a few good men
Executive Summary
Poster
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Overview
Genres: Legal Drama, Thriller, Mystery, Drama, Legal, Military Drama, Military, Comedy, Courtroom Drama, Character Drama, Character Study, Romantic Comedy
Setting: Present day, Guantanamo Bay, Washington D.C., Georgetown.
Overview: A Few Good Men follows the trial of two Marines accused of murdering a fellow Marine in Guantanamo Bay. The story delves into the complexities of military justice, code red punishments, honor, and duty, as lawyers navigate ethical dilemmas and moral conflicts.
Themes: Military Justice, Code Red, Honor, Duty
Conflict and Stakes: The conflict between the prosecution and the defense over the guilt or innocence of the Marines charged with murder. The stakes are high for both sides, as the prosecution is seeking a conviction and the defense is fighting for the lives of their clients
Overall Mood: The overall mood of the screenplay is one of tension and suspense.
Mood/Tone at Key Scenes:
- Scene 14: The scene in which Kaffee and Galloway confront Colonel Jessep about the Code Red is particularly tense and suspenseful, as the audience is unsure of whether or not Jessep will tell the truth.
- Scene 18: The scene in which Kaffee cross-examines Colonel Jessep is another key scene, as it is here that Kaffee finally reveals the truth about what happened to Lance Corporal Santiago.
- Scene 24: The scene in which Dawson and Downey are found not guilty of murder is a moment of relief and triumph, but it is also bittersweet, as the audience is aware of the sacrifices that have been made.
Standout Features:
- Unique Hook: The screenplay is set in the unique and controversial setting of Guantanamo Bay, Cuba.
- Plot Twist: The revelation that Colonel Jessep ordered the Code Red that led to the death of Lance Corporal Santiago is a major plot twist that will keep audiences on the edge of their seats.
- Distinctive Setting: The screenplay is set in a variety of locations, including Guantanamo Bay, Washington D.C., and Georgetown. This gives the film a sense of scope and scale.
- Innovative Idea: The screenplay explores the timely and relevant theme of honor and duty in the military.
- Unique Characters: The screenplay features a cast of well-developed and complex characters.
- Genre Blend: The screenplay blends the genres of legal thriller, drama, and war film.
Comparable Scripts:
- A Few Good Men
- The Caine Mutiny
- The Deer Hunter
- Platoon
- The Hurt Locker
- Zero Dark Thirty
- The Post
- 12 Angry Men
- To Kill a Mockingbird
- The Shawshank Redemption
Writing Style:
The screenplay exhibits a predominant style characterized by sharp and engaging dialogue, complex character dynamics, and morally ambiguous scenarios. The writing effectively conveys tension and conflict through intense confrontations and thought-provoking dilemmas, leaving a lasting impact on the audience.
Style Similarities:
- Aaron Sorkin
- David Mamet
Pass/Consider/Recommend
Recommend
Explanation: The screenplay for 'A Few Good Men' is a well-crafted and compelling legal drama that delves into the complex world of military culture and the challenges of upholding justice. The narrative structure is strong, with a clear story arc, well-developed characters, and a compelling central conflict. The courtroom scenes are particularly well-written, with dynamic dialogue and effective character development. The screenplay explores themes of duty, honor, and the complexities of military culture in a thought-provoking and nuanced manner. While there are some areas that could be improved, such as the pacing of the early scenes and the exploration of the characters' emotional journeys, the overall strength of the screenplay makes it a strong candidate for consideration.
USP: This script offers a distinctive take on the military legal drama genre by exploring ethical dilemmas, moral complexities, and the clash between justice and loyalty. Through its realistic character dynamics, witty dialogue, and authentic portrayal of military proceedings, the script provides a fresh and captivating narrative that delves into the complexities of honor, duty, and integrity within the military. The script's unique voice shines in its exploration of these themes, adding depth and richness to the compelling and engaging story it presents.
Market Analysis
Budget Estimate:$30-40 million
Target Audience Demographics: Adults aged 25-54, fans of drama and legal thrillers
Marketability: The screenplay has a strong central conflict, well-developed characters, and a timely and relevant theme. It has the potential to appeal to a wide audience and generate buzz.
The screenplay has a strong cast of characters, a well-paced plot, and a unique setting. It has the potential to appeal to a wide audience, but it may not be as commercially successful as other legal thrillers.
The screenplay has a strong central conflict and a timely and relevant theme. However, the plot is somewhat predictable and the characters are not as well-developed as they could be. It has the potential to appeal to a niche audience, but it may not be as commercially successful as other legal thrillers.
Profit Potential: High, due to strong appeal to a wide adult audience and potential for award nominations.
Analysis Criteria Percentiles
What this means: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.
Writer's Voice
Summary:The writer's voice is characterized by sharp, witty dialogue, realistic character interactions, and a focus on moral dilemmas. The dialogue is fast-paced, engaging, and filled with tension, reflecting the complex dynamics between characters.
Best representation: Scene 1 - Jo's Request. This scene is the best representation because it showcases the writer's sharp dialogue, realistic character interactions, and focus on moral dilemmas. The fast-paced and engaging dialogue sets the tone for the screenplay, highlighting the tension and complexity of the relationships between the characters.
Memorable Lines:
- Jessep: You can't handle the truth! (Scene 44)
- Jessep: You're goddamn right I did. (Scene 45)
- Kaffee: You're dismissed. (Scene 5)
- Jessep: You gotta ask me nicely. (Scene 17)
- Kaffee: Fuck you, Harold. (Scene 18)
Characters
Lieutenant Daniel Kaffee:An idealistic young Navy lawyer who is assigned to defend two young Marines charged with murder.
Lieutenant Commander Joanne Galloway:A brilliant and ambitious Navy lawyer who is initially reluctant to work with Kaffee but eventually becomes a valuable ally.
Lance Corporal Harold W. Dawson:One of the Marines charged with murder. He is a intelligent and dedicated young man who is deeply affected by the death of his fellow Marine.
PFC Louden Downey:One of the Marines charged with murder. He is a young man from a poor family who is looking to make a better life for himself in the Marines.
Colonel Nathan R. Jessep:The commanding officer of the Marines charged with murder. He is a ruthless and ambitious man who is willing to do whatever it takes to protect himself and his career.
