Regular Cast	Recurring Cast
FRASER	THATCHER
RAY	FRASER SR.
DIEFENBAKER
WELSH
Guest Cast
ANITA
MACON (aka Oficial)
BENNET [HAND WRITTEN is the following:](END CREDITS)	*FEMALE GUEST
LIEUTENANT	*GUEST #1
MEXICAN OFFICIAL	*GUSET #2
SPECIAL AGENT BUSH	*PIERCE
SPECIAL AGENT CASY	*SINCLAIR
SPECIAL AGENT HELMS	*TEDESCO
THE LUNATIC
TWELVE YEAR OLD AGENT #1
TWELVE YEAR OLD AGENT #2
TWELVE YEAR OLD AGENT #3
TRAINER’S VOICE

EXTERIOR-DAY	INTERIOR-DAY
AIRFIELD	AIRPORT
CLEARING	AIRPORT-ANOTHER CONCOURSE
DEEP IN THE WOODS	AIRPORT-MEN’S ROOM
DEEPER IN THE WOODS	AIRPORT-YET ANOTHER CONCOURSE
ESTATE-FRONT ENTRANCE	ESTATE-BALLROOM
ESTATE-SIDE OF HOUSE	ESTATE-BEDROOM
FARM	ESTATE-BREAKFAST ROOM
GENERAL TELEPHONE BUILDING	ESTATE-CORRIDOR
SNOW COVERED FIELD	ESTATE-MONITORING ROOM
TERRITORIES	ESTATE-PARLOR
WOODS	ESTATE-ROOM
WOODS - HILLSIDE	ESTATE-UPSTAIRS HALLWAY
WOODS-MAIN PATH	GENERAL TELEPHONE BUILDING
	INTERROGATION ROOM
	POLICE STATION-WELSH’S OFFICE
	SECURITY BOOTH
EXTERIOR-NIGHT	INTERIOR-NIGHT
ESTATE	ESTATE-BALLROOM
	ESTATE-BILLIARDS ROOM
	ESTATE-FOYER
	ESTATE-SITUATION ROOM
	FRASER’S APARTMENT

SCRIPT DAYS
Scenes Day/Night
1-9 DAY ONE
10-17 DAY TWO
18-19 NIGHT TWO
20 DREAM D1
21 NIGHT TWO
22 DREAM DAY TWO
23-48 DAY THREE
50 DREAM NIGHT THREE
50a-50B DREAM DAY THREE
51 NIGHT THREE
52-68 DAY FOUR
69-78 NIGHT FOUR

PROLOGUE FADE IN:
EXT. THE WOODS -- CONTINUOUS
Silence. No movement beyond what mother nature intended. Then, from behind the trees flak-jacketed cops melt out of the undergrowth, and appear from behind trees, moving through the woods, rifles ready, covering each other.
EXT. AT THE EDGE OF A CLEARING
One of the cops, the LIEUTENANT in charge signals to his men and the SWAT Team holds up, their attention riveted on
A COUNTRY MANSION
Huge residence, vast grounds. Still and quiet,until
THE LIEUTENANT
signals and
THE SWAT TEAM
fires out of the woods, crouching low, moving fast.
CLOSE ON THE MEN'S BOOTS
as they run past, we see that they are all government issue, BLACK LEATHER COMBAT BOOTS -- the newest design with speed laces. As the group of men move out of frame, HOLD FRAME. Three seconds pass and...
ANOTHER PAIR OF BOOTS
pass through frame following them. These boots are also BLACK LEATHER COMBAT BOOTS but worn and creased and of an old design (eyelets, nos peed laces.) We don't have time to study them as a second later they're gone.
WIDE ANGLE ON THE MANSION
As the team runs up the gravel drive, approaching the mansion they BREAK INTO THREE UNITS, two splitting out and encircling the house from either side, the third bearing down on the front entrance.
EXT. MANSION FRONT ENTRANCE

THE DOOR
is descended upon by FOUR TEAM MEMBERS with high-tech compact tools.
EXT. MANSION -- THE SIDE OF THE HOUSE
FOUR MORE TEAM MEMBERS throw their grappling hooks up the side of the house,
A HOOK
lodges in the roof.
THE TEAM MEMBERS
test their ropes, preparing to climb toward the second story windows.
EXT. MANSION -- FRONT DOOR
The door lock is now drilled out, and the entire door is silently removed from it's frame by the FOUR MEN. TROOPS approach and move through the now open doorway without missing a step.
RAY is among the first on the porch, the first through the door.
INT. MANSION - DAY
Moving with well-rehearsed precision, the officers spread out as they enter, staying low, alert. Ray starts up the stairs -- and stops, seeing --
A YOUNG HISPANIC WOMAN
In a situation. She's late 20's, early 30's, attractive, animated -- a spitfire. At least she would be if it weren't for the crazed LUNATIC who has her trapped in a choke. In the other hand he holds a large hypodermic syringe.
RAY
FREEZE!
The Lunatic makes steady, calculating eye contact with Ray for one long breathless moment. Then he raises the needle to the Hispanic Woman's neck.
Weapons from every quarter point at The Lunatic. Ray aims, his finger tightens on the trigger.
THE LUNATIC Shoot me and my hand squeezes three cc's of Lake Michigan into her neck. The PCB's will cause cancer. The DDT will cause nerve damage. The bacteria will cause sepsis. Other toxins will cause meningitis, leprosy, dementia, internal hemorrhage and ultimately, agonizing death.
ON RAY
thinking, calculating, gun aimed.
RAY Fraser?
RACK FOCUS TO
FRASER standing in the hallway behind the Lunatic. The THREE OTHER TEAM MEMBERS who climbed the wall stand behind him, guns aimed.
FRASER The leprosy threat is probably overstated. There have only been seven cases in this area since --
The Lunatic reacts, whips around, jerks the woman closer.
THE LUNATIC Back off!
He pulls the woman closer.
INT. ESTATE -- BEDROOM -- DAY
The worn pair of military boots we saw in the woods is seen climbing through the open window into a bedroom which has been turned into a makeshift office/command post. The wearer crosses silently past desks, file cabinets, situation boards, etc. toward the door which is open a crack.
ON THE MAN'S EYES weathered and intense as he looks through the crack.
THE MAN'S POV
shows Fraser assessing the situation.
RAY Suggestions?
FRASER If you shoot, he stabs her, if I rush him, he stabs her.
ANITA We have a name for this in Mexico.
THE LUNATIC Shut Up.
FRASER Between your shot and the time it will take to depress that plunger, you have a half-second window of opportunity.
THE WATCHER'S EYES narrow slightly.
INT. ESTATE -- CORRIDOR -- DAY
WITH RAY
who is starting to sweat.
ANITA (hard) Shoot him.
A beat. Ray stares at her -- a brave suggestion, but stupid.
RAY I don't have a shot.
ANITA Gallina.
RAY Next idea.
THE LUNATIC The idea is we' re going to move straight ahead, together, and we're going to walk out of here.
RAY Bad idea.
THE LUNATIC Time' s up.
At which point, ALL AT ONCE...
ANITA clamps her jaws down on the Lunatic's arm.
RAY
fires
THE LUNATIC
SCREAMS and twists away and the shot misses slamming into
FRASER
A SPLASH OF RED covers his flak jacket as he is sent flying back into the SWAT MEMBERS who drop like dominoes.
THE LUNATIC
turns to flee
RAY and ANITA
simultaneously dive to tackle the lunatic knocking his arm
THE NEEDLE
flies up
THE LUNATIC, RAY AND ANITA
hit the floor, one on top of the other
THE NEEDLE
goes scattering across the floor LANDING AT THE FEET OF
THE LIEUTENANT
who reaches down into frame and picks it up.
WIDEN
Ray, Anita and the Lunatic lie on the floor, in a tangle of bodies.
The Lieutenant looks down at the helpless heap in disgust.
LIEUTENANT Ladies and gentlemen what you have just seen is a perfect example of how not to run a training exercise. If this were a real hostage situation, you would have just killed the Secretary of State.
Fraser sits up, covered in what we now realize is red paint. The guns they are holding are target guns.
The Lunatic looks up from the bottom of the pile.
THE LUNATIC (smiles) Thanks, guys.
He disentangles himself and walks away.
The THREE UNITS break into smiles and derisive muttering.
FRASER, RAY AND ANITA
look at each other, humiliated.
