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THE BARNHART EFFECT
EXT. SHIPPING DOCK - NIGHT
The water is icy and dark. Sleepy beams of light and boathorns fill the cold, piercing air.
SUPER: RUSSIA
Two MAFIOSO'S lean up against a sleek black Cadillac. Theirhair is loaded up with grease. They smoke and talk to oneanother in Russian.
A forklift approaches, drops off a large wooden container.The DRIVER jumps down. MAFIOSO #1 hands him some money.
MAFIOSO # 1(in Russian)
You didn't see anyone tonight...
The driver disappears. MAFIOSO #2 pops the trunk, removes acrowbar then -- they CRACK open the container.
The passenger side window slowly rolls down -- a shadowyfigure inside. Call him VLADAMIR GINADI --
GINADI(in Russian)
Is that all of it?
They inspect the inside of the container.
MAFIOSO # 1(in Russian)
Looks like it.
GINADI(in Russian)
Take it. We'll test it later.Let's go.
The window rolls back up. They flick away their cigarettesand load the cargo into the trunk.
INT. UNIVERSITY LAB - NIGHT
Silence. A single desk lamp gives off barely enough light toread.
SUPER: ALEXANDRIA, VA
2.
HENRY BARNHART (64) your typical grey-headed, wisegrandfather, stands over a microscope. He scribbles onto apad. He is a wealth of knowledge.
A CRASH outside the door --
Henry, suspicious, shuts off the light and hides in theshadows.
The doorknob slowly turns, the door swings open, then --
The MOLE, wearing black clothing, a black mask, and grippinga silencer, combs the lab for signs of life. Methodically.Thorough.
Henry, seeing no way out of this predicament, steps forward.
HENRYI knew he'd send someone.
The mole snaps around, pointing the gun out in front.
MOLEWhere is it?
HENRYIt's not here.
MOLEWhere can I find it?
HENRYYou'll never find it.
SNAPPH! A SHOT to the left thigh. The bullet tears throughthe flesh.
Henry applies pressure to the wound, grinding his teeth inagony. Blood seeps through his trousers.
MOLEOne more chance, where is it?
HENRY(struggles)
Do what you want with me but I'llnever tell him where it is.
MOLEHe thought you might say that.
3.
SNAPPH! -- SNAPPH! -- Two more SHOTS, right in the chest.
Henry falls on his back, convulses, then no movement.
The mole drags the lifeless body into a storage closet,locks it inside, destroys the lab and leaves in a hurry.
INT. CIA SITUATION ROOM/ HEADQUARTERS - DAY
SUPER: VIRGINIA
Big screens and video monitors.
Several CIA MANDARINS sit around a table like angry parents.Most notably is Vice-Director WILLIAM OLINSKY (55) a thirty-year veteran in the department with a short fuse. All istense and unhumorous.
PARKER (32) presentable and somewhat new to theinvestigation, has the floor.
PARKERAs most of you already know, HenryBarnhart was murdered last nightin his lab in Virginia. Therehaven't been any arrests yet, inwhat appears to be robbery of somekind. Mind you nothing wastaken... but that's what they'recalling it.
A photo of the body appears on the screen behind him.
PARKERHe was shot three times. Once inthe leg, maybe a warning shot,then twice in thechest...ultimately the fatalwounds. The body was thrown in astorage closet which adjoinedseveral other rooms, which meansthe killer probably wanted it tobe found. The lab itself wasvandalized pretty heavily, andthere is no surveillance of anyoneentering or leaving the premisesafter four o'clock in theafternoon.
Olinsky shakes his head.
4.
PARKERWe've had eyes on Barnhart forseveral months now, so whoever wasresponsible for the murder knewhow to manipulate our system. Theloss is nothing short ofdetrimental to our investigation,so if anyone has any ideas on whowe should be probing, by allmeans...
INT. THE CORE - DAY
A hidden department. No access granted. Red tape andsecurity codes. Silent and busy. Unmarked computers.Untraceable hard lines. Unlimited resources.
A staff of NINE. Three communication technicians, threeresearch and three intelligence specialists. They sit in TheCORE.
A calm during the storm, this place does not exist. It isrun by --
JOHN BISHOP (45) business as usual. Smart. Pressed anddeliberate. All knowing as far as everyone down here isconcerned.
Parker appears from behind.
BISHOPSo, how did it go?
PARKEROlinsky wants to see you. Hisoffice.
BISHOPWhen?
PARKERFive minutes ago.
BISHOPDid you tell him I was busy?
PARKERHe wasn't in the mood today, sir.
CUT TO:
5.
INT. OLINSKY'S OFFICE- MINUTES LATER - DAY
Olinsky at the window. Bishop at the door, arms crossed.
OLINSKY(looking out)
I have a suspicion, and it'spointed in your direction.
BISHOPI'm not certain I know what you'retalking about.
OLINSKY(to him)
Don't you? I have this vision inmy head of you sending someone tointerrogate Barnhart and thingsnot going exactly to plan.
(direct)Am I scratching the surface?
BISHOPYou're implying?
OLINSKYI'm asking.
BISHOPI have my people looking into themurder.
OLINSKYYou know what your problem is? Youthink that you're untouchable.They're going to look into thisthing. The murder - everything.They're forming teams to look intoevery last one of us who ever knewBarnhart. How in the world do youexpect me to protect you now?
BISHOPYou know, as well s I do, I don'tneed protection. They can lookinto it but they aren't going tofind anything.
OLINSKYAnd what happens if blood spillsinto the streets on this one?
6.
BISHOPThen I would advise you to buy upas much property as possible.
An intense stare --
OLINSKYClean it up.
BISHOPYes sir.
EXT. NEW YORK CITY - DAY
Early morning, Wall Street. Everyone is sleepy eyed andreserved.
BAY BARNHART (25) stylish and preconceived, fights his wayto his office building. Everything about him is planned,organized and hygienic.
INT. OFFICE BUILDING- LOBBY - DAY
A long corridor, sterile -- marble. A reception desk, apretty girl there.
BAY(to her)
Good morning, Linda.
LINDAHey. There's a message for you.
She hands him the slip. He reads it. Concern.
BAYWhen did this come?
LINDAIt was here this morning when Igot in... is everything alright?
He doesn't answer, just walks away.
INT. CORONER'S OFFICE- LATER - NIGHT
Stark light, rubber gloves, pallid sheets. One is drawnback. Bay hovers over it. Silent and lethargic.
7.
CORONER (OS)Three wounds. One in the leftthigh, the other two in the chest.
No rebuttal. Henry's body on the slab -- dead, bloated.
CORONER (OS)I don't mean to be insensitive,but I need to know if I can put apositive ID on the body?
Bay nods yes. The sheet is draped back on.
BAY(low)
Is there something I need to sign?
INT. BISHOP'S OFFICE/ THE CORE - DAY
Bishop and Parker sit opposite one another, overlooking theCORE, then --
PARKERSo what now?
BISHOPWe go in a different direction. Wefind out who Barnhart was talkingwith, and who he was close to.
PARKERThere isn't much there.
BISHOPWell for my sake, for the sake ofall of us, we better makesomething appear.
PARKERThe man was a hermit. Up at five,in bed at ten. He had no friends,no colleagues, no one he spentsignificant time with. He spentall his free time alone or in thelab --
BISHOP-- the bastard had to have afamily --
8.
PARKER-- parents are dead, no siblings,wife died three years ago --
BISHOP-- how?
PARKERBreast cancer, I think.
BISHOPHe lived alone?
PARKERCompletely. He didn't even own agoldfish.
BISHOPChildren?
A pause. Parker doesn't have an answer.
CUT TO:
THE CORE-
Bishop storms into the room, Parker close behind. Thebustling slows as Bishop's serious demeanor demands theirattention.
BISHOP(to the team)
Listen up people! Take everythingyou're doing, everything you'vebeen working on, and put it on theback burner.
He walks to the whiteboard, erases the writing with the palmof his hand and grabs a marker.
BISHOP(to the team)
We're shifting course. Our newtarget is this man...
Writes on the board : BAY BARNHART.
BISHOP(to the team)
Henry Barnhart's son. His onlychild and our only lead at thispoint. If we're lucky, Henry mayhave passed down information tohim. So I want to know everything,
(MORE)
9.
BISHOP (cont'd)and I mean everything, about thiskid. Where he lives, what he eats,where he works...if he takes ashit, I wanna know how long ittook. Get every pair of eyes wehave on him and stay close. Get memobile teams on stand by.
The team begins to grind. Keys CLICK. Phones RING. Hardwork.
BISHOP(to Parker)
Find Bay Barnhart.
EXT. ISOLATED FIELD- MOSCOW - NIGHT
SUPER: MOSCOW
Brown grass, snow and cold wind. There is no one around formiles.
The two Mafioso's rig up a bomb to an abandoned car. Ginadi,sleek and professional, smokes in the distance. They finishsecuring the bomb, walk to him and --
MAFIOSO # 1(in Russian)
We're ready.
GINADI(in Russian)
How high did you set it?
Mafioso #2 hands Mafioso #1 the detonator.
MAFIOSO # 1(in Russian)
Ten percent.
GINADI(in Russian)
Do it.
Their eyes fixated on the car. With steady fingers on thedetonator, he clamps down on the pin, then -- nothing.
Ginadi's face says it all, aggravation. His temper isfierce.
10.
GINADI(in Russian)
What the hell happened?
MAFIOSO # 1(in Russian)
I have no idea...
He clamps down several more times -- CLICK, CLICK --nothing.
MAFIOSO # 1(in Russian)
It's not working.
GINADI(in Russian)
You're positive you set it upproperly?
MAFIOSO # 1(in Russian)
Positive, yes.
GINADI(in Russian/ stern)
Get our American friends on thephone.
INT. CREMATORY - DAY
Eerie silence -- the CLATTER of machine -- industrialfurnace -- fuel.
Bay stands there alone, wearing a black suit and tie. Hiseyes waging war with the inevitability of the furnace ahead.Henry's body is charged.
Not a word is spoken. No goodbyes.
INT. CHIROPRACTOR'S OFFICE- LATER - DAY
Pastels -- framed artwork on the walls -- low, soft music.
Bay waits for the doctor. He undoes his tie, staring athimself in the wall mounted mirror. The door opens --
DR. REINALDHey there, good to see you again.
11.
BAYThanks for seeing me on such shortnotice.
DR. REINALDNo problem, what's the occasion?
Bay seems confused, then realizes he's still in his suit.
BAYIt was a funeral.
DR. REINALDI'm sorry to hear that. Anyoneclose?
He takes a minute.
BAYSort of...
DR. REINALDWell, what can I do for you today?
BAYMy neck is not getting any better.It seems like it only gets worseevery time I get it adjusted.
DR. REINALDDid you go to that specialist Ireferred you to?
BAYYeah. He told me to come backhere. He couldn't find anythingwrong.
DR. REINALDHow long has it been now?
BAYSince I was a kid. Years.
DR. REINALDHmm. Okay, well lets take anotherlook at you.
Bay lays on his stomach. The doctor goes right to work onhis neck.
CUT TO:
12.
INT. THE CORE - DAY
The core is WIRED: calls to New York, twenty monitors ofsurveillance, Bishop watching from behind, communication inall directions and Parker on the phone. He looks to Bishop--
PARKER(covers the receiver)
All teams in New York are standingby.
