1. shopping
2. toys
3. dolls

BURN NOTICE: “HOSTILE NEGOTIATIONS”
BY SARAH BEACH
TEASER
EXT. AERIAL SHOT OF FREEWAY - DAY
The black Charger cruises up the freeway, out of the city,
toward the Everglades.
MICHAEL (V.O.)
Under the best of circumstances,
negotiations are never easy. But
those started while guns are still
firing are the hardest. A spy
prefers to have as much control
over the conditions as possible,
because the simplest change can
flip friendly negotiations to
hostile ones. If you have the
option of selecting the site for
the negotiations, take it.
EXT. PARKING AREA - DAY
The Charger pulls into a dirt parking area. Two other dusty
vehicles are parked apart from each other. At first sight,
there doesn’t seem to be anything here to attract anyone.
Trees crowd up to the edge of the parking area.
At one side of a pathway stands a weather-worn wooden sign,
with hand-painted lettering. The sign says “MASON CABINS NO VEHICLES BEYOND THIS POINT”
MICHAEL (V.O.)
Sometimes, however, you don’t get
to choose the location. Under
those conditions, check for
possible escape routes, in case you
should need them. And always
remember that even though the other
party is ready to talk, that
doesn’t mean they are ready to make
peace.
The Charger parks and MICHAEL WESTEN gets out of the driver’s
side. He leans on the door, looking around, very unhappy
with the location. He is in jeans and a polo shirt.
2.
MICHAEL (V.O.) (CONT’D)
If the choice of the location was
made by your opposite number, it’s
a good idea not to open the
discussions by commenting on the
nature of the location. Especially
if you don’t like it.
The other car door opens, and MADELINE WESTEN gets out. She
looks at Michael for one instant with steaming anger, and
then suppresses it. She beams at him over the roof of the
car.
MADELINE
See, Michael? Just like I said.
Isn’t it great? Nice and secluded!
He closes his door and goes around to the trunk to open it.
MICHAEL
Yeah, Mom. Great.
He pulls out his own duffle bag and sets it on the ground by
the car.
He then reaches in, to manoeuver Madeline’s suitcase out of
the trunk. He hauls out the battered suitcase in one heave.
It’s obviously overloaded, and it meets the ground with a
THUD.
Madeline fishes a couple of bags of groceries out of the back
seat. As she closes the car door, she notes the suitcase.
She quickly hides a flash of satisfaction at making him work.
MADELINE
Oh, thank you, sweetie. Would you
mind bringing it in to the cabin?
I’ll get started fixing us
something to eat. I even brought
some of that yogurt you like so
much.
She heads down the pathway by the sign, disappearing though
the trees and underbrush.
Michael just shakes his head and closes the trunk.
He looks at the baggage and rotates his right shoulder,
wincing.
He slings his duffle bag over his left shoulder and then
tackles moving the suitcase.
3.
He follows Madeline down the path, laboring with the weight
of the suitcase.
MICHAEL (V.O.)
After particularly long missions, a
spy can expect to spend many hours
being debriefed by an agency
analyst. A good analyst knows how
to read the subject, how to
interpret small changes in
expression and body language. And
if there is information that you
want to withhold from the analyst,
you have to be careful about what
you say and do.
EXT. SHABBY CABIN - DAY
The pathway opens into a bit of a clearing in front of a
rough cabin. The roof looks fairly new, weeds have been
cleared away from the step up to the short porch, and the
door has been painted within the last two years. And the
windows are clean.
Michael stops at the end of the path setting the suitcase
down while he scopes out the location.
MICHAEL (V.O.)
I’ve been put through the grind by
some of the best interrogators in
the business, some of it under
torture.
The path branches, one lane leading to the steps of the
cabin, the other leading away through brush toward two other
cabins hidden away some distance off.
Madeline appears in the doorway, and waves Michael onward.
MADELINE
Are you all right, Michael? Come
on! You’ll like it. It’s really
cosy.
He cringes at the word “cosy”.
She disappears inside.
He picks up the suitcase again, a bit debilitated by the
activity. He’s still recovering from blood loss and a major
wound to his right shoulder. He’s not as recovered as he
thinks he is.
4.
MICHAEL (V.O.)
But few professional interrogators
have been as adept as my mother in
drawing information out of a
subject. The last thing I’ve ever
wanted to do is to tell my mom what
my life as a spy was like. And
it’s the one thing she wants to
know.
INT. SHABBY CABIN - CONTINUOUS
Michael steps into the cabin and sets the suitcase down by
the door.
The furnishings are a step up from those in his loft - but
not by much. A pair of single beds occupy the corner of the
one room cabin.
Some of the goods from the grocery bags are spread on the
small table.
The sound of a flushing toilet attracts Michael’s attention
to a door in the far corner, beside the rough sink.
The door opens and Madeline comes out. She turns on the
faucet of the sink, and with a great wheezing some water
begins to spurt out. She washes her hands.
She is very pleased with the cabin.
MADELINE
Well, at least the rental agent
wasn’t lying about that! Thank God
for flush toilets. An outhouse
would have been too much.
She studies Michael as he looks at the details of the cabin.
He moves away from the door, leaving it open.
She gets a momentary devious expression, which she quickly
hides.
MADELINE (CONT’D)
Michael, can I borrow your phone?
He pulls it out and starts to give it to her.
back slightly, suspicious.
MICHAEL
What do you want it for?
Then he pulls
5.
MADELINE
I just want to call Nate and let
him know we arrived safely.
MICHAEL
I can do that.
MADELINE
I don’t want to listen to the two
of you arguing on the phone.
(she holds out her hand)
Please.
He gives it to her.
MADELINE (CONT’D)
Why don’t you go get the cooler
from the trunk?
He nods and heads out the door.
She promptly takes the back off the cell phone and takes out
the battery. She looks around for a hiding spot, but
realizes there’s no good place inside the cabin.
She steps out on the porch.
EXT. SHABBY CABIN - DAY
Madeline looks about for a hiding spot, cell in one hand,
battery in the other.
But Michael had stopped by the path.
question.
He turns back to ask a
MICHAEL
Mom, do you want--He sees her holding the pieces of his phone and is
immediately suspicious.
MICHAEL (CONT’D)
Mom, what are you doing?
Caught, she realizes there’s no hiding the battery, so she
throws it as hard as possible into the underbrush a distance
from the cabin.
MICHAEL (CONT’D)
Mom!
She beams at him, satisfied.
6.
MADELINE
No interruptions! Not even from
Sam or Fiona.
He stares at her, stupefied.
MADELINE (CONT’D)
We’re not going to die for lack of
a cell phone, Michael!
She goes inside.
He wishes he could strangle her.
car.
He turns and heads for the
EXT. PARKING AREA - DAY
Michael pulls a battered plastic cooler out of the trunk of
the Charger. He sets it on the ground, and then notices the
car is skewed to one side.
He moves to check the driver’s side.
Both tires on the driver’s side are flat.
He looks quickly to the other two cars.
have two flat tires each.
Both of them now
He looks around the whole parking area.
other vehicles.
No one in sight, no
His hand automatically goes to the small of his back -reaching for the gun he does not have with him. His
expression goes grim.
He grabs the cooler and dashes for the path.
MICHAEL (V.O.)
It’s never a good sign when a third
party crashes your hostile
negotiations. Especially when they
make their presence known by
sabotage.
END OF TEASER
7.
ACT ONE
EXT.
MADELINE’S HOUSE - DAY
The house looks bright and friendly.
NATE WESTEN, carrying a bag of groceries, pauses at the front
steps to pick up the newspaper. Then he goes up to the front
door and starts to unlock it. It swings open.
He freezes and looks around cautiously.
door.
Then he steps in the
INT. MADELINE’S HOUSE - LIVING ROOM - CONTINUOUS
Nate sets the bag on the floor to the side of the door.
Mom?
NATE
You guys come back?
(a beat)
Mom?
He comes further into the house, still uncertain.
Come on.
NATE (CONT’D)
Mom?
He starts toward the kitchen.
A huge BLACK MAN (RIEK AWEIL) explodes upward from behind the
kitchen counter. He’s in his 30s. A splashy African print
shirt barely covers his expansive torso.