ANOTHER POV
the man in the bedroom, watching.
THE MAN
pulls back into the shadows of the room, surveys the furnishings. A TWO DRAWER FILE CABINET beside the desk. He tries the handle. It's locked.
A BOWIE KNIFE
appears, slips into the crevice above the lock.
BACK TO SCENE
As they scramble to their feet.
ANITA (to Ray, muttering)Estupido. Grande.
RAY Shut up.
FRASER She has a point, Ray.
LIEUTENANT can only hope that the cooperation between our three nations is more productive at the summit conference. (starts to move off, turns back) Or God help us all.
On Ray, Fraser and Anita:
END OF PROLOGUE
ACT ONE
INT. POLICE STATION (WELSH'S OFFICE) -- A SHORT TIME LATER
Our three heroes, RAY, FRASER and ANITA CORTEZ, whom we are about to meet in her new identity -- an Operative of the elite Security Unit of the Office of Protocol, the Mexican counterpart of the Secret Service. All arguing in front of THATCHER and WELSH.
(Overlap dialogue)
RAY (to Anita) In what manual does it say you bite the assassin?
ANITA I had to do something, you weren't going to.
RAY You were the hostage!
ANITA So we're just a third world country, we shouldn't fight back?? Yangui palurdo.
RAY Oh that's right, blame the superpower for everything.(to Fraser) Palurdo?
FRASER She called you a bumpkin, Ray.
Ray shoots Anita a look.
FRASER (CONT'D) Please, everyone, this was entirely my fault.
ANITA (to Welsh) The American shot him -- why is he apologizing?
WELSH He's a Canadian.
THATCHER (interrupting) People! Enough! It is imperative that the North American Free Trade summit operates without incident. This conference is a milestone in relations between our three countries. It's about co-operation, it's about growth...
RAY It's about money.
Thatcher shoots him a hard look. The door opens and BENNET from the U.S. Trade Office, enters, followed by three FBI agents, all young, fresh-faced men in identical suits, aviator sunglasses neatly tucked in their breast pockets. They are HELMS, CASEY and BUSH.
WELSH Mr. Bennet...
BENNET (to Welsh) Lieutenant.
WELSH (to others) Mr. Bennet is the U.S. Trade Official organizing this summit. (re: the SPECIAL AGENTS) I'm afraid I haven't had the pleasure.
The Bobbsey triplets each step forward to introduce themselves.
SPECIAL AGT. HELMS Helms.
SPECIAL AGT. BUSH Bush.
SPECIAL AGT. CASEY Casey.
RAY ... Secret Service?
All three turn in unison to stare.
SPECIAL AGT. HELMS That's need to know.
All three turn back.
SPECIAL AGT. HELMS (CONT'D) Washington has received some very scary, very believable threats to the safety of this summit. Because of the large crowds of press and demonstrators expected, security considerations are turning into a nightmare. That's why we've reached out to local police and to Canadian and Mexican security. Nothing is going to interfere with the safety of this conference.
BENNET Special Agent Helms will be heading up security. Our respective countries are all counting on this joint task force to be an example of international cooperation. I trust I can count on you.
With that, he exits, FBI agents in tow.
WELSH Meaning you screw up, we're all toast.
RAY That could be a problem, Sir, because I think we're not really bonding. (glance at Anita) Perhaps Fraser and I--
WELSH The three of you, Vecchio. You have less than seventy-two hours to... bond.
RAY Which is obviously not enough time, so --
WELSH Are you familiar with the Spanish term "traffic duty", Vecchio?
RAY By tomorrow we'll be a well-oiled machine, Sir.
NOTE: The Spanish for "traffic duty" is "guardia de trafico"
Anita, taking out a kleenex, steps up to Fraser, starts to wipe the blue stuff off him, gently, caressingly.
ANITA The American shot you.
FRASER Not on purpose.
Thatcher s expression tightens on seeing this close moment between Fraser and Anita. She takes out her handkerchief, moves in.
THATCHER (to Anita) Thank you, but we clean our own personnel. Anita moves aside. Thatcher starts to wipe the goop off Fraser, then both are overtaken by the moment's intense intimacy and she hands over the handkerchief to him, embarrassed
INT. GENERAL TELEPHONE BUILDING (BULLPEN AREA) - DAY 2
Fraser, Ray and Anita move through the building.
RAY It was a simple mistake.
FRASER It was a miscalculation. I haven't made a miscalculation since... (beat)
RAY Since when?
FRASER Well, since the last time you shot me. I'm just grateful you had the presence of mind to shoot me again.
RAY That wasn't my fault -- she jumped the gun.
ANITA She heard that.
They pass through the open bullpen area into a more secure area.
INT. GENERAL TELEPHONE BUILDING (SECURE AREA) - DAY
Old oak, lots of frosted glass, gloomy. The set up in this office is rather like an old bus depot with ticket windows for the customers. You can't see more behind the counter than what you glimpse through the windows that are open. It is dark back there. And quiet. There's a sound from behind the partition.
Ray dings the bell.
RAY Police. Anybody home?
At one of the wickets, a short goose-neck lamp is turned on. Someone settles into the stool behind. The lamp illuminates only the desk and shines into Fraser's eyes. The upper body and head of the person behind the counter remain in shadow, giving the scene a stylistically ominous mood. He speaks into a microphone that communicates through the plastic window.
OFFICIAL I.D.?
FRASER I'm Constable Benton Fraser, RCMP. I'm here on behalf of the joint security task force to pick up the telephone security codes for the trade summit. I believe you're expecting...
OFFICIAL Your health insurance number?
FRASER 559-764-921.
OFFICIAL Mother's maiden name?
FRASER Pinsent.
OFFICIAL Code word of the day.
FRASER Manatee.
OFFICIAL (slides card forward) Sign here.
Fraser signs, pushes card back through window. The official sets a gray envelope on the desk, stamps it emphatically and intimidatingly with a hard thwack! Diefenbaker whines. The official slides the envelope across the desk toward Fraser.
FRASER Thank you.
He takes the envelope, goes.
INT. GENERAL TELEPHONE BUILDING (BULLPEN AREA) - DAY
Fraser, Ray, Diefenbaker, Anita move back through the building heading for the exit.
RAY All this security hocus-pocus for a trade meeting.
ANITA Not any trade meeting. The top NAFTA representatives.
RAY In this country nobody really knows what NAFTA is. Or cares.
FRASER Somebody does apparently. Enough to - -
He stops.
RAY What?
Anita watches curiously.
FRASER That security official. He stamped this envelope, came down on it quite hard.
RAY Those phone company boys are tough.
FRASER If you stamp documents that hard all day long, you develop tendonitis. So you use a rolling motion....
He turns suddenly and starts hurrying back toward the secure area. Ray and Anita follow.
INT. OLD TELEPHONE BUILDING - DAY
Fraser, Ray and Anita rush to the wicket -- it's empty. The door beside it, closed before, now stands open. Fraser pushes in:
INT. SECURITY BOOTH
A WOMAN lies gagged on the floor behind the desk, bound in telephone cord. Fraser kneels and finds her semi-conscious.
FRASER (to Ray> Ambulance.
Ray nods and runs out.
FRASER (CONT'D) (to Anita) Help me.
Fraser and Anita help the woman to sit up. Anita helps her remove her gag.
FRASER
turns and notices an envelope propped up on the counter. The envelope is addressed in typewritten print, "Constable Benton Fraser".
As Fraser picks it up...
EXT. ESTATE - DAY
SPECIAL AGT. HELMS (V.O.> "You know what it is to love your home and lose it. I am losing mine. Canadian forests are being destroyed to build houses in America. American forests are being destroyed to build houses in Mexico.
PARLOUR -- DAY
Fraser sits at a table. The three FBI agents stand with legs on chairs, lean against the wall as they debrief him. They're full of themselves; they got their jobs because their grandfathers had thump with the government. Helms reads the letter.
SPECIAL AGT. HELMS (V.O.) (reading) Trade Representatives Sinclair, Franklin and Tedesco have betrayed us. I will see them die before they are allowed to betray their countries again.
Helms lowers the letter.
SPECIAL AGT. HELMS (CONT'D) (shakes his head) Lunatic.
He pulls out a pack of gum, takes a stick and passes it down to the others who also take a stick, then pass it back. All identical motions. It's like a drill.
SPECIAL AGT. HELMS (CONT'D) (to Fraser) And you say you don't know this man.
