BLACKNESS
We hear a DRILLING SOUND and then the THUD OF A SLEDGEHAMMER
AGAINST STONE. A chunk of wall falls inward to reveal a
young man, COLE SEBERS, looking through the dust. He is
wearing glasses and has short hair. We pull back to show a
safe on this side of the hole in the wall.
COLE: (V.O.)
Wait a second. The story doesn't
start here. I fucked it up
already. To go back to the
beginning, I have to explain how
Vaughn and I became best friends.
CUT TO:
EXT. UNDER AN OVERPASS - DAY
VAUGHN, a heavy young 10 year old is pricking his finger with
a safety pin while another BOY watches.
VAUGHN:
So I figure this makes us friends
forever. It's a blood oath, like
in the mafia. Give me your finger.
Above them, there is the SCREECH OF TIRES and then an
EXPLOSIVE THUD as a school bus breaks through the stone guard
rail. The bus falls into the river, the rear end sticking
out of the water.
BOY:
Oh my god! I'm getting out of
here! My mom told me you're bad
luck!
The BOY starts to run away.
VAUGHN:
I'm not bad luck!
From inside the bus, there is SHOUTING. The rear door is
flung open and young children begin to jump out into the
river. VAUGHN doesn't hesitate. He jumps into the water and
goes straight for the bus.
CUT TO:
EXT. UNDER AN OVERPASS - MOMENTS LATER
VAUGHN pulls an unconscious 9 year old COLE onto the bank.
VAUGHN pounds on his chest. Wet children stand to the side,
watching.
COLE: (V.O.)
I was dead for three minutes. It
caused brain damage. Now my memory
is all in notebooks. It's on
little stickers I have to put on my
dresser to remind me that I put my
shirt on before my pants so that I
can tuck it in. Vaughn saved me or
the paramedics saved me or God
saved me.
Over the following scenes, run title credits. Voiceover is
continuous.
INT. THE PORT SHORE MALL - MORNING
Lights begin to come on in the food court, in shops. Gates
are lifted up.
INT. THE PORT SHORE THEATER - SAME TIME
We are behind the concession stand, watching stacks of cups
shoved into holes by VAUGHN. He is a heavy young man with a
beard.
INT. THE PORT SHORE THEATER OFFICE - SAME TIME
COLE is going down a checklist. He counts rolls of coins in
a drawer. He counts singles and fives in the drawer. He
checks these tasks off his list.
COLE: (V.O.)
Sometimes I say things I shouldn't.
Because I can't censor myself the
way everyone else can. I can hold
a fork in my left hand but I can't
bring it to my mouth. That only
happens with forks. The main
damage was done to my neo-cortex.
My memory is severely damaged. Did
I say that I live my life on notes?
I can lose hours thinking about
nothing.
I spent a day in a department store
staring at a mannequin that I never
saw. Or I...wait, what was I
talking about?
(beat)
I wake up and I shower. I put on
my shirt and then my pants. Vaughn
drives me to the theater and I
unlock it. I unlock the inventory
closet so that Vaughn can stock the
concession stand. I count out
fifty dollars in bills and twenty
five dollars in change into a
drawer. I open the safe, I'm
sorry. I open the safe first and
the combination is 611345. That is
underlined so that I can always
find it. I put on my shirt and
then my pants and Vaughn drives me
to the theater. I unlock the
inventory closet so that Vaughn can-
TWEEDS:
(interrupting)
What the hell are you doing, Cole?
COLE is seated at his desk, bills in his hand, staring at the
drawer but not moving. He becomes aware of his surroundings.
COLE:
I'm sorry, Mr. Tweeds.
TWEEDS:
Don't think I haven't taken a risk
on you, Cole. Every other owner I
talk to says, "Hey, fire the kid."
But I don't, do I?
COLE:
No, sir. Thank you, sir.
TWEEDS:
We have a lobby full of customers
and no money in the register. What
are you doing in here?
COLE:
I was just going over...stuff.
TWEEDS:
Well, count it and get it out
there. Time waits for no man,
Cole. Did you count down the safe
last night?
COLE:
Yes, sir, I did.
TWEEDS:
Then why didn't you fill out the
nightly audit sheet?
COLE looks desperately at his notebook.