Nate turns to flee, but the intruder collars him fast.
Nate takes a swing at the man’s torso, connects -- and is
shocked when it has no effect on the other man.
The intruder throws Nate to the floor, and then is on him,
keeping him down by putting a knee on him. Nate continues to
struggle, but it’s not very effective.
Aweil pulls out a photo, and compares Nate’s face to the
picture. The big man shakes his head, displeased.
RIEK AWEIL
(central African - Ugandan
- accent)
Westen! Where is he?
What?
NATE
Who?
8.
RIEK AWEIL
Michael Westen! Where is he?
Nate only shakes his head.
NATE
I don’t know what you’re talking
about. Who are you? What do you
want?
RIEK AWEIL
This house. Westen house.
So what?
here!
NATE
No Michael Westen lives
Aweil studies Nate, unimpressed by Nate’s defiance.
You.
RIEK AWEIL
The brother.
He starts to ease back, preparing to stand up.
RIEK AWEIL (CONT’D)
You tell him. You tell Michael
Westen.
NATE
Tell him what?
Aweil grins - Nate just gave up the info that Aweil has the
right place. Nate realizes it too late.
Aweil pulls Nate up close, so they are nearly nose-to-nose.
RIEK AWEIL
You tell him Riek Aweil looks for
him. He will know why.
Aweil smashes Nate back to the floor.
Nate’s head cracks against the floor, stunning him.
shakes his head while Aweil gets up.
He
Nate scrambles groggily to his feet. He snatches one of
Madeline’s heavy ashtrays as he rises. He swings and whacks
Aweil in the jaw with it.
That manages to stagger the big man a bit.
drops the photo.
He inadvertently
Emboldened, Nate swings again. But the intruder blocks this.
Aweil’s counter-punch drops Nate again.
9.
Aweil jumps over Nate, and out the front door, knocking over
the grocery bag.
Nate crawls on his hands and knees to the photo, to look at
it.
NATE
Oh, man!
EXT.
CAFE CARLITO - DAY
SAM AXE and FIONA GLENANNE occupy Sam’s favorite outside
table. And of course, they’re arguing.
Sam lounges back, holding his bottle of beer.
the table, her ice tea to one side.
Fiona leans on
FIONA
You’re being completely
unreasonable, Sam!
SAM
Unreasonable? Unreasonable! Are
you out of your ever lovin’ mind?
No! I’m not going to do it!
A waiter delivers a plate to Sam with a huge burger and a
mound of fries on it. He perks up at the sight.
FIONA
You do things like this for Michael
all the time!
Sam is now more interested in his food than arguing with Fi.
SAM
Legit bounty hunter documents, Fi?
For you? No! That’s an entirely
different matter. Now leave me
alone, and let me eat my lunch.
These fries are seasoned with Key
lime and they have to be eaten hot!
Go away.
Instead, she swipes a couple of his fries.
Hey!
SAM (CONT’D)
Order your own fries!
He moves his plate further from her reach.
SAM (CONT’D)
Seriously, Fi. You look like a
tooth-pick.
10.
She makes a fake lunging movement at him. But they are
interrupted by a very upset Nate hauling a chair up to the
table between them.
NATE
(out of breath)
Am I glad to see you guys!
got a big problem!
Sam’s not interested.
savoring it.
We’ve
He takes a bite out of his hamburger,
FIONA
Nate! What’re you-Sam looks around, suddenly anxious.
SAM
Wait! Where’s Ruth? You didn’t
bring her to house-sit with you,
did you? Please tell me you didn’t!
NATE
No! She’s in Seattle visiting her
parents.
SAM
Thank God!
(chuckling)
Couldn’t face Madeline’s smoking,
eh?
He returns to his burger.
NATE
Guys!
FIONA
What is it this time, Nate? Who’s
after you now?
NATE
Not me! Michael!
Sam pauses in a bite and lowers the burger.
Mikey?
SAM
What do you mean?
NATE
This huge guy. Broke into Mom’s
place. I was coming back with some
groceries, and man!
(MORE)
11.
NATE (CONT'D)
He just pounced on me! He was
looking for Michael! And I don’t
think in a good way.
Both Sam and Fiona have gotten serious as Nate continues.
They exchange glances: time to get down to work.
FIONA
How long ago was this?
NATE
I don’t know. It took me a little
bit to ... well, he knocked me
around. And then there was the
time it took to get here.
SAM
We’ve got to warn Michael.
FIONA
(to Nate)
Do you know where he and Madeline
went?
Nate shakes his head.
NATE
Mom didn’t want you guys
interrupting them.
SAM
(to Fiona)
We’ll have to look for clues at the
house. Do you remember anything
she said about it?
FIONA
Just that she’d found the ideal
cabin somewhere.
Sam pulls out his cell phone and hits a number.
While he waits on the ringing, he waves a hand at his waiter.
When the waiter acknowledges him, Sam points at the plate.
SAM
To go.
The waiter takes the plate.
NATE
I’m really worried, guys.
man....
The
12.
SAM
Mike’s not answering his phone.
It’s going to voice mail.
FIONA
They should have arrived wherever
they were going by now.
Nate’s getting tired of being overlooked.
NATE
Guys!
They look at him.
NATE (CONT’D)
The man... he dropped this.
He slaps the photo Aweil had down on the table, face up.
It’s a picture of Michael, taken in an African city.
nice big red X across it.
With a
Sam and Fiona take it in, and then nod at each other.
A title slides in over the photo: “Michael - the Client”.
The waiter returns with Sam’s bag.
beer.
Sam chugs the rest of his
SAM
Let’s go!
Then they’re all in motion.
INT. SHABBY CABIN - DAY
Michael tries to be casual in his movements, but he’s
concerned as he checks out the interior. He pauses to look
out one of the small windows, and then pulls the curtains
closed.
Madeline looks around from the counter where she’s emptying a
can of baked beans into a skillet.
MADELINE
Michael, can’t you settle down?
You’re making me restless!
He’s moved to the other window, and after checking outside,
he pulls those curtains closed as well.
13.
MADELINE (CONT’D)
What? It’s not dim enough in here
for you?
He scrambles for an excuse. He’s not yet sure he wants to
tell her about the car tires.
MICHAEL
I ... Uh... The light was giving me
a bit of a headache, Mom. That’s
all.
She studies him skeptically.
MADELINE
Headache. Oookay.
She turns back to the skillet.
MICHAEL
There was an awful lot of glare
during the drive.
MADELINE
Like you’ve never been out in the
glare before. And you were wearing
your sunglasses. But if you don’t
want to tell me what’s bothering
you, fine! We’re going to be here
all weekend, anyway. We have
plenty of time.
He pulls a beer out of the cooler and sits down at the table.
She reconsiders her approach and tries a softer tone.
MADELINE (CONT’D)
You know... after all, you agreed
to this weekend to tell me more
about how ... what you did as a
spy. What it was like. Why not
start by telling me how you went
from the Army to ... whatever it
was you call it. Working for the
CIA?
MICHAEL
(half to himself)
I’m not sure I should.
She doesn’t take his hesitancy well.
MADELINE
Michael!
She turns to face him.
14.
MICHAEL
Mom-MADELINE
You can’t keep leaving me in the
dark! I’m trying to understand
what you went through! But you
don’t seem to get what it was like
for me!
MICHAEL
Mom-MADELINE
All that time you were away! The
rare cards! The occasional calls!
But nothing real, no real news
about where you were, what you were
doing ... if you were alive.
(a beat, then a new stern
mood)
When government types slap down
files in front of me, telling me
you did terrible things... telling
me you killed people... Even though
I know the man I raised you to
be... that you really are a good
man ... it’s still very hard when I
don’t know what you did. I’ve seen
some of what you are capable of
doing ... how easily you can lie to
... people. And when they have
pictures.... You’ve told me so
little... about the things you were
doing ... the people you were
meeting... You didn’t tell me about
Fiona until you absolutely had to!
He drops his head in resignation for a moment.
MADELINE (CONT’D)
And now you’re here, back in Miami.
And all that past has come with
you.
He looks up at her, about to go into a “I didn’t want to
worry you.”
MADELINE (CONT’D)
I mean it, Michael. The past has
come with you. You bring it with
you every time you come into my
house, every time you step outside
the door of your loft.
