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-------------------------

FLANKING MANEUVERS

FADE IN:

EXT. A STREET – NIGHT

TITLE CARD: Paris

A MAN dressed in a dark-blue sweater strides toward a trash can 
on placed on a sidewalk.

The man is MARK STONE. CIA field agent.

Mark is carrying TWO PERRIER BOTTLES.  He heads for the trash 
receptacle, and tosses the two bottles.

Then he walks to his left, he's heading for a building. It's the 
U.S. Embassy.

Several people walk, bringing bags and passports.

EXT. THE EMBASSY – NIGHT

Mark reaches the doorway. Two GUARDS armed with MP5 rifles, and 
two VERTICAL METAL DETECTORS protect the building from threats.

The guards don't notice him yet.

Mark is about to do something. But his steely calm disposition 
won't show who is he, and what he's capable of doing. Mark digs 
for his passport in his right hand pants pocket.  Both of the 
guards are American.

He shows his passport to the guards.

GUARD ONE
Yeah.

He replaces the passport to his pocket.

Mark takes a breath. He hesitates to enter.

GUARD ONE
Something wrong, Mr. Reiser?

Mark shakes his head.

GUARD TWO
Perhaps something you forgot.

MARK
Actually, it's my girlfriend.

GUARD ONE
Your girlfriend?

MARK
That's right. We were supposed to meet.

GUARD ONE
Can I help you in that department,
Mr. Reiser?

MARK
There isn't anything you can do to help.
I'm fine.

Mark's eyes dart from Guard One's face to the inside of the 
building.

MARK'S POV,

People with passports lining up. And --- bingo, the woman with 
the yellow jacket. PATSY BOCK. The subject.

Mark takes a long, deep breath.

Three, two, one ...

Mark left hooks Guard Two's face as he elbows Guard One's. He 
grabs both their arms and pulls them. HARD.

Both guards scream, but soon their voices get lost because of the 
pain they're going through.

A couple more martial arts moves, and next thing that happens:

Mark tosses both MP5s to the floor, FAR from the entrance.

The metal detectors start to beep. LOUD.

Then Mark dashes

INSIDE THE BUILDING

He keeps his eye on Patsy Bock, still lining up.

A couple of civilians SCREAM in panic.

Patsy turns around, realizes this and fixes her eyes on Mark.

Mark draws a GLOCK pistol and fires.

BANG! BANG! BANG!

The sound is defeaning. Looks like Mark forgot his silencer for 
this one.

He pulls out something from his left hand pocket. It's a SMOKE 
BOMB.

He hurls it to the entrance.

Smoke engulfs the doorway, blinding the guards who are just 
starting to get up.

Mark's still inside, staring at the gruesome sight of Patsy 
Bock's ruined head.

MARK'S POV,

He's looking at a surveillance camera in the ceiling. He shoots 
it with his gun.

Then ---

He knows his way out, there's a door at one corner. He runs for 
it.

A man, dressed in a gray tuxedo tries to block him. He doesn't 
look like a sentry man, what is he thinking? This sucks. Mark 
shoots him, he flings the door open and disappears into the 
stairwell stationed before it.

EXT. THE EMBASSY – A BACK ALLEY

He hurries out of the alley, back into the sidewalk.

As he emerges, a new GUARD sees him and starts shooting at him.

He pulls out a grenade and tosses it to the trash receptacle.  
BOOM! A loud, ground-shattering explosion rocks the place.

The front of the embassy is covered in smoke.

INT. THE EMBASSY – NIGHT

A little while later, Patsy Bock's body still hasn't been 
collected.

Blood is all over the place. The shock and pain the people are 
going through inside the place is indescribable.

INT. CIA HEADQUARTERS – DAY

RONALD BASS is the DDCI, he's seated on a table.

Mark is seated on a chair, in front of him.

RONALD
So, you quit.

MARK
Yeah.

RONALD
Are you sure that's a decision
that you can make?

Mark shrugs.

RONALD
Are you sure that that's a decision
that we're gonna follow. We own you.

Mark raises a brow.

MARK
It's not like I'm a hit man or anything.

RONALD
You're not.

MARK
That's the point. I'm a field agent,
I don't just kill people.

RONALD
Remember, the operation was supposed
to be covert. 

Mark nods.

RONALD
And you failed! You screwed up.

MARK
That's why I wanna quit.

RONALD
You blew your cover, soldier.

MARK
It happens.

RONALD
Does it? Oh, does it?


Mark is calm. He shrugs.

RONALD
Not for the people who work for me.

Mark takes a breath.

RONALD
You were trained. You were trained well.

MARK
I mean, this is too much for me.

RONALD
What is too much?

RONALD
(continued)
You've done things like this a lot of
times, Mark Stone.

MARK
What I mean is, I can't take this shooting
people, stabbing them. Seeing them die in front
of me. This isn't what I think of as profession.
I don't think of it as beauty. It sucks.

RONALD
Looks like this is the first time
an agent from the Central Intelligence
Agency gets grossed out by his own job.

MARK
I'm just starting to hate the job,
that's all.

RONALD
You didn't fail entirely, you took
out Patsy Bock, a dangerous woman
who would have killed off many if
she wasn't stopped. Mark, in a way,
you have saved a life.

MARK
I hope that's true.

RONALD
Mark, don't show up in front of me,
and display a hitman with a heart
personality.

MARK
I told you, I'm not an assassin.

RONALD
You ARE.

Mark shakes his head, this time a little harder, showing total 
disagreement.

RONALD
But you don't just kill, you steal,
you spy, you blow things up. It's
your job. You chose this life.

MARK
And I wanna quit!

DISSOLVE TO:

EXT. A MAXIMUM SECURITY PRISON COMPOUND – DAY

TITLE CARD: 1 year later. Germany.

ARNOLD KNAPP, German terrorist, and inmate of the maximum 
security building is running furiously, away from the prison.

He's still in the compound though. He got past the chicken-wire 
gates, but he can still be intercepted by somebody.

A german GUARD stops him. The guard's name is DWIGHT.

Dwight is carrying a baton.

Another guard follows. His name is JON. They were supposed to be 
going to the prison, but Arnold is stopping them from doing so.

ARNOLD
Hi, Dwight. It's a little easier 
this time.

Arnold disarms Dwight of his baton, and he knocks Dwight out with 
it. Dwight falls to the ground head first.

Jon is particularly calm. He cuffs Arnold right away.

JON
Wohin gehen sie?

Arnold pulls Jon's arms, and he hard hits Jon's face with his 
knees.

JON
Urrrghhhh!

Arnold bends slightly and pulls something out of Jon's belt. The 
keys.

He kicks Jon in the stomach, Jon falls back.

The handcuffs fall on Jon's body. Then the keys. Instant sleight 
of hand.

FADE OUT.

SERIES OF FLASHY IMAGES:

A passport.

Some false papers.

A make-up kit.

A pocket book written in German.

A man seated on an airplane, looks like Arnold, but the face is 
altered. It's a disguise.

The passport again.

EXT. SAN FRANCISCO SKYLINE – DAY

It's bright and shiny. The plexiglass windows of most of the 
buildings assault our eyes with the sun't reflection.

TITLE CARD: SAN FRANCISCO

INT. A BROWNSTONE (MR. KIRSCHNER'S APARTMENT ROOM) – DAY

MR. KIRSCHNER, is a middle aged, white haired German man he's 
seated on a couch. This is his apartment room...or hideout.

Arnold stands before him.

But, both of them are not alone. HARRY, HANS and LESTER 
(American) are seated on chairs. Harry is lying on the floor. 
They look mean, bad-assed. And their willing to assist Arnold and 
Kirschner. They are very tough men.

ARNOLD
So, why did you choose San
Francisco?



KIRSCHNER
Mark Stone lives here.

ARNOLD
How could you know that?

KIRSCHER
My own sources, inside stuff. You
wouldn't really care how I would
know it.

ARNOLD
Okay. I want to go out, and kill him.

KIRSCHER
Nein, es functioniert nicht so.

ARNOLD
Why not?

KIRSCHNER
Stay, here. Keep a low profile.
Let Harry, Hans and Lester do the
job for you. You don't trust me?

ARNOLD
Well, on the contrary---

KIRSCHNER
What?

ARNOLD
The Grausam Terrorist Organization 
will re-emerge in America. It's 
symbolic enough.

KIRSCHER
Not either, we should leave here
as soon as we can.

ARNOLD
Not until Stone is dead.

KIRSCHNER
I've been doing this. These, as a bonus,
Arnold, please don't abuse me.

ARNOLD
And I wouldn't call you a general,
you were only a trooper of the Grausam.


KIRSCHNER
Well, I've cooperated with you.

ARNOLD
That's not enough.

KIRSCHER
There's only few of us, Arnold, wake up!

ARNOLD
So?

KIRSCHNER
We need more men to ressurect the
Grausam.

ARNOLD
Vengeance before Armageddon.

KIRSCHNER
Gee, Arnold, you haven't been talking
to any of us "Americans", you've been
spending time in a cell, and I still
find your English pretty fluent.

ARNOLD
The rewards of a hard-working English
scholar.

KIRSCHER
Let us never forget that.

Both of them laugh.

INT. CIA HEADQUARTERS – DAY

NASH JEFFREYS, Mark's best friend, also a field agent sit face to 
face with Ronald in his office.

NASH
How could he have done it?

RONALD
I don't know. Many ways.

NASH
I mean, how could he have done it,
now! Now and not yesterday.

RONALD
That's a puzzle.

NASH
He probably has been trying hard a lot 
of times.

RONALD
And failed disgracefully.

NASH
This is the only time it's happened.

RONALD
No.

NASH
I mean, for him.

RONALD
Carlos the Jackal could easily escape.

NASH
Why all this sudden?

RONALD
This is disturbing.

NASH
Gotcha, Mr. Bass.

RONALD
Not just for us. But for the rest of
the world.

NASH
I know, we can't let the Grausam
rise from the dead.

RONALD
We should find an appropriate
course of action immediately.

