ENEMY OF THE STATE
ENEMY OF THE STATE
February 10, 1997
EXT. SHENANDOAH NATIONAL PARK, SCENIC VIEW LOT - MORNING
Shenandoah mountains. A cold dawn. TWO BLACK TOWN CARS
sit side by side, facing a view of a farming valley below.
Two MEN in dark suits and long coats stand near the
cars, casually on the lookout. If we caught a glimpse
underneath the coat of the taller of the two, we'd see
that he was carrying a 9mm. Glock.
INT. BLACK TOWN CAR - CONTINUOUS
In the backseat of the car sit HAMERSLEY and REYNOLDS,
each well-kept and in his early 50's.
"I know thy works and thy labour
and how thou canst not bear them
that are evil. And thou hast tried
them who say they are apostles and
hast found them to be liars".
What the hell does it mean?
It means who's side are you on?
You didn't ask me to meet you 30
miles from my office for a Bible
It's a bi-partisan issue. Everyone
needs to swallow hard. No one,
including you, wants to be fingered
as the one obstructing efforts to
crack down on terrorism, and--
I said fuck you.
Is that anyway to talk to an old
You're gonna finger me as soft on
terrorism? Terrorism, you
There are planes falling out of the
sky, buildings blowing up. American
buildings. Americans getting bombs
in the mail. What are we gonna do!?
We're not gonna hand you and your
band of lunatics the keys to the
kingdom. I'm not gonna sit in
Congress and write a law that
allows the NSA to point a camera
and a microphone at anything they
damn well feel like. And the next
time you have something to say to
me, we do it above-board, in my
office, like everyone else. Now get
outa my car, I've got a committee
meeting on the hill.
REYNOLDS regards HAMERSLEY a moment, then opens the car
EXT. PARKWAY - MORNING
HAMERSLEY's car snakes down the twisting mountain road.
INT. HAMERSLEY'S CAR - CONTINUOUS
HAMERSLEY MAKES VERBAL NOTES concerning the Reynolds
meeting into his memo-recorder as he drives. He picks
up his cellular phone and punches in a number.
Senator Albert's office--
The line goes dead.
HAMERSLEY tries again but can't get a dial tone. Then,
in the rear-view mirror, a BROWN SEDAN gains fast.
Whoever the guy is, he's flying. Then a man with a
rifle leans out the sedan's window. Aims.
HAMERSLEY flies into a blind curve. Tires SCREECH as he
rounds the bend to see
A PROPANE TRUCK. Blocking both lanes of the road.
HAMERSLEY's eyes widen. He stomps the brakes, SKIDS and
SLAMS into the truck. The EXPLOSION engulfs everything.
HAMERSLEY and the car are consumed. The pursuing sedan
slows to a stop. The men watch. The car's an inferno.
The MEN pull a 'U' and drive away.
INT. CRYSTAL CITY, VIRGINIA, TALL OFFICE BLDG. - DAY
A well-appointed big-city law office filled with
citations of merit and pictures of a wife and child.
ROBERT DEAN, a likable young lawyer, sits behind his
desk with his back to an OLDER MAN. He stares at a
commanding view of Washington, D.C. as he listens to a
tired, smoke and whiskey voice.
OLDER MAN (L.T.)
I don't know how much longer we can
hold out, Mr. Dean.
I don't know, either, L.T. Maybe
you guys should get yourself a
Well that's why I'm here, Mr. Dean.
'Cause you're a labor lawyer.
Last night, Larry Spinks, he works
the Steel Press, he goes to a bar
with his wife Rosalie to have a
glass of chianti 'cause it's his
birthday, and these two guys, these
Guido mother-fuckers, they jump him
when he goes to the bathroom.
L.T., in this office I'd prefer you
I'm sorry, Mr. Dean. But Larry's in
St. Lukes now, so I'm a little--I'm
not myself. The Union bosses say
unless we take Bellmoth's offer,
it'll only get worse.
That's because your Union bosses
are those Guido mother-fuckers.
I don't under--
The Union's trying to railroad you
into accepting terms worse than
what you have now.
Why would the Union--
DEAN swivels around in his chair and faces L.T.
Because they've been paid off by
My name's Bobby. I'm your lawyer.
Don't do anything 'till I talk to you.
DEAN gets up and walks a grateful L.T. to the door,
calling to his secretary as they go--
MARTHA appears in the doorway...
Larry Spinks, St. Lukes. Send him a
case of chianti from the firm. And
send his wife Rosalie some flowers.
EXT. RESTAURANT - DAY
How's the trout?
It tastes like fish.
It is fish.
I mean it tastes like every other
fish I've ever had. Every fish
tastes the same.
Do you like fish?
Not that much.
DEAN dines in a booth with RACHEL BANKS, 30's. RACHEL
opens her briefcase, removing an 8x10 envelope.
Here's what you asked for. Brill's
note said it was everything you'd
need to, shall we say, coax DePinto--
When do I get to meet him?
That wasn't the answer I was hoping
What answer were you--
DEAN is reaching inside his jacket pocket. He removes
an envelope marked "BRILL".
"Soon". Or at least sooner than never.
It's how he works.
So you've said.
DEAN hands her the envelope.
Ten thousand cash. I don't know if
it's Brill's prices going up or
I take a straight 15 percent.
Brill's fee varies with risk.
Perhaps you'd be more comfortable
using someone else.
Other than Brill.
Other than me.
Why would I--
Someone with whom you don't have
quite so personal a--
I like our history. And I like you.
I'd probably like Brill if I ever
He doesn't work that way.
I just want to make sure I'm not
breaking the law.
How can I be sure.
I wouldn't let you. Good luck with
Eat your fish.
Mr. DePinto? My name's Robert Dean.
I'm an attorney with Seth, Silverberg.
EXT. BUSY STREET - DAY
DEAN weaves his BMW through D.C. bumper-to-bumper
traffic as he eyes the photos that Rachel gave him
which are lying on the passenger seat. The photos show
DePINTO sitting in a motel lounge with TWO MOB TYPES.
He's talking on the phone.
INT. BELLMOTH STEEL OFFICE - CONTINUOUS
What can I do for you?
Well, I was hoping you might stop
by my office to swear out a
criminal deposition against some of
your friends and co-workers.
Is this a fuckin' joke?
I don't believe it is, no.
Why the hell would I--
I've got photographs of you at the
Trenton Ramada looking very--
That ain't me.
You don't know who the fuck--
That's not you having a whiskey
sour with Carmine Morada.
This is fucked. You don't know
who's in that--
You're right, Mr. DePinto, and
maybe I jumped the gun.
You're goddam right you jumped the gun.
That's probably not you in the
picture. I tell you what, I'll just
run the thing by the Grand Jury,
see if they can't--
I want to talk to a goddam lawyer.
Good news there, Mr. DePinto,
you're talking to one.
EXT. MOUNTAIN ROAD - DAY
News helicopters hover over Hamersley's wreck as police
direct traffic around the media circus.
INT. OLD CAR - CONTINUOUS
DAN ZAVITZ, looks older than he is, balding with a
weight problem, sweats behind SLAPPING wipers of a
beater car plastered with environmental issue stickers.
NPR drones on the radio as a police car crawls behind
him, SIREN YELPING, lights flashing, trying to get by.
Alright, alright already, I see you.
ZAVITZ POV: Wreckage surrounded by squad cars,
ambulances and media circus. Something's happened.
EXT. SHENANDOAH NATIONAL PARK - DAY
A tall ladder leans against a dead oak. ZAVITZ sweats
and climbs to a branch where a platform's been built
supporting a large phony bird's nest. He lifts away the
--Two microphones and three motion-activated digital
video cameras and recorders. ZAVITZ checks the cameras'
viewfinders to see--
--TIME-CODED VIEWS - WIDE, MEDIUM AND CLOSE of a
squirrel's nest containing three newborns. The parents
are nowhere to be seen.
ZAVITZ eyes the recorders. The video disks are spent.
He ejects and pockets them, replacing them with fresh ones.
EXT. SOUTHEAST CAPITOL DISTRICT - DAY
An old building needing rehab. A SIDEWALK VENDOR does
brisk business, we DRIFT to an apartment window above.
TV NEWSCASTER (V.O.)
Police are labeling it an accident
but promise a full investigation.
INT. ZAVITZ APARTMENT - CONTINUOUS
ZAVITZ is staring intently at his computer monitor. We
don't know yet what he's looking at, but he's scared to
death as we continue to listen to the NEWS REPORT...
Don Hamersley, senior GOP
congressional leader, was serving
as a negotiator on the House/Senate
sub-committee studying the Anti-
ZAVITZ leans in a little closer to get a better look at
his computer screen, not wanting to believe what he's
NEWSCASTER (CONT'D) (O.S.)
...the controversial legislation
that would give various law
enforcement agencies expanded
authority in the fight against
And now we see what ZAVITZ is staring at on his
computer monitor. The film he shot at SHENANDOAH PARK...
...the meeting between HAMERSLEY and REYNOLDS.
NEWSCASTER (CONT'D) (O.S.)
Known as the Voice of Caution,
Hamersley was an outspoken advocate
ZAVITZ reaches over, picks up the phone, and punches in
some numbers with one hand. With the other, he punches
some keystrokes on the computer. The screen zooms in on
REYNOLDS, getting out of HAMERSLEY's car.
NEWSCASTER (CONT'D) (O.S.)
Sixty-eight years old, Hamersley
leaves behind a wife and four children.
Tell him it's Zavitz. I need to
speak to him. Tell him it's important.
INT. NEWSPAPER OFFICE - SAME TIME
A cluttered office belonging to a radical, fringe
newspaper. ALFONSO, mid-50's, long, graying hair, works
at a computer.
Zavitz, what? You want your old job
Listen to me--
Tired of chasing squirrels around
Lemme ask you something. I put a
bird feeder out in the yard, but
the squirrels, they keep taking--
Turn on CNN.
They keep taking the bird seed. I
thought since you're the expert on--
Goddammit, shut the fuck up and
turn on CNN!
Alright, I made a joke about
squirrels, don't get so--
ALFONSO clicks his TV to CNN. The HAMERSLEY re-cap is
Once again, police at this point
are calling Hamersley's death an
I was doing motion-activated taping
up in Shenandoah. That's where
Hamersley had his accident. He
wasn't alone. He met someone. They
You've got it on tape?
Clear as day.
Who else have you told?
INT. TECH ROOM - CONTINUOUS
A place with mind-boggling technology and high-tech
recording devices. DAT recorders spin silently.
No one. But I'm a little nervous.
When can you get it here?
I'm doing a transfer now.
Come straight here. Don't talk to
I'll come straight there.
Be careful, Danny.
INT. TOWN CAR - DAY
CLOSE ON REYNOLDS sitting in the back. Well-dressed and
alone, he reviews a bible. His cellular phone RINGS. We
HEAR static as two encrypted lines find digital
compatibility. Finally, a confirmation TONE--
EXT. KENT ISLAND - SAME TIME
Misty forests sweep down a hill to the Chesapeake Bay.
A road leads to a high-voltage security fence and
guard-shack. Beyond are several windowless concrete
structures bristling with microwave antennas and
satellite dishes. A sign reads:
KENT ISLAND RESEARCH FACILITY
Prohibited Area. No Photos or Sketches.
Violators Subject to Immediate Arrest and Fine
Under Penalties of the Internal Security Act
NSA SIGINT INTERCEPT STATION - KENT ISLAND, MARYLAND
INT. TECH ROOM - CONTINUOUS
The banks of high-tech digital recorders record
incessantly as a TECHNICIAN holds a phone to his ear.
Someone had automated cameras in
the park. A nature photographer.
Jesus H. Christ.
How're we with pre-trials. Ms.
INT. DEAN'S LAW FIRM, CONFERENCE ROOM - DAY
Packed seats around a long conference table. The entire
law firm reviews the proceedings. DIANE SAUNDERS
answers the questions from her senior partner.
I'm expecting a favorable ruling
this afternoon on the evidenciary
motion, but I could use some more
manpower with the interrogatories.
Mr. Dean, would you care to give Ms.
Saunders a hand with the
God knows I would, sir, but I have
a previous engagement this evening.
And may I ask what could possibly
be more important than Fawell Oil v.
U.S. Environmental Agency?
I have to go lingerie shopping.
A Christmas present for my wife.
Go to Harrison's. They've got
models that'll try the garments on
Bobby, this is a 40 million dollar
client. I really need some help
Diane, maybe you didn't hear Mr.
Silverberg. They've got models
that'll try on the garments.
Thank you, sir.
Merry Christmas, son.
EXT. OLD BROWNSTONES - AFTERNOON
Establishing. Apartments on upper floors, businesses on
INT. ZAVITZ APARTMENT - CONTINUOUS
Jacket on, ready to leave, ZAVITZ sits at his computer
finishing a transfer. A TONE beeps as a COMPUTER TIME
GRAPH sweeps to 'finished'. The screen reads: TRANSFER
There's a KNOCK at the door...
...ZAVITZ looks over.
MAN'S VOICE (O.S.)
Federal Express for 'Zavitz'.
MAN'S VOICE (O.S.)
For Daniel Zavitz. I just need a
How'd you get in the building?
MAN'S VOICE (O.S.)
The door was open, sir. I just need
ZAVITZ disconnects a video digitizer, removes a game-
cartridge containing the digitized video...
...and inserts it into a Gameboy.
He steps to the door and eyes the peep-hole.
ZAVITZ POV: A fish-eye view of a Fed-Ex man, JONES,
Can you tell me who it's from?
Micro-Tel Electronics. Sunland.
Can you--would it be possible to
leave it by the door?
Not without a signature.
(stepping to the window)
All right. Okay. Just give me a minute.
ZAVITZ POV: TWO DWP INSTALLERS hovering in a bucket
across the street. Down below, a cargo van with a
multiple roof antenna is double parked near a Fed-Ex
--Through a street window's reflection, ZAVITZ sees his
building's front entrance. SEVERAL TENANTS are being
prevented from entering by TWO MEN, plain clothes, one
with a radio communicator pressed to his ear.
ZAVITZ backs from the window, seized by panic. He grabs
He picks up his fax line. Also dead.
He grabs the GameBoy, goes to a small side window and
opens it. A ledge snakes around the corner. An athlete
he's not but there's no choice. He squeezes out.
INT. ZAVITZ BLDG. STAIRWELL - CONTINUOUS
PRATT, wearing a Fed-Ex uniform, is laying in wait.