(MORE)
15.
MADELINE (CONT’D)
It’s time you start letting me know
what’s in all that baggage you drag
around. Because the more I help you
... what I don’t know could kill
me.
The sound of a small airplane flying over the cabin causes
Michael to jump up from his chair.
He’s at one of the windows, peeking out through the crack
carefully.
Michael!
MADELINE (CONT’D)
What’s going on?
He closes the curtains again, and turns back to face her.
MICHAEL
Mom, someone’s slashed the car
tires.
Off her alarmed reaction.
INT. MADELINE’S HOUSE - DAY
In the kitchen area, Sam opens the refrigerator and pulls out
a beer. He also scans the surface of the fridge.
SAM
Nothing stuck on the fridge.
Fiona goes to the rack by the back door. She pulls out the
slips of paper there. She shuffles through the coupons.
FIONA
(sarcastic)
Did you think she would leave the
information in plain sight?
SAM
Don’t get smart with me, little
girl!
The two square off in the narrow kitchen space, ready to do
battle.
Nate intervenes.
NATE
Guys! Guys! Guys! Come on, we’ve
got to find Michael and Mom!
Fiona turns away from Sam with a huff, and starts thoroughly
going through the kitchen drawers.
16.
SAM
Nate, what did the man say?
Specifically. Do you remember?
Nate positions himself in the middle of the living room area,
trying to remember his movements.
NATE
Well, he asked for Michael by name.
And he knew this was our house.
And that I was Mike’s brother.
SAM
So, he had some definite intel on
Mikey. Did he say anything about
the loft?
Nate shakes his head.
Fiona continues going through drawers.
FIONA
Did he say why he wanted Michael?
Sam takes the time to glare at Fi for interrupting his
questioning.
NATE
No. He said that Michael would
know.
(a beat)
I think he wants to kill Mike.
SAM
Did he say anything else?
NATE
(suddenly remembering)
Wait! Yeah! His name! He said
his name. It was.... Rick...
Rick... no, that’s not right. It
might have been his accent. But it
sounded like that. And ...
Allwell? Awheel? That doesn’t
make sense.
Sam chugs the last of his beer.
SAM
It’s a start.
He turns to Fiona, all business now.
17.
SAM (CONT’D)
Look, Fi. You continue looking
through Maddie’s stuff. See if you
can find any trace of where they
went. I’ll go out and ask around
after this guy that attacked Nate.
FIONA
Who made you team leader? You’ve
spent more time in this house with
Madeline than I have! Why don’t
you search the house?
SAM
Oh, like you’ve got the contacts to
track a homicidal African who is
obviously from Michael’s past!
FIONA
(defensively)
I have contacts.
SAM
Yeah, with gun-runners and bombers.
Nate gets impatient.
NATE
Will you two STOP arguing?!
wasting time.
Fiona and Sam glare at each other.
Go on.
You’re
Then she gives in.
FIONA
I’ll search here.
Sam heads out the back door.
INT. SHABBY CABIN - DAY
Michael keeps checking outside through a crack in the
curtains.
Madeline puts two plates loaded with baked beans on the
table. She’s grimly determined to hold onto the basics.
MADELINE
Michael, eat first. It’s been
hours since you last ate. You’re
still recovering from the hole in
your shoulder! Eat something and
then we’ll leave.
(remembering the tires)
Somehow.
18.
Reluctantly, he leaves the window and sits down.
He looks at the plate of baked beans in despair.
MADELINE (CONT’D)
Oh, for heaven’s sake, Michael!
It’s protein. Eat it!
He stirs the beans with his fork.
to drink some of his beer.
And then instead decides
Madeline watches him.
MADELINE (CONT’D)
Or you can talk. It’s what we came
out here for, after all.
MICHAEL
Mom.... You have to understand.
was all ... all ...
It
MADELINE
Top secret. Yeah, yeah, yeah. And
still is. I’m not asking for names
and dates! But you can tell me
some of it.
(a beat)
What about the last business you
did? The one that sent you home?
The one where you got... what do
you call it? Toasted?
MICHAEL
Burned.
(what the heck)
I had just finished a mission in
Sudan, so I was already tired. I
was in Nigeria, trying to buy off a
wannabe warlord.
MADELINE
Buy him off? Why?
MICHAEL
He’d been bombing oil refineries.
He keeps checking the curtains for moving shadows. Madeline
tries to continue the distraction, pushing for more details.
MADELINE
So what happened?
19.
MICHAEL
It was all set up, I thought. It
seemed a reasonable way of dealing
with the guy. He wasn’t all that
good at playing warlord, so paying
him not to destroy refineries....
But when I called in to have the
money transferred to him, I was
shut out. He ordered his men to
kill me-MADELINE
Michael!
MICHAEL
-- but I got away from them. I
passed out on the plane and got
shipped here to Miami. And I
learned I’d been burned... black
listed... whatever you want to call
it.
MADELINE
Because someone made it seem you
had done all the things that Simon
person did, yes?
She pulls a cigarette and lighter out of a pocket, and
automatically starts to light up.
MICHAEL
(reminding her)
Mom.....
She gives a guilty smile.
MADELINE
I did promise that I won’t smoke
inside, didn’t I?
(apologetic laugh)
I smoke when I get nervous.
She lowers both hands to the table top.
Michael puts a hand over hers, reassuringly.
MICHAEL
If it’ll help you.... Just one.
Because we’re going to have to
travel on foot. We’ve got to get
away from here. Soon.
They look at each other, adjusting to the situation.
20.
She nods.
MADELINE
Just one.
She raises the cigarette to her lips again, and flicks up the
flame of the lighter.
Just as she starts to light the cigarette ....
The DISTANT CLATTER OF MACHINE GUNS FIRING.
They stare at each other, frozen.
END OF ACT ONE
21.
ACT TWO
EXT. MARINA DOCK - DAY
Sam comes out of the cabin of a smallish boat tied to a dock.
He’s followed by his BUDDY, similar aged, with the relaxed
manner of a sport fisherman. They shake hands. Sam’s
worried.
MICHAEL (V.O.)
When you work in covert operations,
you also work at maintaining
contacts who can provide you with
intelligence information.
Sometimes this involves paying for
the information. Sometimes it
involves doing favors for your
contacts. And sometimes, when you
have a history with the contact, it
might involve simple socialization.
Sam climbs back onto the dock while his Buddy watches,
smiling.
BUDDY
And, hey, Sam! If you can find a
couple of gals who like sport
fishing, we can make a party of it!
MICHAEL (V.O.)
Or... not so simple socialization.
SAM
Yeah, right. I’ll see what I can
do. And thanks for the info!
Sam strides quickly down the dock toward the shore, pulling
out his cell phone. He places a call.
SAM (CONT’D)
(into phone)
Fi, we’ve got a serious problem.
INT. MADELINE’S HOUSE - SUNROOM - DAY
Fiona sits cross-legged on the floor in front of a coffee
table. She’s got three piles going on the table. Beside her
is a box of papers and magazines and clippings.
She sorts with one hand while holding her cell phone to her
ear with the other.
FIONA
That is not news, Sam.
22.
INTERCUT BETWEEN SAM AND FIONA.
SAM
(irritated)
Don’t get smart with me, Fiona
Glenanne. This guy that’s after
Mike, if my intel is correct, he’s
major bad news.
FIONA
Okay, okay. So what do you have?
SAM
My Navy buddy - he used to work
Navy intelligence - he says this
guy snuck into the States from
Africa.
FIONA
Even Nate figured out that much,
Sam.
SAM
Will you quit interrupting? This
guy, his name is Riek Aweil. Nate
wasn’t far off on his name. He’s
Ugandan.
INT. MADELINE’S HOUSE - SUNROOM - DAY
Nate brings a wastebasket full of paper to Fiona. Seeing her
on the phone, he listens in to her end of the conversation.
Fiona sets down the papers in her hand.
FIONA
(worried)
Ugandan?
NATE
(puzzled)
Ugandan?
Fiona waves at him to be quiet.
EXT. MARINA DOCK - DAY
Sam has reached the end of the dock.
area.
He pauses, scanning the
SAM
According to my source, this Riek
Aweil was a commander in the L.R.A.