TWEEDS:
Are you going to your
rehabilitation?
COLE:
Yes, sir.
TWEEDS pulls the key-ring attached by a wire to his belt and
then lets it slide back up. He stares at COLE.
COLE:
What?
TWEEDS:
The register?
COLE:
Oh, right. Sorry.
CUT TO:
EXT. THE THEATER ROOF - AFTERNOON
COLE and VAUGHN stand on the roof, smoking cigarettes. They
look out at the city, Manhattan a vague shape in the
distance.
COLE:
He keeps saying he should fire me.
VAUGHN:
He can't do that. You're disabled.
He knows that. You'd take him to
the cleaners with a discrimination
lawsuit.
COLE:
But I didn't tell him before he
hired me.
VAUGHN:
That's bullshit, man. He knew. He
checked your references, right?
COLE:
Yeah.
VAUGHN:
Okay. So if he fires you, you sue
him. If the court doesn't find in
your favor, they're fucked. Which
is probably the case anyway. But
we should try that.
COLE:
Maybe if our business doesn't-
VAUGHN:
But wouldn't this be easier?
COLE:
All we have to do is go to the
bank, explain our idea-
VAUGHN:
The economy is sluggish since 9/11.
Don't go in there thinking this is
a cake-walk. Money is very tight
for a lot of institutions.
COLE:
I know, Vaughn.
VAUGHN:
(looking at the parking
lot below)
Look at that one.
COLE looks to find a teenage couple walking out to their car.
VAUGHN:
The movie must be over. We should
go back in.
COLE:
I like her. She's pretty.
VAUGHN:
She's got a boy's haircut.
COLE:
I know. I like it.
VAUGHN:
That turns you on?
COLE:
I guess so.
VAUGHN:
(looks at him for a
second)
God, you really are fucked up.
CUT TO:
INT. THE PORT SHORE MALL - NIGHT
Lights are being turned off in the mall. We see the
activities that COLE describes.
COLE: (V.O.)
I count the inventory and match
that against how much we started
with. Then I count the drawer to
see if that balances. Then I count
the cost of every item sold and see
if that matches the drawer. The
drawer always starts with seventy
five dollars. Fifty dollars in
bills and twenty-five in coins.
While I count, Vaughn cleans. I
count the money in the safe and put
the night's deposit in a bag in the
safe. No, I put the deposit in the
safe first and then I count the
safe. And then I lock the safe.
And then I lock the door to the
safe. And then I lock the door to
the office. And then I set the
alarm. The code is 4913. I do
this right before leaving. But
first I turn off the lights. And
then Vaughn and I lock the outside
door before the alarm goes off.
Oh, I also collect the trash from
the office and drop that off in the
dumpster.
CUT TO:
EXT. THE PORT SHORE MALL - NIGHT
VAUGHN stands in the cold, watching COLE lock the door. They
begin to walk to their car when VAUGHN points out a mini-van.
VAUGHN:
What do you think?
COLE:
I don't know.
VAUGHN:
Look at the driver.
COLE:
He's a guy with a beard.
VAUGHN:
An Arab guy.
COLE:
Yeah. So?
VAUGHN:
So why are the Arabs suddenly so
interested in the Port Shore Mall?
COLE:
I don't know. Just one of those
things.
VAUGHN:
You should take a greater interest
in things, Cole. Stop living in
your notebook.
They get in the car and begin driving.
COLE:
When is the meeting?
VAUGHN:
It's Tuesday. Can you remember
Tuesday?
COLE'S eyes begin searching.
VAUGHN:
It's Thursday right now so we go to
the meeting in five days.
COLE:
Okay.
He begins to write this in his notebook.
VAUGHN:
No, you need to remember this.
Don't put it in your book.
COLE:
Hey, come on. You know that I have
to- I can't just-
VAUGHN:
Didn't Dr. Schweitzer tell you to
rely on the book less?
COLE flips back a couple of pages.
COLE:
Yes. She did.
VAUGHN:
Okay. So, remember Tuesday.
COLE:
Will you remind me?
VAUGHN:
If I need to.
(honks the horn)
God damn it. Twelve-hundred people
in this city and I'm always stuck
behind some handicapped asshole.