INT. A RESTAURANT – DAY

Mark Stone is now a waiter in this restaurant.  He's 32 years old 
and he has an image of maturity and intelligence, and he deserves 
a better job than this.

Mark is standing before a fat male CUSTOMER, who is seated on one 
of the wooden tables.

Mark has his hands on a notepad and a pen. He's taking an order.


CUSTOMER
I'm not quite sure what I want,
it's my first time here.

MARK
Well, take a look at the menu again,
you might wanna make up your mind.

CUSTOMER
I'm still having a hard time...

MARK
Well, take your time. I can stand
here for ten minutes.

CUSTOMER
Let's see, let's see.

The customer glances at the menu, but without reading it. He's 
really confused.

MARK
So?

CUSTOMER
I don't know. Would you recommend it?

MARK
Hey, sir. A waiter in this
restaurant couldn't have enough
time to taste what we serve,
hell I haven't tried a single thing
that these people cook, so why don't
you make up your mind and don't come
back if you hate it.

CUSTOMER
No, give me a second I'll think.

Mark sighs irritatingly.

MARK
Sir, really, I haven't tasted it---

CUSTOMER
I know, I know, just give me a second.

MARK
Well, by the looks---



CUSTOMER
What?

MARK
Our beef tastes pretty good

CUSTOMER
Really?

MARK
Sir, I'd taste it when I don't
forget I'm in the mood for eating.

CUSTOMER
Are you sure?

MARK
Come on!

CUSTOMER
All right, all right. I'm having it.

Mark leaves.

Mark hands the order to one of the cooks standing behind the 
counter.

Mark coughs. He checks his watch. There's nothing else to do.

Mark turns and watches the T.V.

ON THE TV SCREEN:

Reporters JACKIE FINN, and JOHN DONOVAN are on their desks, in 
speculation of something serious.

Both Jackie and John are talking.

JOHN
Yes, Jackie, it has happened before.

JACKIE
What did happen?

JOHN
There was this one terrorist who could
shoot without blinking, he could shoot 
straight without missing. Ahhh, I forgot
his name.

JACKIE
How many times has it happened, John?

JOHN
Ummm---

JACKIE
According to your research.

JOHN
Um, I don't research, but there's no
telling.

JACKIE
And why did Arnold Knapp escape only
now?

Mark squints in surprise.

MARK
Fuck, what's going on?

Mark moves closer to the screen.

JOHN
Well, he has attempted escapes
a lot of times, but this is the
only time he got lucky.

JACKIE
That building must have REALLY
tight security.

JOHN
Right.

JACKIE
Arnold was sent to jail, and captured
seven years ago, right?

JOHN
Correct.

JACKIE
What about the rest of the Grausam?

JOHN
Yeah, all of them, all of them caught.
Some of them had to be killed and they
have been sent to different prisons all
over the world. Arnold in Germany. But
all the jailhouses the Central Intelligence
Agency have locked them into are maximum
security.

JACKIE
Yes, that's right, folks. The guards
weren't able to stop Knapp because they
were obviously no match for Arnold's skill
in bringing people down.

JOHN
Will the prison tighten their security this time?

JACKIE
Looks like they won't. And they
don't have to. They just have to
catch Arnold Knapp.

JOHN
That's right.

JACKIE
Ummm, John, is it possible that
he still has contacts from, I don't
know, perhaps he has contacts internationally?

JOHN
He's in league with a lot of people,
that I have no doubt. But, whether the
Grausam need be feared again, that question
can not be answered!

Mark is still shocked and he's feeling really sore right now.

He takes the tray containing the Customer's order.

He walks to his table.

INT. KIRSCHNER'S APARTMENT ROOM – DAY

Kirschner is seated on a table, Arnold in front of him.

Scattered on the table are HECKLER AND KOCH rifles, some 
GRENADES, CELLULAR TELEPHONES, TRACKING DEVICES and OTHER 
MILITARY EQUIPMENT.

Kirschner's Apartment has two rooms (excluding the bath). It has 
a couch, a bed, and even some kitchen tools.

It also has an attic, the attic's hatch sagging slightly from the 
ceiling.

There's also a ladder on one corner of the room.

Arnold is dressed in a suit, so is Kirschner.  The other guys? 
They're in one of the rooms.

ARNOLD
I'm glad you told me everything.

KIRSCHNER
Actually, I'm not glad that I did.

ARNOLD
What are you saying?

KIRSCHNER
I'm saying that you might go too far
with this obsession. I'm afraid that
I change my mind, we should leave.

ARNOLD
How can you be so self-motivated, Mr.
Kirschner, you were only a trooper of
the Grausam, remember that.

KIRSCHNER
Also, remember, I've grown smarter.
And you owe a big one from me.

ARNOLD
Oh, yes.

KIRSCHNER
So, what will be your first move?

ARNOLD
I don't know. I have to go out, check
out the streets, I'll always get my man.
I've trained for this sort of thing for
years.

KIRSCHNER
Me too, I've been reading Lee Lapin's
books.

ARNOLD
You spend 49 bucks on those pieces of crap!

KIRSCHNER
It's worth it.

ARNOLD
By the way, that technical manual
for independent contractors was written by
a woman, you know that?

KIRSCHNER
That was already banned.

ARNOLD
A woman. A publicist actually.

KIRSCHNER
Point is, remember, you should be
laying low. Very low, remember you're
in America. And the Grausam must not
reform in this country.

ARNOLD
Why not?

KIRSCHNER
We should work from the shadows.

ARNOLD
Yes, we work in the shadows, but
we should do what we have to do here.
Plant bombs everywhere, and send in
the message that we are alive.

INT. THE RESTAURANT – LATE DAY

Mark is still in the restaurant.

MARGIE, Mark's best friend waittress calls for him.

Mark approaches her.

MARGIE
Mark, phone!

MARK
Who the fuck is it?

MARGIE
A Helen Parker for you.

MARK
Oh!

MARGIE
Take it.

MARK
Yeah, yeah.


The voice of HELEN PARKER, one of Mark's friends can be heard 
through the phone.

HELEN
Hello, Mark, how's work?

MARK
Hi, hunn.

HELEN
Don't call me that!

MARK
Yeah, work is fine, I don't have
financial problems. I never do,
and I'm good. I'm good.

HELEN
That's nice to hear!

MARK
You?

HELEN
I still miss Jonathan.

MARK
Yeah, well, I miss him too. He was
a good husband. Why don't you remarry?

HELEN
What? Mark, don't talk about those things.

MARK
What gives?

HELEN
Barry just turned nine today.

MARK
All right, I'll buy him a present, but
I still gotta stop buy the grocery.

HELEN
NO!

MARK
What?

HELEN
You don't have to do that.

MARK
I won't.

HELEN
Come over.

MARK
Yeah, make sure I do get to take
a seat if you want me to stay long.

HELEN
No, you don't have to stay long.

MARK
Well, I will.

HELEN
Listen, we've invited no one. Barry
hardly ever has any friends, and the 
first thing they thought of was Uncle
Mark. I wish I never got myself fired
from the restaurant, eh?

MARK
You didn't get yourself fired. They
fired you.

HELEN
Ummm, bye, gotta go. 

Mark replaces the receiver.

INT. A GROCERY STORE – NIGHT

Mark taking a look at one of the stalls.

He reaches for a bottle of CHILI SAUCE and holds it.

He's not bringing a cart, looks like he's only after the sauce.
Mark takes a look at the bottom of the bottle.

MARK
Shit.

Mark talks to one of the clerks. The clerk is JAKE.

JAKE
Hey there, Mark.

MARK
Hi.

JAKE
What?

MARK
Say, can I ask you something---

JAKE
Ask away---

MARK
Your chili sauce bottles are expired.

JAKE
Are you sure? Could be the only one
holding is expired.

MARK
I checked 'em all. 

JAKE
What the fuck?

MARK
Hey, you got some alternatives, I'm
a good customer you know that.

JAKE
Alternatives, alternatives, no...

MARK
In that case, I'll leave.

JAKE
No, don't!

MARK
Why shouldn't I leave.

JAKE
Well, pick up something else.

MARK
Just for the hell of it?

JAKE
Yeah, I guess.

MARK
No way, Jake. This is the last
time I'm ever gonna have to step
in this grocery store.

JAKE
No one gives a fuck.

Mark darts his eyes to the loaded grocery cart Jake is holding on 
to.

JAKE
Noodles, like noodles?

MARK
Love 'em.

JAKE
Pick one up!

MARK
It's probably expired.

JAKE
Listen up, Mark, it's only
one month past the expiration
date, it couldn't make you shit
green if you eat a little of it.
Just put little in your plate---

EXT. THE GROCERY STORE – NIGHT

Lester is right outside the grocery. Good timing.  He can clearly 
see Mark and Jake chatting.

Soon, Jake leaves.

Mark gets to the counter and buys the Chili Sauce.

A ghost of a grin appears in Lester's face. Looks like this is a 
happy night. 

INT. THE PARKER HOUSE (BUNGALOW) – NIGHT

Mark is seated on the dinner table. With him is HELEN PARKER, a 
woman in her mid-thirties, BARRY who is a 9 year old and LEONARD, 
who's 7.

They're eating spaghetti.

MARK
Why all this?

HELEN
I don't get you.



MARK
Why such a boring party?

HELEN
What?

MARK
It's boring, I woulda wanted it to be
you know, more lively. I'd expect a 
nine year old to cherish all his years and
be glad that he'll---

Mark laughs.

MARK
---turn ten next year!

HELEN
That's what I said---

MARK
---hardly has any friends?

BARRY
No, Uncle Mark, it's just that mommy
is too depressed, she's still sad that
Daddy's gone and she says---

HELEN
Barry!

BARRY
She says that she doesn't want to 
expose me to people who have bad 
influence.

MARK
I see.

HELEN
No, it's just that some of the kids
in the neighborhood are punks, Mark. I
don't want Barry and Lenny to get along
with those kind of kids, right?

Mark shrugs.

MARK
Uhhh, right.


HELEN
Don't worry, honey, we'll find
some friends for you soon.

MARK
Aren't you supposed to be studying, Barry?