FRASER Not to my knowledge.
SPECIAL AGT. HELMS Well, he knows you.
FRASER Yes, it would appear so.
SPECIAL AGT. BUSH You didn't get a look at his face?
FRASER The blind was down, the room was dark.
SPECIAL AGT. CASEY The room was dark or your eyes weren't sharp, Constable?
FRASER My eyesight is adequate.
SPECIAL AGT" HELMS Just not today. FRASER
(swallowing this) No. Again with the calculating looks between the young agents: are we dealing with an officer here who is losing his stuff?
SPECIAL AGT. CASEY You have been working in law enforcement for some time, haven't you, Constable?
FRASER Fifteen years.
The silence which greets this answer makes long experience seem like a bad thing.
SPECIAL AGT. HELMS Is there something going on physically or emotionally that could be putting you... off your game?
FRASER I don't think so.
SPECIAL AGT. BUSH Did you observe anything about this person, Constable?
FRASER His hands. I would say he is someone who spends most of his time out of doors, works with his hands and rarely wears gloves.
A beat. They share another concerned look, then:
SPECIAL AGT. HELMS I see. You wouldn't have been on the detail at the Prime Minister's residence during the break-in last year, would you?
Special Agt. Bush stifles a snicker. Fraser's not impressed.
FRASER No.
SPECIAL AGT. HELMS Somebody walked away with top secret copies of the summit telephone codes right under your nose, Constable. You observed nothing beyond that he is one of about fifty million people who spend a lot of time outdoors.
Fraser says nothing. The statement hangs in the room.
SPECIAL AGT. HELMS (CONT'D) Stay in touch.
The Agents file out. Fraser remains in his chair.
INT. FRASER'S TENEMENT APARTMENT - NIGHT TWO
Fraser is making dinner at the kitchen counter. He turns and sees Diefenbaker staring up at him.
FRASER (admitting) It was a mistake.
Diefenbaker keeps looking at him.
FRASER (CONT'D) Alright, two mistakes. (to himself) I should have seen it earlier.
Fraser puts out their dinner as he speaks to Dief, but mostly to himself, the errors eating at him.
FRASER (CONT'D) They say you start to lose muscle tone and reflexes in your twenties. Well, for you, that would be in your threes. But you compensate with increased knowledge and skill. That's the idea anyway.(puts Dief's bowl down) Eat Up. We're going to turn in early.
INT. FRASER'S TENEMENT APARTMENT - NIGHT
Fraser sleeps uneasily on his cot. Dief sleeps on the floor. PUSH IN ON Fraser as he tosses and turns restlessly.
INT. INTERROGATION ROOM - DREAM EFFECT
Fraser sits being grilled by a corps of hard-eyed twelve year-olds(literally) in suits.
TWELVE-YEAR-OLD AGENT 1 A burglar got inside the Prime Minister's residence, Constable. While the PM was at home. And where were you?
FRASER In Chicago, Sir.
TWELVE-YEAR-OLD AGENT 2 Do you think it was appropriate for you to be hundreds of miles away in a foreign country when your PM was facing that kind of threat?
FRASER Of course not.
TWELVE-YEAR-OLD AGENT 3 Fitness is not just about strength and reflexes. It's about judgment.
FRASER Yes, Sir.
From behind him:
TWELVE-YEAR-OLD AGENT 1 I can't hear you.
Fraser whips around to face the agent who is suddenly behind him.
FRASER Yes, Sir.
TWELVE-YEAR-OLD AGENT 2 Over here, Constable.
Fraser whips around again to face the agent who is suddenly beside him.
FRASER Yes, Sir.
Agent 1 looks at Agent 2, sadly.
TWELVE-YEAR-OLD AGENT 1 Eyesight. I understand it's the first to go..
INT. TENEMENT APARTMENT - NIGHT
Fraser sits bolt upright in bed.
FRASER Yes, Sir!
and realizes he's woken in a sweat. He looks around, sees Diefenbaker watching him.
FRASER (CONT'D) Sorry. Bad dream. Go back to sleep.
Fraser lies back. Dief puts his head down. PUSH IN ON Diefenbaker as he closes his eyes. He emits a small, unhappy cry.
EXT. THE TERRITORIES - DREAM EFFECT - DAY
Diefenbaker is in a dog sled harness, but he is being unhooked by the hands of a trainer whose face we don't see.
TRAINER'S VOICE Okay, new team leader in.
With dream-speed a team cf husky puppies is harnessed to the sled.
TRAINER'S VOICE (CONT'D) Moving out. Ho!
The puppies scamper off, leaving Diefenbaker watching wistfully as the sled, in the tow of his younger replacements, passes in front of him and out of his life forever...
INT. AIRPORT - DAY THREE
Tense. Fraser walks down the concourse with Inspector Thatcher. Fraser is alertly scanning every face, checking every doorway.
THATCHER We're going to have our Trade Representative wait on the plane an extra five minutes, then bring him out the back entrance. No need to tell the Americans or Mexicans.
INT. AIRPORT -- ANOTHER CONCOURSE
Ray walks briskly with the three FBI agents, Helms, Casey and Bush. They're giving him a last-minute briefing.
SPECIAL AGT. HELMS The American Trade Representative will come out of the hatch second. The guy in front will be a look-alike.
SPECIAL AGT. CASEY Don't tell the Mexicans or the Canadians.
INT. AIRPORT -- YET ANOTHER CONCOURSE
Anita walks with her superior OFFICER from Mexican Security.
MEXICAN OFFICIAL El canadiense cogera la salida de atras, y el yangui es un sosia.
ANITA Como sabemos esto?
MEXICAN OFFICIAL Esa es la ventaja de ser mexicano --siempre creen que dormimos. No la digas los yanguis o los canadienses!
INT. AIRPORT -- DAY
IN THE CROWD
A PHOTOGRAPHER pushes through, his camera bag over his arm. TRACK WITH HIM as he crosses to and enters a Men's Room.
INT. MEN'S ROOM -- CONTINUOUS
The door pushed back as the photographer steps in. As it closes, A HAND reaches out from behind the door and, with ether on a handkerchief, drops the photographer like a rock.
THE PHOTOGRAPHER
hits the floor, unconscious. The same HAND -- the weatherbeaten hands we saw in the telephone company -- reaches down and picks up his camera bag.
EXT. AIRFIELD - DAY
Establish a plane taxiing up to the terminal.
INT. AIRPORT TERMINAL -- MOMENTS LATER
ANGLE ON THE THREE TRADE REPRESENTATIVES
as they enter through the security doors.
RACK FOCUS TO
Special Agent Bush who speaks into his lapel mic. SPECIAL AGT. BUSH (radio filter) Bluejay is coming down gangway. On your toes.
ANGLE - FRASER, RAY
Scanning the crowd. Ray receives Bush's message through his ear piece. RAY
They're on the move.
Fraser nods, everyone becoming even more alert. Ray signals to Anita who watches from a different vantage point. Fraser moves forward and scans the faces in the crowd.
FRASER'S POV shows the hands of members of the crowd.
Ray moves in beside Fraser.
RAY (CONT'D) You see anything?
FRASER Nothing yet.
ON THE GANG WAY
A group of MEN AND WOMEN in dark suits, including the CANADIAN MINISTER OF TRADE, PIERCE FRANKLIN, THE MEXICAN TRADE MINISTER, JORGE VARGAS TEDESCO and SINCLAIR, the U.S. TRADE REPRESENTATIVE, all walk out into the airport, hustled by their AIDES and PERSONAL SECURITY DETAILS (THREE MEN ON EACH).
CLOSE - FRASER'S EYES
Squinting, scanning.
on the pedestrians travelling down THE MOVING SIDEWALK toward him, their faces, hands, pockets, shoes. All of it going too fast to compute. FLASHES from photographers equipment everywhere. Blinding. THEN --
WHIP PAN BACK
The hands -- weathered, three hundred twenty-five days outdoors weathered -- hold a gun. As Fraser looks up to his face
A CAMERA FLASH
blinds him, followed by SEVERAL MORE FLASHES.
FRASER
trying to regain his vision, shouts into his lapel mic
FRASER (CONT'D) Gun!
All security people are on the same open line and hear the code. Instantly, they go into full protective measures.
ON THE GANGWAY
Thatcher, Ray and Anita fling the Three Trade Representatives to the floor, cover them with their bodies, as others move in producing Uzi's and other stubby automatic weapons.