COLE stares out the passenger window.
VAUGHN:
I don't mean you. You're not
handicapped, you're disabled. You
know what I'd do if I was
handicapped? I'd drive eighty
miles an hour. What's the worst
that can happen? You get in a
crash and can't walk? You're
already fucking handicapped.
COLE:
Maybe they are handicapped because
they were in an accident like that.
VAUGHN:
Yeah. But you beat the odds
once...
(to himself)
God damn handicapped. And I just
know that my parking space will be
filled when we get there.
There are never any good spaces in
the neighborhood.
(beat)
Which way do we go from here?
COLE:
Left at the next stop sign.
VAUGHN:
You're getting better.
COLE:
Thanks.
VAUGHN:
No. I mean that. You really are
getting better.
COLE just stares out the window so VAUGHN turns on the radio.
RADIO:
And the newly formed Department of
Homeland Security, created in
response to the 9/11 tragedy, is
offering a reward of fifty thousand
dollars for tips that lead to the
capture of terrorist cells within
the U.S. Homeland Security Head
Barry Benson says to be aware of
all races and ages, all income
levels. Suspicious activity that
should raise flags includes the
purchase of electronic equipment in
bulk, particularly cellular
telephones and two-way radios;
recording with video or photos
public spaces with high civilian
traffic; purchase of large
quantities of pesticides and other
chemicals; and out of season
clothing, such as parkas in the
summer time. Moving on to local
news...
VAUGHN turns it off.
VAUGHN:
Classic American over-correction.
Mark my words, you'll be seeing
terrorists all over the news now.
We're very solipsistic as a
culture.
COLE:
What's that mean?
VAUGHN:
Self-obsessed, shutting out the
important things in the world.
They pull up to a stop sign.
VAUGHN:
Which way now, Cole?
COLE:
I think...straight?
VAUGHN remains silent as he turns right.
COLE:
I was talking to Charlie about
maybe opening our stand right there
in the mall.
VAUGHN:
Charlie Lucas?
COLE:
Yeah.
VAUGHN:
He's a fuck up. He made a remark
about the Yankees that really
pissed me off.
COLE:
But he's smart.
VAUGHN:
What, you're not?
COLE:
Only if I have my notebook.
VAUGHN:
Don't do that to yourself. I'll
give you three reasons he's not as
smart as you. One: He's a register
jockey at Radio Shack. You're an
assistant manager of a movie
theater. You outrank him. Two: He
was rushed out of college because
of a serious alcohol problem-
COLE:
That could have happened to anyone.
VAUGHN:
-and you didn't even go to college
and you have the better job while
also being disabled. And three: He
told you to open our business in
the food court across from our
number one competitor in the area.
COLE:
He's not a bad guy.
VAUGHN:
He's a chump. Damn register
jockeys.
COLE:
Aren't you a register jockey?
VAUGHN:
Fuck off. I'm a god damn senior
customer service representative. I
do far more than manage a register,
which is always correct to the
penny by the way. My career may
have stalled early but I wasn't
given the opportunities that-
(pointing)
Look at that.
COLE:
What?
VAUGHN:
Guy with a beard standing under a
tree at this time of night. You
find that suspicious?
COLE:
He's probably waiting for the bus.
VAUGHN:
Does the bus come out this far?
COLE:
I guess not.
VAUGHN:
You've gotta be alert, Cole. Radio
said so.
It could just be the new Red Scare,
which is probably the case anyway,
but it's time for vigilance.
CUT TO:
INT. THE HOME NIGHT
VAUGHN unlocks the door and they enter. VAUGHN immediately
moves to the kitchen while COLE looks through the mail.
VAUGHN:
Our menu tonight is either Hot
Pockets or frozen pizza. I leave
it up to you.
COLE:
Oh, I don't care. Whatever we
normally have on Thursday.
VAUGHN:
Which one is it?
COLE is staring at a letter.
VAUGHN:
Do you not remember? What? What
is it?
COLE is reading the letter carefully. VAUGHN takes a look.
VAUGHN:
Evictions take time. We've got a
month, maybe. This house is too
big anyway. We should get an
apartment in the city.
COLE:
I'm...I'm scared.