23.
INT. MADELINE’S HOUSE - SUNROOM
FIONA
(shocked)
The L.R.A.? Sam.....
SAM (PHONE V.O.)
Yeah. This guy is supposed to have
wiped out all the adults in one
village and taken the kids as
soldiers. We’re talking about a
really bad dude. Mike’s in serious
crap. Look, I’m coming back to the
house. We need to lay some plans.
The call ended, Fiona folds up the phone.
Nate reads her worried expression, which makes him anxious.
NATE
L.R.A.? What is that? What does
it have to do with Mike?
Fiona stands up, spilling papers all about.
FIONA
We really have to find out where
Madeline and Michael went! Are you
sure she didn’t leave a note for
you? Any contact information?
No!
NATE
Now tell me!
What is this--
FIONA
Would she have told any of her
neighbors? She is always talking
with them.
NATE
When she really wanted to get away?
No. Leastwise, she never did when
she had to cut out from Dad.
Fiona starts to head toward the back of the house, but Nate
grabs her arm.
She whips herself out of his grasp, swinging his hand around
behind his back, twisting his arm.
NATE (CONT’D)
Ow! Ow! Ow! Hey!
She lets go.
24.
FIONA
Don’t grab me.
NATE
Okay, okay. But please, tell me.
What is this L.R.A.?
FIONA
It’s a rebel army in Uganda. Called
“the Lord’s Resistance Army.”
Brutal beyond belief. They use
children as soldiers.
NATE
Children as soldiers? But... what
has this to do with Michael?
FIONA
I don’t know. We’d have to ask
him. And to ask him, we have to
find him.
NATE
I still don’t-FIONA
Nate, Michael’s last job, the one
he was burned on, was in Nigeria.
If he was in Africa for one
mission, he could have been there
for another. Especially one that
was intended to stop the L.R.A.
NATE
Oh.
Now he gets it. Reenergized, he turns back and grabs up the
wastebasket he had brought out.
NATE (CONT’D)
This was in Mom’s bedroom.
there’s something in here.
Maybe
They get back to work.
EXT. BEACH PARKING LOT - DAY
Sam pauses at the open door of This Week’s Car, scanning
about. He’s unsettled by something.
He checks out the various citizens in the area, but he can’t
peg anyone as openly suspicious.
He gets in the car and pulls out of the lot.
25.
INT. SAM’S CAR - DAY
Sam drives carefully, easily, checking the rear-view mirror.
EXT. MIAMI STREET - DAY
Sam’s car makes a left turn at a corner, and sure enough a
grey car a couple of vehicles behind it also makes the turn.
INT. SAM’S CAR - DAY
Sam notes the grey car behind him.
SAM
Aww. Crap.
He speeds up and turns right at the next corner.
The grey car follows suit.
Sam shakes his head, and gets serious about the business of
evasion.
SAM (CONT’D)
Mikey, I sure hope you’re having
fun.
INT. SHABBY CABIN - DAY
Michael and Madeline stare at each other.
The CLATTER OF MACHINE GUNS peters out.
Madeline lowers her hands, purposefully setting the cigarette
and lighter in the center of the table, away from herself.
MADELINE
(whisper)
Michael...?
He holds up a hand to silence her. Then he quickly checks
out what can be seen through the cracks in the curtains.
Once he’s done that, he turns back to her.
MICHAEL
I’m going to have to go out there,
Mom.
MADELINE
Michael! No--
26.
MICHAEL
Mom, I have to find out what
happened. What it was about.
There’s no other way.
He guides her from her chair to a space at the foot of one of
the beds, between the bed-frame and a chest of drawers. He
gestures for her to sit there.
MADELINE
(protesting)
You want me to sit on the floor?
MICHAEL
Mom, please. There isn’t any other
cover in here.
She sits down on the floor, drawing herself in tightly.
MADELINE
Do you have to? What about your
shoulder? What about-He lays his index finger across her lips.
knows it, but it can’t be helped.
She’s alarmed, he
MICHAEL
If we’re going to get out of here,
I have to find out what that was.
She takes a deep breath and then nods.
MADELINE
(whisper)
Be careful.
He smiles with genuine affection.
MICHAEL
Yes, Mom.
She watches him intently as he cracks open the door, checks
outside and then slips through the opening. The door snaps
closed behind him. She bites her lip.
INT. MADELINE’S HOUSE - KITCHEN - DAY
Fiona stands at the kitchen counter with a cup of coffee,
frowning. She’s got a small stack of billing envelopes in
front of her.
Nate can be seen sitting at the dining table with his head in
his hands, a cup of coffee before him. Sorted piles of paper
are lined up on the table.
27.
Sam slides in the kitchen door, closing it quickly behind
himself. He snaps the curtains closed on the door window.
FIONA
(startled)
Sam!
He cautiously peeks through the part in the curtains. Once
he’s satisfied that he’s lost his tail, he turns to face her.
SAM
I picked up a tail somewhere. If
it’s this Aweil guy, I didn’t want
him following me here.
Fiona nods at the wisdom of this.
NATE
(weary)
He already knows about the house,
remember?
Sam and Fiona exchange “Why didn’t we think of that?”
expressions.
SAM
Oh. Yeah.
He spots the coffee cup.
SAM (CONT’D)
Is there more of that? I hate
riding the city bus.
FIONA
City bus, Sam?
SAM
Yeah, when I realized I was being
followed, I parked the car and
hoofed it.
FIONA
(to herself)
I’d like to have seen that.
SAM
What did you say?
FIONA
Nothing.
Nate gets up to fill his coffee cup.
28.
NATE
So, if it wasn’t this Aweil that
followed you, who was it?
Neither of the other two like not having an answer to that.
SAM
Have you found anything?
FIONA
I’ve checked her credit card bills,
but there’s nothing for a cabin
rental. But her latest statement
hasn’t come in yet.
SAM
Did you check online?
NATE
Mom? Online? You’re kidding,
right?
FIONA
He has a point, Sam.
Sam gets an idea.
SAM
I know what!
(points at Fiona)
You can call the credit card
company and ask to double check the
most recent transactions! Pretend
that you’re Maddie!
NATE
What about the security questions?
FIONA
No, he’s right, Nate.
Sam beams at Fiona conceding he was right.
FIONA (CONT’D)
It’s worth a try.
EXT. SHABBY CABIN - DAY
Michael quickly crosses the distance from the door of the
cabin into the brush. He uses the cover of the foliage as he
makes his way to the second cabin.
29.
EXT. SECOND MASON CABIN - DAY
Michael gets to the point closest to the cabin from the
foliage. One of the dusty windows faces him.
He looks around carefully and then dashes to the window.
It’s a bit high, but he can see in.
THE INTERIOR OF THE CABIN IS DUSTY AND OBVIOUSLY UN-USED.
Michael returns to his cover and then plots his approach to
the last cabin.
MICHAEL CUTS QUICKLY THROUGH THE SHRUBBERY AND TREES.
EXT. THIRD MASON CABIN - DAY
Newspapers are taped over the panes of the windows.
Michael quickly makes his way to the door of the cabin,
constantly checking all around him.
The cabin door stands open a crack.
He cautiously nudges the door open a bit further.
with perfect, well-oiled ease.
It moves
SILENCE.
MICHAEL (V.O.)
Anyone who goes to the trouble of
oiling door hinges in an isolated
cabin does it because secrecy is
very important to them. When you
do not want your slightest sound
noticed by anyone, the chances are
you have something to hide. The
options are philanderers, spies or
criminals.
He takes a quick peek in from low down.
Whatever he sees surprises him. He makes another quick scan
of the surroundings and then slips inside the cabin.
INT. THIRD MASON CABIN - DAY
Because of the aging newsprint on the windows, the light is
dim. The interior furnishings are not much different than
the one the Westens have.
30.
MICHAEL (V.O.)
Since the likelihood of decrepit
cabins on the edge of the
Everglades being used for romantic
getaways is very small, it’s a safe
bet that the last people that used
this cabin were criminals.
A paper grocery bag lies sideways on the table, with canned
goods like the ones Madeline brought.
It’s the drug paraphernalia on the table, the automatic
weapons on the cots and the three dead bodies on the floor
that are the big difference.
