face/off
Executive Summary
Poster
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Overview
Genres: Action, Thriller, Drama, Crime
Setting: Present Day, Los Angeles, California
Overview: "Face/Off" opens with an ambush as FBI agent Jon Archer watches helplessly as his son Matthew is shot by a sniper. Years later, Archer's relentless pursuit of his son's killer brings him face-to-face with Castor Troy, a ruthless terrorist responsible for the tragedy. In a daring twist to infiltrate Troy's organization, Archer undergoes a revolutionary surgery to exchange faces with him, plunging into a dangerous game of deception as he attempts to uncover Troy's sinister plan. However, Troy, now masquerading as Archer, seizes the opportunity to wreak havoc, targeting Archer's family. As the lines blur between good and evil, Archer and Troy engage in a relentless battle, their true identities becoming a pawn in a deadly game.
Themes: Identity and Duality, The Nature of Good and Evil, The Power of Love and Family
Conflict and Stakes: The primary conflict in this story is between Archer and Troy. Archer is trying to clear his name and bring Troy to justice, while Troy is trying to escape and continue his terrorist activities. The stakes are high, as Archer's family is in danger and Troy is a threat to national security.
Overall Mood: The overall mood of the film is dark and suspenseful. The film is full of violence and action, and the stakes are always high. However, there are also moments of humor and camaraderie, which help to lighten the mood.
Mood/Tone at Key Scenes:
- Scene 1: The opening scene of the film is a powerful and suspenseful set piece that sets the tone for the rest of the film.
- Scene 10: The scene in which Archer and Troy switch faces is a major turning point in the film. This scene is both exciting and suspenseful, and it leaves the audience wondering what will happen next.
- Scene 15: The climax of the film is a thrilling and intense action sequence. This scene is full of suspense and violence, and it keeps the audience on the edge of their seats.
Standout Features:
- Unique Hook: The film's premise is unique and has the potential to be very marketable. The idea of two people switching faces is a fascinating one, and it's sure to draw in audiences.
- Plot Twist: The film's plot twist is a major selling point. The audience will be surprised and intrigued by the revelation that Castor Troy is actually the one who killed Archer's son.
- Cast: The film's cast is very strong. Nicolas Cage, John Travolta, and Patricia Arquette are all well-known and respected actors who will bring a lot of star power to the film.
Comparable Scripts:
- Face/Off
- The Departed
- Mission: Impossible
- The Mummy
- The Shawshank Redemption
- The Bourne Identity
- Prison Break
- 24
- The Matrix
Writing Style:
The screenplay showcases a diverse range of writing styles, characterized by complex narratives, high-stakes action, intense character dynamics, and thought-provoking themes. The scenes exhibit a blend of sharp dialogue, psychological depth, and unpredictable twists, reflecting the influence of various accomplished screenwriters.
Style Similarities:
- Christopher Nolan
- Quentin Tarantino
- David Fincher
- Michael Mann
- Tony Gilroy
Pass/Consider/Recommend
Recommend
Explanation: The screenplay for 'Face/Off' is a well-crafted, suspenseful thriller that delves into the complex relationship between FBI agent Jon Archer and master criminal Castor Troy. The story is driven by strong character development, engaging action sequences, and emotionally charged family dynamics, making it a compelling and entertaining read. While the screenplay could benefit from some minor improvements, such as clearer environmental descriptions and further exploration of thematic elements, it is overall a strong and recommended piece of storytelling that would appeal to a wide audience.
USP: This action-packed crime drama screenplay offers a unique blend of suspense, deception, and relentless action. It features morally complex characters, thrilling confrontations, and a unique storyline involving the protagonist impersonating his nemesis to infiltrate a dangerous criminal organization.
Market Analysis
Budget Estimate:$60-80 million
Target Audience Demographics: Adults aged 18-49, fans of action, suspense, and thrillers
Marketability: The screenplay has a strong concept, a well-developed cast of characters, and a lot of action and suspense. It has the potential to appeal to a wide audience and be a commercial success.
The screenplay is well-written and has a strong cast. The action sequences are exciting and the story is engaging. However, the subject matter may be too violent for some audiences.
The screenplay is well-written and has a strong cast. However, the story is somewhat predictable and the action sequences are not as exciting as they could be.
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 in this screenplay is characterized by its blend of action, suspense, and emotional depth, creating a compelling and intense atmosphere.
Best representation: Scene 1 - Infiltration and Flight. Scene 1 is the best representative of the author's voice because it effectively sets the tone for the rest of the screenplay, establishing the central conflict, characters, and the writer's distinctive style. It skillfully combines action, suspense, and emotional depth to create a captivating and immersive experience for the reader.
Memorable Lines:
- Eve: I've got patients waiting. Try again, Jon. She hates you -- but she needs you. (Scene 5)
- Archer: That bomb has been built, it's out there somewhere and it's going to detonate... (Scene 6)
- Castor: I torched every shred of evidence that proves who you are. So swallow this -- you are going to be in here for the rest of your life. (Scene 14)
- Castor: Archer took my life, so I'm taking his. Bro, I'm going straight. (Scene 16)
- Castor: Daddy's a new man. (Scene 15)
Characters
Agent Jon Archer:An FBI agent who is framed for a crime he didn't commit
Castor Troy:A terrorist who takes on Archer's identity
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 - Griffen Park Shooting | Intense, Emotional, Suspenseful, Tragic | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
| 2 - Infiltration and Flight | Suspenseful, Dark, Intense, Sinister, Seductive | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 3 - Runway Rampage | Intense, Suspenseful, Dramatic | 9 | 9 | 8 | 9 | 7 | 7 | 8 | 9 | 9 | 8 | 10 | 9 | 8 | 8 | 6 | 9 | 9 | 8 | 8 | |
| 4 - Showdown in the Hangar | Intense, Suspenseful, Dramatic | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | |
| 5 - Aftermath of the Operation | Intense, Emotional, Tense, Reflective | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 6 - Imminent Danger: Bomb Threat Uncovered | Intense, Suspenseful, Serious | 8 | 8 | 9 | 9 | 7 | 6 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 9 | 9 | |
| 7 - Face Off | Intense, Suspenseful, Dramatic | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 7 | 9 | 9 | 9 | 9 | |
| 8 - Intense Interrogation and Off-the-Books Surgery Plan | Intense, Suspenseful, Confrontational, Emotional | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 9 - Eve's Dream | Tense, Emotional, Intense, Dramatic | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 10 - Archer's Transformation into Castor Troy | Intense, Suspenseful, Dramatic, Dark | 9 | 9 | 8 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | |
| 11 - The New Face of Troy | Intense, Suspenseful, Dark, Dramatic | 9 | 9 | 8 | 9 | 7 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 12 - Prison Confrontation and Medical Crisis | Intense, Suspenseful, Dramatic, Violent | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 13 - Confrontation and Deception | Tense, Suspenseful, Emotional, Intense, Dramatic | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 14 - Confrontation with the Impostor | Intense, Menacing, Suspenseful, Confrontational | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
| 15 - Domestic Unrest and Disguise | Tense, Menacing, Emotional, Seductive | 8 | 7 | 8 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | |
| 16 - The Partnership Plan | Intense, Suspenseful, Dramatic | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 9 | 9 | 8 | 9 | 8 | 8 | 6 | 7 | 9 | 9 | 9 | 9 | |
| 17 - Castor's Deception and Archer's Bravery | Intense, Suspenseful, Dramatic, Emotional | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
| 18 - Dinner and Disturbance | Tense, Intense, Emotional, Seductive | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 19 - Escape from the Prison Clinic | Intense, Suspenseful, Dramatic, Tense | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | |
| 20 - Escape from the Labyrinth | Intense, Suspenseful, Dramatic, Thrilling | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 10 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | |
| 21 - Mourning and Consequence | Tense, Emotional, Suspenseful, Dramatic | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 22 - Race Against Time | Suspenseful, Intense, Emotional, Tense | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
| 23 - The Confrontation | Intense, Suspenseful, Dramatic | 8 | 8 | 8 | 8 | 7 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | |
| 24 - Archer's Plan Unveiled | Intense, Suspenseful, Dark | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 25 - Intervention and Confrontation | Intense, Tense, Emotional, Suspenseful | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 9 | 8.5 | 8 | 8 | |
| 26 - Crossfire | Intense, Emotional, Suspenseful | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 9 | 9 | 9 | 9 | |
| 27 - Escape from the Loft | Intense, Suspenseful, Emotional, Violent | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 9 | 9 | 9 | 9 | |
| 28 - Deadly Standoff and Betrayal | Intense, Suspenseful, Emotional, Dramatic | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
| 29 - Chaos in the City | Intense, Suspenseful, Dramatic, Chaotic | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | |
| 30 - Unveiled Identity and Deception | Tense, Suspenseful, Emotional, Dramatic | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 31 - A Suspicious Encounter at the Hospital | Tense, Emotional, Suspenseful | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 7 | 9 | 9 | 9 | 9 | |
| 32 - Plan of Attack | Tense, Emotional, Suspenseful, Dramatic | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 33 - A Brewing Tempest | Intense, Suspenseful, Emotional | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 34 - Funeral Interrupted | Suspenseful, Emotional, Intense, Dramatic | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 35 - Confrontation at the Boathouse | Intense, Suspenseful, Emotional, Violent | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 36 - Confrontation at the Boatyard | Intense, Suspenseful, Emotional, Dramatic | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 9 | 9 | 9 | 9 | |
| 37 - Castor and Archer's Final Confrontation | Intense, Suspenseful, Emotional, Dramatic | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 10 | 9 | 9 | 9 | |
| 38 - Homecoming | Tense, Emotional, Suspenseful, Heartfelt | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
Scene 1 - Griffen Park Shooting
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
Written by
Mike Werb & Michael Colleary
Revised 9/10/96
FADE INTO:
SEPIA-TONE FOOTAGE
of a pig chasing a lion chasing a dinosaur chasing an
elephant. Noah's Ark going round... and round... and
round...
EXT. GRIFFITH PARK CAROUSEL - DAY
Disjointed CALLIOPE MUSIC as the wheel of fate and
fortune goes around until we PULL BACK to reveal:
JON ARCHER (30) rising winged Pegasus. On the adjacent
unicorn is his son MATTHEW (5). Clutching a balloon,
Matty waves at his dad. A happy moment, like so many
certain to follow -- until we realize we are watching
them THROUGH...
SNIPER'S RIFLE SCOPE - SNIPER'S EYES
wait until the child clears his aim -- Archer is the
target. They round the bend and disappear...
MATTHEW
Loses his grip on the unicorn. Archer reaches over and
pulls him into his lap. They happily ride together...
As the horses sweep back INTO VIEW... exposing Archer...
Now we see the sniper. CASTOR TROY is cool, efficient,
aggressive, sexual. His finger closes around the
trigger.
BOOM! A BULLET RIPS into Archer's back. Bleeding... he
drops off his horse... and sinks to the deck of the
carousel. His eyes desperately searching... searching...
searching... until he sees --
Matthew lies on his back -- still. Slowly, Archer
reaches out and takes Matthew's hand... and now we see
COLOR for the first time...
Blood red... as bleeding father touches bleeding son...
TILT UP TO the winged Pegasus flying by -- now in full
color and UP UP UP TO Matthew's red balloon... floating
away.
HANDEL'S MESSIAH OVER a SERIES OF SHOTS:
FBI BRIEFING ROOM
Gazing out the window as dawn breaks over the city below
is Jon Archer... older... unshaven... fatigued... his
eyes reveal a man in the grip of obsession.
CAROUSEL HORSE
sweeps by, as if marking time itself...
HOLY PLACE
Smoky, spiritual... dominated by a gleaming, golden
cross. A priest kneels before it -- deep in prayer. The
glimmering cross comes INTO FOCUS... but it's just a
light-reflection... off the casing of a large bomb. This
is no chapel... but an atrium. Somewhere.
And as the "priest" rubs out his cigarette we see it's
Castor Troy -- carefully installing this complex device.
ANOTHER CAROUSEL HORSE
sweeps by...
ARCHER
pockets his FBI badge, then holsters his gun...
CASTOR
sets the bomb timer -- then replaces a wall panel in
front of it. Totally hidden.
BRIEFING ROOM - CASTOR'S MUGSHOT
is on a computer screen. His criminal dossier scrolls by
endlessly: bombings, assassinations, mercenary
kidnappings, terrorism-for-hire...
Rookie agent LOOMIS studies the details carefully. Other
agents -- including BUZZ and WANDA scan computer grid-
maps, man phones, etc. amid the take-out cartons and
coffee cups. These people are on high alert.
ARCHER
Any follow-up from L.A.P.D.
Intelligence?
BUZZ
No, sir, nothing yet.
ARCHER
Get them on the phone -- now.
What about S.I.S. and our airport
teams?
WANDA
We've had everything from psychics
to satellites on this. Even if
Castor was here... he must have
slipped the net by now...
ARCHER
He's here! And we're going to
keep looking until we find him!
A silence descends on the chastised team. As they go
back to work, veteran agent TITO BIONDI takes Archer
aside.
TITO
Jon, these people have been
working round the clock -- you
gotta cut them some slack...
Archer considers his best friend's advice -- then...
ARCHER
I'll cut them some slack when I
cut myself some slack.
Archer marches out -- slamming the door behind him.
Scene 2 - Infiltration and Flight
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 8
- Dialogue: 9
Castor quietly shuts the security door behind him. An
Hispanic voice startles him.
JANITOR
What are you doing?
CASTOR
(in perfect Spanish)
Thank goodness, I feel like Icarus
in the labyrinth -- where's the
men's room?
JANITOR
(in Spanish)
This area is off limits, Padre.
(re: security door)
How did you get in that room?
Realizing the JANITOR is already too suspicious, Castor
puts a priestly arm around him -- and leads him down the
hall.
CASTOR
Okay... I have a confession to
make, but you aren't gonna like
it. I was planting a bomb.
JANITOR
Bomb?
CASTOR
You know -- boom --
(patting his
neck)
Oh, never mind...
The Janitor suddenly twitches, his eyes rolls up in his
head. As he gasps his last -- Castor heaves him down a
stairwell. Now we see the needle-thin custom stiletto in
Castor's hand.
Castor kicks the Janitor's mop and bucket down the stairs
-- making everything look like an accident.
INT. SAME BUILDING - MAIN FLOOR - DAY (MORNING)
The children's church choir -- 200 strong -- sing "Behold
the Lamb of God." Clergy and lay persons listen
reverently.
"Father" Castor strolls by the singers -- casually
heading for the exit. As he passes the risers, a teenage
girl drops her sheet music at his feet.
Returning it -- he whispers in her ear -- so close he's
practically licking it.
CASTOR
I've never enjoyed 'The Messiah.'
But your voice makes even a hack
like Handel seem like a genius.
He pats her behind and leaves. Although a little shaken,
she's also drawn by Castor's sexual magnetism.
EXT. LA CONVENTION CENTER - DAY (MORNING)
The marquee proclaims: INTERNATIONAL CHURCH CHOIRS 18th-
21st: AMERICAN BAR ASSOCIATION.
Castor exits -- politely holding the door for a beat cop.
INT. ARCHER'S OFFICE - DAY (MORNING)
The office is a monument to obsession: photographs,
clues, newsclips, totems of Castor Troy surround a pacing
Archer.
ARCHER
(on phone)
... I don't have time to get a
warrant from some hung-over judge.
Just give me the go-ahead, Victor,
and I promise -- as soon as this
is over -- you can brand my butt
with the Fourth Amendment.
The instant Archer hangs up -- the INTERCOM BUZZES.
KIM (V.O.)
Sir, your wife's on line one...
S.I.S. on two...
ARCHER
Tell her to hang on --
As Archer punches up line two -- Tito bursts in.
TITO
A jet was chartered at Anderson
Airfield. Guess who just showed
up to pay for it? Pollux Troy.
ARCHER
Scramble the Reaction Team --
we're moving out. And get one of
our people on that plane.
TITO
But there's still no sign of
Castor...
ARCHER
Where one brother goes, the
other's sure to follow...
They rush our... the hold button on line 1 still
blinking.
EXT. PRIVATE AIRPORT - ESTABLISHING - DAY
A sleek Cadillac pulls in... stopping next to a Land
Rover.
LARS MUELLER -- a muscular, crystal-eyed jar-head -- gets
out of the Caddy. An instant later -- LUNT MUELLER --
emerges from the Rover. They are identical twins.
The men scan the airport carefully, then open the rear
doors of their respective vehicles. Castor emerges from
the Caddy -- Armani clad.
Exiting the Rover is Castor's younger brother POLLUX TROY
-- skittish, brilliant, paranoid -- a human hummingbird.
POLLUX
You're 26 minutes late. The
casing didn't fit -- right? I
knew that cheap-shit Dietrich
would rip us off...
CASTOR
Oh, God -- !
POLLUX
What!?
CASTOR
I forgot to turn the damn thing
on!
POLLUX
You're kidding, right?
(to the twins)
He's kidding...
(grabs Castor
by throat)
... are you fucking kidding!?
Castor hugs Pollux lovingly. Pollux squirms like a kid.
CASTOR
Bro -- everything went fine.
POLLUX
I hate when you call me bro.
Pollux heads for the jet. Castor hands Lunt a wad of
cash.
CASTOR
Thanks for babysitting.
LUNT
Anything else?
CASTOR
I'll contact you when we get the
rest of the money.
(turns to leave)
Oh, and stat away from downtown.
The inversion layer's going to be
pretty thick around the 18th.
The twins nod... then take off. Castor heads for the
jet.
Scene 3 - Runway Rampage
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 6
Castor hustles in -- exhorting the PILOT.
CASTOR
Let's go, let's go!
As the JET TURBINES start to WHINE, Castor sinks into his
seat. A very sexy FLIGHT ATTENDANT appears and hands him
a Scotch. He downs it, looking her over salaciously.
FLIGHT ATTENDANT
Would you like anything else?
CASTOR
Hell, yes...
(pulls her into lap)
It's the only way to fly.
She smiles, not minding, until the jet suddenly slows its
taxi down the runway.
COCKPIT
Castor yanks open the door.
CASTOR
What's wrong?
AT END OF RUNWAY
A squat car creeps INTO VIEW -- blocking the runway.
EXT./INT. HUMVEE - MOVING - DAY
Behind the wheel is Jon Archer. Beside him is Tito.
BACK TO ARCHER
CASTOR
It's Archer.
(gun to Pilot's
head)
Go, dammit!
Suddenly the gun is BLASTED from Castor's hand. he turns
around to see... the Flight Attendant behind them --
holding a smoking pistol. This is Agent WINTERS.
WINTERS
F.B.I.! Throttle down, captain!
But Castor elbows the throttle up. The jet lurches
forward, throwing Winters off balance. Pollux tackles
her as the jet picks up speed.
INT. HUMVEE - DAY
Archer slams the vehicle into gear.
ARCHER
Get out.
TITO
You're not playing chicken with
two tons of aluminum...
ARCHER
Get out!
Tito obeys as Archer peels out. The HUMMER ROARS at the
jet.
The jet picks up speed, trying to get aloft.
The humvee is aimed right at it... Archer's eyes narrow.
COLLISION COURSE
as two hunks of metal bear down. The machines are
seconds apart when --
Archer looks up to see...
Winters' face pressed up against the cockpit window,
Castor holding a gun to her head.
Archer cuts the wheel -- just avoiding the jet. The
Hummer skids to a stop as Federal back-up arrives -- but
too late. Archer watches an FBI chopper -- landing in a
swirl of dust.
As the jet picks up speed... the hatch opens. Castor
blasts Winters in the side and tosses her onto the
tarmac.
INSIDE
Castor smiles at Pollux, sensing freedom, until...
KA-CHUNK: Something POUNDS the jet -- from above.
Castor leans out the hatch and sees...
The chopper on top of them -- Archer at the controls.
Eye-contact -- years of hatred pass between these men.
Castor BLASTS at him from the open hatch.
The chopper's left windscreen spiderwebs. Archer jerks
and weaves -- dodging the BULLETS. The chopper pulls
away.
The jet finally lifts off... when...
The chopper settles on the jet -- slamming at its tail.
TARMAC
Tito reacts to this madness -- as the chopper plays a
deadly game of leap-frog with the jet.
The end of the runway is coming up fast.
Archer crushes the jet's horizontal elevator flap.
JET PILOT
can't budge the jet's jammed yoke. Thwarted, he powers
back the throttle. Thrust reverse.
CASTOR
What are you doing?
PILOT
The horizontal elevator's smashed!
We can't lift off!
CASTOR
SHOOTS the Pilot -- then takes the controls. He
struggles to maneuver the jet. Suddenly...
A biplane descends right at them -- about to land.
ARCHER
pulls up just as the JET swerves radically to avoid the
biplane and SLAMS into the hangar.
JET
plows through the GLASS DOOR, the NOSE-WHEEL SNAPS off.
The PLANE SKIDS right into the hangar -- finally stopping
at the wings.
FBI CHOPPER
lands. Archer steps out calmly -- like a cop about to
write a traffic ticket. He hurries to join more FBI
agents rushing into the hangar ahead of him.
Scene 4 - Showdown in the Hangar
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
The jet hatch pops open -- Castor leaps from it, FIRING.
Two FBI agents drop -- riddled.
Pollux appears at the hatch -- an FBI sharpshooter FIRES,
grazing Pollux's shoulder. Staggered, Pollux falls --
Castor catches him before he hits the floor --
simultaneously BLASTING the sharpshooter.
Castor drags Pollux back into the smoke-filled hangar.
Archer arrives and quickly checks the dead agents, his
anger building. He signals Tito and the others to spread
out.
DEEP IN HANGAR
A maze of airplane debris and heavy machinery. Led by
Archer, the FBI agents pick their way through it.
ROOKIE LOOMIS snaps alert -- did he see something?