Lieutenant Sam Weinberg:A young and inexperienced Navy lawyer who is assigned to assist Kaffee with the defense of the Marines.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Internal Goal | External Goal | Conflict | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | ||||
| 1 - Arrival at Guantanamo Bay | Suspenseful, Intense, Professional | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | |
| 2 - Jo's Request | Serious, Tense, Professional | 8 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 3 - Softball Interrupted: Kaffee and Spradling Clash Over McDermott Case | Sarcastic, Light-hearted, Confrontational | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 8 | 8 | 7 | 7 | 7 | 5 | 9 | 9 | 8 | 8 | 8 | |
| 4 - Case Assignment | Serious, Studious, Sarcastic, Informative | 8 | 8 | 7 | 9 | 8 | 4 | 8 | 9 | 6 | 8 | 7 | 8 | 7 | 5 | 9 | 9 | 8 | 9 | 9 | |
| 5 - A Case in Guantanamo | Serious, Intense, Professional | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 6 - Santiago's Struggles in Guantanamo Bay | Serious, Intense, Emotional | 8 | 8 | 7 | 8 | 7 | 6 | 8 | 7 | 6 | 8 | 7 | 7 | 7 | 8 | 6 | 9 | 8 | 9 | 9 | |
| 7 - PFC Santiago's Fate | Serious, Authoritative, Intense | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 8 - Arrival at the Brig | Intense, Professional, Inquisitive | 8 | 7 | 8 | 9 | 9 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 7 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 9 - Confrontation on the Softball Field | null | 0 | 0 | 0 | 9 | 0 | 0 | 8 | 7 | 0 | 7 | 0 | 0 | 7 | 0 | 0 | 9 | 8 | 8 | 8 | |
| 10 - The Guantanamo Interrogation | Serious, Intense, Confrontational | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 7 | 9 | 9 | 8.5 | 8.5 | 8 | |
| 11 - Plea Deal Negotiations | Serious, Tense, Confrontational | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 7 | 8 | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 12 - Reconciliation and Suspicion | Sarcastic, Confrontational, Light-hearted | 8 | 7 | 7 | 8 | 9 | 5 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 5 | 9 | 9 | 8 | 8 | 8 | |
| 13 - Fatherhood and Plea Deals | Serious, Reflective, Contentious | 8 | 8 | 7 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 14 - Arrival at Guantanamo Bay | Serious, Tense, Authoritative | 8 | 8 | 7 | 9 | 7 | 5 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 6 | 6 | 9 | 8 | 8 | 8 | |
| 15 - Squad Interview | Serious, Tense, Sarcastic | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 16 - Santiago's Room | Serious, Tense, Sarcastic | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 7 | 8 | 8 | 8 | 7 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 17 - Confrontation at the Officers Club | Tense, Confrontational, Serious | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 9 | |
| 18 - Confronting the Truth | Intense, Serious, Confrontational | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 19 - Confrontation at the Gym | Intense, Confrontational, Suspenseful | 9 | 9 | 8 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
| 20 - Refusal of Plea Deal | Intense, Confrontational, Defiant | 9 | 8 | 9 | 8.5 | 9 | 8 | 8 | 7.5 | 9 | 9 | 9 | 9 | 8 | 9 | 10 | 9 | 8.5 | 8 | 8 | |
| 21 - The Weight of Justice | Somber, Reflective, Defiant | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 8 | 6 | 7 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 22 - Arraignment of Dawson and Downey | Serious, Intense, Intriguing | 8 | 8 | 8 | 9 | 7 | 8 | 9 | 8 | 8 | 8 | 9 | 9 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 23 - Preparing for the Defense | Serious, Tense, Investigative, Reflective | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 24 - Trial Preparation | Intense, Suspenseful, Dramatic, Sarcastic | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 25 - Late Night Preparation | Serious, Tense, Reflective | 8 | 7 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 8 | 9 | 9 | |
| 26 - Trial of Dawson and Downey Commences | Serious, Tense, Dramatic | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 9 | 9 | 9 | 9 | |
| 27 - Military Trial: Investigation into Illegal Weapon Discharge | Serious, Intense, Investigative | 8 | 8 | 9 | 9 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 28 - Santiago Poisoning Testimony | Intense, Serious, Confrontational, Emotional | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 29 - Awkward Encounter | Tense, Serious, Sarcastic | 8 | 7 | 7 | 8 | 8 | 4 | 8 | 6 | 3 | 7 | 2 | 4 | 7 | 5 | 9 | 8 | 8 | 9 | 9 | |
| 30 - The Code Red Revelation | Serious, Intense, Emotional, Confrontational | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 31 - Markinson's Revelation | Intense, Suspenseful, Confrontational | 9 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 10 | 9 | 9 | 8 | 10 | 9 | 9 | 8 | 8 | |
| 32 - Planning the Next Steps | Intense, Suspenseful, Determined, Inquisitive | 8 | 8 | 8 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 9 | 9 | 7 | 7 | 8 | 9 | 9 | 9 | 9 | |
| 33 - A Strategic Discussion | Intense, Confrontational, Serious | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7.5 | 9 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
| 34 - Cross-Examination of Lt. Kendrick | Intense, Confrontational, Dramatic | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 35 - Confrontation at the Motel | Intense, Suspenseful, Serious | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 36 - Amidst Trial Preparations, a Tragedy Unfolds | Intense, Suspenseful, Emotional | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 37 - Downey's Confession | Intense, Suspenseful, Dramatic | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8.5 | |
| 38 - Kaffee's Crisis | Serious, Reflective, Intense | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 39 - A Plan to Confront Jessep | "Defeated" | 8 | 8 | 7 | 9 | 9 | 0 | 8 | 9 | 6 | 8 | 0 | 0 | 8 | 7 | 8 | 9 | 9 | 9 | 9 | |
| 40 - Preparing for the Next Session | Tense, Serious, Emotional | 8 | 8 | 8 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 9 | 8 | 7 | 9 | 7 | 8 | 9 | 9 | 9 | |
| 41 - Colonel Jessep's Testimony | Intense, Suspenseful, Confrontational | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 42 - Santiago's Mysterious Plans | Intense, Confrontational, Dramatic | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 10 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
| 43 - Kaffee's Confrontation | Intense, Confrontational, Suspenseful | 9 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 10 | 9 | 8 | 8 | 10 | 9 | 8 | 8 | 8 | |
| 44 - The Confrontation | Intense, Confrontational, Dramatic | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 10 | 9 | 9 | 10 | 8 | 9 | 10 | 9 | 9 | 9 | 9 | |
| 45 - Confrontation in the Courtroom | Intense, Confrontational, Dramatic | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
| 46 - Bittersweet Verdict | Intense, Dramatic, Confrontational, Emotional | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 47 - A Date to Celebrate | Serious, Reflective, Light-hearted | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 7 | 4 | 5 | 3 | 7 | 6 | 6 | 8 | 9 | 8 | 9 | 9 | |
Scene 1 - Arrival at Guantanamo Bay
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
Written by
Aaron Sorkin
Revised Third Draft
July 15, 1991
FADE IN:
EXT. A SENTRY TOWER --
-- in the middle of the night, in the middle of nowhere.
Small beams of light coming from lamps attached to the tower
cut through the ground mist. We HEAR all the unidentifiable
sounds of night in the woods. We also HEAR, very, very
faintly, a slow, deliberate drum cadence. And as this
starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes
visible now:... the sandbags on the ground piled ten-high...
the steel, fire escape-type stairway wrapping around the
structure and leading to the lookout post, and finally...
THE LOOKOUT POST, maybe forty feet off the ground.
Standing the post is the silhouette of A MARINE. He's
holding a rifle and staring straight out.
The drum cadence has been building slightly.
CUT TO:
A WIDER SHOT OF THE FENCELINE. And we see by the moonlight
that the tall wire-mesh fence winds its way far, far into
the distance.
SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA.