BARRY
I am studying, it's just that we don't
bother to telephone any of my classmates,
so there...

MARK
That must suck.

EXT. BUSHES – NIGHT

In the bushes just outside the Parker's Lester is watching 
through binoculars, he can clearly see them in the dining room.
His eyes focused on Mark.

LESTER
So, you're a Daddy, eh?

INT. KIRSCHNER'S APARTMENT – NIGHT

Everybody's seated. Hans, Harry, Arnold, and Kirschner.

They hear a KNOCK in the door.

LESTER
Lester!

KIRSCHNER
Hans, let him in.

Hans opens the door.

Lester steps in. He tosses the binoculars into the couch and 
takes series of deep breaths. He's exhausted.

LESTER
Mark Stone has a family!

Arnold leans forward, feeling a sudden surge of provocation.

ARNOLD
What? What did you say?

LESTER
Two boys, his wife. That's all.

ARNOLD
You know where he lives.

KIRSCHER
Slow down, will you...how did you track him?

ARNOLD
I like your skills.

LESTER
'Ya don't have to. I followed him from
his favorite grocery store. He stopped by,
he picked up a bottle of chili sauce.

ARNOLD
You are sure?

LESTER
Definitely.

ARNOLD
And could you easily go to his residence?

LESTER
It's a cake, fellas. We got our man.

ARNOLD
Very good, I'll decide what to do with him.

LESTER
I say we take him out tomorrow. Strike point's
not easy to find, me and Hans can handle it.

Hans nods.

HANS
That's right.

KIRSCHNER
Look guys, must we move this fast?

ARNOLD
Yes, there's no time to waste.

KIRSCHER
First, you have to question yourself,
is this operation necesarry? Does it
bring about something productive to our
goals? You know us guys, the Grausam. We
need to rise again.


ARNOLD
KIRSCHNER!!!!! Shut up, I'm sick
of your bullshit. Vengeance before
armageddon, that has what has been
in my head for a long time, when I
was in prison, helpless inside a cell.
I'll take this oppurtunity, and---

LESTER
So what's it gonna be?

ARNOLD
We'll kill him.

Lester grabs a small-bolt action RIFLE. It's caliber is---

LESTER
Twenty two LR. 

Lester walks toward one of the rooms, gets in.

A minute later, he comes out already gripping a silencer.

LESTER
Put a silencer, and baby, there's no
other way it can be fool-proof.

EXT. THE BUSHES – DAY

Hans and Lester are already hiding in the bushes, the bushes are 
that wide and thick, that they wouldn't question the proficiency 
of executing a short-range assassination here.

Lester is holding the rifle, with the proper position.

Hans is holding the binoculars.

LESTER'S SCOPE POV,

Through the window:

There's no one there, the rooms inside of the bungalow are 
closed.
Lester pans the scope and he can see the garage this time.

There's a GRAY car parked up.

He sees the kitchen, the dining room, no one's there.

LESTER
Still haven't got off the sack, I guess.

Hans checks his watch:

7:30 A.M.

Looks like it's too early.

HANS
We should have been here much later, we
are like wasting our time.

LESTER
Relax pal, better to be earlier and precise.

HANS
Don't miss the shot, Lester.

Lester lets go of the rifle momentarily.

LESTER
Hey, do I look like a fucking oaf to you?

HANS
Not really. Hey, American, I was just
reminding you.

LESTER
No need for that, I'm expert. I've killed
a couple of times.

Lester gets back to his rifle, holds it properly, and focuses on 
the house.

IN THE STREET,

People are walking, driving to work, checking their mailboxes and 
picking up the newspapers. But none of them are sharp enough to 
notice the men behind the bushes.

A couple of meters from the bushes is a huge park. It has a tree, 
a slide, a merry go round and some monkey-bars.

BACK TO HANS AND LESTER

Hans is holding the binocs, but he's not using it.  Lester is 
concentrating, still holding the rifle.

LESTER
Come on, Mark, come out.

HANS
Still isn't there?

LESTER
Looks like he didn't sleep well last night.

Lester lets go of the rifle.

LESTER
I'm too tired. YOU THERE keep a close
eye on him when he gets out.

HANS
Roger, but you better shoot fast.

In one of the houses in the neighborhood, TWO TEENAGE BOYS have 
their attention on a loudspeaker and a CD component hooked to it.
They're gonna go jamming. They turn on the music. The music 
blares from the stereo...

LESTER
Perfect.

HANS
It's our lucky day.

LESTER
You know, I was sort of hoping for a parade.

Lester gets back to the rifle. He starts scanning the house 
again. No sign of Mark or the kids or Helen Parker.

LESTER
You know what?

HANS
What?

LESTER
I think we should call this off.
If this guy doesn't get up too early,
then maybe he already has. He probably
went off and drove for work. He's gone.

HANS
What are you saying?

LESTER
We go back to Knapp and tell him this
mission should be done tonight. 

HANS
He's not gonna like this.


LESTER
Sure.

INT. KIRSCHNER'S BROWNSTONE – DAY

Lester is talking to Arnold.

ARNOLD
Look, you could have stayed longer.

LESTER
I know, but---

ARNOLD
I see your point, but I told you to
WAIT until you see him, then shoot him.

HANS
He wasn't there.

LESTER
Yeah, I don't think there's a doubt in
that.

KIRSCHNER
I told you something could go wrong, Arnold.

ARNOLD
What? It hasn't even started yet, we should
be persistent.

KIRSCHNER
Bull shit.

ARNOLD
Fine, Kirschner.

KIRSCHNER
Why the fuck can't you get over it?

ARNOLD
I can't. I just can't.

LESTER
So---

ARNOLD
So you can afford to fail next time,
perhaps I should be there. I should
put myself on the line, because I want
this bastard to be put away.

KIRSCHNER
Arnold, how many times have I told you
not to go out of this building? It's too
unsafe, your face will go out into the open---

ARNOLD
Exactly what is it you're worried about,
huh? Surveillance cameras? SHIT! No way.

KIRSCHNER
Yes, yes, yes, but let's not be hasty
in our actions and let us not forget prudence.

HANS
I say we go back to the grocery.

ARNOLD
Grocery store is a needle in a haystack,
unless you'll find yourself lucky like Lester
has a couple of times.

LESTER
That's right.

HANS
So, we're sticking to our plan here?

ARNOLD
It's an easy plan, nothing's difficult in it.

HANS
Fine, then.

LESTER
It's best to stick to the original plan.

ARNOLD
So, that's it, then!

KIRSCHNER
I'm not hearing this. This is silly.

ARNOLD
Silly to you, Kirschner, but what if
you put yourself in my shoes?

KIRSCHER
My socks would still be off.

ARNOLD
I want him.

KIRSCHNER
But you won't have him.

LESTER
There seems to be another problem.

ARNOLD
What is it?

LESTER
Mr. Knapp, you might not wanna hear it, uhhh,
never mind.

ARNOLD
Come on Arnold, don't be shy.

LESTER
Ummm...no, honest, no, you don't wanna hear it.

ARNOLD
Why not?

LESTER
What if he isn't there?

ARNOLD
What?

LESTER
Yes. We call it off again, and go back
tomorrow.

ARNOLD
Yes, you're right.

KIRSCHNER
Ahhh, what is this?

ARNOLD
So, kidnap the family!!!

LESTER
What?

ARNOLD
Take the woman, the two boys, we'll figure
out a way to lure Mark Stone in here.

KIRSCHNER
That's absurd.


ARNOLD
Why?

KIRSCHNER
How do you expect to lure him in here?

INT. THE PARKER RESIDENCE – NIGHT

A pretty babysitter named EMILY is talking to Helen.

The two boys are in the living room, playing.

HELEN
Thanks for being patient with them,
Emily.

EMILY
No problem.

Helen hands Emily a bill. Emily walks out of the house.

Helen goes for the doorknob, locks it.

HELEN
Well kids, I'm back.

Helen walks to the living room, there's nothing obscuring it from 
the main door.

The door suddenly CRASHES!

Lester and Hans enter, Lester is carrying an MP5. It's weird he 
should be doing this, but whatever...

BOOM!

Lester fires one semiautomatic round from his rifle. He just 
hopes that the neighbors won't get up from their sleep.

LESTER
Come with us!!!!!

INT. KIRSCHNER'S APARTMENT – NIGHT

They are taken into one of the rooms. There's a bed, and a chair, 
nothing else.

ARNOLD
Stay here!!!!



INT. THE ROOM

Helen and the kids are leaning back, the kids covering their 
eyes. Helen is crying, she's staring up at Arnold's menacing 
face.

ARNOLD
Now, there is a reason why you are here.

CUT TO:

THE LIVING ROOM

Arnold and Kirschner argue, Kirschner is more furious than ever.

KIRSCHNER
What is it with you, Arnold?

ARNOLD
Nothing!

Kirschner gets up from his chair and walks back and forth 
restlessly.  What the fuck is happening with Mr. Knapp?  
Kirschner stops, eyes locked on Arnold.

KIRSCHNER
This does not help the Grausam.

ARNOLD
What are you talking about?

KIRSCHNER
This does not help...

ARNOLD
The Grausam does NOT EXIST!

KIRSCHNER
But it will, and it will have to, soon...

ARNOLD
Listen to me, Kirschner. Mark Stone
means a lot to me, I'll do anything to
get him. I would even kill you all just
to take him myself. Right now, my 
goal isn't completed, I can't sleep, and more
than anything else...the Grausam is not 
on my mind. It has never been...at least
not recently. Now will you stop complaining,
and start trying to be calm.


KIRSCHNER
Calm? I'm calm, you're the one who's
lost your bloody marbles.

ARNOLD
What?

KIRSCHNER
You're becoming Sean Miller.

ARNOLD
Becoming who?

KIRSCHNER
Point is, just call this kidnapping thing
off and try to figure out another way to
get to Mark Stone. And why the fuck can't
you get over with what happened to you...

INT. THE ROOM

The door is shut.

Helen and her kids are still in shock.

Leonard embraces Helen.

LEONARD
Mommy, what do they want?

HELEN
I don't know.