BISHOPI want a full breakdown of thiskid's daily life as soon aspossible. Talk it out.
Across the room -- RESEARCH TECH, at her computer, speaksup.
RESEARCH TECHHe has an apartment in Chelsea andworks for an large investmentbanking company off Wall Street.
BISHOPHow long, on both.
RESEARCH TECHBeen at both places for just aboutfour years. Looks like he was inJersey prior to that...
BISHOPDo we have something in theapartment -- ?
COM TECH-- yes sir. Working on a bug.We've got a team ready to bestationed inside the building.They're on their way right now.
Bishop rushes to look, excitement in his step.
BISHOPStay on the apartment. I wannaknow where he goes at all times.What about our mobile team?
COM TECHOn their way sir.
13.
BISHOPHow long? On their way meansnothing to me.
COM TECHFifteen minutes.
PARKER(on his cell phone)
I'm getting information fromdownstairs.
Bishop perks up.
PARKER(listening)
...I have a social security numberand file on their way up rightnow.
BISHOP(to the team)
This is a good start, now letsturn it up a notch.
Their fingers type as fast as possible. Nothing is doneslowly, uploads, downloads, second checking of data.
COM TECHVisual on screen one in tenseconds.
A photo of Bay's face appears on the large screen,surveillance of his apartment is next. Bishop positionshimself directly in front --
BISHOPHow old is this picture?
COM TECHTaken a month ago for a passport.
BISHOPI want the apartment on screen oneat all times, the office on two,and our teams on the street getthree and four... who's got thephones?
PARKERI'm on it.
14.
BISHOP(to Parker)
Where's that file?
Parker shrugs, cell phone in hand -- controlled chaos.
BISHOPI want his credentials runimmediately, check for creditcards, assets, bank accounts-anything we can freeze up for aperiod of time.
RESEARCH TECHI have his phones. Land line inthe living room... officeextension as well.
PARKERWe're gonna need his cell phoneand email forwarded here.
RESEARCH TECHWorking on it.
PARKERHave everything hit us before ithit the wire. Channel it throughthis room.
Bishop paces the floor.
BISHOPI want driving records, policerecords, education files, all ofit. We need to know everything hesays and everyone he says it to.Someones got to be on his tailtwenty-four hours a day.
(pauses)We're gonna be at this as long asit takes.
INTEL TECHI'm working on the office PC, itmight take me and hour to crackthe firewall there --
COM TECH-- apartment team is go green.
15.
BISHOP(angry)
Where the hell is that damn reportfrom downstairs!
PARKERJust got it...
Parker hands it to a the research tech. Bishop wears a lookof satisfaction. A good start.
EXT. SEISHIN- KARATE DO JO - NIGHT
Bay exits the front door, sweat around his neckline, dressedin his full Gi and black belt. He proceeds down the busystreet.
UP THE STREET-
MOBILE ONE, in plain street clothes, watches him closely. Heleaves a few seconds in between them, then follows.
MOBILE ONE(into radio)
This is mobile one. Subject is onthe move, I'm in range.
INTEL TECH (OS)Copy that Mobile One. Stay inrange.
INT. / EXT. THE CORE/ STREET - NIGHT
The Core is a frenzy -- all eyes on the the screens. Bishopdirects --
BISHOPTell him to stay a good distanceback --
COM TECH(into radio)
-- Mobile One, stay a safedistance back.
BISHOP(into speaker phone)
Mobile one, this is Bishop. Wheredid he just walk out of?
16.
MOBILE ONE (OS)It was a karate place, he musthave just finished up.
They are all over it --
RESEARCH TECHIt's called Seishin Karate, it's atraining facility and supplystore.
BISHOP(watching)
Is that a black belt he's wearing?
MOBILE ONE (OS)Confirmed, it is a black belt.
PARKERShould we consider him dangerous?
BISHOPSomeone let me know if Barnhartshould be considered a threat.Find out how long he's been goingto that place.
Keyboards CLICKING -- phones RINGING.
Screens three and four light up with footage of Bay walkingdown the street.
STREET
Bay, oblivious, steps into his building.
THE CORE
Maps on screen. Red dots. Arrows.
PARKERWhat's the address on thatbuilding he just walked into?
MOBILE ONE (OS)733 Channel Avenue.
BISHOPRun that --
COM TECH-- don't have to, we have it ashis apartment.
17.
BISHOPSo that's his home?
COM TECHYes sir.
BISHOPOkay...Mobile One stand by.
STREET
Mobile one stops, blends in with the crowd, steps into amagazine stand.
MOBILE ONE(into radio)
Standing by.
THE CORE
BISHOPDoes he own a vehicle?
Checking, then --
RESEARCH TECHNothing registered in his name...
PARKERThe subway could be a problem,sir.
BISHOPWe'll cross that bridge when wecome to it.
INTEL TECHWe have visual of the apartment.
BISHOPGive me the apartment on one, now.
Screen one -- the apartment -- grainy video.
BISHOPIs the inside team watching this?
INTEL TECHYes, sir. They're listening in.
Information flooding in --
18.
RESEARCH TECHBarnhart's been going to Seinshinfor several years, credit carddeposits confirm as early as 2004.
BISHOP(to Parker)
Which means he could be dangerous.Tell our teams to proceed withcaution when approaching him.
The room watches, listens, waits.
Parker walks to Bishop, whispers --
PARKERAre we going to be bringing himin?
BISHOPI'm not sure yet.
INT. HALLWAY - NIGHT
Olinsky, with a troubled look on his face, speeds down thecorridor. Determination.
INT. THE CORE- MINUTES LATER - NIGHT
Olinsky KNOCKS on the glass door -- restricted access.Parker sees him, grabs Bishop and diverts his attention tothe door.
Bishop sees Olinsky's bothered face.
BISHOP(to Parker)
Stay alert, if you find anything,come get me. Do not hesitate.
Bishop leaves the room.
INT. CAFETERIA - NIGHT
Empty. Olinsky is exhausted, Bishop with coffee.
OLINSKYDo I even need to tell you?
19.
BISHOP(sips)
Tell me what, Bill?
OLINSKYWhile you've been busy playing agame of human Risk in there, Ijust got off the phone with acertain Russian friend of yours.
BISHOPAs I recall, you introduced me.
Olinsky is not in the mood to argue --
OLINSKYIt's a problem.
Silence.
BISHOPThere's always a problem, that'swhy people like us exist.
OLINSKYThe test didn't work.
BISHOPAre you asking me or telling me?
OLINSKYDid you know?
BISHOPYou know all the same secrets as Ido, Bill.
Olinsky grows impatient.
OLINSKYLet me ask you something, are youtrying to start a fucking worldwar? Because that's on the top ofa very short list of possibleoutcomes. Or are you trying toreignite the Cold War --
BISHOP-- that's why we're after the boy.It'll turn up.
20.
OLINSKYAre you sure? With Barnhart dead,we won't be able to recover.
BISHOPWith Barnhart dead, they won't beable to recover it either. It'scalled damage control --
OLINSKY-- damage control?
BISHOPI knew it didn't work, the test orthe actual. Barnhart had too bigof a misplaced sense ofself-righteousness to go throughwith it.
OLINSKYMaybe he was just smarter than us.
BISHOPI doubt it. The kid will tell uswhat he knows.
OLINSKYHow do you know if he can tell usanything?
BISHOPWhat else would you have me do?
OLINSKYYou found him?
BISHOP(unbreakable)
I really should be getting back.
Bishop stands, begins to walk out, then --
OLINSKYWe're gonna have some decisions tomake. Who we can trust and who wecan't.
INT. RUSSIAN LAB - NIGHT
SUPER: MOSCOW
21.
Stark. Cluttered. This room is underused and unknown tomost.
Ginadi, an UNKNOWN SCIENTIST and the Mafiosos hover over acold, metal table. The bomb placed on top.
GINADI(in Russian)
What do you think?
UNKNOWN SCIENTIST(in Russian)
I've never seen anything, thiscomplex.
GINADI(in Russian)
Do you think you can finish it?
UNKNOWN SCIENTIST(in Russian)
I have my doubts. Not without thecomputer chip. Where did you getthis?
GINADI(in Russian)
A friend.
UNKNOWN SCIENTIST(in Russian)
Your friends have given you anmalfunctioning weapon.
Ginadi nods to Mafioso # 1.
GINADI(in Russian)
Pay him.
Mafioso # 1 takes out the cash, hands it over.
INT. THE CORE - NIGHT
Bishop walks to the security pad, dials in, the glass dooropens.
Parker greets him there.
PARKERIs everything alright?
22.
BISHOPFine. What's our status?
PARKERBesides a shower and call forChinese food, nothing.
BISHOPWe're still watching, yes?
PARKERAbsolutely sir.
Less chaotic. Maps, night vision and phone taps. The team isalert. All is normal.
BISHOP(to Parker)
I need to see a colleague. You'llbe in charge until I get back.
PARKERHow long?
BISHOPA few hours at most. Call my cellif anything changes. And I do meananything.
PARKERYes, sir.
Bishop grabs his coat on the way out.
CUT TO:
INT. PARKING DECK - NIGHT
Silent and dark. Cars are sparsely sprinkled throughout.Bishop emerges from the back, the phone at his ear.
BISHOP(into phone)
I'm on my way...
He reaches his car, hangs up the phone and settles into thedriver's seat.
23.
INT. HOTEL ROOM - NIGHT
Bishop enters. The room is hardly touched. Bed still made.Bar unopened. All the blinds closed.
The Mole waits for him. Young. Intimidating. Unwavering.
MOLEI don't want to have to wait likethis.
BISHOPFor what?
MOLETo get paid.
Bishop tosses him a thick envelope.
BISHOPI got sidetracked.
MOLEThat's not my problem.
BISHOPIt will be if you don't lay lowfor a while.
MOLEIs business slow?
BISHOPNot quite. The opposite actually.
The mole counts the cash, it's all there.
MOLENext time, I want all of it upfront.
BISHOPWhy's that?
MOLEI don't wanna know what yourmotives are...but mine is simple.Money up front, or I walk.
BISHOPWho says there's going to be anext time?
24.
MOLEIsn't there?
Bishop smirks. The mole's face is stoic.
BISHOPI'll be in touch.
He leaves, shutting the door behind him.
EXT. CENTRAL PARK - DAY
Warm and busy. Children playing in the fountain. Artistsdrawing freehand. Conversations.
Bay, on a park bench, drinking expensive coffee. Sittingthere, staring off, lost in thought.
He is able to see Mobile one through the corner of his eye.Suspicious.
SEVERAL YARDS AWAY
Mobile one is in position, reading a paper, in sunglasses.
MOBILE ONE(into radio)
Nothing on my end. He'sstationary.
COM TECH (OS)Copy that mobile one.
INT. THE CORE - DAY
Screen three -- they see what mobile one sees. Bishopwatches intently, Parker beside him.
COM TECHSir, we're getting hits from theNYPD database --
BISHOP-- tell them to back off. In fact,no one talks to the policedepartment until I say so.
PARKERHe leads a pretty uneventful life.
25.
BISHOPLike his old man.
PARKERAre we bringing him in?
BISHOPThat decision hasn't been madejust yet.
PARKERBy who, sir? How long are we gonnaplay this game?
BISHOPWhat game?
PARKERCat and mouse.
BISHOPAs long as it takes.