The drum cadence continues, and we
CUT TO:
INT. A MARINE BARRACKS
We HEAR two pairs of footsteps and then
CUT TO:
THE BARRACKS CORRIDOR
where we see that the footsteps belong to DAWSON and DOWNEY,
two young marines who we'll get to know later. They stop
when they get to a certain door. The drum cadence is still
growing. DAWSON puts his hand on the doorknob and turns it
slowly. He opens's the door and they walk into
INT. SANTIAGO'S ROOM - NIGHT
WILLY SANTIAGO, a young, very slight marine, lies asleep in
his bunk.
2.
DAWSON kneels down by the bed, puts his hand on SANTIAGO'S
shoulder and shakes him gently. SANTIAGO opens his yes,
looks at DAWSON, and for a moment there's nothing wrong --
-- and then SANTIAGO's eyes fill with terror. He lunges out
of the bed -- but forget about it. In one flash DAWSON and
DOWNEY grab him out of bed, and before the scream can come
out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth.
Everything that happens next occurs with speed, precision
and professionalism.
-- A strip of duct tape is pulled, ripped, and slapped onto
his mouth and eyes --
-- A length of rope is wrapped around his hands and feet.
DOWNEY
(quietly)
You're lucky it's us, Willy.
-- An arm grabs him tightly around the neck, not choking
him, just holding his head still --
-- The drum cadence has built to a crescendo. We HEAR four
sharp blasts from a whistle and we
SMASH CUT TO:
EXT. THE WASHINGTON NAVY YARD - DAY
and the drum cadence we've been hearing has turned into
Semper Fidelis and it's coming from THE U.S. MARINE CORPS
BAND, a sight to behold in their red and gold uniforms and
polished silver and brass.
The BAND is performing on the huge and lush parade grounds
before a crowd made up mostly of TOURISTS and DAY-CAMPERS.
As the TITLES ROLL, we watch the BAND do their thing from
various angles. Incredible precision is the name of the
game. Each polished black shoe hitting the ground as if they
were all attached by a rod. Each drumstick raised to the
same fraction of a centimeter before striking. A RIFLE DRILL
TEAM that can't possibly be human. Flags, banners, the
works.
SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C.
CUT TO:
HIGH ANGLE of the entire band an we end credits.
CUT TO:
3.
EXT. A RED BRICK BUILDING - DAY
It's an important building, a main building. A few SAILORS
enter and exit and
CUT TO:
A WOMAN
as she walks across the courtyard toward the brick building.
The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early
She's bright, attractive, impulsive, and has a tendency to
speak quickly. If she had any friends, they'd call her JO.
As she walks, she mutters to herself ...
JO
I'm requesting... I'm... Captain,
I'd like to request that I be the
attorney assigned to rep -- I'd
like to request that it be myself
who is assigned to represent --
(she stops)
"That it be myself who is assigned
to represent"? ...Good, Jo, that's
confidence inspiring.
We follow JO, still muttering, as she walks into the brick
building which bears the seal of the
UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS
CUT TO:
Scene 2 - Jo's Request
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 8
As JO enters. CAPTAIN WEST and two other officers, GIBBS
and LAWRENCE, sit around a conference table.
GIBBS
Jo, come on in.
JO
Thank you, sir.
GIBBS
Captain West, this is Lt. Commander
Galloway. Jo, you know Mike
Lawrence.
JO
Yes sir.
(to WEST)
Captain, I appreciate your seeing
me on such short notice.
4.
WEST
I understand there was some trouble
over the weekend down in Cuba.
JO
Yes sir... This past Friday
evening. Two marines, Corporal
Harold Dawson and Private Louden
Downey, entered the barracks room
of a PFC William Santiago and
assaulted him. Santiago died at the
base hospital approximately an hour
later. The NIS agent who took their
statements maintains they were
trying to prevent Santiago from
naming them in a fenceline shooting
incident. They're scheduled to have
a hearing down in Cuba at 4:00 this
afternoon.
LAWRENCE
What's the problem?
JO
Dawson and Downey are both
recruiting poster marines and
Santiago was known to be a screw-
up. I was thinking that it sounded
an awful lot like a code red.
Jo lets this sink in a moment.
WEST
(under his breath)
Christ.
JO
I'd like them moved up to
Washington and assigned counsel.
Someone who can really look into
this. Someone who possesses not
only the legal skill, but a
familiarity with the inner workings
of the military. In short, Captain,
I'd like to suggest that... I be
the one who, that it be me who is
assigned to represent them.
(beat)
Myself.
Jo looks around the room for a response.
5.
WEST
Joanne, why don't you get yourself
a cup of coffee.
JO
Thank you, sir, I'm fine.
WEST
Joanne, I'd like you to leave the
room so we can talk about you
behind your back.
JO
Certainly, sir.
JO gets up and walks out.
WEST
I thought this Code Red shit wasn't
going on anymore.
LAWRENCE
With the marines at GITMO? Who the
hell knows what goes on down there.
WEST
Well lets find out before the rest
of the world does, this thing could
get messy. What about this woman?
LAWRENCE
Jo's been working a desk at
internal affairs for what, almost a
year now.
WEST
And before that?
GIBBS
She disposed of three cases in two
years.
WEST
Three cases in two years? Who was
she handling, the Rosenbergs?
GIBBS
She's not cut out for litigation.
LAWRENCE
She's a hall of an investigator,
Jerry --
6.
GIBBS
In Internal Affairs, sure. She can
crawl up a lawyer's ass with the
best of 'em, but when it comes to
trial work --
WEST
I know. All passion, no street
smarts. Bring her back in.
LAWRENCE goes to the door and motions for JO to come back
in.
WEST
(continuing)
Commander, we're gonna move the
defendants up here in the morning.
JO
Thank you, sir.
WEST
And I'll have Division assign them
counsel...
JO
(beat)
But... not me.
WEST
From what I understand from your
colleagues, you're much too
valuable in your present assignment
to be wasted on what I'm sure will
boil down to a five minute plea
bargain and a week's worth of paper
work.
JO
Sir --
WEST
Don't worry about it. I promise
you, division'll assign the right
man for the job.
CUT TO:
Scene 3 - Softball Interrupted: Kaffee and Spradling Clash Over McDermott Case
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 9
THE RIGHT MAN FOR THE JOB
His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE,
and it's almost impossible not to like him.
7.
At the moment he's hitting fungoes to about a dozen LAWYERS
who are spread out on the softball field on a corner of the
bass. The '27 Yankees they're not, but they could probably
hold their own against a group of, say, Airforce dentists.
KAFFEE's in his late 20's, 15 months out of Harvard Law
School, and a brilliant legal mind waiting for a courageous
spirit to drive it. He is, at this point in his life,
passionate about nothing... except maybe softball.
KAFFEE
(calling out to the team)
Alright, let's get two!
He smacks one to the SECOND BASE. The ball bounces right
between his legs.
SECOND BASE
Sorry!
KAFFEE
Nothing to be sorry about, Sherby.
Just look the ball into your glove.
He smacks one out to the same place. It bounces off the heel
of SHERBY's glove and into center field.
SECOND BASE (SHERBY)
Sorry!