LEONARD
Do you think they'll let us go?

HELEN
I can't answer that, either.

LEONARD
Why not?

HELEN
LOOK, LEONARD!!! I don't know, I don't
know what the fuck are we in for, and why
this happened in the first place, we just need
to follow them. Give them what they want.

LEONARD
They want money, right?


HELEN
They think we're rich? That could be
a possibility.

LEONARD
What else do you think they want?

HELEN
Just money.

LEONARD
Tell them that Barry just celebrated his
ninth birthday recently, they could let
us go.

HELEN
That's gonna be bullshit to them.

LEONARD
What?

HELEN
They won't care. They don't give a plain
fuck about Barry's birthday.

LEONARD
Mom, stop cursing.

HELEN
Sorry...

BARRY
Why do they think he's Dad?

HELEN
Who?

BARRY
Uncle Mark. The guy said that he wants Mark
Stone.

HELEN
I don't know.

BARRY
We should go out and tell them that he's not
Dad. They'll let us go for sure.

Barry stands up, touches the doorknob.

HELEN
Barry, sit down!
BARRY
But---

HELEN
Sit down, the best thing that we can
do now is shut up.

INT. THE LIVING ROOM

Arnold and Kirshner are still arguing. But both of them are 
seated now, they're both mad. They look like shit.

KIRSCHNER
I have told you a lot of times,
you're an important man.

ARNOLD
The way I look at things---

Arnold sighs.

ARNOLD
---you should see the way I see things.

KIRSCHNER
What?

ARNOLD
You should know how I'm feeling, and how
I've always felt.

KIRSCHNER
Seek help.

ARNOLD
I don't need any.

KIRSCHNER
Yes you do, perhaps I can cheer you up,
Mr. Knapp.

ARNOLD
Every single day, I think about killing him.

KIRSCHNER
Try to get your mind off that! Try to
forget about what he did to you...

Kirschner shakes his head slowly. What can ever bring Arnold 
Knapp back to his senses. What can make this skilled man act the 
way he is supposed to.

KIRSCHNER
You're becoming too immature.

ARNOLD
Who cares.

KIRSCHNER
So,  what's your plan.

ARNOLD
Like I said, we find a way to get him.

KIRSCHNER
What?

ARNOLD
We attack. We surprise him. We attack
sideways, we'll find a way to make him
come here. In this very building.

KIRSCHNER
Then---

ARNOLD
I wanna shoot him myself.

KIRSCHNER
I won't argue with that.

ARNOLD
Then after I kill him, I'll decide
what I'm gonna do with his family.

KIRSCHNER
What then?

ARNOLD
I could either kill them, I could
let them go. I don't know.

INT. THE ROOM

Hans enters, Hans slams the door shut.

Hans is holding one of the MP5s.

He crouches in front of them. Helen blanches.

HANS
Hello, there. Just bare with the inconvenience,
eh?

HELEN
What?

HANS
I don't think this will last long.

HELEN
Get that gun away from me.

HANS
Don't worry, I'm not gonna shoot you...

Hans laughs.

HANS
...yet.

Helen starts to cringe.

HANS
Seriously, killing you is not on our minds
right now. So, just stay, calm, okey dokey?

HELEN
Right...

HANS
Listen, is there anything you need?

HELEN
Don't fucking hurt us...

Barry and Leonard can only watch as this horrible man is talking 
to their mother. Both of them are nervous...if only he can lose 
that gun.

HANS
We won't.

HELEN 
What do you want?

HANS
Daddy.

HELEN
What?

HANS
We'll kill your husband.


BARRY
Mark Stone---

HELEN
BARRY SHUT UP!!!!!

HANS
You shouldn't yell at your kid like that.
It's traumatic.

HELEN
Don't you fucking tell me what to do
with my kids.

Hans stands up.

HANS
Hey, I was just trying to help. Be happy.

HELEN
No.

HANS
What do you want? Tell me. I might give
you something to last the night.

HELEN
What are you gonna do after you kill my husband?

HANS
I don't know. It's up to Mr. Arnold Knapp.

HELEN
You're gonna kill us, right?

HANS
Don't speak of that. Don't give us ideas.

HELEN
Who are you people?

HANS
We're Germans.

HELEN
You're terrorists, aren't you?

HANS
No. Not terrorists. We're just German.

HELEN
What is it you want with my husband?

HANS
I couldn't answer that.

HELEN
Why not?

HANS
I'm only hired. I only work for Arnold Knapp.

HELEN
Tell me...

HANS
Actually, he wants to avenge an old score.

HELEN
He's a waiter, what would he owe from terrorists?

HANS
He's a waiter. But sometimes, waiters aren't
just waiters. They don't just work in restaurants,
they could probably have some secrets...

HELEN
He's a spy!

HANS
Well, you could say that he owes us a lot
of money...

HELEN
What?

HANS
You could never know the possibilites...

HELEN
What possibilities?

HANS
He could be who he is today, because of
Arnold Knapp. Maybe he's kept alive, just
because of our leader.

HELEN
Can't you people just let us go?

HANS
I'm afraid not.


Hans frowns. Then takes a breath. He's concerned about something. 
He wants to tell them---

HANS
I don't want to disappoint you people, but
I might just tell you right now, that you could
die. Be prepared.

HELEN
What?

Helen starts breathing hard.

HANS
Yes.

HELEN
What the...

HANS
He'll probably kill you when he doesn't need you.

Hans shakes his head. 

HANS
You're lucky that I'm telling you this.
I'm telling you this before it should
happen.

Helen starts hyperventilating.

CUT TO:

THE LIVING ROOM

Kirschner is calm now.  He's seated beside Harry and Lester.
Hans comes out of the dark room and...

HANS
THE WOMAN IS HYPERVENTILATING!

ARNOLD
So what.

HANS
She could die.

ARNOLD
It doesn't matter, I'm not after a ransom.

HANS
Hey!!!

ARNOLD
Who cares.

HANS
We could need them. We can't just let
any of them die.

LESTER
I guess Hans is right.

HANS
Please! 

ARNOLD
And besides, what was all that you pulled inside
the room? Chit chat. I hope you didn't give away
something revealing.

HANS
Don't worry.

ARNOLD
Well, cheer them up, some more.

KIRSCHNER
For God's sakes, give them some food!

EXT. THE PARKER RESIDENCE – DAY

Cops are on the scene, yellow police tapes barricade the 
bungalow.

Mark shows up. Mark can't hide the feeling of disturbance in him.
He talks to one of the OFFICERS.

MARK
Officer, what happened here?

OFFICER
It's a possible kidnap situation.

MARK
What?

OFFICER
That's right.

MARK
Who took them?


OFFICER
We can't verify that yet, sir.

Mark stares at the bungalow, he studies it. No blood, no 
gunshots, nothing. Except for the door. Someone rammed
it really hard.

OFFICER
Neighbors were complaining of a loud
burst, last night. They said there was
a loudburst...

MARK
It's gunfire.

OFFICER
We can't verify that yet, either, sir.

MARK
Well, what can you confirm?

OFFICER
That these people have been abducted, and
now we have no suspects.

MARK
Are there people inside the house?

OFFICER
Not yet, but we'll be looking for prints in
awhile.

MARK
Have you ever found any slugs that are stuck
to the walls, here? Maybe at the back of the house...

OFFICER
No, sir.

MARK
What have you found?

OFFICER
Absolutely, nothing.

MARK
Thanks.

Mark prepares to leave.

OFFICER
Gee, sir, I just wanna ask...


Mark turns around.

OFFICER
Do you know these people, are you a relative?

MARK
No. I'm one of their friends. I live nearby.

Mark scans the house from the front yard, he tries to do it 
casually. He has got to find a way to get in. The windows are 
covered with curtains.

INT. THE PARKER HOUSE – DAY

Mark enters from the back door. He closes it slowly.

He stares at the windows, the curtains are good enough to cover 
him. Except for the door.

He's in the kitchen. There's a telephone. 10 meters adjacent to 
him is a window without any curtains, luckily no cops are there. 
No one's watching him. All right, it's time to scram.

The phone rings. That's odd.

Mark picks it up. It's Hans on the line.

HANS
Mark Stone, I'm watching you. 

MARK
What? Who is this?

HANS
I'm watching you, you silly son of a
bitch.

MARK
Who the fuck is this? What do you want?

HANS
I want you to hangup, and be back in the
house after six hours. Repeat, six hours,
now hangup!!!

Mark replaces the receiver into the phone.

EXT. A SIDEWALK (UPTOWN) – DAY

It's somewhere uptown, where the streets are pretty crowded.

Mark is inside a phone booth.

INT. PHONE BOOTH

He's holding the receiver, making a call.

MARK
Hello, hello?

MARGIE
Yes.

MARK
Oh yeah, Marge.

MARGIE
What's up? You know you really
should be here by now.

MARK
No, I want a few days off.

MARGIE
What?

MARK
Something just came up, it's puzzling,
and I don't think I can solve it.

MARGIE
What came up?

MARK
Something bad.

MARGIE
Mark, stop scaring me...what happened?
someone mugged your apartment, or what?

MARK
No, nothing like that!

MARGIE
Come on, Mark. Spill some beans.

MARK
It's very dangerous, you could die if you know...

Mark smiles.


MARGIE
So, you've gotten yourself into some government
conspiracy?

MARK
Something like that.

MARGIE
Cut the crap, Mark.

MARK
What crap?

MARGIE
You're probably just tired of work.

MARK
What?

MARGIE
You need a vacation, that's what I understand...

MARK
Listen, just tell my boss, okay!

INT. MARK'S APARTMENT – DAY

Mark holds a GLOCK 19.  He slaps a magazine full of cartridges 
into the pistol.

INT. THE PARKER HOUSE – DAY

Mark enters through the open doorway. The crashed door has been 
removed.

He walks toward the telephone.

He picks up the receiver. The line hasn't been cut. He puts down 
the receiver.

Someone should call any minute.

Mark enters the master bedroom. Nothing's been taken. 
Everything's intact. Clearly, these people have been after their 
the Parkers.