EXT. CENTRAL PARK - DAY
Bay stands, natural, and begins down the trail out of thepark. Tosses away his empty cup and can feel that someone isfollowing him, but he plays it cool.
CLOSE BEHIND
Mobile One moves with him. Twenty feet back.
MOBILE ONE(into radio)
He's moving.
COM TECH (OS)Stay on him.
BAY
Slowly reaches a corner. There's a stop ahead, he waits.
MOBILE ONE (OS)(into radio)
There's a bus stop. What do youwant me to do if he gets on?
BISHOP (OS)Follow him, no matter where hegoes.
26.
INTEL TECH (OS)That bus makes twelve stops onit's route down Broadway.
BISHOP (OS)He won't get far if he gets on.
Bay catches a glimpse of mobile one in the reflective glass,thinks nothing of it, or does he? Walks on.
MOBILE ONE
Staying a safe distance away.
MOBILE ONE(into radio)
He ditched the bus. I'm on him,traveling west.
BISHOP (OS)Give him some room, you can't getmade here --
BAY
Senses something, turns -- mobile one ten feet behind him.Bay takes a few awkward backward steps, still playing itcasual. Then turns and continues to walk.
PARKER (OS)What was that?
BISHOP (OS)Mobile One, did you just get made?
MOBILE ONE (OS)(into radio)
He looked right at me, but I thinkI'm still okay. There's a ton ofpeople out here.
INTERSECTION
PARKER (OS)Mobile One, back off a bit --
Bay stops at the crosswalk -- checks his watch, then turnsagain -- mobile one right on him. This time it's tooobvious.
BISHOP (OS)You're too close dammit! Back off!
27.
A second later, Bay takes off.
INT. THE CORE - JUST THEN - DAY
Chaos ensues. Bishop, Parker and the team engaged with thescreens, tension builds between one another.
BISHOP(furious)
What the hell just happened?Mobile One are you in pursuit?
Slight hesitation.
BISHOPMobile One answer the damnquestion!
MOBILE ONE (os)I am in pursuit... he went backinto the park!
PARKERSir, do you want us to follow himin?
BISHOPMake sure we don't lose him inthere!
Calls are made -- back to furious typing -- Bishop is aboutto blow.
INTEL TECHSir, I have three other teamsready to send in.
BISHOPDammit! We can't send anyone in ifwe don't know where he is!
PARKERWe're losing Mobile One's videofeed.
COM TECHWith all the running, we're gonnalose the feed until they'restationary again.
28.
BISHOPHe was too damn close! Tell allthe teams to stay put for now. Ihave to believe he's not gonna runforever. I wanna be ready whereverhe decides to stop, but Mobile Oneneeds to stay on him. We'vetracked guys ten times as cunningas Barnhart...
(pause)Tell him to bring Bay in!
EXT. CENTRAL PARK / VARIOUS LOCATION - DAY
Bay running through the crowds and trees. A tremendous pacegiven the number of people around. Smooth stokes --breathing heavy. Fast. Faster. Making sure no one can keepup.
A check over the shoulder -- no one. Bay is not slowingdown.
INT. THE CORE - DAY
Uncharacteristically silent. Video is offline. Bishop is astove top. Parker, a deer in headlights.
BISHOPDid we just lose him?
PARKERIt appears so, sir.
No one wants to explain.
BISHOP(to the team)
Where the hell is everyone?
INTEL TECHTeams are in tact sir, Mobile Oneis still in pursuit.
BISHOPTell him to fall back. It'spointless now.
PARKERSir?
29.
BISHOP(to Parker)
As far as I know, Barnhart isn't afriggin' superhero. He has to comehome sometime.
PARKERHe did just shake our guy.
BISHOPA guy who'll be out of a job bytomorrow!
(to Intel Tech)Make the call!
INTEL TECH(into headset)
Fall back to your originallocations and standby. I repeat,stand by.
Bishop looks over the room, they all work hard to correcttheir mistakes.
GLASS DOOR
STEPHEN GABLE (54), Senior Investigation Director, glancesin on the core, Olinsky at his side. Bishop knows exactlywhy they're here.
INT. GABLE'S OFFICE - DAY
Gable sits behind his desk. Ivy league. Sharp and determinedto get answers. Bishop and Olinsky sit opposite him,avoiding any eye contact.
Gable holds up a file.
GABLESo how do I explain this one?
No answer, he slams the file down.
GABLENothing? No ideas on why a certainRussian Mafia head would tell aMoscow newspaper that the UnitedStates provided him with a weaponwhich could duplicate theaftermath of September eleventh?
Silence again.
30.
GABLEWe are in the business of give andtake, that's how this works --
BISHOP-- with all due respect, sir, youcan't always believe what you readin the papers.
GABLEWell, the President does and hewants answers.
BISHOPTell him what happened. Tell himit was stolen.
GABLEHe gets briefed on these thingsevery morning --
BISHOP-- and don't we write thosebriefings?
GABLEAnd what exactly do I tell him wasstolen?
BISHOPBarnhart's bomb. What do wecare... it doesn't work. Neitherof them.
GABLEThere's more than one?
OLINSKYEvery good scientist wants to testhis work.
GABLEWould it be foolish for me to ask,if we did all we could to resolvethis?
BISHOPWe threw buckets of money atBarnhart. In the end, hisconscience got the better of him.You can't do anything with a manlike that.
31.
OLINSKYWith Barnhart dead, there's no wayto find the chip. No one can usethe bomb without that piece of thepuzzle.
GABLEDo you think the Russians aregonna look for it? Is there achance they could find it beforewe did?
OLINSKYThere are a few scientists theycan turn to.
BISHOPProbably. But we have a headstart. I wouldn't assume they'recapable or smart enough to recoverit before we could.
OLINSKYThey'll eventually send threats.
GABLEVery well. Find it.
Gable stands up, walks to the door and opens it for them toexit.
GABLEYou know, it's who we are thatdrives us to do what we do. Askany mother in America if they wanta CIA escort following theirchildren on a daily basis, and theanswer is always "hell no." Butask them if they want us to helpfind their child once they've beenmissing... then it's always,"please."
Gable shoots them a look of concern.
GABLEIt's what we are.
32.
INT. BANK - DAY
Bay, breathing heavy and worn-out, approaches an ATMmachine. He inserts his card, waits and surveys the busybank floor.
ON THE ATM SCREEN : THERE WAS A PROBLEM WITH YOUR REQUEST.
He repeats the same process. Inserts, waits, surveys -- sameresult.
He rips the card out of the machine and shuffles his wayback outside.
CUT TO:
INT. NYPD LOCAL OFFICE - DAY
Stale. The coldness of gray. A few plastic chairs in thewaiting area. Posters of missing children. Angry faces anduniformed cops.
Bay steps inside and approaches an open window. Anuninterested UNIFORMED OFFICER sits just behind the glass.
UNIFORMED OFFICER(banal)
Can I help you?
BAYYes, I want to know if there is awarrant out in my name?
UNIFORMED OFFICERWhat's your name?
BAYBay Barnhart...
The officer begins typing the name into his computer, anuneasy interim.
UNIFORMED OFFICERThere's no warrant in that name --
BAY-- okay, thank you --
UNIFORMED OFFICER-- do me a favor pal and have aseat. An officer will be right outto talk to you.
33.
BAYIs something wrong?
UNIFORMED OFFICERJust have a seat.
Bay reluctantly turns and finds a seat in the waiting area.His eyes remain fixated on the officer at the window,waiting for a perfect time to escape.
The officer spins his seat around -- here's Bay's chance --he jolts out of the police station unnoticed.
INT. THE CORE -- THAT MOMENT - DAY
Everyone is hard at work. They type, place outgoing phonecalls and stream live video throughout. Bishop observes -
BISHOPWhat's going on people?
The tema begins to report new information -
COM TECHHe's popping up everywhere. ATMmachines, police stations...
BISHOPHe's panicking. Do we have hisbank accounts?
RESEARCH TECHFrozen, sir.
BISHOPHow many times has he tried toaccess his accounts?
COM TECHThree different locations, allalong the same street.
BISHOP(to Parker)
So now he knows something iswrong.
PARKERWhat do you think he wanted withthe police?
34.
BISHOPMaybe protection --
INTEL TECH-- negative, sir. His name came upon a state-wide warrant search.
PARKERHe's checking on warrants?
BISHOPWhat do the police see when theytype his name into their database?
INTEL TECHA standard detain message.
BISHOPHe thinks the police are afterhim. Stay on his location and getsomeone in position to bring himin.
CUT TO:
INT. PAWN SHOP - DAY
Bay stands at the counter and removes his watch. A sleazyPAWN SHOP OWNER takes it from his hand, looks it over.
PAWN SHOP OWNER(skeptical)
Is it real?
BAY(rushed)
Yeah, it's real. It's only a yearold.
PAWN SHOP OWNERDo you have proof?
BAYHow much can you give me for it?
PAWN SHOP OWNERTwo hundred...
BAYIt's a Rolex, c'mon now.
35.
PAWN SHOP OWNERThree-hundred --
BAY-- three-fifty.
PAWN SHOP OWNERThree-twenty-five.
BAY(without thinking)
I'll take large bills.
INT. THE CORE - DAY
Bishop and Parker anxiously walk the floor.
INTEL TECHMobile One is en route, ETA isfive minutes.
BISHOPGet me a second team there. I donot wanna lose him this time. It'scritical that there are nomistakes.
PARKER(to the team)
Have the vehicles ready.
EXT. PAWN SHOP / STORE FRONT - DAY
Bay steps outside, everyone looking suspicious to him now.
There are steady streams of unknown people in alldirections. Decision time. Bay begins walking to his left,steps to the curb and hails a cab. Then --
MOBILE ONE (OS)Mr. Barnhart?
Bay turns to him. Mobile one stands there, holding open thebackseat passenger door. He slips out his credentials.
MOBILE ONEGet in the car. Please.
Bay freezes. Mobile one inches closer to him. Both men onedge.
36.
MOBILE ONEThere's no need to make thisharder on yourself. We'll explaineverything once you get in thecar.
Bay knows exactly what that means.
MOBILE ONEWe'd like to not have to usecuffs.
Another black car PULLS UP FAST from behind, leaving Bayboxed in.
Mobile one steps forward, he reaches for his gun and --
Bay goes on the offensive. SMACK! Nerves and harnessedstrength drop Mobile one to the pavement in a collectiveheap -- no movement.
The AGENTS in the black car can barely open their doorsbefore Bay is sitting in Mobile ones driver's seat -- startsthe engine -- PEELS away -- careening down the street.Agents in pursuit.
INT. / EXT. NEW YORK CITY STREETS / CARS / FACES - DAY
Bay's driving down the busy street -- weaving wildly and --
A cop car COMES OUT OF NOWHERE -- joins the chase. Missingpedestrians by inches --
Bay driving, searches the side streets for a good turn off.
The BLACK CAR pulls up fast! Right on his bumper --
Bay makes a choice -- right turn -- bad move! A cop carsitting just ahead -- flanking him.
The BLACK CAR follows.
Bay FLOORS it -- head on -- just misses the cop car.
The BLACK CAR just behind -- clips the black and white --still going strong.
Bay turns again, wide left -- in and out of traffic.
JUST BEHIND HIM -- the BLACK CAR and three police cars areright on his ass.
37.
Bay -- white knuckle tight, screeching past slower cars.