KAFFEE
You gotta trust me, Sherby. You
keep your eyes open, your chances
of catching the ball increase by a
factor of ten.
SPRADLING, a young naval officer, sweaty and out of breath,
walks up behind the backstop.
SPRADLING
Kaffee!
KAFFEE
Let's try it again.
SPRADLING
Kaffee!!
KAFFEE
(turning)
Dave. You seem upset and
distraught.
8.
SPRADLING
We were supposed to meet in your
office 15 minutes ago to talk about
the McDermott case. You're stalling
on this thing. Now we got this done
and I mean now, or no kidding,
Kaffee, I'll hang your boy from a
fuckin' yardarm.
KAFFEE
A yardarm?
(calling out)
Sherby, does the Navy still hang
people from yardarms?
SHERBY
(calling back)
I don't think so, Danny.
KAFFEE
(back to SPRADLING)
Dave, Sherby doesn't think the Navy
hangs people from yardarms anymore.
(back to the field)
Let's go, let's get two!
He goes back to hitting fungoes.
SPRADLING
I'm gonna charge him with
possession and being under the
influence while on duty. Plead
guilty and I'll recommend 30 days
in the brig with loss of rank and
pay.
KAFFEE
It was oregano, Dave, it was ten
dollars worth of oregano.
SPRADLING
Yeah, well your client thought it
was marijuana.
KAFFEE
My client's a moron, that's not
against the law.
Swapp! The THIRD BASEMAN takes one in the face.
KAFFEE
(continuing)
Ow. That had to hurt.
(calling out)
9.
Way to keep your head in the play,
Lester. Walk it off!
SPRADLING
I've got people to answer to just
like you, I'm gonna charge him.
KAFFEE
With what, possession of a
condiment?
SPRADLING
Kaffee --
KAFFEE
Dave, I've tried to help you out of
this, but if you ask for tall time,
I'm gonna file a motion to dismiss.
SPRADLING
You won't got it.
KAFFEE
I will get it. And if the MTD is
denied, I'll file a motion in
liminee seeking to obtain
evidentiary ruling in advance, and
after that I'm gonna file against
pre-trial confinement, and you're
gonna spend an entire summer going
blind on paperwork because a
Signalman Second Class bought and
smoked a dime bag of oregano.
SPRADLING
B Misdemeanor, 20 days in the brig.
KAFFEE
C Misdemeanor, 15 days restricted
duty.
SPRADLING
I don't know why I'm agreeing to
this.
KAFFEE
'Cause you have wisdom beyond your
years. Dave, can you play third
base?
Scene 4 - Case Assignment
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
About 16 NAVY AND MARINE LAWYERS (several of whom are women)
are taking their seats around a large conference table.
10.
A PARALEGAL is handing out folders and some photocopied
papers to the LAWYERS.
We might notice that one of the lawyers is Lieutenant Junior
Grade SAM WEINBERG. Sam's serious and studious looking. If
he weren't in uniform, you wouldn't guess that he was a
naval officer.
CAPTAIN WHITAKER walks in.
WHITAKER
'Morning.
LAWYERS
(school class)
'Morning Captain Whitaker.
WHITAKER
Sam, how's the baby?
SAM
I think she's ready to say her
first word any day now.
WHITAKER
How can you tell?
SAM
She just looks like she has
something to say.
KAFFEE walks in.
KAFFEE
Excuse me, sorry I'm late.
WHITAKER
I'm sure you don't have a good
excuse, so I won't force you to
come up with a bad one.
KAFFEE
Thank you, Isaac, that's nice of
you.
WHITAKER
Sit-down, this first one's for you.
He hands KAFFEE some files.
11.
WHITAKER
(continuing)
You're moving up in the world,
Danny, you've been requested by
Division.
"Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note:
Kaffee doesn't want to move up in the world.)
KAFFEE
Requested to do what?
WHITAKER hands him a file.
WHITAKER
Guantanamo Bay, Cuba. A marine
corporal named Dawson illegally
fires a round from his weapon over
the fenceline and into Cuban
territory.
KAFFEE
What's a fenceline?
WHITAKER
Sam?
SAM
A big wall separating the good guys
from the bad guys.
KAFFEE
Teachers pet.
WHITAKER
PFC William Santiago threatens to
rat on Dawson to the Naval
investigative Service. Dawson and
another member of his squad, PFC
Louden Downey, they go into
Santiago's room, tie him up, and
stuff a rag down his throat. An
hour later, Santiago's dead.
Attending physician says the rag
was treated with some kind of
toxin.
KAFFEE
They poisoned the rag?
WHITAKER
Not according to them.
12.
KAFFEE
What do they say?
WHITAKER
Not much. They're being flown up
here tomorrow and on Thursday at
you'll catch a transport down to
Cuba for the day to find out what
you can. Meantime, go across the
yard and see Lt. Commander Joanne
Galloway. She's the one who had 'em
brought up here. She'll fill you in
on whatever she has. Any questions?
KAFFEE
The flight to Cuba, was that 0600
in the morning, sir?
WHITAKER
It seems important to Division that
this one be handled by the book, so
I'm assigning co-counsel. Any
volunteers?
SAM
No.
WHITAKER
Sam.
SAM
I have a stack of paper on my desk -
-
WHITAKER
Work with Kaffee on this.
SAM
Doing what? Kaffee'll finish this
up in four days.
WHITAKER
Do various... administrative... you
know... things. Back-up. Whatever.
SAM
In other words I have no
responsibilities whatsoever.
WHITAKER
Right.
13.
SAM
My kinda case.
CUT TO:
Scene 5 - A Case in Guantanamo
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
JO sits behind her desk. KAFFEE and SAM stand in the
doorway. KAFFEE knocks politely.
JO looks up.
KAFFEE
Hi.
(beat)
I'm Daniel Kaffee. I was told to
meet with --
(checks notes)
-- Commander Galloway.
JO is staring at him. KAFFEE doesn't know why.
KAFFEE
(continuing)
About a briefing.
JO is finding this hard to believe.
JO
You're the attorney that Division
assigned?
KAFFEE
I'm lead counsel. This is Sam
Weinberg.
SAM
I have no responsibilities here
whatsoever.
JO's deeply puzzled.
JO
(beat)
Come in, please, have a seat...
KAFFEE and SAM come into the office and sit.
JO
(continuing)
Lieutenant, how long have you been
in the Navy?
14.
KAFFEE
Going on nine months now.
JO
And how long have you been out of
law school?
KAFFEE
A little over a year.
JO
(beat)
I see.
KAFFEE
Have I done something wrong?
JO
No. It's just that when I
petitioned Division to have counsel
assigned, I was hoping I'd be taken
seriously.
KAFFEE and SAM exchange a look.
KAFFEE
(to JO)
No offense taken, if you were
wondering.
SAM
Commander, Lt. Kaffee's generally
considered the best litigator in
our office. He's successfully plea
bargained 44 cases in nine months.
KAFFEE
One more, and I got a set of steak
knives.
JO
Have you ever been in a courtroom?
KAFFEE
I once had my drivers license
suspended.
SAM
Danny --
15.
