-24 MIAMI-
HOUR I: 6:00 AM – 7:00 AM
6:00 AM, 3 miles off the coast of Miami.
A black speedboat moves through the waters as the sun begins to slowly peak through the clouds. On the boat are five men, dressed in all black. Piloting the craft is ROMERO CORTEZ
One of the men, CASPER GONZALEZ taps Cortez on the back.
CASPER: Sir, radar picked up an unknown vessel heading toward us from behind.
CORTEZ: Probably the coast guard. I'm shutting the lights off...now
Just as Cortez reaches for the kill switch...the CHATTER of machine gun fire rattles overhead.
A COAST GUARD helicopter zooms by and flips a 180 to face the speedboat. It shines a spotlight down, momentarily blinding Cortez.
GUNNER: This is the United States Coast Guard. Bring your boat to a stop immediately or you will be fired upon.
CASPER: What should we do?
CORTEZ (draws pistol): What we're being paid for!
Cortez takes aim and FIRES on the chopper. His silenced .45 is loaded with armor piercing rounds – they have no problem shredding through the bullet proof glass and perforating the pilot.
The gunner FIRES as the chopper sinks into the waters. As his men fall around him, Cortez keeps FIRING. His first shot hits the gunner right between the eyes, killing him right before the craft is completely submerged.
A coast guard boat speeds by. Without warning, the three gunners inside start SPEWING BULLETS. Casper takes control of the boat and maneuvers around the hailstorm of bullets, Cortez covering him with scattered shots from his 45.
As the boats get closer and closer, Cortez sinks below the outer wall of the speedboat and grabs an AK-47 from one of his fallen men. He pops back up and SPRAYS. The two gunners are instantly killed.
The third man goes for cover, but Cortez nails him with two shots to the torso. Only the captain's left. He picks up his radio to call for reinforcements. Cortez BLOWS his hand off before he can even speak, and then proceeds to tear him to shreds.
He lowers the smoking assault rifle and looks around for any reinforcements. There are none.
CASPER: That all of 'em, sir?
Casper slides on a wetsuit and begins preparing a scuba kit. He straps the air tank on and connects it to an intake.
CORTEZ: Yeah. Only one thing left to take care of.
CASPER: What's that?
CORTEZ: You.
Cortez shoots him through the head and casts the empty AK-47 aside. He then puts on a backpack, hops off the boat and begins his long swim to shore.
INT. PLANE – MORNING
An American Airlines jet flies by as it makes its descent into the city of Miami. Inside are over 200 passengers – most watching enthusiastically as the city draws nearer and nearer. Sitting in the very back row of coach class is Jack Bauer. His legs are sore from the lack of room and he's flanked by two morbidly obese people...a man and a woman, both at least 400 pounds.
Jack tries not to stare as he reads his Soldier of Fortune magazine. The woman wakes up from her sleep and taps him on the shoulder. Jack faces her, holding in a laugh.
WOMAN: Are we there yet?
Jack peeks past her husband to check the plane's location. Miami International Airport is visible.
JACK: Just a few more minutes, ma'am.
He then raises his Soldier of Fortune back to eye level and lets out a deep sigh of relief as the plane touches down.
EXT. SOUTH BEACH – DAWN
The sun rises over South Beach, casting an orange glow on the sea of white sand beaches and art deco buildings. Scantily clad woman frolic on the beaches, surfers ride the waves and tourists wander the streets – stopping at shops on the way.
A black Maserati cruises slowly through traffic, caught in a crowd of rental cars driven by confused tourists. ANTONIO VARGAS is driving the car. He's frustrated – sweating and constantly checking his Rolex. The man's also obsessed with himself, adjusting his hair every five seconds and rolling a lint brush across his tangerine suit.
He looks at his watch and SLAMS the horn.
VARGAS: ing tourists.
The light turns green and Antonio pulls forward to the Colony Hotel. The VALET approaches the car.
VALET: Morning sir, welcome to the Colony Hotel. Can I help you with your car and baggage?
VARGAS: Just the car.
He hands him the keys.
VARGAS: If you so much as scratch it – your whole family dies. Do you understand?
VALET: Yes, sir.
VARGAS: Good.
Vargas gets out of the car and the valet gets in, carefully driving to the valet lot. Vargas enters the hotel through the front doors.