VAUGHN:
You're scared because the future is
uncertain. That's natural. You
forget the feeling of fear so you
experience it more acutely. Look,
the meeting with the bank is when?
COLE:
Five days.
VAUGHN:
We can fast track the loan and have
the money within three weeks.
That will give us just enough time
to get it in our account before we
are kicked out, which is a blessing
anyway, and then we'll get a nice
apartment closer to the city. We
could sell my car and ride the bus
to work.
COLE:
At the mall?
VAUGHN:
No, Cole, we won't be working at
the mall anymore. It doesn't pay
the rent anyway, obviously. This
neighborhood has gotten very
expensive.
CUT TO:
A MONTAGE SHOWING THESE EVENTS
COLE: (V.O.)
I wake up and I take a shower. I
put my shirt on before my pants.
Vaughn drives us to the bank. We do
not go to the theater. We do not
unlock the door and open the
inventory closet. We go to the
bank.
CUT TO:
INT. THE BANK DAY
COLE and VAUGHN are both wearing suits but they are rather
shabby and don't fit properly.
VAUGHN:
What we have found in our five
years of working at this movie
theater is that colored people love
nachos. And fruit-flavored drinks.
There is absolutely no dedicated
outlet for these products in this
area, maybe in the whole country.
That's 12% of the population that
is not being served fully. We will
have a monopoly on this sector of
the service industry within this
community.
And then, in two or three years
maybe, we can franchise. And we do
not feel it is racist in any way to
notice that colored people like
nachos and fruit-flavored drinks.
REVERSE TO
MR. DEEKS, a sober-looking middle aged black man. He looks
incredibly unimpressed by this presentation.
VAUGHN:
We would like to open the store in
a black-dominated neighborhood,
obviously. There's a place on
Freemont Boulevard that would be a
perfect location. It used to be a
photo hut but it was in the wrong
area. I mean, everyone knows that
the coloreds like having their
picture taken as much as 1980's
Sean Penn, am I right? And I know
you're probably going to ask why we
don't just open our own theater
with five years of experience in
that industry. But my colleague
and I feel that with the onset of,
uh, digital theater systems,
possible satellite movie
transmission, uh, well, theaters
are pricing themselves out of the
business. Everything will turn
digital and instant at home. No.
Oh no, we're tapping a new, un
mined market.
CUT TO:
EXT. THE BANK DAY
VAUGHN bursts out the door, followed closely by COLE.
VAUGHN:
That guy's a fucking racist!
COLE:
He said you were.
VAUGHN:
That was a classic case of
projection!
He can't handle a white man
speaking the truth about the
colored population-
COLE:
I think you lost him when you used
the word "colored".
VAUGHN rips off his clip-on tie and unlocks the car.
VAUGHN:
He doesn't like our idea? Fine.
Just say no thanks and send us on
our way. But to call me a racist,
right to my face, that's just low.
COLE:
What now?
VAUGHN:
Now? Now we go to work at our
shitty job. And don't fucking open
that notebook unless you're writing
a novel to make us a pile of cash.
Because I'm sick of all of it. You
blew it in there, man.
He slams the car door.
CUT TO:
INT. THE PORT SHORE THEATER - DAY
VAUGHN stands behind the concession stand staring at a young
Arab man, HAZIZ, in a button down shirt and tie. HAZIZ sits
on a bench, carefully watching the flow of pedestrian traffic
in the food court.
COLE:
Can I borrow the car?
VAUGHN:
Are you sick?
COLE:
I have an appointment.
VAUGHN:
Tweeds know?
COLE:
Yes.
VAUGHN:
Set your watch for 11:30. Make it
beep. And then write in your
notebook that you have to come back
and pick me up at midnight.
COLE:
Okay.
VAUGHN:
Do it, Cole. Don't leave me here.
COLE:
I won't.
CUT TO:
EXT. THE PORT SHORE MALL - DAY
COLE walks out the door and to the car. He reaches into his
pocket and then freezes.
CUT TO:
INT. THE PORT SHORE THEATER - DAY
COLE walks back into the theater.
COLE:
Can I have the keys, please?
VAUGHN:
I wanted to tell you but I knew
you'd remember before you left.
Hey, you seen that guy before?
COLE:
Who?