KAFFEE
Commander, from what I understand,
if this thing goes to court, they
won't need a lawyer, they'll need a
priest.
JO
No. They'll need a lawyer.
During this, she'll hand KAFFEE a series of files, which
KAFFEE will pass To SAM without even glancing at them.
JO
(continuing)
Dawson's family has been contacted.
Downey's closest living relative is
Ginny Miller, his aunt on his
mother's side, she hasn't been
Contacted yet.
None of this really means anything to KAFFEE.
JO
(continuing)
Would you like me to take care of
that?
KAFFEE
Sure, if you feel like it.
JO takes another beat to size this guy up.
JO
One of the people you'll be
speaking to down there is the
barracks C.O., Colonel Nathan
Jessep, I assume you've heard of
him.
KAFFEE
(beat)
Who hasn't?
SAM
(to KAFFEE)
He's been in the papers lately.
He's expected to be appointed
Director of Operations for the
National Security Counsel.
Passing KAFFEE another file --
16.
JO
These are letters that Santiago
wrote in his 8 months at GITMO --
SAM
(whispering to kaffee)
Guantanamo Bay.
KAFFEE
I know that one.
JO
He wrote to his recruiter, the
fleet commander, HQ, Atlantic, even
his senator. He wanted a transfer.
Nobody was listening. You with me?
KAFFEE
Yes.
JO
This last letter to the Naval
investigative Service --
She hands it to KAFFEE who hands it to Sam --
JO
(continuing)
-- where he offers information
about Corporal Dawson's fenceline
shooting in exchange for a
transfer, was just a last ditch
effort.
KAFFEE
Right. Is that all?
JO
(beat)
Lieutenant, this letter makes it
look like your client had a motive
to kill Santiago.
KAFFEE
Gotcha.
(beat)
And Santiago is... who?
JO
(beat)
The victim.
17.
KAFFEE
(to SAM)
Write that down.
(to JO)
Am I correct in assuming that these
letters don't paint a flattering
picture of marine corps life in
Guantanamo Bay?
JO
Yes, among other --
KAFFEE
And am I further right in assuming
that a protracted investigation of
this incident might cause some
embarrassment for the security
counsel guy.
JO
Colonel Jessep, yes, but --
KAFFEE
Twelve years.
JO
I'm sorry?
KAFFEE
Twelve years. I can get it knocked
down to Involuntary Manslaughter.
Twelve years.
JO
You haven't talked to a witness,
you haven't looked at a piece of
paper.
KAFFEE
Pretty impressive, huh?
JO
You're gonna have to go deeper than
just --
KAFFEE
Commander, do you have some sort of
jurisdiction here that I should
know about?
JO
My job is to make sure you do your
job.
18.
I'm special counsel for Internal
Affairs, so my jurisdiction's
pretty much in your face. Read the
letters. You're not under any
obligation, but I'd appreciate a
report when you get back from Cuba.
KAFFEE
Sure.
KAFFEE gets up without waiting for JO to say --
JO
You're dismissed.
KAFFEE
Sorry, I always forget that.
KAFFEE's gone. SAM's standing in the doorway.
SAM
He's a little preoccupied.
(beat)
The team's playing Bethesda Medical
next week.
JO
Tell your friend not to get cute
down there. The marines in
Guantanimo are fanatical.
SAM
About what?
And in VOICE OVER we HEAR --
SANTIAGO (V.O.)
Dear Sir,
JO
About being marines.
CUT TO:
Scene 6 - Santiago's Struggles in Guantanamo Bay
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 7
- Dialogue: 6
SERIES OF SHOTS - DAY
And while we HEAR the letter read in V.O., what we're seeing
is this: SANTIAGO's life in Guantanimo Bay over the last 8
months. He had a rough time of it.
THE SHOTS
SHOULD INCLUDE:
19.
-- SANTIAGO running along at the rear of a group of MARINES.
It's been over seven miles and he's matted with sweat. A
SERGEANT runs up along side, grabs his back, and pushes him
to keep up with the group. SANTIAGO falls, struggles to get
back up and keep running, and
CUT TO:
EXT. MARINE BARRACKS - DAY
-- SANTIAGO doing push-ups alone in the rain. He's being
supervised by a SERGEANT who sees to it that his face hits
the mud every time down and
CUT TO:
INT. MESS HALL - DAY
-- SANTIAGO sitting alone in the mess hall, not a friend
within four seats of him and
CUT TO:
EXT. MARINE BARRACKS - DAY
-- SANTIAGO being chewed out by a Lieutenant in front of his
squad and
CUT TO:
EXT. ROCKY HILL - DAY
-- SANTIAGO running with the squad of MARINES again, this
time down a rocky hill. It's hot as hell and it looks like
he's gonna pass out.
He stumbles, and the SERGEANT picks him up and pushes him
down the hill. He rolls about 30 feet before he stops. Over
this, we HEAR
SANTIAGO (V.O.)
"...My name is PFC William T.
Santiago. I am a marine stationed
at Marine Barracks, Rifle Security
Company Windward, Second Platoon
Delta. I am writing to inform you
of my problems with my unit here in
Cuba and to ask for your help. I've
fallen out on runs before for
several reasons such as feeling
dizzy or nauseated, but on May
18th, I'd fallen back about 20 or
30 yards going down a rocky,
unstable hill.
20.
My sergeant grabbed me and pushed
me down the hill. Then I saw all
black and the last thing I remember
is hitting the deck. I was brought
to the hospital where I was told I
just had heat exhaustion and was
explained to by the doctor that my
body has trouble with the hot sun
and I hyperventilate. I ask you to
help me. Please sir. I just need to
be transferred out of RSC.
Sincerely. PFC William T. Santiago.
U.S. Marine Corps."
At this point, with SANTIAGO's letter still in V.O., we
CUT TO:
Scene 7 - PFC Santiago's Fate
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 9
THE LETTER - DAY
It's the last paragraph of the letter we've been hearing,
and at the moment, we can't see the hands that are holding
it.
SANTIAGO (V.O.)
"P.S. In exchange for my transfer
off the base, I'm willing to
provide you with information about
an illegal fenceline shooting that
occurred the night of August 2nd."
And as these last words are spoken, we PULL BACK TO REVEAL
COLONEL NATHAN R. JESSEP, who drops the letter he's been
reading on his desk, where it joins a stack of other letters
just like it.
JESSEP's a born leader, considered in many circles to be one
of the real fair-haired boys of the Corps. He's smart as a
whip with a sense of humor to match. As soon as he drops the
letter, he says
JESSEP
Who the fuck is PFC William T.
Santiago.
He's talking to his two senior officers. CAPTAIN MARKINSON
is in his late 40's. He's a career marine and a nice guy in
a world where nice guys may not finish last, but they sure
as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is
from Georgia, and an Academy graduate.
21.
If you asked him he'd tell you that the gates to heaven are
guarded by the U.S. Marine Corps.
KENDRICK
Sir, Santiago is a member of Second
Platoon, Delta.
JESSEP
Yeah, well, apparently he's not
very happy down here at Shangri-La,
cause he's written letters to
everyone but Santa Claus asking for
a transfer. And now he's telling
tales about a fenceline shooting.
He tosses the letter over to MARKINSON. MARKINSON is looking
it over. JESSEP is waiting for a response.
JESSEP
(continuing)
Matthew?
MARKINSON
I'm appalled, sir.
JESSEP
You're appalled? This kid broke the
Chain of Command and he ratted on a
man of his unit, to say nothing of
the fact that he's a U.S. Marine
and it would appear that he can't
run from here to there without
collapsing from heat exhaustion.
What the fuck's going on over at
Windward, Matthew?
MARKINSON
Colonel, I think perhaps it would
be better to hold this discussion
in private.
KENDRICK
That won't be necessary, Colonel,
I'll handle the situation.
MARKINSON
The same way you handled the Curtis
Barnes incident? You're doing
something wrong, Lieutenant this --
KENDRICK
My methods of leadership are --
22.
MARKINSON
Don't interrupt me, I'm still your
superior officer.
JESSEP
And I'm yours, Matthew.
The room calms down for a moment.
JESSEP
(continuing)
I want to know what we're gonna do
about this.
MARKINSON
I think Santiago should be
transferred off the base. Right
away.
JESSEP
He's that bad, huh?
MARKINSON
Not only that, but word of this
letter's bound to get out. The
kid's gonna get his ass kicked.
JESSEP
Transfer Santiago. Yes I suppose
you're right. I suppose that's the
thing to do. Wait. Wait. I've got a
better idea. Let's transfer the
whole squad off the base. Let's --
on second thought -- Windward. The
whole Windward division, let's
transfer 'em off the base. Jon, go
on out there and get those boys
down off the fence, they're packing
their bags.
(calling out)
Tom!
The ORDERLY cones in from the outer office.
ORDERLY
Sir!
JESSEP
Got me the President on the phone,
we're surrendering our position in
Cuba.
ORDERLY
Yes sir!
23.
JESSEP
Wait a minute, Tom.
The ORDERLY stops.
JESSEP
(continuing)
Don't call the President just yet.
Maybe we should consider this for a
second. Maybe -- and I'm just spit
balling here -- but maybe we as
officers have a responsibility to
train Santiago. Maybe we as
officers have a responsibility to
this country to see that the men
and women charged with its security
are trained professionals. Yes. I'm
certain I once read that somewhere.
And now I'm thinking that your
suggestion of transferring
Santiago, while expeditious, and
certainly painless, might not be in
a manner of speaking, the American
way. Santiago stays where he is.
We're gonna train the lad. You're
in charge, Jon. Santiago doesn't
make 4.1 on his next fitness
report, I'm gonna blame you. Then
I'm gonna kill you.
KENDRICK
Yes sir.
MARKINSON
I think that's a mistake, Colonel.
JESSEP
Matthew, I believe I will have that
word in private with you now. Jon,
that's all. Why don't you and I
have lunch at the "O" club, we'll
talk about the training of young
William.
KENDRICK
Yes sir, I'd be delighted to hear
any suggestions you have.
JESSEP
Dismissed.
KENDRICK is gone.
24.
JESSEP
(continuing)
Matthew, sit, please.
MARKINSON sits.
JESSEP
(continuing)
What do you think of Kendrick?
MARKINSON
(beat)
I don't know that --
JESSEP
I think he's kind of a weasel,
myself. But he's an awfully good
officer, and in the end we see eye
to eye on the best way to run a
marine corps unit. We're in the
business of saving lives, Matthew.
That's a responsibility we have to
take pretty seriously. And I
believe that taking a marine who's
not yet up to the job and packing
him off to another assignment, puts
lives in danger.
MARKINSON starts to stand --
JESSEP
(continuing)
Matthew, siddown.
(beat)
We go back a while. We went to the
Academy together, we were
commissioned together, we did our
tours in Vietnam together. But I've
been promoted up through the chain
with greater speed and success than
you have. Now if that's a source of
tension or embarrassment for you,
well, I don't give a shit. We're in
the business of saving lives,
Captain Markinson. Don't ever
question my orders in front of
another officer.
JESSEP grabs his hat and walks out, leaving MARKINSON
sitting all alone, and we
CUT TO:
25.
Scene 8 - Arrival at the Brig
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 7
It's maybe a little hazier today than it was yesterday. An
M.P. is waving a procession of three Military Police sedans
and a fourth unmarked car through the gate. The cars drive
through and we
CUT TO:
EXT. THE BRIG - DAY
Another red-brick building. A few M.P.Is stand out front as
the cars pull up. As soon as they come to a stop, all the
doors swing open and various uniformed and non-uniformed
officers hop out and move to the unmarked sedan where they
escort DAWSON and DOWNEY, in handcuffs, out of the car.
HAROLD DAWSON's a handsome, young, black corporal. Intense,
controlled, and utterly professional.
LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's
happiest when someone is telling him exactly what to do.
DAWSON's his hero.
The two prisoners stand still for a moment. They might as
we'll be in Oz.
DOWNEY
Hal?
DAWSON doesn't say anything.
DOWNEY
(continuing)
Is this Washington, D.C.?
M.P.
Alright, let's move.
CUT TO:
Scene 9 - Confrontation on the Softball Field
- Overall: 0.0
- Concept: 0
- Plot: 0
- Characters: 0
- Dialogue: 0
and KAFFEE's at it again.
KAFFEE
Alright, let's get tough out there!
JO walks up from behind the backstop.
JO
Excuse me.
26.
KAFFEE
You want to suit up? We need all
the help we can get.
JO
No, thank you, I can't throw and
catch things.
KAFFEE
That's okay, neither can they.
JO
I wanted to talk to you about
Corporal Dawson and Private Downey.
KAFFEE
Say again?
JO
Dawson and Downey.
KAFFEE
(beat)
Those names sound like they should
mean something to me, but I'm just
not --
JO
Dawson! Downey! Your clients!
KAFFEE
The Cuba thing! Yes! Dawson and
Downey.
(beat)
Right.
(pause)
I've done something wrong again,
haven't I?
JO
I was wondering why two guys have
been in a jail cell since this
morning while their lawyer is
outside hitting a ball.
KAFFEE
We need the practice.
JO
That wasn't funny.
KAFFEE
It was a little funny.
27.
JO
Lieutenant, would you feel very
insulted if I recommended to your
supervisor that he assign different
counsel?
KAFFEE
Why?
JO
I don't think you're fit to handle
this defense.
KAFFEE
You don't even know me. Ordinarily
it takes someone hours to discover
I'm not fit to handle a defense.
Jo just stares.
KAFFEE
(continuing)
Oh come on, that was damn funny.
Jo moves close to KAFFEE to say this with a degree of
confidentiality.
JO
I do know you. Daniel AlliStair
Kaffee, born June 8th, 1964 at
Boston Mercy Hospital. Your
father's Lionel Kaffee, former Navy
Judge Advocate and Attorney
General, of the United States, died
1985. You went to Harvard Law on a
Navy scholarship, probably because
that's what your father wanted you
to do, and now you're just treading
water for the three years you've
gotta serve in the JAG Corps, just
kinda layin' low til you can get
out and get a real job. And if
that's the situation, that's fine,
I won't tell anyone. But my feeling
is that if this case is handled in
the same fast-food, slick-ass,
Persian Bazaar manner with which
you seem to handle everything else,
something's gonna get missed.