INT. COLONY HOTEL LOBBY – MORNING
Vargas fixes his hair and makes his way through the lobby, surrounded by tourists. He turns and enters the hotel's restaurant where he's greeted by the receptionist.
RECEPTIONIST: Can I help you, sir.
VARGAS (Looking around the place): No.
Vargas continues and takes a seat at a table across from another man – ARMANDO ORTEGA. Ortega was one of Cuba's top drug kingpins before the Mariel boatlift, and now that he's in America, he's quickly building up a new drug empire. He is tall, brooding and impeccably dressed.
ARMANDO: You're late, Antonio.
VARGAS: ing tourists – you know how it is.
ARMANDO: Of course. Would you like some champagne.
VARGAS: Yes, please.
Armando pulls a bottle of Cristal from an ice bucket in front of him and pours a glass for Vargas.
ARMANDO: We've got quite a day ahead of us, my friend – please enjoy it while you still can.
Vargas gulps down the champagne in a single chug.
ARMANDO: Well it looks like our little job this morning didn't go off as planned.
VARGAS: What do you mean?
ARMANDO: As Cortez and his crew were returning from Cuba, the coast guard spotted them. Needless to say, there was a confrontation.
VARGAS: And...?
ARMANDO: Cortez survived. He's at the docks right now with the goods. After we're done here, I'm going to go pick them up.
VARGAS: What are the plans for today?
ARMANDO: I just received word from my source – our man is in town.
VARGAS: Excellent. Where and when is our operation going to begin.
ARMANDO: Now. I have the blueprints to the building – it lists all the possible vantage points and blind spots. Now that you are here, I want you to call Caine and assemble a team of our best people. Oh, and make sure to let them know that the target is not to be harmed. He's no good to us dead.
VARGAS: I understand. I will call Caine immediately.
INT. BILTMORE PRESIDENTIAL SUITE – MORNING
DAVID PALMER sits alone in his lavish room going over a speech. This is not the Palmer we know – his head is dripping with jerry curls, he's got a mustache and goatee and is dressed in a purple suit. As he revises his speech, he nods his head to Genesis' "Invisible Touch" as it plays on the radio.
PALMER (Muttering): On this great day...I announce my candidacy for mayor of this city...I hope to...
There's a knock at the door.
PALMER: Come!
His head of security, AARON PIERCE enters. He's got a distressed look about him...something's not right.
PALMER: I don't like that look, Aaron...what's wrong now? A financer pull out?
PIERCE: No, it's much worse. We have reason to believe there might be an attempt on your life today.
Palmer chuckles.
PALMER: We get death threats every day, Aaron. What makes this one so much different?
PIERCE: The CIA has activated the Counter Terrorist Unit to assess the situation. And that only happens when the threat is substantial...they're placing sharpshooters throughout the courtyard to provide you cover.
Palmer's grin disappears into a frown.
PALMER: Tell me all you know.
PIERCE: CIA intercepted a message from a hate group known as the Imperial Knights. They're the ones responsible for several lynching and bombings in the last 10 years. And your opponent is a former member of them.
PALMER: So you're saying Congressmen Pike has ordered this?
PIERCE: It's highly unlikely, sir, but we are not ruling it out.
PALMER: Alright. Get me Pike on the phone.
PIERCE: That wouldn't be wise, sir. If you tell Pike about this, he'll be sure to incriminate you in his next speech. David, your numbers are already sagging in the polls – and if Pike claims that you accused him of such a thing, it'll be over.
Palmer takes a moment to think.
PALMER: You're right. Thanks, Aaron.
PIERCE: My pleasure, sir.
Pierce exits the room.
INT. MIAMI INTERNATIONAL AIRPORT – MORNING
DING. The baggage claim carousel begins to spin and luggage FLIES from the chute. As anxious travelers wait for their bags, Jack Bauer studies his surroundings. The airport is unlike anything he's ever seen before – ultra-modern artwork is hung on the walls, windows stretch from the floor to the ceiling and glass sculptures are on display. A big change from industrialized Los Angeles.
His small bag shows up on the carousel. Jack picks it up and leaves the airport.