RADIO VOICE (O.S.)
(through PRATT's earphone)
Go to three. Go to three. Package
is out the window.
PRATT sprints down the hall, pulling out his pistol, as
JONES kicks in Zavitz's door and rushes in. The
window's open. JONES looks out as the last of ZAVITZ
goes around the corner of the ledge.
RADIO VOICE (O.S.)
(through JONES's headset)
305 to 308. We've got the eyeball.
EXT. ROOFTOP - CONTINUOUS
It's the rooftop ZAVITZ is heading to. Two MEN crouch
behind a wall, watching ZAVITZ approach.
We'll take delivery from here.
ZAVITZ inches along, scared breathless. He looks back.
Maybe he was wrong.
A pigeon suddenly flies by...ZAVITZ loses his balance,
He crashes through an awning and into a sidewalk fruit
Dazed, ZAVITZ crawls to his feet as passersby watch
Things happen fast. The cargo van rips from the curb
but is suddenly blocked by a delivery truck. HORNS BLAST.
HICKS, 30's and athletic, leaps from the van.
Fears confirmed, ZAVITZ starts down the sidewalk,
shakes off pain, and moves to a run.
Except now there's someone in front of him. He's
trapped. Reaching a doorway, ZAVITZ pushes. The door
INT. RESTAURANT SUPPLY SHOP - CONTINUOUS
ZAVITZ charges through and kicks open a fire door. An
alarm blasts as he exits to--
EXT. ALLEYWAY - CONTINUOUS
A garbage truck screams up the alley. There's no way to
outrun it. There's a fire escape above a dumpster.
Breath rasping, he struggles on the dumpster, pulling
himself up the ladder just as the truck OBLITERATES all
ZAVITZ struggles and climbs. Reaching a landing, he
pauses for breath...
...and sees HICKS and two others just moments behind.
ZAVITZ grabs a fire escape door, tugs, pulls and bangs
it open to--
INT. A DILAPIDATED HALLWAY - CONTINUOUS
ZAVITZ hurtles by, trips, get up, runs again, adrenaline
pumping as PURSUING SOUNDS near. He pitches down a
staircase, shoves TWO PEOPLE and rips through--
INT. COFFEE SHOP - CONTINUOUS
He flies past the diners and exits into--
EXT. BUSY STREET - CONTINUOUS
HICKS and ANOTHER fly out of the diner, just in time to
see ZAVITZ melting in with Christmas shoppers that are
entering a department store.
We see that the large sign over the entrance to the
store reads: "HARRISON'S".
INT. HARRISON'S DEPARTMENT STORE - EVENING
An upscale store packed with Christmas shoppers.
At a fashion ramp, a small crowd of mostly WOMEN have
gathered to watch leggy models feature a particular
line of lingerie. Mixed in among this group is DEAN, a
shopping bag in each hand, his briefcase tucked under
one arm, trying his best to affect an air of the
WOMAN'S VOICE (O.S.)
May I help you?
The WOMAN is sales clerk who's been in this situation
Do you see anything you like?
I'm married to my wife...of several
years...and I'd like to buy...as a
You'd like to buy your wife some
lingerie as a Christmas gift.
Yes. I have her permission.
It's okay. I think it's a wonderful
Can you help me?
How 'bout Christian Dior?
Is that good?
I don't know anything about this.
Well, I mean, I know a little
about--from a certain perspective.
My point is, I don't want to do
It's a little late for that.
Eight. Size eight.
I'll be right back.
The SALES CLERK goes around the counter to the rear
area. DEAN glances at the fashion show when he glimpses--
ZAVITZ, hurrying through the women's dressing area,
desperately looking for an exit. No luck. ZAVITZ moves
toward DEAN, about to break for the front, but HICKS is
there searching. Trapped, ZAVITZ ducks behind a display.
DEAN watches, unaware of ZAVITZ's pursuers. Then it
ZAVITZ turns, frightened....
It's me, Robert Dean.
From Seth, Silverberg. I worked on--
It's been a few years.
I'm just doing some Christmas
shopping. It's for my wife, no
kidding. Though, this isn't the
main present, it's just, you know,
I need help.
Tell me about it.
How can I reach you?
Are you okay?
Are you still in Crystal City?
Yeah, what's going on?
SALES CLERK (O.S.)
I think she'll like this very much.
Listen, Daniel, hang on one second.
For that matter, I think you will too.
(to the SALES CLERK)
Could you give me just a moment to
talk to a friend of mine here? Not
about this, but...Daniel?
DEAN looks around...
...ZAVITZ is gone.
EXT. HARRISON'S DEPARTMENT STORE - EVENING
Out on the street, ZAVITZ shoves into a group of
shoppers waiting for the light. Then he sees HICKS and
his PARTNER. They see him.
Fuck the light.
ZAVITZ runs into the street as--
--a BUS speeds through yellow. ZAVITZ is caught in its
Only stunned witnesses remain.
DEAN exits the department store. He sees the commotion
and makes his way over.
(to a bystander)
A guy got hit by a bus.
SIRENS can be heard in the distance. DEAN eyes the
ground where the body lays. He sees Zavitz's BLOODY
EXT. ANNAPOLIS - NIGHT
DEAN's BMW drives through a neighborhood of stately
homes, all magnificently decorated for Christmas.
INT. DEAN'S BMW - CONTINUOUS
DEAN drives, a little shaken by events. The RADIO plays
an AT&T COMMERCIAL relaying the joys of home tele-
conferencing. DEAN enters the driveway of his picture-
INT. DEAN'S HOME/FOYER - NIGHT
DEAN enters with his shopping bags and briefcase.
Searching for family members, he enters--
INT. DEAN'S HOME/DEN - NIGHT
DEAN's 8 year old son, ERIC and Eric's friend DYLAN sit
by the big-screen TV, glued to a video game. A NANNY is
nearby, lost in a magazine.
Excuse me, have any of you seen an
eight year old boy, good looking,
Hi, Mr. Dean.
Hello. Hello, Maria.
Hello, Mr. Dean.
We can't get to the fourth level.
We keep getting vaporized by the
You're learning a cruel lesson.
Are those my Christmas presents?
Some of 'em.
Can I open 'em up?
Sure, go ahead.
In your dreams.
You staying for dinner?
Is it okay?
You got any money?
She's in the kitchen.
INT. KITCHEN - NIGHT
The kitchen is in the midst of a remodel. A wall-
mounted TV is showing "CROSSFIRE", where the two HOSTS
are mediating a battle between TWO SENATORS.
STACY watches the show with one eye, cooks with the other.
SENATOR TASKEN (TV)
Laws service society and they need
to be flexible to meet changing
demands. We've got to be able to
deal with a terrorist threat before
This guy's a fat-assed Rotarian gasbag.
Listen to him.
SENATOR TASKEN (TV)
This is no longer a theoretical
problem, it's a reality. Turn on
the news. Bombings, hostages--
He's got a point.
Not a very good one, but--
So you tap everyone's phone? You
use computers to probe financial
records? New Search and Seizure laws?
Just for the criminals.
We won't suspend the civil rights
of the good people.
You should take this seriously.
I think you're taking it seriously
enough for both of us.
He kisses her. A good one.
You're a lawyer. Don't you care
what's going on around you?
Something bad happened tonight.
I saw a man die.
What do you mean?
In front of Harrison's, he got hit
by a bus. I knew him. The firm did
some pro bono work for his
organization a few years back.
The thing is, when I saw him, it
seemed like he wanted to tell me...
...he was upset about something and
Doesn't matter now. I'm gonna wash up.
What'd you buy at Harrison's?
A toaster. And no terrorist talk at
dinner. You're spookin' the kids.
DEAN heads upstairs...
"Do thou, O Lord, protect us--
INT. CATECHISM CLASSROOM - SAME TIME
REYNOLDS lectures a class of young CATECHISM STUDENTS.
--guard us ever from this generation.
On every side the wicked prowl, as
vileness is exalted among the sons
of men." Psalms 12.7 and 12.8. Tell
me what this means, Mr. O'Brian.
REYNOLDS cellular phone rings. He opens his briefcase
and takes it out.
INT. HALLWAY - CONTINUOUS
REYNOLDS busts out of the room, phone to his ear. Two
MEN IN SUITS wait like pit bulls, ready for anything.
Over the phone, we HEAR CONNECTING HANDSHAKES as the
lines find digital compatibility.
HARRISON'S DEPARTMENT STORE - CONTINUOUS
The store is now closed.
INT. SECURITY OFFICE - CONTINUOUS
HICKS holds a cellular phone as PRATT questions the
SALES CLERK. Nearby, a monitor shows a time-coded
surveillance tape of the lingerie section. DEAN and
ZAVITZ are in playback, engaged in their earlier meeting.
Finally, a confirming tone...
He's dead. An accident. Hit by a bus.
What about the tapes?
We found the originals.
There was a transfer.
Am I to understand--
He never made it to the newspaper,
but there was private sector contact.
Several indiscriminates and one
primary who we've ID'd as Robert
Dean. A Crystal City attorney.
Contact COINTEL. Profile. Assess
the threat. Then cross-check
against Zavitz. Red-flag the
intersects and anything we can
exploit. Also NRO. Pull up the
keyhole tapes. I need to own him. I
need to own him now.
EXT. NATIONAL SECURITY AGENCY, BLDG 227 - DAY
Establishing. Fort Meade. A massive complex surrounded
by razor wire and surveillance cameras.
SUPER: NATIONAL SECURITY AGENCY, FORT MEADE, MARYLAND
We PUSH IN on one building several blocks long. Its
roof is bristling with antennas, dishes and domes.
INT. BUILDING/A LARGE SPACE - CONTINUOUS
TIGHT ON MANILA folder stamped
TOP SECRET - UMBRA
HANDLE VIA COMINT CHANNELS ONLY
HAND CARRY - NO COPIES
A SKINNY MAN clutches the folder, walking by endless
cubicles of high-tech industriousness. He stops where
an ANALYST types on a terminal near a retinal scanner.
The ANALYST opens the folder to see a request for a
PRIORITY WRAP on ROBERT DEAN, followed by a Social
Security Number. The ANALYST enters in the number.
A MONTAGE OF IMAGES GAINING IN SPEED--
CLOSE on COMPUTER SCREENS showing in the harvesting of
DEAN's electrical identity. His phone bills scroll by.
Names, addresses, employment people called--
Months, years flashing by quickly. Other data banks are
probed. Insurance policies, credit histories, video
rentals, library checkouts, school transcripts, ATM
transactions, tax returns...everything. Irregularities
A matching ZAVITZ ITEM is found. DEAN's banking info is
red-flagged. He has large cash withdrawals with no
matching purchases. His withdrawal dates match up with
unaccounted-for cash deposits...
...in RACHEL BANKS' savings account.
CLOSE ON PRINTER. Conclusions spill out labeled "RISK".
More probes are recommended into the RACHEL BANKS/ROBERT
DEAN money connection.
CLOSE ON EYE BEING SCANNED - We HEAR a TONE.
PULL BACK to a PREGNANT WOMAN sitting with her head
pressed to the scanner. A second verification TONE
sounds. A poster above her work station reads:
IN A DIGITAL WORLD
NUMBERS DON'T LIE - PEOPLE DO
She enters a phone number in her terminal. The computer
DIALS. She waits, snacking on rice cakes. Finally,
another computer ANSWERS. On screen appears: PAC-TEL
TESTING BOARD. The screen fills with choices. She
AT&T LINE-VERIFICATION REQUEST
LOG-IN ACCESS CODE
She enters another command. A new prompt reads: ENTER
LINE REQUEST NUMBER.
Eyeing DEAN's folder, she enters the phone number and
commands "ENTER". "RECORD".
The telephone tap is instant.
A VOICE GRAPH appears in-sync with CONVERSATION now
coming over the speakers.
(mid-conversation, over speakers)
Diane's instinct is that it's sabre
rattling. I think they're gonna
She enters more commands. An Automated-Voice-Transcriber
kicks in. DEAN's CONVERSATION is now transcribed
INT. NRO, KEYHOLE-12 LAB - CONTINUOUS
A massive, dark place growing with monitors and tech.
SUPER: NATIONAL RECONNAISSANCE ORGANIZATION, CHANTILLY,
Names of world regions are posted above endless monitor
screens displaying live, digital-image feeds of Earth
coming in from the Keyhole-12 Spy Satellites. Every
populated area of the planet is covered here. ANALYSTS
attend the many feeds.
A poster reads:
THE KEYHOLE '12' SERIES
MAKING THE WORLD AN HONEST PLACE
On another poster, a man's running shadow in a target
bulls-eye with a caption reading:
YOU ARE A SECURITY TARGET
Beneath a sign reading U.S. North-East Coastal Region,
an ANALYST reviews time-coded, digital SAT videos of
Washington, D.C. As seen from space, the Capitol
appears to be nothing more than a greyish mass. The
ANALYST keys commands into his system.
CLOSE ON MONITOR - The overhead SAT view of Washington
moves in closer, soon streets are discernible, then
cars and buses - then an accident in an intersection
with flashing ambulance lights and a bus. A body lies
twisted in the street - it's ZAVITZ.
The ANALYST enters additional commands. The ZAVITZ/bus
accident freezes, then plays in reverse as if recorded
by the eye of God. The scene continues reversing,
following close on Zavitz as he back-tracks into
Harrison's Department Store.
INT. ANOTHER VIDEO LAB - SAME TIME
CLOSE ON ANOTHER ANALYST facing three monitors showing
additional views of ZAVITZ's escape as captured by a
traffic camera, an ATM camera and the security inside
We've checked everything. NRO tapes,
traffic surveillance monitors -
INT. IMAGE ENHANCEMENT LAB
TWO TECHIES huddle by a monitor overseen by FIEDLER, a
computer expert. The monitor displays the Harrison's
surveillance tape of the ZAVITZ/DEAN meeting.
- and two ATM cameras. The one
showing promise, though, is this
security camera from the department
The TECHIE hits a command. ZAVITZ and DEAN freeze on
The TECHIE boxes the area to be enhanced. He types
commands. The boxed area increases ten-fold.
Focus on the drop.
The enlarged view shifts to DEAN's gift bags. The
picture's fuzzy. Someone passes by, blocking the view
at a crucial moment.
Enhance, then forward, frame by
More keystrokes. The computer takes over, clarifying
the image with passes of resolution.