VAUGHN:
The Arab guy coming out of Radio
Shack.
COLE sees HAZIZ exiting Radio Shack with a large bag in each
hand.
COLE:
I- I don't remember.
VAUGHN:
Oh, of course not. I'm sorry.
COLE stands there.
VAUGHN:
Oh, right. The keys.
VAUGHN hands him the keys.
CUT TO:
INT. THE CAR - DAY
COLE drives.
COLE: (V.O.)
I don't need my notebook to know
which way to go. This one, I know
somehow.
The car stops. COLE gets out. He has pulled the car over
just before the overpass the bus crashed off. He walks down
to the bank of the river and sticks his hands in the water.
He rubs them together. He reaches in his pocket and pulls
out a thumbtack. He sticks this in the ground along rows of
hundreds he has placed before.
CUT TO:
INT. THE REHAB CENTER - DAY
COLE sits at a table with two other men, carefully writing on
a yellow legal pad.
DR. SCHWEITZER:
By creating a pattern, we are
establishing a new form of memory
in the brain. Cole, what is your
earliest memory?
COLE:
Well. I think I was about four and
I went to a neighbor's house
without telling my mom and she
called the police. And then she
was so happy when I came home that
she let me have Oatmeal Creme Pies
for dinner.
DR. SCHWEITZER:
That's good, Cole. What do you
remember about the accident?
COLE:
(struggling)
I...I was in the middle of the
bus...and water...
DR. SCHWEITZER:
It's okay, Cole.
COLE:
It's just...I can't...
DR. SCHWEITZER:
It's okay. Everyone, it's okay to
not remember your trauma. That is
the one gift of neurological
damage. Cole, can you write your
name?
COLE:
Yes.
DR. SCHWEITZER:
Come up here to the blackboard.
COLE does so.
DR. SCHWEITZER:
Just write your name one letter at
a time. And while you're doing
that, I want you to think of the
letter in the alphabet that comes
after it.
COLE picks up the chalk and writes a C.
COLE:
D.
He coasts through his first name and then is stymied by his
middle name. He throws the chalk at the board.
DR. SCHWEITZER:
Cole, you did very well. Didn't he
do good, you guys?
CUT TO:
EXT. THE PORT SHORE MALL - NIGHT
COLE pulls up in the car to find VAUGHN standing in the cold
outside the door. He gets in.
VAUGHN:
I said midnight, Cole.
COLE:
It's only 12:30.
VAUGHN:
Which is thirty minutes late. I've
been standing out here freezing.
You don't do that to me. Not when
you borrow my car.
COLE:
I'm sorry.
VAUGHN:
You don't do that.
COLE:
I'm sorry.
VAUGHN:
Okay, look. I set an appointment
with First National on Thursday.
You don't have to come if you don't
want to. I don't think your
presence helped at all last time.
COLE:
I want to come.
VAUGHN:
I don't think that's a good idea. I
would prefer it if you didn't.
Switch seats.
COLE:
Why isn't it a good idea?
VAUGHN:
Because you're simple, Cole. Now,
switch seats.
CUT TO:
INT. THE HOME - NIGHT
VAUGHN is grilling burgers on the stove. COLE sits in a
chair by the window, looking through his notes.
VAUGHN:
I'd like you to ask Charlie Lucas
what that man was buying today.
COLE:
What?
VAUGHN:
The Arab man? You remember?
COLE:
I think so.
VAUGHN:
He came out of Radio Shack with two
huge bags. So he bought something
big.
COLE:
Two of them, even.
VAUGHN:
(shouting)
GOD DAMN IT!
COLE looks over to see that VAUGHN has knocked the pan onto
the floor, scattering the beef patties. When VAUGHN looks
back at him, he looks away like he hasn't seen this.
COLE:
I thought you said Charlie was a
chump.
VAUGHN:
I'm not asking you to take him to
prom.
COLE:
Then why do you want to know?
VAUGHN:
Just something I want to check out.
Could be nothing, which is probably
the case anyway.
COLE:
Why did you shout?
VAUGHN:
I burned myself. Dinner's ready.
CUT TO:
MONTAGE OF THE SHOTS DESCRIBED IN V.O.
COLE: (V.O.)
I wake up and I put on my shirt
before my pants. Vaughn makes
breakfast. He says we can't afford
to stop at a drive thru for
breakfast so we'll make our own.
He says we are going to stop using
paper plates. Vaughn makes me
write down to buy dishwashing
liquid because we won't have paper
plates anymore. Vaughn drives us
to work. I unlock the door and
turn off the alarm. I unlock the
inventory closet so that Vaughn can
stock the stand. I unlock the
office door so I can get a drawer
out of the safe.
COLE is staring at four small monitors displaying CCTV shots
of the theater. He just stands there, the keys still
dangling from his hands.
TWEEDS:
That's something, isn't it?
COLE:
Yes, sir.
TWEEDS:
I just had them installed
yesterday.
COLE:
Why?
TWEEDS:
9/11, Cole. This is a popular
movie theater. We're close to
Manhattan. This could be a target.
Which reminds me: Tell Vaughn to
start changing the trash bags in
the cans after every movie. And if
he sees backpacks or briefcases,
anything like that, he should come
straight to me. You got that?
COLE:
Yeah.
TWEEDS:
Why aren't you writing this down?
COLE:
Dr. Schweitzer is trying to get me
off the notebook.
TWEEDS:
Well, I hope you're ready for that.
So what did I say?
CUT TO:
INT. THE PORT SHORE THEATER - DAY
COLE talks to VAUGHN at the concession stand.
VAUGHN:
He's got a Napoleon complex.
COLE:
Yeah.
VAUGHN:
Could be worse. Could have an
Oedipal complex. Have you talked
to Charlie yet?
COLE:
About what?
VAUGHN:
I'll go with you.
VAUGHN steps through the small door at the end of the stand
and they begin to walk across the lobby.
LADY:
(holding up a cup)
Excuse me, can I get a refill?
VAUGHN:
Oh, I don't work here.
CUT TO:
INT. THE PORT SHORE MALL - MOMENTS LATER
VAUGHN and COLE walk across the food court to the Radio
Shack.
COLE:
(consulting his notebook)
I'd really like to say something to
you, Vaughn.
VAUGHN:
(distracted)
Yeah?
COLE:
What you said last night in the car
was very mean and hurtful. It has
made me feel very bad.
VAUGHN:
What did I say?
COLE:
You called me simple and said that
I ruined the deal at the bank.
VAUGHN:
I... Okay. I'm sorry, Cole. It
was rude and insensitive of me to
do that. I was angry at you for
not showing up on time and was
uncomfortable from the cold. I
forgive you for that. Do you
forgive me?
COLE:
Yeah.
VAUGHN:
Are you sure?
COLE:
(passing a teenage girl)
I'd love to screw you.
The TEENAGE GIRL is aghast and then giggles nervously.
VAUGHN:
Forgive him, he suffered a terrible
brain injury.
(walking on)
Christ, Cole, you can't do that.
COLE:
I don't mean to.
VAUGHN:
No, I mean you can't do that with a
teenage girl. You'll go to jail.
I love the pick up line. It's
right up there with "Nice shoes,
let's fuck."
COLE laughs and the tension is eased.
INT. RADIO SHACK - DAY
CHARLIE is a white gangsta wannabe. His pants are low and he
wears a visor upside down and twisted sideways on his head.
VAUGHN:
There was a young Arab man in here
yesterday.
CHARLIE:
A'ight.
VAUGHN:
You remember him?
CHARLIE:
Yeah.
VAUGHN:
Well...what did he buy?
CHARLIE looks to COLE. COLE gives a slight nod.
CHARLIE:
Oh well, I guess it ain't no
secret. He was buying cell phones.
VAUGHN:
Is that right?
CHARLIE:
Those pre-paid ones. We sell them
for twenty bucks. He bought a
couple dozen.
(beat)
What's this about?
CUT TO:
INT. THE PORT SHORE THEATER - NIGHT
VAUGHN is cleaning the concession stand while COLE watches.
COLE:
I don't get it. Why is there
anything wrong with that?
VAUGHN:
Because the Department of Homeland
Security said to be aware of Arabs
buying cell phones.
COLE:
But it's not like a crime, though.
Right?
VAUGHN:
It's suspicious.
COLE:
What's it matter?