MICHAEL (V.O.) (CONT’D)
Probably drug runners.
Michael makes a quick check outside the door and then closes
it all the way. He crosses to the weapons and looks them
over.
MICHAEL (V.O.) (CONT’D)
When you’re in a difficult
situation, discovering an
unexpected arsenal is a definite
bonus. But it’s very easy to
become over-confident now that
you’ve increased your firepower.
A couple of automatic rifles lie on the cot, along with some
boxes of ammunition, some rope and some hunting knives. One
of the ammunition boxes sticks out from a canvas grocery bag
with handles.
A couple of butane tanks sit on the floor under the table.
Michael picks up the bag and checks the length of the
handles. He’d be able to get his arm through and carry the
bag on his shoulder.
MICHAEL (V.O.) (CONT’D)
You do have to consider the
logistics of transporting your new
arsenal to your base of operations.
He lowers the bag to the cot again. He checks out the guns,
testing the weight of them. He tries holding both of them.
He winces, and rolls his right shoulder.
31.
MICHAEL (V.O.) (CONT’D)
When you know that a hostile force
is nearby, you have to be careful
not to hamper your ability for
quick maneuvering.
He sets one of the guns down to the side. Then he starts
disassembling the other, removing key portions of the firing
mechanism.
MICHAEL (V.O.) (CONT’D)
But you are also not going to want
to leave weapons lying around for
the hostile force to use against
you.
He drops the parts into the bottom of the bag, and lays the
now-useless guns on the bed. He stuffs ammo boxes in the
bag, along with the knives and the rope. Then he lifts it,
testing the weight.
It’s heavier than he expected.
He shakes his head: going to have to do it anyway.
He slings the bag from the left shoulder.
working gun.
He picks up the
At the door, he edges it open a tiny crack and checks what he
can see of the area.
INT. MADELINE’S HOUSE - KITCHEN - DAY
Fiona stands at the counter overlooking the dining room,
listening to instructions on her cell phone. Nate leans on
the opposite side. One of Madeline’s bills lies in front of
Fiona.
Sam hovers by the kitchen door, occasionally checking outside
through the curtain. He calms himself by sipping from a
bottled beer.
FIONA
(into phone)
Yes, thank you. I wanted to check
on recent charges to my credit
card. ... Madeline Westen. ...
Mother’s maiden name?
Fiona signals Nate who scrambles to remember.
into the phone to cover the delay.
Fiona coughs
32.
NATE
(whispering)
Morgan -- NO! Her mother -Donnelly!
Fiona glares at him with a “You’d better be right”
expression.
FIONA
(into phone)
Donnelly. ... Yes, thank you. I
just wanted to check the most
recent purchases. I lost one of
receipts and can’t wait for the
next statement. Could you read me
the charges since the beginning of
the month?
The two men crowd in while Fiona listens. She glares at them
to back off. Nate does, but Sam ignores her.
FIONA (CONT’D)
(into phone)
Yes, thank you. Oh, no! I’m not
contesting any of the charges! I’d
just forgotten how much the grocery
store charge was! Thank you very
much!
She ends the call.
SAM
Well?
FIONA
There’s a charge with a real estate
company ... Greyson Enterprises.
That’s probably for the cabin
rental.
The name catches Sam’s attention.
SAM
Greyson... Greyson... I know that.
Why do I know that?
NATE
We could look up the address.
FIONA
(to Nate)
Do you know where she keeps her
yellow pages?
33.
He looks at one of the lower shelves on the living room end
tables.
NATE
Got to be here somewhere. She’s
always looking for a new, better
pharmacy.
Nate starts to turn away.
Sam snaps his fingers.
SAM
I know! Greyson Enterprises.
That’s right near Carlito’s. I see
the sign just about every day.
I’ll go ask-FIONA
No, you won’t.
SAM
I know exactly where-FIONA
You were followed, remember?
Sam’s face goes “Oh. Yeah.”
FIONA (CONT’D)
If you showed up at any of your
usual spots.... Anyway, I’ll go.
I’m sure I’ll do a better job at
charming the real estate agent.
NATE
You can’t do it over the phone?
SAM
No, she’s right. This is one time
doing it in person is the way to
go.
Fiona heads for the front door.
FIONA
I’ll call as soon as I know.
EXT. SECOND MASON CABIN - DAY
Michael moves through the shrubbery, trying to keep the bag
centered at his back.
He’s almost even with the second cabin.
34.
MIKAIL KASEP (O.S.)
(African accent)
Stop! Who are you?
Michael straightens up, but doesn’t turn around yet.
got to think of something quick.
He’s
He lets the bag slide off his shoulder to his feet, and
carefully drops the gun beside it. He slowly raises his
hands, as if surrendering.
He puts on the dopey-est expression he can muster, and drops
his voice into a deep Southern drawl.
MICHAEL
Name’s Chuc-He suddenly realizes he’s about to use Sam’s alias.
he’s off his usual game.
He knows
MICHAEL (CONT’D)
Chuck. Chuck Finley. You one of
them drug-runners in that cabin?
They’s dead, ya know.
MIKAIL KASEP, a compact young man in his early 20s, steps
into the open behind Michael. He points a gun at Michael’s
back.
MIKAIL KASEP
(angry)
No. I am not one of them.
He takes a step or two closer to Michael.
MIKAIL KASEP (CONT’D)
Do you know a Michael Westen?
CLOSE ON MICHAEL’S STARTLED EXPRESSION.
MICHAEL
Michael who?
END OF ACT TWO
35.
ACT THREE
INT. MADELINE’S HOUSE - LIVING ROOM - DAY
Sam spreads out a road map on the coffee table. Nate sits
down opposite him with a beer bottle. He hands Sam another
beer.
NATE
What’s the point of checking a map
when you don’t know where they
went?
SAM
Just getting an idea of the
possible routes, whichever
direction we’ll have to go.
NATE
Sam.... Do you think Mom and
Michael are okay?
SAM
Oh, yeah, sure. Mikey’s great at
taking care of himself. No
problem.
Nate doesn’t really buy this.
NATE
Do you think this Riek Aweil is
alone?
Sam doesn’t think so for a minute.
say it.
He just doesn’t want to
Nate can read him, anyway.
NATE (CONT’D)
You think someone else is out there
too. Besides the person that
followed you.
Sam can see Nate getting more anxious. He picks up his beer
and gestures for Nate to do likewise. Then he puts on the
“extra hearty” attitude.
SAM
Don’t go anticipating trouble
before it arrives. You gotta stay
loose and relaxed before the action
starts.
He takes a swig, but watches Nate carefully.
36.
Nate takes a drink of his beer, but it’s a cautious sip, not
a swig.
Sam knows he lost that round.
EXT.
CAFE CARLITO - DAY
Fiona stands at one corner of the patio area, looking toward
the front of Greyson Enterprises.
Behind her, a striking woman, AMANDA, on the high side of 40,
corrals one of the waiters. She’s casually but well dressed,
and definitely not in the mode of the South Beach ladies of
leisure.
AMANDA
(to the waiter)
I understand Sam Axe comes here a
lot.
This catches Fiona’s attention. She turns slightly to try
and watch Amanda without attracting notice.
WAITER
Yes, ma’am. He was here earlier
today, but I haven’t seen him since
then.
On the far side of the patio area, a man slightly lowers a
newspaper he is reading. It’s Riek Aweil. Sam’s name caught
his attention, but in looking he sees Fiona.
Fiona doesn’t notice Aweil, her attention focused on Amanda.
AMANDA
Is he likely to be back later?
WAITER
I couldn’t say, ma’am.
AMANDA
Thank you.
As she turns away from the waiter, she sees Fiona.
Fi tries to cover her staring, by sweeping the distance
behind Amanda with an indifferent gaze. Then she sets off
for the entrance of Greyson Enterprises.
Amanda watches Fiona thoughtfully.
37.
EXT. SECOND MASON CABIN - DAY
Kasep stands in the open area between the cabins, his gun
pointed at Michael’s back.
MICHAEL
Say what?
Michael stands with his hands up, weighing his options.