The BLACK CAR is right there with him, closing the gap --
Bay tries to keep calm -- it's getting hairy now -- A TRUCK!He swerves to avoid it.
The BLACK CAR rallies behind -- there's no shaking it --
The bridge ahead -- TWO more cop cars running up behind.
A fork in the road -- left is the tunnel, right is thebridge and open air. STAY LEFT!
Bay, at the last minute JERKS the wheel -- total fake outcausing --
TWO cop cars to SMASH into the median, a third joins thechaos, CRASHING into the mess of metal -- not to mentionseveral other CARS having nothing to do with the chase --
The BLACK CAR makes it through -- the cops are out of therace...for now.
G.W. BRIDGE -- four lanes -- slower traffic.
BOTH cars squib past SUV's and Minivans -- Bay can't add tohis lead --
Bay checks the mirror -- unafraid, has he done this before?
The BLACK CAR roars after him, unrelenting -- gaining --
Minutes later -- both cars are neck and neck -- battling foreach inch of the upper hand.
Bay eyes a TANKER up ahead -- gotta get there --
The TANKER -- Bay reaches it's side, the BLACK CAR rightbehind --
Bay -- hard left! Cuts off the TANKER -- wheels lock --brakes fail --
The BLACK CAR attempts to turn -- no room -- the TANKER inthe way, splitting the two of them.
Bay falls back, seeing the TANKER swerve -- the BLACK CARfighting the angle --
Bay GUNS it! Right up on the BLACK CAR'S ass now -- payback--
38.
SLAM! SLAM! into the back -- bumpers hanging off both carsnow -- let's finish this.
The BLACK CAR hits the brakes -- rubber burning -- metalsparking --
Bay's front end RIGHT INTO IT -- pushing the BLACK CAR intotraffic, the force of the collision sends them into anuncontrolled frenzy --
The AGENTS frown -- a line of PILLARS ahead --
Bay sees it, hits the brakes and unlocks himself from theBLACK CAR -- free!
WHAM! the BLACK CAR is no match for steel and concrete. Ahorrific and direct impact --
Bay watches, but not for too long. He whips the wheel --pulling away from the scene and making his way into NewJersey.
INT. THE CORE - DAY
You can cut the tension with a knife. The feed cuts off. Noone moves. No one makes a sound. Stunned.
PARKERWhy did we lose the feed?
COM TECHAll mobile units arenon-responsive.
Bishop explodes --
BISHOPThat shouldn't happen!
RESEARCH TECHThere's a report of an accident onthe George Washington Bridge --
BISHOP-- our guys?
No answer.
39.
BISHOPThere's no excuse! The fuckingkarate kid is still out there, onthe move, and we're sitting herewith our dicks in our hands!
Embarrassment throughout.
BISHOP(calming down)
I'm gonna try to make some senseof this. When I get back, we'dbetter be in a much betterposition than we are right now.And I want the NYPD off our asses!This is our target, not theirs!
Bishop storms out, Parker watches him closely, not sure howto sort out the current mess.
INT. UNDERGROUND PATH TRAIN STATION/ RESTROOM - DAY
SUPER: HOBOKEN, NJ
Long lines. Delays. Cold faces and frustration. Bay fits inperfectly.
He knifes his way through the lines of awaiting passengers,sees the restroom and makes his way inside.
RESTROOM
Disgusting and unclean. Bay tosses the car keys in thetoilet, flushes. He walks to the sink and splashes somewater on his face, rubbing the back of his neck -- what thehell is going on?
TRAIN STATION
Bay reviews a New Jersey Transit map, carefully planning hisnext move. He can't stay in one place for very long.
CUT TO:
INT. UPSCALE BAR AND RESTAURANT - DAY
Olinsky sits at the bar, making love to his scotch. He isdown in the mouth, alone in more ways than one.
Bishop takes a seat next to him.
40.
BISHOPWhy the long face, Bill?
Olinsky never takes his eyes off his drink.
OLINSKYDo you know what the definition ofa traitor is?
BISHOPMore or less --
OLINSKY(lowers his voice)
-- someone who violates hisallegiance and betrays hiscountry.
BISHOPIs that what you think you are?
OLINSKYI can't tell anymore. I can't eventell if it was worth it.
BISHOPAs I remember, it put quite a bitof money in your Swiss bankaccount.
OLINSKYMoney means nothing if you can'tface yourself in the mirror eachmorning.
BISHOPAnd what about me?
OLINSKYYou? You don't seem to feelanything. I wouldn't expect you tounderstand.
BISHOP(snaps back)
I just refuse to feel remorse formy actions, Bill. And youshouldn't either. What's done isdone.
OLINSKY(looking at Bishop)
Why? Tell me. Because one day,when my time is up at the agency,
(MORE)
41.
OLINSKY (cont'd)I'll get shiny plaques and badgesof honor? Vacations in Thailand?An enormous pension? Is that whatwe do here? I thought we workedfor our country, not against it.
BISHOPYou had a way out.
OLINSKYMaybe I should have taken it?
Bishop leans in.
BISHOPWe knew things about Oswald amonth before the assassination.
(pauses)We join the CIA for the secrets.We're born wanting to knoweverything.
OLINSKYThere's a very fine line betweenknowing... and arranging.
BISHOP(smirks)
Keep your phone on.
Bishop leaves him there, alone and drowning.
EXT. LANDON'S HOUSE - HOURS LATER - DAY
SUPER: CAMDEN, NJ
A white, two-story colonial. Blue shutters. Sign on the doorthat reads "keep out."
Bay knocks several times. No answer.
LANDON (OS)(From Behind)
What are you doing here?
Bay spins around. LANDON (26) is a conspirator. A sexy oneat that, but in an intimidating, heart-breaking kind of way.She stands in the driveway, outwardly not exactly thrilledto see him.
42.
BAYHey.
LANDONHey yourself.
BAYI hope you don't mind me droppingin like this.
LANDON(sarcastically)
Why would I mind? It's perfectlynormal to stop by after nottalking for four years.
Bay meets her halfway.
BAYI didn't know where else to go. Ididn't know where I'd be safe.
LANDONSafe? What did you do?
Worry in his eyes.
BAYI might have done something verybad and I need your help.
LANDONI know I'm gonna regret this, butcome inside.
She leads him to the front door.
INT. LANDON'S HOUSE - DAY
More of a fallout bunker than a home: weapons lining thewalls, machine guns, hand guns, knives, piles of Kevlar,computers and television screens. Packaged food and radios.
LANDONMake yourself at home.
Bay soaks it in, stunned by the sheer number of illegalweapons around him.
Landon sits at her computer desk, staring at him.
43.
LANDONSomething wrong?
BAY(stutters)
No, not at all. I just --
LANDON-- feel out of place? It's notquite Princeton is it?
Bay corrects her.
BAYI was gonna say, that you haven'tchanged much.
LANDONSomeone has to be ready. With wayour elections have been turningout, the smart ones need to beprepared.
BAYThat's what I mean by you haven'tchanged.
LANDONNobody changes. Some people justtry running from who they are.
Awkward silence.
BAYCan you help me?
LANDONYou haven't told me what kind ofmess you're in yet.
BAYI think someone's after me.
LANDONThat's usually something you knowand not assume.
BAYI know they are.
LANDONWho?
44.
BAYI thought it was the cops, butit's not.
LANDONDid you do something wrong?
BAYI think it's the CIA.
The air is sucked right out the room.
LANDON(slowly)
You... think it's the CIA?
BAYYeah.
LANDONCan you tell me why?
BAYThat's the thing, I have no idea.I saw this guy following me at thepark and I just knew somethingwasn't right, so I just took offrunning.
LANDONDid he follow you?
BAYI was able to lose him in thepark.
LANDONHow did you get here?
BAYI tried to take out some cash topay for a cab, but none of my ATMcards worked. I had to pawn mywatch just to get some money --
LANDON-- and you're sure it's not thecops?
BAYI went to the police. If they wereafter me, they sure as hell didn'tshow it.
45.
LANDON(jokes)
So you assume it has to be the CIAthen? I mean, why not the FBI?
BAYI know it's CIA. They stopped me,and I wasn't thinking, and Iattacked one of the agents andtook his car.
LANDONThat's one way of dealing with it.
BAYI caused a huge wreck on theGeorge Washington and I don't evenknow why I'm running or if I evenshould be.
(pauses)I dunno why they're looking for meor what to do next. I'm hoping youcan help.
She stands up and walks over to him. She gets close. Thereis a long and painful history between them.
LANDONI can't say I'm that upset to seeyou again.
BAYLook, it's not that I don't care,but can we just put all thatbehind us for a while and figureout what I should do?
LANDONI heard about your father.
BAYYou did?
LANDONI read about it online.
(hesitates)I'm so sorry.
BAYDon't be. He was barely my fatheranyway.
46.
LANDONYou don't mean that.
BAYYes, I do.
She gazes into his eyes.
BAYSo, can you help me?
LANDONI'll do what I can. Why don't youclean up?
He nods and walks away, heading for the bathroom. She stopshim.
LANDONYou know, I stopped running fromwho I was a long time ago.
(low)I was kind of hoping you were hereto tell me the same thing.
His face remains stoic. No emotion. He closes the bathroomdoor behind him.
INT. BISHOP'S OFFICE - NIGHT
Bishop is under a pile of paperwork. The core -- quiet andsteadily putting out fires. Parker walks in, a bounce in hisstep, holding a file.
PARKERHow far back did we reach onBarnhart?
BISHOPWhich one?
PARKERBay.
BISHOPAs far back as humanly possibleand then a little further. Why?
PARKERThat's not correct sir.
He hands Bishop the file with a sense of self-righteousness.
47.
BISHOPWhat is this?
PARKERRead the cover page, sir.
He does, his eyes stunned at what he is reading.
BISHOPWhere did you get this?
PARKERWe looked in every direction withBay. We checked every file we had,every number or bar code we couldget our hands on...
BISHOPSo this --
PARKER-- is the one place we forgot tolook, his medical records.
Bishop reads more of the file.
BISHOPAnd this procedure?
PARKERIt was done at Arlington Medicalwhen Bay was fifteen, and not onedoctor in the entire hospital waspresent during this mysterioussurgery.
BISHOPSo, who the hell performed theprocedure and what was exactly wasit?
PARKERThe only two people in the roomthat night were fifteen-yea-oldBay Barnhart and his father.
BISHOPHe operated on his son?
48.
PARKERThis all happened around the sametime he refused to finish theproject; when he hid the lastpiece of the puzzle from you.
BISHOPSo you think he put it --
PARKER-- exactly.
(lets it all out)Maybe, just maybe, Bay has had themissing link inside himself forthe last ten years of his life,and didn't even know it.
INT. LANDON'S LIVING ROOM - NIGHT
Bay, hovering above Landon and her computer screen, rubs theback of his neck.
The room spins as they attempt to pull together someanswers.
LANDONThis program allows me to accesscertain government databases, thatare otherwise classified --
BAY-- how did you get your hands onthis?
LANDONA friend of a friend.
She CLICKS, waits and information begins to fill the screen.She reads it over.
BAYHow do they know so much about me?
LANDON(reading)
They know everything abouteverybody. Most of the time,that's a good thing.
More CLICKS and more waiting -- more information floodingin.
49.
LANDONThey're definitely looking in yourdirection.
BAYHow can you tell?
LANDONIf it is the CIA, and it lookslike it is, they've frozen yourbank accounts, stocks,investments, all of it.
BAYThat would explain the bank --
LANDON-- they have files on every aspectof your life, background checks,NYPD, college transcripts, workhistory, you name it.
(she looks back at him)
What did you do?
BAYNothing. So what now? I can't usemy credit cards?
LANDONNot if you don't want them to findyou, and they probably still will.
BAYWhat do you mean?
LANDONI mean they're not calling yourhouse looking for you. This is thereal deal and they'll find you ifyou they want to. You're all overthe grid which means there'slittle you can do to get away.Forget about using credit cards, adriver's license, anyidentification at all. Youshouldn't even use your real name.
BAYDoes it say why they're after me?
50.
LANDONUnfortunately no. There's stillsome information that even I can'tget to.
BAYSo, what do we do?
LANDONIf it were me, I'd resist.Whatever those agents want, itcan't mean good news for you.
BAYWhat is that supposed to mean?
LANDONThat you have a lot to lose. Infact, you've lost a lot already.They are just coming for the rest.
Bay sits on the sofa, lost in thoughts. Confused.
She sits next to him.
LANDONLook, you probably don't want totalk about this, but could thishave anything to do with yourfather?
BAYHow do you mean?
LANDONHe was just murdered and nowyou're getting all this attention.Do you think there might be aconnection?
BAYEven if there is, I haven't spokento my father in years. I couldn'ttell them anything about him.
LANDONWhat about his work for thegovernment?
BAYExactly my point. I had no cluewho he worked for. He left forwork before I was up and came homeafter I was in bed. He was a
(MORE)
51.
BAY (cont'd)ghost.
LANDONYou know that, but maybe theydon't.
BAYWhat are you getting at?
LANDONObviously I've kept up with yourfamily more than you have.
CUT TO:
INT. THE CORE - NIGHT
The room is BUZZING. Everyone fixated on some new technologybeing performed on screen one --
A picture of Bay captured by Mobile one, full body -- headon --
PARKERThe guys downstairs cooked up aninfer-red scanning technology thatcan detect and locate metallicobjects...
(clicks)Here's Bay earlier in the park.We'll start with the front half ofhis body.
BISHOPHow accurate is this?
PARKERIt was used to find the shoe bombsjust after 9-11.
BISHOP(convinced)
Run it.
Parker gives the "go-ahead" to the Intel Tech --
He types in some code -- Bishop close behind, pacing.
The photo is scanned -- negative results.
52.
INTEL TECHNothing sir.
BISHOPUse the other photo.
A picture of Bay running away from Mobile one --
PARKERHere's the second shot.
The Intel Tech types -- the photo is scanned and BEEPS --
INTEL TECHWe have a possible find.
BISHOPWhere?
Searching, zooming in to reveal -- a computer chip.
INTEL TECHForeign object located in thecervical vertebrea. It's not metaleither.
Bishop looks to Parker. BINGO! The room rejoices.
BISHOPThat's it. That's what we'reafter.
PARKERSo how do we get to it?
BISHOP(forceful)
Bay Barnhart is now a matter ofnational security, level four. Wecan and will use everything wehave in our arsenal to find himand bring him in, one way oranother.
INT. LIVING ROOM- THAT MOMENT - NIGHT
Landon's computer program begins to PING repeatedly. Thesound grabs their attention.
BAYWhat does that mean?
53.
She walks to the screen --
LANDONI left your file open in caseanything were to change.
She reads the new data --
BAYHas it?
LANDONYou could say that.
BAYWhat is it?
LANDONYou've just been flagged anational security risk. Anyone andeveryone with a badge is gonna belooking for you.
INT. THE CORE - NIGHT
The hunt is on. Outgoing calls, emails, advisories to lawenforcement and official memos.
Olinsky enters the room, determined and gunning for Bishop.They meet in the center of the room.
OLINSKYWhat the hell is going on? Why didyou just issue a level fourthreat?
BISHOPWe found it.
OLINSKYFound what?
BISHOPBarnhart's missing piece. Thechip.
OLINSKYWhere?
BISHOPInside Bay Barnhart, surgicallyplaced near his vertebrea.
54.
OLINSKYBy whom?
BISHOPWho else? By our boy scoutscientist himself, Henry
OLINSKYAre you positive?
BISHOPI'm not paid to be wrong.
OLINSKY(forcefully)
Shouldn't we discuss this beforewe send every available agent on awild goose chase!
BISHOP(angry)
There is nothing to discuss! Wefind him, we bring him in, we getthat thing out of him and we'redone with it. No discussionnecessary!
Olinsky fires right back --
OLINSKYThis run and gun crap doesn't workanymore, John! We have ways ofgetting things done --
BISHOP-- I don't give a shit about yourways of getting things done. I'mnot taking anymore risks with thiskid. Now you either get on boardwith my investigation or you getthe hell out of my room.
Intense stare between them. The room is silent.Anticipation.
OLINSKY(low)
Fine. You do this your way.
BISHOPI intend to.
55.
OLINSKYEven if you have the chip, do youreally think anyone besides Henryis going to know how to use it?It's pointless. The man was agenius and he was planning onhaving the last laugh all along!
BISHOPI'll let you know when I have it,until then...
(pauses)Stay out of my way.
Olinsky stampedes out of the core. Parker left in a state ofconfusion. Bishop is relentless.
INT. BISHOP'S OFFICE - NIGHT
Bishop slips into his office, locks the door behind him andgrabs his cell phone. He dials, waits --
INT. DANCE CLUB -- THAT MOMENT - NIGHT
Cheesy music. Gorgeous women. Booze. Drugs. A party.
Ginadi sits on a red leather couch, his Mafiosos nearby.Shameless women dancing for his pleasure. He tosses money atthem like animals, his cell phone RINGS --
GINADI(into phone/ in Russian)
Hello.
INTERCUT- PHONE CONVERSATION
BISHOP(into phone)
I've found what we've beenmissing.
GINADI(into phone/ broken English)
Is that right?
56.
BISHOP(into phone)
Yes. I'll have it shortly and Iwill personally make sure youreceive it.
GINADI(into phone)
How long?
BISHOP(into phone)
As soon as I get my hands on it.
GINADI(into phone)
I will be waiting.
BISHOP(into phone)
Very well --
GINADI(into phone)
-- I will admit, having to waitthis long makes me..uneasy. Youhave not been asked to wait as Ihave.
BISHOP(into phone)
I am working as hard as I can.We've never bartered with thingsof this magnitude prior to this.
(stern)Now, I can understand yourfrustration, but if you ever pulla stupid move like talking to thepapers again, I'll be sure thenext one works. And that it goesoff in front of your family.
Bishop hangs up.
BACK TO:
INT. BISHOP'S OFFICE - NIGHT
A knock on the door. Bishop hides his phone.
BISHOPYeah come in.
57.
Parker sheepishly enters. Inquiring eyes.
PARKERI'm sorry to bother you, sir --
BISHOP-- what's so important?
PARKERIt's just that, there's somethingthat I can't stop thinking about.It may not mean anything but Ithink it's worth a shot.
BISHOPSpit it out, son.
PARKERWell, Barnhart was asked to buildthe bomb and for whatever reasonleft it incomplete. Then he hidthe missing piece with his son forall these years so that no onewould find it, thus rendering thebomb useless. Then, the Russianscome into play, steal it, test itand discover it doesn't work --
BISHOP-- what's your point?
PARKERIf you had something thatpowerful, wouldn't you want themissing piece? Wouldn't you goafter it? As far as we know thereisn't anyone looking for it butus.
BISHOPWhat the hell are you getting at,Parker?
PARKER(accusing)
It doesn't add up. It's almostlike they bought a broken toasterand now they're patiently waitingfor replacement parts. Except itwasn't a toaster... was it, sir?
Brief silence.
58.
One accusation too many. Bishop leans back in his chair andlevels with him.
BISHOPWhat do you want?
PARKERAnswers.
BISHOPOut of your career, what do youwant?
PARKERSuccess, I suppose.
BISHOPI'll tell you what you reallywant. You want my desk.
PARKERI'm sorry sir, maybe you'vemisunderstood --
BISHOP-- all my years here have taughtme one thing. One thing above allothers.
(pauses)That this world we live in isdirty and dangerous. There arethings that the average Americanjust should not know, things theydon't need to know.
Parker is interested, but puzzled.
BISHOPBarnhart never finished the bombbecause someone thought it mightbe helpful to tell him the purposeof our project. It turned out notto be very helpful at all. Wenever intended to to use the bombor give it away...
(breathes deep)It was going to be sold.
Parker's face turns pale --
BISHOP(more)
Olinsky and I were in charge ofmaking sure the Russians received
(MORE)
59.
BISHOP (cont'd)a completed weapon, but since wecouldn't find the chip, we sold itto them anyway, without it.
PARKER(shocked)
You sold a nuclear weapon to a mobboss?
BISHOPIt made a lot of us very rich. Weknew it would come back to biteus, but we figured we'd have thechip by then. Unfortunately, itdidn't work out quite as planned.
PARKERWhy the Russians?
BISHOPWe're in business with everybody.It's like a virtual black market,secrets for protection, cash fallsin every direction.
PARKERSo who killed Henry?
BISHOPSomeone close to our situation.
PARKERSoa re we looking for the chip sothat they don't get it or are welooking for it so that we can handit over to them?
BISHOPWe're Americans. We always deliveron our promises.
Parker, in total shock and denial, turns for the door.
BISHOPI'm confident that you'll keepwhat I've just told you inside ofour circle.
PARKER(disgust)
For your sake, let's hope so.
60.
BISHOPNo matter what you're feeling, wedid this for a reason. We did itto make our country safer.
PARKER(unbelieving)
Is that what you call it... sir?
Parker exits. Bishop reaches for his cell phone a secondtime.
INT. LANDON'S GARAGE - DAY
Creepy. More guns and ammunition. A vintage Shelby in thecenter. Bay is inspecting the contraband.
LANDONPop the trunk for me?
BAY(sarcastically)
So I take it all of this is legal?I mean you do have permits right?
LANDON(smiles)
Sure. I just can't remember whereI put them all at the moment.
The trunk is filled with garbage bags chock full of cash.
BAYWhat's all this?
LANDONThat? My paycheck.
She begins stuffing a duffel bag with stacks of twenties.
BAYWhat are you really doing with allthis? Honestly.
LANDONI'm keeping my eye on the ball.
BAYA girl like you shouldn't be stockpiling guns and filling trunkswith bags of cash.
61.
LANDONYeah? Then what should girls likeme be doing?
BAYI dunno, settling down.
LANDONSettling down? What's that allabout? Barbecues and baseballgames? no thanks.
She finishes stuffing, then swiftly loads up a few handguns.
BAYIs that little trick popular withthe guys?
LANDONIt worked on you, didin't it?
BAYWhat can I say, I guess I'm asucker for girls with guns huh?
LANDONThen why are you still running?
He quickly changes the subject --
BAYYou know, if I turn myself inafter everything I've done,they'll lock me up for the rest ofmy life --
LANDONThen run, you should be used to itby now.
BAYOkay, what the hell are youtalking about?
LANDONI'm talking about the fact thatyou're so comfortable with yourlife of running from the peopleyou used to care about. Yourfather, me, everyone.
62.
BAYI'm here with you now aren't I?