Mark moves toward one of the front windows.

That's odd, the curtains have been removed.

Mark looks down, they're just in the floor.

CRASH!!!!!!!!!

Someone jumps through the glass window, a WALTHER in his hand 
ready to fire.

Hans aims for Mark's head.

BOOM!

He missed.

Mark lunges for Hans, and twists his elbows, almost breaking it.

HANS
Arrrrghhhh!

Mark punches Hans real hard in the chest.

Hans flies back.  The Walther is on the floor, a few meters from 
his hand.

Hans picks up his pistol. He fires, still he misses.

Mark crouches behind the T.V. set.

BANG! BANG! BANG!

Luckily, the bullets can't penetrate the T.V.

Mark gets up, shoots with his Glock.  But he misses. Has he lost 
his touch.

Hans smashes one of the windows, and falls out. This can't go on 
in this house forever.

Mark immediately dashes, and disappears through the front 
doorway.

EXT. PARK – DAY

It's good, the streets in this village are empty. Everyone's off 
to work. 

Mark runs toward the park.

He leaps and gets past one of the black metal railings.

He heads for the tree.

He hides behind the tree trunk.

He can see Hans fast approaching.
Hans can't leap that high, so he enters through one of the gates. 
He knows Mark is behind that tree. His elbow still hurts. His 
right arm.

Hans is holding the Walther with his right. He's ready to wax 
Mark Stone. He aims for the tree.

But---

BANG! BANG!

Mark shoots Hans's left arm and his right thigh.

Hans falls flat on the ground.

Mark approaches the injured Hans.  Mark puts a cap in his 
stomach, just to make sure.

HANS
Ahhhhhhhhh! fohk! (fuck)

Mark kneels.

Mark pistol whips his face.

MARK
Who are you?

HANS
Fuck you.

MARK
You're gonna die anyway, now who took
the Parkers.

HANS
You're not the womans...husband...

MARK
That's right, you've been mistaken, and
the Parkers are not rich. There's no reason
in kidnapping them.

HANS
(coughs)
...Grausam...Arnold...

MARK
What?

HANS
Arnold is mad...

MARK
Arnold?

HANS
Arnold Knapp.

Hans dies.

LATER:

Cops arrive. But this time two guns, the Glock and the Walther 
are laid on Hans's chest.

There are about three cops closing in on the scene.

Mark has blood on his face, it's not his. But he knew the cops 
were coming.

A COP approaches him, Beretta in hand.

Mark raises his hand, palm toward the officer. 

MARK
No, no, I don't want to see one of those things 
near me.

COP
What happened?

MARK
This guy mugged me...

COP
He mugged you?

MARK 
At least he tried...

COP
Do you know him?

MARK
I've no fucking clue who he is.

MARK
He wrestled with me on the street, and he
was trying to get to my pocket, but thank
God I didn't get hurt. Thank God he didn't take
anything.


The cop studies the dead body. Two pistols laid on his chest...

COP
A Glock and a Walther, I'd expect a mugger
to carry a revolver or a knife, you know what
those guns are...

MARK
I don't know anything about guns.

COP
Well, a mugger wouldn't be able to afford a Walther.
Certainly not a Glock 19.

MARK
I wrestled with him, I managed to grab
one of his pistols. I shot him...I'm a very
lucky man.

COP
You certainly are, sir. But I'm not sure
what you've gotten yourself into.

MARK
Oh no?

The cop shakes his head. He holsters the Beretta in his hand. The 
cop kneels and tries to get a closer look at the body. A wound in 
the thigh, another in the left arm. The cop tries to strip the 
guy off his shirt, but whoops---no gloves.
The cop stands up.

MARK
I swear to God! He was after my wallet.

COP
Not your wallet, maybe...perhaps something
you have in 'ya. Your pocket? I don't know,
for now, this guy looks like he's a terrorist.

MARK
What?

COP
I can't really tell, but he looks German to me.

MARK
What are you trying to say?

COP
Nothing.

MARK
Terrorists are after me?

COP
I didn't say that.

MARK
Terrorists want to kill me. They want
to hunt me down. But why?

INT. KIRSCHNER'S APARTMENT – DAY 

Arnold is standing up, leaning against the wall. Kirschner is 
asleep in the couch. Harry's having sweet dreams too. Looks like 
Arnold is the only guy who sleeps at night here.

Lester gets out of one of the rooms. (Not the room where the 
Parkers are), it's another room, with a T.V. set.

Lester walks toward Arnold, he glances at the door of the room 
where Helen and her kids are held captive.

He shakes his head in contempt of something.

LESTER
Dude, Arnold, we're really fucked.

ARNOLD
I'm really happy, and I'm waiting for
the news of Mark Stone's death, so please
leave me a lone for awhile...if you don't mind.

Lester shakes his head again.

ARNOLD
What gives?

LESTER
It's on fucking local T.V.

ARNOLD
What?

LESTER
Is it obvious?

ARNOLD
Look, man it's a little hard to get
me to panic. No one knows that a single
member of Grausam exists in San Francisco,
besides, there is NO Grausam unless I 
say so.

LESTER
Hans.

ARNOLD
What?

LESTER
Hans has been killed.

ARNOLD
What the fuck are you saying, Lester?

LESTER
His body has been found in a park.

INT. THE ROOM

Helen is leaning against the wall. Leonard is asleep on Helen's 
lap. Helen is half asleep. She's bleary, scared, nervous, it's 
better to be drunk.

Barry is pressing his ears against the door.

Barry gets up, moves closer to Helen.

BARRY
Mom!

HELEN
What...

Helen's eyes are closed.

BARRY
They're fighting.

HELEN
They always...

BARRY
Something happened.

HELEN
So? 

BARRY
I hear them mention Mark Stone's name.

HELEN
They want to kill him.

BARRY
Bet those asses think he's really Daddy.

HELEN
I know.

BARRY
What are we gonna do?

Helen opens her eyes, she just can't bring herself to sleep, even 
for awhile. She rubs Leonard's head. Lucky for him.

HELEN
Nothing.

BARRY
Mom, trust me.

HELEN
Trust you for what?

BARRY
We can tell them Mark isn't Daddy.

HELEN
Does it make a difference, one of those
men said that we would die after they get
Mark Stone. Otherwise known to them as
your Daddy.

BARRY
That's bullshit.

HELEN
It's hopeless.

BARRY
What are we gonna do?

HELEN
Pray that Mark finds us.

BARRY
He also said that there's a possibility
of releasing us.

HELEN
Who cares about that possibility.
We are not getting out of here unless
someone busts us out. Someone has got
to save us, do you understand?

BARRY
Maybe.

HELEN
Barry, those men have rifles. 

BARRY
So? Kidnappers have rifles. HK MP5s.

HELEN
You know those guns?

BARRY
I guess, from video games.

HELEN
No, we shut up. And it's best we do that.

BARRY
Then, what else can we do?

HELEN
That's all.

INT. SAN FRANCISCO POLICE DEPARTMENT, INTERROGATION ROOM – LATER

Mark is seated on a metal chair and has his hands rested on a 
metallic table. Hope this won't take long.

Mark hasn't lost his instincts, how long has it been since he 
quit?  

Mark scans the room, TWO WIDE OPEN WINDOWS. Perfect for an escape 
should trouble arise. But there won't be.

DETECTIVE DONOVAN enters the room.

DONOVAN
Good morning, Mark Stone. I'm Detective
Donovan of the San Francisco Police department.
How do you do?

MARK
I'm great.

DONOVAN
You claimed that the man you fought with
mugged you.

MARK
He was supposed to mug me.

DONOVAN
But the man was German, highly skilled,
a well financed crook, one could call him...
and he was obviously very skilled in what
he was doing.

MARK
Well, I wrestled with him, and that was
hard enough...

Mark nods. 

Then shrugs.

MARK
I mean...

DONOVAN
Of course it was hard, now you're saying
that if this guy was just an ordinary asshole
about to fuck with 'ya, you're saying that you
would have taken him out easy?

MARK
Well, I do workout. And I'm...I'm not
pretty bad in sports, jumping, like that.

DONOVAN
Hey kiddo, what sport are 'ya into.

MARK
Basketball, swimming.

DONOVAN
You're not into practical shooting, or 
martial arts?

MARK
I know nothing of guns, and martial arts?
I can come up with my own moves. I watch
a lot of Jackie Chan movies.

DONOVAN
I see.

MARK
Look, how long is this gonna take?

DONOVAN
Not long.


MARK
Yes, he tried to get something from my
pocket.

DONOVAN
The guy was German, he's obviously a member
of some secret terrorist group, and I guess
you better check your pants when you do the
laundry tonight for some microchips of some kind.

MARK
No.

DONOVAN
You swear to God, he was after your wallet.

MARK
Absolutely.

Donovan stands up. The glass is see-through on both ends. Mark 
expected the San Francisco police department to have more 
sophisticated technologies. Maybe there's a hitech room 
downstairs.

Outside, it's crowded, cops passing by left and right. Some not 
cops. Obviously secretaries or people who take calls. What day is 
it?

Donovan heads for the door, opens it.

DONOVAN
Be right back. STAY HERE!!!

Donovan shuts the door.

MARK 
Right.

Several minutes pass by. Mark keeps checking his watch. And what 
is this Donovan guy up to? He can't stand this shit any longer.

Mark heads for the window, jumps, holds on to the edges.

OUTSIDE

Mark is hanging on for dear life. But he doesn't look desperate, 
he's just trying to concentrate.

Mark bows his head.

There's another ledge few meters below him. Cool.

Mark drops, his hands immediately end up gripping the other 
ledge, his legs pressed TIGHTLY against the concrete.

This is hard but it's definitely a shortcut.

One floor left.

Mark jumps, lands on his feet.

EXT. THE SIDEWALK---

A confused OLD MAN squints.  Weird young man.

Mark cleans himself up.

Mark is breathing hard, he doesn't know what to do next. It's not 
yet over. He has to find out what happened to the Parkers. Why 
did that man try to kill him? Is it true of what he said about 
Arnold Knapp being involved.

Three minutes pass by.