MICHAEL (V.O.) (CONT’D)
When someone comes searching for
you by name, it’s much safer to
assume that the inquirer also knows
what you look like. Depending on
the reference photo he was using at
best you might have only a couple
of seconds before recognition
processes your current appearance
and matches it to the photo. But
when those seconds are all you
have, you have to be prepared to
make the most of them.
MIKAIL KASEP
Michael Westen! Do you know this
man? Turn! Face me!
Michael turns slowly toward Kasep, dropping his head down
slightly. He gages the distance to Kasep even as he finishes
the turn.
Kasep frowns, puzzling over Michael’s appearance.
Michael launches himself at Kasep, not waiting.
hits Kasep at the same time Michael does.
Recognition
He rolls with Michael’s assault, both men using Michael’s
momentum to tumble them apart. They both come up to their
feet.
Kasep takes aim again.
Michael dives at him.
The gun GOES OFF.
INT. SHABBY CABIN - DAY
Madeline huddles covering her mouth with both hands.
The gunshot CRACKS.
She jumps. But stays put.
38.
MADELINE
(through her hands)
Michael!
INT. GREYSON ENTERPRISES - DAY
Fiona enters the storefront establishment.
For all the impressiveness of the business’ name, it’s
obviously a small operation: one desk, a book shelf of travel
guides, a wall of real estate listings for sale and rental.
And the proprietor, a short woman of indeterminate age with a
bright welcoming face and durable cheerful manner, KELLY
GREYSON.
She jumps from her seat at the sight of a prospective
customer.
KELLY GREYSON
Hello! Hello! How can I help you
today? Do you need to book some
travel? Or perhaps you’re looking
for a rental property? We do our
best to find you the most agreeable
places that can fit your budget.
She conducts Fiona to the customer chair, continuing to
babble as she resumes her own seat.
KELLY GREYSON (CONT’D)
I’m Kelly Greyson, by the way.
This is my place. Now how can I
help you? I know with this
economy, people are still cautious
about spending money, but I’m sure
I can find you something that will
suit you.
Fiona realizes this woman doesn’t stop unless you interrupt
her. She pulls out a Southern drawl, and a slightly anxious
manner.
FIONA
Oh, honey, I surely do hope you can
help me! I really, really need to
get away for a couple of days. You
helped a dear friend of mine with
just that sort of thing!
KELLY GREYSON
Someone I helped? Helped? Oh, you
mean, a recent customer? Oh...
(MORE)
39.
KELLY GREYSON (CONT'D)
I .... My customers value their
privacy, you know.
FIONA
Oh, absolutely, darlin’! That’s
just the point!
(glances anxiously
outside)
It’s my boyfriend, you see? Or
more exactly, my ex-boyfriend! I
really need to get away from him.
It’s just for a few days. He’s in
the Navy, you see, and his leave
ends in a couple of days. If I can
just get away from him.....
KELLY GREYSON
Oh! I’m sure I can find something
for you! Of course! What are you
looking for? How about a nice
cruise? There’s a four day cruise
leaving this evening!
FIONA
Cruise? Are you crazy? He’s a
sailor! He’s got buddies who work
for the cruise-lines!
KELLY GREYSON
Oh! Well, yes.... I suppose that
would not-FIONA
What I need is... some little outof-the-way cabin! My friend MaddieMaddie?
KELLY GREYSON
Madeline?
FIONA
Why, yes! Madeline. She’s the one
that recommended your company to
me!
KELLY GREYSON
Madeline Westen?
FIONA
Why, yes! Like I said, she told me
all about you! She said you found
her the perfect get-away place!
40.
KELLY GREYSON
Well, I suppose -FIONA
Oh, please! I need to get out of
town tonight. Harry’s out with his
drinking buddies tonight, I know
that for sure! But I just gotta be
somewhere else until he’s gone. I
swear I don’t know what he’s likely
to do since I told him to stay away
last night. He’s got a mean,
vicious, stubborn streak to him!
Please! Where’d you send Maddie?
KELLY GREYSON
Mason Cab-- But she didn’t want to
be interrupted! But I know another
property just like that! Will that
do?
Fiona sits back, satisfied with the slip.
FIONA
Oh, yes, please!
the-way!
Anything out-of-
INT. SHABBY CABIN - DAY
Madeline still crouches on the floor, hands covering her
mouth. She’s breathing fast, waiting, afraid. Her eyes are
plastered on the cabin door.
The door pushes open slightly.
Madeline clamps her hands down even harder over her mouth.
A hand slides the canvas bag and automatic rifle in the door
and drops them against the wall.
Michael slides in after them, checking behind himself as he
shuts the door, and throws the dead bolt.
He turns and leans his head back against the door.
A blood stain spreads on his shirt at his right shoulder.
Madeline scrambles to her feet.
MADELINE
Michael!
MICHAEL
I’m all right, Mom.
41.
MADELINE
You’re not all right!
bleeding!
You’re
EXT. GREYSON ENTERPRISES - DUSK
Fiona exits the storefront, in a hurry now.
pull out her cell phone.
She starts to
Amanda walks up to her.
Excuse me.
Axe?
AMANDA
But do you know Sam
FIONA
Pardon me?
AMANDA
When I was talking with the waiter
earlier, you seemed interested.
Fiona wants to get on her way.
FIONA
I’m sure you’re mistaken.
Fiona starts to walk away. She’s only gotten a few yards
from the door of Greyson Enterprises, when -Riek Aweil steps out in front of her.
RIEK AWEIL
You. You are Westen’s woman.
FIONA
You are very much mistaken!
RIEK AWEIL
I know you. Fi--Fina Glennin.
FIONA
That is Fiona Glenanne.
RIEK AWEIL
You come with me. Tell me where I
find Michael Westen.
He grabs her wrist.
She steps in close to him and rams the point of her opposite
elbow as hard as possible into his kidney area.
He doubles over.
42.
She yanks her wrist loose. She grasps both fists together
and hits him with all her might at the base of his neck.
He drops to the ground.
FIONA
(to Amanda)
I really can’t stay.
Fiona finally gets her cell phone out and presses the speed
dial.
AMANDA
You do know Sam, don’t you?
The phone gets answered and Fiona has to keep herself from
saying “Sam!”
FIONA
(into phone)
See if you can find the location of
a place called Mason Cabins. I’m
on my way back right now!
She ends the call.
Aweil groans and moves slightly.
FIONA (CONT’D)
(to Amanda)
I’ve got to go!
AMANDA
Take me to him, and I’ll give you a
ride.
Fiona thinks it over, and then nods.
Amanda points to the grey car parked across the street and
the women run to it.
INT. SHABBY CABIN - DAY
Madeline hauls Michael from the door to one of the cots and
makes him sit down. She starts trying to pull his polo shirt
off him, making him wince.
He shakes his head to keep it clear.
MICHAEL
Mom, Mom! All right!
He gets the shirt off.
43.
She clucks anxiously at the blood seeping from his shoulder.
She grabs a folded dish towel from beside the sink.
She tackles the chore of cleaning the wound.
MICHAEL (CONT’D)
Mom, we don’t have a lot of time.
He blinks several times.
MICHAEL (CONT’D)
We need to get out-He passes out, falling back on the cot.
END OF ACT THREE
44.
ACT FOUR
INT. MADELINE’S HOUSE - KITCHEN
Fiona bursts in the kitchen door.
Nate and Sam, at the dining room table look up surprised. A
yellow pages is open to ads for cabins. A road map is spread
out over the surface.
FIONA
Sam! We have to go now! Aweil
caught up with me outside
Greyson’s.
NATE
We’ve got the location.
Sam scoops up the map.
SAM
Let’s go righ-He comes to a full stop at the sight of Amanda behind Fiona.
Nate bumps into him.
NATE
(to Amanda)
What? Who are you?
FIONA
Seriously, Sam! Remember, Aweil
knows this place.
SAM
Amanda!
NATE
What? Who?
AMANDA
Hello, Sam. Long time no see.
SAM
What are you doing here?
AMANDA
Looking for you.
FIONA
Sam! We don’t have time for this!
We’ve got to go!
45.
SAM
Amanda, I’m really sorry, but we’ve
gotta run.
AMANDA
I’m driving, Sam. We can talk on
the way to wherever you’re going.
SAM
Oh, no we can’t! It’s dangerous!