LANDON(aggravated)
Only because you had nowhere elseto go. You didn't come here toapologize for leaving me the wayyou did. You came here for myhelp, which I'm gonna give youbecause, even after all this time,I'm too stupid or just toostubborn to see how full of shityou really are --
Bay takes her and kisses her on the lips. Deep. Passionate.
She pulls back, caught of guard.
LANDONWhat was that? Obligation?
BAYAn apology.
Awkward glance. Still very close to each other.
LANDONThey'll eventually figure outwhere you are. We should leave inthe morning.
INT. PARKER'S HOME - DAY
The apartment is immaculate. Nothing out of place.Everything expensive and cataloged.
Parker, sits on the the edge of his bed, fresh out of theshower. Holding expensive Vodka, drinking straight from thebottle. Remorse.
A KNOCK on the door.
FRONT DOOR
Parker in his towel, glistening. KNOCK -- KNOCK.
PARKERWho is it?
No answer -- KNOCK --
63.
PARKERI said, who is it?
Not thinking straight -- buzzed -- opens the door then --
MOLEYou Parker?
PARKERWho are you?
SNAPPH! A small caliber shot to the chest -- Parker fallsback onto the foyer floor -- the Mole follows him in --shuts the door behind him. Finishes him off --
SNAPPH! -- SNAPPH! -- Parker is dead.
The Mole's gloved hands unscrew his silencer and place theweapon in his belt. He gets down to business --
Grabs Parker's briefcase -- dumps it into the fireplace--paperwork -- Parker's wallet -- badges -- laptop -- all ofit.
He finds some matches -- ignites -- watches it burn.
The front doorknob TURNS -- the Mole spins -- readies hisweapon and points it at the door.
A cute girl walks in -- innocent. Bundled up. She sees thebody and covers her mouth.
PARKER'S GIRLFRIEND(looking down)
Oh my God!
Then she sees the killer -- no time to act -- SNAPPH!SNAPPH!
INT. THE CORE - NIGHT
Bishop watches his team, minus Parker, busy at work. Thereis a calmness to the room. They talk to one another,exchanging information.
Bishop's phone vibrates. An incoming message --
THE SCREEN READS: DONE...AND MORE.
He flips the phone closed -- satisfied, then --
64.
BISHOPWhere are we on the list?
RESEARCH TECHSir, this guy's been linked tohundreds of people. It's gonnatake some time to nail it down.
BISHOPHow much time?
RESEARCH TECHA few hours, possibly more.
BISHOPWe don't have hours. Look foranyone who might be a person he'dturn to at a time like this.Relatives, drinking buddies,girlfriends, anyone who might havethe resources to help him. Crossreference those names with ourdatabase twice if you have to.
INTEL TECHWhoever helping him, knows whatthey're doing. He hasn't shown upon our radar since the bank --
BISHOP-- he went to Princeton, he's noidiot. Where do we have him last?
INTEL TECHThe last known location was thebridge, headed into New Jersey.
BISHOPAnd who do we have looking for himthere?
COM TECHEveryone.
BISHOPOur own guys or law enforcement?
COM TECHBoth sir.
BISHOPI want more agents on this thancops. I don't trust the police andI sure as hell don't want them to
(MORE)
65.
BISHOP (cont'd)find him before we do.
Finally, something intelligible --
RESEARCH TECHLandon Berkley.
BISHOPWhat does that mean?
RESEARCH TECHLandon Berkley was Barnhart'sgirlfriend at Princeton, she wasexpelled for tapping into aprofessor's email account,arrested three times at threeseparate anti-government ralliesand currently under investigationfor the illegal fencing offirearms in Nevada.
BISHOPWhere is she now?
RESEARCH TECHHer last known residence isCamden, New Jersey, but the datacould be old. We don't have anyrecord of a bank account, driver'slicense, passport or anything withher name on it that could confirmher location --
BISHOP-- that's still the best person tostart with. Send a team whereveryou think she might still be, wemight get lucky and find Baythere.
The search continues -- phone calls and research.
BISHOPAgent Parker has been removed fromthe investigation, so allinformation comes directly to me.Nothing happens without myknowledge.
Gable peers in, just beyond the glass doors, a concernedlook on his face. Bishop's face lets us know that he's beenexpecting the visit.
66.
CUT TO:
EXT. COURTYARD - NIGHT
Light drizzle, almost a mist. Gable holds a photo --Landon's face -- smiling -- taken years ago.
Bishop looks out over the building -- leans up against therail--
BISHOPHer name is Landon Berkley. Wethink she might be hidingBarnhart, or at least helping himto some degree. She's tough. NoID, no taxes, no employmentrecords, nothing...
(back tracks)But you're here to ask me aboutParker aren't you?
GABLEThey found his body in hisapartment, along with hisgirlfriend.
BISHOPThings happen. That wasn't part ofthe arrangement but we did what wehad to do.
GABLEI'm assuming you know how touchythis sort of situation can be?
BISHOPI explored every possibility. Weknew that a time might come whencertain people got too close tothe fire.
GABLECan anything be traced back?
BISHOPNo.
GABLEGood. I wish all our problems werethat simple.
Curious.
67.
BISHOPAll our problems?
GABLEThe President is putting togetheran oversight committee as wespeak. He feels that under thecurrent circumstances, we needfresh faces looking in on ouroperations. I guess he didn't likethe explanation I gave himregarding our Russian friends.
BISHOPThey've formed these committeesbefore --
GABLE-- not like this. These are peoplefrom upstairs. They want secondopinions and when they get 'em,they're gonna want third andfourth opinions too.
BISHOPWhere are they gonna start?
GABLEBudgets, personnel, line item byline item.
BISHOPAny specific people?
GABLEThey have a list. They've alreadybegun peeling back the skin.
(pauses)Starting with Olinsky.
Bishop's face -- anyone but him!
BISHOPHe's not thinking clearly rightnow. He's a lose end as far as I'mconcerned.
GABLEI have reason to believe he'sgonna talk.
Bishop wants to explode, but centers himself.
68.
BISHOPWhy can't he see past his ownface?
GABLEI know you have someone you canuse... in these situations.
BISHOPAre you suggesting that we lookinto making this go away?
GABLENot we... you.
BISHOPI can look into it.
Gable places his hand on Bishop's shoulder.
GABLEYou know, the other day I waswalking to my car and I saw a manwho wasn't there. Then, today Ilooked in the same spot and hewasn't there a second time...which means he must be CIA.
Gable smirks.
BISHOPJust make sure the line items areclear.
INT. OLINSKY'S OFFICE - NIGHT
Olinsky tosses down a tall glass of Jameson. Sloshed.
The voice in his head :
OLINSKY (VO)"Do you know what the definitionof a traitor is? ... is that whatwe are?"
He closes the blinds -- places some files in his safe --locks it -- then grabs his briefcase and heads for the door.
CUT TO:
69.
EXT. PARKING GARAGE - NIGHT
Olinsky dolefully walks to his car -- the doors unlock andhe gets in.
Remembering his past :
OLINSKY (VO)"I joined this agency to helpAmericans, to protect and serve...this is not what I signed up for."
EXT. / INT. THE STREET/ FRONT SEAT - NIGHT
The rain falls heavier now. Windshield wipers on high. Theroads are pretty barren this time of night.
FRONT SEAT
Olinsky checks the rearview mirror -- someone keeps a fewcar lengths between them.
As he turns, the car behind follows. Olinsky keeps asuspicious eye on his tail.
OLINSKY (VO)"... I had a way out. Maybe Ishould have taken it."
EXT. DRIVEWAY- OLINKSY'S HOME - NIGHT
Olinsky gets out of his car -- standing there in the pouringrain, as if he's waiting on someone.
The other car pulls up behind him. The mole. He gets out andconfronts Olinsky. Cool and collected --
OLINSKY(through the rain)
So this is how he repays me? Bysending you?
MOLELet's walk out back.
EXT. BACKYARD -- MINUTES LATER - NIGHT
They stand in the rain -- lightening -- then THUNDER. Theperfect cover for gun shots.
70.
OLINSKYJust do it already.
MOLETurn. Get down on your knees.
OLINSKYIs that how he wanted it done?
Lightening crashes --
MOLE(pulls out a gun)
Turn.
Olinsky slowly turns.
OLINSKYI'd rather be dead than be calleda traitor. At least I would havepulled the trigger myself!
MOLEYour knees.
OLINSKYEven you, what you do, is a formof treason!
Thunder cracks --
Olinsky falls to his knees.
OLINSKYTell him that I didn't beg you. Iwant him to know we're not alllike him... I still have a soul --
The Mole points the gun at the side of Olinsky's head --waits for a loud RUMBLE -- then pulls the trigger. TheTHUNDER masks the sound of the GUNSHOT.
He cleans off the gun, places it in Olinsky's hand -- theperfect suicide.
INT. LANDON'S HOUSE- VARIOUS LOCATIONS - DAY
BEDROOM
The light is gorgeous in the morning -- pours in from thewindows.
71.
Bay sits on the edge of the bed, staring back at --
Landon, on her stomach, her bare back exposed, so perfect.Resting from whatever happened the night before andpeaceful.
FRONT PORCH
A team of THREE AGENTS move in, focusing on the front door,prying it open with ease. They take measure of theirsurroundings.
BEDROOM
She wakes up --
LANDON(smiles)
What are you looking at?
BAYI should have never left you theway that I did --
She is speechless -- sits up and puts her shirt on
LANDONYou always told me you didn't havea choice.
BAYThere's always another choice.
She changes the subject out of awkwardness.
LANDONI should get dressed.
BAYI'll wait downstairs.
STAIRCASE
Bay reaches the top step -- stops dead in his tracks --VOICES downstairs.
He listens -- can't make them out -- takes slow, cautioussteps down.
LIVING ROOM
The agents. In grey suits, wearing badges, toting guns andbad attitudes.
72.
AGENT #1Mr. Barnhart?
No answer. Bay at the bottom of the stairs.
AGENT #1I'll take your silence to meanthat we have your name correct.Have a seat, please.
BAYHow did you get in here?
AGENT #1I'll only ask once.
Bay makes his way to the sofa. Sits.
AGENT #1Does this house belong to a LandonBerkley?
BAYI dunno.
AGENT #1Don't play games with us. Yes orno.
BAYNo.
AGENT #1Are you positive? Because wealready know the answer.
Bay nods yes. Apprehensive.
AGENT #1(to the other agents)
Search the house, I'll get him inthe car. Let Bishop know we havehim and that we're bringing himin.
Agent #1 removes handcuffs then -- ALL HELL BREAKS LOSE!
Bay kicks the coffee table HARD and it slams into Agent #1'sknee caps --
Agent #1 falls back, in pain, holding his knees --
73.
AGENT #2 advances -- Bay drives his open palm into his neck-- no air, the body falls backward, gasping --
Agent #3 comes at him -- gun in hand -- not quick enough --Bay kicks the gun away, he's so fast, all that trainingpaying off -- grabs the agent's arm like a rope and jerks it-- it rips from the socket.
BAY(yells)
Landon!
Agent #3 wants seconds -- one arm, swinging and missing --Bay punches -- makes contact with his face -- blood poursout --
Agent #1 attempts to get up -- WHAM! -- Bay chops the gunloose, then the agent's face -- a fist full of pain --
BAYLandon hurry!