Suddenly, at the foyer of the SFPD building, THREE cops 
accompanied by Donovan run toward him. Their guns are drawn. What 
the fuck is going on?

Mark lets himself stand up on top of a BLUE CAR.

The cops continue to pursue him.

A bus passes buy. Mark LEAPS.

He lands on top of the bus, rolls sideways.

He DROPS to the ground, landing on his feet, barely maintaining 
balance. Excellent agility. The guys at the CIA must have trained 
him really well.

Mark is on the other end of the narrow street.

Mark is near a brick wall. One of the cops raise the gun on Mark 
point blank, but he grabs the cop's wrist, twists it, and kicks 
REALLY HARD at the back of his knee. The cops body slams real 
hard on the bricks.

The second presses a pistol on his chest.

Donoval approaches.

DONOVAN
What were you trying to do? How did you
get out?

MARK
What?!!!! I'm in a hurry, what is it
with you guys. I'm in a fucking hurry
that's all.

INT. MARK'S APARTMENT – NIGHT

Mark is on the phone. He's dressed for bed. Blue pajama pants, 
and a T-shirt.

He's talking to Nash.

MARK
Tell me you're not in Langley.

NASH
I'm not.

MARK
You're in your house?

NASH
Yes.

MARK
Good. You heard about Arnold Knapp?

NASH
Just before I went home...

MARK
Listen up, I know where Arnold Knapp is.

NASH
Jesus Christ, Mark, don't try to start
doing your old job. And don't start
calling me just because of this, but
I'd appreciate if you'd tell me.

MARK
He's in San Francisco.

NASH
WHAT!!!

MARK
That's right.

NASH
You spotted him. You saw him in a shop, right.

MARK
Wrong answer.

NASH
What happened then.

MARK
I ---

NASH
Listen, if you saw him, why didn't you
kick his ass, you can do something like 
that, even without your gun.

MARK 
I have some friends.

NASH
And one of them is German, and he knows Arnold
Knapp, right?

MARK
They've been kidnapped.

NASH
By whom?

MARK
Arnold himself.

NASH
Bull shit.

MARK
And, someone tried to kill me...

NASH
Where?

MARK
I went inside their house while cops
were cleaning up the scene, I sneaked in
secretly and picked up the phone. Someone
was watching me then, the guy told me to come
back. I did, and that guy tried to kill me.

NASH
Kidnapping, people out to kill you, doesn't
make any sense.

MARK
I don't have a clue about what's going on.

NASH
Well, what do you know.

MARK
I do know that Arnold is mad at me.

NASH
Mad at you, for beating him up in front
of his men, and using him as a human shield
when you captured him at their hidden base?

MARK
I guess so. Bingo! That's what he wants.
That's why he's in San Francisco, one of the
Grausam probably still exists, and one of them
spotted me here and told Knapp about me as soon
as he escaped.

NASH
Then, I think Arnold is plain stupid, why
would he go this far just because he hated
the way you kicked his ass, I mean you didn't
even kill him, you spared his life. And I don't
think you ever killed anybody he cares of.

MARK
He's a ruthless man, he has high pride,
and I guess the humiliation he went through
when he and the Grausam went down years ago
can't be forgotten.

NASH
Watch your back, Mark.

MARK
What am I gonna do?

NASH
Stay put. Don't worry, cops will get to
him.

MARK
Maybe he's doing this as a diversion, he
wants the Grausam Terrorist Organization to
ressurect in America. Namely in the city of
San Francisco.

NASH
In that case, he's extra stupid.


MARK
Look, I might be able to figure out
what's going on, and I think I already
have some answers to the puzzle, but I 
still need to dig deeper.

NASH
Good.

MARK
I just hope he hasn't done anything to them.

NASH
Who?

MARK
The Parker family.

NASH
Who are they?

MARK
Listen up, can you call the DDCI and tell
him that you need to fly to San Francisco,
tell him of what I told you, he'll say yes.

Mark holds another GLOCK laid on top of the dresser. This guy has 
many guns.

INT. CIA HEADQUARTERS – DAY

Ronald Bass is listening to a call on the loudspeaker of a 
telephone, the receiver is resting on the table. It's Nash on the 
line.

RONALD
God, I hope Mark found a good job.

NASH
Oh yeah, he's good.

RONALD
Bastard quit to easy. He felt guilty
for what he did to Patsy Bock and the people
at the embassy in Paris, then he just
decided to turn his back on us.

NASH
Well, he is a good man.

RONALD
But emotionally unstable.



NASH
You can't call him that, either. 

RONALD
Where does he work?

NASH
A restaurant.

RONALD
Jeffreys, are you sure that that 
wasn't bullshit he was running.

NASH
Sounded like legitimate information, sir.

RONALD
All right. Fly to San Francisco, and put
Arnold and all the people he's connected with
in a body bag.

NASH
Do we have the U.N.'s approval of this?

RONALD
The nation is on alert, everyone knows of what
happened in that Maximum Security prison on Germany,
there can be no mercy this time. Kill him.

INT. KIRSCHNER'S APARTMENT – DAY

Kirschner, Lester and Arnold are having a conversation.

LESTER
So, it's bye bye. The mission is screwed.

KIRSCHNER
It was only a personal mission, a bonus
mission.

ARNOLD
No way!

LESTER
So, how do we get to Mark?

KIRSCHNER
I say, you go to the grocery store, Mark's favorite
and give the clerks one of our cellular telephones
if you don't see him there. Tell him to hand it to
Mark Stone. 


EXT. A COFFEE SHOP – DAY

Nash sits on a table. Nash is sipping a cup of coffee. Mark is 
sitting in front of having, he's having nothing. Both of them are 
dressed in black coats.

NASH
So, you're really that close to them, huh?

MARK
Yeah. Well, no, but I've known them long
enough to care about them.

NASH
Why would Arnold kidnap them?

MARK
That's one thing that's always bugged me...

Mark still maintains his thoughts but his eyes are on the street, 
looking at the stagnant flow of traffic.

MARK
He's an international terrorist, and he's
doing something that a small time crook does.

Mark absently, looks upward, at the sky, at the buildings. Then 
his head returns to starting at the street.

NASH
Why?

MARK
Why what?

NASH
If he wanted to kill you, then you'd
have probably been dead by now. Why all
this, why kidnap somebody, what does
it mean...

MARK
Oh, no, he wanted me dead. In fact
what I did to that German guy just
foiled his plan A.

NASH
Well...

Nash finishes the last of his coffee.

NASH
That was plan B. I guess he would have
taken a shot at you before he abducted the
young family.

MARK
That's a possibility.

Mark shrugs.

MARK
I guess they're just doing these things
as desperate measures to get to me. They
are using them as bait.

NASH
Yeah, like you'll care about rescuing them.

MARK
Yeah, right. Why would they think I'll care?

INT. THE GROCERY STORE – DAY

Lester gets in.

Lester approaches one of the FEMALE CLERKS.

Lester is holding a CELLPHONE and TWO ALKALINE BATTERIES.

AT THE BACK OF THE CELLPHONE:

A telephone number is written in BLUE INK by a marker. It can't 
be seen clearly, since the back frame of the cellphone is black.

CLERK
Can I do something for you, sir?

LESTER
You can give this to Mark Stone.

CLERK
Excuse me?

LESTER
Mark. He comes here very often. See, I'm
his buddy, and he really shouldn't forget
claiming the things that he lets other people
borrow.

Lester hands the phone and the batteries to the clerk. The clerk 
pockets them.

CLERK
I'm afraid I'm too busy to do that.

LESTER
Well, can't you get any of the other clerks
to do it for you? I mean, at least one or two
of them must know Mark. They may not know his name,
but they know his face. And while you're busy packing
things up. You can point him out.

CLERK
No, sir.

Lester is a little bit irritated. He tries not to show it, but he 
takes a breath and...

LESTER
Tell you what, why don't I give you ten
bucks just for doing it?

CLERK
Sir, what are you trying to say?

LESTER
I mean, why does it have to be so hard
to hand someone a cellphone and some
batteries.

CLERK
Are you sure that you trust me with
this?

LESTER
Of course I trust you!

CLERK
I mean, I might lose the cellphone,
I'll fail to give it to Mark.

LESTER
No, you won't it's that easy.

CLERK
There's something strange about this, Mister.

LESTER
Look, my name's Lester.

Lester starts nodding his head.



CLERK
Yes---

LESTER
Exactly, what is strange about this?

CLERK
You're giving a cellphone that you're
supposed to give to your friend to me.

LESTER
So?

CLERK
I mean, isn't that a little awkward?

LESTER
WHY!

CLERK
Why can't you just call him, get to his house,
give it to him yourself?

LESTER
Look, what if I said that that's not his
cellular telephone. What if I said, that I'm
not really that close to Mark Stone. Come on,
miss just do me the simple favor!

The clerk finally nods. Then smiles.

CLERK
All right, all right, I'll give it to him.

INT. KIRSCHNER'S APARTMENT – DAY

Lester is standing before Arnold, who is seated in front of the 
table with lots of gadgets.

One of the gadgets is a cellphone, it's on, and it's hooked to a 
charger.

LESTER
It took me awhile to convince one of the
clerks to hand him the cell phone.

ARNOLD
Of course it was, it would be a little
weird for Mark Stone's best friend to 
entrust his cellphone to a clerk in a supermarket.


Arnold raises a brow.

ARNOLD
What did you tell her?

LESTER
Well, everything you wanted me to tell her.

ARNOLD
Good.

LESTER
Do you think Stone will figure it out?

ARNOLD
Yes, he will.

LESTER
What if he thinks it's a practical joke?

ARNOLD
He's too smart to overlook that.

LESTER
Arnold, I think I should go back there
and mention your name. Mention "Arnold."
He'll have a clue.

ARNOLD
No, don't mention my name, that would
be unwise.

LESTER
As unwise as this whole thing is going...

ARNOLD
Stop being sarcastic Lester, and have a
break.

LESTER
No, I really should be going back there.

Lester grabs one of the chairs and sits.