I’m not taking you-NATE
Sam, who IS SHE?
SAM
She’s ... um...
AMANDA
I’m his wife.
NATE
Wife?
FIONA
This should be interesting.
SAM
(to Fiona)
Be quiet, you.
(to Amanda)
Seriously, Amanda.
This is dangerous.
I’m not joking.
AMANDA
You’re wasting time, Sam.
(to Fiona)
Shall we get going?
Fiona nods.
Now.
FIONA
Aweil won’t be far behind us.
INT. SHABBY CABIN - NIGHT
Michael wakes up, lying on his cot.
His shoulder has a makeshift bandage of folded layers of
paper towel, held in place by duct tape.
He turns his head toward the only light in the cabin.
46.
A lit Coleman lantern sits on the table. Madeline has spread
the contents of the canvas bag on the table. Sitting on the
table beside the lantern is the iron skillet.
She’s smoking like a chimney.
And she’s crying, silently.
She gingerly lays the automatic rifle on the table.
MICHAEL
(softly)
Mom....
Her head snaps up.
faint.
She’s happy to hear his voice, even when
She goes to sit on the cot beside him.
She wipes his brow with her hand, smiling down at him through
her tears.
MICHAEL (CONT’D)
Mom, I’m so sorry.
MADELINE
Hush, Michael. I know.
MICHAEL
Mom, I never wanted any of this to
... to touch you.
MADELINE
I know, sweetie. I know.
(sighs heavily)
When your father was alive, I knew
what to expect.
It distracts him.
MICHAEL
Mom... About Dad.... Why? Why did
you stay with him? Really?
MADELINE
(trying to ignore the
question)
But all this... It’s hard, Michael.
Not knowing what will come along
next.
She goes to the sink and wets a paper towel.
starts wiping his brow with it.
She returns and
47.
MADELINE (CONT’D)
I haven’t heard anything outside.
Do you think he went away? Whoever
he is?
MICHAEL
Please, Mom.
MADELINE
This is not the time-He catches her hand and squeezes it to encourage her.
MADELINE (CONT’D)
Frank was a weak man, Michael. He
did so want to be strong. Nate’s
... rather like him sometimes.
(a beat)
Michael... all that your father
did... I could deal with it. I’d
... I’d seen worse.
MICHAEL
Worse?
MADELINE
Oh, Michael...
THERE’S A RUSTLING SOUND OUTSIDE.
Madeline turns her heard toward the door, distracted by the
sound.
Michael pulls her hand closer to his heart, getting her
attention again.
She really does not want to say what comes next.
MADELINE (CONT’D)
(a deep breath)
There’s a reason you never met your
grandfather Morgan. When you left
home at 17... I knew exactly how
you felt!
He never expected that.
She smiles faintly.
They look at each other for a beat.
MICHAEL
(whisper)
Mom...
Only an instant of loving understanding, when --
48.
SOMEONE STEPS HEAVILY ON THE PORCH OUTSIDE.
INT. AMANDA’S CAR - NIGHT
The car shoots along a dark two lane road.
little traffic out on this road.
There’s very
Sam drives, and Amanda sits in the passenger front seat.
Nate and Fiona are crammed in the back seat.
NATE
(anxious)
You’re sure this is the way to the
cabins?
SAM
For the third time, Nate, yes.
stop interrupting us.
Now
Nate looks to Fiona for support, but she just shakes her
head. She’s amused watching Sam’s discomfort.
SAM (CONT’D)
(to Amanda)
Seriously, Amanda. Why come
looking for me now? After what?
Almost twenty years? I saw Mack
recently, you know.
Amanda flashes him a knowing smile.
AMANDA
I’m not diverted, Sam. And I meant
what I said the first time. I
tracked you down to get you to sign
divorce papers. It’s not like
we’ve been together and have
property to divide.
FIONA
I’d think you’d be happy about
this, Sam! After all-SAM
No comments from the peanut
gallery, missie!
Fiona laughs.
INT. SHABBY CABIN - NIGHT
The lantern has been turned lower, so the light is dim.
A SECOND FOOTSTEP SOUNDS NEARER TO THE DOOR.
49.
Michael stands against the wall by the latch side of the
door.
Madeline stands against the wall on the hinge side, holding
the iron skillet.
The door flies open from a powerful kick.
Mikail Kasep stands in the doorway holding a handgun.
Michael grabs Kasep’s gun-arm.
Throwing Kasep off balance.
Madeline enters the fray, whacking Kasep on the back of the
head with the skillet.
Kasep drops like a stone.
Michael gives his mother a look of respect and then turns his
attention to the body on the floor.
INT. AMANDA’S CAR - NIGHT
AMANDA
What is your problem with this,
Sam? You know we didn’t exactly
suit back then.
SAM
Well, no, but....
AMANDA
But what?
SAM
I never wanted to hurt you, Amanda.
You do know that?
She shakes her head, bemused.
AMANDA
Next you’re going to be telling me
it’s against your religion!
Nate and Fiona look at each other at this novel idea: Sam?
Religious?
SAM
Well....
FIONA
Oh, good lord!
NATE
I don’t believe it!
50.
SAM / AMANDA
(in unison)
Shut up!
INT. SHABBY CABIN - NIGHT
Michael finishes tying Kasep to one of the chairs.
to groan.
He starts
Madeline picks up a tumbler of water from beside the sink and
throws it in Kasep’s face, waking him up.
It also startles Michael.
Madeline shrugs at Michael’s glare.
MADELINE
I was just assuming we don’t have a
lot of time to waste.
MICHAEL
Thanks, Mom.
(to Kasep)
Who are you? What do you want?
Kasep takes a good look at Michael’s face. The rage and
anger that has been driving him breaks. He struggles against
the ropes - to little effect.
You!
you!
MIKAIL KASEP
You are Westen! I will kill
MADELINE
Why do you want to kill my son?
Kasep looks shocked that the Monster Of His Life (Michael)
has such an innocent-looking mother.
Michael pulls the second chair close and sits down knee-toknee with Kasep.
No!
MIKAIL KASEP
That is not possible!
Madeline takes a drag from a cigarette, and just gives Kasep
a skeptical look.
No.
MIKAIL KASEP (CONT’D)
No, I do not believe it.
Madeline blows smoke at him.
well, to his displeasure.
Michael gets some of it as
51.
MICHAEL
It doesn’t really matter whether
you believe she’s my mom. Why do
you want to kill me?
Kasep has decided that Madeline might be an ally, so he
addresses her.
MIKAIL KASEP
He killed my mother!
Madeline starts with surprise.
equally surprised.
She looks to Michael, who is
MICHAEL
What?!
INT. AMANDA’S CAR - NIGHT
The company in the car is silent.
Ahead of them a good distance, they can see the taillights of
another vehicle, heading the same direction they are going.
Well!
FIONA
That’s a revelation.
SAM
Oh, be quiet.
AMANDA
Really, Sam. I had no idea.
SAM
I don’t want to talk about it.
NATE
Aren’t we near the place yet?
Sam’s happy for the diversion.
SAM
Yeah we should almost be-Nate leans forward and points up the road.
NATE
That other car. It’s turning in
someplace. You don’t think....
SAM
Fiona, are you sure that guy was
out cold? When you called me about
the location of the cabin?
52.
FIONA
Sam... I didn’t-Sam jams down the accelerator.
SAM
Ah, crap.
INT. SHABBY CABIN - NIGHT
Madeline watches over the pair of men, still smoking
nervously, but now standing by the sink, away from them.
MICHAEL
I don’t know what you are talking
about.
MIKAIL KASEP
You ordered the massacre of my
village. In southern Sudan. In
2006. My mother died there.
MICHAEL
No.
MIKAIL KASEP
Do not lie to me! My commander
told me it was you! He knew your
name! When we were rescued... when
we left the Lord’s Resistance Army,
he found out about you. He tracked
to you Nigeria!
MICHAEL
I don’t see how. I. Didn’t. Do it.
MIKAIL KASEP
He had proofs! Why would he lie?
He had protected me ever since I
was stolen from my village!
MADELINE
This commander of yours.
his name.
MIKAIL KASEP
He is Riek Aweil.
MICHAEL
Aweil?