It all happens so fast -- PHFT! PHFT! PHFT! PHFT! --automatic weapons -- Landon firing on her way down the stepsas the agents scurry for cover --
LANDONThe garage!
Agent #2 on his feet -- fires back -- three shots, allmissing, shattering glass and drywall --
Landon grabs Bay and takes cover beyond the kitchen doorway-- a barrier -- she waits three seconds, breathes deep, then--
PHFT! PHFT! -- exchanging rounds with the injured agents.
Guns CLATTERING. Shots out of control. First the agents,then Landon. Round for round.
The Agents call in for backup --
AGENT #1(in pain, into radio)
I need backup now! I repeat, sendbackup immediately!
Landon and Bay make their way into the garage -- racing forthe car --
74.
The agents are slowed. Bleeding -- breathing with armshanging like string, trying to keep up.
GARAGE
They both get in, Bay's driving. Ignition -- in gear --reverse --
BANG! BANG! -- Agent #1 is still kicking. Landon fires back-- the bullet catches his arm, not killing him, but he'suseless --
LANDONGo! Go! Go!
DRIVEWAY
The car SLAMS right through the wooden garage door --spraying wood and glass everywhere. Bay begins histhree-point turn, his hands shaking.
INT. FRONT SEAT - DAY
They both glance back at the house, they'll never see itagain. Bay raving and intense --
BAYWhere am I going?
She hesitates --
LANDONAnywhere! Just drive!
He puts it in drive -- the tires SCREECH -- leaving marksbehind.
INT. THE CORE - DAY
Blank screens. No video feeds. Devastation. No one makes asound. They're either too afraid or too ashamed. Bishophangs his head.
INTEL TECHWe've temporarily lost them sir.
BISHOPTemporarily? Is that a joke?
75.
INTEL TECHI don't have contact with anyonefrom inside.
BISHOPI can see that.
COM TECHWait...I have one agent still up.He's in pursuit, sir.
BISHOPTell him to follow them, find outtheir location, relaying it backto us and then get the hell out ofthere.
INTEL TECHSir?
BISHOPI'm sending someone else in.
Silence. He grows impatient --
BISHOPI don't see anyone moving! Let'sgo! Get on it!
They work, anger --
INTEL TECHWe've now lost all video, sir.
BISHOPFor how long? This isunacceptable!
INTEL TECHAn hour, maybe more --
BISHOP(loud)
How the fuck does that happen!
He goes on a tear, tosses a chair across the room, slams afiling cabinet down, unplugs a monitor and thrusts itagainst the wall.
BISHOPEveryone out!
No one budges --
76.
BISHOPWhat are you deaf? Get out! All ofyou! Out! Now!
They make their way out, embarrassed and made a mockery of.He's still tossing things around the room -- headsets --keyboards.
BISHOPGo home, all of you!
He is alone in the core, out of ideas, his ego broken. Picksup a phone and dials --
BISHOP(into phone)
Get me Gable.(waits)
It's me, get me a flight to NewJersey.
GABLE (VO)It's done. Maybe it's time we sendsomeone else in.
BISHOP(into phone)
I'll let you know when I land.
Hangs up. He walks to his cell phone, flips it open anddials.
BISHOP(into phone)
I need to see you as soon aspossible.
INT. NEWARK AIRPORT, TERMINAL B - DAY
SUPER: NEWARK, NJ
Bishop sits near the giant window, drinking coffee, watchingthe passing faces.
The Mole sits behind him, never making eye contact, nevertalking directly to him, only over the shoulder --
BISHOPHow was your flight?
MOLEDelayed.
77.
BISHOPI take it everything went smoothlywith our old friend?
MOLEHe wanted me to tell you that hedidn't beg. That, unlike you, hestill had a soul.
BISHOPYeah? Is that what you think?
MOLEI'm not paid to think.
Bishop slides him an envelope.
BISHOPI'm keeping you busy these days.
He slides the Mole a file tagged "BAY BARNHART."
MOLEOne of your own again?
BISHOPNo, not this time. This one isspecial.
MOLE(reading the file)
Is this location accurate?
BAYThat's his last known location,yes. They seem to be on their wayout of the state.
MOLEWhat if the location changes?
BISHOPI'll send it to you. I have asingle agent following him in realtime.
MOLEI'll find him.
BISHOPBring him in however you can.
78.
MOLEAlive?
BISHOPDoesn't make a difference.
Bishop stands. The Mole stops him --
MOLESomeone once told me, if you killone man, they call you anassassin. If you kill a hundredmen, they call you a leader. Ifyou kill everyone, they call youGod.
(pauses)What would they call you?
BISHOPThey wouldn't know that I exist.
They go their separate ways.
INT. MOTEL LOBBY - NIGHT
SUPER: SOMEWHERE IN NEW JERSEY
Dingy. Depressing. The room is tinted yellowish orange.
Bay and Landon stagger inside, beaten and worn down. Sheclings to a duffel bag across her chest.
The CLERK, (35) creepy and irregular, stands up behind thecounter. He hasn't seen a customer in who knows how long.
CLERKCan I help you?
BAYWe need a room.
CLERKHow many beds?
BAYDoesn't matter.
The clerk passes them a form and room key.
LANDONHow much is the room?
79.
CLERKThirty-nine a night. How manynights you need it for?
BAYA few.
CLERKI take two nights charge as adeposit.
Bay watches Landon dig through her bag -- take out a stackof bills -- tosses them on the counter. The clerk's eyesexplode.
LANDONWill that help you to forget thepaperwork?
Without hesitation --
CLERKAbsolutely.
Bay takes the room key. They walk outside, leaving the clerkto gather his treasure.
EXT. MOTEL PARKING LOT - NIGHT
Bay and Landon rendezvous back at the car. They stand there,melancholy, in the pink light of the vacancy sign.
LANDONYou should wait here.
BAYWhere are you going?
LANDONI'm getting rid of this car andfinding us a new one.
BAYAt this time of night?
LANDON(grins)
My dad taught me how to hot wire,along with a few other things.
BAYI'll wait in the room --
80.
LANDON-- here.
Landon hands him a 9 mm.
BAYI don't even know how to use oneof these.
He hides it in his belt.
LANDONHopefully you won't have to.
She gets in the driver's seat.
BAYI'd understand if you didn't comeback.
She can't hide her emotions from him.
LANDONIf I'm running anywhere, it'sgonna be with you.
She pulls off, leaving Bay behind to fend for himself.
INT. MOTEL ROOM - NIGHT
Bay enters alone. Flips on the lights. The room is old --very old. Flowered bedding, antique lamps and worn downfurniture. Smutty. A sink in the rear.
EXT. MOTEL STAIRWELL - NIGHT
The Mole creeps up the stairs. He is mindful of hissurroundings. Calm. One track mind. He makes his way toBay's room.
He cell vibrates, he checks it --
It reads: BAY IS AT THE MOTEL.
INT. MOTEL ROOM - A MINUTE LATER - NIGHT
A shadow underneath the door, from outside.
81.
THE SINK
Bay rinses his face off several times.
THE DOOR
The knob gradually turns.
THE SINK
Bay dries his face off. Did you hear something?
THE ROOM
The Mole is inside. All black. Blending in with the shadows.
Bay drops his towel, turns quickly with --
The 9mm in hand!
The Mole, armed, points right back at him. Two guns. Oneoutcome. Who makes the first move --
BAYWho sent you?
MOLEPut the gun down.
BAYI'm not that easy.
Intense standoff.
MOLEDrop it.
BAYYou first.
The Mole, looking for an advantage, begins to tempt Bay intoa street brawl --
BAYWhat are you doing?
MOLEYou ever fire a gun before?
BAYSure.
82.
MOLEIt isn't easy to look a man in theeyes just before you kill him.
BAYStop talking --
MOLE-- it can haunt you, forever.
The Mole lowers his weapon -- tosses it on the bed behindhim.
MOLEI probably know more about youthan you could ever imagine --
He takes out his secondary gun and knife from his belt,tosses them back as well.
MOLE-- I know that you're not akiller.
BAY(pointing the gun)
You wanna bet on that?
The gun -- right in the Mole's face --
BAYYou were sent here to kill me. Bywho?
MOLENo one. By a man who doesn'texist.
BAYLiar!
MOLEThen kill me.
BAYIs it CIA? Did they send you afterme?
MOLEHow would I know?
Bay scanning the room -- the door and windows -- he'shesitating, then --
83.
SMACK! Out of nowhere -- the Mole on the attack, knockingthe gun lose -- it lands across the room, he throws a secondpunch that hits Bay HARD --
The Mole piles it on -- a knee to the face, backhanding himand dragging Bay along the floor -- Bay is outmatched.
The bell has rung, the brawl for it all, the Mole isstronger and quicker -- not letting Bay recover from thefirst round of beatings -- they grapple and fall.
Bay and the Mole -- they reach the gun at the same time--ten fingers on it, struggling until -- Bay lands an elbowknocking the gun lose again -- further from them.
Bay sprints to the adjoining room door -- busts through it,The Mole gathers his weapons -- then --
THE NEXT ROOM
The Mole all over him -- punching and nailing him twice --Bay blocking, then tackling him to the floor -- his turn --WHAM! WHAM! -- blood on his knuckles --
The Mole has -- the knife! They both stand and the MoleSWIPES through the air, missing by inches -- Bay grabs theice tray -- using it as a shield and blocking the swings -finding an opening to hit back -- SMACK! the Mole's headjerks --
Bay grabs his arm and pulls it -- clothesline to the neck --the Mole is down -- Bay sees his chance -- but wait! TheMole's got another gun -- Bay grabs the barrel, theystruggle with it.
BOOM! A wild shot -- goes through the window, glass shatters--
Bay lands an elbow -- takes a backhand, it's blow for blow!
Bay CHOPS the gun away, he's got the upper hand -- he stands-- the Mole follows suit, like dueling prize fighters,waiting for the next jab -- Bay kicks -- WHAM! Teeth fly --
The Mole comes at him, sloppy, and pins Bay against the wall-- leaving a cracked outline -- Bay pounding his fists intohis back --
Bay ends this -- shoves him off and spear tackles him --pins his knees on the Mole's shoulders -- his hands on histhroat -- the Mole fights it, but Bay -- chokes until thereis nothing left.
84.
Bay jumps off the body. Lifeless. Searches the Mole foranything that can be found. He finds a cell phone.
Landon enters from behind. Shock.
LANDONWhat the hell happened?
Bay breathes deep. Blood on his hands and face.
BAYWe have to leave, right now.
LANDONWho is he?
BAYNo one. We need to go.
INT. CIA INTELLIGENCE OFFICES - DAY
SUPER: NEW YORK CITY
Bishop sits at an unfamiliar desk. The office is cold. Hiscell phone at his ear.
BISHOP(into phone)
I understand your frustration, butI assure you that things will bepatched up quickly.
GINADI (VO)I don't think I can wait muchlonger.
BISHOP(into phone)
A few days. You'll have the chipand a working weapon. Are weclear?
GINADI (VO)Two days.
BISHOP(into phone)
I'll be in touch --
GINADI (VO)So will I.
85.
Bishop hangs up the phone. Angry.
Before he can put it down -- RING! RING! -- he answers itagain --
BISHOP(into phone)
John Bishop.
EXT. SOMEWHERE IN NEW JERSEY - JUST THEN - DAY
Bay leans up against Landon's stolen Jetta. The phone at hisear - he says nothing.
INTERCUT: PHONE CONVERSATION
BISHOP(into phone)
Hello?
Bay just listens. Then --
BAY(slow)
Hello.
BISHOP(concern)
Who is this?
BAYNot someone you were expecting.
BISHOPThen who the hell is this?
BAYRight now, I'm calling you from adead guy's phone. That should helpyou out a bit.
BISHOP(realizes)
Bay? Is that you?
BAYWhat do you want from me?
BISHOPI'm agent John Bishop, CIA. I needto speak with you son.
86.
BAYYou need to speak with me or youneed to kill me? Isn't that whatyour hitman was trying to do --
BISHOP-- now I don't know anything aboutthat, but I hope we can set up ameet so that we can discuss some--
BAY-- I'm not setting up shit withyou.
BISHOPThat's discouraging. I have someinformation that you might beinterested in.
BAYInformation?
BISHOPYes, about you and your father.Why don't you set a time and placeand we'll discuss it face to face?
BAYKeep it handy, I'll be seeing youreal soon.
Bay hangs up.
INT. BISHOP'S OFFICE / NYC - DAY
He hangs up as well. Overwhelmed at how quickly everythingis coming unraveled. He grabs his coat and heads for thedoor.
EXT. NYC STREET - DAY
Bishop scampers down the crowded sidewalks, uneasy andalone. For the first time, he seems vulnerable. Almosthuman.
INT. HOTEL ROOM- LATER - DAY
Bishop enters the swanky hotel suite. Immaculate. Trendy.
87.
He makes his way to desk near the window, his laptop there,he logs into his machine when --
From behind, Bay is standing in the bathroom doorway. Armscrossed. Steady.
Bishop doesn't have to ask, he already knows. He sits in thechair -- natural -- faces Bay.
BISHOPHow did you get in here?
BAYDoes it really matter?
BISHOPHow did you find me?
BAYI have my people too.
They stare at one another -- disbelief.
BISHOPSo what do you want?
BAYI want to know what this is allabout. All of it.
BISHOPAnd you think I can just give youthat kind of information, justlike that?
Bay is unwavering.
BAYYeah.
BISHOPYou're out of your mind son. Youhave no idea what you've gottenyourself into.
BAYThis is gonna end, in this room,one way or another. You can counton that.
BISHOPFine. Have it your way. What doyou wanna know?
88.
BAYWhy are you after me?
BISHOPBecause of your father.
BAYMy father?
BISHOPYou don't know much about him, doyou? The kind of man he was? Hiswork?
BAYStart at the beginning.
BISHOPThe beginning? Okay. He was agenius. Hands down, the smartestman any of us ever came intocontact with. We hired him tobuild a bomb, Barnhart's bomb. Itwas his special project and henever complained or askedquestions. Until, he found outthat it was going to be sold tosome Russian mob figures we'd beenworking with. Then, he decided towork against us and not with us.
BAYWho sold it?
BISHOPI did. Along with some colleaguesof mine. Who, at the time, were onboard with our little operation.
BAYAt the time?
BISHOPYour father left an intricatepiece of the weapon hidden fromus. He vowed never to tell uswhere it was and we sold the bombknowing that it would neverfunction properly.
BAYWho knew about this? That you solda bomb?
89.
BISHOPThe cover was that the bomb wasstolen and that we were lookingfor the chip so that the Russianswouldn't be able to find it first.
BAYWere they even looking?
BISHOPNo.
BAYSo then why look for it?
BISHOPThat's how wars get started. Bynot making good on your promises.
BAY(disgust)
So you were getting rich byselling weapons to our enemies?
BISHOPOh grow up son. Do you think theAmerican people are kept safe atnight by the police and alarmsystems? It takes discussions. Ittakes dealings with men thataren't always wearing our colors.It's been that way a thousandyears. Neighborhood watches don'tcut it in this game.
BAYSo the bomb didn't work and theRussians did what? Returned it?
BISHOPThey gave us an ultimatum. Sendthem the missing chip or they'dshare some of our dirty littlesecrets with the press.
BAYSo why didn't you ask my fatherfor the missing piece? Why didn'tyou tell him the truth?
BISHOPWe did ask. And when he refusedenough times --
90.
BAY-- you killed him.
BISHOPYou think he was the only loss? Hewasn't. I lost colleagues andfriends for this cause --
BAY-- like the guy in the hotel room?You lost him too right?
BISHOP(angry)
I did what I had to do to protectmy country. If that means makingsomeone expandable, then so be it.American, Russian, it doesn'tmatter.
BAYSo what do you need with me?
BISHOPDo you remember the operation?
BAYWhat operation?
BISHOPYour neck. The way it's alwaysgiven you trouble. The frequentvisits to the doctor.
BAYWhat operation --
BISHOP-- you were fifteen. Your fatherimplanted the missing chip in theback of your neck. It explains theconstant neck pain and the reasonwe've never been able to find it.You've been carrying it all theseyears --
BAY-- bullshit!
BISHOPYou really don't remember do you?
91.
BAYIf that's true, where's the scar?
BISHOPIt happened. Just as I said. Yourfather figured out a way to get itin you without you or anyone elseknowing.
Bay mulls it over.
BAYEven is that's true, you're sureas hell not cutting me open.
BISHOPAre you sure about that? I stillhave two days to get them thatchip son.
BAYI'll run.
BISHOPYou run, and I'll give you two ofthe longest days of your life.
BAYYou're not untouchable. No one is.
BISHOPIs that right? You think you canwaltz into Langley with yourcredentials and your sob story andthey're gonna give a shit? Dreamon. It's your word against mineand I know how to manipulate thesystem in ways you can't evenimagine.
BAYI've got a better idea --
BISHOP-- yeah? What's that?
Landon appears behind Bay. Holding a tape recorder. GOT YA!She CLICKS the stop button.
BAYWe'll get inside Langley...and letyou do the talking.
92.
Bishop's face is white. Paralyzed. Petrified.
Bay and Landon step to the door.
BISHOPThis will never end...
BAYIt just did.
Bishop buries his head in his hands.
INT. FRONT SEAT - MINUTES LATER - DAY
Bay and Landon settle in. She starts the car.
LANDONSo, where to?
BAY(satisfied)
Just drive, and wherever we stop--
LANDON-- what about the tape?
BAYWe'll hand deliver it.
LANDONWhen?
Bay sends her a bright smile -- runs his fingers down theside of her face --
BAYSoon. But right now lets get outof here.
LANDONYou got it.
She pulls out of her spot --
BAY (OS)(jokes)
Didn't anyone ever tell you stayaway from guys like me? We'renothing but trouble.
93.
LANDON (OS)Like I would have listened.
EXT. SCRAP YARD - DAY
SUPER: MOSCOW
They begin to drop like flys. The Russians first --
Ginadi and his mafioso's talk MOS. Bags of cash. Weaponsnearby. Heaps of metal. Car parts.
NEWS REPORTER (VO)" An oversight committee formed bythe President was put into placethis week to investigate reportsthat a section chief and severalCIA members were in privatediscussions with Russian mafiamembers for the last fifteenyears..."
Cars PULL up fast -- agents step out -- surround Ginadi andhis men -- guns blazing -- hands in the air --
NEWS REPORTER (VO)(more)
"... Russian mob figure VladamirGinadi was arrested in Moscowtoday and is currently being heldfor questioning for hisinvolvement in the purchase ofweapons from CIA operatives..."
Ginadi is shoved into the back seat -- the door SLAMS behindhim -- his face full of sorrow.
EXT. BISHOP'S FRONT PORCH - DAY
Two UNKNOWN AGENTS lead Bishop out of his front door.Handcuffed. Embarrassed. Camera FLASHES. Television crews.
NEWS REPORTER (VO)(more)
" CIA Division Chief JohnathanBishop was also arrested for hispossible involvement in the saleof weapons to Russian mob figures.He is also suspected of organizingand ordering the murders of fellowagents ..."
94.
INSERT: Photo of William Olisnky --
NEWS REPORTER (VO)(more)
"William Olinsky..."
INSERT: Photo of Agent Parker --
NEWS REPORTER (VO)(more)
"... and Agent Paul Parker."
Bishop is led into a backseat like any other guilty criminalwould be.
INT. THE CORE - NIGHT
NEWS REPORTER (VO)"CIA officials refused to comment,but many individuals close to theproceedings speculate that arecorded conversation betweenAgent Bishop and a civilian wasdelivered to the oversightcommittee, linking this verydisturbing and troublesome storytogether..."
The technicians work. Normal. The only thing missing isBishop's oversight.
Suddenly, a flood of Agents force their way inside,shattering the glass door. Everything stops. It's a raid --
LEAD AGENT(to everyone)
Everyone stop what you are doingright now! I need statements,starting with your names and thejobs you performed while in thisroom.
(to the agents)Line them up, one by one. Geteverything in here sectioned off.
They get right into it -- seizing computers -- taking names.
INT. CIA HEADQUARTERS - DAY
95.
SUPER: VIRGINIA
LOBBY
Sterile. Reserved. Nothing exciting. People scattered.
We do not see her face, but a delivery woman; long blackhair, sunglasses and uniformed hat, approaches the frontdesk holding several packages. One is a small brown box.
At the desk -- she places the box down -- directs theOFFICER there --
DELIVERY WOMANThere's a delivery here that needsto be sent directly to an AgentStephen Gable. Can you take it tohim?
OFFICERSure. Sign here.
The delivery woman quickly signs off and struts to the frontdoor.
THE PACKAGE
We follow it. The officer takes it to security and it is putthrough the metal detector, it clears, and move to a seconddetection area where it clears yet again.
INT. GABLE'S OFFICE - DAY
Gable is business as usual. Steady. Papers to be reviewed.Files to be looked over. He is off in his own world.
His assistant brings in the brown package --
ASSISTANTSir, this just came for you.
GABLEWhat is it?
ASSISTANTI'm not sure sir. The label justhas a name on it.
GABLEWho's it from?
96.
ASSISTANTIt looks like it's from a Mr.Barnhart...
His eyes grow large, his face perks up with life.
GABLELeave it. Thank you.
She places it on his desk. He waits until she is gone --then tears into it --
Cardboard, bubble wrap, tissue paper and more padding, untilwe reach --
THE CHIP!
Gable looks it over in the sunlight -- amazingly made andbrilliant. There's a note too. He reads it to himself --
BAY (VO)"Right now, you're probably filledwith some sort of relief. Don'tbe. You're also thinking you'resafe, you're not. The chip isuseless, because this is only halfof it. I just wanted to let youknow that I'm still out here andI'll be watching..."
Gable tosses the package across the room. Disappointment. Heis left with nothing in the end. No hope.
EXT. PARKING LOT/ ACROSS THE STREET - DAY
The delivery woman is walking along the side walk. Sheremoves her sunglasses, her hat and lastly the wig -- it'sLANDON!
Up ahead, Bay leans up against a sleek little sports car. Ahuge smile on his face.
She reaches him, leans in and kisses him on the lips.
BAYYou think he got the message?
LANDONLoud and clear.
BAYLet's hope so.
97.
LANDONSo where to now?
BAYOh I dunno, somewhere tropical andwarm?
LANDONPerfect.
BAYYou know, I kind of liked theblack hair.
She kisses him again. We see the back of Bay's neck. A tinyscar --
An incision...
The End