HICKS leans in closer as the image of the bag inches
Just before the view's blocked,
Zavitz reaches in his jacket for
something. When the view returns,
there's a shape change in Dean's
bag. See the shadow variance? We
reverse imaged it--
FIEDLER points to another screen displaying a digitally-
enhanced image of the shadowed object and its
Something's definitely been added.
It's not a video cassette, the
REYNOLDS steps forward. His eyes are red. It's been a
What's your opinion?
It's hard to say for certain, these
I'm not asking you to say for certain.
This is what you're trained to do,
Then what's your goddam opinion?
Zavitz had digital compression
equipment. He could've downloaded
into something. A disk, a chip,
anything small enough to put in his
pocket and run with. Whatever he
put it in, he dropped it in that bag.
REYNOLDS heads for the door.
We'd have to--
INT. RANGE ROVER - NIGHT
DEAN drives with STACY as ERIC sleeps in the back seat.
Various hats and souvenirs tell us that they've just
come from a Redskins game.
They drive in silence for a moment before...
How'd you get the information on
What do you mean?
Who did you work with to get the--
A guy named Brill. Same guy as always.
Yeah, but you said you've never met
him. How did you--
Honey, I don't like to talk about
this stuff in front of Eric.
Have you been working with Rachel?
The RANGE ROVER pulls into the driveway.
INT. DEAN'S HOME/ENTRY FOYER - NIGHT
The DEAN's enter the doorway. ERIC and STACY are first.
They stop, faces shocked. DEAN hasn't noticed yet. His
hand automatically goes to the alarm key pad.
CLOSE ON THE PAD - The LED reads: ARMED. DEAN punches
the code -
Oh my God -
The house is ransacked. The ALARM suddenly BLARES,
CLOSE-UP ON THE CEILING VENT - The CAMERA PUSHES IN
TIGHT revealing a concealed, fiber-optic video lens the
size of a pin-head.
EXT. DEAN'S STREET - CONTINUOUS
Several cars and a florist van are parked on the quiet
INT. FLORIST VAN - CONTINUOUS
The van is really an electronic surveillance post
jammed with the latest equipment. A TECHIE with
headphones eyes a monitor.
CLOSE ON THE MONITOR showing the PIN HOLE SURVEILLANCE
VIEW of STACY walking through a disheveled room in a
state of shock while DEAN pulls out his cellular phone
(through the TECHIE's headphones)
This is Robert Dean at 3325 Sutton
Place. I want to report a break-in.
INT. RACQUETBALL COURT - MORNING
A black ball slams against a wall. PULL BACK to DEAN,
who's angry, frustrated and drenched in sweat. He's
embroiled in a hard, fast game with his friend, JERRY.
They took the espresso machine. The
espresso machine, Jerry! Which
makes sense, you know, because the
crooks probably wanted to make
themselves a latte before fencing
Did they take your clothes?
You've got a bunch of Armani suits,
they didn't take 'em?
Usually they take clothes.
Why don't you give 'em a call.
What about jewelry?
They didn't take the jewelry. They
took the computers. They took the
big-screen TV, they took my blender.
I love my blender.
They didn't take the silverware?
No, but they took my blender.
Sounds like they didn't want
anything that wasn't electric?
They only took electrical appliances.
Serve the ball.
INT. DEAN'S OFFICE BUILDING/LOBBY - MORNING
A busy lobby for a major complex. DEAN, freshly
showered, steps from a door marked: TO PARKING LEVELS.
MALE VOICE (O.S.)
DEAN turns to see MORELOS, 40's, an obsessive man with
a terminal smile.
I didn't want to bother you during
your racquetball game.
Who are you?
MORELOS shows him his badge.
I'm sorry. Detective Morelos.
Hey, did you guys find my stuff?
No, sir, I'm not involved with that.
I'm doing a quick follow-up on a
bus accident took place a few
nights ago. Your name keeps coming up.
Oh...yeah, I didn't see the accident.
Witnesses said you were there, but
I notice you didn't file a report.
A police report.
That's 'cause I wasn't there.
You weren't at Harrison's Department
Store the night before--
I was in the store, the accident
was outside. It was a bus.
Someone said you spoke to Mr.
Zavitz before he died. I thought
you might know something.
About the accident.
I'm no expert, but I'm assuming
that the impact of a moving bus
against his body caused--
Mr. Zavitz was in trouble.
What kind of trouble.
You tell me.
Are you invoking attorney/client
I'm not his attorney.
Than why can't you tell me.
Because I don't know.
I'm just trying to determine if Mr.
Zavitz was involved in something
more than a simple bus accident.
Than why don't you talk to the bus
Why so edgy, Mr. Dean?
Somebody took my blender.
We'd appreciate your cooperation.
I'm happy to help you all I can.
But I didn't see the accident and I
barely knew Daniel Zavitz. I've
gotta go to work.
DEAN starts walking--MORELOS follows him.
Did he give you anything?
Anything at all?
Was he with anyone?
Not that I could see.
Nobody gave you anything?
Why'd you go to Harrison's?
To buy lingerie.
For your wife?
Yes, for my wife, what the hell
kinds of questions are these.
I thought maybe it might be for
DEAN stops short and turns to MORELOS. He stares.
I don't know what's goin' on with
Zavitz, but that was way, way outa
DEAN steps into the elevator.
(into concealed sleeve-mic)
403 to 401. He's coming up.
INT. LAW FIRM/CORRIDOR - DAY
DEAN walks down the hall toward his office. He stops by
PEERS as he enters his office.
'Morning, Mr. Dean.
Hey. Would you get me what I need
for Zwernickii and the Bellmoth
And do me a favor. Find out what
you can about Daniel Zavitz. We did
some work for him a few years back
and there should be a file.
DEAN enters his office and turns his computer on. It
BEEPS, BOOTS and loads.
INT. BUILDING CORRIDOR - CONTINUOUS
LEVIN approaches the men's room. A MAINTENANCE MAN
cleans up broken glass and water by the door. A sign
reads: CLOSED FOR MAINTENANCE. Levin turns and leaves.
(into concealed sleeve mic)
402 to 401. Doorstep's clear.
INT. MEN'S ROOM - CONTINUOUS
Two more MAINTENANCE MEN kneel in a stall adjusting a
portable monitor and oscillator. They aim a directional
antenna using slow, sweeping motions.
CLOSE ON THE MONITOR displaying the intercepted signal.
It's Dean's computer screen with text being typed in.
The words are hard to read due to horizontal drift.
After adjusting the antenna, the signal smooths.
We PUSH CLOSER. The signal shows the current display of
Dean's computer screen. We see Dean's O.S. command pull
up his E-Mail. A prompt asks for a password.
A switch is flipped. XXXXXXX becomes PUCCINI. Dean's
"secure" file opens. Entries appear.
402, this is 401. Password's "Puccini."
EXT. COURTHOUSE - DAY
Establishing. A large, busy place. LAWYERS and AIDES
bustle in and out of this structure.
INT. COURTROOM - DAY
A busy morning as ATTORNEYS wait their turn to present
motions before the JUDGE.
DEAN is seated next to LEVIN, making notes.
Dick Burns got a phone call this
morning from someone wanting
information on you.
No. He said they were doing a
credit check. Are you refinancing a
You remember Daniel Zavitz?
He got hit by a bus.
What does that have to do with you?
I honestly don't know.
ANOTHER ATTORNEY sits several rows back, watching the
proceedings, briefcase in his lap.
CLOSE-UP on the ATTORNEY's EAR with a mini-receiver.
From it drift snippets of the DEAN/LEVIN conversation.
Was Zavitz in trouble?
I don't know.
A pulled back leather flap on the ATTORNEY's briefcase
reveals the tip of a concealed microphone.
You think there was a connection to--
Jesus! I just told you. I don't know.
EXT. COURTHOUSE GARAGE - DAY
DEAN waits for the garage attendant to bring down his car.
DEAN turns. TWO MEN, PRATT and BINGHAM approach him.
(pulling out a card)
We'd like to ask you some questions
about Daniel Zavitz.
Who are you people?
(handing DEAN the card)
I'm an investigator with Pro-Tech
I went through this with an
investigator this morning. If I
Mr. Zavitz was involved in an
extortion scheme. We believe he
passed you sensitive materials,
possibly with your knowledge, and
we need to--
We believe he did.
We have good reason to believe that
he passed you--
If he passed me materials, I'd have
them. I don't.
We'd like to recover any materials
Mr. Zavitz may have given you--
He didn't give me--
--otherwise we may have to--
Otherwise you may have to what?
We'd rather not--
Fuck you. You may have to what?
We may have to explore additional
INT. TECH ROOM - NIGHT
We HEAR a recording of the conversation between DEAN,
PRATT and BINGHAM while we're CLOSE on an INK NEEDLE
measuring Dean's voice stress levels.
He didn't give me--
--otherwise we may have to--
Otherwise you may have to what?
We'd rather not--
Fuck you. You may have to--
HICKS turns off the recorder. Standing with him is
REYNOLDS, the Dean file and voice stress graph laid out
He's arrogant and threatening.
Voice stress points suggest he's
It was in his bag. Now it's not.
Destroy his credibility before he
goes public. Neutralize him. I
don't want anyone listening to a
word he has to say. Tell me about
EXT. EXMOOR COUNTRY CLUB - EVENING
Establishing. A massive clubhouse surrounded by
expensive cars and tended grounds. We HEAR strains of
Gershwin's "They Can't Take that Away from Me" from inside.
INT. COCKTAIL LOUNGE - CONTINUOUS
GUESTS mill about. DEAN and STACY are standing by the
reception table where name tags and seating assignments
are laid out. DEAN picks up a card that reads: MR. AND
MRS. ROBERT DEAN - TABLE 122.
JERRY steps over and puts his hand on DEAN's shoulder--
Can I talk to you a second?
That's what I want to talk to you
I wrote a check for a thousand
dollars. You guys didn't have a
table that was in the kitchen?
JERRY gently pulls DEAN to a quiet corner...
The Congressman's very happy to
have your support, but he's heard
that there's an investigation.
An investigation? It was a bus
He's heard that it's escalated.
Your Bellmoth case. The FBI thinks
there might be mob ties.
I'm a labor lawyer. There are
always mob ties.
Just be cool.
INT. DINING ROOM - NIGHT
CLOSE ON and OLD MATRON carefully chewing her food near
a table card declaring: 122. The gala swings everywhere
but here. DEAN and STACY are the only other diners at
I don't understand why Jerry
couldn't clear this up.
Well, you know--
He's got his priorities?
There's just, clearly, some
administrative snafu. I'm sure this
is the worst of it.
EXT. DEAN'S OFFICE BUILDING - DAY
Establishing. A glass and steel high-rise reaching upward.
INT. DEAN'S OFFICE - CONTINUOUS
DEAN sits behind his desk as his secretary MARTHA enters.
It's Rachel Banks.
DEAN picks up the phone--
INT. RACHEL'S CONDO - CONTINUOUS
RACHEL cradles a portable phone to her ear.
I got a call from my firm this
morning saying don't come in.
There are reporters wanting to know
about my relationship with you and
how long I've worked for the mob.
The mob, Bobby!
All right, look--
Before DEAN can respond, there's a knock at the door.
PEERS sticks his head in--
Blake and Silverberg want you in
the conference room.
INT. CONFERENCE ROOM - DAY
DEAN sits in the conference room by himself. He waits.
After a moment, SILVERBERG and BLAKE stride in.
I got a call this morning from a
source I trust. The Post is running
a lead this afternoon about your
involvement in the Bellmoth
I don't under--
We've also been informed that the
Grand Jury is going to call for an
investigation into your affairs.
They want to hold you in Contempt
for ethics violations.
They claim you helped create a
shell company for Sam Vollotti in
Zurich and that through your
continuing relationship, the
Gambino family's been able to exert
influence and provide false
witnesses to discredit our case.
Oh, well, that's true.
Except for the part about my
setting up a company in Zurich and
knowing anyone named Sam Vollotti
and having any relationship
whatsoever with the Gambino family.
Gimme a week and four guys from
litigation and I'll have the Post
pleading with us not to sue for libel.
Tell us about Rachel Banks.
Have you two been having an affair?
DEAN is speechless...
What kind of a question is that?
A direct one.
I have a professional relationship
with Rachel Banks. She's the go-
between for a private investigator
What's his name?
Why don't you just call Brill directly.
I don't know who he is.
I'm told you had an affair with
Rachel Banks four years ago.
Told by whom?
Considering the enormous exposure
to which you've subjected this firm,
I'd think you'd do best to simply
answer my questions.
Well considering what a colossal
douche bag you are, David, maybe
I'd do best to simply kick your ass
all over the capitol.
This is bullshit. Someone's mixing
up a bunch of half-truths to ruin
me and to ruin my case.
Who would do that?
Maybe Bellmoth. Maybe the unions. I
Well until we find, you're gonna
have to take a leave of absence.
You're firing me.
A leave of absence. Until we've
sorted this all out.
Put David on it. He seems anxious
to clear my name.
INT. DEAN'S HOUSE/FOYER - EVENING
JENNY, early 30's, heads him off--
She doesn't want to talk to you.
What are you talking--
She can't talk to you right now.
Because she's reading the newspaper,
DEAN pushes past her and heads to the back patio--
EXT. BACK PATIO - CONTINUOUS
STACY stares blankly, eyes red. A copy of The Post is
beside her. A picture of DEAN and RACHEL, arm in arm,
accompanies a headline.
DEAN walks in--
How could you let me find out like
Stacy, I found out like this. This
is the first I'm hearing of--
It's not true.
"Sources revealed an FBI
investigation into a possible money
laundering scheme that may have
sent millions of dollars--
I've seen it.
"At the center of the investigation
are well-known Washington-area
attorneys Robert Dean and Rachel
STACY whips the paper at him--
I have lunch with Rachel once a
month. She's my connection to an
I told you I didn't want you seeing
You had an affair with this woman,
Robert, we went to a fucking
counselor for a year.
I see her for business.
You told me you weren't seeing her
I didn't want you to be upset. I
shouldn't have lied. Stacy, there's
nothing between me and Rachel Banks.
STACY grabs another paper and shoves it across the
table. DEAN picks it up.
DEAN'S POV: A black and white surveillance photo of
DEAN and RACHEL on a hotel balcony.
The date stamp on the picture is
last month. Is that where you and
Rachel conduct business.
(shaking his head)
It's not real...
That's not me.
It's not a real picture, Stacy,
it's been doctored-up.