EXT. MIAMI INTERNATIONAL AIRPORT – MORNING
Jack walks out the front door and sees a white Volvo station wagon in front of him. It's got government plates...his ride. The driver, FERNANDO
ALMEIDA motions to him.
TONY: Bauer! Over here!
Jack gets in the passenger's seat and slams the door shut. The interior is standard government issue – basic upholstery, a radio unit and a shotgun between the two front seats. Fernando looks over to Jack, eyes obscured by a pair of oversized aviators.
FERNANDO: Jack Bauer. Chief Donovan's told me a lot about you. I'm Fernando Almeida.
They shake hands.
JACK: Good things, I hope.
Fernando drives out of the terminal and gets on the freeway. He turns up the radio. Don Johnson's "Heartbeat" is playing.
FERNANDO: You ever been to Miami before?
JACK: No.
FERNANDO (Chuckles): Well you're in for quite the rude awakening, my friend.
JACK: Can't be that bad.
FERNANDO: We'll see what you think about that in a couple of hours.
JACK: You know LA ain't no pushover either. Spend a little time in South Central and you'll see what I mean.
Fernando chuckles.
EXT. COLONY HOTEL – MORNING
Armando Ortega exits the hotel and slips on a pair of sunglasses. He pulls a MASSIVE BRICK CELL PHONE off of his belt and places a call.
Vargas answers.
VARGAS: Yes?
ARMANDO: Antonio, what's the status on your team?
VARGAS: Everything is going right on schedule. Gonzalez and his men are on their way. We'll be out by 8.
ARMANDO: Good. That will provide sufficient time to set everything up.
VARGAS: And you?
ARMANDO: I'm on my way to the docks right now to pick up Cortez's cargo. I will call in about an hour.
Armando hangs up and gets in his Ferrari.
Just as he drives away, Fernando Almeida's Volvo rolls into view, slowly cruising through the traffic.
INT. VOLVO – MORNING
Jack is ogling all the bikini-clad women through the window. Fernando shakes his head.
JACK: You know, Fernando, I'm starting to like this place already.
FERNANDO: You haven't seen anything yet, my friend. Later on, I'm gonna take you to –
Fernando's cut short when...
The Colony Hotel ERUPTS in a ball of FLAME! The famous façade is literally ripped to shreds, sending neon lit letters FLYING like shotgun spray. One of them SMACKS into a limousine, CRUSHING it.
FERNANDO: Jesus ing Christ! Get out of the car, Jack!
Jack gets out and follows Fernando – not sure where he's going, but he's drawing a pistol. Fernando slides over the hood of a car and pushes through the frightened observers.
Fernando FIRES his gun into the air as he shoves a picture-taking tourist to the ground. As the pedestrians clear, he spots a man in a teal suit entering a Corvette. He takes aim and squeezes off a shot.
The rear tire pops. The driver tries to get the car moving, but Fernando puts a hole through a front tire, rendering the car useless.
The driver, a Rastafarian named REX, gets out, armed with an Uzi and opens up on Fernando.
FERNANDO!
He dives behind a car as bullets whiz past him, blowing through shop windows and narrowly hitting pedestrians.
A swarm of bullets pepper the car, SHATTERING glass, popping tires and tearing its outer shell to pieces. Fernando returns fire until his pistol runs out of ammo. He fumbles for another clip.
JACK
Watches the scene from the flaming wreckage of the Colony. Fernando's in trouble...a 45 usually doesn't do too well against a submachine gun. He decides to take action, CHARGING for Rex.
Fernando sees him and keeps firing to cover for Jack.
Jack pulls out his giant brick cell phone and WHAM! SMACKS Rex over the head with it. The gunman drops his Uzi and falls forward against his bullet-riddled car. He tries to break free – Jack KNEES him in the groin.
JACK: Don't even think about it, hole.
Fernando holsters his 45 and joins Jack.
FERNANDO: Nice takedown. You saved my .
JACK: Don't mention it. This guy ain't .
REX: Get your hands off me, pig! You donn know who you messing with! I got friends!
FERNANDO: Sure you do. Now tell me, did you plant the bomb in the hotel?
REX: you, pig, I ain't talkin'!
FERNANDO (Face turning red with frustration): I'm warning you...
Jack gently pushes Fernando aside.