FRASER
racing parallel to the moving sidewalk searching in the blur of movement and sound for the suspect. He's gone. Fraser makes a dash for the stairs at the end of gangway.
THE ONLOOKERS
Scream, panic, push to get away.
FRASER
runs up the stairs ---- the suspect is gone and nowhere in sight. Stunned, he turns and makes his way back down the stairs again.
ON THE GANGWAY
Security people for all three countries running up to Fraser.
VARIOUS SECURITY PEOPLE/RAY/ANITA Where is he? What happened? What did you see? What-where-Who-how?
FRASER (looking around, at a loss) I don't know...I don't know...
As they all look at him questioningly,
FADE OUT.
END OF ACT ONE
ACT TWO
FADE IN:
INT. MANSION - BREAKFAST ROOM - DAY
Fraser sits at the table with a pile of blank name tags. He writes names on the name tags with a felt tip marker. Ray sits opposite him, reading from a computer-generated list.
RAY Bruce Cabot. C-A-B-O-T. Enid Cabot. Jacques Camdessus. C-A-M-D-E-S-S-U-
Anita bursts in.
ANITA They combed the airport. No one saw a gunman. No one saw anything.
No response.
ANITA (CONT'D) Sometimes a camera lense, if you see it at the wrong angle...
RAY (defensive) He saw his hands. (to Fraser) Right?
FRASER Yes.
RAY You saw a gun, right?
Only a slight hesitation, but Anita catches it.
FRASER Yes.
RAY (to Anita, antagonistic) Read the report. There's a Spanish translation.
ANITA You believe your friend, very touching. Also very American.
RAY You know, I'm getting just a little tired of your disrespect. You are a visitor to this country...
ANITA Ah yes I had forgotten the Alamo.
RAY Is that a slam against Davey Crocket? Because if it is...
Fraser looks up as a realization hits him.
FRASER He was here.
RAY (turning) Who?
FRASER The assassin, during the training exercise. He saw me miscalculate.
ANITA (considering) He would look for the weak spot.
Ray shoots her a look.
RAY The place was full of SWAT. He couldn't get within a mile...
FRASER He could if he was one of them.(realizing) My security clearance. It's part of the task force files...
Fraser jumps to his feet, heads for the door just as HELMS, CASEY AND BUSH appear in unison (as they do everything.) Helms is carrying a report.
SPECIAL AGT. HELMS Okay, listen Up. The psych boys in Washington have been working overtime. We've got a profile of our man based on his letter. First, he's a woman.
ANITA What??
SPECIAL AGT. CASEY One of those retro-sixties types. Ban the bomb, kiss a whale. Your typical sandal wearing, lavender smelling...
SPECIAL AGT. BUSH Granola crunching, tree hugging...
SPECIAL AGT. HELMS Subversive.
RAY Who just happens to be armed to the teeth.
SPECIAL AGT. HELMS (pissed) That's what the profile says.
ANITA You have a list of suspects?
SPECIAL AGT. HELMS (smiles) The minute we have something definite, we'll tell you.
SPECIAL AGT. BUSH You find out if and when.
ANITA What happened to everyone being in this together?
SPECIAL AGT. HELMS Some of us are in it more than others. Cortez, Vecchio -- Replace Montoya and Brewster on the first floor, east wing.
Anita and Ray toss their food and leave reluctantly. Fraser begins to follow --- Helms puts out a hand to stop him.
SPECIAL AGT. HELMS (CONT'D) (to Fraser) You -- stick with your strengths.
As Helms, Casey and Bush exit. Fraser sits alone with his name tags. After a beat, he comes to a decision, stands and exits.
INT. HALLWAY CONTINUOUS
Fraser steps out, looks to the stairs.
THE SPECIAL AGENTS
are huddled on the landing, sharing a pack of gum.
FRASER
turns, walks out the front door.
EXT. ESTATE GROUNDS -- DAY
Fraser comes around the corner of the house, studying the snowy ground. Diefenbaker follows.
UNDERNEATH THE WINDOWS
a MAZE OF FOOTPRINTS. Fraser looks up, spots the bedroom window, then kneels down to inspect the ground.
FOOTPRINTS IN THE SNOW
a number of the footprints show a similar tread pattern. Another print is visible and distinct. It's pattern is a tire tread design.
FRASER SR. Same boots. Army issue. But these boots have been resoled.
Fraser looks up to see his father, FRASER SR., standing over him.
FRASER (studying track, to himself) Used rubber. What kind of man resoles his own shoes?
FRASER SR. A thrifty one. Look at the way he walks, the curl from the ball of the foot to the outside. Light; careful, like a predator. He'll be seen when he wants to be seen.
FRASER Military training. Front line experience.
FRASER SR. Indeed.
EXT. DEEP INTO THE WOODS - DAY
A BOWIE KNIFE
spikes down and rips into the lid of a can of TOMATO SOUP. The weathered hands wielding the knife, cut open the aluminum lid and tear it back, emptying the soup into a ONE OF TWO METAL DOG DISHES.
REVEAL
MACON, the man who has been stalking the trade delegation. His face matches the hands, tough and weathered. He's a survivor, everything Fraser described. He finishes pouring out the soup, turns and sets the can down BESIDE FOUR OTHER TOMATO SOUP CANS, all empty. The dog dishes are then held out for MACON'S DOGS -- TWO HUSKIES.
Macon then goes about carefully cleaning rinsing out the cans with wet snow, and covering over the soiled snow with fresh.
EXT. ESTATE GROUNDS (NEAR WOODS) - - AT THAT MOMENT
Fraser and Fraser Sr. have tracked the footprints to the edge of the grounds where the woods begins.
FRASER He's a hundred and ninety two point five centimetres in height, weighs... one hundred and nineteen kilos.
FRASER SR. And fifty-two grams.
Fraser places his foot in the arm boot print and is measuring the depth of the depression against his own boot.
FRASER You can't possibly know that.
FRASER SR. Nothing wrong with my eyes, son.
Fraser suppresses a retort.
FRASER SR. (CONTD) This might be the one.
Fraser stops, looks at his father, irritated.
FRASER The one what?
FRASER SR. Your match, son. Someone younger than you. Stronger than you. Faster, smarter...
FRASER Dad...
FRASER SR. First there's only one, then you notice more. Then all you can do is struggle to keep up.
FRASER Dad.
FRASER SR. Look at it as a challenge. I'd relish the chance.
FRASER Dad!
They continue.
INT. MANSION (BEDROOM/SITUATION ROOM) -- CONTINUOUS
Empty at the moment. The door to the hall closed and locked. A beat. Then we HEAR SOFT SCRATCHES on a door leading to the adjoining bedroom. As it pushes open, Anita appears, pocketing her lock pick. She moves quickly toward the file cabinet, slides it open and begins rifling through the index tabs, searching for a specific file.
CLOSE ON THE FILES as she finds the one she was searching for. It's labelled, "Summit Threat Assessment: Psychological Evaluation Report".
ANITA pulls the report and crosses to the photocopier, begins copying the document. Pages spew out. As she removes the document from the feeder and turns back to the file cabinet she HEARS A NOISE -- turns, sees
ANITA'S POV
the handle on the door to the hallway turning.
BACK TO SCENE
Anita makes a dash for the bedroom door, but is too late. The door opens and
RAY
is standing there holding a lock pick. He starts, but recovers quickly.
RAY And what do you think you're doing here?
ANITA Probably the same thing you are.
RAY I happen to be here on official business, okay?
ANITA Is that why you had to pick the lock?
Ray tries to look nonchalant as he slips the pick into his pocket.
RAY I'm not the one caught red-handed. (off the file in her hand) The contents of that file is American government property.
ANITA What's in this file could help me save a Mexican diplomat's life. I'm not going to allow him to die over some American "need-to-know" power game.
RAY Then you'd better be prepared to share.
Ray holds out his hand.
ANITA I don't share with people I don't trust.
RAY Me neither.
ANITA Fine.
She tosses the originals back on the desk and pockets her copies.
ANITA (CONT'D) Make your own copies.
With that, she starts for the door, leaving Ray staring after her angrily.
EXT. THE WOODS NEAR THE ESTATE -- AT THAT MOMENT
CLOSE ON THE SNOW
The trail of footprints has ended.