I think you should leave now, Robert.
Leave this house.
EXT. HYATT HOTEL - NIGHT
Establishing. Downtown Washington, D.C.
INT. REGISTRATION DESK - CONTINUOUS
A busy night. DEAN stands at the registration desk
facing a DESK CLERK.
I'm sorry, sir, this card's been
It's a brand new card.
Maybe it's not connected yet.
(handing him another)
Here, you can use this.
The CLERK runs it through. Same result.
He returns the card, embarrassed for Dean. DEAN turns
...and stops dead. He stares at the empty floor by a
My suitcase is gone.
DEAN walks quickly around the area, looking at
everything and everyone.
I'm sure we can locate it for you, sir.
Don't count on it.
EXT. BANK MACHINE - NIGHT
DEAN stands at the ATM, waiting for cash. There's a
short line of PEOPLE behind him. His bank card spits
out. The monitor reads:
Temporarily Unable to Process
(pounding the machine)
The waiting PEOPLE back away...
EXT. CHEAP MOTEL - NIGHT
A weathered sign reads:
All Rooms $39.95
An O.S. TV DRONES the latest AT&T COMMERCIAL--
(soft and seductive)
Have you ever tucked your kid in
from a phone booth? You will--
INT. MOTEL ROOM - CONTINUOUS
CLOSE ON AN OLD COLOR TV. The COMMERCIAL ENDS. A
NEWSCASTER returns to deliver the late-night news.
In Richmond today, Senate Majority
Leader Sam Albert paid a visit to
promote the ten-billion dollar
The newscast cuts to SAM ALBERT, late 60's, standing on
State Capitol Building steps delivering a speech to
America is under assault, and this
time it's from within. The gangs,
the terrorists, the drug lords, the
PULLING AWAY from the TV, we explore the room. Dimly
lit and cluttered with tired furniture.
SENATOR ALBERT (CONT'D)
It's a war like any other war. A
war with victims and a war that
requires courage and strength.
Outside the window, a BUZZING NEON SIGN flickers red
and blue. We finally end on DEAN, sitting on a sagging
bed, rubbing his eyes...the newspaper with the
doctored-up photo is sitting next to him.
EXT. BUILDING - DAY
Establishing. Italian area of Baltimore. A 40's era
box-building. A sign reads:
Italian/American Legion - Members Only
INT. ITALIAN/AMERICAN LEGION - CONTINUOUS
Thread-bare chairs and a couch. SAL and FRANKIE, both
meaty guys in shiny shirts, sit facing DEAN, who stands
I'm sorry. I'm not sure I understand.
You wanna fuckin' what?
I'd like to speak to someone about
what's happening to me.
What'd this guy say his name was?
This is Bobby Dean, the Jew lawyer
who squeezed DePinto.
Actually, that's not true.
You didn't squeeze DePinto?
No, I meant I'm Presbyterian.
My wife's Jewish. But that probably
doesn't matter right now.
What is it you want?
Someone's trying to destroy my life,
and I'd like to find out who.
And then what?
I'll see if I can, you know, work
Well we'd sure like to help you.
Yes. But we can't.
Because we, and our associates,
have paid out hundreds of thousands
of dollars to shyster lawyers like
you, because of shyster lawyers
like you, and we'd just as soon sit
back and sip a beer while you get
ass-banged by as many people as
EXT. STATELY OLD BUILDING - DAY
Establishing. A sign reads:
The Audobon Society - National Headuarters
WOMAN'S VOICE (V.O.)
He shot wildlife footage--
INT. AUDOBON HEADQUARTERS/EDITING BAY - CONTINUOUS
MEG BURTON sits near an editing machine as two EDITORS
review endless amounts of bird footage. DEAN sits next
I know, but--
Wildlife footage, for God's sake. I
don't see how he could've slipped
you something that the FBI would be
That's my point.
What's your point.
Well, I need to find out as much
about Daniel as possible.
Because my life is being ruined.
Daniel's life is already ruined.
Maybe if you guys stopped thinking
about yourselves for a change and--
EXT. THE GANG-PLANK BAR - DAY
Establishing. The Baltimore water front. A crusty bar
overlooking the bay.
INT. BAR - CONTINUOUS
Sunlight slashes blinds revealing a place that is wrong
during the day. JIMMY, a beefy bartender, takes stock
of the liquor while RACHEL sits in a dark booth.
RACHEL looks up...
Good. You're just what I need right
You got a minute?
It's really not a good idea for me
to be seen with you.
Who's doing this?
I gotta go.
(blocking the door)
Will you hang on just a second.
Rachel? There a problem?
She looks at DEAN for a moment...
No. No problem.
EXT. HARBOR CENTER - DAY
CLOSE ON a SURVEILLANCE CAMERA on a pole, sweeping,
making automatic lens corrections.
There's a lot of people asking
questions about you and me.
We drift down to the harbor walkway, a greenbelt with
quaint hotels and bars on one side, Chesapeake Bay on
the other. DEAN and RACHEL are strolling the walk.
The IRS contacted me this morning.
They say my lifestyle and receipts
exceed my income.
You being audited?
For the last four years.
My firm'll represent you. Free of
You don't work there anymore, Bobby.
I'm gonna fix it.
Tell me about Brill.
INT. A ROOM - CONTINUOUS
A TECHNICIAN eyes a recorder spin as a monitor shows a
live feed from the park.
You have to.
I've never met him?
Goddammit, Rachel, you assured me--
EXT. THE PARK - CONTINUOUS
DEAN and RACHEL on their stroll--
Fuck you. When you needed
information, I got it. You didn't
I did care how.
This conversation's over.
What're you gonna do, Rachel? You
gonna sit in a bar in Baltimore?
You want your job back? You want a
I don't have a life, Bobby. I'm in
love with a married man.
I'm sorry about that.
What makes you think it's you?
It's not me?
You're a moron, you know that?
DEAN smiles...and after a moment, so does RACHEL.
When I need to reach Brill, I chalk
the mailbox on 14th and Main.
EXT. CITY STREET - DAY
RACHEL is walking to the mailbox. She casually slashes
the box with chalk and drops a letter inside.
When he sees the mark, he knows
there's a drop. The location's
always the same.
EXT. BALTIMORE PORT - DAY
Establishing. Wharves, ships, seagulls. A water-bus
chugs dockside as PASSENGERS board for the trip across
the inlet. DEAN stands in a ticket line with the other
The number twelve ferry to Glen
Burnie. Tuesdays or Fridays.
INT. FERRY - DAY
DEAN takes a seat. Across the deck is Seat 74. RACHEL
takes the seat and casually slides an envelope behind
it, her actions obscured by a bag she carries. The
ferry BLOWS its departure horn.
The drop's behind Seat 74. I leave
something, he picks it up later.
The ferry churns water. RACHEL moves to a wind
protected seat, leaving Seat 74 empty. DEAN keeps watch
on the seat as he scans the paper.
Any idea what he looks like?
My guess is male, somewhere in his
40's or 50's.
A MONTAGE of different people occupying Seat 74.
A middle-aged DRUNK passed out in the seat. A TEEN-AGED
boy with glasses chats with friends.
Race, height, weight, you're on
An OLD LADY reads a book. She sees DEAN eyeing her and
smiles nervously. DEAN returns to his paper.
Now I don't know how he's gonna
feel about someone tracking him
down. He's reclusive. I'm sure he
has his reasons.
DEAN's alone now. The ferry docks for the night. The
last passengers, TWO NUNS, disembark. DEAN rises to go.
Brill's a no-show.
INT. FERRY TERMINAL - NIGHT
DEAN walks down the ramp. It's dark in the empty
terminal. Not the best place at this hour. Up ahead,
TWO MEN stand in the darkness, then kissing. Down
another hall, SOUNDS OF NEARING FOOTSTEPS. DEAN detours
INT. MEN'S ROOM - CONTINUOUS
Empty. DEAN stands at a sink, water running. He glances
at the door. He splashes water on his face. Suddenly--
--DEAN's slammed forward, a silenced pistol is shoved
into his ear, pinning his face to the mirror.
Jesus! What?! You want money?!
Shut the fuck up.
Hands frisk DEAN. Up and down the legs, behind the back
and chest. A wallet is removed, ID's looked at - then
returned. DEAN turns to see--
A MAN, early 50's. He sweeps a signal frequency locator
over DEAN's body. The needle reacts at DEAN's foot.
Gimme the shoe.
DEAN complies with the strange request as the MAN flips
out a knife.
Brill's dead. He died of small pox
when he was two and he was buried
in a Kansas field.
(prying away DEAN's heel)
My name doesn't matter.
CLOSE ON DEAN's HEEL - a hollow compartment reveals a
miniature tracking device. The MAN removes it, then
returns the shoe.
A tracker. Thousand yard range.
The MAN reaches in a trash can, removes a potato-chip
bag, wraps it around the tracker and flushes it down
"BRILL" goes through the window. DEAN eyes the window,
not sure. He eyes the door. Same feeling.
EXT. LOADING DECK - MOMENT LATER
DEAN crawls through the window to a loading dock.
"BRILL" motions him to follow as he moves off into the
The sounds of the window OPENING behind them, followed
by FOOTSTEPS. "BRILL" shoves Dean behind a dumpster and
removes his gun as two men run by. The STEPS FADE.
"BRILL" looks. They're gone.
EXT. FERRY TERMINAL - NIGHT
Establishing. A closed farmer's market by the terminal.
Several cars are parked. One's a cab. "BRILL" opens the
driver's door. DEAN grabs the front passenger door.
No. In back like you're a customer.
INT. CAB - NIGHT
"BRILL" sits in the driver's seat, eyes flickering to
all views, as DEAN climbs in the back. "BRILL" flips on
the meter and guns into traffic.
It started with the information you
gave me on DePinto. After we talked,
he agreed to resign. Next, a phony
detective asked me about Daniel
Zavitz. Then an investigator
questioned me about an extortion
scheme they claimed Zavitz was
behind. The FBI started looking
into mob connections. A doctored
picture in the paper. Overnight,
I'm ruined. Wife. job, bank
accounts, everything gone.
"BRILL" eyes the mirror. A BLACK CHEVY appears several
car lengths behind.
They found him yesterday folded
neatly in a car trunk. What about
"BRILL" starts to weave in and out of traffic. He looks
in the mirror - the Chevy's also weaving several cars
I don't know anything about Zavitz.
You said he was behind an extortion
They said he was behind an
"BRILL" whips the cab around a corner, accelerating.
And you were the last one to talk
What'd he say to you?
What'd he give to you?
Don't bullshit me, I can save your
I'm telling you, I--
The ride from hell gets worse as "BRILL" screeches
another turn. The car ahead stops and "BRILL" screeches
past on two wheels.
I just gave him my card.
He didn't give you an address? He
didn't give you a phone number?
Nothing. Two nights later I was
robbed. I'm pretty sure they were pros.
"BRILL" takes an impossible left into another alley.
The Chevy follows. "BRILL"'s good. The guy in the
Don't know. Did you check everywhere?
Maybe it was hidden in something.
Maybe there was someone else--
Maybe you bumped into someone who
took it and you didn't even know.
The cab is rear-ended hard by the Chevy. Their necks
snap back from the force.
WHAM! They're hit again. "BRILL" pulls out a communicator.
209 to anyone! I need some help here!
Who are you calling?!
WHACK! "BRILL" back-hands DEAN with his fist, knocking
him silly as WHAM!--the cab's rear-ended again.
This is 209! Does anyone copy?!
Then "BRILL" sees that the alley empties into a busy
street, then a bakery shop.
He slams the brakes. Tires screech smoke but it's no
use. The powerful Chevy pushes the cab, bumper to
bumper, toward the street. "BRILL" grips the wheel.
It's all he can do as the cab rockets into cross
BLAM! They're broad-sided by a delivery truck. The cab
is shoved sideways along the street and into a fire-
hydrant, finally stopping under jetting water from the
DEAN slowly opens his eyes. Water pours in everywhere.
"BRILL" is sticking halfway through a window, not
moving. Seeing "BRILL"'s pistol, DEAN grabs it and
crawls from the wreckage.
EXT. STREET - NIGHT
DEAN climbs from the wreck as BYSTANDERS approach.
Look out! He's got a gun!
They back away as DEAN gets to his feet and looks
around. Off to the side he sees the Chevy, waiting like
a coiled snake.
DEAN limps into the crowd. He rounds the corner to
ANOTHER STREET and now he's running with all he's got left.
INT. DEAN'S HOUSE/STUDY - NIGHT
STACY is at the desk looking at the latest edition of
the paper, which now has a photograph of DEAN and
RACHEL walking in the park from the day before.
The phone rings and STACY reaches for it...
INT. HOTEL LOBBY - CONTINUOUS
DEAN stands at a pay phone--
Stacy, don't hang up.
Do you know what I'm looking at Robert?
I'm looking at a picture of you and
Rachel taken yesterday.
I know, but listen--
Was that doctored-up, too?
No, I was with her yesterday. I
want you to take Eric and go to our
parents house. I want you to do it
I went to the grocery store. My ATM
and credit cards didn't work. I
couldn't buy food.
I went to the bank to see why. They
said you emptied our accounts--
It wasn't me.
This is science-fiction Robert! The
manager showed me the transfer
notice with your signature on it.
Stacy, somebody's trying to kill me.
My father's put me in touch with an
attorney. He'll be--
A hand suddenly clicks down the phone hook. DEAN turns
to see a MAN, late 50's, gruff and alert. It's the guy
driving the Chevy.
Put the phone down. Do as I say.
DEAN does nothing, temporarily frozen. A pistol jabs
DEAN replaces the phone. The man removes DEAN's gun.
Nearby, two PEOPLE chat at a restaurant hostess desk,
Move to the elevators.
DEAN does but is suddenly redirected through a roof-
INT. VAN - NIGHT
A TECHNICIAN sits in a van jammed with high-tech
surveillance gear. HICKS is next to him, a phone
pressed to his ear.
We just picked up his call.
INT. OFFICE - NIGHT
REYNOLDS, dressed in a tux, presses his cellular to his
ear, while behind him MARSHAL and SHAFFER, also in
tuxedos, have a heated discussion.
30 minutes ago you said we had him.
What in hell's goin' on out there?
He had help.
Help from whom?
(he hears the answer)
EXT. HIGH-RISE ROOFTOP - NIGHT
Eight stories up and deserted. The lit dome of the
Capitol building shines like a beacon in the D.C. skyline.
DEAN suddenly slams against a wall--
Forget me, forget what I did for
you. Don't ever mention my name or
try to contact me again. Get it?
I don't know you, I don't know your
name, I don't know what the hell
you did for me except hang up on my
wife and slam me into a wall, but
I'm getting pretty fuckin' sick of
this! Get it?!
You knew the deal. No contact.
Who was that other guy?
One of many people who would live a
word with you.
Who are they?
You've heard of the National Security
What do they have to do with this?
That's who they are.
(starting to leave)
You drive a black BMW, license
(reaching in his pocket)
I clipped this from your wheel well
just before they towed your car away.
BRILL pulls out a disk-shaped object the size of a
What is that?
It's a SAT-tracker.
I don't know what that means.
Like a LowJack, but two generations
ahead of what the police use. It
pulses at 230 Giga-Hertz.
I don't know what that means.
230 Giga-Hertz. They use that band
for the Aquacade Spy-SAT uplinks.
I don't know what that means.
It means the NSA can read the time
off your wristwatch.
Why are they after me?
If I knew, they'd be after me.
Which they probably are right now.
Wait. What do I do?
Pal, you're cooked. It's over. What
you did, who you were...that's done.
I'd find a quiet job somewhere
A helicopter hovers near the Washington Monument. BRILL
eyes it cautiously.
Why don't they just identify
themselves and tell me what they want?
I don't know what that--
Exposure. They can't have it. They
wanna learn what you know and then
deal with it.
I don't know anything.
What am I gonna do?! I mean, like,
for the rest of my life?!
Hey, if you live another week I'll
Look, you gave me some work over
the last year. We'll call it even.
BRILL turns to leave--
(blocking the exit door)
What if I find out what they're
after. You know these people, I don't.
And you won't. Now move--
I'll pay you.
(taking out his pistol)
They froze your accounts. Get outa
DEAN continues blocking the door, maintaining calm even
as BRILL's pistol is pressed firmly to his forehead.
I've got a hundred-thousand dollars
in jewelry in a safe-deposit box
under a third party name.
BRILL looks at the ground. Torn.
How many years have you been hiding
from them? How many years have you
What'd they do to you?
If you find something, chalk the
Baltimore Sheraton mailbox and go
to Temperanceville. It's South of
(giving DEAN his pistol)
And take this.
And with that, he's gone.
DEAN eyes the gun. He walks to the ledge, looking at
DEAN'S POV: Several vehicles quietly pull up to the
building. MEN storm out an move inside.
DEAN quickly backs away.
INT. BUILDING CORRIDOR - NIGHT
DEAN races for the stairwell two steps at a time. He
hears the SOUND of a DOOR OPENING somewhere below.
303 to 301. Floor one secured.
Moving to two.
DEAN retreats upward, then he hears SOMEONE COMING DOWN.
Trapped. He opens the door on '3' and is about to run
when he sees a security camera directly above.
Grabbing a fire extinguisher, he pulls the pin. Spray
coats the lens. Then he yanks a FIRE ALARM. A HORN BLARES.
DEAN runs for the second stairwell when he sees JONES
stepping out. DEAN looks back at the stairwell he left.
That door's opening as well.
Using the extinguisher, DEAN smashes the glass door to
an office and goes inside. JONES starts to enter when a
shot rips into the wall, convincing him otherwise. He
retreats as the BLARING FIRE ALARM STOPS.
DEAN races through the suite of offices trying locked
door after locked door. Finally, one opens and he
rushes in and tries to lock it behind himself.
He sees the MEN and they see him. He slides a desk
against the door, then backs away, pistol ready.
Open the door, Mr. Dean. There's
nowhere to go. We'd just like to talk.
Seeing a phone, DEAN grabs it.
No tone. Just a RECORDING of Nancy Sinatra's song
"These Boots are Made for Walking".
It'd be easier for all of us if you
just come out. Nothing'll happen.
DEAN heaves a coffee table up on the desk.
It's quite hopeless what you're
doing, Mr. Dean.
I swear to God I'll shoot.
I think you might be over-reacting
there, Mr. Dean. We just want to talk.
Go ahead. I hear you fine.
The door pushes in--
I said I'll shoot!
The door keeps pushing.
DEAN FIRES high.
The pushing stops.
Then DEAN hears the distant sound of SIRENS approaching.
DEAN rips off his sweater, takes out a lighter, and
sets the sweater on fire.
He throws it into a garbage can and tosses styrofoam
cups in on top of it.
The pushing starts again, but before DEAN can fire, a
small cylindrical device drops into the room.
A STUN GRENADE.
DEAN ducks as a BLINDING FLASH rocks the room.
The window is blown open. Smoke billows out. DEAN,
temporarily blinded and deaf, struggles to a ledge as
fire engines arrive.
INT. VAN - CONTINUOUS
Fire trucks, police cars and an ambulance arrive
beneath DEAN as HICKS watches from his van.
I don't fuckin' believe this!
301 to all units. Everyone out! Now!
We'll take him at the hospital.
INT. AMBULANCE - NIGHT
DEAN sits in back with a PARA-MEDIC, covered in soot,
breathing hard through an oxygen mask as the ambulance
WAILS and weaves through traffic. He looks through the
rear window to see--
TWO CARS FOLLOWING, keeping pace. Off to the side, RFK
Stadium is emptying, a Redskins game is over.
DEAN rips off the oxygen mask--
Tell him to stop the ambulance.
Whoa there, fella. Just take it easy.
Tell him to stop the ambulance.
Now you're a little shaken up, but
we're gonna get you on your feet in--
DEAN whips out his pistol and shoves it in the
(to the driver)
--stop the ambulance.
EXT. STREET - NIGHT
The ambulance pulls over and the back doors fly open.
DEAN leaps out into the crowd.
The OTHER CARS pull over and PRATT and JONES exit. They
scan the area and see DEAN descending a stairwell
INT. METRO STATION PLATFORM - NIGHT
DEAN stands at the end of the crowded platform. PRATT
and JONES work through the CROWD as the train pulls in.
DEAN slides on board. The departure HORN sounds. JONES
and PRATT step on.
INT. METRO - NIGHT
DEAN huddles in the back car, panic-breathing, as PRATT
and JONES move through the cars searching for faces.
DEAN looks for an out. He sees an emergency stop handle.
He YANKS it forward. PASSENGERS yell. The brakes lock
and SCREECH. The train slows. Then stops.
DEAN opens the door.
And jumps. He looks around. Just black curved track in
either direction. He starts running.
Then he hears it.
The horrible SCREECHING of an approaching train.
On one side, the train he left. On the other, a wall.
He runs down the track with all that's left.
PRATT and JONES reach the open door and see the
oncoming train bearing down on DEAN. They duck in as
the train SWISHES by.
DEAN lays flat between the tracks, his face kissing
greasy ground as the train screeches over him.
Tons of angry steel are teasing his shirt fabric.
Then it's over. The train's gone. DEAN's alive.
He gets up to see PRATT and JONES leap to the tracks.
(under his breath)
I hate these guys.
Then he sees an "EMERGENCY ACCESS" sign beaming in the
darkness. A God-send. DEAN runs for it.
EXT. METRO EMERGENCY ACCESS EXIT - NIGHT
PRATT and JONES fly out the door and into a park.
It's empty. Quiet.
No Dean anywhere.
I'm confused about something. Maybe
you can help me out.
EXT. TERRACE - CONTINUOUS
The Lincoln Memorial is seen in the distance. REYNOLDS
has broken off PARTY GUESTS and paces in his tux, an
encrypted cellular phone pressed to his ear.
I sit on top of the greatest
intelligence gathering organization
in human history. Why can't I bring
in a man whose name is in the
He's clever. He had help.
He's clever? He had help?
No, no, I'm sorry. I didn't realize
you were hoping to be transferred
to a weathership outside Greenland.
I just meant--
I don't care if he's Solomon with
Saint Joseph sitting in his lap. I
want the tape and I want him. Now is--
A WAITER with a tray steps out onto the terrace...
(to the WAITER)
No thank you.
I also have tiny pizzas and
mushrooms stuffed with--
Do I look like I want a tiny pizza?
Then let's assume I don't.
The WAITER goes back inside.
Now is that clear?
REYNOLDS disconnects, breathes deeply, and goes back to
EXT. RACHEL'S CONDO BUILDING - NIGHT
DEAN watches from the shadows. It seems quiet. He's
about to move for the entrance when he sees--
A cigarette lighter flame-up inside a parked car. TWO
MEN sit inside, watching. DEAN retreats into the shadows.
EXT. RACHEL'S CONDO - BACK ENTRANCE - NIGHT
Quiet. DEAN listens through the door and hears nothing.
He KNOCKS softly.
He tries the doorknob. It opens.
INT. RACHEL'S KITCHEN - NIGHT
DEAN enters. The place is still.
No answer. DEAN drifts through the living room. A lamp
is knocked over on the floor. DEAN keeps moving into
the bedroom. He stops in the doorway - eyes fixed inside.
DEAN'S POV: RACHEL lies on her stomach, naked in bed.
She doesn't respond. He touches her.
He turns her over. Her face is frozen, eyes open, neck
purpled and bruised with signs of strangulation.
DEAN wants to throw up but holds it down.
Then, under a night table, he sees a shirt. He grabs it.
DEAN'S POV: An oxford button-down. The inside collar is
stamped with a dry-cleaner's marker reading: R. DEAN.
Panic overtakes horror as DEAN quickly searches for
anything else of his that may have been planted inside
Under the bed - a cufflink.
In the bathroom - a hairbrush.
On the desk - documents with his name on them.
DEAN shoves everything into a garbage bag. Grabbing a
towel, he retraces his steps, wiping his prints from
everything he touched.
Exiting, he wipes off the doorknob as--
A NEIGHBORS DOOR OPENS. A COUPLE stumbles out, laughing,
kissing...and noticing DEAN leaving Rachel's condo.
INT. UNDERGROUND PARKING GARAGE - NIGHT
JERRY walks alone through the large underground garage
on the way to his car. He pauses, thinking he's heard
He continues walking. He reaches his car. Suddenly
someone comes up behind him fast. JERRY spins--
It's the NSA. They're the ones
The NSA's doing this 'cause they
think I have something. And they
They killed Rachel.
My stuff's all over her apartment.
They're framing me.
Why would they--
I don't know. I mean--
Why would the NSA--
I don't know!
Listen to me.
No, listen to me. You gotta let me
bring you in.
You gotta let me bring you in to
I won't make it to the police. They
won't let me get there. You go.
To the cops?
To the NSA. Make a deal. Tell 'em
to stop. Tell 'em I don't have what
they're after. Make a deal.
Bobby, you're in way over your head.
Go to 'em, Jerry.
I have a family.
So do I!
JERRY looks at the ground for a long moment...
I'm sorry, man.
No. No, it's okay.
DEAN starts to leave...
Bobby? Piece of advice?
Turn yourself in.
Go fuck yourself.
EXT. STREET - EARLY MORNING
Establishing. A quiet street in Dean's neighborhood.
Several REPORTERS are camped in Dean's driveway
entrance, sipping coffees. Farther down the street, a
JEEP GRAND CHEROKEE is parked. The driver waits and
EXT. BACKYARD - SAME TIME
DEAN sneaks between two large houses, ducking by
windows and scaling a fence. Somewhere a DOG BARKS a
warning as DEAN plows through a large hedge, entering
the backyard to his home.
INT. DEAN'S HOUSE/KITCHEN - SAME TIME
DEAN quietly unlocks the door and enters. He listens.
The house is quiet. Empty.
INT. DEAN'S FOYER - DAY
KEYS JINGLE in the front lock. The door opens and STACY
The TV suddenly REMOTES ON - VOLUME LOUD.
She turns as DEAN approaches fast--
DEAN's hand cups her mouth as he pulls her into a
INT. PANTRY CLOSET - CONTINUOUS
(barely a whisper)
Listen to me. The house is bugged.
So we gotta be quiet, okay?
STACY nods understanding. DEAN slowly removes his hand.
Is Eric in school?
Has anyone been by? Police? FBI?
I wish you'd gone to your parents
like I asked you.
This is my house. Nobody's kicking
me out of my house. I picked those
I don't think anybody wants the
drapes, Stacy, I think the drapes
What happened to your head?
I was in a car chase and a small
explosion. Now listen to me: The
NSA is behind this. They think that
guy I told you about, Daniel Zavitz,
they think Zavitz gave me a tape or
computer chip of some kind that
could be damaging to them. So
they're doing all these things
electronically. The bank records,
the surveillance. They're the ones
who broke into the house. Now I
know there's no reason to believe
me. But I love you. And I love our
son. So just believe me anyway.
STACY gently touches his forehead where he's been cut...
Does that hurt?
She grabs him and kisses him. The kiss lasts a good
long time before STACY smacks him on the arm--
I told you they could do this. I
told you they had this kind of
capability and that with this anti-
terrorism it would be just another--
Stacy...Stacy...maybe now isn't the
best time for the I-Told-You-So speech.
She kisses him again.
I'm sorry I didn't believe you.
I opened the present you got me
You opened the thing?
That was for Christmas.
I was missing you.
You're as bad as Eric. I've got an
entire family of people who root
It dawns on him...everything starts coming together...
...who root through...uh...presents,
What is it?
INT. JEEP GRAND-CHEROKEE - DAY
The DRIVER continues to watch the area. Then--
DRIVER's POV: THE RANGE ROVER flies out of the driveway,
tires SCREECHING as it speeds through the quiet
The REPORTERS stare at each other a beat--
--then leap for their cars.
504 to 501. Rover's fleeing west on
Sutton. Driver appeared male!
What's the wife's '20'?
She's off location with a friend.
Alright - move! 501 - all units.
Take him down!
EXT. STREET - CONTINUOUS
Unmarked cars of various descriptions rapidly appear
from nowhere giving chase.
ANOTHER AGENT (O.S.)
502 to 501, I've got the eyeball.
He's approaching Ridgeview, we'll
take him at the intersection.
The RANGE ROVER speeds through the neighborhood.
Suddenly, two cars are out in front, blocking the way.
The Range Rover swerves and breaks as two more cars rip
up behind, boxing it in. An un-marked Trans-Am lags
behind, keeping reporters at bay.
Doors fling open. JONES and THREE MEN, all in plain
clothes, pistols and MAC-10 aimed at the Range Rover.
The MEN move closer--
JONES grabs the door and rips it open, revealing Dean's
PISS-FRIGHTENED NANNY behind the wheel in Dean's trench
coat and hat.
JONES YANKS her out, puts her hard to the ground, gun
jammed to her head, as other search the Range Rover for
EXT. DEAN'S DRIVEWAY - CONTINUOUS
DEAN drives the Nanny's rusted, low-rider Dodge out of
the driveway. He pauses and looks. The streets are empty.
He turns onto the street and calmly drives away.
EXT. ELEMENTARY SCHOOL PLAYGROUND - DAY
Establishing. A playground jammed with kids. A kickball
game's in progress. ERIC waits his turn to kick. TRACY,
a college-age teaching assistant comes over.
ERIC looks up...
Your father's here.
EXT. SCHOOL BUILDING - DAY
DEAN stands at the edge of the playground in clean,
casual clothes. ERIC runs over, face glowing.
Do I know you?
Where've you been?
Having an adventure. I can't tell
you about it right now, but I'll
tell you about it soon.
Are you and mom getting a divorce?
No. We're never getting a divorce.
We were having a fight. It happens
Who won the fight?
Men don't win fights with women,
son, I'll tell you about that
sometime, too. In the meantime,
I've got a question for you, and
it's incredibly important that you
tell me the truth. Under no
circumstances will I be angry with
you. This is a total Get-Out-Of-
Jail-Free card. Ready?
Did you take anything--anything at
all--out of those Christmas bags I
brought home last week.
ERIC hangs his head...busted...then shouts to a GROUP
OF KIDS on the playground...
DYLAN comes trotting over, carrying his backpack...
Hey, Mr. D., what's happenin'?
Dylan, I was just asking Eric if--
Oh, God, I knew it was stupid, I
knew we'd get caught. But the
Gameboy was just sitting there.
Right on top of the bag. Yes. Yes.
We took the GameBoy out of the bag,
but with every intention of putting
You're a tough nut to crack, Dylan.
DYLAN hunts through the backpack as DEAN and ERIC looks
on. All kinds of junk flies out--candy, comics, game-
It was broken when we found it, I
swear. I tried fixing it for you. I
even put in new batteries.
(pulling out the GameBoy)
The screen scrambles whenever you
boot up. I'd try to get your money
DEAN eyes the pieces of the GameBoy, knowing that
somewhere in the puzzle of plastic and chips is the key
to his problems.
EXT. BALTIMORE SHERATON - EVENING
PEDESTRIANS walk on the sidewalk. A MAN comes along and
drops a few letters in the corner mailbox.
From the other direction comes DEAN. Without stopping,
he casually slashes the mailbox with chalk.
INT. MOTEL ROOM - NIGHT
DEAN's asleep. There's a SOFT SHUFFLING SOUND. The
CAMERA EXPLORES for the source, moving by the windows,
flashing neon, a TV and finally, the door.
We PUSH CLOSER as a MULE TOOL snakes under the door.
The tool pops upright against the door's inside. The
strap drapes over the doorknob and tightens. The
doorknob turns and opens.
SOMEONE slips in--
CLOSE ON DEAN asleep. A HAND covers his mouth. DEAN's
eyes go wide.
Then he sees it's BRILL...
Get dressed. We're leaving.
You could knock on the door, you
know, and I'd open it.
EXT. CAPE CHARLES - 4 A.M.
Establishing. The 10-mile Chesapeake Bay Bridge crosses
the Bay like a serpent worming toward distant Norfolk.
Traffic is thin at this hour.
Dean, the attorney recently under
investigation for a money laundering
scheme, was seen leaving Ms. Banks
apartment late last night.
We PUSH IN on a TOYOTA PICK-UP truck heading south.
INT. PICK-UP - CONTINUOUS
BRILL drives with DEAN riding shotgun.
Police are seeking--
BRILL ejects as cassette from the dashboard and hands
it to DEAN.
I taped it off the 11 o'clock news.
And you were worried about me.
That's nice, I appreciate--
I was worried about my hundred and
We said a hundred.
The price rises with the temperature
and right now you're smokin'. But
you're right, you should shop
around and get the best price. I'll
just let you out here.
BRILL checks the rear-view mirror.
BRILL's POV: Car headlights following in the distance.
Did you call anyone?
What do you mean?
I mean did you call anyone.
Look, my wife is understandably--
I called my wife!
What'd I tell you?
I didn't use my name.
What'd I tell you?
I called from a payphone!
What'd I tell you?
You told me no calls.
I told you no calls.
BRILL does a bootleggers U-turn. Several cars pass by
in the opposite direction.
You don't get it. They go through
your phone records. They fuckin'
monitor everyone you called in the
I didn't use my name.
Oh, I'll bet that threw 'em off the
scent. I sure hope you covered the
mouthpiece with a handkerchief and
used a funny voice!
BRILL turns off the headlights, does another U-turn,
pulls off on an emergency road and stops.
He turns off the engine, rolls down the window, looks
up into the night sky and listens.
BRILL's POV: A cloudy night. Silent except for the
water and a distant fog-horn. No sounds of aircraft.
(looking up as well)
I don't hear anything.
(on BRILL's silence)
Maybe you're wrong.
BRILL is staring upward...
A hundred and fifty.
INT. NRO KEYHOLE-12 LAB - CONTINUOUS
Re-establishing. A massive, dark place filled with
CLOSE ON A MONITOR - displaying a live SAT feed showing
a thermograph image of Brill's truck. The color heat
image of BRILL looking upward is fairly clear. He pops
his head back into the truck and pulls onto the road.
The satellite continues tracking the truck.
It's a consumated marriage.
INT. TOYOTA - NIGHT
BRILL drives along a high fence surrounding acres of
empty warehouses, docks and rust-bitten fences. He's
still on constant alert - looking for sign of their
The NSA's been in bed with the
entire tele-communications industry
since the 40's. They've infected
everything: Banks, computers,
phones, mail, name it.
(stopping the car near
The more technology we buy into,
the easier it is keeping tabs on us.
It's a brave new world.
(handing DEAN the keys)
At least it better be.
How do you know so much?
None of your business.
You used to work for 'em, didn't you?
I was a traffic analyst.
DEAN gives him a look that says, "I don't know what
I intercepted phone calls.
How'd you get around the tap orders?
They can tap anything as along as
it's an airwave intercept.
Cellulars and pagers your kid can
Hard-line calls we'd pick off the
relays as they were being fed into
ground cables or fired up to the
SATs. We'd suck in everything. All
foreign, most domestic.
(DEAN re-closes the gate)
Domestic was my group. Druggies,
radicals, loud-mouths. Anyone we
(climbing back in)
How'd you have the manpower to--
Meade has 18 underground acres of
computers. They scan every
phonecall for target words like
"bomb" or "President". We red-flag
phone numbers or voice
prints...whatever we wanted. When
the computers found something, it
was bounced to comparative analysis.
That was twenty years ago. With
digital? They can suck a salt grain
off a beach.
Why'd you leave?
It was '72. I figured we had enough
problems without monitoring a
Berkeley kid's class schedule. So I
sold my story to Ramparts and split.
They come after you?
(shrugging it off)
Well...there'd be too much
disclosure to prosecute me. So they
ruined my records and made sure I'd
never hold a real job again.
The pick-up stops by a long two-story warehouse.
What do you think?
Looks like Detroit.
Welcome to Santa's Workshop.
INT. WAREHOUSE - NIGHT
BRILL and DEAN enter the 2nd story of a large, empty
structure. DEAN is carrying a crumpled, brown paper bag.
In the center of the cavernous space, a windowless,
cinderblock room built on 5-foot supports.
I call it the jar. No phone or
utility lines going in.
BRILL opens a side door revealing a mini-generator. He
pushes the start button. The generator HUMS to life.
Self-contained. Unplugged from the
(opening Jar door)
Nothing for a wire bug to piggy-
back in on. That leaves only
transmitters and signal sweep for
(turning on the light)
Now let's see what we got.
DEAN tosses the paper bag to BRILL, who empties its
contents (the pieces of the GameBoy) on to the table.
EXT. DOCKS - DAWN
DEAN sits alone, smoking a cigarette, and watching
Norfolk rise from dawn's fog.
In the distance we see BRILL coming down from the
warehouse toward DEAN.
He stands behind DEAN for a moment before...
That is one ugly sunrise.
It really is.
Did you find anything?
Take a walk with me.
DEAN gets up and joins BRILL. The two of them start in
the direction of the second warehouse.
Remember when Senator Hamersley
died in an accident up near Shenandoah?
The NSA killed him.
Jesus. Do you have proof?
Well, actually, you have proof.
Could you walk a little faster please.
What's going on?
In the warehouse. They're hiding in
a duct on the third floor. When we
go back inside, they're gonna kill
us. When they notice that we're
moving toward the car, they'll come
running out of the building.
'Kay, well, could you walk faster,
INT. WAREHOUSE - CONTINUOUS
JONES and THREE MEN are huddled in a duct.
They're heading to the car.
JONES and the three men start down the corridor, guns
EXT. THE SECOND WAREHOUSE - CONTINUOUS
DEAN and BRILL are kneeling beside the Chevy, letting
the air out of the tires.
Empty 'em 'till they're almost flat.
And turn your head. There might be
some debris flying your way.
And with that, THE FIRST WAREHOUSE EXPLODES, sending a
fireball of debris in all directions.
What the fuck?!
They shouldn't have come without
BRILL jumps into the Chevy, turns the key and the
engine ignites. DEAN leaps in. BRILL stomps on the gas
and tires screech. The Chevy hurtles through the
warehouse toward a shut garage door. BRILL clicks a
remote. The door rises.
OUTSIDE THE WAREHOUSE - The Chevy roars outward,
screams around a corner, then speeds down a road lined
DEAN looks down an intersecting road to glimpse a
Saturn sedan gaining on a parallel road.
Where's your gun?
They pass an area with no warehouses. The Saturn turns,
heading straight at them.
Back at the warehouse.
The Saturn pulls on the road behind them. The MAN in
the Saturn leans out and fires an assault rifle. The
side window by Dean's head shatters.
BRILL one-hands the pistol and checks the load.
(re: the pistol)
Those are Feds.
(taking the pistol)
I didn't see a warrant. Did you see
The Chevy enters a narrow lane, the Saturn right behind.
With the Chevy's tires flat and flapping, the Saturn
hugs their rear. DEAN looks back again as the RIFLEMAN
The rear window EXPLODES. DEAN pops up and fires three
quick, well-placed rounds.
The Saturn swerves and drops back. BRILL's impressed.
DEAN looks forward to see an exit road blocked by an
iron cross-bar. BRILL, unfazed, pushes the Chevy faster.
Beam or no beam, he's going through.
Think we let out enough air?
Oh my God...
BRILL and DEAN hit the deck as the Chevy's hood scrapes
just under the beam. The windshield frame takes the
full impact. The beam slices through steel and glass,
decapitating the car. They emerge on the other side
minus roof and windows as--
--the Saturn SCREECH-STOPS inches from the beam and
debris. A MAN leaps out, shoulders his rifle and aims--
--but the Chevy disappears around a building.
EXT. HIGHWAY - EARLY MORNING
A foggy morning. The rural highway's deserted at this
early hour. The Chevy rumbles by...
INT. CHEVY - CONTINUOUS
DEAN and BRILL, windblown but alive, remove shards of
glass. BRILL eyes the road behind him.
We lost 'em.
That wasn't so hard.
Let's not do the tire thing anymore,
Yeah, I can see where that'd--
He stops talking.
He hears ROTOR THUMPS as a black HELICOPTER appears
over a fog-laced hillside, swooping down.
BRILL floors it. The helicopter drops in closer as
BRILL swerves back and forth while taking a curve at 70-
plus on flapping tires. A helicopter SHARP-SHOOTER aims
with an M-16.
A spray of high-powered slugs suddenly rip into the
Chevy's hood. The engine starts knocking.
These guys are incredibly persistent.
Tell me about it.
The road straightens. Up ahead, a tunnel.
More bullets slice the hood. Radiator fluid starts
hissing. The Chevy starts dying.
BRILL stomps the pedal, squeezing out every last kick
Rubber flaps. Tires shred. Steam hisses. Bullets fly.
The helicopter swoops in lower and lower for the kill shot.
INT. HELICOPTER - CONTINUOUS
The SHARP-SHOOTER lines DEAN in his sights.
The PILOT keeps pace, dropping closer. The SHARP-
SHOOTER has the shot.
The Chevy reaches the tunnel's opening on sparking,
screeching wheel rims.
The helicopter pulls up, missing the hill by inches.
But not the power lines. The PILOT sees them too late.
The helicopter flies into a web of cables. The upper
rotor slices neatly off. The helicopter's body rockets
downward to the road where it bounces and skids like a
rock on water until it meets an oncoming semi-truck
EXT. INSIDE THE TUNNEL - CONTINUOUS
BRILL tries steering but metal wheels on concrete don't
work. The car shimmies like it's on ice. Sparks fly as
they bash into the tunnel wall, grinding to a stop.
INT. DODGE - CONTINUOUS
A GRUNGE-DUDE blasts his car-stereo as he enters the
tunnel, unaware of the mayhem behind him.
He slows, seeing a smoking wreck ahead.
Closer, he sees DEAN waving him down. He slows more.
BRILL opens the rear door, leaps in, and points his
pistol at the GRUNGE-DUDE's face.
DEAN leaps in front.
We're not gonna hurt you.
Tell him we're not gonna hurt him.
Drive or I'll blow your fuckin'
No he won't.
We're honest people and we need
your help. I'll give you two-
hundred dollars if you--
Actually, I don't have two-hundred
Drive the damn car!
DEAN slides into the driver's seat, drops it in gear
The Dodge erupts from the tunnel.
Up ahead, the Saturn and another car approach fast in
the opposite lane, speeding toward the tunnel's opening.
The car's fly by, unaware of DEAN and BRILL passing in
The Dodge continues on, fading into the fog.
INT. NSA/CORRIDOR - DAY
REYNOLDS and HICKS walk down a white hallway three
football fields in length, filled with bustling
employees conservatively dressed.
We found two sets of latent prints
in the rubble of Brill's studio.
One was Dean's. The other, we
believe, belongs to Brill.
Well...his real name's Edward Lyle.
You're kidding me.
Dean's with Lyle.
And they have the video. That's
So they know everything.
If they've looked at the video.
Oh, let's assume that they have.
If he's with Lyle it means he's got
Resources, that's a good point.
He's got resources. All we've got
is a six-hundred billion dollar
organization! Now goddammit, Hicks,
you find 'em. You find 'em and you
end it now!
REYNOLDS walks off leaving HICKS to ponder his fate.
EXT. USED CAR LOT - DAY
Establishing. Plastic flags and PRICES SLASHED signs
are everywhere. A blue Taurus pulls off the lot...
We'll take the tape directly to CBS.
I'll hand it directly to the News
INT. TAURUS - CONTINUED
Listen to you, "directly". You're
not gonna get near the News
Department. And if you did, it'd
never get on the air. Time-Life
buried the Zapruder film for 15 years.
What about newspapers and magazines?
So what do we do now?
I was thinkin' about asking for my
hundred and fifty grand and calling
What if we do a mailing to Congressmen.
It'd never get through. All
packages are screened, x-rayed and
then hand-searched for explosives.
You didn't like my "give-me-my-
INT. TAURUS - NIGHT
BRILL drives. DEAN thinks.
What if we hand deliver to their
homes or office?
The area's wired for surveillance,
they'll be looking for those moves.
Well how do I know what they're--
I know. I know what they're looking
for and I'm telling you.
The car radio is playing a newscast...
(from the radio)
--after which, Senator Albert will
address a fund-raiser at Boston
What if we put it on the internet?
Have you seen how fuckin' slow the
net is? It'd take ten minutes to
unload enough video so that people
know what they're seeing, and it'd
take the NSA maybe 40 seconds to
see it coming down and shut down
(from the radio)
--this will be the last stop on the
Senator's eight-city tour before
the Senate votes on Tuesday.
But maybe if there were no phone
DEAN has started listening to the radio...
What if we transmitted it over
Nah, they'd shut down the pin number.
If they couldn't do that, they'd
shut down the whole system, all the
They've done it before. Takes maybe
What if what?
What if we just fucked with 'em?
Same way they did with you and me.
We take their biggest guy and turn
him into one of us.
A MONTAGE OF EVENTS:
INT. MOTEL ROOM - DAY
BRILL educates DEAN on simple ways to alter one's
Senator Sam Albert, senior
Republican. Very well respected.
INT. BOSTON UNIVERSITY/AUDITORIUM - DAY
A large auditorium. Preparations are being made for
Senator Albert's upcoming speech. BRILL and DEAN
casually case the area for vulnerabilities.
We'll play the NSA's game only
we'll play it badly.
EXT. LE MERIDIAN HOTEL, BOSTON - DAY
Establishing. A five-star hotel overlooking
You wanna get caught spying on Albert?
No, I want the NSA to get caught
spying on Albert.
INT. HOTEL LOBBY - CONTINUOUS
CHRISTA HAWKINS, late 20's, the Senator's advance-
person, stands at registration securing rooms for her
boss and his team.
We're gonna lead Albert by the nose
to one conclusion. And then when
he's pissed as hell, we're gonna
drop the tape in his lap. How fast
can you teach me what I need to know?
How fast can you learn?
Next to CHRISTA, looking conservative and altered in
appearance, is DEAN, eavesdropping on the Senator's
room numbers and any other pertinent info.
EXT. RADIO SHACK - DAY
Establishing. One of those cheesy places in a mini-mall.
We'll have to re-stock some basics.
INT. RADIO SHACK - CONTINUOUS
BRILL and DEAN go shopping.
Bugs, frequency scanners, contact
mics, transmitters, pin-holes,
INT. MOTEL ROOM - DAY
The curtains are drawn. Devices cover the table and bed.
What do you know about locking
cellular phone signals?
I know my phone number and I know
the number for SportsPhone. Beyond
INT. TAURUS - DAY
DEAN drives while BRILL sits with his open PC lap-top
connect to his cellular phone.
A 'modified' OKI 900 interfaced
with a lap-top creates an enormously
(referring to the cell-phone)
I got into the software, did some
code re-writing and turned it into
one of the best scan-looking
CLOSE ON SCREEN - A street map appears with positions
of the network's relays. Lines appear indicating all
in-progress cellular calls along with their locations.
This is every call on the grid. I
can lock and position any one I
want and follow the hand-offs in
BRILL punches a number into the cellular and the phone
locks on the signal. Through the lap-top, we hear
RINGING and then an ANSWERING VOICE.
WOMAN'S VOICE (O.S.)
MAN'S VOICE (O.S.)
This is Dr. Jonathan Phillips, 102
Stern Drive in Brockton. I need an
airport ride on Friday at 6 PM with
a return pick-up Monday at 5.
There'll be two of us and--
Need a place to stay for the
weekend? A new TV?
(BRILL has repeated the process)
ANOTHER MAN'S VOICE (O.S.)
Triple-A Emergency Road Service.
May I have your name and membership
YOUNG WOMAN'S VOICE (O.S.)
Colleen Crane. Card number 020-113--
All from a hundred dollar scanner
at Radio Shack. But it's time for
BRILL dials his computer into a new line. TONES and
COMMANDS fly quick as Brill's computer modems into another.
What are you dialing?
(pointing on the screen)
There's Albert's D.C. office
address and his phone's identity
code. Now we just reprogram out
phone with his ID code and you know
what we've got?
SENATOR ALBERT (O.S.)
--Don't think it could've gone any
better. Tell me, how's Deb? How're
A receiver tuned permanently to the
EXT. FREEWAY - CONTINUOUS
A customized RV zips down the highway.
SENATOR'S WIFE (O.S.)
Melissa has a fever. When will you
be in the room?
INT. RV - CONTINUOUS
It's a plush affair befitting the Senator's position.
ALBERT speaks in the cellular phone while an aide,
PATRICK, reviews last minute changes for Albert's
Not 'till later tonight. We're
going to the campus now.
I'll call you after I've checked in.
I love you too, dear.
INT. LE MERIDIAN HOTEL/LOBBY - DAY
CHRISTA stands at the front desk as the CLERK hands her
DEAN, disguised, sits across the lobby reading a paper.
DEAN's POV: CHRISTA exits the hotel to a waiting car.
(into concealed sleeve mic)
She just left.
INT. HOTEL CORRIDOR - DAY
Numbered doors on each side. BRILL walks down the hall,
hair slicked, mustache, wearing a suit and carrying a
The important thing about
installations is numbers.
INT. CHRISTA'S HOTEL ROOM - DAY
SERIES OF SHOTS:
BRILL entering CHRISTA's room and opening his briefcase
revealing tools and listening bugs.
They may find one, but they're not
gonna find 'em all.
--BRILL planting devices behind the headboard--
--Inside the telephone--
--Behind the desk--
--Inside the TV--
--BRILL rifling through CHRISTA's personal items,
eyeing paper work, photographing interesting documents.
--BRILL opening a connecting door, picking a second
lock, and entering the adjoining suite.
INT. CHRISTA'S HOTEL ROOM - NIGHT
A clock reads 1:28 AM. The lights are on and the bed
unslept in. Christa's not seen. Then the connecting
CHRISTA steps from the Senator's adjoining suite in a
silk robe, nothing underneath. She turns in the doorway,
revealing ALBERT, naked in a towel.
CHRISTA closes the door, climbs in bed and grabs the
remote. She clicks on the TV.
FEEDBACK SCREECHES from the set.
She tries changing channels but the SCREECHING
continues. She tries turning off the set, but it won't
turn off. She grabs the phone and dials.
Can you send someone up right away.
I'm having a problem with my TV...
It's screeching and I--
It's screeching and I--
CHRISTA is noticing that her voice is causing the TV
image to distort in sync.
It's screeching and I can't turn it
INT. HOTEL RESTAURANT - MORNING
SENATOR ALBERT dines with an aide as PATRICK approaches,
a grave look on his face. PATRICK takes a seat.
What happened to you last night?
PATRICK reaches in his case and pulls out one of
Brill's listening bugs and hands it to ALBERT who puts
on his eyeglasses.
Christa found it last night
attached to her TV. It's a
We should everything checked.
There's a company in Cambridge
called Baudmore. They're discreet.
Seated next to ALBERT's table is DEAN, unnoticed as he
sips coffee, skims news, and eavesdrops on their
MURMURS with a small, concealed parabolic mic and ear-
Well get somebody down here today.
I don't know what the hell this is
EXT. STREET CORNER - DAY
A phone distribution box is open, revealing a mass of
circuit boards. BRILL stands at the box holding a
circuit-dialer phone to his ear.
INT. HOTEL LOBBY/NEWS STAND - CONTINUOUS
DEAN watches PATRICK approach a pay phone.
(into sleeve mic)
He's going into the payphone
outside the restaurant. It's a
Cambridge company called Baudmore.
BRILL connects two alligator clips to a line inside the
(into sleeve mic)
BRILL's phone line immediately rings. He waits...then
Is Jerry Delsano in?
It's Pat Cary. I work for Senator
Sam Albert and I was given Jerry's
Jerry's on vacation 'till Monday. I
can give him the message when he
gets back. That was Patrick and the
The thing is...it really can't wait.
My name's Neil. Maybe I can help you.
INT. SENATOR ALBERT'S HOTEL ROOM - DAY
CLOSE ON A FREQUENCY COUNTER sweeping a chest of
drawers. The device starts BUZZING, indicating a
BRILL, disguised, is on hands and knees, searching
under a chest where he 'discovers' a bug he planted
(removing the transmitter)
Oh yeah. Got another one here.
BRILL shows it to PATRICK, a very embarrassed HOTEL
MANAGER and a very serious HEAD OF HOTEL SECURITY.
Nasty fella. A TX-703. Remote on-
off, three-thousand foot range.
Shit, you could listen from a
shopping mall across the street.
INT. SENATOR ALBERT'S RV - DAY
BRILL stands in front of SENATOR ALBERT.
Well, sir, I'm afraid it's not as
simple as that. Your average
newspaper guy or Hard Copy lady or
whatever, they can't buy this stuff.
Well then who can?
Ah, sir, you know, it's not for me
What do you mean? Who can buy this
kind of equipment.
The thing is, Senator, and I don't
want to get in the middle of
What are you saying?
Most of this stuff's only available
to law enforcement.
FBI, CIA, NSA, local cops.
Are you sure about this?
BRILL unwraps a towel revealing the grease-covered NSA
tracker he removed from Dean's BMW.
I yanked this off your RV. It's a
Global Positioning Tracker.
Oh my God.
Tracks your location to the inch
and works directly with--you know...
With spy satellites. I don't like
saying these things Senator...
(shaking BRILL's hand)
Neil, thank you for your help.
PATRICK escorts BRILL out of the RV.
The SENATOR, fuming, opens a book, looks up a phone
number and punches it into his phone.
(into the phone)
This is Sam Albert. Put me through
to Langley. Dick Marshal's office.
INT. UNIVERSITY COFFEE SHOP - DAY
A place packed with STUDENTS, computers and TEACHERS.
DEAN sits in a corner reading a magazine, but what he's
really watching is--
A WELL-DRESSED MAN at the counter, his back to DEAN,
ordering a cup of coffee.
The MAN glances at DEAN off the mirror behind the counter.
BRILL walks in and joins DEAN.
Albert's primed. We'll let him stew
for a day and then drop the tape.
BRILL looks over at the WELL-DRESSED MAN.
He came in four minutes ago.
They're about to start for the front door when an
unmarked police car pulls up in front.
A rowdy group of FRAT BOYS flood in, loud and busy. By
the time they pass, BRILL and DEAN are gone.
The WELL-DRESSED MAN scans the coffee shop and sees the
back door swinging shut.
EXT. STREET - DAY
DEAN and BRILL run down the street, through an alley
and over a fence to another street. They slow as they
approach the parked Taurus. BRILL takes the wheel with
DEAN beside him.
They pull into traffic. Things look good, but then the
UNMARKED CAR and a SQUAD CAR scream up behind, lights
INT. TAURUS - CONTINUOUS
BRILL dumps the car into low gear and the Taurus comes
INT. SQUAD CAR - CONTINUOUS
A COP picks up the radio-mic.
One-Lincoln-Nine. In pursuit of two
suspects, one matching description
of Robert Dean, wanted in connection
with a homicide. Suspects northbound
EXT. BOSTON STREETS - CONTINUOUS
Through alleys, down streets, under an overpass, down a
one-way street, barely missing a head-on as they roar
into a rail-yard traversing the waterfront. BRILL's at
his best, putting distance between himself and the cops
at every turn.
Finally, it looks as if they've made it as they race
down an alleyway, only to realize it's a dead-end.
BRILL slams into reverse. They screech backward, tires
Too late. The squad car rips into the alleyway, boxing
BRILL hits the brakes. He looks back at the dead-end
and sees an empty flat-bed trailer with a ramp. BRILL
gives it everything. If they can get enough speed and
hit the ramp right, maybe they can clear the obstructing
Not particularly, no.
They hit the ramp full speed. The front end bottoms at
the Taurus bounces skyward. Tires clip the wall as the
car flips and smashes into a parked rail-car filled
They aren't going anywhere.
Back in the alley, the squad car skids to a stop.
A ROOKIE climbs from his car, leaps the wall, draws his
gun and nears...
Inside the Taurus, the windows are shattered. Steam
hisses, gasoline drips and coal is everywhere.
DEAN shimmies out through a broken side window. He
barely gets to his feet as he stumbles 20 yards or so.
His foot accidentally dislodges a large pile of coal,
which buries him up to his waist and immobilizes him.
I'm stuck. Help me out.
He looks back to see that BRILL is hanging out the
driver's side, bleeding badly and covered in gas.
(on waist radio)
One-Lincoln-Nine, suspects TA'd
into a coal car at the Fullbright
rail-yards. Requesting back-up,
fire and ambulance.
An unmarked car with red-flashers races up the rail-
yard and stops. The ROOKIE turns as JONES and KRUG hop out.
FBI. What do you got?
Two murder suspects. One's wounded,
the other's maybe dead.
KRUG draws his silenced pistol and matter of factly
shoots the COP dead.
DEAN is watching this all unseen, helplessly trying to
dig himself out of the coal.
KRUG inspects the Taurus interior for anything of
interest. JONES scans the area.
(to BRILL as he searches.)
I hate doin' cops, I really do. You
I won't mind. Didn't mind that
Rachel Banks. Didn't mind doin' her
(seeing DEAN's shoe)
Your lawyer friend buried over there?
BRILL can only gurgle blood. JONES pops the Taurus's
trunk had looks inside.
KRUG digs quickly through the coal pile, searching for
Dean. Then BRILL sees him--
BRILL's POV: DEAN down off the side of the coal-car,
lodged in the coal pile. He's safe, but not once KRUG
discovers he's not in the car.
BRILL pushes in the cigarette lighter.
JONES dumps everything from the Taurus into the
unmarked car. SIRENS suddenly fade in.
KRUG digs faster, looking for DEAN, as JONES approaches
with his pistol, clambering around for BRILL.
Fuck him, he's dead in two minutes.
JONES starts to back out, just as the Taurus's
cigarette lighter pops out. BRILL grabs it.
KRUG eyes the glowing lighter. Then he eyes BRILL.
BRILL ignites the gas. WA-WOOMFF!! A fireball explodes,
consuming all - the car, BRILL, KRUG. JONES is blown
off his feet from the concussion.
JONES wipes prints off his pistol and silencer and
tosses it into the flames as the police cars approach.
DEAN watches from the shadows as flames incinerate
I just came from my office at
Langley. Senator Albert called me
EXT. WASHINGTON D.C. RESTAURANT TERRACE - DAY
MARSHAL and SHAFFER dine with REYNOLDS at a restaurant
overlooking the Potomac.
I got the same call at the Bureau.
About what? Do I look stupid?
Does Shaffer look stupid to you?
We're not stupid, Reynolds.
The fuck do you have goin' on with
This guy's carrying the flag for
the damn terrorism bill. You think
this is the best time to piss him off?
You have any idea what kind of
He's carrying the damn flag.
We're not doing anything with Sam
He thinks we're stupid.
He found an NSA SAT tracker on his
motor home today.
It's not ours.
It was pulsing on your SAT frequencies.
I don't know what's going on, but
if you people have tripped over
your own asshole again, you're not
gonna get any help from us. It's
ending at your doorstep.
INT. TOWN CAR - DAY
REYNOLDS rides in the back of the car, a cellular to
We don't know.
INT. TECH ROOM - CONTINUOUS
The room is crammed with people as HICKS talks over the
Jones had to flee the scene before
we could locate the second body.
What about the tape?
We think it was on Brill. If it was,
it's destroyed now.
And if it wasn't?
ORGAN MUSIC can be heard as REYNOLDS snaps his phone shut.
Peace be with you.
EXT. SAINT PAUL'S CHURCH - DAY
Establishing. A beautiful church in an expensive
CHORUS OF PARISHIONERS (O.S.)
And also with you.
INT. CHURCH - CONTINUOUS
A crowded Catholic mass. The PRIEST delivers a sermon
from an altar decorated with Christmas candles and
The Lord said: I leave you peace,
my peace I leave you. Let us now,
in the spirit of these holidays,
turn to our neighbors and offer
them a sign of peace.
REYNOLDS stands in a pew beside his TWO DAUGHTERS and
his WIFE. He turns to those immediately around him,
shaking their hands.
Peace be with you...Peace be with you.
A disguised DEAN takes REYNOLDS hand and shakes it...
Merry Christmas. It's me.
Do I know you?
I'm Robert Dean. Within twelve
hours, you're gonna be in jail.
Peace be with you.
REYNOLDS is dumbstruck...
Let us now offer up thanks to the
Lord our God in the words our
Father gave us.
Our Father, who art in Heaven,
hallow'd be thy name--
Robert, is it safe to be talking on
the phone like this?
INT. A BEDROOM - NIGHT
DEAN sits on a bed while talking into a modified
cellular computer. The screen shows his current call
signal re-routing between relay stations.
I've re-routed the call. They can't
INT. DEAN'S HOUSE/BEDROOM - CONTINUOUS
Are you sure you're safe?
EXT. WASHINGTON D.C. - CONTINUOUS
CLOSE ON A SMALL GRAY CONE-SHAPED MICROWAVE ANTENNA
They're saying you killed that
That's gonna end tonight.
EXT. EXPRESSWAY - CONTINUOUS
CLOSE ON A MICROWAVE TOWER WITH NINE GRAY CONES
pointing nine directions. The intercepted phone signals
Where are you?
I can't tell you that.
EXT. KENT ISLAND - CONTINUOUS
Re-establishing. A concrete building rising from the woods.
Can you tell me anything?
INT. CEMENT BUILDING - CONTINUOUS
CLOSE ON COMPUTER SCREENS showing hundreds of phone
numbers scrolling by. A massive vacume cleaner of every
cellular call being made in the state of Maryland. The
computer scans for trigger numbers or words.
I can tell you this: That anti-
terrorism bill you were so worked
up about? I don't think it's gonna
A phone number locks on the screen--
INT. REYNOLDS BEDROOM - CONTINUOUS
The phone on the nightstand begins to RING. REYNOLDS
wakes as his wife rolls to the other side of the bed.
He grabs his scrambler phone and goes into--
INT. BATHROOM - CONTINUOUS
REYNOLDS closes the door and waits as scrambled lines
connect. Finally, a confirming tone.
INT. VAN - CONTINUOUS
HICKS is on the phone.
Found him. Kent Island nailed the
call five minutes ago. He's stationary.
Do you have visual?
Not yet. He's near "M" and 34th.
I've got an ELSUR unit on the scene
now. A residential building. Twelve
What's your ETA?
Three minutes. We're going in light.
Myself and two others. Everyone
else is held back in reserve.
He walked right up to me in church.
At the holiest time of the wear. He
approached me in a sanctified place.
Kill him now.
EXT. A VICTORIAN APARTMENT BUILDING - NIGHT
Establishing. Peaceful street, quaint apartments. THREE
MEN stroll to the entrance of a well-maintained
building. One jimmies the lock and a moment later
INT. LOBBY - CONTINUOUS
HICKS, JONES and DAVIS prepare. All have miniature
earphones. DAVIS checks his silenced pistol. HICKS
activates a frequency locator. The needle snaps on. He
looks at DAVIS and JONES.
All hand signals, no words, as the trio ascend the
One flight, two. Then HICKS stops. The needle says
HICKS motions. Their target's on two. They move down
the hall - silent except for a creaking floor and a TV
SHOW drifting from an apartment. Someone's up at this
They move on. HICKS watches the needle as it moves. He
motions DAVIS and JONES to a door. JONES puts a
reverse-viewer against the peep-hole.
JONES's POV: A view of an entryway and living room. A
light bleeds from an O.S. source. Beyond that there's
no sign of life.
HICKS puts a contact-mic against the door and listens
to FAINT CONVERSATION somewhere inside, possibly the
phone call. HICKS nods to JONES who quickly picks the
lock while DAVIS eyes the hall.
After a nervous moment, the door opens and HICKS, JONES
and DAVIS enter.
INT. THE APARTMENT - CONTINUOUS
They spread out, searching the well-decorated condo for
They near the room with light. Using a mini-mirror,
HICKS looks around the bend to see--
A BEDROOM. There's a briefcase on the bed.
From the bathroom they hear sounds of RUNNING WATER.
They slowly approach. Wood again CREAKS beneath them.
DEAN's VOICE is heard through the locked door.
HICKS signals "on three".
He counts, and they SMASH the door open to see--
--a cellular phone taped to a Baby-Monitor. DEAN's
nowhere in sight.
The fuck is this?
INT. POLICE STATION/DISPATCH AREA - NIGHT
Spinning banks of reporters manned by POLICE DISPATCHERS.
We move to one desk where a phone rings.
An LED immediately displays the caller's name; KRUGER,
JACK, along with his social-security number and date of
OLD MAN'S VOICE (O.S.)
My name's Jack Kreuger, I'm at 1102
Grambling. I just saw three guys
break into the condo next door. It
looked to me like they had guns.
INT. VICTORIAN BUILDING'S BASEMENT - CONTINUOUS
DEAN has the phone circuit box open and is plugged in
with a phone-line. Over the phone's mouthpiece, he
holds an electronic Voice-Mask which alters his voice
into an old man's.
We'll send a unit over there now.
If it's safe, sir, we'd like you to
stay by your phone.
Yeah, I think I'll stay where I am.
INT. SQUAD CAR - NIGHT
Any available unit. Armed 549 in
INT. VAN - CONTINUOUS
Three TECHNICIANS overhear the police radio call.
Three suspects now inside. 1102
Grambling, apartment 302.
201 to First Team. Pull out. We got
INT. APARTMENT - CONTINUOUS
HICKS spins and heads for the door. DAVIS hits it first.
He grabs the doorknob and pulls--
--and the knob rips from the door, trailing small wires.
What'd you do?
It came off in my hand!
EXT. STREET - CONTINUOUS
TWO SQUAD CARS come rolling up and FOUR COPS get out
and head into the building.
INT. THE APARTMENT
JONES is trying to pry the door open with his fingers.
Get outa there, guys!
While JONES continues on the door, DAVIS runs to the
Throughout this, HICKS will stand in the middle of the
room and, simply, oddly, stare at the mantle over the
HICKS smiles...and now he starts laughing a little...
What's so fuckin' funny?
HICKS motions to a framed picture over the fireplace.
It's over. We've been fucked with
our pants on.
The framed picture is of Senator SAM ALBERT and CHRISTA
We broke into her condo.
DOOR WOOD EXPLODES inward. The TWO COPS roll in
crouched positions, weapons drawn.
HICKS doesn't move, DAVIS freezes like a deer in
headlights, JONES stares with cold, dead eyes.
DROP THE WEAPONS! NOW!
Two more COPS arrive. JONES and DAVIS drop their guns.
ON THE GROUND! NOW! FACE THE FLOOR!
They do so. COPS THREE and FOUR go room to room making
sure no one else is lurking. In the bedroom, they find
the briefcase. Inside the briefcase--
--listening bugs, installation equipment and
compromising photos of the Senator with Christa.
Oh my God! What's going on?!
Back in the living room, CHRISTA has walked through the
broken-in apartment door to see JONES, HICKS and DAVIS
lying on the floor at gun point.
Ma'am, is this your apartment?
Would you step out in the hallway
for a moment, ma'am.
Please. We'll be right with you.
CHRISTA backs slowly out of the apartment and into--
INT. HALLWAY - CONTINUOUS
CHRISTA holds her hand over her mouth and is shaking. A
VOICE comes from an alcove...
She turns. DEAN steps out from the alcove.
You got a second?
Who are you?
My name's Robert Dean.
EXT. RESIDENTIAL STREET IN CHEVY CHASE - NIGHT
An up-scale neighborhood. Two inexpensive cars that
don't seem to belong there sit in front of a large home.
INT. SENATOR ALBERT'S PRIVATE STUDY - CONTINUOUS
DEAN sits with a drink in his hand. Across from him are
CHRISTA and PATRICK.
They sit in uncomfortable silence for a moment before
SENATOR ALBERT enters in bathrobe and pajamas.
I understand we have a problem.
Senator, there were some things I
couldn't tell you over the phone.
What kinds of things?
Mr. Dean has a video tape from the
hotel room in Boston.
It's actually DH-1 Digitech
Pinpoint scanning with a frequency
I don't know what that means.
Me neither, but the upshot is I've
got color live-action footage of
you and Ms Hawkins and it doesn't
So...how much money do you want in
exchange for not ruining my life?
I don't want any money. And believe
me, I have no interest in ruining
your life. I'm not interested in
Then what do you want from the Senator?
I want him to look at a different
tape. People have been killed.
Lives have been ruined.
(DEAN takes the computer
chip from his pocket)
Senator, I want you to look at this.
And I want you to bring the fury of
God himself upon this man.
DEAN tosses the chip to ALBERT.
INT. REYNOLDS BEDROOM - NIGHT
REYNOLDS is asleep when the PHONE wakes him up. Once
again, he reaches for his scrambled phone heads into
After waiting for the signal that the line's clear...
Sir, we've just intercepted an FBI
Well...what is it?
Well, sir, it seems there's a
warrant out on--
The DOORBELL rings. REYNOLDS is alarmed.
Now there's BANGING at the door and DOORBELL RINGS again.
REYNOLDS WIFE (O.S.)
(from the bedroom)
Who is that, dear?
REYNOLDS snaps the phone shut and goes downstairs to
When he opens the door he sees TWO FBI AGENTS with
their ID's flapped open and six uniformed POLICEMEN
backing them up.
What the hell--
You're under arrest. You have the
right to remain silent. Anything
REYNOLDS WIFE (O.S.)
INT. DEAN'S STREET - MORNING
A PAPERBOY tosses a newspaper at the Dean's door.
SENATOR ALBERT (O.S.)
Privacy and the right to privacy is
an inalienable right.
INT. DEAN'S KITCHEN - CONTINUOUS
Stacy has C-SPAN on the TV while she makes breakfast
for ERIC. SENATOR ALBERT is addressing the SENATE.
These guys are always making speeches.
It's an important speech, Eric.
There's gonna be a vote today.
Today we face a threat to that
creed. Certain individuals in our
intelligence community believe
they're entitled to examine lives
in minute detail, and claim to do
it in the name of the common good.
If they're voting today, hasn't
everyone pretty much made up their
Actually, this man appears to have
changed his mind dramatically.
He saw the light, my son.
ERIC and STACY whip around--
STACY and ERIC run to DEAN...
Is it over?
How long can you stay?
I'm not goin' anywhere, Eric. I
ERIC and DEAN hug.
Get ready for school, you're gonna
Is it okay to use the phone now?
It's okay to use the phone.
No "900" numbers.
But ERIC has disappeared up the stairs...
It's really over?
Albert's gonna get me my job back.
I'm sorry about Rachel.
I wish you could've met...
A friend of mine. I don't know his
real name. He's dead now.
You did good.
STACY points to the TV and DEAN watches for a moment...
I've lived through the dark ages of
Hoover's Watch-List and McCarthy's
Witch Hunts - men who used moral
crusades, fired by fear, to lay
waste to our freedoms.
C'mon upstairs. I've got a
Christmas present from Harrison's I
want to show you.
DEAN arrives as STACY takes him by the arm. They head
upstairs as ALBERT continues on...
Our intelligence communities
presently monitor our phones,
computers, financial transactions,
medical histories...all this and
more. Some of you may say, "Fine.
I'm not a criminal and I have
nothing to hide." Well God forbid
we ever edge to tyranny. God forbid
George Orwell's version of America
becomes a reality. We are that close.
ALBERT's speech continues as we...
ROLL END CREDITS.
FADE TO BLACK.