VAUGHN:
Oh, aside from the fact these guys
are casing the mall we work in,
probably in preparation for a
chemical attack, there's the fifty
thousand dollar reward.
COLE:
You want to turn the guy in for
buying cell phones?
VAUGHN:
We have to be sure.
COLE:
How can we be sure?
VAUGHN:
By going shopping.
CUT TO:
INT. PRICE MART - NIGHT
VAUGHN and COLE walk down the aisles of the megastore.
VAUGHN is plucking items off the shelves and placing them in
the cart.
COLE:
Why do we need ski masks?
VAUGHN:
So he can't see us.
COLE:
Why do we need duct tape?
VAUGHN:
So we can tie him up.
COLE:
Why do we have to-
VAUGHN:
Because we have to be sure. Fifty
thousand is a lot of money and they
might not give it to us, even if
we're right, which is probably the
case anyway.
COLE:
I don't get it.
VAUGHN:
You don't have to. I know, okay?
This guy is a terrorist and I want
to capture him.
COLE:
What if he's not a terrorist? What
if he just bought some cell phones?
VAUGHN:
It's impossible. I've explored it
from every angle. What possible
use could he have for looking at
the food court all week? Why does
he need two dozen pre-paid cell
phones?
COLE:
I don't think we should do this.
VAUGHN:
You're acting like I'm going to
kill the guy.
COLE doesn't know what to say. VAUGHN stops pushing the
cart.
VAUGHN:
Do you trust me?
COLE:
Yeah.
VAUGHN:
Then trust me.
COLE:
You're asking for a lot of trust.
VAUGHN:
Yeah, I guess I am. No, wait. I'm
not. You rely on me to keep your
life going. If I choose to do
this, you should respect that
decision as much as you respect
everything else I do for you.
COLE:
But this just seems wrong.
VAUGHN:
You're 25 years old and you've
never had a girlfriend. Does that
seem right?
COLE:
No.
VAUGHN:
And I'm not saying any of this to
be mean, Cole. I just want you to
think about the choices you've made
and the choices I've made. Who is
right more often?
COLE:
But this is-
VAUGHN:
It just seems odd. It's not that
weird, I don't think. We have to
be sure.
COLE:
But this is weird.
VAUGHN:
No, it's not. And I don't have the
time to explain every facet of my
inclination to you, but what you
think is warped, okay? You're 25
and you've never had a girlfriend
and you can't blame that on the
brain damage. What feels right to
you has been wrong. The world has
shit on you for fifteen years.
And these fuckers want to kill us.
For what? Because we're a pluralist
society. Because we have more
freedom than-
COLE:
You said that was bullshit when
Bush said it.
VAUGHN:
I was naive. I thought it was
retaliation for supporting Israel,
for occupying parts of Saudi
Arabia, for a million other things.
Oh no, Cole, not at all. These are
fundamentalists and the thing
fundamentalists hate the most is
what defines them: They can not
abide contrary opinions. And they
want to kill us for being
different. You feel scared a lot,
don't you?
COLE:
Yeah.
VAUGHN:
America feels scared, now. I feel
scared. And I won't let them get
away with it anymore. I'm taking
back my sense of security.
CUT TO:
MONTAGE OF THE SHOTS DESCRIBED IN V.O.
COLE: (V.O.)
The first phase of the operation
was to establish identity. Vaughn
followed the van one night to an
apartment building in the city. He
said we now knew the cell's
safehouse. Then he scouted the
guy's routine. He would frequently
go outside the theater and act like
he was sweeping up the front or
cleaning the glass doors. He was
really eavesdropping on the man's
phone calls. He said the man
talked about units, satellite time,
max capacity.
When the man decided to see a
movie, Vaughn asked for proof of
age so that he could see his ID.
Haziz Al-Alrazawi. Vaughn did not
say more to him then. It didn't
seem real. When you have no real
memory of your life, things tend to
take a jagged shape in your mind.
The unreal exists seamlessly with
the commonplace because there's no
reference point. And like Vaughn
said, what felt right to me was
often wrong. So I guess it didn't
occur to me at the time that
anything would actually come of
this. It seemed like we were
pretending to be spies and I liked
that feeling. And then one night,
Vaughn kidnapped him.