PULL BACK
Nothing but a thick blanket of woods. Fraser senses something. A presence. A moment later he shakes it off -- looks back for his father -- he's gone.
FRASER Dad? Fraser turns back in the direction he came.
ANGLE TO REVEAL
Macon watching Fraser from a distance, obscured by a clump of trees. He waits for Fraser to move off, then follows unseen and unheard.
INT. FRASER'S APARTMENT -- NIGHT
CLOSE ON FRASER
eyes closed, apparently asleep in his bed, but from his expression he isn't sleeping well.
Suddenly his eyes fly open and he sees
FRASER SR.
sitting on the edge of the bed, staring down at him, studying him closely.
FRASER
stifles the urge to scream.
FRASER ... Dad?
FRASER SR.
FRASER SR. The eyes are the first to go. You start to miss things you used to be able to see. What's even worse is you start to see things that aren't there.
FRASER
FRASER I'm not seeing you this time. I'm dreaming you.
FRASER SR. (surprised) You're asleep?
FRASER Dead to the world.
FRASER SR. You're sure.
FRASER Yes, Dad.
FRASER SR. You don't look asleep.
FRASER Well, I am, so if you wouldn't mine I really could use one peaceful night's --
FRASER SR. Son, watch out---!
SMASH CUT TO:
EXT. THE WOODS - DREAM SEQUENCE
FRASER
racing through the woods, filthy, exhausted, breathless, pushed to his limit across the field, stumbles over a rock and GOES FLYING OVER A CLIFF...
CLOSE ON THE CLIFF SIDE
At first FRASER'S HANDS are all we see, clinging to THE ROOT OF A TREE. As he struggles to pull himself up INTO FRAME.
TWELVE-YEAR-OLD AGENT 1 (V.O.) Hurry! The Prime Minister needs you!
TWELVE-YEAR-OLD AGENT 2 (V.O.) Come on, piece of cake.
TWELVE-YEAR-OLD AGENT 3 (V.O.) You used to be able to do it.
FRASER (struggling) I'm coming...I'm coming...
ALL THREE TWELVE YEAR-OLD AGENTS Watch out!
Suddenly the ROOT GIVES WAY and FRASER PLUMMETS DOWN OUT OF FRAME and into:
INT. THE INTERROGATION ROOM - DREAM SEQUENCE
Fraser lays on the floor of the room, clinging to the tree root, stunned, sweating and out of breath. He looks to see
THREE PAIR OF CONVERSE HIGH-TOP SNEAKERS
and as we TILT UP...
REVEAL THE THREE TWELVE YEAR-OLD AGENTS
staring at him accusingly. They blow big pink bubble gum bubbles -- in unison.
TWELVE-YEAR-OLD AGENT 2 You lost him.
TWELVE-YEAR-OLD AGENT 1 You failed.
FRASER ...the Prime Minister?
TWELVE-YEAR-OLD AGENT 2 Don't worry, his wife saved him.
TWELVE-YEAR OLD AGENT 1 With an Eskimo sculpture.
TWELVE-YEAR-OLD AGENT 3 No trip to Disneyland for you, babe.
TWELVE-YEAR-OLD AGENT 1 You've lost your edge.
This remark seems to spar the other Twelve year-olds who begin to chant as they CLOSE IN ON HIM.
CHILD AGENTS, 1, 2 & 3 Lost your edge. Lost your edge. Lost your edge.
They break into laughter.
FRASER'S POV
as the miniature suits surround him, FRASER ...NO!
SMASH CUT TO:
INT. FRASER'S TENEMENT APARTMENT (BEDROOM) -- NIGHT THREE
TIGHT ON FRASER
as he sits bolt upright in bed, sweating, wild eyed. After a second his eyes adjust and he discovers
MACON
sitting on the edge of the bed looking back at him, inches away. His Bowie knife glints in the half-light.
Fraser is suddenly wide awake.
MACON You were dreaming.
FRASER ...Yes.
Macon nods. He knows what that feels like.
MACON You know who I am.
Fraser glances down at Macon's hands, now a familiarity.
FRASER You were at the airport.
Macon smiles. He studies Fraser.
MACON I read your file. (beat) You and me, we know each other.
Fraser just waits. Macon pauses, takes a look around the room and it's furnishings.
MACON (CONT'D) Don't know how you sleep in here.
FRASER It isn't easy.
MACON I tried sleeping inside once, when I came back. My mother's house. Couldn't get used to it. (beat) The woods is better. It blankets you. Like the night.
Fraser takes his eyes off Macon for the first time, looks for Diefenbaker. The wolf lies on the floor near the door. Quite still.
FRASER My wolf...?
MACON He's a beauty.
Fraser looks and sees a MACDONALDS WRAPPER lying on the floor near the door, and a wet paper napkin or two.
MACON (CONT'D) Ether. You should keep him away from junk food.
Fraser relaxes slightly. His eyes drift down to Macon's combat boots, creased and worn, twenty years out of date.
FRASER How long?
MACON Two tours.
Fraser observes the khaki jacket worn over layers of sweaters, thrift shop at best. The darker patches where his insignia used to be is still there.
FRASER Infantry.
Macon nods.
MACON You a good tracker?
FRASER Sometimes.
MACON It's going to be quick, you know. The cover. Used to be I could hike fifty klicks through the woods, never see a can or a candy wrapper. Then it was forty klicks. Not it's ten.
FRASER Not in these parts.
MACON No. Not in these parts. They raped these woods a long time ago.
Macon looks at Fraser carefully, his expression losing it's uneasiness.
MACON (CONT'D) We gotta take 'em out. Quick and clean. We don't and they're gonna take every stick of wood, every bush. Then us, one at a time. Me. You. All of us. But we know. We been here before.
FRASER Who are "they"?
MACON Them. The suits. They keep taking it away from us. A man just wants to get from one day to the next. But one day he's in his own bed. Then he's in a jungle. Then he's not. The jungle was safe. A man knew what to expect.
Macon leans in conspiratorially.
MACON (CONT'D) You're on the inside. You can do this easier than me. I'll cover you.
Fraser studies Macon, realizing what is on the table.
FRASER I'm charged with protecting these men.
Macon stares back at Fraser, his expression changing. Like he's just recognized the enemy.
MACON That's too bad. 'Cause they're closing in. They're gonna get you -- sure as they got me.
Macon tightens the grip on his knife. Fraser sees it, considers -- but the knife inches away and it would be a fool's gambit. He waits it out. Finally, Macon stands.
MACON (CONT'D) You think about it.
Macon stands slowly, moves to the door... Fraser lunges... dives for Macon
A TRIP WIRE
strung across the floor catches Fraser in the leg and he goes sprawling across the floor.
MACON
sweeps the lantern off the trunk...
FRASER'S POV
the hard edge comes SLAMMING it down on Fraser's head.
CUT TO BLACK.
END OF ACT TWO
ACT THREE
INT. MANSION -- UPSTAIRS HALLWAY -- DAY FOUR
Fraser sits on a chair outside the door of the situation room, waiting. His head is bandaged, his eye blackened. Diefenbaker sits beside him. From inside the situation room we hear VOICES RAISED IN ARGUMENT, Ray's among them.
DIEFENBAKER
looks to the door, then looks up at Fraser.
FRASER
can't help but respond.
FRASER I'm sorry. It was dark, the trip wire was...unexpected.
DIEFENBAKER
isn't buying this.
FRASER (CONT'D) You weren't exactly a stellar example of alertness either, you know.
DIEFENBAKER
No sale. It's very hard to make a wolf feel guilty.
FRASER (CONT'D) (to Diefenbaker) Shouldn't you be on guard duty?
BACK TO SCENE
Fraser turns away, ignoring him. But it's eating at him badly. The VOICES behind the door GROW LOUDER.
FRASER (CONT'D) (to Diefenbaker) I'll bring him in.
But even to his own ears it sounds hollow.
The door to the situation room flies open and Ray strides out. He's furious. As he strides down the hall, Fraser has to hurry to catch up.
FRASER (CONT'D) They don't believe me.
RAY In a word? No.
FRASER They think I miscalculated.
RAY To Put it politely.
FRASER They intend to pursue their own line of suspects.
RAY The granola lady. By five o'clock they'll have every health food store in the county surrounded.
FRASER Then he'll have a clear shot.
Ray pulls up short, looks at Fraser.
RAY What do you want me to do?
FRASER (checks his watch) What time is the reception?