28.
And I wouldn't be doing my job if I
allowed Dawson and Downey to spend
any more time in prison than
absolutely necessary, because their
attorney had pre- determined the
path of least resistance.
KAFFEE can't help but be impressed by that speech.
KAFFEE
Wow.
(beat)
I'm sexually aroused, Commander.
JO
I don't think your clients murdered
anybody.
KAFFEE
What are you basing this on?
JO
There was no intent.
KAFFEE
The doctor's report says that
Santiago died of asphyxiation
brought on by acute lactic
acidosis, and that the nature of
the acidosis strongly suggests
poisoning.
(beat)
Now, I don't know what any of that
means, but it sounds pretty bad.
JO
Santiago died at one a.m. At three
the doctor was unable to determine
the cause of death, but two hours
later he said it was poison.
KAFFEE
Oh, now I see what you're saying.
It had to be Professor Plum in the
library with the candlestick.
JO
I'm gonna speak to your supervisor.
KAFFEE
Okay. You go straight up
Pennsylvania Avenue. It's a big
white house with pillars in front.
29.
JO
Thank you.
KAFFEE
I don't think you'll have much
luck, though. I was assigned by
Division, remember? Somebody over
there thinks I'm a good lawyer. So
while I appreciate your interest
and admire your enthusiasm, I think
I can pretty much handle things
myself.
JO
Do you know what a code red is?
KAFFEE doesn't, but he doesn't say anything.
JO
(continuing)
What a pity.
CUT TO:
Scene 10 - The Guantanamo Interrogation
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 9
And an M.P. is leading KAFFEE and SAM down to DAWSON and
DOWNEY's cell.
M.P.
Officer on deck, ten-hut.
DAWSON and DOWNEY come to attention. Through the following,
the M.P. will unlock the call door and let the lawyers in.
DAWSON
Sir, Lance Corporal Harold W.
Dawson, sir. Rifle Security Company
Windward, Second Platoon, Delta.
KAFFEE
Someone hasn't been working and
playing well with others, Harold.
DAWSON
Sir, yes sir!
DOWNEY
Sir, PFC Louden Downey.
KAFFEE
I'm Daniel Kaffee, this is Sam
Weinerg, you can sitdown.
30.
DAWSON and DOWNEY aren't too comfortable sitting in the
presence of officers, but they do as they're told. KAFFEE's
pulled out some documents, SAM's sitting on one of the cots
taking notes.
KAFFEE
(continuing; to DAWSON)
Is this your signature?
DAWSON
Yes sir.
KAFFEE
You don't have to call me sir.
(to DOWNEY)
Is this your signature?
DOWNEY
Sir, yes sir.
KAFFEE
And you certainly don't have to do
it twice in one sentence. Harold,
what's a Code Red?
DAWSON
Sir, a Code Red is a disciplinary
engagement.
KAFFEE
What does that mean, exactly?
DAWSON
Sir, a marine falls out of line,
it's up to the men in his unit to
get him back on track.
KAFFEE
What's a garden variety Code Red?
DAWSON
Sir?
KAFFEE
Harold, you say sir and I turn
around and look for my father.
Danny, Daniel, Kaffee. Garden
variety; typical. What's a basic
Code Red?
DAWSON
Sir, a marine has refused to bathe
on a regular basis. The men in his
squad would give him a G.I. shower.
31.
KAFFEE
What's that?
DAWSON
Scrub brushes, brillo pads, steel
wool...
SAM
Beautiful.
KAFFEE
Was the attack on Santiago a Code
Red?
DAWSON
Yes sir.
KAFFEE
(to DOWNEY)
Do you ever talk?
DAWSON
Sir, Private Downey will answer any
direct questions you ask him.
KAFFEE
Swell. Private Downey, the rag you
stuffed in Santiago's mouth, was
there poison on it?
DOWNEY
No sir.
KAFFEE
Silver polish, turpentine, anti-
freeze...
DOWNEY
No sir. We were gonna shave his
head, sir.
KAFFEE
When all of a sudden...?
DOWNEY
We saw blood drippinq out of his
mouth. Then we pulled the tape off,
and there was blood all down his
face, sir. That's when Corporal
Dawson called the ambulance.
KAFFEE tries not to make too big a deal out of this last
piece of news.
32.
KAFFEE
(to DAWSON)
Did anyone see you call the
ambulance?
DAWSON
No sir.
KAFFEE
Were you there when the ambulance
got there?
DAWSON
Yes sir, that's when we were taken
under arrest.
KAFFEE kinda strolls to the corner of the cell to think for
a moment.
SAM
(to DAWSON)
On the night of August 2nd, did you
fire a shot across the fenceline
into Cuba?
DAWSON
Yes sir.
SAM
Why?
DAWSON
My mirror engaged, sir.
KAFFEE
(to SAM)
His mirror engaged?
SAM
For each American sentry post
there's a Cuban counterpart.
They're called mirrors. The
corporal's claiming that his mirror
was about to fire at him.
KAFFEE
Santiago's letter to the NIS said
you fired illegally. He's saying
that the guy, the mirror, he never
made a move.
DAWSON says nothing.
33.
KAFFEE
(continuing)
Oh, Harold?
SAM is staring at DAWSON.
KAFFEE
(continuing)
You see what I'm getting at? If
Santiago didn't have anything on
you, then why did you give him a
Code Red?
DAWSON
Because he broke the chain of
command, sir.
KAFFEE
He what?
DAWSON
He went outside his unit, sir. If
he had a problem, he should've
spoken to me, sir. Then his
Sergeant, then Company Commander,
then --
KAFFEE
Yeah, yeah, alright. Harold, did
you assault Santiago with the
intent of killing him?
DAWSON
No sir.
KAFFEE
What was your intent?
DAWSON
To train him, sir.
KAFFEE
Train him to do what?
DAWSON
Train him to think of his unit
before himself. To respect the
code.
SAM
What's the code?
DAWSON
Unit Corps God Country.
34.
SAM
I beg your pardon?
DAWSON
Unit Corps God Country, sir.
KAFFEE
The Goverrment of the United States
wants to charge you two with
murder. You want me to go to the
prosecutor with unit, corps, god,
country?
DAWSON stares at KAFFEE.
DAWSON
That's our code, sir.
KAFFEE takes a long moment. He picks up his briefcase and he
and SAM move to the door.
KAFFEE
We'll be back. You guys need
anything? Books paper, cigarettes,
a ham sandwich?
DAWSON
Sir. No thank you. Sir.
KAFFEE smiles at DAWSON.
KAFFEE
Harold, I think there's a concept
you better start warming up to.
DAWSON
Sir?
KAFFEE
I'm the only friend you've got.
And as KAFFEE and SAM walk out the open cell door, DAWSON
and DOWNEY come to attention and snap a salute.