JACK: Here. Let me show you how it's done.
Jack grabs Rex and THROWS him against the car. He grabs him by the collar and leans in until their faces are only separated by a few inches.
JACK (At the top of his lungs): WHO DO YOU WORK FOR?
Rex doesn't respond.
Jack SLAMS him into the car again, breaking a window.
JACK: TELL ME WHO YOU WORK FOR OR I SWEAR TO GOD I WILL KILL YOU!
Rex is scared shitless. A wet stain is forming at the crotch area of his pants.
REX: I...I don't know his name...he jus' tell me to put a bomb in da hotel and blow it up. That's all I do, my man, I swear.
Fernando looks to Jack.
FERNANDO: What do you think, Jack?
JACK: This guy's small time. He's telling the truth. Whoever he's working for used him as bait. Ain't that right, "brudda"?
REX: Ya! Iss all gravvy, man – now lemme go!
FERNANDO: We don't have time for this. Lets just take him back to HQ and let them deal with him.
JACK: Yeah.
He picks Rex up by the arm, squeezing into his bicep. Rex winces.
INT. CTU MIAMI – MORNING
CTU Miami is completely different than the CTU of today – the cold steel and blue tones are replaced by pastel orange walls, white accents and tiling. Small TVs are mounted inside the walls, displaying everything from the local news to live camera feeds of various places throughout the city. The employees, all dressed in identical powder blue shirts and white pants are seated at desks, working on computers and answering phone calls.
As of now, the local news is covering the Colony Hotel explosion that took place only minutes before. DIRECTOR THOMAS HOWITZER watches from the director's office, shaking his head in disbelief. His aide, brown-nosed rookie KEVIN ARCHER is in the office with him.
HOWITZER: I've never seen anything like this since 'Nam, Archer. This is un-ing-believable.
ARCHER: It sure is a tragedy, sir. Is there anything I can do for you?
HOWITZER: Yeah. Get me Almeida on the phone – I'm gonna tell him to check out the scene.
Archer grabs a phone and punches in Almeida's number. He hands it to Howitzer.
FERNANDO: This is Almeida.
HOWITZER: Fernando. How's the Bauer situation going?
FERNANDO: Good. We're heading back to CTU right now.
HOWITZER: I need you to do me a favor, Fernando. Take a detour and check out the Colony Hotel. The bomber could still be in the area.
FERNANDO: Already did, sir, we got the guy. All thanks to Agent Bauer.
HOWITZER: Good work, Almeida. I'll be waiting for you.
FERNANDO: Right.
Almeida hangs up.
INT. WAREHOUSE – MORNING
Romero Cortez has shacked up in a warehouse at the docks of the Port of Miami. The two former inhabitants of the building, fisherman, lie dead on the floor – throats slit from ear to ear.
Cortez is sitting in a dark corner office only illuminated by the morning sun filtering through the blinds. He's assembling a sniper rifle. As he slides the barrel in place there is a knock at the front door.
He gently sets the half-assembled rifle down and picks up his silenced .45. He tiptoes to the door and flattens up against the wall next to it.
CORTEZ: Who's there?
ARMANDO: It's me. Open the door.
Cortez opens the door and holsters the pistol. Armando enters, looking around the place.
ARMANDO (Stepping over the dead bodies): Looks like you made quite the entrance.
CORTEZ: Don't worry. They didn't even know what hit 'em. Would you like me to get rid of them?
ARMANDO: No. We're on a tight schedule, Cortez. Today, everything has to play out exactly as it was planned. There is no room for error.
CORTEZ: I understand.
ARMANDO: Glad to hear it. Now show me the cargo.
CORTEZ: Yes, sir.
Cortez walks into the corner room and exits with a backpack. He sets it on a table and zips it open, revealing two large, black tubes. He hands one of them to Armando.
He unscrews the lid and pours some of the contents onto the table. A pile of small blue pills forms. Armando takes one of the pills, pulls a small electronic device from his pocket and inserts it into a small slot on the device.
After a few moments, a green light FLASHES. Satisfied, Armando places the device back into his jacket and puts a hand on Cortez's shoulder.
ARMANDO: Excellent work, my friend. Your work here is done. Torch the place and meet Vargas at the hideout.
CORTEZ: Yes, sir.
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