Lester gets the RIFLE, the .22 sniper rifle and checks the bolt. 
He drops it to the floor.

LESTER
No, this has to end.



ARNOLD
It has to end the way I want it to.

LESTER
No, maybe not necessarily.

ARNOLD
Look, how would you end it?

LESTER
I'll go there every two hours. And when I
stay nearby the grocery, I'll stay put for
3 hours until I report back here. This is
going too far.

ARNOLD
So what.

LESTER
Should I do it, sir? I can kill him right there.

ARNOLD
NO!

LESTER
I'm not like Hans.

ARNOLD
Of course not, but you should be aware that he
is a dangerous man. And even more dangerous to
me when I learned about Hans's death. I would have
thought he would have killed him in just one swift
blow, but no. His actions backfired. So, just trust
me with the maneuvers I'm taking.

INT. THE GROCERY STORE – LATER

Mark is holding the same chili sauce bottle that he bought 
before.  Nash is together with him.

Jake is fixing some goods in one of the stalls.

Mark approaches him.

Mark holds up the chili sauce bottle and replaces it where it 
belongs.

MARK
I told you that those things were crap!



JAKE
What the fuck are you doing?

MARK
I want a refund.

JAKE
No refunds, Mark.

MARK
You told me that it would taste good!

JAKE
I didn't assure you anything.

MARK
Bull shit, Jake. You are taking me to the
counter and giving me back my money.

JAKE
What did you try it with.

MARK
Last night, I tried it with a hotdog, I guess
it was gonna be better if I used their ketchup.

JAKE
Yeah, right.

MARK
Come on, man, give me back my money!

JAKE
No, I won't.

MARK
Bull shit.

JAKE
Mark!

MARK
I am never buying a single thing from this
grocery store, ever.

NASH
So, it really tasted that bad, huh, Mark?

MARK
Yup.


Nash chuckles.

MARK
Did you know that this grocery store could
get bankrupt if you sell expired products?

JAKE
Like I care.

MARK
PLEASE.

JAKE
No.

MARK
All right.

Mark goes to the counter, he's eye to eye with the CLERK Lester 
talked to earlier. Her name is SARAH.

SARAH
Mr. Stone!

MARK
Yes?

SARAH
Mr. Stone. I have something for you.

Sarah hands him the cell and the alkaline batteries.

SARAH
Before Lester left, he told me to let
you put the batteries in, so you could
receive his call.

MARK
Lester, I don't know any Lester.

Nash gets closer to the exit. But he doesn't leave. He waits 
patiently for Mark.

MARK
It's a mistake, I gotta go.

SARAH
Sir, it's NOT a mistake.

MARK
I hate to disapppoint that guy but
I don't know any Lester.

SARAH
Sir, please!

MARK
What?

SARAH
He said MARK STONE. I was to give it to
you, Mark.

MARK
Sarah, you swear you weren't hallucinating?

SARAH
No.

Suddenly, Mark feels alarmed.

MARK
Shit. Not one of them.

SARAH
What? Mark, you have to know him.

MARK
No, Sarah.

SARAH
Why not?

MARK
Wait, I think I know him, he was
German, right? He was speaking in
a German accent.

Mark pockets the phone and the batteries.

MARK
He was German from his accent, am I right?

SARAH
That Lester guy was very much American.

MARK
Then who was he?

SARAH
Your friend.



MARK
You swear to God he was American.

SARAH
Absolutely.

INT. KIRSCHNER'S APARTMENT – DAY

Kirschner and Arnold are having a conversation. Both of them are 
standing.

ARNOLD
I can't just wait for his phone call.

KIRSCHNER
This is getting ridiculous. Extremely.

ARNOLD
I'm just starting to feel good, Kirschner,
don't start ruining my mood.


Kirschner points to the door of the room where the Parkers are 
hidden.

KIRSCHNER
Look, and of what use is that family to us?

ARNOLD
What?

KIRSCHNER
You should kill them, dispose of them and
as soon as you lure Mark into some place,
you shoot him right away. Or should I do it
myself?

ARNOLD
Be patient, Kirschner.

KIRSCHNER
You're the one who started this!

ARNOLD
And I'm the one who should finish it.

EXT. BENCH – DAY

Mark and Nash are seated on a bench. Mark deserves a little 
relaxation, and he needs to do some thinking.


NASH
So, what's your plan?

MARK
I don't know, what's yours?

NASH
I say that I should be the one to find him,
alone.

Nash leans forward.

NASH
I mean, you don't work for the CIA 
anymore, Mark.

MARK
But I care about the Parker family.

NASH
Why do you care so much?

MARK
What?

NASH
Come on, you can just let them die.

NASH
I never knew you were such a person who cares,
Mark. I never knew that you had morality.

MARK
I'm not really moral...it's just that 
I can't stand the thought of innocent people
dying because of me.

NASH
So, why'd you quit the job?

MARK
What?

NASH
Why'd you quit the job?

MARK
What job?




NASH
You hated the thought of innocent people dying,
but why did you leave the agency?

MARK
I can kill a lot of good guys when I'm
working on the field, than not. That's why
I quit.

Nash leans back.

NASH
Come on, Mark. Stop this, leave it to me.

MARK
But what about the Grausam?

NASH
They don't exist. I guess it's just Arnold
and a few of his home boys. Yes, they're German,
but I can assure you. The Grausam is dead.

MARK
No.

NASH
What?

MARK
The Grausam would reform.

NASH
What are you saying?

MARK
I don't know, that sick Euro fuck could
probably be hatching plans to blow up the
Golden Gate bridge.

NASH
Nahhh...

MARK
It's possible. He could be using this as
a diversion.

NASH
Nah, no diversions. If he wanted to
blow that bridge to kingdom come, he'd
lay low.


MARK
And I was also wondering...

NASH
What?

MARK
After all those years in prison, why could
have he escaped just now?

NASH
I don't know. I guess that was his lucky shot at it.

MARK
I still find that puzzling.

NASH
No, it's not. he just got lucky.

Mark grabs the cellphone from his pockets. He puts the batteries 
in. He sees the number written in blue ink. He turns to Nash.

MARK
Nash, have a look at this!

NASH
What?

MARK
The number.

Nash takes a look.

NASH
Yeah, dial it.

Mark activates the cell phone and dials the number. It rings 
several times. Someone answers.

ARNOLD
Mark, is that you?

MARK
Arnold.

ARNOLD
Yes, I'm glad that you called my old friend.

MARK
What do you want?


ARNOLD
Well, this is all personal.

MARK
What the fuck is it you want?

ARNOLD
You know.

MARK
I don't know shit for now, so could you
please tell me something exceptional.

ARNOLD
I want to meet with you, face to face.

MARK
That's fine. Where do you want to meet? See I'm
vacant, I've taken a few days off from my job.

ARNOLD
No, you should await further instruction from me.

MARK
Further instruction?

ARNOLD
Yes, my friend.

MARK
And what the fuck have you done to them?

ARNOLD
Oh them? You're family.

Mark presses the cellphone to his lap. Family? They think that 
the Helen Parker is his wife! And the kids, his sons.

MARK
What have you done to Helen?

Nash doesn't panic. Instead, he stands up and keeps watching Mark 
as he speaks through the phone.

ARNOLD
So, Helen is her name?

MARK
What have you fucking done?

ARNOLD
Nothing.
MARK
What do you want me to do?

ARNOLD
I want you to call me again, tonight.

Mark closes the line.

Mark stands up.

NASH
Arnold?

MARK
They think that the Parkers are my family.

NASH
Dumbass, it's been a year since you resigned
and most people who take on field missions every
two months don't have time for a family!

Mark shakes his head. This is bad.

NASH
Tell him that he's fucking stupid, and you're
not related to the Parkers.

MARK
If he knows that I don't care for them, the more
he couldn't. He'll kill them instantly.

INT. KIRSCHNER'S APARTMENT – LATE DAY

Arnold still has his hands on one of the cell phones.

ARNOLD
This is starting to get good.

KIRSCHNER
You should have told him what time to call.

ARNOLD
No he'll call as soon as it gets dark.

KIRSCHNER
He could be having dinner in the police
department for God's sakes.

Kirschner takes a breath.

KIRSCHNER
You think he told the cops about this?

ARNOLD
He's a skilled man, and he's mad. He couldn't
tell the cops. He'll find me on his own.

KIRSCHNER
How can you be so sure?

ARNOLD
I just got him excited, and I didn't mention
anything about the police.

Suddenly, something, someone starts ramming the door of the 
entire apartment room.
The door starts to come apart, finally it does. But it doesn't 
fall or dislodge.

Donovan bolts into the room, Beretta in hand. So, he was working 
on the kidnapping case at the village too.

Before Donovan can shoot, Arnold grabs one of the MP5s and kills 
him with full automatic fire. Blood pours from Donovan's body.

From the Parker's room, SCREAMS can be heard. It's Helen's 
scream.

Kirschner starts to panic as well.

KIRSCHNER
Close the door! Close the door!

Lester does so.

Harry takes Donovan's wallet.

HARRY
San Francisco Police Department.

KIRSCHNER
That's great.

ARNOLD
Everybody, please calm down.

KIRSCHNER
That's just great Arnold, I told you that
we should just quit doing this and leave for
Germany, immediately! Or go anywhere abroad for
that matter.

ARNOLD
Calm down, Kirschner. Harry, see if you 
can mop the floor and clean up this mess.

KIRSCHNER
That cop was sent to investigate the kidnapping.

ARNOLD
Are you sure?

KIRSCHNER
He could have known about Hans, he could have
tied them up together. Gathered witnesses, all
that.

One of the rooms open, it's the one where the Parkers are hidden.
Barry was the one who opened the door, he seems like a pretty 
tough kid. His mother is still in shocking, sweat pours from her 
face.

BARRY
What was that?

LESTER
Stay back! Get the fuck back inside!

ARNOLD
No, it's okay. See, we just made a mistake,
we overlooked something so we had to do this.

BARRY
I just had to tell you, Mark Stone isn't my
Dad. He's just a friend of ours.

INT. MARK'S APARTMENT – NIGHT

Mark is speaking through his cellphone. Nash is lying in one of 
the beds.