RAY Seven-thirty.
FRASER We should hurry.
Fraser starts off down the stairs. Ray sighs, and follows.
EXT. ESTATE -- EDGE OF WOODS -- DAY
Fraser and Ray walking quickly.
FRASER Shouldn't we invite Miss Cortez?
RAY She's busy. (off Fraser's disbelieving look) She'll only slow us down.
As they enter the woods, we see Anita step out from behind a stand of trees and follow them.
EXT. WOODS -- DAY
Fraser, Ray and Diefenbaker make their way up through the woods behind the mansion.
RAY You're sure he's out here?
FRASER He's an experienced infantryman and an expert in reconnaissance.
Fraser surveys the woods around them.
FRASER (CONT'D) He's camped out here somewhere.
They push on, Diefenbaker running ahead. EXT. DEEPER INTO THE WOODS -- A SHORT TIME LATER
DIEFENBAKER
pushes out of some underbrush and stops, alert. A beat later Fraser and Ray step out after him. To their right, a trail worn in the snow. Fraser starts to move toward it. Ray stops him.
RAY No. He came to see you. He knows we're after him. We take that path, we're walking right into a booby-trap.
He veers off to the higher snow by the side of the path, takes a few strides forward. Fraser remains where he is, as does Dief.
FRASER (spots something) Ray...
Ray pulls up.
FRASER (CONT'D) You might want to step back.
Ray starts to move back...
FRASER (CONT'D) Easy...
Ray freezes. Fraser crouches and peers carefully at the ground in front of them.
THEIR POV
a THIN WIRE, almost invisible to the eye, is stretched tight across the snow, three or four inches about ground level.
PAN ACROSS THE WIRE TO
A SLIGHT BUMP
in the snow, also barely noticeable.
ON THE BOYS
Ray watches with awe as Fraser picks up a tree branch and uses it to carefully brush back the snowy covering revealing
A TOMATO SOUP CAN
one of the cans we saw Macon opening in the earlier scene. The trip wire is attached to a detonator.
ON FRASER AND RAY
Fraser motions Ray and they move back carefully in silence. Fraser then leans down, picks up a rock and throws it at the wire, tripping it.
THE TOMATO SOUP CAN
EXPLODES, blowing a hole about three feet in diameter, showering the boys in snow and dirt.
ON FRASER AND RAY
Ray turns to Fraser, both dirty but alive.
RAY So we'll take the path.
FRASER I think that's wise.
He turns to Diefembaker.
FRASER (CONT'D) (enunciating clearly) Stay on the path.
DIEFENBAKER
runs ahead down the path. EXT. PATH -- WOODS -- DAY
Fraser follows. Ray's walking very gingerly.
FRASER He knows I'll track him. He also knows I wouldn't trust the path that was visible.
RAY Which is why he mined the side of the path and not the path itself.
FRASER Exactly.
They come to a fork in the path. One side is partially hidden by loose underbrush. Ray spots it, pulls the brush aside.
RAY Okay, so now we have two paths.
They crouch, study the covering on the path.
RAY (CONT'D) No sign of tracks.
FRASER They've been covered.
RAY So he went this way.
FRASER Yes, apparently.
RAY So we follow this path, we find his campsite.
FRASER Seems logical.
RAY So we take the path.
FRASER Sounds reasonable.
RAY So we're going.
FRASER No, we're not.
RAY Elaboration, please?
They stand. Fraser looks up and points at something at eye level just ahead.
FRASER There.
POV -- ON A TREE AHEAD
something dangling, somewhat obscured -- a tomato soup can.
RAY I would never have seen it.
FRASER That's odd. You were meant to.
Fraser takes a few measured steps down the covered path, stops. Ray follows carefully, then searches his field of view at eye level.
RAY Where's the wire?
FRASER There isn't one. Not up here.
Instead Fraser looks down at their feet. Ray's eyes follow.
POV -- THE GROUND IN FRONT OF THEM
A thin wire is stretched across the path, inches from their feet, almost invisible in the covering brush. Fraser picks up a rock, turns to Ray.
FRASER (CONT'D) Ready? Duck.
Fraser drops the rock on the wire, and Ray and Fraser drop out of the frame, hitting the ground, just as
THE WIRE
snaps, whips behind the trunk of a tree where
A BRANCH
bent back by the wire is released. It ARCS OUT, whipping across their path at what would have been eye level.
FRASER AND RAY
crouched on the ground, react to the WHOOSH overhead, followed by a sickening THUNK. A beat, They turn around slowly to see
ANGLE ON THE TREE BEHIND THEM
A thick sharpened STAKE tied to the tree branch is now lodged in the trunk of a tree.
Ray reacts, looks down the main path.
RAY My vote -- we go that way.
FRASER Agreed.
EXT. DEEPER IN THE WOODS -- A SHORT TIME LATER
Fraser, Ray and Diefenbaker continue through the woods. Ray looks like he's walking on eggs, sure that every step is mined.
FRASER Oh, come on, Ray.
RAY Are you kidding? One wrong step and I'm an extra in an Indiana Jones movie.
FRASER All you have to do is be aware. Keep your eyes open.
Ray looks like he's going to relax for a beat, then --
FRASER (CONT'D) Ray, duck.
Ray hits the snow like he was shot. He looks up cautiously, his face covered with snow, to see Fraser looking at a duck which sits in their path.
FRASER (CONT'D) Anas platyrhynos. A rare sighting this time of year.
As Fraser pulls out a notebook from his pocket and makes a notation, Ray gets to his feet glaring. They start walking again.
EXT. DEEP INTO THE WOODS -- DAY
Anita plowing through the snow following Fraser and Ray's trail. She comes to a patch of bare rock where the trail becomes obscured. She doesn't know which way to go. Suddenly, she HEARS a sound of movement behind her. She spins and trains her gun on --
A RABBIT, stopping to look at her as it crosses the path. She relaxes a beat. The sound of movement from further away drifts toward her. She holds her weapon at the ready again and follows the sound.
EXT. DEEP INTO THE WOODS -- DAY
Fraser, Ray and Diefenbaker arrive at a small clearing.
Fraser stops, notices a fallen evergreen tree just off the path, the kind that might provide a natural shelter. Fraser crosses to it, drops to one knee and digs in the snow.
CLOSE ON FRASER'S HANDS coming up with a handful of coffee grounds. Ray sniffs.
RAY Coffee.
FRASER French Roast.
ANITA (O.S.) At least he's a connoisseur.
They whip around, Ray's gun aimed, to see:
ANITA
watching them. Wet, cold, filthy. Not a happy tracker.
BACK TO SCENE
Ray lowers his gun, shaken.
RAY (angrily) I could have shot you.
ANITA Not before I shot you. (grins) Good thing we're on the same side, huh?
She moves in and takes a look at the shelter.
ANITA (CONT'D) (to Fraser) This is where he lives?
Fraser nods. Anita kneels down, pushes back the branches. What she sees stops her dead.
ANITA (CONT'D) Fraser...
Fraser leans in to look --
ON THE TREE
a PHOTOGRAPH OF FRASER, the one taken at the airport, is nailed to the bark.
RAY
takes the photo from Anita.
RAY He led us here.
ON FRASER
shaken..then in split second he realizes and throw himself against Ray and Anita, knocking them to the ground just as THE BOWIE KNIFE sails pas their heads, and SLICES INTO THE TREE, embedding itself in the bark.
ON THE GROUND
Fraser spins around to see
A FIGURE (MACON)
turn and dash off into the woods...
FRASER
leaps to his feet and races off after Macon. Diefenbaker races after him.
EXT. ON THE MAIN PATH
Fraser tears down the path, running hard.
EXT. BACK AT THE CLEARING -- AT THAT MOMENT
Ray and Anita hurry out of the clearing. As she approaches the path, suddenly -- A LOUD METALLIC CLICK. As Ray pushes past...
ANITA (O.S.) Vecchio...
RAY (annoyed) Look, either you keep up or--
He turns back, sees Anita frozen, her face white with fear.
ANITA My foot...
Ray looks down at her foot, then crosses back.
CLOSE ON HER FEET
Ray kneels in carefully and sees the top rim of A HOME MADE LAND MINE buried in the snow. Her foot rests on the UNSEEN DETONATOR SWITCH.
Ray looks up at her.
RAY Land mine.
ANITA Yes.
RAY Don't move.
ANITA I wasn't planning on it.
END OF ACT THREE
ACT FOUR
EXT. THE WOODS -- MOMENTS LATER
Fraser tearing down the path at breakneck speed.
AHEAD OF HIM
Macon, with a good lead and gaining, dives off the main path and heads into the thicket.
FRASER
dives off after him.
EXT. BACK AT THE CLEARING
Nervous as hell, Ray gently wipes the rest of the snow away from the mine under Anita's food.
RAY (nervously) Home made. Coffee can with gunpowder...store bought detonator.
Anita is trying to stifle her terror, and not succeeding.
ANITA Dismantle it!
RAY Shut up, you want to set this off?
She shuts up.
RAY (CONT'D) I need something flat...nail file.
She flips open her knife. He takes it. He looks for the angle to slide the knife under her foot. It's not quite right. She shoots him a look.
ANITA You don't know what you're doing!
RAY You want to wait for somebody else?
EXT. WOODS -- DAY
ON FRASER, legs pumping, heart pounding.
FRASER'S POV
blurry, jagged, images as he pounds through the dense woods and suddenly bursts into
FRASER'S POV
An OPEN FIELD where Macon, on a dog driven ski rig, pulled by his huskies, is flying across the field gaining distance by the second
FRASER
gasping for breath, runs across the field after Macon, struggling to stay on his feet. He approaches an incline, struggles up it, slips...falls...then drops to the ground again, unable to go on.
EXT. THE WOODS -- AT THAT MOMENT
Ray returns to Anita with a good sized rock, sits it down and nervously tries to figure out how to proceed.
RAY Some days I hate this job.
Ray slides the knife carefully between the sole of her shoe and the coffee can, searching for the trigger mechanism.
ANITA You're spoiled.
RAY (looks up) This is not a good time to insult me.
Anita watches Ray work, scared, but trying not to look it. She starts babbling nervously to take her mind off the fact that she's probably about to have her leg blown off.
ANITA There's a place outside of Mexico City where they dump the trash. People live there. They build shelters with garbage, burn it for heat -- eat the scraps. The only people you see who have money are the cops.
RAY Nothing wrong with taking a job that pays well. Careful...
A CLICK. He's found the detonator switch and is holding it down with the blade of the knife.
RAY (CONT'D) There. Don't move till I say to.
ANITA The job pays nothing. They make money from la mordida -- pay offs.
Ray's not really listening but she seems calmer when she's talking, so...
RAY You know this because?
ANITA I grew up there.
Ray picks up the rock and starts positioning it above the knife handle, flush with her ankle.
ANITA (CONT'D) There was one cop -- El Halcon -- "The Hawk". He saw everything. He didn't take money. He just worked to help people. I became a cop...to be like him.
He glances up at her, surprised. She looks away, realizing she's said more than she cares to.
RAY You ready?
From her look, it's clear she's not. He softens.
RAY (CONT'D) I've never lost a partner.
She gives him a weak smile. Ray holds the knife on the trigger. The rock is flush with her foot, ready to slide over to take it's place.
RAY (CONT'D) Go for it.
In one movement, Anita slips her foot off the mine and Ray slides the rock in place. No blast. They're alive. She moves to run, Ray grabs her
RAY (CONT'D) No!
he makes her walk slowly.
ANITA (embarrassed) Gracias.
RAY (equally embarrassed) Whatever.
HOLD ON THE CLEARING
All quiet. A moment later, THE GROUND EXPLODES.
EXT. THE SNOW-COVERED FIELD -- DAY
Fraser lies in the snow, breathing hard...after a moment he HEARS THE SOUNDS OF A DOG SLED coming up behind him. He turns his head and sees
FRASER'S POV
a dog sled, driven by Fraser Sr. pulls up beside him and stops.
FRASER SR. Get up son, you're losing him.
FRASER I'm coming...I'm coming...
But he isn't. He's too exhausted to move.
FRASER SR.
shakes his head and sighs.
FRASER SR. Ah, well. I suppose it takes some people longer than others to do a day's work.
He turns back to his dogs, slaps the reigns.
FRASER SR. (CONT'D) Go, boys...!
FRASER
lays there as the sled pulls off. Diefenbaker limps into the frame and lays down beside him, also exhausted.
After a beat A PUPPY dashes past Diefenbaker and runs off.
EXT. MANSION -- ESTABLISHING -- NIGHT FOUR
The estate is ablaze in lights. Guests are beginning to arrive in fancy limos. Security is present everywhere. Agents walk the perimeter with dogs. Other Agents man the gates.
INT. MANSION (BEDROOM/SITUATION ROOM) -- NIGHT
Fraser, Ray and Anita stand across from Helms, Casey and Bush.
SPECIAL AGT. HELMS You're wasting my time.
RAY He's armed to the teeth, he's got home-made bombs, land-mines--
SPECIAL AGT. CASEY We've got three suspects under round-the-clock surveillance and we've got this place sealed up tighter than a drum.
SPECIAL AGT. BUSH Every door, every window, every crack is covered.
SPECIAL AGT. HELMS A mosquito couldn't get through.
FRASER Cancel the event.
SPECIAL AGT. CASEY Are you deluded?
FRASER This man is a highly skilled soldier. Your government trained him. He'll find a way to penetrate the guard.
SPECIAL AGT. CASEY Not an option.
SPECIAL AGT. HELMS Every moment you spend trying to convince us otherwise is taking us off the task at hand. You're off the detail.
Ray and Anita react--
RAY/ANITA You've gotta be kidding!/That's crazy!
SPECIAL AGT. HELMS (to Ray and Anita) If either of you have a problem, you can join him.
As Ray's about to go off, Fraser stops him with a gesture.
SPECIAL AGT. HELMS (CONT'D) (back to Fraser) Hand in your tag. You'll be escorted off the premises. (to Bush) Put a man on the Canadian Trade Representative -- Parker, he's young.
Bush nods. As Casey and Bush escort Fraser out of the room--
RAY (to Fraser) I'm coming with you.
FRASER That would be stupid. Do your job.
Ray and Anita watch, frustrated, as Fraser is led out.
INT. MANSION -- FRONT DOOR/HALLWAY -- LATER THAT NIGHT
The ballroom is just starting to fill up. SECURITY PEOPLE are keeping vigilant watch as the GUESTS, all of whom are dressed to the nines, enter the house, have their coats taken, and move into the ballroom.
EXT. ESTATE -- NIGHT
AT THE FRONT GATE
A CATERING TRUCK is admitted past security and pulls around to the back entrance. We FOLLOW IT as it drives up to the house and parks. As the UNIFORMED CATERER gets out and walks inside--
ANGLE ON
FRASER watching, considering.
INT. MANSION -- BALLROOM -- NIGHT
SINCLAIR, TEDESCO AND PIERCE enter from the dining room, flanked by RAY, ANITA, and PARKER (a plainclothes Secret Service Agent) make their way toward the bay windows where BENNET is waiting to greet them. Guests stop them along the way to greet them. THE GUESTS respond with pleasant chit-chat. OVERLAP THE FOLLOWING DIALOGUE:
WITH SINCLAIR
SINCLAIR (to guest) John, good to see you.
GUEST #1 And you, Mr. Sinclair. May I introduce you to my wife, Emily.
Emily smiles and takes Sinclair's hand.
WITH TEDESCO
greeting a guest.
TEDESCO Gracias por venir, Senor Franco. La noche estaria in completa sin usted.
GUEST #2 (in Spanish) My pleasure, Senor Tedesco.
WITH PIERCE
chatting with a female guest.
PIERCE Lydia, you look beautiful. How do you manage it?
FEMALE GUEST No Franklin, I won't have you flattering me.
They laugh pleasantly and the TRADE REPRESENTATIVES move in front of the bay windows taking their places at the head of the receiving line, continuing to greet guests.
RAY AND ANITA
hover nearby their respective Trade Representatives, scanning the crowd. They meet each others gaze, nod. A quick smile, then back to business.
ON HELMS
cracking his gun as he observes the guests. The Waiter appears behind him, taps him on the shoulder. Helms turns--it's Fraser.
FRASER Mr. Helms.
SPECIAL AGT. HELMS (slow burn) You son-of-a...
FRASER Yes, quite true. But if I made it pas your security, so did he.
SPECIAL AGT. HELMS Either you leave here quietly or I have you dragged out.
But Fraser's eyes are on the receiving line, something's amiss, he doesn't know what.