Advancing carefully, he comes up on...
Castor -- staunching Pollux's shoulder wound. Pollux
sees the agent -- and FIRES.
Loomis hits the floor -- his bleeding ear is shredded.
Suddenly a forklift charges down on Castor and Pollux.
Tito is at the wheel. Castor FIRES -- forcing Tito to
dive off. The forklift careens on -- driving apart the
brothers.
The forklift upends a stack of heavy crates -- pinning
Pollux. Castor tries to free his trapped brother.
POLLUX
Forget it -- Go! Go!
He slaps his Glock into Pollux's hand.
CASTOR
Wherever they put you, I'll find a
way to get you out...
Pollux starts FIRING -- covering Castor as he runs
through a tunnel which leads to an adjoining hangar.
Suddenly Wanda presses her machine-pistol into Pollux's
head. As Pollux raises his gun -- Tito grabs his hand.
TITO
-- not unless you want that 200
I.Q. splattered all over the
floor.
(as Archer
approaches)
We got him now, Jon.
ARCHER
That's what you always say. Seal
it off. I'm going in.
Archer moves away from the group and enters the tunnel.
MUSIC as Archer and Castor begin their cat-and-mouse
dance.
Sensing Archer, Castor pauses by an old landing gear. He
draws a fresh pistol from his ankle holster and moves on.
Archer pauses at the landing gear... his own stealthy
movements mirroring Castor's.
Castor waits behind a stack of steel drums... his gaze
trying to penetrate the darkness... He SNAPS his fingers.
The sound ECHOES as he tries to draw Archer in.
Archer reacts to the sound and SNAPS back -- answering
the challenge. As the deadly beat between them
continues --
BLAM BLAM BLAM! Archer spins away just as Castor OPENS
FIRE from the gloom... one step ahead.
INTERCUT as necessary:
CASTOR
Jon, I'm getting a little annoyed
by your obsessive need to spoil my
fun.
ARCHER
And how much will your 'fun' net
you this time?
BOOM BOOM BOOM! Half-blind SHOTS send Castor spinning.
A moment later, Archer pursues... SNAP! He fits a new
CLIP into his pistol.
CASTOR
What's it to you? I declare it.
Here I am, back in the States for
less than a week --
ARCHER
You're under arrest. Incredibly,
you still have the right to remain
silent --
CASTOR
I've got something going down on
the eighteenth... it's gonna be
worse than anything God ever
dumped on the Pharaoh. I'll give
it up -- but my brother and I have
to walk.
ARCHER
No discussion -- no deals.
CASTOR
What're you gonna do with me
locked up? You'll drive your wife
and kid nuts! I bet your daughter
is just about ripe by now. What's
her name, Janie?
Enraged, Archer steps boldly forward -- trying to draw
his enemy out. Silence -- then Archer senses...
Castor is behind him. He FIRES -- Archer dives away.
The BARRAGE CONTINUES -- driving Archer back between two
huge turbine engines. As Archer reloads, he stares at
the control panel switches.
Castor moves in for the kill when he hears a final SNAP-
SNAP. Except it isn't a finger snap... it's two
switches.
VRRRROOOM! The TWIN ENGINES ROAR on! Unable to fight
the churning tornado-force wind... Castor's blasted
across the hangar... slamming hard into the far wall.
The ENGINES STOP and Archer emerges -- joined by Tito.
TITO
Tell me he didn't get away
again...
Then Tito follows Archer's gaze to Castor's lifeless
body. Still as death -- somehow his mocking smile
survives.
Scene 5 - Aftermath of the Operation
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
Heavily-manacled, an extremely agitated Pollux is herded
into a SWAT van by Buzz and Wanda.
POLLUX
Where's my brother?! I want to
see my brother!
The van takes off -- passing an imposing older man,
flanked by two bodyguards. Bullying through the media,
Assistant FBI Director VICTOR LAZARRO scans the
devastation.
Approaching Archer, he watches as Castor's body is loaded
on the ambulance. A sheet covers Castor's lifeless face.
LAZARRO
The oversight committee would've
roasted us for this one -- thank
God it paid off. Damn fine work.
ARCHER
Real fine, Victor. Especially the
casualties.
Archer contemplates the slain agents -- their three
bodies laid out in a row -- waiting to be zip-locked.
Lazarro reacts grimly as a reporter snaps a photo of the
bodies.
Instinctively, the two men close ranks. Archer grabs the
Nikon, ejects the film, then shoves the camera back.
LAZARRO
Classified information. No
photographs.
Lazarro puts a caring arm around Archer's shoulder and
leads him away from the media... and the carnage.
LAZARRO
You okay, Jon?
(off Archer's nod)
Then go home. Tell Eve.
EXT. ARCHER'S HOME (SANTA MONICA) - SUNSET
A renovated Craftsman. Sipping a carton of milk, Archer
pulls into the driveway. He sits, gathering his
thoughts.
INT. ARCHER'S HOME - NIGHT
Archer enters and sees his wife EVE. Handsome,
intelligent.
ARCHER
Hi...
(no response)
... What's wrong?
She nods toward the KITCHEN. JAMIE is there -- a sullen
and hard fifteen-year-old. There are cigarette cartons
on the table.
EVE
She complimented for her 'F' in
history with an 'A' in
shoplifting...
Archer marches into the kitchen -- noting the crate of
Marlboros. Jamie matter-of-factly pours herself coffee.
ARCHER
Nice stunt, Jamie. You break the
law and I'm expected to ignore it?
JAMIE
That's right -- it's all about
you. Don't even ask me what
happened.
Archer looks to Eve for help. Eve shakes her head --
nope.
ARCHER
Okay. What happened?
JAMIE
Like you'd ever fucking believe
me!
She bolts. In anticipation, Eve calmly opens the door as
Jamie rushes out, then closes it behind her.
EVE
Well, you tried. You failed
miserably, but you tried.
ARCHER
Why won't she even talk to me?
EVE
Maybe because you taught her never
to speak to strangers.
(immediately
regrets it)
I'm sorry... that wasn't fair.
Eve kisses his cheek -- then gathers up her doctor gear.
EVE
I've got patients waiting. Try
again, Jon. She hates you -- but
she needs you.
ARCHER
Eve...
Something in Archer's expression makes her stop.
EVE
Jon -- what is it?
But he's too overcome. He starts to speak -- but can't.
EVE
Is it -- him? It's... it's over?
Emotions avalanche across his face until he finally looks
up. Eve pulls him close -- a sheltering embrace for them
both.
ARCHER
I'm going to make everything up to
you and Jamie. I'll put in for a
desk job. We'll go away, get
counseling -- anything you want.
This time, I mean it.
INT. ARCHER HOME - NIGHT
Freshly dressed, Archer heads down the hall. He pauses
at the door to Jamie's room when he sees -- Jamie.
Fully clothed, she's fast asleep on her bed cluttered
with clothes and assorted girl-stuff. Her face peaceful.
Archer looks around her room... sees the stuffed animals
collecting dust... replaced by makeup, jewelry, beefcake
Calvin Klein ads and band posters, etc.
Archer's startled to see a lacey bustier... his little
girl is growing up fast. And he's missing it.
He pulls the blanket up over her and quietly slips out.
The instant he leaves, Jamie kicks the blankets off.
INT. FBI BUILDING - DAY
Dominated by the FBI seal. Archer steps to the check
point.
SECURITY GUARD
Print, please.
Archer presses his thumb to a scan-pad -- and is cleared.
Scene 6 - Imminent Danger: Bomb Threat Uncovered
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 8
Efficient as a beehive -- agents, cryptologists, support
staff buzz at their routines. Archer strides through --
drawing congratulatory nods and "thumbs up" signs...
OUTSIDE HIS OFFICE
Archer's team is there. Applauding. Proud. Uneasy with
plaudits, he disperses the disappointed agents.
ARCHER
Much appreciated. Now let's get
back to work, okay?
WANDA
(to Buzz)
Is that stick ever gonna fall out
of his ass?
Archer's well-built secretary -- KIM BREWSTER -- hands
him his messages. She's holding a bottle of Dom
Perignon.
KIMBERLY
The C.I.A. sent this over. What
should I do with it?
ARCHER
Send it back and tell them to stop
wasting the taxpayers' money.
Anything else, Miss Brewster?
KIMBERLY
No, sir.
He enters his office. Kimberly sighs and turns to Wanda.
KIMBERLY
Four years -- and he still calls
me 'Miss Brewster.'
INT. ARCHER'S OFFICE - DAY
Sitting at his computer -- Archer scrolls through
Castor's file. He grimly contemplates face-after-face of
Troy's victims -- finally pausing on a photo of his son
Matthew.
Burying his feeling, he types "CASE CLOSED" over
Castor's image. Archer starts to press "enter" when Tito
comes in.
ARCHER
How's Loomis?
TITO
He needs some surgery, but he's
going to be okay. That's the good
news...
ARCHER
Go on.
TITO
... Brodie and Miller from Special
Ops need to see you.
ARCHER
I don't have time for those cloak
and dagger guys.
Big NED BRODIE and athletic female HOLLIS MILLER stroll
in.
BRODIE
You better make time, Jon.
(hefts a disc)
We found this in the jet wreckage
-- among Pollux Troy's effects...
Archer accedes as Miller pops in the disk. The computer
screen displays a CAD schematic of the bomb. Archer
studies it carefully -- unease growing.
ARCHER
Porcelain casing... Thermal
cloak... Undetectable payload.
MILLER
Powerful enough to flatten ten
city blocks.
ARCHER
'Worse than anything God ever
dumped on the Pharaohs.'
(to Tito)
Get Pollux Troy. Now.
DISSOLVE TO:
INTERROGATION FOOTAGE
Wired to a complex machine -- Pollux seems to have his
frustrated interrogators on the run.
INT. ARCHER'S OFFICE - DAY
Archer, Lazarro, Tito, Brodie, Miller and other FBI
officials watch the monitor. Pollux remains implacable
POLLUX (V.O.)
(on screen)
That bomb was just a crossword
puzzle to me... a mental exercise.
I never built it...
Lazarro shuts down the monitor... turns to Archer.
ARCHER
He's lying.
LAZARRO
He's hooked up to a full-spectrum
polygraph.
ARCHER
Pollux is a manipulative
psychopath. He can control his
heartbeat, his sweat glands, his
blood pressure...
LAZARRO
Jon, I trust your instincts, I
always have. But D.C. wants more
evidence. And frankly, so do I.
ARCHER
You'll get all the evidence you
need when ten thousand people die.
LAZARRO
We'll get a team right on it. But
we can't evacuate the city on what
amounts to a hunch.
Archer looks at the gathered brass. He knows it's
hopeless.
ARCHER
That bomb has been built, it's out
there somewhere and it's going to
detonate...
EXT. FBI BUILDING - INTELLIGENCE MEMORIAL - DAY
Words etched in the granite wall read:
IN HONOR OF THOSE MEMBERS
OF THE FEDERAL BUREAU OF INVESTIGATION
WHO SACRIFICED THEIR LIVES
IN THE LINE OF DUTY
Archer watches as a workman engraves the last of the
three new stars among so many others -- each one honoring
the dead.
BRODIE
Didn't Castor give any clue where
the bomb might be?
ARCHER
Only one person knows -- his
brother Pollux. And he'll keep
his mouth shut until it blows.
BRODIE
We could plant an agent in his
cell -- get him to spill the
location.
ARCHER
Pollux is way too paranoid. The
only person he'd talk to about
that bomb is Castor himself. And
dead men can't talk.
Brodie and Miller exchange a knowing look.
BRODIE
There might be a way around
that...
FULL SCREEN - CASTOR'S BODY
Tubes and hoses are plugged into every orifice.
Scene 7 - Face Off
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
Archer stares at the body... he can't believe it.
ARCHER
Why are you keeping him alive?
(gets no answer)
As long as he's breathing, he's
dangerous.
MILLER
Relax, he's a turnip.
Miller grinds out her cigarette on Castor's leg. Of
course, Castor just lies there like a vegetable.
BRODIE
We can arrange for you to enter
Erewhon Prison -- as Castor Troy.
ARCHER
What are you talking about?
Archer turns as DR. MALCOLM HOAG (50s) enters the room.
HOAG
I think I'd better answer that
question.
(offers hand)
Malcolm Hoag. I run the
Physiological Camouflage Unit for
Special Ops.
ARCHER
I know who you are.
MILLER
But you don't know what he can do.
Physical augmentation; enhancement
surgery...
BRODIE
... He can disguise a compromised
agent or alter the likeness --
even the voice -- of a government
witness.
HOAG
Let me show you how it's done.
(leading him out)
I think you'll recognize our
patient...
INT. HOAG'S SURGICAL BAY - DAY
Loomis lies still as a surgeon carefully scrapes away
charred flesh around his burned ear. The doctor turns to
a --
STEREO-LITHOGRAPHIC MACHINE
Laser-beams attack an organic soup with incredible
precision. The light forces a chemical reaction -- and
out of the soup -- an ear begins to form. It rises from
the liquid, now fully-formed. The surgeon takes the ear
and fits it in place on Loomis's head. He starts
suturing.
OBSERVATION BOOTH - ABOVE
Archer, Hoag, Brodie and Miller watch the operation --
video-enhanced by the two huge screens on the far walls.
HOAG
With our new generation of anti-
inflammatories, healing is
accelerated from weeks to days.
By his next paycheck, he won't
even remember which ear he lost.
(a beat)
Your situation, however, would be
a little less permanent...
BRODIE
-- and a lot more classified.
Hoag holds up a face-sized organic shell made up of
yellow cartilage pieces and tendons, etc. Archer pulls
it over his face -- like a gauze mask. A "tendon" falls
off.
ARCHER
This'll fool Pollux.
HOAG
That is a state-of-the-art morpho-
genetic template. The inside can
be built to match the exact shape
of your skull; the outside --
exactly like Castor's. Then we
fit his face right on top --
MILLER
-- and you become him.
ARCHER
You're talking about removing the
guy's face?
BRODIE
Borrowing, Jon. The procedure's
completely reversible.
MILLER
One way or the other -- the
mission ends on the eighteenth.
Archer turns the shell over and over and over in his
hands.
BRODIE
You know Castor better than
anyone. You've lived and breathed
him for years -- hell, you even
look a little like him.
Archer shoves the template back at Hoag.
ARCHER
Find yourself another lab-rat.
MILLER
If you don't do this -- Castor
will beat us again. He'll beat
you again...
Archer pushes his way past them -- and marches out.
HOAG
I don't think that went very well.
BRODIE
Trust us, Doc...
MILLER
... he'll jerk around. Then he'll
be back.
Scene 8 - Intense Interrogation and Off-the-Books Surgery Plan
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
Archer enters... sizes up DIETRICH HASSLER. His stylish
garb doesn't completely hide his criminal roots. Archer
sits down calmly. He looks at his watch.
ARCHER
I'm in a hurry, Dietrich. So
you've only got ten seconds to go
through your usual litany of lies,
empty threats, and moronic
denials. Then I'm coming over
there --
DIETRICH
If you're in such a fucking hurry
-- why are you wasting your time
with me? I'm just an art dealer.
ARCHER
You're a dealer, all right:
technical secrets, munitions...
explosives.
DIETRICH
You've never proven any of that.
And when my bitchy, never-been-
laid femi-nazi lawyer gets here,
she's going to...
ARCHER
Time's up.
Archer topples the wooden table and tears a leg from the
top. Brandishing it -- he stalks the startled thug.
HALLWAY JUST OUTSIDE - CONTINUOUS ACTION
Lazarro blanches as an obsessed Archer repeatedly slams
the table leg against the wall -- above Dietrich's head.
LAZARRO
The only ticking bomb I see is
inside his head. He's getting
worse, Tito.
TITO
Don't worry, sir. It's all an
act...
But as Lazarro leaves -- we see Tito's worried, too.
BACK INSIDE BOOTH
Archer has a terrified Dietrich backed into the corner.
DIETRICH
... Okay! Castor called me but I
blew him off... I swear I never
saw him. And I don't know
anything about any bomb!
INT. CORRIDOR - OUTSIDE INTERROGATION BOOTHS - SAME TIME
Archer emerges... eyes blazing.
ARCHER
Let him go, but I want him
watched... Who's next?
TITO
Just Dietrich's sister...
In another booth, a careworn but striking woman sits with
a little boy on her lap. She gently helps him Crayola a
book. This is SASHA HASSLER (30) and her son ADAM (5).
INT. INTERROGATION BOOTH - DAY
Archer hovers over Sasha -- her maternal warmth replaced
by an icy hatred. Tito and the child are gone.
ARCHER
When was the last time you saw
Castor Troy?
SASHA
Who cares? He's dead.
ARCHER
Answer the question.
SASHA
Look, I'm clean. I teach kids
now --
ARCHER
Sasha -- you are a felon, on
probation for harboring Castor
Troy. So it's in your best
interest to cooperate.
(as she's silent)
Would you like your son put in a
foster home?
Sasha's eyes flash, her body coils -- but she keeps
control.
SASHA
No, but I'm sure you'd love it --
you sick bastard.
ARCHER
(unmoved)
When was the last time you saw
Castor Troy?
She stares at him with equal amounts of pity and hatred.
SASHA
I haven't seen him for years.
INT. CORRIDOR - DAY
Archer watches as Adam leaves Dietrich and jumps into
Sasha's arms. She hugs him protectively. Adam sees
Archer watching them -- and smiles. Archer doesn't smile
back.
FULL SCREEN - CASTOR'S REAL FACE
PULL BACK TO:
INT. I.C.U. - NIGHT
Archer slowly circles Castor's muscular, hairy, tattooed
body. Although on life support -- his signature smirk
remains.
ARCHER
What about Lazarro?
BRODIE
No way -- the red tape alone would
take a month. This is a black-bag
operation -- completely off the
books.
MILLER
If you need him, Tito can help you
prepare. But you know the drill:
You can't tell anyone -- not the
Director, not your wife... nobody.
Archer's face shows he doesn't like it -- then he nods.
ARCHER
I'm in.
EXT. ARCHER HOME - NIGHT
Archer slowly gets out of his car. Trudging toward the
front door, he picks up a basketball and takes a shot.
His form is terrible -- he misses by a mile.
INT. HALLWAY - NIGHT
Archer passes Jamie's room. Loud MUSIC POUNDS from
within. He pauses to knock, thinks again, then heads
down the hall.
Scene 9 - Eve's Dream
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Eve is in bed. Archer comes in quietly and sits beside
her -- studying her peaceful, sleeping face. She stirs.
EVE
I was dreaming...
ARCHER
Something good?
EVE
I'm not sure... you were flying
this weird old stunt plane...
doing flips... walking on the
wings... I was watching from the
ground -- when you fell. You had
a parachute, but you wouldn't open
it.
ARCHER
Did you catch me?
EVE
No.
ARCHER
How come?
EVE
I don't know...
(nuzzles him)
Maybe because you've never needed
my help.
ARCHER
Come on, you made that up, didn't
you?
EVE
... Maybe I did...
(teasing)
... maybe I didn't...
They kiss affectionately. Passion building, Eve runs her
hands over his body -- until her fingers touch a round
scar on his chest. Archer freezes -- mid-caress.
EVE
It's all right, Jon.
ARCHER
After all these years, I still
can't get it out of my head -- an
inch to the left, Matty would
still be alive.
EVE
And you wouldn't be.
No response. The pain hidden in his silence chills Eve.
EVE
Things will get better now that
you're home. Everything will be
better -- now that... that man is
finally out of our lives.
ARCHER
Eve...
He starts to say the words. He wants, needs to share the
truth with her. But he can't. Instead --
ARCHER
... If I had to do something to
find some closure... I should do
it, shouldn't I?... No matter how
crazy?
EVE
Oh, God -- you're going on
assignment again...
ARCHER
One last time. And while I'm
gone, I want you and Jamie to go
to your mother's. It's
important...
EVE
You said you'd be here! You
promised! What could be more
important than that?
ARCHER
I can't tell you... except only I
can do it.
EVE
You want me to tell you it's okay
to leave? Okay, go on! Go!
Fury erupting, Eve pushes Archer out of the bed.
INT. ANOTHER BEDROOM - NIGHT
Archer enters a child's room -- neat and tidy, like a
museum exhibit. A starfield of glow-letters twinkles
faintly.
He lies down on the bed and toys with his wedding band --
staring up at the words the stars form... "MATTHEW."
DISSOLVE TO:
INT. CONVENTION CENTER - MACHINE ROOM - BLINKING
LIGHTS - NIGHT
The blinking LED of the bomb timer continues to count
down.
INT./EXT. '56 BUICK/MOUNTAIN ROAD - MOVING - DAY
Tito drives into the Hoag compound.
Archer's beside him, juggling Castor's dossier:
documents, photos, etc.
TITO
Jon, this is goddam insane. You
can't do it.
Archer says nothing... it's too late for debate. Tito
parks. The men get out and head for the lab.
TITO
You haven't got a chance in hell
of fooling Pollux. Castor drinks,
smokes and walks around with a 24-
hour hard-on. He's nothing like
you --
ARCHER
Don't worry... If Hoag can do half
what he claims, I'll get Pollux to
talk.
Archer reaches for the door -- Tito stops him.
TITO
It's not that simple, Jon...
Becoming another person --
especially him -- nobody can come
all the way back from that... not
even you.
Archer considers his friend's words... He toys with, then
removes, his wedding bang.
ARCHER
Keep this for me.
As Tito takes the ring -- a caring, but concerned look
passes between the two friends.
Scene 10 - Archer's Transformation into Castor Troy
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 7
Two huge video screens are dominated by the CG-images of
Archer and Castor. As Hoag briefs the team, the CG-
images glow to reflect the physical characteristic Hoag
refers to.
HOAG
Let's walk through it, Jon. Your
blood types are different, but we
can't do anything about that.
Otherwise, nature is cooperating
nicely. The height difference is
negligible -- within 1/2 an inch.
Eye color -- almost a perfect
match. Penis size, flaccid,
essentially the same --
Substantial.
From the observation booth above -- Miller (flanked by
Tito and Brodie) raises his eyebrow.
On the video screens, the images morph to signify the
physical augmentations.
HOAG
Hairline will be adjusted with
laser-shears... micro-plugs for
the body hair... the teeth will be
bonded to match Castor's...
Hoag eyes Castor's inert, tight body -- then turns to
Archer -- prodding his love handles like a livestock
inspector.
HOAG
How about an abdominoplasty?
ARCHER
Abdomino -- what?
HOAG
A tummy tuck. On the house.
ARCHER
Do it.
TRANSFORMATION MONTAGE
(INTERCUT huge video screen enlargements of Archer and
Castor's body parts as necessary):
Globules of adipose tissue are siphoned off Archer's
obliques. At the same time...
Hoag recreates the "Great Sphinx" tattoo on Archer's
thigh. We PUSH IN ON his leg, then PULL BACK to
reveal...
Archer and Tito. The CLOSE UP on his leg becomes a FULL
SHOT as he walks across the rooftop -- like himself.
Tito demonstrated the proper "Castor gait": dangerously
casual, like a panther.
Hoag reproduces Castor's fingerprints... then layers them
over Archer's fingers.
Archer practices Castor's icy, killer glare. Tito hands
him a lit cigarette. Archer brings the cigarette to his
lips -- then coughs harshly. But he keeps trying.
Castor smiles... then smirks and laughs. PULL BACK to
reveal Archer studying surveillance footage of Castor on
a monitor-screen -- mimicking him.
Archer fusses with his new hair, trying to cover the thin
spots. Giving up, he zips up his sweatshirt -- getting
the zipper caught in his new chest hair.
EXT. HOAG INSTITUTE - GROUNDS - DAY
Tito tosses a pistol. Archer catches it with his right
hand. But to Archer's surprise, Tito frowns.
TITO
Nice catch. But you used the
wrong hand.
He takes the pistol away -- and slaps it in Archer's left
hand. Then Tito shoves him -- challengingly.
TITO
Shoot me.
(as Archer
doesn't move)
Shoot me!
Tito pulls the gun against his own forehead.
TITO
You want to be Castor Troy? If
you hesitate for a breath, you're
finished! Now -- shoot me! Kill
me!
Archer holds the gun unsteadily. Tito is disgusted.
TITO
You can't do it... because Castor
is tougher than you...
BOOM! The GUN goes off -- the slug tears past Tito's
head. Shocked, he touches his left ear, making sure it's
still there.
Then Tito looks at Archer -- and sees the determination.
EXT. HOAG'S FACILITY - NIGHT
Clear and calm. God's night. Someone's God anyway.
INT. I.C.U. ROOM - NIGHT
Hoag leads Archer to a full-length mirror.
HOAG
Let's see if I missed anything
before I get my hands really dirty.
Archer removes the robe. He's amazed to see:
His own head on Castor's body: a flat stomach, hairy
chest, tattoos, thinning hair, etc. Hoag touches
Archer's scar.
HOAG
You realize this has to be
removed.
(as Archer
slowly nods)
Then here we go, Commander.
Through the Looking Glass...
INT. SURGICAL BAY - NIGHT
Unconscious, Archer is wheeled into the surgical bay,
Castor beside him. Hoag turns to the video technician.
HOAG
Make sure you get everything --
I'll need to study the tape before
the reverse surgery.
Hoag lowers an aerated Plexiglas mask over Archer's face.
Interwoven with integrated laser circuitry -- this Derma-
Induction-Device (D.I.D.) attaches via suction.
Hoag sights through the optical memory, squeezes the
trigger. A cobalt beam cuts around the face -- cleanly
slicing it. Then Hoag lifts Archer's face -- off of his
skull.
Brodie and Miller watch from above. Tito stumbles into
the nearby bathroom to throw up.
Hoag inspects Archer's face, then turns to his nurse.
HOAG
Vault it.
Hoag turns to perform the same procedure on Castor.
Castor's consistent EEG reading suddenly spikes
radically -- for a moment, it almost seems to stabilize.
Hoag glances over -- too late -- the spikes have
disappeared.
But the CAMERA CLOSES IN ON Castor's ear -- and we sense
that, somehow, his auditory nerves might be functioning.
DISSOLVE TO:
Scene 11 - The New Face of Troy
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
A head swathed in gauze. The bandages start to fall
away.
Tito, Miller and Brodie wait as Hoag removes the gauze.
The patient looks into a mirror.
Jon Archer has become Castor Troy.
he touches his new face. Archer stares... the cold
reality chilling his blood.
Archer buckles -- unprepared emotionally for what he's
done to himself. For a moment, he seems to teeter on
madness.
TITO
Jon -- are you all right?
Archer can't respond... he's somewhere the others can't
comprehend. Finally he emerges... shaken, but in
control.
TITO enters. Instinctively, he grabs for his holster.
ARCHER
Okay... I'm okay.
(realizes)
But my voice... I still sound like
me.
HOAG
I implanted a micro-chip onto your
larynx.
Hoag SWITCHES ON an AUDIO TAPE. Archer repeats Castor's
words as Hoag adjusts the chip with a wavelength box.
CASTOR (V.O.) ARCHER
Okay, I've got a Okay, I've got a
confession to make, but confession to make, but
you aren't gonna like you aren't gonna like
it... (etc.) it... (etc.)
After a few repetitions, Archer's voice matches
perfectly.
Archer yawns, squints and furrows his brow -- testing
every muscle. He stares into the mirror -- into the eyes
of his most hated enemy -- now his eyes. Archer slowly
turns to...
Castor. Motionless, swathed, dead to the world -- but
something about Castor's smile -- that mocking smile...
ARCHER
Now what?
TITO
We're down to 72 hours. Let's
call Lazarro. Castor Troy just
came out of his coma.
EXT. FBI HELIPORT - DAY
Armed agents take their positions around a helipad. A
jet-black helicopter drops from the sky like an angry
wasp.
EXT. HELIPAD - DAY
As Lazarro watches -- Tito escorts out a heavily-manacled
"Castor." Two armed agents leap from the chopper and
take charge of "Castor." He follows them pliantly,
until --
TITO
Watch this hard-case -- he'll bite
your nuts off if he gets the
chance!
Archer gets the message. He starts to resist the agents
and must be muscled into the chopper. He's manacled
down.
Eye contact between Archer and Tito -- both aware of this
very real point of departure. The CHOPPER DOOR SLAMS
SHUT. It lifts off like a twister and SCREAMS away.
EXT. HELIPORT - STAGING AREA - DAY
The watching team breaks up, wanders back to work.
LOOMIS
What a week for Archer to go on a
training op. Maybe we should try
to contact him.
WANDA
Forget it. He's knee-deep in
Georgia swamp by now.
They pass Brodie and Miller, who watch the chopper
disappear over the horizon. So far so good.
INT. CHOPPER - FLYING - DAY
The agent re-checks Archer's chains.
ARCHER
Don't forget -- I ordered a kosher
meal...
The agent smashes his elbow into Archer's gut. The
second agent presses an INJECTOR against Archer's leg.
PSSSST. Archer spasms against the drug -- then sags
unconscious.
INT. EREWHON PRISON - DELOUSING CUBICLE
Archer wakes up as a torrent of delousing spray hits him.
A guard holds a water cannon on the newest inmate.
Archer lies gasping on the steel floor, protecting his
face. The spray stops -- when head guard "RED" WALTON
enters.
WALTON
You are now an Erewhon inmate -- a
citizen of nowhere. Human rights
zealots, the Geneva convention and
the P.C. police have no authority
here. You have no right...
(slaps on latex gloves)
When I say your ass belongs to me
-- I mean it. Bend over.
Archer's face reflects the degradation as he bends over
and exposes all to the cavity-searching Guard.
Satisfied, Walton lets Archer dress. Another guard
places a pair of odd-looking steel boots before Archer.
WALTON
Step into them.
Archer inspects the lock-down boots. Hinged steel
collars hook over the shoe and encase the ankle. The
soles are gridded steel with magnetic inserts.
WALTON
Don't sniff 'em, you perv. Just
step into them.
Archer obeys. A guard squats down and locks the steel
collars over Archer's shoes. He tries to move -- but
can't.
ARCHER
They're too tight.
WALTON
So's a noose. Now keep your mouth
shut.
Walton JOLTS Archer with his HIGH-VOLTAGE SHOCK-STICK.
WALTON
The prison's one big magnetic
field. The boots'll tell us where
you are -- every second of the
day.
(into comm-link)
201 to Population.
Walton presses his thumb into a standard FBI scan-pad.
It forms a print -- positively identifying the guard.
The heavy blast-door automatically opens.
WALTON
I've got fifty bucks says you're
dead by dinner. Don't disappoint
me.
Walton prods Archer toward the door. To Archer's
surprise -- he can now move.
Scene 12 - Prison Confrontation and Medical Crisis
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 7
The inmates eat. Silence descends as Archer enters --
intensifying the constant HUMMING of the MAGNETIC FIELD.
Huge Dubov does a slow burn on seeing "Castor."
Scanning the room for Pollux -- Archer takes a seat next
to a LITTLE, GOATEED MAN with a French accent.
LITTLE MAN
Hey, Castor -- remember me?
ARCHER
Fabrice Voisine... sure, I --
(catches himself)
-- I believe Jon Archer busted you
for poisoning five members of the
the Canadian parliament?
VOISINE (LITTLE MAN)
Those scumbags should never have
voted against the Quebecois.
(a beat)
We heard you got wasted.
Archer sees the other inmates sizing him up.
ARCHER
Do I look wasted -- asshole?
Voisine shakes his head "no" -- then his eyes widen as...
WHAM. Dubov leaps onto Archer and starts pummeling him.
They slide across the table -- spilling everyone's lunch.
GUARD
(into comm-unit)
Central. I have a disturbance in
population. Go to lock down --
WALTON
(into comm-unit)
Hold that lock down.
Walton watches as Dubov throws Archer across the room.
Archer staggers to his feet -- and sees the encircling
inmates and guards looking at him -- unimpressed.
Especially his "brother" Pollux -- who watches
uncertainly.
Dubov attacks again -- but Archer is ready. He grabs
Dubov's fist -- just before it hits his face.
ARCHER
Never -- in -- the -- face.
Holding Dubov's fist firmly, Archer kicks Dubov
repeatedly in the groin. Metal boot meeting soft flesh.
Dubov staggers back -- hurt. Archer moves in for the
kill, savoring it.
Walton looks skyward.
WALTON
Lock 'em down.
INTERCUT WITH:
UP ABOVE - CENTRAL SECURITY
The prison's nerve center -- with video-feeds and
monitors designed to keep problems and privacy to a
minimum.
The two deputies react to Walton's call. Identifying
Archer and Dubov's signature-blips -- they throw the
appropriate switches and...
ZAP! The magnetic boots lock both inmates to the floor.
Dubov flails hopelessly -- but Archer's just out of
reach.
Crack! Walton punches Archer in the diaphragm.
ARCHER
What? He started it!
Walton smashes Archer harder -- he hits the floor.
ARCHER
When I get out of here --
WALTON
You'll what?
ARCHER
I'm going to have you fired.
His statement is so ludicrous, Walton laughs. Everyone
does. From the inmates' reactions, Archer knows he's
been accepted.
WALTON
(to Dubov)
That's two strikes, Dubov. One
more and you know where you're
going.
(to the others)
Back to your 'suites' -- or no
dinner.
As Archer drops into the line of cons -- he spots Pollux
waiting for him. Girding himself for this first
encounter -- he's got a plan.
POLLUX
Hey, bro...
ARCHER
-- Pollux?
POLLUX
Of course it's Pollux, what the
fuck's wrong with you?
Archer stares -- feigning confusion until Walton prods
him forward. Pollux watches his "brother" go -- very
concerned.
INT. ARCHER'S CELL - NIGHT
Archer lies on his cot -- staring at the ceiling.
Isolated, lonely, he realizes how easy it would be to go
insane here.
EXT. HOAG INSTITUTE - NIGHT
An insanely starry night. Van Gogh's night. The night
he cut off his ear, anyway.
INT. SURGICAL BAY - NIGHT
Castor's body lies inert. His life-support MACHINES
BLIPPING away. Until the EEG spikes. Once -- twice --
three times. Brain wave activity increases -- and
stabilizes.
Castor's fingers twitch. Then his fist clenches -- hard.
Castor's head is swathed in gauze. But his eyes pop
open.
Reflexively, Castor wrenches from the bed -- tearing out
the tubes and wires that tether him to life support. He
goes down -- in agony -- groaning.
He struggles to his feet -- staggering through the lab --
until he catches the reflection of his bandaged face in
the window. He quickly unwraps the gauze.
The discarded bandages fall at his feet... we don't see
what CASTOR sees -- but we hear him MOAN... then CHOKE...
then SCREAM -- the only moment Castor ever loses his
cool.
Finally composing himself -- Castor's hand grips the
phone and he dials.
CASTOR
Lars... okay, Lunt, then.
(rifling desk
documents)
Something really fucked-up
happened... I'm in trouble... so
listen very carefully...
EXT. HOAG INSTITUTE - NIGHT (LATER)
A RANGE ROVER SCREECHES up. At gunpoint, Lars and Lunt
manhandle Hoag into the lab.
Scene 13 - Confrontation and Deception
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Lars and Lunt hustle Hoag in. The lab is on. The
screens run -- scrolling through the video log of
Archer's surgery.
Hoag sees his terrified assistants -- bound with duct
tape.
HOAG
What's this about? What do you
want?
Lars shoves Hoag into a towering figure... we ZOOM IN ON
Hoag's glasses. And THROUGH the REFLECTION we see...
MAN WITHOUT FACE
Hoag reacts in horror at the raw muscle, cartilage and
bone. The man lifts a cigarette to his lips... then
exhales.
CASTOR
What do you think I want?
INT. PRISON - POPULATION - DAY
A huge wall-screen plays gentle nature scenes. Below --
the inmates engage in their exercise hour.
Voisine stares at the screen -- while Pollux carefully
watches his "brother" play basketball. Archer tosses up
an air-ball to the jeers of other inmates.
POLLUX
You realize, of course, that
magnetic humming is designed to
drive us insane. If we all don't
get brain tumors first.
VOISINE
And that same cloying Bambi tape
-- over and over...
POLLUX
It's like they're begging us to
riot. Where the fuck are we,
anyway?
(the game ends)
Gotta go...
Pollux trots over to Archer -- passes him his cigarette.
He studies Archer as he takes a drag -- and nearly gags.
POLLUX
... I'm worried about you.
ARCHER
Why?
POLLUX
Your jumpshot has no arc. You
used to swagger... now you swish.
You're gumming that butt like a
Catholic school girl.
(notices)
And why do you keep picking at
your finger?
Pollux has caught Archer reflexively tugging at his
phantom wedding ring. Archer immediately stops. He
takes a drag and holds it -- then exhales right in
Pollux's face.
ARCHER
I was in a coma...
Pollux sticks his finger under Archer's eye and pulls
down like a vet examining a sick dog. Archer pushes him
off.
ARCHER
My reflexes, my senses, my
memory... everything's jumbled. I
can't even tell you why Dubov
jumped me yesterday.
POLLUX
You Pollinated his wife the day he
was arrested. How could forget
that?
ARCHER
I've forgotten plenty. Look
around -- we've screwed over half
the freaks in here. What's gonna
happen to us if they think I've
lost it?
Pollux contemplates the other inmates -- circling, sizing
up the brothers like hungry sharks. Instinctively,
Pollux moves closer to Archer for protection.
ARCHER
I need you to play big brother for
once -- till I can fill in a few
blanks. Think you can handle
that?
Pollux nods grimly -- then Archer pulls up his sleeve,
exposing the pyramid tattoo.
ARCHER
I know I got this on my tenth
birthday. I just can't remember
why.
POLLUX
Man -- that was the worst day of
our lives!
Archer feigns a "struggle" with his memory. He lights a
new butt with the old -- chain-style... then "remembers."
ARCHER
Oh, God -- Mom O-D'd at County
General.
POLLUX
Retching and convulsing while
those bastards didn't even try to
save her sorry ass. You gave her
mouth to mouth -- man -- even then
you had some constitution.
(a beat)
Remember what you swore to me at
the funeral?
ARCHER
Uh -- to kill the doctors?
POLLUX
After that. You promised you'd
always take care of me.
ARCHER
And I bet I kept that promise...
POLLUX
Only one you've never broken.
Pollux curls into Archer -- in need of comfort. Archer
puts an affectionate arm around Pollux -- springing the
trap.
ARCHER
Screw the past. We've got the
future to look forward to.
(a beat)
We still have tomorrow.
POLLUX
No shit... five million bucks...
now those Red Militia crackpots
get to keep it.
ARCHER
That's not the worst part.
POLLUX
What's worse than losing five
million bucks?
ARCHER
Being stuck in this rat-hole when
it blows. What you built was a
work of art. It belongs in the
Smithsonian.
Pollux beams with pride -- Archer hangs on every word.
POLLUX
Yeah -- well... the L.A.
Convention Center will have to
do...
ARCHER
Thanks, Pollux.
POLLUX
'Thanks'? I guess they really did
fuck you up.
Then Archer smiles -- like Jon Archer. Without knowing
exactly why -- a wave of ill-ease overtakes Pollux.
Scene 14 - Confrontation with the Impostor
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 9
Archer paces impatiently... as the door rolls open.
Walton is looking at him with cool respect.
WALTON
You have a visitor.
Archer smiles to himself -- pleased at Brodie's
timeliness.
INT. INTERROGATION ROOM - DAY
Archer's boots lock down -- as the guillotine door rises.
But his confidence evaporates into unspeakable horror.
Because he finds himself staring into the blue eyes of --
Jon Archer. This man has Archer's face -- his real face.
IMPOSTOR
What's the matter? Don't you like
the new me?
Archer studies the image of his former self -- trying to
understand. Then he recognizes the smirk on the face,
the mocking twinkle in the eyes and he says what he
cannot say...
ARCHER
-- Castor...?
CASTOR
Not anymore.
ARCHER
It can't be. It's impossible.
CASTOR
I believe the phrase Dr. Hoag used
was 'titanically remote'. Who
knows? Maybe the trauma of having
my face cut off pulled me out. Or
maybe God really is on my side
after all.
(starts pacing)
By the way, I know you don't get
the papers in here.
Continuing to circle, he displays the current LA Times:
"INFERNO AT HOAG INSTITUTE -- Malcolm Hoag Dead"
CASTOR
Terrible tragedy.
Hoag was such a genius -- but
selfish with his artistry. I
actually had to torture his
assistants to convince him to
perform the same surgery on me.
ARCHER
You killed them?
CASTOR
Of course I killed them, you dumb
fuck. Hoag, his staff...
FLASH ON Hoag's body -- on the floor of the burning lab.
Two more burned bodies adjoin Hoag's.
CASTOR
Miller and Brodie --
FLASH ON Brodie and Miller -- dead in a mangled car
wreck.
CASTOR
I even paid a visit to your buddy
Tito.
ARCHER
He doesn't know anything about
this!
CASTOR
Come on, Jon. I think I know you
better than that. I only wish you
could have been there to see the
look on his face --
FLASH ON Tito... he smiles, then recoils in shock as
Castor lifts a pistol and shoots him... then he picks up
Archer's wedding band off the counter...
INT. EREWHON PRISON (PRESENT)
Archer stares -- thunderstruck -- at the wedding band now
on Castor's finger.
CASTOR
-- then again, I guess you were
there.
(a beat)
I torched every shred of evidence
that proves who you are. So
swallow this -- you are going to
be in here for the rest of your
life.
ARCHER
Castor, don't do this --
CASTOR
No discussion, Jon -- no deals.
Now if you'll excuse me, I've got
an important government job to
abuse, and a beautiful wife to
fuck. Excuse me -- I mean 'make
love to.'
Archer freaks out. He screams, flails -- unable to reach
Castor. Castor opens the door and guards rush in --
clubbing Archer and shocking him senseless.
WALTON
Sorry, sir.
CASTOR
It's quite all right. You never
know what to expect from a
psychopathic criminal...
INT. CELL BLOCK - DAY
The guards dump Archer into his cell.
WALTON
Better be nice, Castor. You could
get mighty lonely now that Pollux
is gone.
ARCHER
Pollux is -- what?
WALTON
Archer cut him a deal for turning
state's evidence. He's been
released...
ARCHER
Walton, you have to listen to me
-- right now!
WALTON
Or what? You'll have me fired?
(pushes a button)
You're confined until I say
otherwise...
The steel panels shut - silencing Archer's pleading
voice.
Scene 15 - Domestic Unrest and Disguise
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 7
Sipping a beer, Castor cruises past the suburban bliss:
men on hammocks; women chatting; kids playing tag.
CASTOR
(sickened)
Jesus, what a life.
Castor tries to catch a street address and rolls past...
ARCHER'S HOUSE
Dressed for work, Eve watches blandly as the car goes by.
A moment later, it backs up and parks.
Hiding the beer can, Castor forces a sheepish smile --
and gets out. She doesn't smile back.
EVE
I suppose it was only a matter of
time before you forgot where we
lived.
CASTOR
Sorry -- the job's been murder
lately.
Castor looks her over -- she's much sexier than he
expected.
EVE
So what happened to your
'important' assignment?
CASTOR
What do you know about it?
EVE
I know exactly what you always
tell me: Absolutely nothing.
CASTOR
It didn't work out the way
everyone thought it would. Where
are you off to?
EVE
I've got surgery.
CASTOR
Surgery -- are you okay?
Then he spots her medical bag. Oops.
EVE
Don't try to charm me -- I'm still
angry. There're leftovers in the
fridge.
CASTOR
Have fun at work.
Castor kisses her good-bye -- on the mouth.
EVE
What is with you?
CASTOR
Don't I usually kiss my wife?
EVE
No.
Castor reacts as she gets in the car and pulls out.
INT. ARCHER'S HOUSE - DAY
Castor steps inside, looks around.
CASTOR
What a dump.
INT. STUDY - DAY
Castor sifts through Christmas cards from holidays past,
studying the ones with photos. He's memorizing --
matching names to faces -- Wanda's, Buzz's, Lazarro's,
etc.
Something else catches his eye. He finds a floral
notebook -- Eve's diary -- and pages through it. Then,
he reads:
CASTOR
'... "Date-night" has been a
typical failure... we haven't made
love in almost two months...'
What a loser ...
Castor hears a voice. Glancing across the hall, he
sees...
GLIMPSES OF JAMIE
As she walks back and forth in her room, talking on the
phone -- and wearing only panties and a cropped T-shirt.
Castor steps closer -- enjoying the view.
CASTOR
The plot thickens.
INT. JAMIE'S ROOM - DAY
Jamie stamps out her cigarette.
JAMIE
-- I got your E-mail, Karl. That
poem was really sweet --
(spots Castor
at door)
Hang on a sec...
She slams it -- but he gets his foot inside.
JAMIE
I'll call you back.
(to Castor)
You're not respecting my
boundaries.
CASTOR
I'm coming in, Janie.
Castor pushes menacingly into the room.
JAMIE
'Janie'?
Castor spots her correct name embroidered on a pillow.
He gazes seductively -- unnerving Jamie as he steps
toward her.
CASTOR
I don't think you heard me...
Jamie... You have something I
want ...
He reaches for her -- and right past her. He picks up a
pack of cigarettes from the desk.
JAMIE
Clarissa left those here.
CASTOR
(shrugs and
lights up)
I won't tell mom if you don't.
JAMIE
When did you start smoking?
CASTOR
You'll be seeing a lot of changes
around here --
(blows a perfect
smoke ring)
Daddy's a new man.
Jamie stares, astonished, as Castor goes out.
INT. EREWHON PRISON - ARCHER'S CELL
Fists bloody, voice hoarse, Archer pounds at the cell
door. Exhausted, he finally stops -- staring at the face
of his enemy in the mirrored door -- the enemy who now
has total command of his life.
INT. FBI - LOBBY CHECKPOINT - DAY
Castor dons his stern "Archer" face as the gate guard
checks his thumbprint ID. He's cleared and waved in.
Scene 16 - The Partnership Plan
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
Buzz and Wanda watch Pollux through the two-way mirror.
He's gorging himself on a big lunch. Castor arrives.
BUZZ
Listen, sir... we just want you to
know...
WANDA
We're all really sorry about
Tito...
CASTOR
Yeah, well, shit happens.
Buzz and Wanda exchange a glance. To them, "Archer" is
just avoiding his feelings again.
CASTOR
How's our star witness?
BUZZ
He hasn't told us a damn thing
except what kind of mustard he
likes on his tongue sandwiches.
WANDA
If that bomb is out there -- we're
almost out of time.
LAZARRO (O.S.)
Archer!
Lazarro stomps toward them... furious. Buzz and Wanda
quickly excuse themselves.
LAZARRO
You made a deal with Pollux Troy?
He's 'a manipulative psychopath.'
Your own words, Jon!
CASTOR
Just let me do my job, Victor.
LAZARRO
The job I've been protecting for
the last eight years. From now
on, you go strictly by the book.
Everything gets cleared by me.
Understand?
Lazarro stomps off. Castor watches him go, wheels
turning.
INT. INTERROGATION ROOM - DAY
Castor enters -- shutting down the mikes... and the
blinds.
CASTOR
You're supposed to be snitching --
making me look good.
POLLUX
'Look good'?
(drops food in
disgust)
Seeing that face -- I want to
vomit.
CASTOR
I'm the one who has to look at
this butt-ugly mug every time I
pass a mirror. Look at my eyes,
my chin, my perfect nose -- gone!
(considers his
reflection)
Archer took my life, so I'm taking
his. Bro, I'm going straight.
POLLUX
Sounds like they took your brain,
too?
CASTOR
Imagine Dillinger as J. Edgar
Hoover. Carlos the Jackal running
Interpol. Kaddafi heading the
Mossad. Think of the secrets we
could sell...
Pollux listens carefully -- mind clicking like an abacus.
POLLUX
The drug agents we could expose.
The movie stars we could
blackmail!
CASTOR
That's just the bottom of the food
chain. Pollux -- what would
happen if somebody planted a bomb
on Air Force One?
POLLUX
... that somebody would get rich.
And, I suppose, the nation would
be pretty pissed-off.
CASTOR
Pissed-off, vulnerable... looking
for someone to step in, take
charge, give them hope again.
What if that someone was an F.B.I.
hero? A true Boy Scout and family
man -- with a spotless past.
Imagine where that guy could land
-- if the timing's right.
POLLUX
It's an audacious dream, Caz. But
Jon Archer is hardly a household
name.
CASTOR
Not yet he isn't. But after you
'confess' -- you'll be a free man.
And I'll be on my way...
EXT. CONVENTION CENTER - DAY
Police VEHICLES ROAR into position. Squads of police
evacuate throngs of people.
INT. CONVENTION CENTER - SUB-BASEMENT - EXTREME
CLOSEUP - BOMB TIMER - DAY
TICKS down to less than two minutes.
Working as a unit, the BOMB SQUAD carefully remove the
bomb's casing. Inside, the complex guts glow evilly.
The men are tense, cautious -- and way out of their
league.
BOMB LEADER
Jesus... Any suggestions?
TECHNICIAN
Yeah... run
Castor pushes up his blast visor. He looks grim.
BOMB LEADER
It's protected by a vibration
detector... One touch and...
CASTOR
Evacuate your team, Captain.
BOMB LEADER
Sir, you can't disarm it --
CASTOR
Just go!
The bomb squad hustles out. Waiting until he's alone,
Castor pulls a radio device from his pocket and hits its
switch. The bomb's glow dies instantly.
EXTREME CLOSEUP - TIMER
stops at 26 seconds.
BACK TO SCENE
Not satisfied, Castor starts it up again -- running the
timer down to four seconds. That's better.
Scene 17 - Castor's Deception and Archer's Bravery
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
The inmates eat lunch. Walton enters -- prodding a
beaten Jon Archer ahead of him.
WALTON
A special privilege today: TV --
by order of Agent Jon Archer of
the F.B.I...
Jeers from the inmates as the big screen changes from the
nature loop to... CNN.
ON SCREEN - CONVENTION CENTER
"Sweating," Castor lumbers out, carrying the disarmed
bomb.
ANCHORMAN (V.O.)
That was the scene at the L.A.
Convention Center, where an F.B.I.
agent is being hailed as a hero.
Agent Jon Archer disarmed a
powerful bomb just seconds before
it was set to explode. Let's get
the latest from Valerie Rice...
EXT. CONVENTION CENTER - DAY
Castor basks in the attention of the gathered media.
REPORTER RICE
The apparent target was a group of
Supreme Court justices -- due to
speak here today.
(thrusting microphone)
Mr. Archer, do you have any idea
who planted it?
CASTOR
That's classified. But if he's
listening I have a message for
him:
(directly into
camera)
Nice try. Now you know who's
really in charge.
INT. EREWHON PRISON - POPULATION
Watching the TV, Archer's enraged, frustrated. Then his
eyes focus... he watches closely as --
A guard uses his "thumbprint ID" to get through the
security door. Archer's eyes fall on the thumbprint scan
pad.
INT. FBI - BULLPEN - DAY
Castor gets a "thumbs up" from some co-workers, others
smile -- but they know better than to applaud.
CASTOR
Don't you guys watch TV? Where's
the parade?
They look at each other -- afraid. But proud rookie
Loomis starts clapping, so everyone else joins in rousing
applause.
CASTOR
-- Loomis, Buzz, uh -- Wanda...
all of you, thanks from the bottom
of my heart. Thanks for enduring
all those years I was an
insufferable boor. From now on --
consider me reborn.
WANDA
Stop the presses -- Jon Archer
found a personality...
Wild applause... interrupted by an excited Kim.
KIM
Sir... the White House is calling.
Castor acts startled... as if at a loss. Then he struts
toward his office -- pausing only to give Kim a playful
swat on the rump. She's stunned.
INT. ARCHER'S OFFICE - DAY
Castor surveys his new domain. He settles into Archer's
big leather chair... sees a framed photo of Archer and
family. He apes Archer's dumb posed smile...
CASTOR
Jon, your career is finally taking
of.
(picks up phone)
Archer. Sure I'll hold...
Waiting, he picks up a handbook: You and the FBI: A
Primer for New Employees. Then...
CASTOR
Mr. President, what an honor...
Castor pumps a "whacking off" gesture with his hand.
EXT. ARCHER'S HOME - DAY
Castor, carrying grocery bags, comes into the back yard
where Jamie practices free throws. He watches her miss.
CASTOR
How about a game of horse?
JAMIE
Don't make me beat your butt
again, Dad. It's harmful to my
developing psyche.
CASTOR
Afraid you'll lose?
Castor crisply sinks a free-throw. Jamie glares, takes
the ball -- and tosses an air-ball.
CASTOR
'H.'
Jamie sneers at him. He buries another one.
CASTOR
Try putting a higher arc on the
ball... and square your shoulders
to the basket.
Begrudgingly, she listens -- and sinks a clean shot.
Pleased, she nods. HONK! A BMW pulls into the driveway.
JAMIE
Gotta go. Karl's here.
Jamie trots over to greet KARL (17) -- a clean-cut
preppie. Opening the car door dor her, Karl waves,
smiling at Castor. Castor studies Karl carefully, not
liking what he sees.
Scene 18 - Dinner and Disturbance
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
A tired Eve opens the door. It's pitch black inside. As
she fumbles for the light switch...
MATCH
flares as Castor lights a candle. The dining room table
is set for a candlelight dinner. He smiles warmly at her
confusion.
CASTOR
Don't tell me you forgot. Eve --
it's date night!
DINING ROOM - LATER
Eve looks up from her pasta. After an awkward silence.
EVE
Why do I feel like I'm on a blind
date?
CASTOR
It's important to keep some
mystery... so things stay...
unpredictable.
Eve studies him as he pours her more wine. Her smile
slowly fades as she realizes what's going on.
EVE
'Unpredictable'? You're about as
unpredictable as the tide.
(detached)
How long are you going to be gone
this time?
CASTOR
Gone?
EVE
Isn't that what all this is about?
The wine, cooking me dinner --
your next assignment?
CASTOR
I'm not going anywhere.
EVE
You always say that -- then you
leave.
CASTOR
I bet I deserved that. I bet Jon
Archer is the most inattentive,
sexless spouse on Earth.
EVE
Jon, that's not true --
CASTOR
Of course it's true, but I'm
trying to change? I'm here
because I want to be alone with
you. I want to see the candle-
light dance in your beautiful --
Uh-oh. Castor can't tell the color of Eve's eyes. He
leans in "romantically" -- but we know the real reason.
CASTOR
-- brown eyes.
He smells her hair, then her shoulders, her skin. She's
aroused, but wary. So Castor goes in for the kill.
CASTOR
I wanted it all to be just
right... when I told you about my
promotion.
EVE
Your what?
CASTOR
Well, I don't have it yet. But
Lazarro's getting old -- he won't
be around forever. And I'm
getting the itch to move up.
EVE
Jon... that's wonderful.
CASTOR
So you see, I'm not going
anywhere. Unless it's upstairs
with you...
INT. BATHROOM - NIGHT
Castor carries Eve into the shower and spins on the
water.
He rips her blouse open -- on her like a vulture to
carrion. As they drop to the floor of the stall -- water
filling up around them -- Castor licks her ear and
whispers...
CASTOR
baby, it's like I'm having you for
the first time.
Dirty water runs down a floor drain... PULL BACK to:
INT. EREWHON PRISON - POPULATION - NIGHT
Desolate, Archer mops down the rec area.
ARCHER
Don't they ever let us take off
these boots?
VOISINE
Not unless you're sent to the
'Clinic.'
ARCHER
You mean if I get sick?
VOISINE
They don't give two fucks about
your health. The Clinic's where
they send the real hard-cases for
attitude adjustment. Dubov just
got sent down -- and look at
Wainwright --
Voisine gestures to a dazed inmate nearby -- WAINWRIGHT
-- who sits in a corner -- gnawing at his knuckles.
VOISINE
Toughest bastard I ever saw --
after you, of course. Now he's a
fucking drool case.
ARCHER
What did he do?
VOISINE
He hit a guard.
Archer sees Walton hovering nearby. Archer heads for
him.
WALTON
Looking for trouble, Castor?
ARCHER
As a matter of fact -- yes.
Crack! Archer decks Walton.
INT. PRISON - POPULATION - NIGHT
Walton and a guard herd Archer toward a steel door.
Scene 19 - Escape from the Prison Clinic
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Archer is dumped on the floor. He sees he's lying in a
puddle of something. He looks up -- and recoils.
ARCHER'S POV - DUBOV
is strapped to a vertical gurney -- post-procedure. His
limbs are stiff, his eyes blank as a mako shark's. But
his feet are bare -- bootless.
MED-TECH
Where's the mop, he puked all over
the place.
An assistant unstraps Dubov and drops him on a gurney.
MED-TECH
(mopping up)
-- next time, bring them in before
dinner...
Archer cases the place: Above is a catwalk... leading
out.
BACK TO SCENE
Walton muscles Archer into the gurney. The Med-Tech
smirks.
MED-TECH
Oh happy day -- Castor Troy.
The Med-Tech wheels the ECT head-gear cart into place:
twin needle-like BOLTS ready to fit into ARCHER'S ears.
A single blue static spark jumps from the bolts.
Walton roughly wedges Archer's head into the head gear,
shoving the chewed-up bite strap into Archer's mouth.
WALTON
Bite hard, scumbag, 'cause you'll
be gumming baby food from here on
out.
MED-TECH
Get his boots, Sergeant.
Walton unlocks Archer's first boot and pulls it off. As
the Med-Tech starts to fasten Archer's arm -- Walton
unlocks and pulls off the second boot.
Archer's feet are free. Crack! He yanks his foot up
hard -- Walton reels back, stunned.
One arm still restrained, Archer backrolls in the gurney
and kicks the head-gear cart away -- knocking it into the
Med-Tech who collapses onto it, hitting "Test" --
ZAP! The HEAD-BOLTS FIRE, catching the Med-Tech through
the shoulder -- he drops to the floor, his synapses shot.
Seeing that Archer is still restrained by the arm -- the
assistant darts out of the room.
As Archer pulls free -- Walton looms over him -- gun
poised.
Then -- wham! Dubov wallops Walton -- using his boots as
brass knuckles. The head guard collapses.
Dubov smiles dumbly at Archer -- all trace of vendetta
now obliterated. Archer nods gratefully -- they're on
the same team... at least for now.
Suddenly the ALARM BLARES.
Archer sees guards charging the room. He tries closing
the door -- but the guards arrive. Dubov lumbers over
and puts his massive weight into it -- and slams the door
shut.
O.S., guards POUND at the now-locked door.
Archer quickly frisks Walton -- coming up with a
cigarette lighter. he pockets it.
Scanning around -- Archer leaps onto a mounted, hinged
lamp. it swings against the wall. Archer uses it to
reach the catwalk above.
ARCHER
Dubov -- come on!
Dubov obeys and follows Archer up onto the catwalk.
A groggy Walton muscles open the door from inside.
Guards pour in. Walton grabs an AUTO-RIFLE and opens
FIRE.
SLUGS chase Archer and Dubov as they flee through the
catwalk door.
INT. CENTRAL SECURITY CONTROL
Two guards watch Archer and Dubov disappear off the
clinic's monitor. They grab their shock-sticks and rush
for the door.
The door opens -- revealing Dubov and Archer. Perfectly
in synch -- they double cold-cock the startled guards.
Archer grabs a shock-stick -- and fuses the door shut.
He yanks out wires and shatters the computers. Dubov
mimics the behavior -- ripping out an entire console --
and revealing a narrow cable duct.
Flames explode -- shorting the circuitry -- the DRONING
HUM RISES -- the magnetic power monitor shows a dangerous
surge.
AROUND PRISON
Chaos. Guards scatter as the huge diamond-vision SCREEN
EXPLODES and inmates are flung like rag-dolls by their
short-circuiting boots. Anything metallic flies into the
magnetic domes.
SECURITY CENTRAL
As the men back through the cable duct -- Archer
struggles to replace the heavy console.
The DOOR is BLOWN open. Walton enters to find... no one.
Then his eyes light on the console -- slightly askew.
INT. CABLE CORRIDOR
Archer and Dubov rush down the tight corridor -- and
around the bend. The corridor ends in a...
STORAGE/MAINTENANCE AREA
Lined with tools, toilets, sinks, a rack of old lock-down
boots. They race through the far door...
Scene 20 - Escape from the Labyrinth
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Archer and Dubov find themselves in a multi-level
labyrinth. A hundred feet high -- criss-crossed with
catwalks, staircases and high walls.
ECHOES resound -- SHOUTING, FOOTSTEPS GETTING CLOSER --
they seem to be coming from all around them.
Over the magnetic HUM -- Archer notices loose screws and
other metal debris stuck to the sheer wall. He pulls one
screw away -- and lets it fly back into the polarized
wall.
Archer gets an idea -- and looks back the way they came.
SMASH CUT:
SHEER WALL
Archer and Dubov scale the face -- using the old metal
boots. They climb higher and higher as...
Guards criss-cross the catwalks and staircases below and
around them -- oblivious.
Archer and Dubov almost reach the next level when...
WALTON
There!
BULLETS SMACK the wall around them -- just as Archer and
Dubov reach the next catwalk.
Archer spots the emergency exit security door at the far
end. But four guards descend on them -- and block their
way.
Fist fight as Archer and Dubov take on the attacking
guards. Archer heaves one down the stairs -- into more
guards. Dubov drops another over the catwalk.
They continue their desperate race for the door --
reaching the landing. As BULLETS PING around them --
hulking Dubov rips away a floor panel. He uses it as a
shield as Archer sparks up Walton's lighter.
As SLUGS EXPLODE into the shield -- Archer places the
flame to his thumb... and peels off the skin mold.
He presses his thumb to the door's keypad. To his
horror, its LED reads "print unreadable."
Walton and guards movie in, FIRING at closer and closer
range.
Dubov staggers under the FUSILLADE OF BULLETS. The
shield is repeatedly punctured -- and is quickly
disintegrating.
Archer licks his thumb, tries again. Finally it reads
"Clearance Confirmed"... the door slides open.
ARCHER
Let's go!
Dubov heaves the shield at the encroaching guards -- but
as he turns to follow... Walton BLOWS him away.
Archer reaches to pull Dubov through, but the riddled
inmate ignores the helping hand. Pulling the door shut,
he collapses in front of it -- blocking it momentarily.
INT. HIGH CATWALK TOWER
Archer hesitates for a moment... but that's all he has.
he keeps going... up the winding staircase-catwalk --
higher and higher -- a step ahead of the onrushing
guards.
As BULLETS CLANG around him -- Archer reaches the top.
He ignores a sign which reads...
EMERGENCY EXIT ONLY
SAFETY LINES REQUIRED
He charges straight up a ladder and plows right
through --
SMASH CUT:
EXT. PRISON - DAWN
Archer's blinded -- it's daytime in the real world.
A sea gull flies across his face -- as we FOLLOW the
bird...
PULL WAY, WAY BACK to reveal:
The prison's in the middle of the goddamn ocean, in what
appears to be just an abandoned, rusty oil rig platform.
Archer rushes over to a transport chopper.
INSIDE COCKPIT
Archer searches for the keys. No go. He throws
switches. Nothing works.
Guards pour out of the hatch -- FIRING. Archer leaps
from the chopper and jumps over the side to the
platform's --
LOWER LEVEL
He lands hard on the slanted, corrugated shed roof and
rolls to the ground. He grabs a high-pressure hose --
and cranks the pressure valve -- as the pursuing guards
close in.
Archer BLASTS the guards with the WATER CANNON --
knocking Walton and others into the sea. Archer upends a
stack of oil barrels -- which roll into more guards.
Archer spots:
TUGBOAT
pulling a Zodiac dinghy -- heading out to sea.
Archer jumps up a stack of pipes to the south rail --
where the end of a crane's hook is tagged back. Under
FIRE -- Archer frees the hook, which swings away from the
platform.
Hanging on to the hook, it swings him out over the ocean.
At the apex -- le lets go and plummets down into...
CHOPPY SEA
He pulls himself into the ZODIAC and frees it from the
tug. It ROARS off.
EXT. ZODIAC - MOVING - DAY
The nylon craft zips through the waves -- approaching San
Pedro Harbor. The ENGINE SPUTTERS... low on gas.
ARCHER
Come on... come on...
Archer senses something... He looks up and...
Whoosh! Something swoops down -- but it's just a
pelican.
He FIDDLES with the ENGINE -- which finally DIES. Archer
grabs the oars -- about to start rowing when --
Another swoop! This time it's the prison chopper.
Archer spots a string of buoys dotting the harbor. An
idea.
WIDE SHOT
The chopper settles over the Zodiac.
Wind and water swirl around Archer...
CHOPPER
Walton, drenched but obviously rescued, has archer in his
sights... He starts to FIRE his MACHINE GUNS...
ZODIAC
BULLETS RAIN down on the boat -- destroying it -- as
Archer dives into the rolling swells...
INSIDE CHOPPER
Walton RAKES the debris -- shredding it.
The chopper does a final circle of the wreckage... then
moves off... its ROTOR WASH THRASHING the buoy.
UNDER BUOY
Archer has crawled up into the hollow buoy -- sucking
air.
Scene 21 - Mourning and Consequence
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Eve's asleep. Castor, dressed, looks down at her like
Cortez at Montezuma -- triumphant, with overwhelming
power.
EXT. DRIVEWAY - DAY
Heading for the car, Castor is about to light up when --
EVE
Last night, I thought -- this
isn't my husband.
He pockets the smoke. Eve is there, dressed somberly.
EVE
Then I woke up in the middle of
the night -- and found you passed
out in the study.
CASTOR
I couldn't sleep -- you roll
around a lot.
(jingles car keys)
Anyway, I'm late.
EVE
Jon, you know what day it is. I
know it's difficult for you, but
we still have to go.
CASTOR
Can't we skip it just this once?
I gotta 'protect and serve', you
know.
EVE
'Protect and serve' later. You're
going.
CASTOR
Okay, if you insist. But -- you
drive.
He climbs into the front seat beside her.
INT./EXT. CAR - MOVING - DAY
A pastoral, hilly area near the coast.
CASTOR
So who's this Karl creep Jamie's
been seeing? He's a little old
for her, isn't he?
EVE
I don't know... they're about the
same ages we were when we met.
(smiles)
Remember the all-night dentist?
CASTOR
Sure, how could I forget.
(changes subject)
By the way, you never said
anything about last night...
He moves closer, stroking her hair as his BEEPER sounds.
EVE
Aren't you going to get that?
He turns his beeper off, then touches her lips with his
finger. Without knowing exactly why, Eve tenses up.
EVE
Jon -- this is hardly the time or
place.
Castor looks around in surprise because he sees she's
driving into --
SPRAWLING MEMORIAL PARK
They drive through the gates -- passing a church marked
"ST. MARY'S-BY-THE-SEA." Nearby, the OCEAN ROARS.
EXT. ST. MARY'S CEMETERY - DAY
It's beautiful here, striking and sad. Now on foot,
Castor follows Eve up a bluff, through a phalanx of
graves -- with no idea where she's leading him.
Finally she stops at a crucifix-topped headstone. Castor
joins her and reads the etched marble stone:
Matthew Archer, Age 5
Beloved Son & Brother
We Cherish You Always
Stunned, Castor watches as Eve kneels beside the marker.
EVE
Happy birthday, Matty.
She places a few child's toys on the marker... a shark...
a little bulldozer... a spaceship. Overwhelmed with
grief, she collapses into Castor.
EVE
He took our baby, Jon. He took
our little boy.
FULL SCREEN - CASTOR'S FACE
He stares at the grave of the boy he killed -- the boy
whose mother is weeping into his chest.
The ever-present smirk is long gone as Castor stiffly
returns Eve's embrace -- maybe, just maybe, feeling the
victim's pain.
CASTOR
Stop crying... stop crying...
stop ...
INT. FBI BULLPEN - DAY
Shaking off his funk, Castor arrives at the office.
WANDA
You picked a helluva day to leave
your beeper off!
CASTOR
What happened?
WANDA
Castor's dead!
CASTOR
He's -- what?
BUZZ
Somehow he escaped from Erewhon.
But a prison chopper mowed him
down just off Long Beach Harbor...
CASTOR
Where's the body?
WANDA
It hasn't been recovered yet.
CASTOR
'It hasn't been recovered yet!'
You people have no idea who you're
dealing with!
(beat)
I want everyone on this, reports
on the half hour, and all leads
get routed through my office.
Buzz, alert the L.A.P.D.
BUZZ
L.A.P.D.? Even if he is alive,
Castor isn't stupid enough to come
back to the city.
CASTOR
He's alive -- and he's already
here. Move!
EXT. PIER - NIGHT
Something bobs up in the surf. Archer is thrashed ashore
by the breakers... he crawls gasping onto the sand. He
takes a few breaths -- then staggers up onto the beach.
EXT. TITO'S STREET - NIGHT
Archer's heart sinks as he sees the yellow police cordon
taped across Tito's front door. Some teenage cholos
notice him -- so Archer keeps right on going.
Scene 22 - Race Against Time
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
A rear window is forced open -- Archer pulls himself in.
In the dim light, he sees the bullet hole on the wall...
then the blood stains within the forensics chalk marks.
He buckles and has to sit down. Taking a deep breath, he
picks up the phone and dials.
ARCHER
Dr. Archer please. It's an
emergency.
(listens)
-- Her husband.
Archer waits. He pinches his throat -- trying to
dislodge the vocal implant. His voice scrambles into
garbled static.
ARCHER
Hello, Eve -- I know this sounds
crazy, but --
(reverting back)
Dammit.
INT. HOSPITAL - ER - NIGHT
EVE deftly stitches up a gash above little IRIS's (8)
eye.
EVE
How did this happen, sweetie?
IRIS'S DAD
She fell off her Big-Wheel.
Something about his too-quick response rankles Eve. She
eyes the yuppy Dad with suspicion -- then notes some
bruises on the child's arm. A NURSE enters.
NURSE
Dr. Archer -- your husband's on
three.
EVE
Get Child Services down here --
and don't let her father leave.
(goes to wall-phone)
Jon? Hello?
INTERCUT Archer and Eve as necessary.
ARCHER
Eve, listen carefully. The man
you think is your husband --
isn't.
EVE
Who is this?
ARCHER
Please, just listen! Take Jamie
and go to your mother's in Santa
Fe. Don't tell him where you're
going -- just go.
EVE
Whoever you are -- don't call
again...
CLICK. Archer sags in futility. A SIREN snaps him back
to reality.
Archer goes to the window and carefully peers out.
A squad CAR ROARS INTO VIEW -- then continues on its way.
ARCHER
I need to speak to Director
Lazarro immediately... I have
information about Castor Troy.
Waiting... Archer rifles the room... finding car keys...
a baggy jacket... Then...
INTERCUT WITH:
INT. FBI OFFICE
CASTOR
This is Jon Archer. Who's
calling?
Archer pauses... hearing his own voice speaking to him.
ARCHER
Well, if you're Jon Archer... I
guess this must be Castor Troy...
CASTOR
I've gotta hand it to you, Jon.
You're doing a damn respectable
job of being me. But let's face
it, we both liked it better the
way it was. So before the cops
blow your brains out -- why not
tell me where you are...
ARCHER
If you were really me, you'd
know -- no discussion, no deals.
Archer hangs up == leaving Castor stewing.
EXT. GARAGE - NIGHT
The automatic door lifts -- revealing Tito's old Buick.
The big V-8 RUMBLES as Archer pulls out. He doesn't get
far as... menacing CHOLOS block his way.
CHOLO # 1
Where are you going?
CHOLO #2
Ten bucks he's the guy who popped
Tito!
The Cholos surround the Buick. Archer's cornered like an
animal as the angry teens pound on the windows.
Archer HITS the GAS -- scattering all except Cholo #1 who
jumps on the hood. Archer SLAMS the BRAKES -- sending
the guy flying. He lands hard, but is only shaken up.
As Archer roars off, Cholo #1 pulls out his cell phone.
CHOLO #1
9-1-1? I want to report a stolen
car and don't put me on hold!
INT./EXT. BUICK - MOVING - NIGHT
Archer drives on -- listening to KFWB.
RADIO REPORTER (V.O.)
... the escapee is considered
extremely dangerous. If you have
any information concerning the
whereabouts of Castor Troy...
He SHUTS it OFF as he sees in the distance:
HIS OWN HOME
FBI and LAPD vehicles are parked in front. No way he's
getting near there.
In his rearview mirror Archer spots a cop car
approaching. He quickly turns a corner as the cop slowly
cruises by.
ARCHER
No, Jon... you have to think like
Castor. Where would he go...?
Archer gets an idea. But as he drives on -- the cop car
backs up -- and reappears INTO FRAME.
EXT. MELROSE DISTRICT - NIGHT
Dietrich locks up his chic art gallery. He gets in his
Lexus and drives out of the parking lot.
Scene 23 - The Confrontation
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
Dietrich slows down to check out the forensics team
swarming all over Tito's parked Buick. Dietrich quickly
averts his face as he spots... "Jon Archer" inspecting
Tito's Buick.
DIETRICH
Jon Archer... some poor schmuck's
in big trouble.
ARCHER
Yeah -- me.
With surprising speed, Dietrich yanks a pistol from
someplace and jerks around --
Archer -- hunkered down in the back seat -- stares into
the barrel of Dietrich's pistol.
DIETRICH
Jesus Christ, Castor.
ARCHER
Drive. And punch up your
cellular -- I need you to make
some calls.
DIETRICH
You're gonna get me busted!
ARCHER
You're already busted, Dietrich.
It's just a matter of time before
they pick you up.
Dietrich snakes the car past the crime scene and speeds
off.
DIETRICH
Man, when you came to me about
that bomb -- I knew I should have
blown you off... but that's my
fucking curse -- I just can't say
no to a friend.
ARCHER
You can't say no to money.
DIETRICH
That's my other curse.
EXT. DOWNTOWN - LOFT - NIGHT (LATER)
Cars pull up in front of a gentrified loft amid the low-
rent streets.
Emerging from them are several thugs -- including Aldo,
Fitch and their sexy girl friends, LIVIA and Cindee.
INT. DIETRICH'S LOFT - BATHROOM - NIGHT
Archer splashes water on his face -- then stops and
listens as the DOORBELL RINGS. He screws up his courage.
ARCHER
You're Castor Troy... This is your
old crew -- you don't take shit
and you don't take no for an
answer...
Scene 24 - Archer's Plan Unveiled
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 8
The thugs admire the loft -- dominated by an enormous,
in-progress mural and stunning glass-bricked floor.
ALDO
Helluva place, Dietrich. So
what's the big surprise?
Archer emerges. The men are stunned -- the women beam.
FITCH
Are you crazy? You're going to
bring the Feds down on all of us!
ARCHER
Archer doesn't want you, he wants
me! But I'm going to get him
first -- with your help.
ALDO
Archer's a damn celebrity now --
he's untouchable -- and you're
radioactive.
He turns to leave. Archer wheels him around and smashes
him into the wall. Aldo goes for his gun, but Archer's
too quick -- he strips him of it.
The four bodyguards draw their weapons -- and surround
Archer.
ARCHER
You wanna face-off with Castor
Troy? Come on, then! Come on!
'Cause I've had a real bad day...
Four against one -- and everyone's sweating but Archer.
One-by-one, the bodyguards back off. Archer points the
gun at Aldo -- then smiles and hands it back.
ARCHER
You're all forgetting who the real
enemy is.
(to Aldo)
Six months ago, Jon Archer hauled
you in for questioning. He
rattled you so bad -- you shit
your Armani suit right there in
the interrogation room.
Aldo blanches -- how did Castor know that? Fitch laughs.
ARCHER
You laugh, Fitch -- the way Archer
laughed at your last arraignment,
when you got down on your knees
and tried to blow your way to
freedom.
Stunned, Fitch cringes as everybody cracks up.
DIETRICH
We all have a reason to hate Jon
Archer. We all want to see him
dead --
ARCHER
And nobody's untouchable if we say
he's not.
The thugs exchange a glance... reading each other...
considering.
DIETRICH
It's all worked out. Caz has
Archer's routine down cold.
ARCHER
We start with your basic
kidnapping. Then -- a little
surgery.
FITCH
Surgery?
ARCHER
I'm going to rearrange his face in
a way you won't believe.
ALDO
You're an evil bitch, Caz. But
you've got balls of titanium.
Count us in.
Archer sighs with relief -- pleased with his performance.
DIETRICH
Come on -- let's drink to it!
FULL SCREEN - BLUE CAPSULE
Dietrich cracks it open -- powder sifts into a big high-
ball glass filled with mescal. he hands it to Archer.
DIETRICH
How about one of your famous
toasts, Caz?
They all look expectantly at Archer... he's at a loss.
ARCHER
To old jobs, new jobs and -- uh --
blow jobs?
Silence -- then they crack up. Reluctantly, Archer
swallows the tumbler of mescal... he fights back the urge
to puke.
LIVIA
Enough business, Caz. Let's
dance.
ARCHER
Sorry... I don't...
She drags him onto the glass floor. Cindee puts on some
MUSIC as Archer's head begins to spin. The girls start
"dancing," grinding Archer between their taut bodies. He
tries to avoid it, but Livia kisses him -- hot, moist.
LIVIA
Remember the Charger's game, Caz?
The owners box? We did it four
times.
ARCHER
Sure I remember... Once a quarter,
right?
Archer's eyes fall on the series of abstract paintings.
The twisted renderings make his head spin worse... as he
starts to hallucinate... surrounded by enemies -- he
struggles to regain control of his battered psyche.
LIVIA
Caz? Are you okay?
He pulls away and stumbles down the stairs -- toward the
kitchen.
DIETRICH
When even Castor Troy can't handle
a tab of Quantrex...
(raises his glass)
That, dear friends, is the first
sorry whiff of old age.
INT. KITCHEN - NIGHT
Archer has his mouth under the tap -- drinking greedily.
Woozy, he takes a breath... and notices a reflection in
the window above the sink. Archer turns to see -- Sasha.
ARCHER
-- Sasha Hassler. Age 35. Met
Castor Troy in Austin, Texas, at
Pearl Jam reunion...
(catches himself)
Uh, how you doing, baby?
She responds by slapping him -- hard.
SASHA
What the hell are you doing here?
You're supposed to be dead...
He wobbles, then falls flat on his face. Out cold.
INT. ARCHER'S HOME - BALCONY - NIGHT
Castor's chain-smoking, looking out over the city --
wondering where Archer might be hiding. But something
breaks his rumination. He sees --
DOWN STREET
A BMW pulls up to the curb. The THUMPING MUSIC from
within GOES QUIET, but no one emerges.
Scene 25 - Intervention and Confrontation
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
Curious, Castor approaches the car, keeping a safe
distance. He can see Jamie inside, struggling with Karl.
JAMIE
No... Karl, please.
He "shushes" Jamie -- but doesn't stop pawing her.
JAMIE
My father -- he's got a gun --
he'll -- he'll --
KARL
(pulls open belt)
That wimp won't do shit.
SMASH! The passenger WINDOW EXPLODES inward. Castor
drags Karl out by his hair. Jamie scrambles out and
flees toward the house as...
CASTOR
Who are you to call Jon Archer a
wimp?
Castor heaves Karl into the WINDSHIELD -- SPIDER-WEBBING
it. Somehow the kid finds his feet and stumbles behind
the wheel. The Beemer lurches away.
INT. HOUSE - NIGHT
Castor enters to find Jamie, still shaken up.
CASTOR
What are you -- stupid?
JAMIE
That's just like you. Some guy
tries to rape me -- and you side
with him.
CASTOR
Did it look like I was siding with
him? Did it?
(she falls silent)
You want to play with scummy organ
grinders, you better be prepared.
Do you have protection?
JAMIE
You mean like... condoms?
CASTOR
I mean like... protection.
With a fluid motion, Castor expertly SNAPS open a well-
oiled SWITCHBLADE and hands it to an astonished Jamie.
JAMIE
For me?
CASTOR
Next time -- slip it in low, then
twist it -- so the wound doesn't
close.
She hugs him tight -- taking Castor by surprise. But he
responds momentarily. About to pat her rump -- something
makes him stop.
CASTOR
Go on, get out of here.
Jamie kisses him and heads up stairs. After she's
gone...
CASTOR
No wonder he spent all his time
chasing me. Who can deal with
this family shit?
The PHONE RINGS. He rushes to the den and picks it up.
CASTOR
Jon Archer.
(immediately alert)
Where is he?
EXT. LOFT - ACROSS STREET - NIGHT
Using night-vision goggles, Pollux watches Sasha close
her drapes. Visible in the b.g. on the sofa -- is
Archer.
POLLUX
(into cell phone)
-- I thought he might visit some
old friends of yours. And bro, if
I didn't know better -- I'd swear
this guy likes being you...
INT. SASHA'S BEDROOM - NIGHT
Archer wakens. Sasha is tugging off his pants.
ARCHER
Uh -- can't we just talk?
SASHA
Talk? The only talk I ever heard
from you was 'take it off,' 'sit
on it,' 'I'll pay you tomorrow.'
She pulls out some fresh clothes -- and dumps them on
him.
SASHA
Take off the rest of those rags
and get dressed. Then get out.
ARCHER
Not until I finish my business
with your brother.
SASHA
I told him to keep those creeps
away -- but you're just too big an
attraction.
(calming herself)
Look, if the F.B.I. finds out
you've been here -- I'll lose my
son. So please, just go.
For the first time, Archer sees not a hardened felon --
but a frightened, protective mother. And he realizes the
effect his own relentless obsession has had on her.
ARCHER
I know I've done some things that
made your life harder...
SASHA
How would you? You walked out and
never looked back.
ADAM enters, heading for his toys -- his presence cooling
Sasha's deep-seated anger. Archer finishes dressing.
ARCHER
I'm not the same person you
remember. And for what it's
worth, I'm sorry...
Her harsh look softens imperceptively -- like that of a
woman trying to hate someone she still loves.
ARCHER
Not a bad fit.
SASHA
They should. They're yours.
ARCHER
Nice-looking kid, too
SASHA
Of course he is...
Sasha fidgets, struggling with a deep inner turmoil.
Then...
SASHA
Adam, come here... I want you to
meet your father.
Archer's face pales over in shock.
EXT. SASHA'S ROOM - NIGHT
Their silhouettes are visible against the shades.
PULL BACK...
Scene 26 - Crossfire
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Castor, Buzz, Wanda and Loomis peer at the silhouettes.
CASTOR
(into cellular)
We've got him sighted. Okay,
Pollux, pull out.
BUZZ
What makes you so sure this guy's
gonna set up his own brother?
CASTOR
I've never been more certain of
anything. Get everyone in
position. Remember -- shoot to
kill.
Before Buzz can object, Castor's eyes say "don't argue."
BUZZ
You heard the man -- let's saddle
up!
INT. SASHA'S ROOM - NIGHT
Playing with his toys, Adam does not see Archer's icy
gaze.
ARCHER
How old is he?
SASHA
Five. No one knows you're his
father. I thought someone might
want to hurt him -- just to hurt
you...
ADAM
Bang! Bang! Bang!
Startled, they turn to see Adam pointing a toy gun at
them. Upset, she takes it from his hands.
SASHA
You know Mommy doesn't like you
playing with these things...
She kicks the toy aside and lifts Adam -- offering him to
Archer. Awkwardly, Archer takes the boy.
Archer's emotions avalanche as his grip tightens -- his
big hands dwarfing the little boy's body.
SASHA
You're not holding him right...
Caz...
Archer isn't hearing Sasha. He's lost in his own
memory... the sound of a CAROUSEL... a KID'S LAUGHTER...
a GUNSHOT...
Then Adam smiles -- perhaps the way Matthew once smiled.
It pulls something up from inside Archer -- something
strong. He regains control, dumping the child into
Sasha's arms.
ARCHER
He's not my son.
SASHA
Yes, he is -- !
Then something alerts Archer -- maybe the fleeting
shadows that blot out the window-light for the barest
second.
ARCHER
Get down!
K-BOOM-BOOM-BOOM-BOOM! The WINDOW PANES SHATTER -- as
TEARGAS GRENADES and GUNFIRE riddles the loft.
OUTSIDE
across the way, Castor directs the FIREPOWER.
INT. UPPER LEVEL
Chaos. A bodyguard is mowed down. Dietrich and the
others scatter and hit the floor.
KITCHEN
Cindee and Fitch are caught in flagrante delicto on the
floor as the kitchen is decimated by GUNFIRE...
SASHA'S BEDROOM
Coughing, Archer crawls through the roiling smoke toward
the door. He's almost out when...
SASHA
Adam!
Her wail of fear freezes Archer. He looks back -- and
sees Adam in the eye of the firestorm.
Archer's face betrays his conflict. A child -- but his
worst enemy's child.
BULLETS SHRED the WALL around Adam. Getting closer.
Archer moves -- he crawls toward Adam.
Just then -- a SWAT agent rappels in through one of the
shattered windows, his weapon poised. Archer kicks him
hard, pitching him back through the window.
Archer grabs Adam -- curling him into his body. Thinking
fast, he soaks his discarded T-shirt into a toppled
flower vase -- then places it over Adam's face.
Protecting him.
He rushes to Sasha. Together, they barrel through the
soft, paper wall and tear out an escape route.
Scene 27 - Escape from the Loft
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
FIRING out the window, Fitch is riddled from outside by
an agent as he CRASHES through the WINDOW.
Cindee slashes the agent with a cleaver. He FIRES --
BLASTING Cindee into the refrigerator.
LOWER LEVEL
Archer hustles Sasha and Adam toward the staircase
when --
FRONT DOOR
explodes open. SWAT agents swarm to get in -- FIRING and
throwing FLASH-GRENADES.
ARCHER, SASHA AND ADAM
are caught out in the open, when --
UPPER LEVEL
Dietrich, et al, open FIRE down on the attacking agents.
Agents drop or are driven back out.
SKYLIGHT
BURSTS open and agents rappel down -- FIRING. Aldo's
bodyguard falls, riddled, off the upper level.
LOWER LEVEL
as one agent lands, Archer knocks his gun to the floor.
They grapple. As the agent reaches for it -- Adam
appears and kicks the gun away. Just like Mommy.
SASHA
scoops up the kicked weapon -- and cold-cocks another
rappelling agent. Then she FIRES, cutting a third
rappelling agent's rope. he drops hard to the floor --
unconscious.
Still grappling, Archer rips off the agent's gas-mask...
ARCHER
Buzz...
Buzz's eyes reveal only hatred. He reaches for his
knife. Archer hesitates, then heaves Buzz through the
glass door. He pushes Adam upstairs as more agents pour
in the front door.
ARCHER
Dietrich! The painting!
UPPER LEVEL
Dietrich sees the canvas mural above the breached front
door -- and understands. He opens FIRE, cutting loose
the mural. It collapses, billowing -- and enshrouds the
attacking agents -- and buying time.
DIETRICH
Let's go!
Archer and Sasha flee up the stairs.
UPPER LEVEL
Sasha sees Adam huddled in the middle of the glass floor
-- the shadows of agents moving below.
SASHA
Adam!
LOWER LEVEL
An agent aims his shotgun at the glass floor -- at the
"target" kneeling on top of it.
UPPER LEVEL
Archer dives and grabs the boy as the GLASS FLOOR
EXPLODES up. He rolls through a shower of glass -- but
comes up with Adam safely.
Agents and thugs FIRE blindly upward and downward through
the floor -- desperate to hit their targets.
Agents open FIRE from the girders supporting the roof --
cutting down Fitch's last bodyguard.
DIETRICH
They're like cockroaches!
Dietrich and Livia toss SMOKE GRENADES into the loft --
covering their escape.
TOP LEVEL
Dietrich leads them to the very back of the loft. He
pulls open a hidden door.
DIETRICH
If we make it, we'll meet up at my
Malibu place. You remember it,
Caz?
ARCHER
Off Kanan Road -- I know it.
Archer hands Adam over to Sasha. She hugs her little boy
-- then embraces Archer tightly. Hanging on -- near
tears -- because she knows this may be the last time.
SASHA
Thank you, Caz... thank you...
ARCHER
Get the boy out of here...
Livia and the remaining bodyguard hustle Archer out --
INT. ROTUNDA - NIGHT
MAC-10 poised, Livia and the bodyguard rush Archer
through the deserted rotunda -- BOOM! BOOM! His escorts
drop.
Castor rushes down the staircase -- BLASTING at Archer.
Unarmed, Archer instantly disappears behind one of the
eight columns. The columns are separated by mirrored-
panels.
Cat-and-mouse as Castor slips in and out between column
and mirror. He spots Archer dead-ahead and BLASTS away!
CRASH! The MIRROR SHATTERS into a thousand pieces.
ARCHER (O.S.)
That's about a thousand years bad
luck...
Castor whirls, spots Archer again and FIRES! Another
MIRROR. Sensing Archer behind him -- Castor turns and
FIRES again -- this time BLASTING away his OWN
REFLECTION.
Then Archer leaps through a shattered mirror frame -- and
onto Castor. They battle for control of the pistol.
CASTOR
It's too late, Jon. Your kid
loves me. And your wife's an
animal. Even I can't keep up with
her.
They're so close Castor's whispering right in Archer's
ear.
CASTOR
Tonight I'm going to make her come
like Niagara Falls -- to celebrate
your death.
Castor licks Archer's ear salaciously. Enraged, Archer
tears the pistol from his grip and turns it on Castor.
He's got Castor dead to rights -- suddenly BULLETS SHRED
the world around him. Archer staggers away as --
Loomis enters -- FIRING his M-16 as Archer dives for a
doorway. Loomis FIRES the M-16's grenade launcher.
BOOM! The GRENADE EXPLODES -- the doorway bursts into
flames -- but Archer has made it through.
Loomis tries to help up Castor -- who pushes him off
angrily. Castor can't follow through the flames.
Scene 28 - Deadly Standoff and Betrayal
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
Archer slams out of the interior stairwell -- but BULLETS
force him to take cover behind the cupola.
Pollux FIRES at him from the other side.
Archer RETURNS FIRE -- driving Pollux back. Stand-off.
POLLUX
Remember me? Your 'baby brother'?
Trying to get the drop, Pollux carefully crawls onto the
top of the cupola.
POLLUX
You tricked me into telling you
things I never told anyone...
Archer hears movement above him as Pollux reaches the
crown.
POLLUX
Now take it to your grave.
Archer FIRES his PISTOL -- into the glass cupola -- and
SHATTERS the GLASS beneath Pollux's feet. The cupola
disintegrates beneath his weight. He plunges down
into --
ROTUNDA
Castor watches in horror as Pollux pancakes onto the
floor at his feet.
CASTOR
Pollux...
Pollux is almost gone. Castor looks up and sees --
ARCHER
Peering down into the rotunda.
CASTOR
OPENS FIRE --
ARCHER
Ducks the bullets as he disappears.
Castor desperately holds Pollux -- to no avail. Pollux
slips away... and dies. He turns to Loomis...
CASTOR
Get a medic -- now!
LOOMIS
Forget him, sir. It's only Pollux
Troy...
Castor snaps. Without hesitation, he jerks up his GUN
and PUTS a BULLET right in the middle of Loomis's
forehead.
Castor looks at the dead kid -- his rage barely abated
as -- Buzz and Wanda arrive on the scene and see Loomis's
body.
WANDA
What happened?
CASTOR
What the fuck do you think
happened? Castor Troy just
shot him!
(beat)
What are you waiting for? Go!
After Buzz and Wanda take off -- Castor gathers Pollux up
in his arms -- totally devastated.
INT. F.B.I - DAY
Dazed, Castor approaches his office. Kim proudly holds a
copy of Time magazine. His photo is on the cover.
KIM
Sir -- you're on the cover of
Time. They're calling you 'An
Authentic American Hero.'
He just pushes by her and goes into his office.
INT. FBI - ARCHER'S OFFICE - DAY
Alone -- Castor picks up the framed photo of Eve and
Jamie -- staring at it with unbridled hatred.
Fury rising, he crumples the frame -- and the photo -- in
his clenching grip. He hurls it into other Archer family
memorabilia -- shattering more photos and souvenirs.
Only then does Castor notice Lazarro standing in the
doorway. For how long -- he can't be sure.
CASTOR
What is it?
Lazarro shuts the door behind him.
LAZARRO
We were friends once, Jon, so I
feel I owe it to you -- to tell
you face-to-face...
(a beat)
I don't care how much hype you're
getting -- you're through. After
that massacre last night, I'm
ordering a full inquiry into your
recent erratic -- and deeply
suspect -- behavior.
CASTOR
Me -- 'erratic'? Victor, what are
you talking about?
Castor casually closes the blinds between the offices.
LAZARRO
You start meeting with Brodie and
Miller. Then they die
mysteriously. Your best friend is
murdered -- and you don't seem to
give a shit.
Suddenly you're smoking, drinking,
acting like a man with something
to hide...
(beat)
Maybe you've been bought -- maybe
you've lost your mind. But I
promise... I'm going to find out.
Eye to eye... Castor knows he can't finesse this one.
CASTOR
Okay, Vic, I have a confession to
make. But you aren't gonna like
it...
(wraps arm
around neck)
I'm Castor Troy.
LAZARRO
-- I don't understand...
Castor suddenly jabs his fist into Lazarro's chest. He
pleads for mercy as Castor pounds and pounds away at his
heart -- until it finally seizes up.
Lazarro twitches in a death throe, then slumps to the
ground.
CASTOR
Now you understand.
He punches up the intercom button.
CASTOR
Cancel my four o'clock.
(beat)
And send for the paramedics.
Victor Lazarro's having a heart
attack.
Castor fixes himself a shot of mescal. He checks his
watch -- as if counting -- then kneels beside Lazarro's
body.
The door flies open -- and two medics rush in. They see
Castor vigorously pumping Lazarro's chest -- "applying"
CPR.
The medics gently nudge Castor aside. One medic takes
Lazarro's pulse, then shakes his head.
Scene 29 - Chaos in the City
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Castor peers down over the city... trying to collect
himself. He lights up a smoke... planning his next move.
His meditation is broken as a police chopper circles
above.
MATCH CUT TO:
EXT. CITY - VARIOUS SHOTS - DAY
LAPD choppers circle... squad cars prowl... cops and FBI
agents set up roadblocks. The city is being sealed off.
EXT. DOWNTOWN - BROADWAY - DAY
Skirting a roadblock, Archer appears to be coming
undone... wobbly, wild-eyed... he suddenly picks up a
trash can and carries it down the street in front of his
face.
Pedestrians gawk at this madman. What's he doing?
Archer finally stops in front of a sporting goods store.
He swings the trash can. SMASH! The store's WINDOW
SHATTERS. An ALARM BLARES.
Passersby stare at Archer for a moment -- stunned. Then
several youths leap into the window and start pulling
merchandise out of the store.
Mayhem as others join in... clerks rush out to do battle.
An LAPD squad car hauls up onto the curb. A cop leaps
out and chases as the looters scatter.
The driver stands at his door, radio in hand. Sensing
something, he turns... just as Archer grabs the canister
of Comply-Gas from the cop's belt.
Archer sprays him in the face. The cop gags and sags.
Archer quickly slips behind the wheel.
Inside: Archer hits a switch -- the car's tinted windows
darken automatically, obscuring him from the outside. He
HITS the GAS -- SCREAMING away.
EXT. STREET - DAY
Archer slows the squad car.
Up ahead: Parked cop cars block both lanes of the main
road -- a roadblock checkpoint for all traffic.
Archer pulls off the road, out of sight. He flips open
the portacomp and starts to type rapidly.
INT. FBI - DAY
A DISPATCHER'S SCANNER CLICKS to life.
DISPATCHER
All units. I have a confirmed
code zero-zero priority alert.
Proceed at once to Parthenia
Street Terminal. That's Parthenia
at Nordhoff.
QUICK SHOTS
A) MOTOR POOL
Tac squads pile into armored Jeeps.
B) HELIPORT
Choppers lift off and veer east.
C) ARCHER'S HOUSE
The surveillance CARS ROAR away.
EXT. ROADBLOCK - DAY
Archer watches as the checkpoint of cop cars pulls apart
and screams east on the main road -- passing Archer.
Once the armada is gone, he pulls out and heads west.
EXT. ARCHER HOME - BACK YARD - DAY
A plank in the fence swings aside as Archer slips into
the yard. He peers out from behind the garage.
A cop sits in a lawn chair, tuning a POLICE-BAND RADIO.
Archer approaches the bird feeder. Quietly, he sticks
his hand inside -- and searches for the key.
Just when he grabs it -- CAW-CAW -- an annoying BLUEBIRD
hovers over Archer. The cop looks over -- but Archer is
gone. All Lars sees is the bird.
INT. FBI - BULLPEN - DAY
Castor arrives. Wanda is shocked to see him.
WANDA
Commander, what are you doing
here?
CASTOR
Where should I be?
(looks around)
Where's everyone else?
WANDA
Backing you up! Didn't you track
Castor to the Parthenia Street
Terminal?
CASTOR
What?
WANDA
You radioed in your personal
security code. Nobody knows that
code but you.
CASTOR
Obviously someone else knows it!
Get everybody back to their
posts -- now!
Scene 30 - Unveiled Identity and Deception
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
Archer tiptoes through the house -- listening. He sees
Cop #2 sitting at the dining room table, cleaning his
pistol. He slips upstairs -- toward the sound of
RUNNING WATER.
MASTER BEDROOM -- CONTINUOUS ACTION
Archer walks in and steps toward the bathroom -- passing
the bed. He stops. On top of the rumpled covers: Eve's
nightgown and a pair of Castor's black briefs.
Overwhelmed, he sits down -- not noticing the water has
stopped. Eve steps in from the bathroom.
ARCHER
Eve...
The look of horror on her face snaps him back to reality.
She runs, but Archer grabs her. She struggles --
fighting and kicking him -- but somehow he keeps her
mouth covered.
ARCHER
I'm not going to hurt you. Just
don't scream, okay?
(no response)
Okay?
Terrified -- she finally nods and he eases off her.
EVE
I know you -- you're the one who
called. You're Castor Troy. You
killed my son --
ARCHER
-- I called, but I'm not Castor.
I'm your husband.
Archer holds onto her as she struggles again.
ARCHER
Now, you're going to listen. The
last time we saw each other -- was
in this room. We had a fight
after I told you I had to go away.
(a beat)
My assignment -- Jon Archer's
assignment -- was to enter a
federal prison as Castor Troy.
Eve is startled by this intimate information but she
reveals nothing. SIRENS approach the house, the cops are
returning. She keeps an eye on the door. Playing for
time.
EVE
How did he expect to do that?
ARCHER
An F.B.I. surgeon gave me Castor's
face. He handled the transplant,
the vocal implant, everything.
But somehow Castor came out of his
coma -- and killed everyone who
knew about the mission. But not
before he was transformed into me.
The back DOOR CLICKS open. A voice booms out.
COP (O.S.)
Dr. Archer, are you okay?
ARCHER
If you need hard evidence, get it.
Your husband's blood type is O
negative. Castor's is A.B.
Archer glances at the balcony -- as FOOTSTEPS CLOMP up
the stairs. Eve is about to answer -- or scream. But
then...
ARCHER
Remember the parachute dream? I'm
falling, Eve... I'm falling...
The blood drains from her face as... Archer slips over
the balcony and disappears.
INT. STUDY - LATER
Eve is at the computer -- dazed and disoriented. She
snaps alert on hearing the front DOOR OPEN -- Castor is
giving orders to the cops guarding the house.
CASTOR (O.S.)
I want you guys here around-the-
clock. And stay off the lawn.
Eve feigns interest in her laptop as Castor enters. She
tenses as he starts massaging her back.
CASTOR
You're all in knots. Maybe
another date night will help you
relax...
EVE
Not tonight... I'm way behind in
my Continuing Ed.
He studies Eve, then grasps her firmly by the shoulders.
CASTOR
You think I've been acting
strange. Like a completely
different person.
EVE
-- Yes.
CASTOR
Okay, I have a confession to make.
But you aren't going to like it...
Castor wraps his hands around her slender neck...
CASTOR (cont'd)
... I read your diary. I've been
trying to change -- trying to be
more like the man you want me to
be.
Eve reacts to the explanation. There is a logic to it.
CASTOR
And to prove it, I'm taking you
and Jamie away on a trip -- right
after the memorial service.
EVE
What memorial service?
CASTOR
Victor Lazarro had a heart
seizure... right in my office. It
was horrible...
EVE
Oh, my God...
Castor pours it on -- feigning immense grief.
CASTOR
First Tito... now Victor...
(holds her tight)
... please don't tell me I'm going
to lose you, too...
EVE
(returns the embrace)
Of course not.
INT. ARCHER'S BEDROOM - NIGHT
Castor slumbers fitfully. Suddenly, his shoulder
twitches, rousing him. He looks up to find Eve reading
beside him.
CASTOR
What was that?
EVE
What was what?
CASTOR
Something bit me.
EVE
Probably a mosquito -- I'll close
the window.
Eve rubs Castor's shoulder blade until he falls asleep.
She gets up, closes the window, then goes into the
bathroom.
INT. BATHROOM - NIGHT
Eve takes a breath, then produces a lancet from her
pocket. She squeezes the lancet -- and a drop of blood
splashes into a glass vial -- Castor's blood.
Scene 31 - A Suspicious Encounter at the Hospital
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
As Eve gets the key in her car door -- a hand grabs her.
She stifles a scream -- then sees... the two COPS.
COP
Sorry, Dr. Archer. Where are you
going at this hour?
EVE
There's been an emergency at the
hospital.
COP
One of us will have to escort you.
EVE
Fine...
(a beat)
But please don't wake my
husband... he's exhausted.
EXT. HOSPITAL - NIGHT
Nothing happening here at 4 A.M. Nothing indeed. The
bored Cop keeps watch outside -- as Eve hustles in.
INT. HOSPITAL - EVE'S OFFICE - NIGHT
Eve paces anxiously as the BLOOD ANALYZER CLICKS away.
EVE
Please be O-neg. Please...
The MACHINE STOPS CLICKING. It reads "Male -- Type AB."
She buries her face in her hands -- completely stunned.
ARCHER (O.S.)
Thanks for believing me.
Archer emerges from the darkness of her office -- but Eve
pulls a pistol -- aiming it with calm authority.
ARCHER
What are you doing? Where did you
get that gun?
EVE
I took it from my fake husband.
ARCHER
Why point it at me? I'm the real
thing.
EVE
I don't know that. Maybe Jon's
already dead.
ARCHER
What more proof do you need?
EVE
Tell me... tell me about the all-
night dentist.
As Archer speaks -- Eve searches his eyes for the truth.
ARCHER
... I took a date out for chicken
and ribs -- not knowing she was a
vegetarian. When the night
couldn't get worse, she broke
her tooth on a pebble that got
into her three-bean salad
Somehow she and I had fun driving
around looking for an all-night
dentist...
(a beat)
And even though it must have hurt
-- you still kissed me.
Eve slowly puts the gun down, fighting off tears.
EVE
Christ, Jon! How could you put us
in this position? Do you know --
do you know what he did to me...?
ARCHER
Whatever happened, whatever he did
-- I know it's my fault and I know
I can never make it up to you --
She pulls herself together -- regaining her composure.
EVE
But you're damn well going to try.
(a beat)
First -- how are we going to get
you out of this?
INT. ARCHER HOME - MASTER BEDROOM - NIGHT
Castor wakes up and finds Eve gone. His eyes narrow as
he touches the mosquito bite -- the one that isn't there.
Scene 32 - Plan of Attack
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Eve sifts through the supply cabinet and finds a yellow
vial.
EVE
This will knock him out for hours.
ARCHER
Good. What's his schedule
tomorrow?
EVE
He doesn't tell me anymore than
you ever did... All I know is --
tomorrow we're going to Victor's
memorial service.
ARCHER
Victor... Tito... they both died
thinking I killed them... And in a
way... I did.
EVE
Jon -- you can't think about that
now.
Archer takes a breath -- and pulls himself together.
ARCHER
-- What happens after the memorial?
EVE
He's taking Jamie and me away.
ARCHER
And neither of you will be coming
back. Where's the service?
EVE
Saint Mary's-By-The-Sea.
Archer reacts... the irony's not lost on him.
EVE
What are you going to do?
ARCHER
Hit him with a trank dart. Once
he's unconscious -- I'll try to
get to Buzz and Wanda before the
security team gets to me.
EVE
What else can I do?
ARCHER
Think up a good excuse. I don't
want you or Jamie anywhere near
that service.
EVE
I can cover for Jamie. But if I'm
not there, he'll suspect
something...
(as Archer
considers)
The second you make your move, all
hell's going to break loose. If
I'm there beside him -- I can take
charge. I'm his wife, remember?
(a beat)
There's no way around it -- for
once, you need me.
Archer looks into her eyes -- the regrets flooding over.
ARCHER
I've always needed you...
They embrace... soaking up each other's warmth.
EVE
Jon -- what are the odds?
ARCHER
Terrible. But it's the best we
can do with what we have.
(a beat)
If it doesn't happen, take Jamie
and don't look back...
EVE
It'll happen.
FOOTSTEPS APPROACH -- they break their embrace.
ARCHER
Do doctors travel in packs?
EVE
Only when we're golfing.
INT. CORRIDOR - NIGHT
Castor and the twins round the bend -- just in time to
see the door to the burn ward close.
INT. BURN WARD - NIGHT
Eve quickly wraps gauze around a patient's head -- when
Castor and his boys rush in, guns leveled.
EVE
Jon! What are you doing here?
CASTOR
That's what you're going to
explain to me.
EVE
Didn't the police tell you? There
was an emergency.
Lars starts pulling at the patient's bandages.
EVE
Jon -- stop it! Mr. Alandro is
very ill!
CASTOR
Not as ill as he's going to be...
He blanches as Lars reveals a scarred burn victim -- Mr.
Alandro. Eve is livid as she attends to the patient.
CASTOR
Sorry. But what's a guy to think
when his wife runs off in the
middle of the night?
EVE
It's my fault. I should've woken
you up before I left.
(kisses him)
Now please let me get back to
work.
They leave. Eve wipes his ugly taste from her mouth.
EXT. HOSPITAL PARKING LOT - DAWN
Castor gets into his car as he confabs with the twins.
CASTOR
Stay here. Watch her like a hawk.
LARS
Think she knows?
CASTOR
Who cares? She's going to be dead
by tonight anyway. They're all
going to be dead. The wife, the
kid... and the father.
EXT. OLD RANCH - HIGH GRASS - DAY
Archer waits as Sasha appears with a long case. In the
b.g., Adam plays on the Ranch House porch with Dietrich.
ARCHER
How's the boy?
SASHA
His ears are still ringing -- but
he'll be okay.
Archer opens the case. Inside is a sniper rifle.
SASHA
The truck's all gassed up.
Look, Caz, there'll be F.B.I.
agents all over that place. Maybe
I can talk my brother into helping
us.
ARCHER
'Us'? No, Sasha -- believe me,
this isn't your fight.
He turns to leave -- but her look draws him back. He
kisses her -- not passionately, but nobly.
ARCHER
Thanks...
She watches him as he walks off toward the truck.
Scene 33 - A Brewing Tempest
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Dressed in staid black, Eve joins Castor at the limo.
CASTOR
Where's Jamie?
EVE
That's what I'd like to know. She
stole fifty dollars from my purse
and took off.
Castor's eyes narrow -- trying to read Eve.
EVE
Don't act so stunned, Jon. You
know how hard it is to get that
girl into a dress.
CASTOR
I'll deal with her later.
EVE
Good. Because I am fed up.
EXT. ST. MARY'S-BY-THE-SEA - DAY
A crucifix gleams in the sun... and anchoring the
crucifix is... a headstone.
Like so many others -- except this headstone is Matthew
Archer's. And hidden behind it is -- Jon Archer. He
finishes assembling the sniper rifle.
For a moment he acknowledges Matthew's grave... the
regrets giving way to determination. He looks down from
his vantage point onto --
EXT. SEA-SIDE - DAY
At the foot of the cemetery knoll. Rows of chairs...
white flowers... mourners. A yacht is docked at the
breakwater.
Scene 34 - Funeral Interrupted
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
ARCHER'S POV THROUGH SCOPE
peers down through scope -- seeing...
Castor and Eve as they emerge from their limo.
Eve glances around, searching for Archer. She comes eye-
to-eye with Lars -- who is watching her every move.
Archer TRACKS Castor and Eve as they sit in the front
row. The ceremony begins.
PRIEST
We are here to celebrate the life
of Victor Lazarro. We all know
him as a man who dedicated himself
to defending this great nation --
first, as a highly decorated
admiral -- then, as west coast
director of the F.B.I. But not
all of you know what a deeply
spiritual man he was. It was his
wish that his Requiem Mass be
performed in Latin.
(a beat)
In Nomine Patris, et Filii et
Spiritus Sancti. Amen...
The PRIEST begins to recite a beautiful and somber mass.
ARCHER
fills the trank-dart with sedative.
PRIEST
continues the solemn ritual.
PRIEST
Domine, de morte aeterna, in
die illa tremenda quando caeli
movendi sunt et terra...
EVE
checks her watch... barely lifting her eyes away...
Castor absently pats her knee. She's forced to return
focus to the service.
ARCHER
chambers the dart, twists a knob on the range-finder, and
carefully peers over the crucifix.
THROUGH SCOPE
Archer TRACKS THROUGH the mourners -- and FINDS Castor.
As the cross-hairs neatly cube his head...
BACK TO SCENE
We've come full circle from Matthew's death: with Archer
the sniper and Castor the target.
The Priest's emotional reciting of the rites climaxes.
PRIEST
Requiem aeternam dona eis,
Domine... Amen.
FULL SCREEN - TRIGGER
Archer's finger wraps around -- he starts to squeeze...
POV THROUGH SCOPE - FIGURE
crosses behind Castor, blocking Archer's shot. Archer's
finger freezes -- as the figure turns -- hair tumbling
away from her face. It's Jamie.
AT SERVICE
Eve stiffens as Jamie sits down.
JAMIE
Thanks anyway, Mom --
(slides her $50)
But I wanted to be here for you...
and Dad.
Castor reads the panic on Eve's face, but says nothing.
He simply takes Jamie's hand, intertwining his fingers in
hers.
The honor guard steps forward, shouldering their rifles,
commencing their 21-GUN SALUTE as --
ARCHER
steadies himself, re-aims the sniper rifle.
He hears MOTION behind him. Someone's coming and fast...
but this is his only chance. Off-balance, Archer
squeezes --
THFFFT! The SILENCED TRANK-DART explodes from the
barrel.
FOLLOW DART
Screaming toward Castor's neck -- but it goes just wide.
It sinks harmlessly into the grass -- unnoticed during
the 21-GUN SALUTE.
ON KNOLL
THUMP! Archer is cracked across the head. He slumps
down, unconscious, as a silenced gun barrel gently enters
his ear. As the saluting GUNS FIRE in the b.g. -- we
don't know when, or if, this pistol fires...
AT SEA-SIDE SERVICE
The honor guard presents the urn to Mrs. Lazarro.
Fearful, Eve chances a glance around -- wondering what's
gone wrong.
PRIEST
The admiral's family will now take
his ashes to the sea...
As Mrs. Lazarro and her grown children proceed to the
docked yacht, Castor touches his ear-phone...
getting a message.
His eyes alight on a boathouse... adjacent to the
service.
CASTOR
(into headset)
Lars -- take Jamie, bring the car
around, then meet us at that
boathouse...
Guests head for their cars. Eve seizes the moment and
steps over to Wanda and Buzz.
EVE
Wanda -- I need to talk to you.
WANDA
(reads her face)
Sure... what's wrong?
But then Eve looks past Wanda -- and sees Lars looking at
her -- tightening his "friendly" grip on Jamie's
shoulder.
EVE
Never mind --
CASTOR
Come on, baby. I've got a
surprise for you.
Wanda and Buzz watch as they head up toward the
boathouse.
Scene 35 - Confrontation at the Boathouse
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Dim, deserted. Filled with boat parts, tools, etc.
Castor hustles Eve inside and locks the door behind him.
Lunt is there -- standing over a beaten Archer. Eve
gasps.
CASTOR
Look who we caught creeping around
-- Castor Troy.
EVE
Why is he here?
CASTOR
Before I turn him in, I thought
we'd pay him back for everything
he's put us through...
Castor starts kicking Archer. Over and over in the gut.
CASTOR
Come on, baby. Join the fun --
Eve can't stand it. She charges Castor -- but he
immediately subdues her.
CASTOR
Too bad. Part of me was hoping
you didn't know.
He throws her down beside Archer. She clings to him.
CASTOR
Did you really think it would be
that easy, you dumb fucks?
(to Eve)
Sorry, baby. Castor Troy is about
to murder you and our daughter...
but I promise you won't die
unavenged.
ARCHER
This is between you and me. Leave
them out of this.
CASTOR
It was between you and me. Even
your little boy -- that wasn't
supposed to happen. But you
couldn't let it go.
ARCHER
No father could.
CASTOR
Appealing to my sense of 'family'
won't work, Jon. I thought you
knew me better than that
Archer plays for time -- looking for some edge. He sees
a crate filled with block-and-tackle amid the shop's
tools.
ARCHER
I know some things that even you
don't know, Caz. You have a son.
I've met him. His name is Adam...
CASTOR
I imagine I've got a dozen kids --
so what?
(cocks pistol)
No more head games... First your
wife dies. Then your daughter.
Then you.
Castor smiles as the DOOR CREAKS open.
CASTOR
Just one big happy family...
But it's not Jamie and Lars. Three people emerge from
the shadows, machine pistols poised.
CASTOR
Dietrich -- Aldo -- Sasha?
DIETRICH
That's right, Archer. Now drop
'em.
No options. Castor and Lunt drop their weapons.
EXT. BOATHOUSE - SIDE ENTRANCE - DAY
Lars and Jamie pull up in the car. Lars listens to his
headset -- knows something is wrong.
LARS
Don't fucking move...
INT. BOATHOUSE - DAY
Sasha's at Archer's side.
SASHA
Caz -- are you okay?
CASTOR
You're making a mistake. I'm
Castor -- he's Archer. Sasha,
baby -- just give me a minute to
explain!
SASHA
That's pathetic, Archer. But
then, your terrible sense of humor
is legendary.
ALDO
(cocks GUN)
It's pay-back time.
Aldo aims at Castor when BOOM! He's blown apart.
Lars charges in -- BLASTING.
Archer grabs a block-and-tackle as --
Lunt dives for Aldo's fallen machine-pistol. Archer
swings the block-and-tackle -- whacking Lunt across the
head.
Castor scoops up his pistol but Eve kicks him hard in the
balls. He doubles over.
Archer snatches away the MACHINE PISTOL. Staggered --
Lunt is quickly riddled by Dietrich.
Castor and Lars BLAZE at the now-scattering intruders --
driving them back amid the shot's tools and drums.
ARCHER
Find Jamie!
Eve crawls through the FUSILLADE toward the exit.
EXT. MEMORIAL SERVICE - DAY
Among the last to leave -- Buzz and Wanda snap alert.
Over the CRASHING of the WAVES -- did Wanda hear
something?
EXT. BOATHOUSE - DAY
Eve rushes to the car -- it's empty. Jamie is gone.
EVE
Jamie? Jamie!
BULLETS SHRED the WINDOWS behind her.
INT. BOATHOUSE - DAY
During the GUN BATTLE -- we INTERCUT the deaths of
Dietrich, Lars and Sasha WITH:
EXT. SEA - LAZARRO'S ASHES
being scattered at sea.
Castor and Lars RIDDLE Sasha. She drops. Archer FIRES
back -- killing Lars and driving Castor back.
Archer leans beside the mortally-wounded Sasha.
SASHA
... Help Adam... don't let him end
up like us...
She dies in his arms. Wounded, Dietrich crawls over.
Seeing his sister, Dietrich rises in horror...
DIETRICH
Sasha -- !
BOOM BOOM BOOM! Castor wastes Dietrich. Archer BLASTS
back -- driving Castor outside. Archer pursues.
Scene 36 - Confrontation at the Boatyard
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Eve runs smack into Wanda and Buzz -- they're on the run.
WANDA
We heard gunshots --
EVE
Wanda, I've got to tell you
something. Something crazy...
EXT. BOATHOUSE YARD - VARIOUS SHOTS - DAY
Archer emerges into the maze of dry-docked boats.
Silently checking his clip, he discards the empty gun.
Castor moves stealthily through the narrow paths.
Hearing a NOISE behind him --
BOOM! Castor FIRES -- blowing apart an under-repair
hull. He advances toward the boat, gun ready, when
Archer appears behind him and follows -- one step, two
steps -- until --
Castor stops -- then whirls as Archer leaps.
The men collapse hard. Castor's pistol clatters across
the yard toward the docked boat.
Archer and Castor brutally strangle each other -- digging
their fingers deep into their throats. They throttle
each other so hard, Archer's larynx vocal chip is
dislodged.
His VOICE CHANGES, ECHOING with garbled. STATIC.
ARCHER
Give up, Castor. People are going
to find out.
CASTOR
Not if I kill you first.
They scramble for the gun -- but a hand reaches out from
the docked boat and picks it up. Archer and Castor stop
dead in their tracks because --
Jamie appears, holding the pistol.
CASTOR
Give it here, Jamie.
ARCHER
No, Jamie. Don't do it!
Everybody gawks -- because Archer and Castor are now...
Both speaking in Archer's true voice.
And nobody is more confused than Jamie.
ARCHER
Listen to my voice, Jamie. I'm
your father.
CASTOR
It's a trick, Jamie. I'm your
father.
Jamie swings the gun back and forth -- baffled.
CASTOR
Shoot him, Jamie.
ARCHER
Jamie...
CASTOR
Shoot him!
Jamie FIRES. Archer reels -- as a slug grazes his
shoulder. Castor snatches the PISTOL from Jamie's hand.
CASTOR
You dunce. No kid of mine would
miss so badly.
He aims the gun at Archer's head.
WANDA (O.S.)
Hold it.
Wanda and Buzz have burst onto the terrace -- their guns
leveled. Eve and more agents are right behind.
CASTOR
Just saving the taxpayers the cost
of a trial. So take a hike.
WANDA
You're both under arrest until a
D.N.A. test proves who's who.
CASTOR
I'm ordering you to back off!
Several agents waver -- unsure. But not Wanda and Buzz.
WANDA
Put the gun down --
BUZZ
-- Now!
CASTOR
(beat)
Can't blame me for trying.
He grabs a shocked Jamie -- shoving the gun under her
chin.
Archer struggles to his feet as --
Castor -- using Jamie as a shield -- backs out the gate
to the garden. Archer follows -- cautiously.
CASTOR
Say goodbye to Daddy --
Jamie whips out the switchblade -- sinks it into Castor's
thigh and twists. She dives away. FIRING wildly, Castor
staggers back through the gate.
CASTOR (O.S.)
You ungrateful delinquent!
OUTSIDE GATE
As Castor turns and staggers away -- he runs smack into a
confused security agent.
CASTOR
Give me your weapon -- now!
The agent hands over his UZI -- and Castor PLUGS him.
BOATYARD
Archer and Eve make sure Jamie's okay.
JAMIE
(to Archer)
Who are you? Will someone please
tell me what's going on?
Archer rushes to the gate and hauls it open.
CASTOR
limps away from the boatyard, towards the slips -- alive
with sunbathers and yachters.
Scene 37 - Castor and Archer's Final Confrontation
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Castor hustles along until he finds what he's looking
for --
Twin Cigarette BOATS -- racing boats -- being TUNED UP by
their suntanned crews. He jumps into one of the boats.
BOAT CAPTAIN
Hey -- !
Without even looking, Castor SHOOTS the guy dead. In a
flash -- Castor THROTTLES up the BOAT. He sees --
CASTOR'S POV
Archer running down the dock toward the adjoining boat.
CASTOR
FIRES -- peppering the dock.
Archer knocks the boat owner to safety -- as the BAIT
HOUSE BLOWS UP behind him. Archer rolls into the boat --
FIRING.
Castor's hit! A slug grazes his shoulder. He grabs the
THROTTLE -- taking off.
ARCHER
FIRES UP the second BOAT -- in pursuit. Castor BLASTS
back -- SHATTERING Archer's BOAT COMPASS.
CIVILIAN BOAT
speeds toward him -- causing a near-miss.
ANOTHER ANGLE
Running parallel, Archer and Castor BLAST at EACH OTHER
at point-blank range. Their boats smash and pound each
other.
A police boat closes in on them.
Castor FIRES at the police -- obliterating both crew and
boat. The POLICE BOAT'S rear SMASHES into Archer's
craft.
Archer's BOAT plows up and through the other. EXPLOSION!
Momentum carries Archer across -- and back into the
water.
The boat lands right next to Castor's.
Archer and Castor resume their battering... approaching
a --
TUG
pulling a barge.
Castor forces Archer into its path. At the last
moment...
Archer leaps onto the bow of Castor's boat as --
KA-BOOM! Archer's boat crashes into the BARGE which
EXPLODES.
CASTOR
swerves wildly -- trying to throw Archer off.
Archer can only watch as Castor reaches for another clip.
But the boat hits a wave...
Castor loses the gun -- which skids away. Archer slips,
his head hanging over the side. Castor tries to ram
Archer, but he pulls himself up just in time.
Castor grabs the anchor -- swings it. WHUNK! It sinks
into the deck beside Archer -- but the chain is around
his neck.
As Castor tries to strangle him -- Archer headbutts
Castor, who reels -- snagging his leg around the chain.
Castor falls back -- plunging toward the water.
Archer tries to hold Castor up... as the boat speeds
toward --
PIER
Archer yanks Castor back onto the deck as the BOAT
BOUNCES OFF the pier pilings. But as they slug it out...
ANOTHER ANGLE
WHAM! The BOAT careens off a piling -- and ROARS
straight for the shipyard. COLLIDING with a shoreline
obstruction --
The BOAT FLIPS, stern over bow...
Archer and Castor go flying... onto the beach.
EXT. BEACH - DAY
Archer and Castor lie dazed... then stir. Castor sees
the pistol lying half-buried... he reaches for it.
But --
Archer gets it first. He aims it at Castor as they rise.
CASTOR
You won't shoot me, Jon. I'm
unarmed...
ARCHER
Okay, I have a confession to
make... but you aren't gonna like
it... You're right, I won't shoot
you. Not in the face anyway.
BOOM -- Archer SHOOTS Castor in the chest! He jerks and
reels -- dropping to his knees. He looks at Archer in
total disbelief. Then he sinks to the ground and lies
still.
Exhausted, Archer lets the empty gun drop. Then he turns
and sees an FBI chopper heading his way. Relieved, he
turns back to Castor, but -- Castor's body is gone!
Castor is crawling toward the flipped boat's spinning
stabilizing screw. Archer FIRES -- hitting Castor in the
leg. He buckles... but keeps going.
Archer leaps on him -- they struggle as Castor tries to
bury his face on the spinning blade.
CASTOR
It'll never be over, Jon... every
time you look in the mirror...
you'll see my face...
They struggle as the propeller blade. gets closer,
closer -- slicing into "Archer's" cheek. At the last
instant...
Archer reaches the anchor-chain. He wraps it around the
screw -- stopping the whirling blades.
Castor finally sinks to the ground -- and no longer
moves.
Archer takes Castor's hand -- trying to tug off his
wedding ring. Just when he almost has it off -- Castor
suddenly grabs Archer's wrist and holds it tight.
Eye contact between the two men. Castor smirks, his
grasp slackening... as he finally fades away. Archer
lets Castor's hand drop, then slides the ring on his own
finger.
ANOTHER ANGLE
The chopper lands. Buzz and Wanda rush over.
BUZZ
You okay, Archer?
ARCHER
What did you call me?
WANDA
He called you 'Archer' -- sir.
Archer finally realizes -- they actually mean him. He
smiles -- Jon Archer's long lost smile.
Scene 38 - Homecoming
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
FBI med-teams strap Archer onto a gurney. Castor's inert
body is beside him.
EVE
Hang on, Jon... they're bringing
in their top surgical team from
D.C...
ARCHER
(re: Castor)
How is he?
EVE
No life signs at all. He's a
turnip.
ARCHER
That's what they always say...
He passes out as the FBI medics load him onto the med-
evac chopper. Wanda prevents Eve from climbing aboard.
WANDA
I'm sorry, Eve. You can't come.
(to Buzz)
Take her home.
EVE
But he's my husband!
WANDA
But he works for us.
Wanda gets on the med-evac chopper; it lifts off, leaving
a furious Eve and a confused Jamie behind.
JAMIE
Will Dad be Dad again?
EVE
I hope so, honey.
JAMIE
And you guys say my life is
screwed up...
In the swirl of dust, they watch the chopper fly away.
INT. ARCHER'S HOUSE - DAY
Maybe days, maybe weeks later -- no way to tell. Eve is
at the dining room table, catching up on medical reports.
Sensing something, she looks up and sees a silhouette at
the front screen door -- a man's silhouette.
ARCHER (O.S.)
Hello, Eve.
Pulse pounding, Eve frantically pushes open the door to
glimpse the face of the man with Archer's voice.
It's Jon Archer. Eve stares -- then touches his face
carefully, tenderly -- around the tiny residual scar.
Then, she pulls him tight -- holding on for dear life.
JAMIE (O.S.)
Dad?
Jamie is there. Archer smiles -- gently, almost sadly --
with a softness and genuineness that Castor Troy could
never feel, could never fake.
She rushes to him. The whole family hangs on, hugging
and kissing -- for the first time ever, really together.
JAMIE
I'm sorry I shot you, Dad. Am I
grounded?
Archer smiles and holds her tighter. But as they draw
Archer inside, he hesitates.
ARCHER
I have something to ask you -- to
ask both of you...
He steps aside -- revealing Castor's son.
ARCHER
This is Adam. He needs a place to
live... just for a little while.
Eve looks at Archer -- she sees what this means to him
and, what the hell, there's plenty of time now to talk.
EXT. ARCHER'S HOME - CONTINUOUS ACTION - DAY
As the family heads inside, the door closes, shutting us
out.
DISSOLVE TO:
INT. MATTHEW'S OLD ROOM - NIGHT
Archer gives Adam an old teddy bear -- rocking the child
until he finally drifts off into dreamland.
INT. JAMIE'S ROOM - NIGHT
Archer watches Jamie sleep. He draws the comforter over
her -- she stirs, and pulls it in tighter.
INT. MASTER BEDROOM - NIGHT
Eve gets undressed... waiting for Archer.
EVE
How was your first day back?
No reply... Eve hears WATER RUNNING. She approaches
Archer, who's bent over the sink, washing his face.
EVE
Jon?
Archer stands up -- revealing Castor's face in the
bathroom mirror. Eve chokes back a scream.
Archer turns and faces her -- with his true face. He
sees her terrified expression, turns back to the mirror
-- and sees his own face looking at him. But he
understands.
He embraces Eve... holds her tight. She responds, happy
to have him home again. We STAY ON his familiar smile
and...
FADE OUT.
THE END
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| jon archer | Jon Archer starts off as a determined FBI agent seeking revenge for his son's death. As the story progresses, he is faced with a shocking revelation that challenges his beliefs and morals. This leads to a moment of vulnerability and self-reflection, ultimately leading him to find closure and redemption by letting go of his need for revenge and focusing on upholding justice for the greater good. | The character arc for Jon Archer is well-developed, but it could benefit from more internal conflict and growth. Adding moments of self-doubt and moral ambiguity could make his journey more compelling and relatable to the audience. | To improve the character arc, consider incorporating scenes where Jon Archer questions his own motives and struggles with the line between justice and revenge. Show his internal conflict more explicitly to allow for a deeper exploration of his character development throughout the screenplay. |
| castor troy | Castor Troy starts off as a formidable and intriguing antagonist, using his charm and manipulation to achieve his sinister goals. As the story progresses, his desire for power and control drives him to become more ruthless and dangerous, reveling in psychological warfare and deception. However, his downfall comes when his overconfidence leads to his ultimate demise, as his enemies outsmart him and bring about his downfall. | The character arc for Castor Troy is well-developed, showcasing his evolution from a cunning criminal mastermind to a downfall due to his own hubris. However, there could be more depth added to his character by exploring his motivations and backstory further, to provide a more nuanced understanding of his actions and decisions. | To improve the character arc for Castor Troy, consider delving deeper into his past traumas or experiences that have shaped him into the manipulative and ruthless individual he is. This could add layers to his character and make his downfall more impactful. Additionally, showing moments of vulnerability or internal conflict could humanize him and make him a more complex and compelling antagonist. |
| archer | Archer's character arc follows his journey from a conflicted and vengeful agent seeking revenge to a determined and noble protagonist willing to make sacrifices for the greater good. He undergoes a significant transformation, showing vulnerability and a desire for redemption, ultimately finding closure and inner peace. His arc is marked by a shift from seeking personal justice to prioritizing the well-being of his family and the pursuit of true justice. | The character arc for Archer is well-developed and engaging, showcasing his growth and transformation throughout the screenplay. However, there could be more clarity in depicting the specific events or decisions that lead to his change in perspective and values. Additionally, more emphasis could be placed on the internal struggles and conflicts that drive Archer's actions and decisions, adding depth to his character development. | To improve the character arc for Archer, consider incorporating more flashbacks or internal monologues that delve into his past traumas and motivations. This will provide a clearer understanding of his inner turmoil and the factors influencing his decisions. Additionally, focus on creating more nuanced and emotionally charged interactions with other characters to highlight the complexities of Archer's relationships and the impact they have on his journey towards redemption. |
| eve | Eve's character arc follows her journey from a supportive and nurturing wife to a strong and independent woman who must navigate complex emotional situations and make tough choices. Throughout the screenplay, Eve grapples with conflicting loyalties, inner turmoil, and the revelation of shocking truths about her loved ones. She evolves from a character who is torn between loyalty and truth to one who embraces her strength, resilience, and ability to confront difficult realities head-on. | The character arc for Eve is well-developed and engaging, showcasing her growth and transformation throughout the screenplay. However, there could be more emphasis on Eve's internal struggles and the impact of her decisions on her relationships with other characters. Additionally, providing more opportunities for Eve to showcase her vulnerability and emotional depth could add further complexity to her character arc. | To enhance Eve's character arc, consider incorporating more scenes that delve into her internal conflicts and the emotional toll of her choices. Allow Eve to have moments of vulnerability and introspection, where she grapples with the weight of her decisions and the consequences they may have on her relationships. This will add depth to her character and make her journey even more compelling for the audience. |
| jamie | Jamie starts off as a rebellious and defiant teenager who is distant from her father but still in need of his guidance. As the story progresses, she becomes more assertive and protective of her family, facing challenges with courage and resourcefulness. Jamie ultimately learns to navigate her personal struggles and the dangerous situations she finds herself in, finding a balance between defiance and vulnerability. | The character arc for Jamie is well-developed, showing her growth and development throughout the screenplay. However, there could be more clarity in her internal struggle and how it impacts her decisions and actions. Additionally, more emphasis could be placed on her relationship with her father and how it evolves over time. | To improve the character arc for Jamie, consider adding more scenes that delve into her internal struggle and how it influences her choices. Develop her relationship with her father further to show a more nuanced dynamic between them. Additionally, explore how Jamie's vulnerability and defiance intersect in different situations to create more depth in her character development. |
| castor | Castor starts off as a master manipulator who thrives on chaos and deception. However, as the story progresses, moments of vulnerability and introspection begin to surface, revealing a more complex and conflicted character. Ultimately, in the final showdown with Archer, Castor's arrogance and ruthlessness lead to his downfall, showcasing the tragic end of a once formidable antagonist. | The character arc for Castor is well-developed, showcasing a gradual shift from a cunning villain to a more nuanced and conflicted individual. However, there could be more emphasis on exploring the internal struggles and motivations driving Castor's actions, providing a deeper insight into his character and enhancing the emotional impact of his downfall. | To improve the character arc, consider incorporating flashback scenes or inner monologues that delve into Castor's past traumas or insecurities, shedding light on the root causes of his manipulative behavior. Additionally, adding moments of redemption or self-reflection for Castor could create a more compelling and dynamic character arc, allowing for a more satisfying resolution to his storyline. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Intense Scenes Dominate | Many scenes are marked as intense, indicating a consistent emphasis on heightened emotions and dramatic moments throughout the screenplay. |
| Emotional Impact Prioritized | Emotional impact scores are generally high, suggesting a focus on evoking strong feelings in the audience. |
| Plot Development Often Secondary | Plot scores tend to be lower than other elements, indicating that the screenplay may rely more on emotional impact, character dynamics, and tension than on intricate or complex plotlines. |
| Frequent Character Changes | Character changes are frequently present, suggesting significant development or progression of characters throughout the narrative. |
| Heightened Stakes and Suspense | High stakes and suspense are consistently present, indicating the screenplay's ability to create tension and build towards significant moments. |
| Emotional and Dramatic Climax | Scenes 29 and 38 have high scores in both emotional impact and dramatic elements, suggesting they could serve as powerful climaxes. |
| Dynamic Tension Between Dialogue and Emotion | Dialogue and emotional impact scores often do not perfectly align, indicating moments where subtext or unspoken emotions may play a significant role. |
| Potential Pacing Issues | Scenes 7, 16, and 23 have lower scores in moving the story forward, indicating potential areas where pacing could be adjusted to maintain momentum. |
| Balancing Suspense and Intensity | Scenes 1 and 10 have high scores in suspense and intensity, indicating the potential for a well-crafted balance between these elements. |
Writer's Craft Overall Analysis
The writer demonstrates a strong command of storytelling fundamentals, crafting scenes with engaging action, compelling characters, and emotional depth. The scenes effectively balance tension, suspense, and humor, showcasing the writer's ability to evoke a range of emotions. However, the writer could benefit from further developing their craft in certain areas to enhance the overall impact and cohesion of their screenplay.
Key Improvement Areas
Character Development and Dialogue
Several scenes highlight the need for stronger character development and more engaging dialogue to enhance character depth and relationships.
Scene Pacing and Structure
Some scenes would benefit from improved pacing and a clearer structure to maintain a consistent flow and build tension effectively.
Thematic Resonance and Emotional Impact
While the screenplay effectively explores various themes, some scenes could be strengthened by deepening the emotional impact and thematic resonance to leave a lasting impression on the audience.
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Book | Read 'Save the Cat!' by Blake Snyder | This book provides a comprehensive guide to character development, plot structure, and screenplay formatting, addressing the identified areas for improvement in character depth, dialogue, and scene structure. |
| Exercise | Practice writing dialogue-heavy scenes with conflicting emotions, motivations, and subtextPractice In SceneProv | This exercise will enhance the writer's ability to create authentic and compelling character interactions and deepen emotional depth through dialogue. |
| Video | Watch interviews or behind-the-scenes footage of established screenwriters and directors discussing their approach to scene pacing and structure | Gaining insights from industry professionals can provide valuable lessons in managing the flow of scenes, building tension, and creating a cohesive narrative. |
Additional Notes: The writer demonstrates a strong foundation and a clear storytelling voice. With continued effort and refinement, they have the potential to craft even more impactful and memorable screenplays.
Stories Similar to this one
| Story | Explanation |
|---|---|
| Face/Off | This film shares a similar premise of a cop (Archer) disguising himself as a criminal (Castor Troy) to gain access to a prison and take down a criminal organization from within. |
| The Departed | Both films feature characters who undergo a transformation in their appearance and personality to infiltrate a criminal organization. Additionally, they involve themes of identity and the moral ambiguity of undercover work. |
| Mission: Impossible | Like Archer, Ethan Hunt in the Mission: Impossible franchise often goes undercover to complete dangerous missions. Both characters rely on their skills in disguise, technology, and teamwork to succeed. |
| The Mummy | The film features a scene where Rick O'Connell (Brendan Fraser) is captured and subjected to a brutal interrogation in a prison, much like Archer's experience in Erewhon Prison. |
| The Shawshank Redemption | While the film does not involve an undercover operation, it shares themes of redemption, perseverance, and the power of hope in the face of adversity, similar to Archer's journey in the film. |
| The Bourne Identity | Both main characters, Archer and Jason Bourne, suffer from memory loss and are hunted by government agencies. They must uncover their true identities while fighting for their survival. |
| Prison Break | The TV series follows Michael Scofield, who infiltrates a prison to break out his innocent brother. Similar to Archer's mission, it explores the complexities of the prison system and the sacrifices made for family. |
| 24 | The TV series features intense action sequences and a ticking clock scenario, similar to the urgency and high stakes involved in Archer's pursuit of Castor Troy. |
| The Matrix | The film also delves into the concept of identity and the manipulation of perceptions, themes that are explored in Face/Off as Archer struggles with the consequences of his facial surgery. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| "Death Trap" | Castor and Pollux arrive in a jet and begin firing on FBI agents. | A scenario where a group of people are trapped in a dangerous location and must fight for survival. An example of this trope is the movie "Saw" |
| Face–Heel Turn | Castor Troy, disguised as a priest, infiltrates a building and kills a janitor after being questioned about his presence in a restricted area. | A character who was previously good or heroic suddenly becomes evil or villainous. An example of this trope is the character of Darth Vader in the "Star Wars" franchise. |
| The Hero Dies | Eve awakens from a dream that Archer is flying a stunt plane and falls without opening his parachute. | The main character of a story dies, often in a heroic or sacrificial manner. An example of this trope is the character of Tony Stark in the movie "Avengers: Endgame" |
| Identity Amnesia | Archer is injected with a drug to render him unconscious. | A character loses their memory, either temporarily or permanently. An example of this trope is the character of Jason Bourne in the "Bourne" film series |
| The Mole | Castor plants a bomb on Air Force One and frames Archer to become an FBI hero. | A character who secretly works for the enemy and betrays their allies. An example of this in the movie "The Departed" is Colin Sullivan played by Matt Damon |
| Race Against Time | Archer learns of impending catastrophe and warns of impending catastrophe. | The characters must complete a task or achieve a goal before a deadline, or else dire consequences will occur. An example of this trope is the movie "Speed" |
| Revenge | Castor is awakened in a surgical bay and calls for help. | A character seeks revenge against those who have wronged them. An example of this trope is the character of John Wick in the movie "John Wick" |
| The Rival | Castor confronts Archer with details of his crimes and torments him with the knowledge that he has destroyed all evidence of Archer's true identity. | Two characters are in competition with each other, often for the same goal or person. An example of this trope is the rivalry between Harry Potter and Draco Malfoy in the "Harry Potter" series. |
| The Twist or Surprise Ending | Castor is revealed to be the impostor who looks like Archer. | A sudden and unexpected turn of events at the end of a story that changes the audience's understanding of the plot or characters. |
| The Villain's Redemption | Castor reveals his plan to Pollux, proposing they work together to plant a bomb on Air Force One and frame Archer to become an FBI hero. | A villainous character undergoes a change of heart and becomes good, or at least less evil. An example of this trope is the character of Darth Vader in the "Star Wars" franchise. |
| Theme | Theme Details | Themee Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Identity and Duality | Archer assumes Castor's identity through facial surgery, leading to a struggle with his true self and a blurring of boundaries. | The theme explores the complexities of identity, the malleability of the self, and the consequences of trying to be someone you're not. | ||||||||||||
Strengthening Identity and Duality:
| ||||||||||||||
| The Nature of Good and Evil | The film juxtaposes the idealism and duty of law enforcement against the ruthlessness and cunning of criminals, raising questions about the nature of good and evil. | The screenplay examines the moral ambiguity of its characters, blurring the lines between heroes and villains, and challenging simplistic notions of good versus evil. | ||||||||||||
| The Power of Love and Family | Throughout the film, Archer's love for his wife and daughter drives his actions, providing him with strength and purpose even in the face of danger. | The screenplay emphasizes the transformative power of love, its ability to sustain and empower individuals in the face of adversity. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice in this screenplay is characterized by its blend of action, suspense, and emotional depth, creating a compelling and intense atmosphere. |
| Voice Contribution | The writer's original voice enhances the mood, themes, and depth of the screenplay. Each scene in the screenplay showcases a facet of the writer's unique voice, contributing to the overall impact and engagement of the narrative. |
| Best Representation Scene | 1 - Griffen Park Shooting |
| Best Scene Explanation | Scene 1 is the best representative of the author's voice because it effectively sets the tone for the rest of the screenplay, establishing the central conflict, characters, and the writer's distinctive style. It skillfully combines action, suspense, and emotional depth to create a captivating and immersive experience for the reader. |
Originality
- Overall originality score: 8
- Overall originality explanation: The screenplay for The Face/Off is highly original, featuring a number of unique situations and plot twists. One of the most unique aspects of the screenplay is the concept of face-swapping, which allows the protagonist and antagonist to assume each other's identities. This concept is explored in a number of different ways throughout the screenplay, and it leads to a number of suspenseful and thrilling moments. The screenplay also features a number of well-developed characters, each with their own unique motivations and flaws. The dialogue is sharp and witty, and the action sequences are exciting and well-paced. Overall, The Face/Off is a highly original and entertaining screenplay.
- Most unique situations: The most unique situations in the screenplay include: * The protagonist and antagonist swapping faces. * The protagonist infiltrating the antagonist's organization by assuming his identity. * The protagonist and antagonist fighting each other while in each other's bodies.
- Overall unpredictability score: 9
- Overall unpredictability explanation: The screenplay for The Face/Off is highly unpredictable, with a number of twists and turns that keep the audience guessing until the very end. One of the most unpredictable aspects of the screenplay is the way that the protagonist and antagonist's relationship develops. At first, they are sworn enemies, but as they spend more time in each other's bodies, they begin to develop a grudging respect for each other. This leads to a number of unexpected and emotionally charged moments. The screenplay also features a number of unexpected plot twists, such as the revelation that the antagonist has a son who is being held captive by the protagonist. These twists keep the audience on the edge of their seats and add to the overall unpredictability of the screenplay.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goal is to protect his loved ones and seek redemption for past mistakes |
| External Goals | The protagonist's external goal is to capture the dangerous criminal Castor Troy and prevent further harm to innocent people |
| Philosophical Conflict | The conflicting perspectives of justice and personal redemption |
Character Development Contribution: The goals and conflict push the protagonist to confront his past actions and make choices that lead to personal growth and understanding
Narrative Structure Contribution: The goals and conflict create tension and drive the plot forward, leading to dramatic confrontations and resolutions
Thematic Depth Contribution: The goals and conflict explore themes of morality, identity, and the complexities of human nature, adding layers of depth to the story
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
World Building
- Physical environment: The world depicted in the screenplay is a complex and varied one, with settings ranging from suburban homes and schools to high-tech FBI headquarters and a futuristic surgical bay. The overall atmosphere is one of danger and suspense, with the constant threat of violence hanging over the characters.
- Culture: The screenplay's world is a melting pot of different cultures, with characters from all walks of life interacting and clashing. There is a strong sense of family and loyalty, but also of betrayal and deception. The world is also one of high stakes, with characters constantly trying to outmaneuver each other and gain the upper hand.
- Society: The screenplay's world is a hierarchical one, with a clear division between those in power and those who are not. The FBI is a powerful force, but there are also criminal elements who operate outside the law, The world is characterized by a lack of trust, as characters are constantly trying to deceive each other. Law enforcement and criminals are often at odds, but there are also times when they must work together to achieve a common goal.
- Technology: The world of the screenplay is one of cutting-edge technology, with characters using everything from sniper rifles to mind-altering drugs. The use of technology creates a sense of danger and urgency, as characters are constantly trying to stay one step ahead of their opponents. However, the screenplay also explores the darker side of technology, showing how it can be used for evil purposes.
- Characters influence: The world of the screenplay has a profound impact on the characters' experiences and actions. The danger and suspense of the world forces the characters to make difficult choices, and the hierarchical nature of society makes it difficult for them to trust anyone. The use of technology also has a major impact on the characters, as it gives them the ability to do things that would have been impossible in the past.
- Narrative contribution: The world of the screenplay contributes to the narrative in several ways. The physical environment provides a backdrop for the action, while the culture and society provide context for the characters' motivations and actions. The use of technology also helps to drive the plot forward, as characters use it to achieve their goals and outmaneuver their opponents.
- Thematic depth contribution: The world of the screenplay contributes to the thematic depth of the screenplay in several ways. The contrast between the physical environment and the characters' inner lives highlights the theme of isolation and loneliness. The hierarchical nature of society emphasizes the theme of power and control, while the use of technology explores the theme of good versus evil
Story Engine Analysis
central conflict
The central conflict is between FBI agent Jon Archer and terrorist Castor Troy, who have undergone facial surgery to take on each other's appearances and infiltrate their respective organizations.
primary motivations
- Archer's motivation is to apprehend Castor and prevent him from carrying out his terrorist plans.
- Castor's motivation is to exact revenge on Archer for the death of his brother and to carry out his own terrorist agenda.
catalysts
- The death of Archer's son, Matthew, which drives him to avenge his loss.
- The arrest of Castor and his subsequent escape from prison, setting the stage for his revenge plot.
- The use of the Physiological Camouflage Unit technology, which enables Archer to take on Castor's appearance.
barriers
- Archer's inability to trust his instincts due to Castor's deception.
- Castor's cunning and ruthlessness, making him a formidable adversary.
- The time constraints and the high stakes of the mission, adding urgency to Archer's quest.
themes
- The nature of identity and the complexities of betrayal.
- The consequences of revenge and the cycle of violence.
- The resilience and determination of those fighting for justice in the face of adversity.
stakes
The stakes are incredibly high, with the potential for widespread destruction if Castor's terrorist plans are not thwarted and the loss of innocent lives if Archer fails in his mission.
uniqueness factor
The story's unique premise of facial surgery and the resulting identity swap between the protagonist and antagonist creates a compelling and suspenseful narrative.
audience hook
The audience is immediately hooked by the intriguing concept of a protagonist and antagonist who have switched faces, setting the stage for a thrilling game of cat and mouse.
paradoxical engine or bisociation
The paradoxical engine or bisociation in this story lies in the idea of the protagonist and antagonist inhabiting each other's identities, creating a continuous tension as they try to outwit and outmaneuver each other while grappling with their own sense of self and morality.
paradoxical engine or bisociation 2
Another paradoxical element is the concept of Archer embracing Castor's violent methods to achieve his goal, blurring the lines between good and evil.
Engine: Claude
Screenplay Rating:
Recommend
Executive Summary
The screenplay for 'Face/Off' is a well-crafted, suspenseful thriller that delves into the complex relationship between FBI agent Jon Archer and master criminal Castor Troy. The story is driven by strong character development, engaging action sequences, and emotionally charged family dynamics, making it a compelling and entertaining read. While the screenplay could benefit from some minor improvements, such as clearer environmental descriptions and further exploration of thematic elements, it is overall a strong and recommended piece of storytelling that would appeal to a wide audience.
Strengths
- The screenplay has a strong, compelling narrative that keeps the audience engaged throughout. The plot is well-structured with clear character arcs and consistent themes. high
- The character development is excellent, particularly with the protagonists Jon Archer and Castor Troy. Their complex relationship and the blurring of their identities adds depth and nuance to the story. high ( Scene 5 Scene 9 Scene 11 Scene 23 )
- The screenplay features well-crafted action sequences and suspenseful moments that heighten the stakes and keep the pacing tight. high ( Scene 3 Scene 4 Scene 14 Scene 26 Scene 27 )
- The emotional moments between Jon, Eve, and Jamie are compelling and effectively convey the family's love and pain amidst the chaos. medium ( Scene 21 Scene 22 Scene 30 Scene 31 Scene 32 )
- The dialogue is sharp, witty, and natural, helping to further develop the characters and their relationships. medium
Areas of Improvement
- While the action sequences are well-executed, there are a few instances where the logistics and geography of the environments could be clarified to improve the reader's understanding. medium ( Scene 7 Scene 15 Scene 20 )
- The subplot involving Tito's murder and Archer's guilt could be further explored and integrated into the main narrative to have a greater emotional impact. medium ( Scene 29 Scene 34 )
- Some of the supporting characters, such as Wanda, Buzz, and the FBI team, could be further developed to have more distinct personalities and motivations. low
MissingElements
- While the overall story is compelling, the screenplay could benefit from additional thematic exploration or subtext to elevate the central conflict and its impact. medium
NotablePoints
- The opening and closing scenes effectively bookend the story, with the mirroring of the carousel and Matthew's balloon providing a poignant sense of circularity and closure. high ( Scene 1 Scene 21 Scene 38 )
- The sequence where Archer impersonates Castor and interacts with Castor's former criminal associates is a standout, highlighting his ability to adapt and the complexities of his deception. high ( Scene 12 Scene 13 Scene 24 )
- The screenplay effectively blends elements of thriller, action, and family drama, creating a compelling and multifaceted viewing experience. medium
Engine: GPT4
Screenplay Rating:
Consider
Executive Summary
The screenplay 'Face/Off' presents a high-concept narrative centered around identity swapping, providing a solid foundation for both action and psychological drama. While the main characters are well-developed and the plot is engaging, there are opportunities to enhance the emotional depth and tighten the pacing. The screenplay is recommended for consideration with some revisions to maximize its potential.
Strengths
- The screenplay features a compelling and unique premise of swapping identities, which provides a strong foundation for dramatic tension and character development. high
- The climax and resolution are well-executed, providing a satisfying conclusion to the narrative arcs and character journeys. high ( Scene 38 )
- The opening scenes effectively set up the main conflict and stakes, engaging the audience from the beginning. medium ( Scene 1 Scene 2 )
- The action sequences are vividly described and choreographed, contributing to the screenplay's visual and dramatic impact. medium
- The dialogue is sharp and often witty, helping to define characters and enhance the narrative pacing. medium
Areas of Improvement
- Some character motivations, particularly for secondary characters, could be better developed to enhance their roles and interactions. medium
- The pacing in the middle sections could be tightened to maintain momentum and keep the audience engaged. medium
- The emotional depth of some key scenes could be enhanced to provide a stronger emotional payoff. medium
- The transitions between major plot points could be smoother to ensure a cohesive narrative flow. low
- The use of technology and some plot devices may need updating or clarification to avoid confusing the audience. low
MissingElements
- A deeper exploration of the psychological impact of identity swapping on the protagonist could add depth to the story. high
- More background on the antagonist's past could provide better insight into his motivations and actions. medium
- Inclusion of more quiet, introspective moments could balance the high-octane action and add emotional layers. medium
- Greater use of thematic elements to enhance the narrative's resonance with universal themes of identity and redemption. medium
- Introduction of a subplot that could parallel or contrast the main plot to enrich the overall story architecture. low
NotablePoints
- The concept of face/off is innovative and serves as a strong hook for the screenplay. high
- The dynamic between the protagonist and antagonist is effectively utilized to drive the plot and character development. high
- The screenplay effectively uses its setting to enhance the action sequences and add to the story's visual appeal. medium
- The moral and ethical questions raised by the screenplay add a layer of complexity to the narrative. medium
- The screenplay's structure is well-organized, ensuring that the story progresses logically and maintains suspense. medium
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 5 | Eve: I've got patients waiting. Try again, Jon. She hates you -- but she needs you. |
| 6 | Archer: That bomb has been built, it's out there somewhere and it's going to detonate... |
| 14 | Castor: I torched every shred of evidence that proves who you are. So swallow this -- you are going to be in here for the rest of your life. |
| 16 | Castor: Archer took my life, so I'm taking his. Bro, I'm going straight. |
| 15 | Castor: Daddy's a new man. |