They hold the salute until KAFFEE and SAM are well out of
sight, and we
CUT TO:
Scene 11 - Plea Deal Negotiations
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 8
He's packing up stuff into his briefcase at the end of the
work day. Lt. JACK ROSS, a marine lawyer maybe two years
older than Kaffee, opens the door and walks in..
35.
ROSS
Dan Kaffee.
KAFFEE
Sailin' Jack Ross.
ROSS
Welcome to the big time.
KAFFEE
You think so?
ROSS
I hope for Dawson and Downey's sake
you practice law better than you
play softball.
KAFFEE
Unfortunately for Dawson and
Downey, I don't do anything better
than I play softball. What are we
lookin' at?
ROSS
They plead guilty to manslaughter,
I'll drop the conspiracy and the
conduct unbecoming. 20 years,
they'll be home in half that time.
KAFFEE
I want twelve.
ROSS
Can't do it.
KAFFEE
They called the ambulance, Jack.
ROSS
I don't care if they called the
Avon Lady, they killed a marine.
KAFFEE
The rag was tested for poison. The
autopsy, lab report, even the
initial E.R. and C.O.D. reports.
They all say the same thing: Maybe,
maybe not.
ROSS
The Chief of Internal Medicine at
the Guantanamo Bay Naval hospital
says he's sure.
36.
KAFFEE
What do you know about Code Reds?
ROSS smiles and shakes his head.
ROSS
Oh man.
He closes the office door.
ROSS
(continuing)
Are we off the record?
KAFFEE
You tell me.
ROSS
(pause)
I'm gonna give you the twelve
years, but before you go getting
yourself into trouble tomorrow, you
should know this: The platoon
commander Lt. Jonathan Kendrick,
had a meeting with the men. And he
specifically told them not to touch
Santiago.
KAFFEE holds for a moment. Dawson and Downey neglected to
mention this... He packs up his briefcase and cleats.
KAFFEE
I'll talk to you when I get back.
ROSS
Hey, we got a little four-on-four
going tomorrow night. When does
your plane get in?
CUT TO:
Scene 12 - Reconciliation and Suspicion
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 9
- Dialogue: 9
It's dusk and people on the base are going home from work.
We can see the flag being lowered in the background.
KAFFEE's walking toward his car. JO intercepts him and
starts walking along with him.
JO
Hi there.
KAFFEE
Any luck getting me replaced?
37.
JO
Is there anyone in this command
that you don't either drink or play
softball with?
KAFFEE
Commander --
JO
Listen, I came to make peace. We
started off on the wrong foot. What
do you say? Friends?
KAFFEE
Look, I don't --
JO
By the way, I brought Downey some
comic books he was asking for. The
kid, Kaffee, I swear, he doesn't
know where he is, he doesn't even
know why he's been arrested.
KAFFEE
Commander --
JO
You can call me Joanne.
KAFFEE
Joanne --
JO
or Jo.
KAFFEE
Jo?
JO
Yes.
KAFFEE
Jo, if you ever speak to a client
of mine again without my
permission, I'll have you
disbarred. Friends?
JO
I had authorization.
KAFFEE
From where?
38.
JO
Downey's closest living relative,
Ginny Miller, his aunt on his
mother's side.
KAFFEE
You got authorization from Aunt
Ginny?
JO
I gave her a call like you asked.
Very nice woman, we talked for
about an hour.
KAFFEE
You got authorization from Aunt
Ginny.
JO
Perfectly within my province.
KAFFEE
Does Aunt Ginny have a barn? We can
hold the trial there. I can sew the
costumes, and maybe his Uncle
Goober can be the judge.
Jo steps aside and lets KAFFEE got into his car.
JO
I'm going to Cuba with you
tomorrow.
KAFFEE
And the hits just keep on comin'.
HOLD on KAFFEE and Jo. JO smiles.
CUT TO:
EXT. SIDEWALK NEWSSTAND - DUSK
KAFFEE IN HIS CAR
He's driving down a Washington street and pulls over at a
sidewalk newsstand.
He gets out of his car, leaving the lights flashing, and
runs up to the newsstand.
As he plunks his 35 cents down and picks up a newspaper, he
engages in his daily ritual with LUTHER, the newsstand
operator.
39.
KAFFEE
How's it goin', Luther?
LUTHER
Another day, another dollar,
captain.
KAFFEE
You gotta play 'em as they lay,
Luther.
LUTHER
What comes around, goes around, you
know what I'm sayin'.
KAFFEE
If you can't beat 'em, join 'em.
LUTHER
Hey, if you've got your health, you
got everything.
KAFFEE
Love makes the world go round. I'll
see you tomorrow, Luther.
And we
CUT TO:
Scene 13 - Fatherhood and Plea Deals
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
A baby sleeping in a crib pull rack to reveal SAM is
standing over the crib. KAFFEE's sitting on a beer.
SAM
When Nancy gets back, you're my
witness. The baby spoke. My
daughter said a word.
KAFFEE
Your daughter made a sound, Sam,
I'm not sure it was a word.
SAM
Oh come on, it was a word.
KAFFEE
Okay.
SAM
You heard her. The girl sat here,
pointed, and said "Pa". She did.
She said "Pa".
40.
KAFFEE
She was pointing at a doorknob.
SAM
That's right. Pointing, as if to
say, "Pa, look, a doorknob".
SAM joins KAFFEE in the living room.
KAFFEE
Jack Ross came to see me today. He
offered me twelve years.
SAM
That's what you wanted.
KAFFEE
I know, and I'll... I guess, I mean
--
(beat)
I'll take it.
SAM
So?
KAFFEE
It took albout 45 seconds. He
barely put up a fight.
SAM
(beat)
Danny, take the twelve years, it's
a gift.
KAFFEE finishes off his beer, and stands.
KAFFEE
You don't believe their story, do
you? You think they ought to go to
jail for the rest of their lives.
SAM
I believe every word they said. And
I think they ought to go to jail
for the rest of their lives.
KAFFEE nods and puts down the empty beer bottle.
KAFFEE
I'll see you tomorrow.
Sam opens the front door for him and they stand out on the
stoop for a moment.
41.
SAM
Remember to wear your whites, it's
hot down there.
KAFFEE
I don't like the whites.
SAM
Nobody likes the whites, but we're
going to Cuba in August. You got
Dramamine?
KAFFEE
Dramamine keeps you cool?
SAM
Dramamine keeps you from throwing
up, you get sick when you fly.
KAFFEE
I get sick when I fly because I'm
afraid of crashing into a large
mountain, I don't think
Dramamine'll help.
SAM
I've got some oregano, I hear that
works pretty good.
KAFFEE
Yeah, right.
KAFFEE starts toward his car, then turns around.
KAFFEE
(continuing)
You know, Ross said the strangest
thing to me right before I left. He
said the platoon commander
Lieutenant Jonathan Kendrick had a
meeting with the men and
specifically told them not to touch
Santiago.
SAM
So?
KAFFEE
I never mentioned Kendrick. I don't
even know who he is.
(beat)
What the hell.
(beat)
I'll see you tomorrow.
42.
We hold for a moment on KAFFEE as he walks to his car, then
CUT TO: