LEVERAGE: The Nate Job
By
Earl Burton
EXT. OVER THE MEDITERRANEAN SEA - MORNING APPROX 9AM
PAN OVER the Mediterranean Sea towards a villa located on the south of France. Entering in through the window of the villa, we find SOPHIE DEVEREAUX sleeping fitfully, tossing and turning in bed. Suddenly she shoots straight up in bed and frantically looks around.
SOPHIE
Oh, no! Nate…(her voice trails off)
CUT TO INT. CASINO, LAS VEGAS - 2AM IN EVENING
Sitting at a video poker machine, ALEC HARDISON is racking up a large amount of money. He isn't watching the machine, though, as the camera PANS OVER to the Luxor Hotel & Casino. His study of the building is interrupted by…
GAMBLER
(Voiceover) How did you rack up that much cash on one of these machines?
CUT BACK to Hardison.
HARDISON
What? (Looks at person) Oh, just having a good night and wasting some time.
GAMBLER
Perhaps you should waste more of your time on these!
HARDISON'S cell phone rings.
HARDISON
(Smiles) Excuse me. (He punches button and answers.) Yo, you've reached Hardison!
CUT BACK to SOPHIE, frantically packing a suitcase in France.
SOPHIE
Hardison! I've been trying to get you for two hours now! Where are you?
CUT BACK to Hardison in Las Vegas.
HARDISON
Well, I've been (casts a glance at the Luxor across the street) looking for something.
SOPHIE
(Voice over phone) Well, we need to get back together. I have a bad feeling that something's gone wrong with Nate.
HARDISON
Whoa, whoa, Sophie, slow down. By who do you mean 'we' and how do you know something is wrong with Nate?
CUT BACK to SOPHIE in France
SOPHIE
(Shakes head) I just have a bad feeling…I can't explain it about Nate. And I mean you, Eliot…(pauses, then asks accusingly)…do you know where Parker is?
CUT BACK to HARDISON in Las Vegas.
HARDISON
(Sheepishly) Um…well, I think I might be able to find her fairly quickly (casts a glance as CAMERA CUTS to the Luxor).
SOPHIE
(Voice over phone) Good, get in touch with Parker and I will take care of getting Eliot to…(pauses)…where are you right now?
CAMERA CUTS back to HARDISON.
HARDISON
I was relaxing in Las Vegas at the Bellagio. Had some free time on my hands and some new tools I wanted to test.
CUT BACK to SOPHIE in France.
SOPHIE
(Closing suitcase) That's perfect. Everyone will meet you in Las Vegas at your hotel this afternoon. You get in touch with Parker to have her there and I will take care of getting Eliot on the way.
HARDISON
(Voice over SOPHIE'S phone) OK, OK…wait, you mean this afternoon?
SOPHIE
Yes! Now find Parker! (Hangs up phone)
CUT BACK to HARDISON in Las Vegas.
HARDISON
(Closes phone and sighs) Well, so much for having fun. (He takes a small device off the video poker machine.)
HARDISON stands up and the camera FOLLOWS him as he exits the casino in the direction of the Luxor.)
CUT TO EXT. A FARM IN WESTERN NORTH CAROLINA - AFTER MIDNIGHT
There is a light on in the barn as the camera PANS through the doorway to see ELIOT SPENCER, with the assistance of an attractive FEMALE VETERINARIAN, in the midst of foaling a mare. The phone is ringing in the background as ELIOT speaks.
ELIOT
(Aside to FARMHAND) Can you answer that damn phone! It's beginning to bother me!
CUT AWAY to FARMHAND who walks over to the phone and picks it up.
FARMHAND
Five Stallions Stables? (Pauses) You are looking for Mr. Spencer? Who is calling?
CUT TO SOPHIE, standing on the tarmac in France.
SOPHIE
You can tell him it is his dear old friend Sophie and that it is critically important that I speak with him.
CUT BACK to FARMHAND, who puts his hand over the phone.
FARMHAND
(Yelling) Mr. Spencer! It's a woman named Sophie, says she knows you and it is important that you talk to her.
CUT BACK to ELIOT and FEMALE VETERINARIAN, who casts him a nasty look as ELIOT looks uncomfortable.
ELIOT
(Smiles uncomfortably) Uh…you got this under control?
The FEMALE VETERINARIAN nods disapprovingly as ELIOT stands up, grabs a towel and wipes his hands. The camera follows him as he reaches the phone and, with an unhappy look, takes it from the FARMHAND, who scurries away.
ELIOT
This had better be important. You know what time it is?
CUT TO SOPHIE, who is entering her private jet.
SOPHIE
Eliot, I know it is early. What do you have your hands in right now?
CUT BACK to ELIOT with the camera looking from his vantage point towards the mare and the FEMALE VETERINARIAN.
ELIOT
Not exactly what I had planned to at this hour but…never mind. What's the big deal?
SOPHIE
(Heard over ELIOT'S phone) You have to be in Las Vegas this afternoon. There is something wrong with Nate and both Parker and Hardison are meeting us there.
ELIOT
(Pauses) How do you know something is up with him?
CUT TO SOPHIE as the jet engines begin to crank up in the background.
SOPHIE
Look, Hardison asked the same question. I just have a bad feeling and we're the only ones who can get him out of it. Can you get to the Bellagio in Las Vegas by this afternoon?
ELIOT
(Heard over SOPHIE'S phone) I can, but why would I…well, we…want to help him out, even if he is in trouble?
SOPHIE
Because we work better together than separately. Because we've done things that were good and because I know that the stables, as much as you love them, are beginning to bore you to tears. (Long pause) Eliot, my plane is getting ready to take off…will you be there?
CUT BACK to ELIOT, weighing the conflicting thoughts in his head.
ELIOT
Yeah, I'll be there. (Smiles) Guess it will be good to get the band back together again. (Pauses) OK, will see you there. (Hangs up phone.)
INT. LUXOR HOTEL AND CASINO - SUITE
The suite is dark as PARKER stands at a wall safe with a small flashlight. She quickly makes short work of the combination to the safe and reaches inside.
CUT TO SAFE
Parker slowly pulls out a diamond necklace and flashes the light across the glittering diamonds.
CUT TO PARKER
PARKER nods admiringly at the diamonds as the camera PANS DOWN as she puts them in a small bag on her left hip. The camera then PANS BACK as her hands return to the safe, where PARKER has taken out $100,000 in cash in neatly bound bundles. The camera PANS along with her hands back down to the bag on her hip as she puts the cash in her bag.
INT. LUXOR HOTEL SECURITY ROOM
SECURITY GUARD 1 is looking intently at a screen in the Security Room as it says someone has accessed the safe in their hotel room. He dials up the phone beside him.
SECURITY GUARD 1
(Waiting impatiently) Stevens? (Waits) Yeah, isn't Ms. Carrier performing right now? (Waits) Because someone is in her safe right now! (Waits) OK, will do! (Hangs up phone and gets on walkie-talkie.) Level Three Security, check Room 1701.
CUT TO SECURITY GUARD 2, on the 16th floor of the Luxor on his walkie-talkie.
SECURITY GUARD 2
Isn't that…(he trails off)
CUT TO SECURITY GUARD 1 in the Security Room
SECURITY GUARD 1
Yes, that's Ms. Carrier's room. We are getting an odd reading from the in-room safe.
CUT TO SECURITY GUARD 2
SECURITY GUARD 2
Roger, on the way. (Looks over to his partner) Let's head upstairs. Control wants us to check something.
The camera FOLLOWS SECURITY GUARDS 2 and 3 as they head to the elevator, enter and hit the 32nd floor. The camera continues to follow them as they ride the elevator up. As the door opens, they look up and out the door.
SECURITY GUARD 2
Hey! What are you doing there!
CUT TO PARKER as she is exiting the room she has just robbed. She looks at the two SECURITY GUARDS and closes the door quickly.
PARKER
Crap!
PARKER takes off towards the opposite end of the hallway towards a second elevator. As she approaches the elevator, the camera CUTS BACK to the Security Guards as they chase her down the hallway. The camera CUTS BACK to PARKER as she presses a button on a small device and the elevator doors open up immediately with the car waiting for her. She steps in, presses the button on the device again and the doors immediately close as the SECURITY GUARDS slam into them.
CUT TO SECURITY GUARDS
SECURITY GUARD 3
Damn! How did that elevator open without her hitting a button?
They look up. The camera CUTS TO the floor indicator of the elevator, showing that PARKER is getting off on the next floor up.
SECURITY GUARD 2
She isn't getting far…there's no way out of that section of the hotel with one of the elevators out. (Pulls out walkie-talkie and begins to run back the opposite way with SECURITY GUARD 3 and camera following him.) Control, block Elevator 2 from operation, we are using Elevator 1 to corner an intruder.
SECURITY GUARDS 2 and 3 get back in Elevator 1 and go up one floor. As the door opens, they see PARKER sitting in a window that is open, with the wind rushing down the hallway.
SECURITY GUARD 2
(Draws his pistol as he issues his commands) Freeze right there! Don't move, there's no way out!
CUT TO PARKER, with her legs dangling out the window. She looks out at the scenery of Las Vegas before her as the CAMERA PANS to take in her viewpoint. The CAMERA cuts back to PARKER as she breathes in the air before looking back at the SECURITY GUARDS. She gives a quick wave and gently slides out of the window.
CUT TO the SECURITY GUARDS, who now race to the window and find that PARKER has secured a rappelling line to the top of the window. They look down to find…
CUT TO PARKER, who is now sliding down the side of the Luxor.
PARKER
WHOOOOOOOO!
CUT TO view of PARKER as she slides down the side of the Luxor. CUT BACK to PARKER as she hits the brakes on the rappelling line. She comes to a quick but gentle stop, then realizes she stopped too early.
CUT TO TOP view of PARKER hanging twenty feet above her landing area. CUT BACK to PARKER as she looks around, trying to find something to grab, when she hears off camera…
HARDISON
Parker!
PARKER looks down.
CUT TO HARDISON, anxiously standing beneath where she would have landed.
HARDISON
Go ahead and cut the line! I'll catch you!
CUT BACK to PARKER, obviously not enthused with this plan.
PARKER
Are you sure? And what are you doing here?
CUT BACK to HARDISON as sirens wail in the background.
HARDISON
OK, if you don't want to cut the line, you can hang there like a piñata until the cops come with their batons ready to swing. Don't worry about why I am here and let's go!
CUT BACK to PARKER, pulling out a small knife.
PARKER
OK, OK, but you better catch me!
PARKER slashes a couple of times with her knife until she cuts the line and FALLS FROM CAMERA VIEW. There is a WHUMPH! sound as she lands. The camera then CUTS TO the ground from above, where PARKER is on top of HARDISON as he groans underneath her.
PARKER
Wow, you did catch me…relatively.
HARDISON
At least you aren't as heavy as Eliot, otherwise…(pauses as the sirens get closer to the hotel)…come on, we have to get out of here!
CUT TO the ground as PARKER and HARDISON get up.
PARKER: What's going on?
HARDISON: I'll explain while we run!
Camera watches as PARKER and HARDISON run away into the darkness away from the camera.
FADE TO BLACK
ON BLACK SCREEN
"Earlier That Evening"
FADE INTO
INT. DIVE BAR - LOS ANGELES - NIGHT 9PM
NATHAN (NATE) FORD is sitting at a bar, obviously drunk, working on a double whiskey. He rubs his temples as he reflects on the events of the previous evening.
FADE TO
INT. FANCY RESTAURANT - LOS ANGELES - EARLY EVENING 7PM
NATE
So why do we have to end it?
CUT TO MAGGIE, who is sitting across from him.
MAGGIE
I admit, you've changed but…it isn't for the best.
CUT BACK to NATE
NATE
I am still the same man you married…and I think I am better now than I was before.
DUAL SHOT of MAGGIE and NATE
MAGGIE
Why are you better? You used to punish people who stole from companies. Now you're working with them!
CUT TO NATE, bowing his head.
CUT TO MAGGIE
MAGGIE
You are now no better than the criminals you used to chase…and Sophie seems to have been around you for some time!
CUT TO NATE, who snaps up.
NATE
NO! I never had any relation with her beyond…
CUT TO DUAL SHOT of MAGGIE and NATE
MAGGIE
Beyond…what? See, you can't even be honest about what you did when you were legitimate!
CUT TO NATE, who cannot find any words.
MAGGIE
(Off camera) It's over, Nate. I certainly hope you find what you're looking for…but I don't think it is with your (snidely said) "friends".
FADE BACK to NATE at the bar.
NATE knocks back his double whiskey and orders another. As the drink is delivered and NATE takes a sip, BILLY BOB, a bouncer, walks up to him.
BILLY BOB
(Off camera) Don't you think you've had enough?
NATE slowly turns his head to BILLY BOB and, after he takes another drink out of the tumbler, responds.
NATE
Depends on the definition of enough.
DUAL SHOT of BILLY BOB and NATE as NATE stands up.
NATE
(Venting) I have just been told that I am not worthy of my ex-wife. I have been told that what I am trying to do, while it has helped many people, is criminal. I have been told that I am sleeping with someone I used to chase and (pauses) well…let's avoid that one. What else can someone do to me tonight that makes this any worse?
CUT TO BILLY BOB
BILLY BOB
How about this? (Takes a swing at NATE.)
CUT TO TWO SHOT of NATE, who adeptly avoids the blow of BILLY BOB and puts a shot behind his ear. NATE applies two more body blows and, as he is ready to knock BILLY BOB out, suddenly gets hit behind the head with a baseball bat. NATE crashes to the ground, a victim of the hit and his alcohol intake.)
CUT TO BARTENDER, who chides BILLY BOB.
BARTENDER
If this is as tough as you are, you might want to consider another line of work. (Whistles) Hey, JIMMY! Come help BILLY BOB with this job!
The camera PANS BACK as JIMMY comes and, with BILLY BOB, they pick the unconscious form of NATE up off the floor and carry him out of the bar. A voice comes from outside the camera range.
VOICE
So you think they can take care of it?
The BARTENDER turns to a silhouetted figure and seems to be in fear of the person there.
BARTENDER
Oh, yes sir! They're the two best guys I have here for something that you want.
CAMERA CUTS to the bar, where a $10,000 brick of bills lands.
VOICE
We'll see…but I may want to put my own decision on this.
FADE TO
INT. PARKING GARAGE - LOS ANGELES - NIGHT APPROX. 10PM
BILLY BOB and JIMMY carry the limp form of NATE to his car. Using his keys, they open the door and put him in the driver's seat. Once NATE is in the car, they slowly roll the car out of its parking space and, using a jack, put the rear of the car up. They start the car and wedge a piece of wood into the accelerator; the wheels begin to spin rapidly. They don't observe the PAINTER who is working in the garage behind them.
CUT TO JIMMY, having apprehensions about the job.
JIMMY
Do we really have to go this far?
CUT TO BILLY BOB, who slugs NATE one more time before sending him off.
BILLY BOB
Oh, yeah…if I had more time, I'd make him hurt worse for embarrassing me!
The engine of NATE'S car revs in the background.
BILLY BOB
OK! READY, JIMMY!
JIMMY
(Off camera) Yeah!
BILLY BOB
Drop it!
CAMERA CUTS to NATE'S car as JIMMY drops the jack and it accelerates towards the wall of the parking garage it was located in. The CAMERA CUTS to the wall of the garage as NATE'S car comes rocketing out of it, spewing concrete and debris as it lands among other parked cars and explodes.
CUT BACK to BILLY BOB and JIMMY, as they admire their work.
VOICE
(Off camera) Nice work, gentlemen. I can see we hired the right people for the job.
BILLY BOB and JIMMY look around, until they find the PAINTER in front of them.
BILLY BOB
Well…uh, I guess, thanks.
CUT TO PAINTER
PAINTER
No, thank you. (He pulls a silenced .45 a shoots both BILLY BOB and JIMMY in the head and drops the gun to the ground beside the skid marks of NATE'S car.)
The PAINTER takes off his mask and reveals himself to be JAMES STERLING, seeking revenge for his embarrassment at the hands of NATE and his crew.
STERLING
I think that will be the last we hear of Nathan Ford. (He slowly strolls to an elevator of the parking garage and, as the door closes, he smirks.)
CUT TO
EXT. - STREET LEVEL - NIGHT SCENE 10PM
Cars are burning, including NATE'S, but he has been ejected after the car bounced before the explosion. He is gathering his senses as the initial police response comes to the scene.
CUT TO COP 1
COP 1
Hey! We have someone over here! (He rushes over to NATE)
CUT TO NATE
NATE draws the last bit of energy he has and, unknowing of the circumstances and perhaps drunk, punches COP 1 in the jaw. A second cop comes to the scene and NATE takes out his knee with a kick and begins to stand up. A third cop comes in and fires a TASER repeatedly on NATE, who eventually is debilitated by the resulting charge. COP 1 and several others put handcuffs on NATE and carry him away.
CUT TO
INT. BELLAGIO HOTEL SUITE - LATE AFTERNOON - 4PM
CUT TO TWO SHOT of HARDISON, busying himself about his room picking up orange soda bottles as PARKER sits in a chair.
PARKER
So, how did you know I would be there?
HARDISON
(As he is continuing to clean the room) Well, you told me that it would be how hard I looked. I know you hate Marian Carrier and, knowing…wait, can you help here a bit?
CUT TO PARKER looking around the room, unannoyed.
PARKER
Looks OK to me…and why don't you have the room service take care of this. Get back to your story.
HARDISON opens his mouth, but is cut off by the door opening to the room. Both PARKER and HARDISON jump, then relax as SOPHIE strolls into the room.
CUT TO SOPHIE, obviously exhausted from her flight from France. She drops her bag, collapses in a chair, and says to no one in particular…)
SOPHIE
(Exhausted) Can someone remind me why I am here?
CUT TO HARDISON, who has already prepared a cup of tea for SOPHIE, and brings it to her. PARKER joins THE SHOT as well, coming over and pulling something out of her hip bag.
CUT TO PARKER, looking at SOPHIE
PARKER
Well, first off, Happy Birthday! (She holds up the diamond necklace that she stole the previous evening as a gift for SOPHIE.)
CUT TO SOPHIE
(Obviously touched) Parker! I didn't think that anyone would remember! (Looks at the necklace) Wait…I think I have seen this before. You didn't…
CUT TO PARKER
PARKER
(Unashamedly) Well, you wouldn't like something I bought, so I figured you would like this.
SOPHIE begins to respond but, realizing PARKER is right, holds the necklace up to the lights. The door once again opens as ELIOT walks in. The CAMERA CUTS to ELIOT as he spikes his bag to the ground and stares around the room.
ELIOT
Happy Birthday, Sophie…now, why are we all here?
CUT TO LATER IN THE BELLAGIO HOTEL ROOM
HARDISON sits at one of three computers splayed before him. ELIOT, SOPHIE and PARKER are crowded around him.
HARDISON
It turns out we have a psychic amongst out midst (Looks at SOPHIE). Early this morning, there were charges pressed against one NATHAN FORD…one count of public intoxication, two counts of assault against a public servant, seven counts of public property damage and…(glances at SOPHIE) alleged two counts of capital murder.
CUT TO SOPHIE, who is obviously surprised by the report.
SOPHIE
(Pulling herself together) What evidence do they have,
HARDISON?
CUT TO HARDISON as he taps a few more keys and displays on another screen the evidence.
HARDISON
There's a .45 with a silencer beside the skid marks he left…
CUT TO SOPHIE
SOPHIE
ALLEGEDLY!
CUT BACK to HARDISON
HARDISON
Allegedly left before he tried to commit suicide. There are no mug shots at this time because…(pauses)
CUT TO THREE SHOT of SOPHIE, PARKER and ELIOT, who stare back at HARDISON.
CUT TO HARDISON
HARDISON
He was TASERed so much, they have to wait for the nerves in his face to return to normal.
CUT TO FULL ROOM VIEW, as SOPHIE gathers herself before speaking.
SOPHIE
We have to get Nate out of jail.
CUT TO ELIOT
ELIOT
For what reason? We have already done well enough, we don't need him!
CUT TO SOPHIE
SOPHIE
(Passionately) Because we have become a family! (Strolls around the room, looks at ELIOT) Why did you call your farm "Five Stallions" if not for you and the four people you work with? (Looks at HARDISON and PARKER) Without Nate, would either of you have done your best work, or even have been looking to work with each other? (Standing in front of the crew as ELIOT, HARDISON and PARKER look at each other) While Nate may not think so, he has become one of us…and while we may not think so, we have become acceptable.
CUT TO ELIOT
ELIOT
Does he feel the same way?
CUT TO SOPHIE
SOPHIE
(Breathing hard) I will guarantee you, HARDISON and PARKER this…if he doesn't, then we are done…but after we get NATE free.
CUT TO HARDISON, still tapping away at the computer.
HARDISON
Well, we're going to have to figure out what we're going to do pretty quick. (Taps some keys) NATE is set to be arraigned tomorrow afternoon and, according to the info I can find, he has not hired a defense attorney and will more than likely be looking at a public defender.
CUT TO PARKER and SOPHIE, staring at the screen that HARDISON has brought up.
PARKER
I don't care what he might have done, no one deserves that…
PAN BACK to a room shot of the four looking around, at each other and, at the same time, trying not to look at each other. ELIOT eventually speaks up.
ELIOT
So what's the plan?
CUT TO SOPHIE, who takes a deep breath before announcing her idea.
SOPHIE
We're going to have to do something that none of us want to do…go to jail.
The CAMERA pans back to a shot of all four as they realize what they have to do to rescue NATE.
CUT TO
EXT. NEVADA DESERT - LATE EVENING 11PM
There is a black SUV driving through the early morning hours.
CUT TO
INT. SUV - LATE EVENING 11PM
HARDISON is sitting in the back seat, frantically tapping away at a laptop. PARKER is sitting beside him, trying to find a comfortable spot to catch a nap. SOPHIE is also trying to sleep, knowing what she has to do in the morning and ELIOT is at the wheel, driving rapidly through the desert evening.
CUT TO HARDISON, looking around the cabin.
HARDISON
I wish we would have had some more time at the Bellagio. I could have gotten these ID's better for you and PARKER.
CUT TO SOPHIE, who drowsily responds.
SOPHIE
If NATE is going to be arraigned tomorrow afternoon, we have to be there in time to prepare. ELIOT, I know we are in a hurry but, at this hour, the speed we're driving might make us a bit conspicuous.
CUT TO ELIOT, who glares at SOPHIE
ELIOT
Look, I'm the one going to jail in this deal. I'd rather take all the time I can!
CUT TO PARKER, who tucks her head beside ELIOT's headrest.
PARKER
Yeah, and you won't be alone. I'll be there and once we get NATE out, it should be a piece of cake.
CUT TO ELIOT, grumbling.
ELIOT
I don't like cake.
CUT BACK to SOPHIE, who opens her eyes and looks at ELIOT.
SOPHIE
ELIOT, I know you're the one taking the greatest risk here. But if we don't get there, then the entire operation is destroyed. I can understand all your apprehensions but, for the good of our team, get us there. (Pauses) HARDISON, can we move the time up to tomorrow morning for NATE's arraignment?
CUT BACK to HARDISON, already trying to keep his connection to the Internet.
HARDISON
Why would we want to do that? (Pauses) Wait…did you just doze off and have another feeling?
CUT BACK to SOPHIE
SOPHIE
No, logic. If what happened to NATE was planned, the person who put him there will be there to make sure that he is held in jail. By moving the time up, we have the element of surprise and might be able to get away with this…and ELIOT, please slow down!
CUT TO four shot of the SUV interior as ELIOT sighs.
CUT TO EXT, as the black SUV heads towards Los Angeles and…
FADE TO BLACK
CUT TO EXT. LARGE COUNTY JAIL BUILDING
IMPRINT TYPES UP "LOS ANGELES COUNTY JAIL"
INT. LOS ANGELES COUNTY JAIL - JAIL CELL - EARLY MORNING 6AM
CAMERA ZOOMS onto NATE, who is snoring away on a cot in the jail cell. A shadow is cast over him as an AIR HORN suddenly blasts out a screeching sound. NATE slowly stirs and, as a second blast of the HORN sounds, sits up on the cot.
NATE
OK, OK…I'm up. (He rubs his eyes) Where am I?
(Off camera) GUARD
You don't remember getting arrested last night? Boy, you really were wasted. Get up and get in the shower, your hearing is in three hours.
NATE
(Looks surprised at the guard OFF CAMERA) What was I arrested for?
(Off camera) GUARD
Let's just say you better get to be good friends with everyone here.
NATE gets up off the cot and heads off camera as the CAMERA CUTS to him exiting the cell. The GUARD has NATE assume the position, quickly frisks him and puts handcuffs on him as they walk out of CAMERA VIEW towards the jail showers.
INT. LOS ANGELES COUNTY JAIL - SHOWER
NATE and the GUARD enter the doorway of the shower and the GUARD takes the handcuffs off of NATE. He rubs his wrists as the GUARD hands him a bar of soap and a towel.
NATE
(Questioningly) Do I get a nice suit to change into?
GUARD
Once you're done with your hearing, you'll get your new suit. Hope you look good in orange. (Laughs as he leaves the scene)
NATE takes off his clothes and steps into the shower to prepare for his hearing.
CAMERA CUTS TO three big men in a THREE SHOT walking towards the showers.
THUG 2
And we're getting how much for doing this?
THUG 1
Don't worry about how much, I was told that if we do this then we'll be getting out of here.
THUG 3
Do you believe him?
THUG 1
He's a prominent vice president in a business…I don't think we have anything to worry about as long as we keep our side of the agreement.
The three THUGS walk out of the camera shot as the…
CAMERA CUTS TO NATE IN SHOWER
NATE is rubbing his temples with his eyes shut as the water from the shower cascades over his face. He doesn't know that the three THUGS have walked up behind him as he is showering. Sensing their presence, NATE turns around and looks at them.
CUT TO GROUP SHOT
NATE
Guys, thanks for the Welcome Wagon, but I'm pretty sure this is a solo job.
THUG 1
Not this time (slugs NATE in the stomach and NATE falls out of camera view).
The THUGS start to kick at NATE as he lies on the floor of the shower.
CAMERA CUTS TO NATE as he covers up on the floor of the shower until he hears OFF CAMERA.
ELIOT
Isn't it a little unfair to go three against one?
CAMERA CUTS to the THUGS as they stare at ELIOT, who is standing at the entrance to the shower with a mop in his hands.
THUG 1
Move along, Eileen, this isn't any of your business.
CAMERA CUTS TO ELIOT, who slowly twirls the mop in his hands.
ELIOT
Oh, I beg to differ. You girls still have the edge…why don't you see if you can do anything with it.
The three THUGS slowly walk away from a prostrate NATE and take positions around ELIOT. He warily eyes each THUG and waits for them to make a move. As THUG 3 steps up, ELIOT whips the head of the mop under his chin, knocking him to the ground. ELIOT grinds the head of the mop into the back of THUG 3's neck as he puts a back kick at THUG 1. THUG 1 grabs ELIOT's ankle, however, and sweeps his other foot out from under ELIOT. ELIOT flips the mop head into the face of THUG 1 and continues on to spin the mop handle and sweep the feet from under THUG 2. ELIOT kips up to his feet and puts a kick on the jaw of THUG 3, knocking him unconscious. THUG 1 is back on his feet and takes a swing at ELIOT, who avoids the punch and starts to swing himself. This swing is stopped by THUG 2, who has recovered himself. ELIOT rolls over the back of THUG 2 and lands a kick to the ribs of THUG 1, who crumples to the floor. ELIOT puts two uppercuts into the stomach of THUG 2 before bringing a knee to his jaw and knocking him out. THUG 1, knowing he is beaten, scrambles to his feet and runs away from the shower.
CUT TO ELIOT, who starts to chase the attacker but hears NATE groan behind him. He moves over to and picks up NATE.
NATE
(Looks at ELIOT) Either you're my fairy godfather or someone has been keeping track of me.
ELIOT
(Throwing NATE's arm around his shoulder) Let's just say you have a tremendous impact on us. C'mon, let's get out of here. We sure don't want to be the ones standing around here when they find these guys.
NATE
How did you get in here?
ELIOT
You mean by this time you still have to ask?
FLASHBACK
EXT OF LOS ANGELES COUNTY JAIL - APPROXIMATELY 5AM
CAMERA shows a police car pulling up to the doors of the jail and PARKER emerges from the driver's side. She walks around the car, opens the door and pulls out a handcuffed ELIOT.
ELIOT
(Rather irritated) Don't see why I'm the one that has to go to jail.
PARKER
Well, I'm believable as a cop, HARDISON is handling the deletion of any evidence, SOPHIE's is going to be a defense attorney…what haven't we covered? (Pauses for a moment) That's right, someone to handle the rough stuff. (PARKER hands ELIOT an earwig as the duo walk out of CAMERA RANGE.)
CUT TO ELIOT, in jail cell.
ELIOT has seen NATE and the GUARD walk by and now sees the GUARD walk back.
ELIOT
Guard? Guard?
The GUARD walks into the CAMERA RANGE.
GUARD
(Sighs) For someone who just got here, you're being rather noisy.
ELIOT
(Smiles) Sorry, sir. Can I go to the bathroom? The one in the cell's broken. (He holds the handle up to the GUARD.)
The GUARD opens the door and escorts ELIOT part of the way. The GUARD then hears (off camera)…
PARKER
Little help here.
The GUARD looks at ELIOT, who shrugs and looks back at the GUARD.
GUARD
Look, can you go there and back to your cage so I can help her out?
ELIOT
Sure, sir. I apologize for being a problem.
As the GUARD leaves ELIOT, he proceeds to walk to the bath and shower room. The CAMERA CUTS to ELIOT as he walks by a bucket and grabs the mop inside of it.
FLASHBACK FINISHES
The CAMERA CUTS back to ELIOT and NATE as they head out of the shower and the CAMERA FADES.
EXT. - LOS ANGELES COUNTY COURTHOUSE
The CAMERA ZOOMS into the INTERIOR of the COURTHOUSE where
NATE is sitting one of the courtrooms in handcuffs, waiting for his hearing to begin. The DISTRICT ATTORNEY is seen in the background, looking over some paperwork. The CAMERA CUTS from this shot to the JUDGE, also staring blankly at the paperwork in front of him.
JUDGE
Preliminary hearing in the case of the State of California versus Nathan Christopher Ford. Can you read the charges against Mr. Ford, counselor?
The CAMERA CUTS to a TWO SHOT of the DISTRICT ATTORNEY and NATE as both rise to their feet.
DISTRICT ATTORNEY
Your Honor, the charges against the defendant are as follows: one count of public intoxication, two counts of assault against a law enforcement agent, seven counts of public property damage and two counts of first degree capital murder.
JUDGE
(Off camera) Will you be hiring an attorney to defend you, Mr. Ford, or will the state provide you counsel?
NATE
Your Honor, I have been unable to secure an attorney due to being jailed, I would…
NATE is interrupted as the doors of the courtroom burst open noisily off-camera. The CAMERA CUTS to SOPHIE, dressed in a smart business suit and carrying a leather briefcase, as she strolls confidently into the room.
SOPHIE
(In a very irritated tone and breathlessly) Your Honor, what is going on here? I was told this case wouldn't be heard until this afternoon?
CAMERA CUTS to the JUDGE, obviously taken aback at her veracity.
JUDGE
I apologize, counselor. We assumed that the defendant was going to be needing a public defender and…
CAMERA CUTS back to SOPHIE, looking even more irritated than when she walked in.
SOPHIE
Seriously, Your Honor, because of the time change, didn't you want to give some more time and allow for the defendant's counsel to adjust their schedule? Or is there a predisposition towards an assumption of guilt that I should look into?
CAMERA CUTS back to the JUDGE, obviously ashamed at trying to push the case.
JUDGE
I do apologize, counselor. By the way, your name is…?
CAMERA CUTS back to SOPHIE, who has unlocked the briefcase on the table beside NATE and is pulling out paperwork.
SOPHIE
Your Honor, I am Jennifer Hightower, from Hightower, Wickerstein, Leverage and Associates (glancing over at NATE) and I believe we can clear this case up rather quickly.
CAMERA CUTS back to the judge, who gets comfortable to hear the evidence.
JUDGE
(Exhales audibly) Alright, then…Counselors, let's get started.
CAMERA CUTS back to a TWO SHOT of NATE and SOPHIE, who has settled into a chair beside NATE.
NATE (looking at SOPHIE)
What are you doing here? How did you even KNOW I was here?
SOPHIE (looking back at NATE)
We're here to get you out. Just sit there and let me concentrate. You can ask all the questions you want later.
NATE
Who do you mean "we"? And how did you know….?
SOPHIE
Shhh, let me concentrate!
The camera cuts to a full courtroom shot as the DISTRICT ATTORNEY begins to speak.
DISTRICT ATTORNEY
Your Honor, the defendant is responsible for one of the most malicious acts of violence that I have ever had the responsibility of prosecuting…
SOPHIE (standing up)
I object, Your Honor!
The CAMERA CUTS to the JUDGE, who slowly turns his gaze to SOPHIE.
JUDGE
Counselor, you cannot object during this hearing. We're here to determine if there is evidence to charge your client and whether to hold him to trial or not.
CAMERA CUTS back to SOPHIE, who now shows a little embarrassment herself.
SOPHIE
I apologize, Your Honor, I am a bit jet-lagged from flying in for this case. (She kicks NATE's foot under the table)
CAMERA CUTS back to the JUDGE.
JUDGE
(Caringly) That's OK. (Looks over at the DISTRICT ATTORNEY) Please continue.
The DISTRICT ATTORNEY starts the case against NATE and the scene MOVES FORWARD as the DISTRICT ATTORNEY finishes his statement.
DISTRICT ATTORNEY
The people believe, Your Honor, that the defendant is guilty of all charges against him and should be held over for trial with no possibility of bail.
The CAMERA CUTS to SOPHIE, who stands up at her table.
SOPHIE
Your Honor, due to the factors of my late involvement and little to no investigation of all aspects of this situation, I would move for a continuation of the hearing process to a later date to allow for a full disclosure and investigation.
CAMERA CUTS to the JUDGE, looking over the police reports.
JUDGE
I am sorry, counselor, but I have ample police reports here that detail what occurred last night, I have a burned out car in the impound and battered police officers. Due to the severity of the case, I have to make a decision and I decide that there is enough evidence to hold your client over for trial.
CAMERA CUTS back to SOPHIE, who is scrambling to win on some aspect.
SOPHIE
Your Honor, I would at least plead to the Court to allow my client out on bond, something that was denied last night.
CAMERA CUTS back to the JUDGE, who closes his dossier on the case.
JUDGE
Once again, counselor, I am going to have to find against you there also. Due to the factor that the defendant has no known local address and, from the evidence presented by the DA, seems to be a flight risk, I am going to have to find him ineligible for bond and remanded to the custody of the Los Angeles County Sheriffs Department for confinement until trial. This court is dismissed until two weeks from today.
The JUDGE smacks his gavel as the CAMERA CUTS back to SOPHIE and NATE, who stand while the JUDGE departs the courtroom. They sit back down as SOPHIE collects her papers and NATE sits back in his chair.
NATE
I know you guys are wanting to get me out, but don't bother. I don't want to be the one to bring you down, too.
SOPHIE
(Spins to look at NATE angrily) We came to get you because we care. And what do you mean "bring us down"? We have always been a team!
NATE
(Sheepishly) MAGGIE has left me for good this time. That's what I meant by bringing you (looks at SOPHIE) down. (Pauses) And Parker…and Eliot…and Hardison.
SOPHIE
(Smiles) Well, don't worry. We'll have you out of here before you know it. We just have some loose ends to tie up before we can slip you out of jail. Go back to the cell, stay close to Eliot, and be ready.
NATE and SOPHIE stand up, looking at each other, as the bailiff comes up behind NATE, cuffs him and takes him away. SOPHIE watches as the two walk out of the scene.
EXT. OF OFFICE BUILDING - NOON - IYS HEADQUARTERS
The CAMERA ZOOMS into the office of JAMES STERLING, the vice president of security with IYS, the company that NATE used to work for. STERLING is on the phone but obviously about ready to leave.
STERLING
Yes, we have a state of the art system that can be installed, plus the highly trained staff that is automatically assigned to work with you. I tell you what, I have a lunch meeting I am running late for, shall I schedule you for a meeting next week? (Pauses) Excellent, I do not believe you will be disappointed with our services, Mr. Bradley. (Pauses) Have a good afternoon, sir. (Hangs up the phone)
CAMERA SHOOTS over the shoulder of STERLING's receptionist MELISSA, who is standing in the doorway of his office.
STERLING
What is it, MELISSA. I am running late for lunch and I have to go to court this afternoon.
CAMERA CUTS to MELISSA
MELISSA
That's what I was going to tell you about. Your afternoon court meeting has been canceled.
CAMERA CUTS to STERLING
STERLING
Canceled? By who?
CAMERA CUTS to a TWO SHOT of STERLING and MELISSA as she walks to his desk.
MELISSA
The DISTRICT ATTORNEY just called and stated that the case was heard by the JUDGE early this morning and that there should be no problems with a conviction. He said (looks at message) "A late arrival by the defense attorney, but he is going to trial and being held without bond."
STERLING
(Thinking) A defense attorney? When did he have…no! They aren't going to get away from me again. MELISSA, clear my schedule this afternoon, I have some other meetings to take care of.
STERLING storms by MELISSA, leaving her standing in his office as the…
CAMERA FADES TO BLACK
SCENE OPEN
EXT. LOS ANGELES COUNTY JAIL - NOON - PRISON YARD
CAMERA ZOOMS in to a TWO SHOT of NATE, walking around the yard with ELIOT, both clad in orange jumpsuits. Other inmates are around, working out, playing basketball, etc. as the two talk.
NATE
So you mean, she just had a (uses finger quotes) "feeling," called everyone wherever they were at and pulled it all together in just the last day?
ELIOT
I know, I was surprised too. When she told me you were in (uses finger quotes, mocking NATE) "trouble," I thought she'd lost her mind. Then when HARDISON confirmed everything she was saying…(a ringing bell sounds across the exercise yard.) Here's the deal. We're supposed to be "transferred" by Parker in about an hour. Be ready to roll pretty quick.
NATE nods as the two head towards the door of the jail with the rest of the inmates.
CAMERA CUTS
EXT. LOS ANGELES COUNTY COURTHOUSE - EARLY AFTERNOON
CAMERA ZOOMS into the office of the DISTRICT ATTORNEY, who is talking with STERLING and two of his large, burly associates, who are all together in a ROOM SHOT.
DISTRICT ATTORNEY
Nothing out of the ordinary happened, James, except for the strikingly gorgeous attorney that showed up to defend him.
CAMERA CUTS to STERLING, who holds up a photo of SOPHIE.
STERLING
Was this the (sarcastically) "strikingly gorgeous attorney" that you're speaking of?
CUT TO TWO SHOT of STERLING and the DISTRICT ATTORNEY as he puts on glasses and looks over the photo of SOPHIE.
DISTRICT ATTORNEY
Yes, that's her. Said she had flown in just this morning for the hearing. She's going to be pretty tough when it comes to the trial but, with the evidence we have, we should be able to get the conviction you want against this guy.
CAMERA CUTS back to STERLING, who smiles condescendingly at the DISTRICT ATTORNEY.
STERLING
If she's here, then I can assure you that the others who are criminal associates of Ford are here. I can also assure you that it is their intention to not go to trial. (He stands in front of his two associates, looking at the DISTRICT ATTORNEY) And if this case is not seen through to a conviction, Tom (straightens his tie) then you can count on a very short stay in the District Attorney's office!
STERLING stomps out of the DISTRICT ATTORNEY's office as his associates follow him. The CAMERA follows them down the hall as STERLING gives them instructions.
STERLING
How fast can we get to the jail?
ASSOCIATE 1
About twenty minutes, Mr. Sterling. Why?
STERLING
We need to get over to the jail and make sure that there aren't any more of them around. I think that they are all here to break Ford out of jail and I want to catch them in the act. If we can do that, we can put an end to all of them in one swing rather than gradually as I had planned.
The trio head out of the LOS ANGELES COUNTY COURTHOUSE and get into a parked car nearby. The CAMERA FOLLOWS them as the car pulls away from the building.
CUT TO INT LOS ANGELES COUNTY JAIL - EARLY AFTERNOON
CAMERA follows PARKER, dressed in a sheriff's uniform, as she comes up to the front desk with a clipboard. She slams the clipboard down on the counter, making the ROOKIE JAILER jump at his desk.
PARKER
(Disinterested) I'm here to transfer a couple of prisoners to Folsom.
CAMERA CUTS to a TWO SHOT of PARKER and the ROOKIE JAILER, who looks at the paperwork on the clipboard and is confused.
ROOKIE JAILER
(Confused) Officer, this guy (points at clipboard containing NATE's picture) is here pending trial and this guy (points again at ELIOT's picture) just came in early this morning. He hasn't even had a hearing yet.
PARKER
(Slams hands down on the counter in front of her) Damnit! Don't question me, rook! Don't you know NATE "The Nightmare" FORD (points at NATE's pic), responsible for several grisly serial murders along the Appalachian Trail ? He and his partner "The Axman" (points at ELIOT's pic) are supposedly guilty of chopping up seventeen hikers along the trail…(her voice trails off)…spread from Maine to Georgia (shakes her head).
CAMERA CUTS back to the ROOKIE JAILER, who is now flustered.
ROOKIE JAILER
No problem, Officer, it will take about fifteen minutes to get them processed.
CAMERA CUTS back to PARKER
PARKER
Make it snappy and sign off on the order, rookie! I need that paperwork back.
CAMERA CUTS to a TWO SHOT of PARKER and the ROOKIE JAILER as he quickly signs off on the paperwork and hurries out of camera range. PARKER remarks to herself…
PARKER
Fifteen minutes…go ahead and execute the next part of the play in about ten.
INT LOS ANGELES COUNTY JAIL - CELLS - EARLY AFTERNOON
NATE is sitting in his cell, looking at the ceiling, when the GUARD, who has ELIOT handcuffed next to him, knocks on the bars of his cell. The CAMERA CUTS to the guard, who opens up the cell.
GUARD
Seems you are a real popular man today. The big show wants to be responsible for you.
CAMERA CUTS to a confused NATE
NATE
What do you mean, "big show"?
CAMERA CUTS to the GUARD, who waves out NATE.
GUARD
You and "The Axman" here are off to Folsom until your trials…or your transfer back to the East Coast.
CAMERA CUTS TO ROOM SHOT as NATE walks out of the cell, turns and is handcuffed by the GUARD and, along with ELIOT, they all three walk out of camera range.
INT LOS ANGELES COUNTY JAIL - EARLY AFTERNOON
CAMERA opens in a ROOM SHOT with PARKER standing and waiting for NATE and ELIOT to be released to her. The GUARD walks up with both of them in front of them, walks around them and up to PARKER.
GUARD
(Looks at PARKER's size as he looks over the paperwork) You sure you don't need any help with these two?
PARKER
(As she takes the paperwork back from the GUARD, walks behind NATE and ELIOT) No, if they give me any trouble, I just do this.
CAMERA CUTS to ELIOT's thumb, as PARKER grabs it and yanks.
CAMERA CUTS back to ROOM SHOT
ELIOT
(Drops to knees) ARRRGGHH!
PARKER
Or this.
CAMERA CUTS to NATE's middle finger, as PARKER grabs it and yanks.
CAMERA CUTS back to ROOM SHOT
NATE
OWWW! (Falls to his knees)
PARKER
I think I have their attention. Should be no problem.
PARKER walks away with NATE and ELIOT in front of her. The CAMERA FOLLOWS them as they head towards the exit.
ELIOT
(Under his breath)
Remind me not to teach you any more of those moves!
NATE
(Under his breath)
Or maybe not teach her so well.
PARKER
Quiet, you guys! Besides, I had to have a way to get your handcuffs unlocked. When we get to the car, you can just slip them off your hands.
The CAMERA stops as they head out of the exit door and it closes behind them. The CAMERA ZOOMS back to the discharge desk that they just left as STERLING and his associates walk in another entrance and STERLING speaks to the ROOKIE JAILER in a TWO SHOT.
STERLING
Young man, I would like to see a prisoner you have here.
ROOKIE JAILER
Yes, sir, what is the prisoner's name.
STERLING
Ford, Nathan Ford.
ROOKIE JAILER
(Puzzled) We just released him, sir, for transfer to Folsom and further transfer back to the East Coast.
STERLING
What do you mean, released? Transfer back East?
ROOKIE JAILER
Yes, sir, it is all here. (Looks in processing bin) Shoot, she didn't leave the processing copy. Him and his associate…
STERLING
(Angrily) You buffoon! How could you be so stupid. Sound the alarm!
The CAMERA FOLLOWS STERLING as he races to the window and he looks out. The CAMERA CUTS to what he sees as PARKER, NATE and ELIOT walk towards what appears to be an unmarked car. As the alarm sounds, they begin to sprint themselves, NATE and ELIOT shedding their handcuffs. The CAMERA CUTS back to STERLING as he and his associates run towards the exit.
STERLING
(While they run) They CANNOT get out of this area!
The CAMERA CUTS back to PARKER, NATE and ELIOT as they run in the parking lot. They reach their car and stop to catch their breath.
ELIOT
PARKER, you got the keys?
PARKER
(Searches over her uniform) Crap, I knew there was something I forgot. (She looks in the car)
The CAMERA CUTS to the ignition, where the keys are still located.
The CAMERA CUTS to a THREE SHOT of PARKER, NATE AND ELIOT as they look at each other.
NATE
This is going to be a mighty short escape if we can't get in the car.
ELIOT
No problem.
The CAMERA CUTS to ELIOT as he pulls back his elbow. With a few quick strikes, he shatters the driver's side window and pops the door locks. The CAMERA CUTS to PARKER, NATE and ELIOT as they quickly jump into the car, with ELIOT in the driver's seat, NATE in the passenger seat and PARKER in the back seat. They start it up and pull away, with STERLING and his associates following in a vehicle soon after they pull off.
PARKER
(Points) There's the exit, Eliot. Head that way!
ELIOT
I can't go out the exit.
PARKER
Why not? Isn't that what it is for?
NATE
When an alarm is sounded, there are spike strips that are immediately deployed at all exits of the L. A. County Jail. It was something they put into effect a few years ago to prevent vehicles from just driving off of the grounds.
PARKER
(Quizzically) So what are you looking for?
ELIOT
An exit that won't kill us or destroy the car.
The CAMERAS follow the cars as they chase each other around the parking lot. STERLING's car bumps the rear of ELIOT's car and tries to spin him out unsuccessfully.
The CAMERA CUTS back to the INT. - ELIOT's car.
ELIOT
There! (Points) That's what I'm looking for! (He turns the wheel quickly towards the hedges that surround the parking lot.
The CAMERA PANS BACK to show ELIOT's car shooting out from the hedges, between two light poles and a bus stop near an exit to the parking lot. Cars narrowly avoid hitting them as they go through all the traffic before ELIOT gets control of the car and swerves into traffic.
The CAMERA CUTS BACK to STERLING's car as they watch ELIOT do this.
ASSOCIATE 2
There's the exit!
ASSOCIATE 1
I got it! (He heads for the exit to the jail grounds)
STERLING
(Knowing what NATE knows) No, not the exit, follow them exactly as they went!
His warning is too late as the CAMERA PANS BACK and shows STERLING's car pull over the spike strips at the exit of the jail grounds. All four tires blow out as the car skids to a stop in the middle of traffic, causing many drivers to honk their horns at them. STERLING emerges from the car and slams his hands on the roof of the car.
CAMERA CUTS to solo shot of STERLING, seething as he watches ELIOT's car fade into the distance. His cell phone rings and he pulls it out amid the cacophony of car horns.
STERLING
Sterling here. (Pauses) What, I am having some trouble hearing you? (Pauses) Oh she did, did she. Where is she now?
CAMERA CUTS to the DISTRICT ATTORNEY, who is on his office phone.
DISTRICT ATTORNEY
Yes, she is currently waiting for me in a meeting room. Said she wanted to discuss a deal for her client. Do you want me to get some of the bailiff's here to hold her?
The CAMERA CUTS back to STERLING, who has made his way to the sidewalk with his ASSOCIATES.
STERLING
(Seething angrily) No, Tom, here's exactly what I want you to do. Let her sit in that meeting room and sweat it out for about a half hour. I will be there with some assistance to take care of this matter once and for all. And by all means, DON'T ask anything of those imbeciles that you employ. (Hangs up cell phone and looks at his ASSOCIATES.) Get us a cab, we're going to the courthouse.
EXT. LOS ANGELES COUNTY COURTHOUSE - MID-AFTERNOON
CAMERA ZOOMS into a monitoring station inside the courthouse, where the DISTRICT ATTORNEY is watching SOPHIE on a television monitor stroll around the meeting room where she is to meet him. As she sits down with her back to the camera, STERLING bursts into the monitoring station with his two ASSOCIATES.
CAMERA CUTS to STERLING, who looks at the DISTRICT ATTORNEY.
STERLING
She's the only one that is in that room?
The CAMERA PANS BACK to a ROOM SHOT where the DISTRICT ATTORNEY, STERLING and the two ASSOCIATES all are massed around the monitor.
DISTRICT ATTORNEY
She showed up about an hour ago, demanding to see me about a plea deal. Says she has looked over the police reports and doesn't believe that it is a winnable case and wants to make sure her client doesn't get the death penalty.
STERLING
Well, Miss Sophie Devereaux, your client may not get the death penalty, but there should be a nice prize for capturing you. (Turns off the monitor) Let's go down there and bring her in.
CAMERA CUTS to STERLING, his ASSOCIATES and the DISTRICT ATTORNEY walking down a crowded hall towards the meeting room where SOPHIE is waiting. One of the ASSOCIATES opens the door and everyone walks into the office.
The CAMERA CUTS to behind STERLING, the DISTRICT ATTORNEY and the ASSOCIATES, who are standing behind SOPHIE.
STERLING
(Snidely) Hello, SOPHIE…long time no see.
The CAMERA CUTS to the back of SOPHIE's head as she remains silent and CUTS BACK to STERLING.
STERLING
So do you want to tell me where Ford is or do you want to be the only one who spends the rest of her life behind bars. (SOPHIE says nothing) Her life passing her by (he begins to stroll around to her side, looking down at the floor), her beauty slowly fading, the memory of her deeds drifting into the dust of history. What do you think, Miss Devereaux? (STERLING looks up at SOPHIE and immediately is stunned)
CAMERA CUTS to the front of SOPHIE…or better yet, a life size model built to look like SOPHIE that suddenly turns its head and speaks through a speaker mounted in its body.
SOPHIE
(Speaking through the model) Thank you for the kind words, Sterling, but I am sorry…I'm not there. Let's see who else is here. (The head spins to where it is facing back and looking at STERLING's ASSOCIATES and the DISTRICT ATTORNEY) Barrister, what are you doing in on this? (The head spins back to look at STERLING) Anyhow, now that we have the audio and video on this, I will let you talk to NATE.
The CAMERA CUTS back to a GROUP SHOT of the entire gang (NATE in the passenger seat, SOPHIE in the back seat with PARKER and HARDISON, and ELIOT at the wheel) in the SUV that the crew drove down to Los Angeles.
NATE
(Accepting the microphone from SOPHIE) Hello, Sterling. Needless to say, I am not surprised that you were behind something like this. Guess you were a little perturbed about our last meeting.
The CAMERA CUTS back to STERLING, who is raging now.
STERLING
FORD! How in the hell do you expect to get away with this! The police have mounds of evidence, your car, you will not get away.
The CAMERA CUTS back to the SUV where NATE continues to speak.
NATE
Let's just say that computers are no way to store pertinent evidence…
FLASHBACK
CAMERA CUTS to HARDISON, sitting in a hotel room in Los Angeles and hacked into the computer system for the police department.
HARDISON
It is unbelievable how much junk they have on these systems. PARKER, have you got all the physical paperwork there at the jail?
The CAMERA CUTS to PARKER, in her sheriff's uniform, putting a box of papers into their getaway car.
PARKER
Got every bit of it. You going to wipe the computers?
CAMERA CUTS back to HARDISON
HARDISON
You know it, baby. Every time they enter in the four letter word "Ford" it will trigger a virus that completely erases the hard drive of the computer they are on.
PARKER
(Off camera) Do you know how often a police department enters the word "ford"?
HARDISON
Why do you think I chose that word! They'll have to invest in a brand new computer system department wide AND won't have the evidence they need. It's going to cause them headaches for awhile.
END FLASHBACK
CAMERA CUTS to NATE
NATE
And you might be able to piece something together from the car…oh, wait, where is it?
FLASHBACK
CAMERA CUTS to HARDISON, who is at the impound yard, dressed as a police officer.
HARDISON
(Holding a form and talking to the impound officer) Look, all I know is that I have to bring the car to a special "clean room" so they can break it down piece by piece. (He lays the paper down and a hand stamps "ACCEPTED" on it.)
CAMERA CUTS to HARDISON in a car hauler bringing the car to a nondescript wrecking yard. He pulls the entirety of the package into a crusher. He steps out and hits a switch, which proceeds to crush, then shred, the vehicles in their entirety.
END FLASHBACK
CAMERA CUTS to the SUV as NATE looks back at HARDISON.
NATE
(Covering the microphone) I can't believe you did that to my car.
HARDISON
You don't remember what it looked like after you went skydiving?
NATE
(Shakes head) And now we have you in a very embarrassing situation with the District Attorney. What will we do to resolve this situation?
CAMERA CUTS to STERLING, who is pacing back and forth as the model-SOPHIE's head follows him.
STERLING
How did you get her out of here? We saw her on the monitor walking in this room minutes before we came in.
FLASHBACK
CAMERA CUTS to STERLING, in the monitor room.
STERLING
Well, Miss Sophie Devereaux, your client may not get the death penalty, but there should be a nice prize for capturing you. (Turns off the monitor) Let's go down there and bring her in.
The CAMERA CUTS to the conference room, where HARDISON comes out from under the table.
HARDISON
OK, they are on the way down from the monitor room. The others should be here by now. (HARDISON drags the model-SOPHIE out from under the table as well) With this surrogate, we should be able to get all the info we need from him, SOPHIE.
CAMERA CUTS to SOPHIE, who stands up as HARDISON enters the scene and puts the model-SOPHIE where she was sitting.
SOPHIE
Maybe we can end this once and for all. (Looks over the model-SOPHIE) Is that what I really look like? (HARDISON grabs her by the shoulders and they walk out of the conference room.)
END FLASHBACK
STERLING
(As the CAMERA CUTS to the view from the model-SOPHIE eyes) What do you want, Ford?
NATE
(Off camera, as if coming from model-SOPHIE) You could promise never to come at us again, but we know you won't hold to that one. So how about we settle this time for the resignation of your lackey in the DA there and your resignation from IYS?
STERLING
(Incredulously) I can't do that…
NATE
(Off camera) It's either the easy way or the hard way, and the hard way has that ugly stigma of jail behind it.
CAMERA CUTS back to STERLING, standing in front of the model-SOPHIE.
STERLING
(Realizing that he has no options) OK, Ford, you win this time. But there will come a time when I will take your head off! (Sterling swings at the model-SOPHIE head, knocking it off the body.)
CAMERA CUTS back to the SUV, where everyone jumps at the ferocity of STERLING's swing that knocked model-SOPHIE's head off and cut off the video coming from the room.
PARKER
He hit SOPHIE! I'm gonna kick his a-!
HARDISON
PARKER, we've told you before, that isn't SOPHIE. Look, here she is (points back over shoulder at SOPHIE, who looks over HARDISON's shoulder)!
NATE
(Shakes head) OK, well, where are we going?
ELIOT
We're going to where we can get some rest and talk a bit.
SOPHIE
Back to someplace where we can all blend in.
CAMERA CUTS to the EXT - EARLY EVENING as the SUV travels through the California desert.
EXT - LAS VEGAS STRIP - EVENING APPROXIMATELY 8PM NEXT DAY
CAMERA ZOOMS into the suite of SOPHIE DEVEREAUX as she sleeps soundly in her bed. The CAMERA pans over to NATE as he sits at a table and stares out over the Strip, sipping Jack Daniels out of a glass. He glances over at SOPHIE and listens to her sleep. The CAMERA PANS BACK for a TWO SHOT as SOPHIE slowly wakes up and, seeing NATE, is slightly startled.
NATE
Sorry, didn't mean to wake you.
SOPHIE
No, no reason for sorry. Was just surprised to see you there.
NATE
ELIOT decided he wanted to get in some rock climbing out by the dam, PARKER wanted to try the stock car racing out at the track and HARDISON said something about working the bugs out of something. I decided to come to see you before we all meet later this evening.
SOPHIE
You mean I slept all day?
NATE
(Stands up, walks over and sits on the bed) No, you actually fell asleep in the SUV on the way back from LA, I carried you up here, THEN you slept all day. That's what taking red-eyes from Europe do to a person. (He smiles)
SOPHIE
(Sitting up and propping a pillow behind her) I wish I could explain what happened, NATE. I don't know how I knew something was going on, I just knew that we were the only ones who could get you out of the situation.
NATE
Hey, you won't hear any arguments out of me! (Glances down) Seriously, I want to thank you for all you and the group did. You took a risk that I would have told you was insane. (Pauses) And I have to thank you, SOPHIE, for following your feelings…(stammers, not knowing what to say)…and those between us.
SOPHIE
Those will always be there, NATE. And we will always have something between us.
NATE, clearly embarrassed, stands up.
NATE
OK, let me get out of here so you can get ready for our meeting. I will see you then! (He turns around and the CAMERA FOLLOWS him out of the room)
The CAMERA CUTS back to SOPHIE as she sighs heavily and wraps her arms around her pillow.
FADE TO BLACK
OPEN SCENE
INT BELLAGIO HOTEL, LAS VEGAS - LATE EVENING 11PM
ELIOT and NATE are waiting for the rest of the crew as they lounge around NATE's suite. The CAMERA HOLDS a TWO SHOT of them as NATE speaks.
NATE
Beer?
ELIOT
(Grudgingly) Sure. (His eyes follow NATE to the refrigerator as NATE grabs a beer, uncaps it and brings it to ELIOT)
NATE
I want to thank you for all you did on this case. I know it must have took some tremendous persuasion to get you to walk willingly into a jail cell. I don't know if I would have been able to do it…
ELIOT
Do what?
NATE
Either talk you into going in or doing what you did. I appreciate it very much.
ELIOT
(Shrugs) It was nothing.
NATE
(Clinking his glass to ELIOT's beer) No, it was something. (He walks out of the screen shot, leaving ELIOT to his own thoughts.)
There's a knock at the door and the CAMERA CUTS to NATE as he walks over and opens it. HARDISON strolls in with a waiter who has a cart filled with food.
NATE
(Cutting a tip off of a roll of bills and handing it to the waiter) Thank you. (The waiter accepts it and leaves as NATE closes the door) HARDISON, what's this?
HARDISON joins NATE in a TWO SHOT as he explains.
HARDISON
I figured that everyone was hungry and ordered from the room service menu. Everyone gets steak and shrimp billed to singer Marion Carrier!
NATE
(Dropping his voice to a whisper) HARDISON, I wanted to thank you for all you did in getting me out.
HARDISON
Hey, man…(trying to play it cool, but failing)…we couldn't let you just go to jail for the rest of your life.
NATE
(Whispers) Yes you could have, but you didn't. And I appreciate that. (NATE walks out of the shot, leaving HARDISON to his thoughts.)
NATE walks back into a ROOM SHOT where ELIOT is and HARDISON joins them.
NATE
Now if the ladies would just get here.
There is a knock at the door and NATE goes to answer it as the camera follows him. SOPHIE is there, looking stunning in a cocktail dress, ready to celebrate. NATE is stunned as she enters through the door and passes him.
SOPHIE
(Off camera) Hello all, did you have a good day?
The CAMERA follows back to the ROOM SHOT as ELIOT and HARDISON acknowledge SOPHIE. NATE rejoins them in the room.
NATE
Now, where's…
PARKER
(Off camera) I'm here.
CAMERA CUTS to PARKER, standing in front of the sliding glass door that leads out to a view of the Strip. The CAMERA CUTS back to NATE, who is surprised.
NATE
How did you…never mind. Parker, can I talk to you?
CAMERA CUTS to PARKER, seemingly indifferent.
PARKER
No need. Really glad, thanks, blah, blah, blah. Let's all talk.
The CAMERA PANS BACK to a room shot, as HARDISON, ELIOT, PARKER and SOPHIE are seated around the room. NATE shuffles his feet in front of them, not knowing what to say.
NATE
I have to say that I am happy that you took chances with your own freedom to come and get me out of that situation. But I have to remind you to not do that again! What we have done…(pauses)…what we do for people requires you to be effective. I can be replaced.
CAMERA CUTS to SOPHIE
SOPHIE
That's not true, Nate. (She looks around at the other members)
The CAMERA PANS to HARDISON, who mouths the words "Go ahead, Sophie", then to PARKER, who simply smiles, then to ELIOT, who begrudgingly nods his head, before the CAMERA CUTS back to SOPHIE.
SOPHIE
When I told the others what had happened, they thought I was nuts. But I also told them that you have given us an outlet, a reason, to be who we are. We're not the criminals we once were. We're now…acceptable.
The CAMERA PANS BACK for a room shot and everyone is nodding.
The CAMERA CUTS to SOPHIE, who continues speaking.
SOPHIE
What we need to know now, NATE, is if you feel as we do? We can't continue to do the work we do unless you accept that you have become a criminal, just like the criminals that we once were. (SOPHIE sits down and looks toward NATE)
The CAMERA PANS BACK to a room shot, as NATE stands before the crew.
The CAMERA CUTS to NATE as he stands in front of the crew.
NATE
I once thought that there was no reason to do what you guys did for a living. Then I realized that life isn't black and white, it has more hues of gray than even I could think of. When we started, I resisted getting close to you. But as we have gone along, I know that, as you have grown, so have I.
The CAMERA PANS around the seated team members. SOPHIE is almost tearful, HARDISON and PARKER are joyous and even ELIOT has a slight smile on his face.
The CAMERA CUTS back to NATE, who grabs his glass of whiskey.
NATE
So I ask you all to stand with me, my friends…my family.
The CAMERA PULLS BACK slightly to show SOPHIE approach and raise her wine glass, to be joined by HARDISON with his orange soda, PARKER with her wine glass and ELIOT with his beer. They all hold their glasses within touching distance.
NATE
To Leverage & Associates!
The clinking of their glasses sounds as they all take drinks.
FADE TO BLACK
END