FRASER Excuse me.
He starts moving slowly keeping his eyes on the receiving line.
FRASER'S POV
PIERCE finishes greeting a GUEST.
PIERCE Pleased to meet you. Have a nice stay.
The Guest moves off.
FRASER moving through the crowd, his view obscured by the growing crowd of guests, studies the receiving lineup, most of whom have their backs turned to him.
WITH PIERCE
BENNET steps in to introduce an O.S. GUEST to PIERCE.
BENNET Mr. Pierce may I introduce Mr. Greenway, of Portland, Oregon..,
PIERCE Mr. Greenway.
FRASER
as the crowd parts in front of Fraser he sees
GREENWAY turn toward PIERCE. REVEAL IT IS MACON, wearing a tuxedo. He smiles and reaches to take Pierce's hand...
FRASER
reacts, smoothly turning and making a beeline for Ray, his tray of drinks held high to obscure his face.
WITH RAY
As Fraser comes toward him, he reacts, but can't say anything before Fraser moves in tight and whispers to him.
FRASER Our man is with Pierce, he's taking his hand.
Ray turns, sees
PIERCE AND MACON
chatting happily as they continue to grasp hands.
RAY
speaks into his mic
Ray (into mic, to Anita) Mexico, twelve o'clock, the guy with Pierce. He's our man.
ANITA
turns, sees MACON AND PIERCE
ANITA, RAY AND FRASER
make eye contact
FRASER (to Ray) We move in slow. I'll take Pierce. On three...
RAY (into mic) On three...
ANITA (into mic) On three...
They start slowly, carefully moving in on their respective trade ministers, readying themselves
RAY One....
CLOSE ON MACON AND PIERCE
Macon keeps Pierce talking as he reaches into his coat pocket and starts to remove what we can only assume is a gun.
RAY (CONT'D) (into mic, softly) Two...
Fraser, Ray and Anita are only a couple of feet away now, still moving gingerly.
As Fraser moves in beside MACON, his tray raised...
RAY (CONT'D) Three.
All at once, FRASER lunges forward and pushes the tray against Macon's gun arm, causing him to jerk back and let go of Pierce as the tray and empty glasses are dumped on him.
FRASER
jumps Trade Rep. Sinclair knocking him to the ground and covering him with his body just as
ANITA
flattens Tedesco and
FRASER
knocks Pierce to the floor, his body cover Pierce's
WIDE SHOT
Panic everywhere, as GUESTS SCREAM and scatter and HELMS, BUSH AND CASEY draw their weapons.
MACON
reacts quickly, pulls his gun...
CLOSE ON FRASER
lying on the floor, covering Pierce as the MUZZLE OF MACON'S GUN is pressed to the side of Fraser's head.
MACON (shouting) Everybody freeze!!
HELMS
sees this, shouts out
SPECIAL AGT. HELMS (to all other agents) Hold your fire!
GUESTS run past them, heading for the exits, blocking the Agents aim.
MACON
grabs Fraser by the arm and hauls him to his feet, the gun pressed to his neck.
MACON (to Fraser) Don't move a muscle.
WIDE
The guests have scattered leaving most of the room empty. Macon and Fraser stand there alone, Ray, Anita and the Trade Representatives having been pushed or pulled out of the way.
WITH MACON AND FRASER
MACON (CONT'D) (to Fraser) Now we're gonna walk out of here, nice and slow, together.
Fraser looks toward the balcony area at the front of the ballroom:
ON THE BALCONY LEVEL
FOUR SECRET SERVICE AGENTS with their handguns leveled at Macon are blocking the exit.
RAY AND ANITA
on their feet now, guns raised and aimed.
BACK TO THE SCENE
FRASER (to Macon) I don't think they are prepared to let you walk out.
MACON (to all) If you shoot, I'll kill him.
FRASER You won't survive.
Macon smiles with a sad amusement.
MACON What would you know about surviving?
FRASER Very little, it seems.
A beat. It appears Fraser has nothing futher to offer, then...
FRASER (CONT'D) Of course there was a time when I knew everything. Or thought so. I'd be out tracking with my father he'd say "Benton, that's a stag track not a doe," and there it would be, plain as you like, the hoofprint of a stag and I'd think "What could that old man possibly be seeing..." Here I am younger than he is, stronger than he is, better eyesight by half...
ON RAY
cringing
RAY
Oh God, he's doing it...
ANITA
shots him a worried look...
and I'd be right, of course. My father always said, "know what you know." And I did. (beat) But recently I haven't known. I've let others know things for me. And they were wrong.
Fraser turns to Macon, searches his eyes, trying to reach him.
FRASER (CONT'D) When you lose sight of what you know, you're beaten. You don't know who you are or where you are. And the enemy is everywhere you look.
MACON They took it away from me -- what I know. Who I am.
FRASER No. They can't do that. We can only take it from ourselves.
MACON My home. They're taking that away from me.
FRASER They're taking away your hiding place. If you know who you are, you don't have to hide.
Macon and Fraser hold each other's gaze. Some understanding passes between these men. Macon stars to lower his gun...
QUICK CUTS
of Helms, Ray, and Anita registering surprise, relief -- then --
FRASER'S POV
a reflection in the window to in front of him of a SNIPER behind them, raising his rifle, aiming...
ON FRASER AND MACON
Fraser throws his body against Macon, knocking him to the floor, just as A BULLET WHIZZES PAST and SMASHES INTO A VASE behind them.
BACK TO SCENE
Ray rushes over to find Fraser lying on the floor covering Macon's body with his own. As he helps Fraser to his feet, Anita and Bush and Casey swoop in and handcuff Macon.
RAY (to Fraser) You okay?
FRASER Fine. Fine.
Fraser turns and looks at Macon. It takes Helms, Casey and Bush to pull the big man to his feet.
SPECIAL AGT. HELMS (to Macon) Name.
Macon resists, sayings nothing.
SPECIAL AGT. HELMS (CONT'D)
When he speaks it is on his own terms and with certainty.
MACON La Croix. Macon La Croix.
Helms, feeling small as he is, motions Bush and Casey to take Macon away. Macon looks back at Fraser -- they share a look of understanding between them. Macon turns and allows them to lead him off.
INT. MANSION HALLWAY -- LATER
The guests have left and the CLEANUP CREW has moved in. Ray and Anita make their way down the hall to the front doors.
ANITA Is it true you never lost a partner?
RAY Oh, that.
They start to move out the door.
RAY (CONT'D) No.
ANITA (reacts) No??
RAY I meant I never lost a partner to a land mine.
ANITA That's not what you said.
RAY Well, that's what I meant.
ANITA You lied to me!
RAY Not technically. A minivan hit him in a parking lot. Well, okay, maybe I was driving...
As they exit, they cross
FRASER AND THATCHER
in the hall. Thatcher looks none too pleased.
THATCHER ...You saved the Trade Representative.
FRASER Yes, sir.
THATCHER Then you saved the assassin.
FRASER I'm afraid so, sir.
Thatcher stares at him, like he's some kind of lunatic. And she knows he must have some kind of angle....Ah, she's got it.
THATCHER If you think you can use this to buy your way onto the Prime Minister's security detail...
FRASER It wasn't my first thought, Sir.
Thatcher reacts, properly embarrassed.
THATCHER No. Of course it wasn't.
She considers for a moment, then:
THATCHER (CONT'D) I'll see that you receive a commendation.
FRASER That won't be necessary, Sir.
THATCHER (taken aback) Oh. Well, then, what do you want?
Fraser thinks about this.
FRASER May I offer you a cup of coffee?
Fraser stares at him, stunned.
THATCHER I...well, I don't think... (a beat, what the hell) All right.
Fraser smiles.
FRASER Thank you, Sir.
THATCHER (flustered) Yes. Fine. Get the car.
As they walk out. They move toward the front door.
FRASER Would you care to drive?
THATCHER No, you drive. No, I'll drive. You.
FRASER Understood.
As they exit out the front door PAN BACK and REVEAL the three Twelve-year-old Agents on the stairs sharing a pack of gum. Twelve-year-old Agent #1 having watched Fraser exit with Thatcher grins at the other Twelve-year-olds.
TWELVE-YEAR-OLD AGENT 1 (re: Thatcher) Not bad.
TWELVE-YEAR-OLD AGENT 3 (smiles) I think he's back.
FADE OUT: