on the elevator roof.
INT. ELEVATOR -- DESCENDING -- NIGHT
Wrapping his leg wound, CASTOR fumbles for his pistol as
ARCHER kicks in the roof escape panel and drops inside.
CASTOR gets off a wild shot as ARCHER grabs for the pistol.
Boom! Boom! Boom! More errant shots rip through the
elevator roof.
INSIDE THE SHAFT: The slugs shred the heavy cables.
INSIDE THE CAR: The pistol drops as CASTOR tears at ARCHER'S
face -- ripping the seam across his jawline. Archer rips
back at Castor. But they both react in surprise when --
INSIDE THE SHAFT: The splitting cable SCREAMS. The
ELEVATOR CAR bangs back and forth as the cables give way.
INSIDE THE CAR: Archer and Castor are thrown around like
limp rag dolls.
INT. LOBBY -- NIGHT
The elevator CRASHES -- scattering the stunned guests.
CASTOR pulls himself from the wreckage. No sign of ARCHER.
He spots his pistol lying in the debris.
He reaches for it but recoils when a BLOODY HAND juts out of
the twisted steel and tightens around the gun. ARCHER --
battered but intact -- rises slowly from the wreckage.
CASTOR backs away and runs out of the lobby.
EXT. HOTEL -- NIGHT
CASTOR limps out as a squad car roars up -- siren blaring.
CASTOR
Castor Troy's in there!
Move it or I'll have your
badges!
The COPS rush to the entrance. CASTOR jumps in their car.
As soon as the cops blow into the hotel -- ARCHER darts out
from behind the door.
He reaches the curb just in time to see Castor's squad car
screech out of the driveway. ARCHER scans the street -- the
only vehicle in sight is a Delivery Van.
EXT. STREETS -- NIGHT
CASTOR tears down Marina Blvd. Up ahead -- a BIG SAILBOAT
being loaded onto a trailer blocks the road.
He cuts the wheel hard. The squad car jumps the curb --
bounces down a grassy knoll -- until SMASH!
The car plows into a sign that reads: "EARTHQUAKE DAMAGE.
KEEP OUT. THROUGH TRAFFIC USE TRANS-BAY TUBE."
Castor finds himself at the ...
ENTRANCE TO THE (CLOSED) GOLDEN GATE BRIDGE
CASTOR throws the transmission into reverse as HEADLIGHTS
burst into view. And behind the wheel -- JON ARCHER.
CASTOR
Shit.
CASTOR jacks into drive. The car shoots onto the bridge.
EXT. GOLDEN GATE BRIDGE -- NIGHT
CASTOR weaves in and out of the cracked asphalt -- banging
past steel cables and around rusted girders.
ARCHER bulls his way through -- closing in.
CASTOR suddenly drops back. WHAM! Sparks fly -- shredding
metal as Castor rams the van.
WHAM! Archer returns the favor.
THE VEHICLES SURGE FORWARD -- bashing each other to bits.
Mufflers, fenders, bumpers and hubcaps tear off and scatter
like shrapnel behind them.
PICKING UP SPEED, the drivers are so utterly focused, so
full of hatred -- they don't see what's looming up ahead ...
A BIG CRANE sits on the right side of the bridge.
ARCHER'S heading right for it. He yanks the wheel and jumps
the pedestrian walk -- clearing it -- almost ...
A SWINGING CRANE HOOK catches the roof of the van. It spins
out and rams the opposite guardrail.
THE RAILING buckles but holds. Archer tries to restart the
van when WHAM! Castor backs right into him. The railing
snaps off and plunges into the abyss.
ARCHER fires up the engine -- but gets no traction. His
rear wheels spin in the air -- suspended hundreds of feet
above the bay.
CASTOR wheels around and speeds forward for the kill.
ARCHER kicks out the shattered windshield.
CRUNCH! The squad car slams into --
THE VAN, sending it tumbling over the edge just as --
ARCHER LEAPS out -- landing hard on the squad car hood.
CASTOR swings the car wildly -- finally throwing Archer.
Castor looks around -- can't see his enemy -- and decides to
floor it. He drives a short ways then ... SLAMS HIS BRAKES.
Castor gets out of the car and walks a few feet. He peers
into the black night -- horrified because ...
THERE IS NO MORE BRIDGE!
Castor sizes up the thirty-foot gap -- then turns and ...
ARCHER (o.s.)
End of the road, Castor.
CASTOR turns to find himself facing ARCHER. Bruised,
bloody, nearly unconscious, the lawman levels his pistol
menacingly. Castor raises his arms in surrender.
CASTOR
You won't shoot me, Jon
-- I'm unarmed.
Archer hesitates -- his whole being in conflict. Finally:
ARCHER
You're right. I won't
shoot you.
He lowers the pistol ... then gives in to the FEELING.
ARCHER (cont'd)
Not in the face anyway.
ARCHER fires -- BOOM! BOOM! BOOM! CASTOR jerks and reels
back. He drops to his knees and looks at Archer in total
disbelief. Then he sinks to the pavement and lies still.
Exhausted, ARCHER lets the pistol drop.
BEHIND HIM -- SQUAD CARS close in. Relieved, he turns back
to Castor but -- CASTOR'S BODY IS GONE!
ARCHER desperately follows a trail of blood and finds CASTOR
dragging himself over the edge of the bridge gap.
ARCHER leaps and snags CASTOR'S hand just as he falls.
ARCHER struggles to hang on as CASTOR looks up and smiles --
his weight pulling ARCHER into the chasm.
He strains and somehow pulls CASTOR back onto the
bridge. ARCHER collapses, gasping, on top of CASTOR.
WANDA and BUZZ rush up.
BUZZ
You okay, Commander?
ARCHER
What did you call me?
WANDA
He called you "commander,"
Commander.
ARCHER attempts a smile -- then sags to the ground.
LATER -- ON THE BRIDGE
Sealed-off crime scene; an NSA ambulance loads CASTOR;
ARCHER'S on a gurney right behind.
ARCHER
How is he?
EVE
No life signs at all.
He's a turnip.
ARCHER
That's what they always say.
Eve tries to climb into the ambulance. Wanda stops her.
WANDA
We'll take him from here.
EVE
But he's my husband.
WANDA
But he works for us.
ARCHER'S loaded -- Eve hands onto his fingers until the very
last moment. Eye-contact: tired, relieved. The door
SHUTS and the ambulance takes off -- leaving Eve behind.
INT. ARCHER'S HOUSE -- DAY
Maybe days, maybe weeks later -- no way to tell. EVE is
at the dining room table, catching up on medical reports.
Sensing something, she looks up and sees a SILHOUETTE at
the front screen-door -- a MAN'S silhouette.
ARCHER'S VOICE
Hello, Eve.
Pulse pounding, EVE frantically pushes open the door to
glimpse the face of the man with ARCHER'S voice.
IT'S JON ARCHER
EVE stares -- then touches his face carefully, tenderly --
searching for a clue, a FEELING that will reveal the truth.
EVE
I started wondering -- if
you couldn't switch back --
would it make a difference?
ARCHER
Would it?
EVE
Damn right.
EVE pulls him tight -- holding on for dear life.
JAMIE (o.s.)
Dad?
JAMIE is there. ARCHER smiles -- gently, almost sadly --
with a softness and genuineness that Castor Troy could never
feel, could never fake.
She rushes to him. The whole family hangs on, hugging and
kissing -- for the first time ever, really TOGETHER.
DISSOLVE TO:
INT. ARCHER HOME -- NIGHT
Midnight. JAMIE sleeps peacefully.
Likewise EVE ... until something rouses her. Waking, she
sees ARCHER isn't there ... then hears something. Looking
out the window, she sees --
IN THE DRIVEWAY
ARCHER takes aim at the basket. He buries a free throw,
making it look easy. His shooting style is chillingly
familiar ... or was it just a lucky shot?
FADE OUT ...