He drops his head and shakes it.
What’s
53.
MADELINE
You know him?
MICHAEL
Know him? No. Know of him? Yes.
Oh, yes, he was a commander in the
L.R.A.
He looks up at Kasep.
MICHAEL (CONT’D)
He ordered the massacres.
No!
MIKAIL KASEP
You lie!
MICHAEL
I was there, in the Sudan, trying
to stop him. He’d broken away from
the main L.R.A. forces. He wanted
to set up as a warlord.
MIKAIL KASEP
He would not lie to me!
(doubting now)
I do not think he would lie to me.
In the distance, they hear the ROAR of a car, and the
skittering sound of a sudden stop on gravel.
Michael looks up to Madeline.
MICHAEL
He’s here.
She nods grimly.
EXT. PARKING AREA - NIGHT
The three cars still sit as they were.
But in the center of the area, a large SUV sits, motor
running, and a door left open. The headlights flood the
area, catching the sign, and showing the path to the cabins.
Amanda’s car comes skidding into the parking area.
up gravel at it slams to a stop.
It kicks
Sam flings open his door, and jumps out, steadying his gun
hand on the top of the door as he scans the area.
Fiona is also out with her gun.
Amanda starts to open her door.
54.
SAM
No! Stay in the car, Amanda!
FIONA
You too, Nate!
Sam signals to Fiona that she approach the SUV from one side
while he takes the other. They move in together.
Sam comes up to the open door and whips his aim inside.
It’s empty.
RIEK AWEIL (O.S.)
Michael Westen!
The bellow carries out to the parking area, even with the
engines running.
FOUR GUNSHOTS crack through the night.
Sam and Fiona run for the path.
INT. SHABBY CABIN - NIGHT
A GUNSHOT CRACKS through a window, shattering it.
Michael dives for the floor, pulling Kasep over.
Madeline crawls under the table. She reaches up and takes
the Coleman lamp off the table. She turns it down to only the
faintest light.
MADELINE
(to Kasep softly)
You still sure he didn’t lie to
you?
Riek!
MIKAIL KASEP
It is I, Mikail Kasep!
Another GUNSHOT hits the cabin.
MICHAEL
(to Kasep)
He’s going to kill you too, you
know. Now that you’ve talked with
me.
Kasep looks from Madeline to Michael, and gives in: he nods
his head.
MICHAEL (CONT’D)
I’ve got an idea....
55.
EXT. PATH TO THE CABINS - NIGHT
Sam and Fiona halt before they hit the open area around the
Shabby Cabin.
SAM
(whispering)
Well, this sucks.
where Aweil is.
We don’t know
FIONA
He’s got to have a line of sight at
the cabin door.
SAM
But if Maddie’s in the cabin with
Michael and whoever this Kasep
fellow is ... we can’t risk a shootout in the cabin.
FIONA
We need to draw him off.
Michael make his move.
Let
SAM
But... we don’t know what move
Mikey is going to make!
Fiona just glares at him.
SAM (CONT’D)
Right. That was stupid of me.
Expect anything.
She nods. She points for him to take one side of the path
and she’ll take the other.
He nods and they part.
INT. SHABBY CABIN - NIGHT
Michael crouches low by the door of the cabin. He glances
over to where Madeline and now Kasep crouch at the foot of
the bed-frame. The Coleman lamp is beside Michael.
MICHAEL
(low)
I’m pretty sure he’ll follow me.
Count to twenty, and then run for
the parking lot, no matter what.
MADELINE
I don’t like this, Michael.
56.
Kasep’s head turns at the name.
Michael notes it.
He grins across at Kasep.
MICHAEL
As one Michael to another, I’m
asking you to take care of my
mother.
That pushes out the last of Kasep’s doubts.
EXT.
He nods.
SHABBY CABIN - NIGHT
The cabin door flies open and hits the wall with a BANG.
Immediately, in the brush opposite the cabin, Aweil stands up
aiming at the door.
The Coleman lamp comes sailing out of the dark cabin, arching
through the air to crash in the middle of the open area.
Aweil tracks the lamp, momentarily distracted.
The dark shape of Michael makes a diving exit out the door of
the cabin. He rolls toward a corner of the structure,
gaining his feet quickly. He races toward the far cabins.
Aweil starts to fire at Michael.
EXT. BRUSH AND UNDERGROWTH - NIGHT
Fiona has a stand behind a scrubby tree.
view of the space around the cabin.
Fiona takes a shot at Aweil.
shoulder.
She’s got a good
She hits him in his left
He staggers, and then dashes around the far side of the
Shabby Cabin after Michael.
INT. THIRD MASON CABIN - NIGHT
Michael crashes into the cabin and dives for the butane tanks
under the table.
He grabs the paper bag off the table, sending canned goods
flying. He wads the paper around the top of one of the
tanks, twisting the paper to hold a bit of a shape.
RIEK AWEIL (O.S.)
Westen!
57.
Michael’s satisfied with his results. He pulls Madeline’s
cigarette lighter out of a pocket. He glances around making
sure of the territory.
MICHAEL
(calling out to Aweil)
Kasep knows the truth now, Aweil!
RIEK AWEIL (O.S.)
(closer now)
That child! I shall deal with him
after I have killed you!
Michael lights the end of one of the twists, sets the tank
back down under the table.
MICHAEL
(to himself)
Easier said than done.
He scoots over to the doorway to one side.
Aweil charges in the doorway, and trips over one of the
corpses.
Michael’s on his feet.
He aims at the tank.
Aweil sees Michael, then the burning paper bag, then the
tank. It’s pretty much the last thing he sees.
Michael fires.
EXT. THIRD MASON CABIN - NIGHT
Michael dives out of the cabin, as it explodes behind him.
He rolls a moderately safe distance from the flames.
Fiona rushes up and drops to Michael’s side.
Sam is only a couple of yards behind her, followed by
Madeline and Kasep.
SAM
You still in one piece, Mikey?
Michael nods as he gets to his feet.
Madeline’s expression changes from fear and concern to
sarcastic relief. She nods toward the burning cabin.
MADELINE
Now that’s what I call “burned”!
58.
Sam groans at the joke.
END OF ACT FOUR
59.
BUTTON
EXT. SHABBY CABIN - NIGHT
Michael, Madeline and Fiona sit on the steps of the cabin’s
porch.
County firemen and local cops mill around the area.
swirls over the heavy hoses trailing.
Smoke
Near the path to the parking lot, Nate and Kasep watch the
fire-fighting going on at the third cabin.
Sam and Amanda also stand talking on the path, silhouetted by
the car headlights.
FIONA
(softly)
Why did you tell the cops that
Aweil killed the drug runners,
Michael?
MICHAEL
Fi... Kasep was one of the child
soldiers. He’s got enough baggage
to carry.
Madeline snorts at the word “baggage.”
MICHAEL (CONT’D)
(to Madeline)
Are you disagreeing with me on
that, Mom?
MADELINE
Who?
Me?
She pulls out a cigarette. And then pats her pockets for her
lighter. She remembers she gave it to Michael and glares at
him.
He just smiles back at her.
Michael stands up and draws Fiona to her feet.
MICHAEL
The Charger has two flat tires, Fi.
FIONA
We’ll get some help.
himself useful.
Sam can make
They look at Sam and Amanda, and are surprised to see the
pair kiss. It’s somewhere between romance and friendship.
60.
MADELINE
Fiona, who is that with Sam?
FIONA
(enjoying herself)
His wife. Amanda.
MICHAEL
His wife?
Fiona nods.
MADELINE
That could get interesting.
She stands up as well. She glances around and knows she’s
going to lose her exclusive hold on Michael’s company.
MADELINE (CONT’D)
Fiona, would you do me a favor and
get Michael’s stuff from the cabin?
His duffle bag is under the bed.
Fiona looks from Madeline to Michael.
inside.
He nods.
Madeline turns Michael so they are face to face.
She goes
He waits.
MADELINE (CONT’D)
This isn’t over, you know.
Over, Mom?
MICHAEL
What do you mean?
MADELINE
You still owe me a weekend!
He laughs weakly, and pulls her into a hug.
lot to talk about on both sides.
MICHAEL
Yeah, Mom.
THE END.
There will be a