MARK
Why do you wanna kill me?

ARNOLD
Do you realize how humiliating it is
to be beat up in front of your own 
comrades, and to be used as a human shield?

MARK
So, that's what it's all about?

ARNOLD
That's right.


MARK
Well, you can kill me, but how do you
expect to get away with it?

ARNOLD
Must you be told?

MARK
There'll be a fucking manhunt, and you
won't be able to get to the airport.

ARNOLD
I just wanna meet you. I want this old
score to be settled.

MARK
Are you nuts, Arnold?

ARNOLD
No.

MARK
So, why don't you just stop doing this and
fly back to Germany. Then start your terrorist
organization there, and maybe the CIA will use
the place you live in as a striking point. We
will find you.

ARNOLD
We? I thought you quit your job.

MARK
I did.

ARNOLD
Mark, I don't know whether I should let
you die slowly, or shoot your head quickly.

MARK
What's the difference?

ARNOLD
I'm just too happy to be able to talk to you, right
now.

MARK
And what's all this kidnapping bullshit all about?

ARNOLD
I never expected to do any of it.


MARK
Let my family go.

ARNOLD
No, liar liar pants on fire.

MARK
Let them go!

ARNOLD
I'm afraid we've mistaken you as their father.
We've mistaken you to be the woman's husband.
So I will let them go.

MARK
How am I supposed to meet them?

ARNOLD
There's only one Morton's eatery in San Francisco,
right?

MARK
Yeah, I know what you're talking about.

ARNOLD
Be there nine o'clock tomorrow morning.

MARK
What happens after you set them free, then?

ARNOLD
I'll see what I can do with you. Just rescue
them from there, no ransom demands are necesarry.

The line goes dead.

Mark tosses the phone to the carpeted portion of the floor.

MARK
He already knows that I'm not the head of
the Parker family.

NASH
Then, sorry for them. It's their asses on
the line.

MARK
Nash, no.

NASH
What?

MARK
He's gonna let them go. He's gonna drop
them off at Morton's eatery. It doesn't make
any sense.

NASH
When?

MARK
Tomorrow, at nine.

NASH
Oh well, tomorrow's gonna be our lucky day.

MARK
No, it doesn't make sense. Why would he be this kind?

NASH
Well---

MARK
He's supposed to kill them when they know
that they're useless.

NASH
So, they're not gonna die, what's the worry?
Go to sleep. Let's all sleep.

MARK
No.

EXT. MORTON'S EATERY – NIGHT

It's about eleven. Nash is really sleepy. Mark on the other hand, 
is highly active.

In front of the Morton restaurant is a FIVE STORY HOTEL.

He's gonna drop the Parkers off at this sidewalk, and a sniper 
would shoot him from one of the hotel rooms while he picks them 
up. He has it all figured out.

MARK
Someone's gonna shoot from there.

NASH
Yeah, you're right.

MARK
None of us should stand here, tomorrow, okay?


NASH
Right.

MARK
Listen, they're probably gonna be using
a 22 long rifle. Even up to the top, it's
not too far from the ground. If they'll kill
me then it's gonna be short range.

NASH
What about a shooter with a handgun? Or
one of them knife throwing experts will
take a shot at you---

MARK
No. That can be the only way.

NASH
What if all that Arnold told you was true.

MARK
We can never be sure.

NASH
Okay.

MARK
They'll be standing in the sidewalk,
I'll give you ten minutes to find him,
and shoot him.

NASH
This could be a piece of cake.
Got some walkie talkies?

MARK
Yup.

EXT. THE STREETS – DAY

The Parkers are already standing in front of Morton's eatery.

INT. THE HOTEL – DAY

Mark is standing behind a glass window, holding his radio.

Nash is talking to the manager of the desk.

NASH
You sure?


DESK MANAGER
Well, there was one man in crutches.
He said he had a pretty sore leg.

NASH
He was German.

DESK MANAGER
He was American. He had someone accompanying him.

NASH
And that guy was German?

DESK MANAGER
I couldn't tell sir.

NASH
The guy in crutches, was he old?

DESK MANAGER
No, mid-thirties by the looks of him.

ON MARK,

He's keeping an eye on the Parkers. They're standing still on the 
sidewalk.

THE PARKERS

see Mark through the glass window. Not good. This is not good. 
Helen squints in disbelief. Is it really Mark?

INT. THE HOTEL ROOM – DAY

Lester is holding the .22 with the silencer. His eyes are on the 
scope.

Harry is holding a Heckler and Koch handgun.

THROUGH THE SCOPE

Lester can see the Parkers making weird gestures, he knows that 
they're seeing somebody from across the street. It's Stone. It's 
absolutely him.

Harry peers through the window and immediately gets it.

HARRY
Shit, he knew our plan!

LESTER
I know, I know.

HARRY
Shoot them, Lester.

LESTER
Not yet.

HARRY
SHOOT THEM NOW!!!

Lester squeezes...

The gun doesn't go off. But BANG! A gunshot can be heard from the 
doorway. It's Nash holding a Glock.

Nash turns to his side and he can see some CRUTCHES laid on the 
floor. It's like The Day of the Jackal. 

Nash shoots Harry.

But Lester caps his head with the .22

Lester takes the radio hooked up to Nash's belt.

Mark's voice crackles.

MARK
Nash, come in! Nash, is it over, over?

MARK
Nash...

INT. THE HOTEL LOBBY – DAY

Mark can hear no reply. Mark keeps trying.

LESTER
Nash is dead pal, I'm in room 505 catch
me if you can.

MARK
Shit!

INT. AISLE

Mark is in one of the hotel aisles. The door of 505 is broken. 
Mark draws his gun.

IN THE HOTEL ROOM

He can see Harry's and Nash's corpses. He doesn't flinch. Mark is 
never squeamish.


No one's in the room.

The bathroom door is half-open.  Mark heads toward it. He kicks 
it open and he instantly sees Lester standing on the tub, HK 
pistol in hand.

Mark instantly grabs hold of the wrist of Lester's shooting hand 
and bangs it with his Glock.

Lester GROANS. Mark shoots him in the stomach, and immediately 
hurls Lester's body to the room.

Mark kneels before him and threatens him with the gun.

MARK
Where can I get to Arnold, buddy?

LESTER
Urgghhhh----

BOOM! Mark shoots him in his left arm.

EXT. MORTON'S EATERY – DAY

Mark talks to the Parkers.

HELEN
Mark, what happened?

MARK
I can't explain.

HELEN
Mark.

MARK
No, go to the cops now, tell them
everything that happened. Run!

Mark darts his eyes to Lenny and Barry.

MARK
Take them some place far. I think
it's best to move and leave town after
what you've been through. Go find a
peaceful place.




EXT. A STREET, DOWNTOWN – DAY

Mark is just outside the Brownstone, Arnold's hideout. Mark makes 
a step forward to enter. He hesitates.

There's a man across the street wearing a BLACK LEATHER JACKET. 
It's Kirschner.

Mark approaches him calmly, casually. Then --- Mark grabs him by 
the chest, and he disarms him of an HK Pistol. Mark doesn't need 
to draw his gun this time.

Mark pistol whips him across the face.

Kirschner screams and drops to the ground.

Mark kicks Kirschner's back. HARD. Seems like Kirschner isn't a 
good fighter. He's lost his touch as a trooper.

KIRSCHNER
Arrghhh!

MARK
Where can I find Arnold?

INT. KIRSCHNER'S APARTMENT ROOM – DAY

No one's inside.  There's a dead body in one corner. What the 
fuck is it this time?

He looks up. There's the attic door, SMASH!

A FOOT kicks it open. Arnold's foot, and he fires an MP5 at full 
auto, Mark rolls sideways toward the far wall and avoids the 
shots.

Mark is holding the HK pistol. Arnold lets go of the MP5, kicks 
Mark's hand, the HK handgun drops to the floor.

Arnold tries to pick it up, but Mark kicks him in the stomach.

Mark picks him up and punches his face.

Mark punches him again.

MARK
So, you don't like getting beat up!!!

Mark draws his Glock. But Arnold bangs Mark's hand, again it 
drops and clatters FAR from them.

MARK
Just because I humiliated you, you can
manage to pull a lot of bullshit, huh!
You can't get over with what I did to you!

Mark punches him even harder.

Arnold spits blood.

ARNOLD
I lied to you. But I hated it when you
killed my wife.

MARK
What?

ARNOLD
Patsy!

Suddenly, Mark feels a wave of tension and regret flow through 
him.

INSERT FLASHBACK:

Patsy Bock's explodes in blood.

Mark takes a breath.

MARK
That was the last mission I had.

ARNOLD
I married her. She married someone else.
I couldn't take it, Mark. Sorry.

Arnold removes the coat he's wearing, barely able to move. Then 
tucked at the back of his pants is another gun. It's a COLT .45, 
stainless steel.

He aims it at Mark point blank. But now, he's too weak.

Mark grapples his arm, and now the gun is pointed directly to the 
front of his neck.

BANG!

Blood pours from Arnold's neck. He falls to the floor with a 
THUD!



DISSOLVE TO:

EXT. DENVER INTERNATIONAL AIRPORT – DAY

Mark is carrying some big bags. Either he's taking a much needed 
vacation, or he's leaving San Francisco for good.

Mark is wearing shades. 

INT. THE PARKER RESIDENCE – DAY

Carpenters are renovating it, while Helen is cooking breakfast 
for her kids.

INT. CIA HEADQUARTERS – DAY

Ronald is in his office, concentrating on what he's seeing in the 
T.V.

A voice is heard from the TV.

VOICE
Arnold Knapp's body was found dead in
a Brownstone apartment in San Francisco,
along with Knapp's crony, Harold Kirschner,
a member of the Grausam...

RONALD
What the fuck is going on?


VOICE
...now, there was also
other bodies found in one of the San Francisco
hotels. First of Jeff Burrows...

RONALD
Too bad for Nash.

INT. DENVER AIRPORT – DAY

Mark is making his way to the foyer.

FADE OUT: THE END.


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