Tigers Eye

TIGERS EYE by JS Lennox and R.Striler 760.807-0598 Registered Writers Guild -1- FADE IN: INT. HOTEL ROOM - EVENING A darkened hotel room. The curtains are open to the balcony, the light of the November moon revealing Seattle's Space Needle in the distance. Through the moonlight we see the shapes of a MAN and a WOMAN sleeping side by side in bed. The clock on the nightstand reads: 3:12 am. The man rolls away from the sleeping woman and onto his back. His eyelids twitch. He's dreaming. MORPH TO: EXT. JUNGLE - DUSK A blue light filters through a thick green jungle. A BOY, about 12, cuts through the foliage with a MACHETE. As he moves, dark, rumbling JUNGLE NOISES emanate from behind him. In front of him is a WATERFALL which thunders over a wide overhang and into a broad pool below. He crosses in front of it on a SMALL WOODEN BRIDGE. In the distance through the misty jungle haze materializes a small clearing. A dirt path lined with flowers, bamboo, and fruit trees appears before the boy. He walks along the path for a bit then stops and listens. Up ahead we can hear a strange mixture of CHRISTIAN SONGS and BUDDHIST CHANTS. In the middle of the clearing sits a small rock outcropping. In it is a SMALL CREVICE MADE INTO A SHRINE. THREE PRIESTS, each wearing long robes of different colors -- blue, red, and yellow -- hats resembling folded napkins -kneel in front of the shelter. They chant with heads bowed, arms outstretched in front of them, and thumbs interlocked. The boy slowly approaches the priests, the music and chanting rising. We see a TRIANGLE-SHAPED SHAFT OF LIGHT penetrate the jungle behind the shelter. In the middle of the light is a rotating SKY-BLUE GLOBE FILLED WITH FLOATING STARS. At the center of the globe we see a LARGE EYE OPEN. THERE'S MOVEMENT TO THE BOY'S LEFT. The trees rustle -- the music and chanting stops -- we hear CLACKING SOUNDS like two sticks being hit together. Something unseen is circling him. Scared, the boy slowly backs up -- the priests are gone -- the sky darkening -LONG SHADOWS form on the ground. The clacking sound grows louder as the wind howls. He turns to run when— -2- A BENGALESE TIGER LUNGES AT HIM. The camera rushes towards the tiger's left eye, filling the screen with rippling bands of light as we-SMASH CUT TO: INT. HOTEL ROOM - EVENING The man jerks awake sitting up. He rubs his eyes and stares into the darkness and then over at the sleeping woman. He lays back, turns on his side, and goes back to sleep. A CREAKING NOISE. His eyes open again. The man lifts his head slightly off his pillow and sees-A DARK FIGURE STANDING OVER HIM. SLAM! A FIST GRAZES AGAINST THE MAN'S FOREHEAD. Not a clean shot, but certainly enough to jolt him wide awake. The man fumbles about blindly trying to block punches from the intruder. THE WOMAN SCREAMS. She sits up and starts pawing at the intruder attempting to stop him from raining punches down on the man. WOMAN STOP IT! Oh God, please... The intruder grabs the woman's arms and violently pushes her off the bed. The man takes advantage of the diversion by rolling away from the intruder. He struggles to stand up, but the intruder shoves him against the wall and pummels him with punches to the chest and body. WOMAN (CONT'D) Dennis! Oh God, Dennis... The woman comes around the bed and grabs the attacker from behind. They both fall backward, the intruder hitting his head hard against the oak frame of the nightstand. His body goes limp and slumps to the floor. The man goes to the wall switch and a light flicks on. We see A BLOND HAIRED WOMAN, late 30'S, in a nightgown. WOMAN (CONT'D) My God... She looks at the intruder on the floor. This is DENNIS. He moans and grunts, his balding, mid 40's head oozes a small stream of blood from a gash. He's clearly been drinking. -3- DENNIS Goddam whore... goddam you... The half naked man's breathing slows as he gets his bearings. He looks blankly at the woman. This is PAUL CAMPBELL, early thirties, well built, thick, wavy hair, penetrating eyes. Cold and calculating, there's only one concern in Paul's life-the welfare of Paul. The woman looks back at Paul and then down at Dennis. She runs her hands through her hair as if searching for something to say. It's obvious the man on the floor is her husband. Paul grabs his pants and jacket off a nearby chair and quickly puts them on. PAUL I'd better get out of here. The woman looks at Paul hoping for some show of emotional support. WOMAN Paul... There's none forthcoming. PAUL I gotta go. He adjusts his collar, glances at himself in a mirror on the wall, and walks quickly out of the room. EXT. HOTEL - NIGHT Paul walks through the misty pool area of the hotel towards the parking lot. He stumbles along the sidewalk wincing as he touches his bruised forehead and ribs. A light rain begins to fall. Paul looks up at the falling rain. He smiles to himself. What makes him take such chances? He walks towards his obsidian black SL500 MERCEDES ROADSTER. His grin quickly disappears and turns to anger as his attention is drawn to a BRICK STICKING IN THE SHATTERED WINDSHIELD of his car. His eyes fill with anger. PAUL Not my SL... Walking around the car, he sees all the tires have been flattened. He looks back at the hotel room. His well known temper wells up. -4- PAUL (CONT'D) BALD LITTLE PRICK! HE RIPS THE BRICK OUT OF THE WINDSHIELD AND WILDLY HURLS IT INTO A NEARBY VENDING MACHINE. Glass sprays everywhere. PAUL (CONT'D) (sarcastic) Fuck you and I fucked your wife! Paul stalks out of the parking lot as lights go on in the surrounding hotel rooms. In front of the hotel, Paul looks up and down the lonely street. He checks his pocket expecting to find a cell phone, but realizes it's still in the hotel room. He turns back, but thinks better of it. Starting to feel the cold rain, he heads down the road towards downtown Seattle. Paul lifts his leather coat up over his head to cover him from the drizzling rain. He's trudging along a foggy, wet and deserted city sidewalk. He crosses the street and heads towards a BUS STOP. Checking the bus schedule sign, he realizes the next one isn't coming for a few hours. PAUL (CONT'D) Goddam public transportation. Paul sits down on the bench in the bus shelter. He cups his hands and blows into them to keep warm. He glances at the nearby the malfunctioning lights to a restaurant sign saying TRAN'S SAIGON SUBS flicker on and off. Paul's eyes grow heavy, he leans back and closes them. CLACK! CLACK! A NOISE OPENS HIS EYES. THERE IT IS AGAIN. It sounds like sticks clacking together in the distance. Then the faint sound of someone BLOWING A WHISTLE. The sounds grow louder. Something is approaching. Paul peers out from the shelter, but the darkened street is empty. Then all is silent. His breathing quickens. POP! - A FIZZLE OF BLUE LIGHT ERUPTS ABOVE HIM. It illuminates the surrounding area for a couple of hundred yards. Paul watches it slowly drift downward when-WHABOOM! A MASSIVE RESOUNDING EXPLOSION ENGULFS A PARKED MERCURY TOWN CAR IN WHITE PHOSPHOROUS FIRE. The force SMASHES THE GLASS WALLS OF THE BUS SHELTER. The exploding glass showers over Paul and knocks him onto the street. -5- STRANGE SHADOWS DANCE ACROSS THE STOREFRONT WINDOWS. The whistling grows louder. Through the darkness down the street are FLASHES FROM MUZZLE FIRE -- RAK-A-TAK, RAK-A-TAK, the sound of MILITARY WEAPONS. CRASH! BULLETS RIP INTO THE STOREFRONT in front of Paul. Panicked, he stumbles down the wet road as bullets kick up around him. Through the fog and rain, we can see MUZZLE FLASHES. He can hear the SOUND OF SOMEONE running behind him but he's too frightened to turn around. A SUDDEN SHARP PAIN IN HIS CALF crumples Paul to the ground. He grabs his leg. His hand comes back covered in blood. Unable to walk, he drags his body along the ground and cowers behind the rear bumper of a HONDA CIVIC. VOICE(O.S.) RPG! Move! SOMEONE GRABS HIM BY THE BACK OF HIS JACKET and starts dragging him quickly away from the Civic when-WHABOOM! THE CAR EXPLODES IN A BALL OF FIRE. PAUL What the hell is happening!? VOICE 01 (V.O.) Sappers all over the perimeter! On his back, with rain in his eyes, Paul can see the vague FIGURE OF SOMEONE LOADING A WEAPON while braving a hail of incoming bullets. FIGURE I'll buy time, Wags! You protect her. (screaming) ARCHANGELS! The figure throws a grenade then unleashes a hail of bullets down the street when-A BULLET STRIKES THE FIGURE IN THE SHOULDER. He's spun around -letting go of his weapon -- dropping to his knees. SEVERAL MORE BULLETS EXPLODE INTO HIS CHEST and he drops to the ground on his back. WHABOOM! A HUGE FLASH ENGULFS THE FIGURE as the screen fills with a BLINDING WHITE VOID. INT. EMERGENCY ROOM - EARLY MORNING -6- CLOSE ON PAUL'S EYE. It slowly opens. He blinks to focus in. He looks around to see that he's in an emergency room. DR. CHADHA a young female doctor in scrubs comes up to Paul's bed. She FLASHES A LIGHT in his eyes. DR. CHADHA How are you feeling? He tries to get up, but she gently pushes him back down. DR. CHADHA (CONT'D) Whoa there, cowboy. You're under a lot of medication. PAUL How long have I been here? DR. CHADHA Long enough to lose a liter of Type A. We've got your pressure back up though. A pudgy POLICE OFFICER comes by. OFFICER (to Dr. Chadha) I need to ask him a few questions. DR. CHADHA Do we need to do this right now? OFFICER It'd be better if I can secure a statement now. (to Paul) Can you tell me what happened, Mr. Campbell? Paul shakes his head no. OFFICER (CONT'D) Remember anything? Why you were in the middle of the road earlier this morning? Paul just stares at him. DR. CHADHA Can we do this later? -7- OFFICER Yeah, sure. He walks off. DR. CHADHA We've stitched up your calf. You're going to have a lovely scar. I'm afraid it's going to match this one. She points to a LONG JAGGED SCAR running up Paul's right forearm. Self consciously, he puts it under the sheets. DR. CHADHA (CONT'D) You've also got a fair amount of generalized swelling and abrasions. Beat. Dr. Chadha looks at her clipboard. DR. CHADHA (CONT'D) Are you currently taking any medications, Mr. Campbell? PAUL No. DR. CHADHA Because we've screened you for a good sized dose of haloperidol in your system. PAUL Yeah? DR. CHADHA It's normally used for treating episodes of hallucinations, delusions or disordered thinking. That sort of thing. She looks at Paul. DR. CHADHA (CONT'D) Can you tell me why you're taking that? He's not interested in talking. PAUL I'm really tired, Dr..... -8- DR. CHADHA Dr. Chadha. PAUL ...Chadha. DR. CHADHA OK, get some rest. She starts to walk off. PAUL Was anyone else brought in with me? DR. CHADHA Anyone else? Beat. PAUL Nothing. She walks off. Paul closes his eyes and starts to doze off. VOICE (O.S.) (in Vietnamese) Chào thay a. He opens his eyes. A HORRIBLY BURNED MALE VIETNAMESE PATIENT sits in a wheelchair by his bed. He's missing both legs and one arm. His gaunt face is distorted by burn marks. He looks hauntingly over at Paul from sunken eyes. PAUL What? WHEELCHAIR MAN (in Vietnamese) Chào anh Paul. PAUL Who are you? WHEELCHAIR MAN You take this. He weakly holds up a SMALL MILITARY MEDAL. It's rectangular with a star on the front and a pin clasp on the back. With his burnt hand he lays it carefully in Paul's hand. -9- WHEELCHAIR MAN (CONT'D) Huan-Chong Dung-Si Diet Mi. PAUL What is it? Paul takes it. WHEELCHAIR MAN (smiling) Please. You take. Paul looks the medal over. He doesn't want it. PAUL Buddy, I think you need a medal a hell of a lot more than I do... Paul looks over and sees the patient is gone. INT. SEATTLE SKYSCRAPER - DAY The elevator doors open and Paul emerges with other BUSINESS PEOPLE. He's cleaned up, wearing an expensive black cashmere overcoat. He has a SMALL BANDAGE above his eyebrow and uses a STERLING SILVER WALKING STICK to carefully limp down the hallway. In front of him are large double doors with letters stenciled on the frosted glass that read: GLOBAL CAPITAL GROUP LLC. INT. GLOBAL CAPITAL GROUP - DAY Paul limps as quickly as he can, trying to avoid the look of the GIRL ON THE PHONE at the metal and glass reception desk. He passes through the lush circular central room and by a long high tech conference table. Two employees, DAVID and NICK, early 20's, are standing near Paul's office. Nick is Paul's gung ho assistant and aspiring trader. NICK Straight-up, that's what he told me. DAVID Bob's gonna freak. The fund is already down 52% so far this year. Paul approaches with a bottle of RED BULL. - 10 - NICK Talk about a bad bet on the yen... (sees Paul) Hey, boss, what's crackin? (looking at limp) How'd you get the bad wheel? PAUL Get to work. Paul slips by them and goes into his office. David and Nick look at each other. INT. GLOBAL CAPITAL GROUP - PAUL'S OFFICE - DAY His office is extremely organized and high tech. Several digital clocks line the wall showing the current time for New York, London, Hong Kong, and Tokyo. Paul grimaces as he sits down at his desk lined with several monitors. The screens twinkle with the activity of worldwide markets. He pulls a plastic bottle of unmarked prescription drugs from his pocket. He pours four round pills onto the desk, picks them up and pushes them into the back of his mouth. He takes a swig of Red Bull and gets to work. MONTAGE of him makes online trades, checking emails, making calls, drinking a lot of Red Bull, and scanning the Internet for leads. The screens in front of him flicker with activity. LATER. Paul is on his cell phone in a heated discussion. While he talks he's scribbling on a SMALL NOTEPAD. PAUL (on phone) Frank you're not listening. You work for us. (listening) Yeah, and a CEO that's fucked up so much shareholder value doesn't deserve anymore time. (listening) No. Get it through your head. We're the largest shareholder now and-(listening) Fight this? Frank the only thing in life worth fighting for is profits, something you apparently don't know shit about. Listen to me. By next week we'll still be here. You won't. - 11 - He throws the cell phone down. We see on the paper he has drawn an EYE IN A TRIANGLE THAT'S EMITTING LIGHT RAYS-- the symbol from his dream. His OFFICE PHONE beeps. We hear the smarmy voice of WILSON HARRIS, 20's, one of the other proprietary traders for the company. WILSON (on speakerphone) Hey, Umai Telecom blew up. Paul grimaces. WILSON (CONT'D) (on speakerphone) Gapped down 7 points. Wow. PAUL I know, Wilson. WILSON (on speakerphone) What's the loss on that? Paul sneers at the phone. PAUL Anything else? I'm in the middle of something. WILSON (on speakerphone) Didn't see you come in yesterday. Just wondering what's up. PAUL Had some problems. WILSON Really? What happened? PAUL Hey, I gotta go. Paul hangs up on Wilson. Nick pops his head in. NICK Yo, Bob wants to see you. INT. GLOBAL CAPITAL GROUP - BOB'S OFFICE - DAY - 12 - An office designed to make a statement of executive financial power. Sitting behind the large exotic African wood desk is BOB FRAUS, hedge-fund manager of Global Capital Group. In his late 20's, ruthless in a smooth way, he's wearing a black Cashmere turtleneck. Bob runs a half billion dollar fund and only cares about one thing-- profits. He leans back in his leather chair listening impassively to NOREEN a mousey senior analyst. She's not intimidated by Bob one bit. NOREEN I'm saying it's suspicious, Bob. Allowing us to trade their shares after the market closes, that brings up some questions. BOB It's simply an arbitrage opportunity for the fund. Nothing more. NOREEN Are you aware of the security laws? BOB (icily) Yes, Noreen. I know the security laws. NOREEN After hours trading after the fund is closed. That is-BOB Like I said... NOREEN That's not a hedge. That's... well... BOB Look, even if regulators look at this, they'd go after the mutual funds anyway. Not us. Bob wished he could take that back as soon as he said it. He hates that Noreen made him admit that. BOB (CONT'D) (forcefully) Look, Noreen. Your concern is misplaced. NOREEN I think this needs to be explored more. - 13 - To Bob's relief, a knock at his office door. They both look over as Paul sticks his head in. Bob waves to him. BOB Paul, come in. Noreen, I need to speak with Paul. Noreen waits for Bob to offer to continue the discussion later, but he just stares blankly at her. She turns stiffly and walks out the door. Bob burns daggers after her from behind. BOB (CONT'D) (to Paul) So tell me, what happened? PAUL Stupid thing really, I fell and cut myBOB Umai Telecom. It gapped down seven. What's up with that? PAUL It'll come back. You'll see. Bob turns away to look at his monitors. He touches his thumbs together and taps his fingers in rhythm as he stares at his screens. BOB When are you going to pull the trigger again? Make the fund some more "screw you" amazing money. You're in a bit of a slump lately. Paul is ready with an answer. PAUL I've got a hot short sell position on an overvalued Japanese software developer. I was going to run it by you today. BOB What are the numbers? PAUL It should bring in 200k. Bob stops tapping his fingers. Paul knows this means he's not impressed. - 14 - PAUL (CONT'D) But I've also got other deals in the works. BOB Such as? PAUL A buy into a Russian bankruptcy. A million two at twelve a share. It'll get us a 40% discount over the trading price. Bob is less than impressed. BOB Anything else? Paul has blown his wad. He starts ad-libbing. PAUL I'm working on some exotic stuff that looks hot. I'll get you the numbers. Try to get them to you, you know, maybe this week. Bob taps something on his keyboard. He turns his chair towards Paul. BOB I heard somewhere you're thinking of going back to investment banking. Paul knows Bob is just saying that to get a rise out of him. PAUL C'mon Bob. That's bullshit. Who told you that? BOB I was surprised. I didn't think you'd want to go back. All that endless pitching, pain in the ass clients, the endless hours... Paul hates Bob's condescending tone, but he plays the game. PAUL No fucking way, Bob. That's bullshit. I'm here to kick ass. You know that. BOB You know me. Conviction is everything around here and we get to eat what we kill. A hedge fund only - 15 - cares about profits. Whether it's stocks, currencies, bankruptcies, IPO's, whatever. As creative as you can get and it's 2% off the top and 25% of the profits. (beat) I don't know what your difficulties are lately... Paul self consciously touches the bandage on his forehead. PAUL It's... just some bad luck. I'm over it. Bob picks up his phone and hits a button. He looks at Paul. BOB But you know GCG priorities. Just get them straight. And get me something creative. Pull that trigger. He gives Paul a classic fake Bob smile. PAUL (on phone) Hi Yumi. He waves Paul out. The meeting is over. Paul turns and walks out the door. BOB (on phone) I need something handled. I want Noreen gone by the end of the month. EXT. CITY STREET - DAY Paul is driving a RENTAL CAR. His hands tightly grip the steering wheel as he looks left and right trying to remember the area where the incident occurred last night. Noticing something, he slows the car down. He found it. The bus stop shelter. EXT. BUSTOP - DAY He pulls over and gets out of the car and limps quickly across the street to the bus shelter. IT'S INTACT. The walls aren't shot out. Nothing is amiss. Across the street the Mercury Town Car, still parked there, is untouched. Paul looks around not sure what to think. INT. DOCTOR'S OFFICE - EXAM ROOM - DAY DR. LARRY DEDARIAN, wire rims, stocky, stylish haircut. The quick witted doctor is finishing up wrapping a cast on the arm of BOBBY, a young patient. - 16 - LARRY Bobby, the next time you attempt to launch yourself off the garage roof in a grocery cart, make sure you've got some parental supervision there, OK BOBBY My dad was there videotaping it. LARRY Well... like father, like son. An OLDER NURSE opens the door. NURSE I'm sorry to bother you, Doctor. Mr. Campbell is in your office and he's very agitated. He's carrying a stick. LARRY Mr. Campbell agitated? Shocking. Thank you, Maria. INT. DOCTOR'S OFFICE - PRIVATE OFFICE - DAY Larry enters his upscale office scribbling something in a patient's file. LARRY (looking at file) Paul you've scared my nurse again and she says you're carrying a stick. Larry glances up to see Paul pacing about with the help of his walking stick. LARRY (CONT'D) Another episode? Paul scowls at him. LARRY (CONT'D) Are you taking the medication? PAUL Forget about the goddam medication. This shit is still happening so maybe it's not in my fucking pariteal lobe or whatever you call it. LARRY Paul... - 17 - PAUL (cuts him off) And don't start again with your clinical shit. There is something happening here and-LARRY First sit down... PAUL (rambling) --and... so it's not paranoia. It's paranoia when someone's not really trying to kill you. I'm not hallucinating, it's really happening, that's the truth and I need some fucking answers. LARRY OK, OK, sit down. Paul sits down and lets out a deep breath. Larry walks behind his large mahogany desk and also sits. LARRY (CONT'D) Tell me about this episode. PAUL First, it's not an 'episode.' LARRY OK. What happened? Paul takes a deep breath and looks at Larry. PAUL The north end of Seattle lit up like fucking Fallujah last night, that's what happened. Rocket propelled grenades, automatic weapons, bombs, armies, whatever. And it all was aimed at killing me. Larry rubs his eyes. LARRY I see. Beat. - 18 - LARRY (CONT'D) Normally, this might be considered symptoms of shell shock. But since you've never been in the military much less Neighborhood Watch... PAUL Jesus, if you're gonna be smug about this, Larry, I'm going to fucking lose it! LARRY Can you see it from my perspective? Why I might be cynical? RPG's in Seattle? C'mon Paul. (beat, looking at walking stick) And that is an incredible walking stick by the way. Paul looks at it proudly. PAUL It is. LARRY I've told you this already. A complete diagnostic evaluation from a trained psychiatrist that can properly-PAUL (interrupting) And you can kiss my ass. LARRY --that can properly make a diagnosis and start a real treatment program including possible hospitalization. PAUL If it gets out on the street that I'm spending time in the laughing academy with the feces eaters my trading career is over. You know this so drop it. LARRY This kind of problem is not curable by my prescription pad like everything else I take care of you for. I'm a general practitioner, not an expert in abnormal psychology. I can't keep prescribing you pills like I'm Elvis's private doctor. PAUL If I pay you enough you will. - 19 - LARRY (frustrated) You want the medication, you don't want the medication, what do you want me to do? Paul's eyes glance over to a lithograph on the wall by MC ESCHER called BOND OF UNION. It shows two heads formed by the same strip of material. LARRY (CONT'D) We've ruled out several possibilities. Lesions from a head trauma, stroke, tumors, infections. I'm running out of solutions. It's possible a traumatic event in your past might be the cause. Accident, physical abuse... This is a psychiatrist's domain who can also do an examination of your family history. Paul is absorbed by the Escher picture. PAUL Yeah, well good luck with that. LARRY If you want answers than you are going to have to look for them. Now, two weeks psychiatric evaluation with an extensive psychological profile. This is what I recommend. Paul leans over and throws a BULLET SLUG on the desk. Larry looks up at it, picks it up. PAUL Cop told me it's a 5.45mm round. From an AK-47. A military weapon. It was in my leg. Larry studies it. LARRY And? PAUL And it was in my goddam leg, Larry, so don't talk to me about another 'episode.' Larry leans back in his chair. He holds up the bullet. LARRY This doesn't mean you're not having illusions. It doesn't mean your mind is not the cause of this. It - 20 - does mean you're risking serious harm to yourself and others. PAUL If you think I went loco and somehow found an AK 47 and shot off half my calf then fuck you, Larry. LARRY (looking at the bullet) Even if you didn't do it, it's still probably an illusion. PAUL What the hell does that mean, David Copperfield attacked me? LARRY It means your perception of the world is being distorted. It may have been a real situation, some gang drive by, but your brain tricked you into believing you're fighting in a war. A healthy mind can logically separate real and unreal thoughts. Your mind right now, doesn't know where those edges overlap. PAUL So you think I'm bipolar? LARRY Not bipolar. That's a dissociative disorder usually in females...like Sybil. Your current psychosis is something else. Paul sighs. He's frustrated. PAUL Can you even allow for the possibility that it was real? LARRY I didn't see any reports on Fox News about military engagements anywhere near Seattle last night. Paul just smiles, shaking his head. PAUL You're such an ass... - 21 - LARRY Sorry, but that's the truth. I know this is scary. This kind of thing strikes at the heart of what is the essence of a person. It makes you question reality. (beat) Look, these episodes, illusions, hallucinations, waking dreams, whatever you want me to call them, they may gradually fade away and disappear. Or they could get worse. It's up to you. PAUL Whatever, Larry. Paul gets up and limps towards the door. He opens it then pauses. He looks down at the ground. PAUL (CONT'D) Being terrified of my own mind... I couldn't live with that. LARRY You know, Socrates said madness is the channel which someone could receive great illumination. Paul looks at him. LARRY (CONT'D) So you got that going for you, huh? EXT. SEATTLE ROAD - DAY Paul is driving along a Seattle road. He reaches over towards the passenger seat floor for a bottle from a SIX PACK OF BUDWEISER that's fallen on the floor. We hear a THWUMP THWUMP. He sits up just in time to see a FEMALE TRAFFIC OFFICER standing in the middle of the road with her hand up -- He SLAMS ON THE BRAKES -- the car skids to a stop a few feet from the stunned officer's shoes. Behind her, the freeway on-ramp is temporarily closed due to a TRUCK SPILL. Paul is furious. He cracks his window and glares at her. PAUL Hey, honey, want to lay some goddam cones down next time? TRAFFIC OFFICER You mean like the several you just goddam ran over? He shuts the window and turns onto the side road. - 22 - TRAFFIC OFFICER (CONT'D) Asshole! EXT. SIDE ROAD - DAY Paul is driving along a dusty side road that cuts through a wooded area and lush green hills. Up ahead he notices something. He slows down to look at SEVERAL MEN DRESSED IN FLOWING BLACK ROBES standing in line in front of a small temple. They are part of a FUNERAL PROCESSION containing a DRAGON SHAPED CARRIAGE, SMALL CHOIR, and SEVERAL MOURNERS. Behind the procession is a BRIGHT YELLOW TEMPLE surrounded by snow capped mountains. The sign above the front door reads: CAO DAI SEATTLE. Paul notices something above the sign. A wooden placard with a TRIANGLE CONTAINING A BLUE GLOBE AND LARGE EYE. PAUL What the hell... He pulls over and grabs a notepad out of his COMPUTER CARRYING CASE sitting on the passenger seat. He flips through the pages until he comes upon the drawing he made at the office. It looks the same as the Cao Dai symbol. EXT. CAO DAI TEMPLE - DAY The outside of the small temple is brightly painted with Day Glo yellow, blue, and red. Mourners, a mixed ethnic group, are milling about by the carriage. Paul slowly makes his way through the crowd and up the steps to the temple. INT. CAO DAI TEMPLE - DAY Paul tentatively enters. Inside the small temple we see a brash spectrum of colors. The tiled floor is lined by rows of painted dragons wrapped around bright pink columns. The ceiling is a fluorescent sky blue. In front of him, at the end of a hall, above a small altar, hangs a star-speckled globe, with a giant eye painted in the middle of it. Paul approaches the alter. Among the many flowers and fruits there are several statues including BUDDHA, JESUS CHRIST, CONFUCIUS, and TAO TSE. He looks up at the large eye. VOICE(O.S.) You like Divine Eye? - 23 - Paul turns around to see an OLD VIETNAMESE MAN. He wears a bright blue flowing robe and a tall hat resembling a folded napkin. PAUL Just looking. The old man smiles. He walks towards Paul. OLD MAN No problem. Cao Dai welcomes everybody. PAUL That what you call the big eyeball? OLD MAN That's Duc Cao Dai, Supreme Being. You can call him God, Yahweh, Buddha, Allah, Mighty Spirit, whatever you like. He and them are one. PAUL I don't believe in a God so... OLD MAN Call him Big Eyeball then, he won't mind. The old man grabs a broom and starts to sweep up the dirt that Paul has tracked in. PAUL (lifting his shoe) Sorry about that. OLD MAN Don't be sorry. It's what I do. Did you know Benny Tran? PAUL Who? Oh, the funeral? No. OLD MAN Very kind man Benny Tran. Very kind. Later you hear Cao Dai Chant for the Dead. Very beautiful. Very beautiful. Paul glances up at the statues on the altar. PAUL (cynical) - 24 - So, this place Cao Dai worships Buddha and Jesus, and who's this... Confucius. And these other guys... Way to hedge your religious bets. OLD MAN (laughing) Just because I love Italian food doesn't mean I forbidden to love Japanese food. (beat) All goal for religions is for human spirit to become one with Supreme Being's spirit. Cao Dai say one thing is made of all things. PAUL And I take it you talk to this Cao Dai guy? OLD MAN When I need him I call him. He is very real for me. So why you visit Cao Dai today? Beat. PAUL I don't know. Think I saw this thing in a dream. OLD MAN Maybe not dream. PAUL What does that mean? OLD MAN Don't know. I'm old man. The old man walks to the side of the alter. He pulls back a small curtain exposing several coffee cup-sized holes drilled into a lacquered piece of mahogany. OLD MAN (CONT'D) Put hand in one. PAUL Why? OLD MAN Because an old man told you to. Paul reluctantly puts his hand in one hole and pulls out a folded piece of bamboo paper. He looks at the old man who motions for him to open it. - 25 - OLD MAN (CONT'D) Open. Paul unfolds it. On the paper is written: Save the Tiger's Eye and by your sacrifice you shall win a place in the Divine. PAUL Should I tell you what it says? OLD MAN Only if says, "Old man next to you won Super Lotto." Paul smiles. PAUL No winner today, buddy. (walking away) Destiny. What bullshit. OLD MAN Not yourself lately? Paul stops and looks back at him. OLD MAN (CONT'D) Wrong if you think you're the doer. You're the instrument. Instrument in the hands of Divine Eye. Let it do what it wants to be done. EXT CAO DAI TEMPLE - DAY The LEADER OF THE FUNERAL PROCESSION chants three times in Vietnamese. A BURIAL TEAM comes over and bows to the coffin. A FEMALE CHOIR begins chanting prayers. Paul comes down the steps of the temple. His eyes wander over the funeral procession. Sensing someone's eyes staring at him, he glances to his left to see WHEELCHAIR MAN STARING BACK. Mourners then cross in front of him blocking Paul's view. When the crowd clears, wheelchair man is gone. The chanting causes Paul's eyes to drift over to the choir. Mesmerized by the sound, he notices a VIETNAMESE WOMAN in the middle. Her long hair and dark sunglasses cover much of her face, but we can tell from her high cheekbones that she's stunningly beautiful. Paul can't take his eyes off of her. - 26 - Paul has a need to go over and introduce himself, but the coffin begins its progression to the graveyard. He watches the woman as she turns and begins moving with the rest of the group across the street. INT. TAKEDA - NIGHT An expensive Japanese restaurant in Seattle with traditional Japanese decor, sushi bar, traditional tatami rooms, and discreet lighting. Sitting with Paul at the sushi bar is LEHUA 20's blond, gorgeous. Another night, another blond. Lehua looks at a menu. Paul has his mind elsewhere. LEHUA Wow, did you know they have wasabi tiramisu here? PAUL Didn't know that. LEHUA That sounds terrible, don't you think? PAUL I don't know, I guess. Paul motions for the SUSHI CHEF. He wants another beer. PAUL (CONT'D) (to sushi chef) Sapporo mo ippon daijaki. SUSHI CHEF Hai. Sapporo daijaki LEHUA I wonder what it tastes like... Paul doesn't respond. LEHUA (CONT'D) What do you think? PAUL Let me think.... shit? LEHUA C'mon, don't be like that. Let's try it. PAUL Whatever. I don't care. - 27 - LEHUA Paul, what's the matter? PAUL Nothing is the matter, Lehua. LEHUA Are you mad at me about something? PAUL No, I'm not mad. LEHUA You seem mad. PAUL And I'm not. LEHUA I hate to see you mad. PAUL Do you? Because I get mad when people tell me I'm mad when I'm not. That makes me mad. Lehua puts her hand on his lap. LEHUA Tell me what's the matter, Paul. Paul puts his head in his hands. CRASH! A WAITER drops a tray full of glasses causing Paul to practically jump out of his seat. The CROWD at the bar applauds. Paul, shaken up, looks around. He stands up. PAUL Order whatever. I'll be back. LEHUA The wasabi tirimisu for dessert, right? INT. TAKEDA - TATAMI AREA -NIGHT Paul walks down a hallway that has several tatami rooms on either side for private parties. He passes by one with the sliding door open and glances in. Among a GROUP OF ASIAN BUSINESS TYPES sits THE BEAUTIFUL WOMAN - 28 - FROM THE CAO DAI FUNERAL. This is ANN MAI LINH, Vietnamese, 30 years old, intelligent, and kind. INT. TAKEDA - RESTROOM -NIGHT Paul is at the sink washing his hands. He stares at himself in the mirror. He closes his eyes, slowly running his wet hands over his face. We see flickering, disparate images of muzzle flashes, lightning, a tiger, a FACELESS ATTACKER. The attacker raises a knife to stab Paul when-BAM! Paul whips around, water flying off his face, bracing for an attack. A JAPANESE MAN grabbing his zipper walks out of a stall. Paul turns and looks back at himself in the mirror. INT. TAKEDA - TATAMI AREA - NIGHT We see Ann now outside the doors to the tatami room. She stands with a CHINESE MAN AND WOMAN. They're leaving and she's giving them directions in Chinese. We see Paul looking at her. His eyes focus on the pendant that hangs around Ann's neck. It shows THE MOUTH OF A STERLING SILVER DRAGON HOLDING A TIGER'S EYE JEWEL. He's fascinated by it. Ann says goodbye and watches as the Chinese couple leaves. PAUL (V.O.) Tiger's Eye? Ann turns around to see Paul. When the two look into each other's eyes, there's an immediate connection. ANN What? PAUL Your pendant. It's nice. Tiger's Eye, right? ANN (looking at her pendant) This? Yes, it is. PAUL Can I ask where you got it? ANN In Vietnam. When I was very young. - 29 - PAUL It's Cao Dai, right? ANN (surprised) Yes. You know about Cao Dai? PAUL You know, some things. 'One thing made up of all things.' Things like that. ANN Yes, that's Cao Dai. PAUL And the Cao Dai Chant for the Dead? It's beautiful. It really is. ANN You really do know a lot about it. PAUL Well... (beat) I'm sorry, where are my manners? I'm Paul. Paul Campbell. Paul offers his hand. Ann takes it. He makes sure she sees the expensive Breguet watch around his wrist. ANN I'm Ann. Inside the tatami room, someone has taken an interest in Paul and Ann talking. This is DUC HO, 40's short, chubby, slimy, bank president and Ann's boss. He leans back, smoking a cigarette and checking out Paul. Paul glances over at Duc Ho. He recognizes him. PAUL So you work at New Vietbank. ANN (surprised) You are starting to scare me now. PAUL (motioning to Duc Ho) - 30 - I trade in emerging markets. It's a small town. I met him once. Paul waves at Duc Ho. Duc Ho waves back. ANN I guess so. PAUL (looking in tatami room) How can you stand sitting in there? That cigarette smoke is disgusting. ANN I know... Ann looks into Paul's eyes. It triggers something. ANN (CONT'D) Have we met somewhere before? PAUL I'm sure I would remember that. DUC HO (V.O.) Ann. Ann looks over to Duc Ho. He waves for her. ANN I need to get back, so... PAUL Maybe I'll see you again? Ann smiles slightly and turns to go back into the tatami room. Paul watches her as she returns to her seat. As he walks back to the sushi bar, we see Ann glance back at him. INT. CAMPBELL HOUSE - NIGHT The darkened former home of AUNT FLORENCE CAMPBELL and her deceased husband JOSEPH CAMPBELL. Paul opens the door and fumbles for the light. The interior brightens. The furniture is older and the air has the smell of having been closed up for the past year. There are sheets on several pieces of furniture. He slowly walks through the living room. On the wall is a Bible passage. It reads: - 31 - But now, O LORD, Thou art our Father; we are the clay, and Thou our potter, and we all are the work of Thy hand. Isaiah 64:8 Along a small table are framed photographs of Paul as a small boy, Paul with Uncle Joseph, and Paul graduating from college. INT. CAMBELL HOUSE - ATTIC - NIGHT A cramped attic. Paul, holding a beer, comes up a tiny flight of stairs and switches on the HANGING LIGHTBULB, creating shadows on the walls. The dusty attic is filled with OLD FURNITURE and BOXES. Paul lifts some PACKING BOXES up and moves them to the side. He opens one with 'PICTURES' written on it. There are several PHOTO ALBUMS in it. He pulls one album out that's marked '1967' and flips through it. There are several pictures of a young Aunt Florence and Uncle Joseph. He comes upon several of Joseph with a crew cut and wearing an Army uniform. Most are of him fixing military trucks in Virginia. He closes it. He opens another album dated 1973 and flips through pictures of Aunt Florence and Joseph at a beach, snow skiing, and at home. Another is of Aunt Florence holding a baby and a serious looking Joseph standing next to her. He finds another box that has 'MARY' written on it. He crouches down, rips the tape off, and opens it. There are several files containing information on bills, insurance, credit cards. He comes across a picture of a YOUNG PREGNANT WOMAN. In the back of the box there is a BIRTH CERTIFICATE filled out for Paul Campbell. The mother's name is Mary Campbell. The name for the father is blank. Behind the birth certificate he finds a NEWSPAPER CLIPPING. It's an obituary announcing the death of Mary Campbell. He reads the first sentence: Mary Campbell, 19, of Raleigh Virginia, died due to complications while giving birth. She is survived by a son Paul. Paul gets up and looks at another stack of boxes behind some furniture. He moves a large mirror, bumping the light bulb, causing the light to bounce off the walls. He steadies the light, and slides the mirror over to the left when-A FIGURE LUNGES AT HIM WITH A BLOOD CURDLING SCREAM. Paul falls back onto the ground On top of him is a WILD-EYED ASIAN ATTACKER, young, shirtless, head shaved, wearing only purple shorts. The attacker SLASHES PAUL ACROSS THE CHEST with a LARGE KNIFE then goes to cut Paul's throat. Paul manages to grab the attacker's arm, but the attacker HEAD BUTTS him. Paul -- trying to stay conscious -- blood coming from his forehead -- bites into the attacker's arm. The attacker screams as Paul gouges out a chunk of flesh. - 32 - Paul rolls away and springs up cat-like. He seems suddenly in control. He moves forward -- martial arts style --and grabs the attacker's knife arm and -- SNAP! -the arm is fractured. The attacker drops to his knees in pain. Without thinking, Paul takes the knife and VICIOUSLY DRIVES IT INTO THE ATTACKER'S THROAT. The attacker goes limp. Paul is stunned by his bloody act. He falls back onto the floor. His shirt drenched in blood, he tries to stand back up, but weakened by the blow to the head, he falls back down unconscious. LATER. Paul jerks awake, bolting upright. The body of the attacker is gone. He stumbles to his feet looking to see if anyone else is around. INT. CAMPBELL HOUSE - KITCHEN - NIGHT Shaking, shirt off, Paul sits at a kitchen table. He winces as he applies antiseptic to the large cut down his left pectoral. His forehead is bandaged. He applies the bandage to his chest and sits still. He closes his eyes. PAUL It can't be real... I can't... It's in my head. It's in my fucking head! He grabs the antiseptic bottle AND HURLS IT AGAINST THE WALL CAUSING IT TO SPLATTER. EXT. NEW VIETBANK - DAY On the main street in Seattle's Little Saigon area sits NEW VIETBANK. INT. NEW VIETBANK - DAY In the small bank, Ann hurriedly carries a tray of tea over to a seating area which is occupied by two Chinese men, KUANG-YU FONG AND LIU HUI, 20's, dark suits, unpleasant. Ann glances over at TRON, Vietnamese, 20's, who looks worried about her coworker. The two men treat Ann like a piece of meat. Ann pours the tea into cups. Lifting one of the cups, she doesn't have a good grip and drops it. TEA SPLATTERS on one of the men's suit pants. He jumps up in rage. FONG (in Chinese) (Stupid cow!) - 33 - She grabs a napkin and haltingly tries to wipe his pants. He angrily grabs it out of her hands. ANN (in Chinese) (I'm very sorry sir. Please forgive me.) FONG (You should watch what you're doing!) ANN (There is no excuse. I apologize.) FONG (And your pitiful Chinese hurts my ears!) Fong takes his coat off as Ann attempts to clean it. We see Duc Ho open his office door. Duc Ho sees what's happened and is panic stricken. He hurries over to them. DUC HO (in Chinese) (My deepest apologies. The bank will pay any cleaning charges, of course. Please, come this way. Please...) Fong rips the jacket away from Ann. FONG (in English) Let's get on with it. Duc Ho motions for the two men to go to his office. He glares at Ann. ANN It just spilt... DUC HO Never mind that and make sure you make that call. Ann walks over to Tron. ANN This is so wrong. TRON It's just a business call. It's not like you're expected to do anything else. - 34 - Ann looks at Tron. TRON (CONT'D) Are you? INT. HUNTING SUPPLY STORE - DAY We see Paul enter a retail hunting supply store. He stands at the front entrance and look slowly around as if he's not sure why he's there. He touches his bruised head then gravitates towards a counter display case containing several hunting and military knives. The SALESMAN behind the counter walks up to him. SALESMAN Something I can show you? PAUL That one. Paul points to a BARRETT M50 TACTICAL KNIFE. The salesman takes it out of the case and hands it to Paul. SALESMAN M50. Perfect for the modern battlefield. Paul takes the knife, opens and closes it. He looks at the salesman. PAUL It'll be cash. EXT. TUSCANY GARDENS - DAY An upscale senior housing community in Seattle. Paul drives up and parks his car on the street. He pauses for a moment, then gets out and heads up the tree lined gravel driveway towards the entrance. INT. TUSCANY GARDENS - DINING ROOM - DAY A small dining room area. A FEW ELDERLY PATIENTS are eating. Paul sits across from AUNT FLORENCE, late 60's. She's always had the ability to intimidate Paul and turn him back into a petulant little boy. They both slowly eat meals in front of them. Paul opens a bottle of Budweiser. AUNT FLORENCE Since when do you drink beer? PAUL I've recently acquired a taste for it. - 35 - He takes a drink from the bottle. AUNT FLORENCE Budweiser, and from the bottle? That's not like you. (stirring her coffee) And you look terrible. PAUL Car accident. He got it worse than I did. AUNT FLORENCE Working all those hours...no sleep... That job will be the death of you. PAUL Every path has its puddle, Aunt Florence. AUNT FLORENCE And making money your god will plague you like the devil. PAUL (sarcastic) You're always telling me how I need more god in my life. He takes a bite of his sandwich and leans back in his chair. PAUL (CONT'D) I went by the place. Looking for some family info. AUNT FLORENCE Such as? PAUL Medical records... things like that. AUNT FLORENCE What for? PAUL I need to find out some things. Family medical history stuff for my doctor. Paul adjusts in his seat. Aunt Florence continues eating. PAUL (CONT'D) - 36 - Stuff like, high blood pressure, diabetes, psychiatric disorders... AUNT FLORENCE None of that. PAUL Anything else? AUNT FLORENCE Like what? PAUL I don't know. Stuff that could be hereditary. That could affect me. AUNT FLORENCE Hereditary is on his side. I wasn't close with his family as you know. Whatever's in the boxes in the attic. PAUL There wasn't much. I did find a few pictures of my mother. (beat) She's the only one on my birth certificate. AUNT FLORENCE You know why that is. PAUL That doesn't help me. AUNT FLORENCE She didn't even know his last name. It was kids making a dumb mistake. The family moved to Seattle the next week. PAUL That's me, the dumb mistake. AUNT FLORENCE You know what I mean. Still, there's no point in looking back. They go back to eating their food. PAUL Did Uncle Joseph ever serve in Vietnam? - 37 - AUNT FLORENCE No. Just in Virginia. (beat) It's also been one year since your uncle's death. It would be nice if you put some flowers on his grave. Your problems with him notwithstanding. Paul glares at her. PAUL 'My problems with him.' That's such a delicate way to put it. AUNT FLORENCE There's blame on all sides. PAUL Don't do that. Don't try to look at it from both sides because you demean me and how I was treated. AUNT FLORENCE There were bad things, but he did other things too, you know. PAUL Yeah, worse things... She looks at him. AUNT FLORENCE The character in a man is his ability to forgive. PAUL I'm rich, Aunt Florence. I don't need character. AUNT FLORENCE And arrogance is a kingdom without a crown. Paul smirks. PAUL He was so damn busy lecturing everyone else on how to live their lives. What did he accomplish? He lived off your family's money... Aunt Florence slams her fork down on the plate. - 38 - AUNT FLORENCE Let him rest! Others in the room look over at them. AUNT FLORENCE (CONT'D) It solves nothing to go on about such things. You had a hard upbringing. Accept it. This is the path that God made for you. You don't question it. PAUL A bunch of Calvinist crap. If it's all laid out for me already what the hell is the point in going down the path? Maybe I should never get out of bed. AUNT FLORENCE You weren't always so bitter. At least not as a child. Seems the more money you make the more bitter you've become. PAUL (sarcastic) Well, I guess I can either blame that on God or I can blame it on him, and you know what? I sure as hell don't believe in God. AUNT FLORENCE You will not talk this way in front of me! And before you point your fingers at others be sure your hands are clean. Try sacrificing for something beyond your bank account then you can lecture the morality of others. Paul looks at her and finishes off his beer. PAUL You don't know me and you never did. She watches him get up and walk away. EXT. HIGHWAY - NIGHT A solemn looking Paul drives at a high rate of speed down a dark highway. Disparate IMAGES fill his head -- the attacker in the attic -- Cao Dai's symbol -the tiger -- the picture of his mother -- the street battle -- Ann. - 39 - A CAR HORN SOUNDS. LIGHTS SHINE ON PAUL'S FACE. Paul has crossed the yellow line and is heading towards oncoming traffic. He swerves at the last moment and gets back into his lane. INT. SEATTLE TOWER- PAUL'S RESIDENCE - NIGHT Paul's home is a corner unit in a high rise with a panoramic view of Peugent Sound. Everything is custom built and state of the art with floor to ceiling windows, leather floors, and extensive use of exotic woods. There is nothing out of place. Paul stands in his living room looking out the window. He's holding the photograph of his mother. He runs his hand over her face. LATER. We hear arguing as we move from the living room into the BACK ROOM. Paul stands in front of a row of computer monitors wearing a terrycloth robe and HEADSET. The sun is up and he's been awake all night and looks it. One monitor displays the face of VLAD, 40's, Russian, in videoconference with Paul. Vlad is Paul's contact in Moscow. A USB camera follows Paul as he paces in front of his desk. PAUL So what are you saying Vlad? They've rescinded the offer? VLAD Yes, it looks like that. PAUL I stay up all night to hear this shit? VLAD I'm sorry my friend. Zhirinosvky, that pizdobol is putting too much pressure on the stock. It's not worth it for them to sell to us. PAUL Make it worth it. VLAD Like how? PAUL I don't know. You're the Russian. Buy someone off. Figure it out. I need this deal. - 40 - VLAD I'll keep working it, but it is not so hopeful. He clicks off Vlad and slams his headset down. PAUL (swearing in Russian) Jri govno i zdohni! Paul walks over to the window overlooking Peugent Sound. He puts his hand up to the window. Behind him on the monitor, THE VIDEOCONFERENCE WINDOW HAS GONE TO STATIC. AUDIO CRACKLES FROM THE HEADSET WITH SPIKES OF SOUND. Hearing the static, Paul walks over to his desk. He picks up the headset and listens to the pops and crackles. And then, beneath the static, we begin to hear another sound, barely audible but definitely there... FADING IN AND OUT, WE HEAR SOMETHING THAT SOUNDS LIKE SOMEONE CRYING. Paul sits up. Through the static on the video window, an IMAGE appears to fade in and out. It looks to be a small room. seen faintly are FOUR FIGURES. The crying is laced with words in another language. It's Vietnamese. He turns up the volume. VOICES (in Vietnamese) Dung lai! Dung lai! Then silence. Paul puts his hands up to his earphones. ON THE MONITOR -- SOMETHING presses against the surface from the inside. The screen bulges out as if elastic -- TAKING THE SHAPE OF A TIGER'S HEAD -- IT LUNGES TOWARDS PAUL. Paul jerks awake, sitting bolt upright. His maid MAUREEN, Hispanic, 40's, hovers over him. Paul rubs his eyes. MAUREEN Mr. Campbell... PAUL (gruff) Yeah, what is it? - 41 - MAUREEN You have a telephone call. She hands him the phone. PAUL (into phone) What? ANN (O.S.) Is this Paul? PAUL Yeah. Who's this? ANN (O.S.) This is Ann. We met at Takeda's the other night. I hope I'm not calling you at the wrong time. Paul immediately softens his tone. PAUL No. That's OK. I'm glad you called. ANN (O.S.) Mr. Ho is very interested in discussing a proposal with your company. Could you come by our offices tomorrow? PAUL I can do that. ANN (O.S.) Is 1:00 pm OK for you? PAUL Yeah, that's fine. ANN (O.S.) Mr. Ho looks forward to seeing you tomorrow. PAUL I look forward to talking to him. (beat) And I look forward to seeing you too, Ann. Beat. - 42 - ANN (V.O.) OK...Bye, Paul. He puts the phone down and smiles. Maureen comes back in the room. MAUREEN Mr. Campbell, I must leave early today because I need to take my daughter to the clinic for her asthma. PAUL I understand. Maureen turns to leave. PAUL (CONT'D) Another thing. She stops. PAUL (CONT'D) I told you that before you iron any of my shirts that you read each clothing tag carefully so you can properly determine the fabric composition and ironing instructions. MAUREEN Yes, Mr. Campbell, I do. Each time. PAUL I don't think so. Because I had to throw one of my shirts away this morning. MAUREEN Really? PAUL Really. We'll talk later on how you can pay me back. MAUREEN But very expensive your shirts... PAUL (cold) Is there anything else? MAUREEN No, Mr. Campbell. - 43 - She looks at him blankly and walks out the door. INT. NEW VIETBANK - DUC HO OFFICE - DAY Paul sits across from Duc Ho at a small conference table. He's going through several bank documents that Duc Ho has on the table. Duc Ho is chain smoking a cigarette. In front of him an ashtray is filled with them. PAUL Are you sure these numbers are accurate? DUC HO They are, yeah. PAUL If that's the offer then Global is definitely interested. DUC HO Of course, Mr. Campbell. I have others looking at it also. PAUL We can move very fast. And in cash. DUC HO That is good. PAUL I'll need to run this by the board, but I expect no problems. DUC HO My partners want me to move this along so I will give you all assistance. You will have complete access to Ann. Duc Ho smiles and stubs out his cigarette. Paul looks at the ashtray. MOMENTS LATER INT. NEW VIETBANK - MAIN AREA - DAY Ann is working at her desk as Paul approaches. PAUL Told you we would meet again. Ann turns around. - 44 - ANN You're right again. Beat. PAUL So, you like working here? Ann smiles at him. She looks over at Tron. ANN It's... pretty good. I have some friends here. Paul is completely taken by her. Usually very aggressive with women, he's finding it hard to think of anything to say to her. PAUL Is there any place around here good to eat? That, you know, has good food? ANN Pho Hoa Binh has a nice lunch menu. That's if you like Vietnamese. PAUL I like it, sure. Beat. PAUL (CONT'D) Maybe you could help me translate the menu. My treat, of course. ANN I don't know... PAUL C'mon. You look like you could use a break. She looks over at the window into Duc Ho's office then back at Paul. ANN OK. That would be nice. INT. PHO HOA BINH RESTAURANT - DAY Pho Hoa Binh is a pleasant restaurant with a stylish dining room and bar. Slowly flapping fans circulate the air. Paul and Ann sit in a booth in the back. - 45 - The table is filled with Vietnamese food including noodle soup, shrimp rolls, grilled pork, and lemon grass chicken. Paul is in the middle of teaching Ann about arbitrage. PAUL (with mouthful of lemon chicken) So if someone sells gold in New York for $500 and someone else sells gold in London for $550... ANN The arbitrager buys the gold cheap in New York and sells it for profit in London. PAUL There you go. That's what I do. ANN Amazing. PAUL The trick is to find out who the asshole is. If you can't find the asshole then you're the asshole. Paul puts another egg roll on her plate. ANN (taking egg roll) And have you ever been the asshole? Paul just smiles at her. PAUL I'm good at what I do. ANN It's your destiny. PAUL I don't believe in stuff like that. I make my own decisions. ANN I take it you're not very religious. PAUL Jesus, Hercules, Santa Claus... what's the difference? The only thing guiding my life are the worldwide capital markets. - 46 - ANN To each his own... A VIETNAMESE WAITER walks by. Paul motions to him. He comes by. PAUL Let's try the Pipers Brook Chardonnay. WAITER Pipers Brook, yes. PAUL And take these... Paul gives the waiter a plate of shrimp. PAUL (CONT'D) They're not acceptable. Take them off the bill. The waiter takes the plate. WAITER Yes, I'm sorry. Beat. ANN My boss is going to kill me drinking during the day. PAUL It's a business lunch. He'll understand. So how'd you hook up with him anyway? ANN I met him about buying a building for my aunt's temple in Vietnam. We were looking to open a school for orphans. I landed up getting a job with him at the same time. PAUL Orphans, huh? ANN I grew up in a Saigon orphanage. It was run by this amazing little woman. I call her my Aunt Minh. I owe her everything, my life even. She found a foster family for me here in Seattle. Anyway, we just opened the - 47 - school. It's great. I go back once a month to help manage things. A waiter comes by and drops off the chardonnay. ANN (CONT'D) (in Vietnamese) Ca´m on. WAITER Không co´ chi. Paul looks at his wine glass. He holds it up. PAUL (to waiter) Buddy, would you drink from that? Let's try it again and this time turn the dishwasher on. Hers too. WAITER Sorry, sir. He removes the glasses. Paul looks over at Ann who smiles back. She holds up a plate of egg rolls. ANN Want the last one? PAUL Sure, I don't care. She puts the egg roll on his plate. Paul stares at her Tiger's Eye pendant as the light bounces off the jewel. LATER. EXT. STREET - DAY Paul and Ann are walking down the street talking. ANN Turning 30 was strange. I've had to come to terms with the fact that I'm a walking and talking adult. Paul has something on his mind. PAUL You said your parents... they died when you were little... - 48 - (beat) Can you remember them? ANN I remember bits and pieces... images really... But I dream often of the last day I saw them. PAUL What happened? ANN I was only about three. I lived in a very tiny village on the border of Cambodia. We close in on Ann's face. MORPH TO: EXT. SMALL VIETNAMESE VILLAGE - DAY Grainy footage of a small Vietnamese village. ANN (V.O.) The military came one day and accused people in the village of being collaborators. POV of SOMEONE HOLDING WEAPONS. In front of them are a FEW CRYING VILLAGERS. ANN (CONT'D) That brings an automatic death sentence. They just started shooting. Everyone. CLOSE UP OF WEAPONS FIRING. ANN (CONT'D) I hid with my mother and sisters, but they came to our home. INT. VILLAGE HOME - DAY POV OF ATTACKERS KICKING OPEN A DOOR. We see a MOTHER rush to protect a young Ann and her two YOUNG SISTERS. The mother is shot. The children scream. Weapons are pointed at them. ANN (V.O.) It's still the longest moment in my life... - 49 - CLOSE UP OF WEAPONS FIRING. ANN (CONT'D) I remember my sisters falling on top of me. I waited for my turn to die. Then something happened and my destiny changed. We see the backs of the heads of two attackers fall to the ground on their stomachs. Blood pours out from under their necks. ANN (V.O.) (CONT'D) I remember being picked up. POV FROM ANN'S RESCUER. We see a pair of hands pick up the crying Ann. ANN (V.O.) (CONT'D) Soldiers carrying me...I had never seen an American before, but I knew that's who they were. Ann is carried through the jungle. We can only see the backs of THREE AMERICAN SOLDIERS. ANN (V.O.) (CONT'D) And then more fighting... Battle scene -- gunfire, explosions -- Ann crying. ANN(V.O.) (CONT'D) And a huge flash of light. A HUGE EXPLOSION AND THE SCREEN GOES WHITE. Then we see through smoke the face of Aunt Minh, 50's, small, sweet. ANN (CONT'D) I woke up the next day to see Aunt Minh looking at me. CUT TO: EXT. STREET - DAY Close up on Ann's face. ANN I was the only one alive. I don't know who saved me. Beat. Paul looks at her. - 50 - PAUL To lose your family like that. It has to make you bitter. ANN I wish I could see them in this life, sure. But my religion says they're a part of me and I'm a part of them. I can feel them, you know? In every cell. I can feel their energy. If I'm in trouble, I call on them and they help me to find answers. I'm a... continuation of them. Paul looks at her. He's never met anyone like her before. EXT. NEW VIETBANK - DAY They arrive in front of the bank. Paul turns to Ann. PAUL Go out with me tonight. ANN I have a class. PAUL After class. Go out with me. Ann looks into his eyes. There is something about him. ANN OK. PAUL (smiling) OK, great. That's great. Don't forget. Paul backs away to leave. PAUL (CONT'D) Don't you go anywhere. I'll be talkin' at you in a bit. The phrase makes Ann stop. ANN What did you say? PAUL After class. Don't go anywhere. I'll call you. - 51 - ANN OK. Bye. He turns to walk away. He pauses and looks back. PAUL Oh, by the way, what does 'dung lai' mean? ANN It means 'help me.' Why? PAUL Nothing. He walks off. INT. DIGITAL DIVIDE CLUB - NIGHT A posh nightclub in downtown Seattle. It's crowded. We see Nick saunter towards the bar surrounded by screens of glass and frosted alcoves as techno music plays in the background. MUSIC VIDEOS play on monitors around the room. Nick leans over the bar and motions to a BARGIRL. NICK Hi. Can I get a Stoli on the rocks and a rum and coke? BARGIRL Sure. Nick sees Paul and Ann in the crowd. He waves to them. NICK (yelling) Hey, Paul! Over here! Paul notices him and heads towards the bar with Ann holding his hand. A HEAVYSET GUY carrying two drinks bumps into Paul spilling one of the drinks on his sleeve. PAUL You idiot! HEAVYSET GUY Hey, sorry. Paul gets up close and glares at him. He holds up his sleeve. - 52 - PAUL See what you did? HEAVYSET GUY It's crowded in here. PAUL Do you know what this shirt is-Paul stops and glances over at Ann. She smiles at him. He pauses and looks at the Heavyset Guy. He smiles -- pats him on the shoulder. PAUL (CONT'D) Don't worry about it. I apologize for being rude. Paul and Ann move on through the crowd and over to Nick. NICK (to Paul) Yo, you were getting up in that dude's grill. PAUL Really nothing. NICK So what is crackin, boss? It's great to see you here. PAUL (to Ann) Ann, this is Nick. ANN Hi. Ann and Nick shake hands. PAUL He works with me at GCG. NICK (to Ann) Twenty-four seven I'm watching and learning from the big dog! Nick turns and pays the bargirl and takes the two drinks. He pulls Paul aside out of Ann's earshot. - 53 - NICK (CONT'D) Dude, she is hot! PAUL Yes she is. NICK She's got to be high maintenance. PAUL No, not this one. NICK Man, everybody at work was right about you. You are the cunt magnet. A professional cocksman. PAUL Let's keep that under our hats tonight... NICK Absolutely, boss. I got your back. Me, I'm stuck with a butter face tonight. PAUL A what? NICK You know, great body, ugly face. Everything looks good 'butter face.' I'll introduce her. You won't be impressed. (looking around) Just as well. Looks like a sausage party in here tonight. PAUL What? NICK Sausage party. You know, too many men tonight. PAUL I see. NICK (pointing off-screen) Yo, check out the sweet camel toe to your right... LATER. - 54 - INT. DIGITAL DIVIDE CLUB - AT A BOOTH Paul is sitting at a booth with Ann. Paul seems nervous, he's looking around a lot and guzzling down gin and tonics. They have to speak loudly over the music. ANN You having fun? PAUL Sure. You? ANN You seem a little distracted. PAUL Sorry. Lately I haven't been myself. ANN Who have you been? Paul and Ann smile at each other. ANN (CONT'D) I got you to smile. You look good when you smile. PAUL I should do it more, shouldn't I? ANN How can you go wrong? Beat. PAUL I've never met anyone like you before. ANN And what am I like? PAUL (beat) Serene. Nick walks over with his date SOPHIA, 20's. They're both very drunk. NICK Hey, boss, who am I doing? Nick breaks into a bad Al Pacino impression. - 55 - NICK (CONT'D) You're nothing to me now, Fredo. Not a brother, not a friend, I don't want to know you, or what happens to you. When you visit our Mother, I-PAUL Pacino, Godfather II. NICK (to Sophia) See? He got it. The greatest part two ever made. SOPHIA Well I wasn't even born when that movie came out. NICK Well I wasn't born when Adolph Hitler was alive, but I still know he bombed Pearl Harbor. SOPHIA Well that's true. Paul and Ann look at each other. NICK (to Sophia) Hey, lemme bum a smoke. SOPHIA I quit. NICK Since when? SOPHIA Since my hypnotherapist got me to quit. ANN A hypnotherapist? SOPHIA They hypnotize you the get into your subconscious and reprograms you. Like he also cured my fear of forests. ANN Forests? - 56 - SOPHIA Yeah, I've always been afraid of going in a forest. So in my past life memory session with him I found out that in one of my past lives I was a princess that was chased into a forest where I was raped, dismembered, and eaten by wolves. ANN That's terrible. NICK That is awesome. SOPHIA You don't want to hear about my alien abduction experience during my past life as an Egyptian princess. LATER. INT. DIGITAL DIVIDE CLUB - BY THE RESTROOM A frustrated Paul waits behind several people to get in the restroom. He glances up at the MARIAH CAREY MUSIC VIDEO on the monitors. He looks down at his drink and takes a sip. Then glances back up at the video monitor. The Mariah Carey video starts to distort. In its place something else starts to appear. ON THE MONITOR A jungle setting. POV from someone holding a weapon and moving through a lush green jungle. To the person's right is a YOUNG SOLDIER. Ahead in the distance is a waterfall and wooden bridge. INT. DIGITAL DIVIDE CLUB - BY THE RESTROOM Paul realizes that the location on the monitor is the same location from his dream. He looks around, but no one seems to notice. The jungle scene is now on all the monitors. He taps on the shoulder of a GUY in front of him. PAUL (pointing to monitor) Yo, Fredo. You see that? GUY 01 See what? PAUL The monitor. What do you see on it? - 57 - GUY 01 Mariah Carey's rack, why? PAUL Shit. ON THE MONITOR Suddenly, the soldier senses something and instructs the other man to duck down. INT. DIGITAL DIVIDE CLUB - BY THE RESTROOM Paul takes his eyes off the monitor and notices SOMETHING FORMING IN THE CROWD OF DANCERS. From the shadows and flickering lights appear TWO YOUNG VIETNAMESE MEN, shirtless, wearing purple bikini shorts, carrying AK's, grenades, and satchel charges of dynamite. They look just like the attacker from the attic. They snake through the crowd like they're in a field of tall grass hunting for something. Except for Paul, no one is aware of their presence. He starts to back up when-SOMEONE GRABS HIS SHOULDER. Spinning around to throw a punch, he stops just in time to see it's Nick. NICK Whoa. easy there, Sonny Chiba. PAUL I've got to get out of here! NICK Cool, let's roll. Where do you want to go next? PAUL I mean I have to leave... NICK Hold on, what's up? Is Ann basting your wheels? PAUL (confused) What? Speak English! (trying to focus) Look... - 58 - (looking around) It's not safe for me in here... Paul pushes away from Nick and heads back to the booth. As he makes it to an opening in the crowd he sees-TWO GRENADES ROLL ACROSS THE FLOOR. PAUL (CONT'D) GRENADE! A TREMENDOUS FLASH OF LIGHT THEN A BLAST OF WIND HITS PAUL. As the white light engulfs him, it sends his body hurtling through the air. He lays on his back conscious only of the ringing in his ears. He forces himself to stay conscious and extinguishes his burning clothes. In pain, Paul manages to stand but-ONE OF THE ATTACKERS GRABS HIM AROUND THE NECK. Paul's eyes harden -- lightning quick -- he flips the attacker over his shoulder -- pulls out the tactical knife -- and drives it into the attacker's neck. He stands and turns to see the OTHER ATTACKER POINTING AN AK-47 AT HIM. Paul closes his eyes. BLAM! The attacker falls dead from a gunshot. Looking to where the gun was fired, Paul sees a HORRIBLY INJURED SOLDIER holding a PISTOL sitting up against the bar. This is the soldier from the video monitor. LAP SIU, 18, boyish, short, dark skinned, he's a Montagnard special forces tribesmen. Lap is outfitted with Vietnam era recon equipment and gear: rifle belt, handgun, canteens, survival radio, rucksack with claymore mine and smoke grenades. He has a MASSIVE WOUND to his left side. He's writhing uncontrollably. Paul slides down next to him. LAP Damn Sappers. Cockroaches... Lap looks at his wounds. LAP (CONT'D) Man... Bad for Lap. In desperation Paul leans over Lap. PAUL Who are you? - 59 - Lap struggles to breathe. He manages to remove a COPPER BRACELET from his wrist. LAP Take this... Paul reluctantly takes the blood soaked bracelet. He holds it up. It has strange markings on it. He looks down at Lap. PAUL How do you know me? LAP Prayer for me... please. PAUL Prayer...I don't know any prayers. LAP Please, Wags. Toi se chet. Jesus prayer for Lap... Lap looks up at Paul. PAUL I don't know what to say... Beat. Paul looks into Lap's desperate eyes. Paul closes his eyes and takes a deep breath. His face grows relaxed. He opens his eyes -- somehow he knows the words. PAUL (CONT'D) (realizing) And Jesus...and Jesus said, "My sheep hear my voice. I know them, and they follow me... (thinking) I give them eternal life, and they will never perish... My Father...what my Father has given me is greater than all else. The Father and I are one." A serenity comes over Lap. He smiles as blood comes from his mouth. His breathing grows more and more labored. Paul grabs him. PAUL (CONT'D) Who is Wags? Why are you calling me Wags? Lap's eyes roll back. He's dead. - 60 - PAUL (CONT'D) Tell me, dammit. I don't deserve this! Tell me! The screen fills with a BLINDING WHITE VOID as his voice blends with another voice. VOICE (V.O.) It's me...It's me... MORPH TO: INT. DIGITAL DIVIDE CLUB - BACK OFFICE - NIGHT Paul opens his eyes to see his hand is around Nick's throat. NICK Easy on the throat, dude. Paul is lying on a couch in a small back office of the nightclub. A LARGE BOUNCER stands behind them. We can hear the rumble of the techno music in the background. NICK (CONT'D) Everything's OK. You're, OK. Paul relaxes his grip. NICK (CONT'D) Man, you scared the hell out of me. Paul tries to get up but grimaces in pain. NICK (CONT'D) Think that's a separated shoulder you got. PAUL What happened? What did you see? NICK Dude, I just found you laying near the bar. PAUL Ann... NICK No problem. I'll tell her you got beat up and went to the emergency room. Paul lays back down. - 61 - PAUL That's emasculating... NICK Hey, I'm your wingman. I'll spin it positive. Say the other guy was all Ultimate Fighter on you and shit. Nick holds up Paul's bloody knife. NICK (CONT'D) Is this yours? It was next to you. Nick looks it over. NICK (CONT'D) Looks like someone got OJ'd with it. (beat) There's something else... Nick motions to the bouncer behind him. He hands Paul the copper bracelet. NICK (CONT'D) You recognize this? It's got blood on it too. Paul takes the bracelet. NICK (CONT'D) (motioning to bouncer) He found it in your hand. Nick looks at Paul's appearance, the torn and burned clothing, the cuts and scratches. He's confused. NICK (CONT'D) Dude, this is whack... I mean, how'd you get all jacked up? You were gone for like a minute. I mean your clothes are burnt, you're all beat up and you've got a separated shoulder. What, Freddy Krueger beef you? INT. GLOBAL CAPITAL - PAUL'S OFFICE - DAY Paul looks like he hasn't slept in days. He sits at his desk on his cell phone. He's holding the bracelet. Larry is on the other line. PAUL (on phone) - 62 - Larry, each time this thing is taking another chunk out of me. LARRY (V.O.) Are you taking the medication? PAUL (on phone) I'm being shot, stabbed, blown up. And they gave me a bracelet... I've had it. LARRY (V.O.) Bracelet? Who gave you a bracelet? PAUL (on phone) They did! I'm saying things I never say...I'm drinking beer and I hate beer. You've got to get this thing out of my head! LARRY (V.O.) I'm not an exorcist, Paul. I'm Episcopalian. Paul grits his teeth. PAUL Your sarcasm right now, Larry... LARRY Sorry, sorry. You need to get hospitalized right away. THE OFFICE PHONE BEEPS. It's Nick. NICK (on speakerphone) Meeting in five. You're up first. PAUL (on phone) Whatever, Larry. Gotta go. LARRY (V.O.) Wait-Paul hangs up the cell phone. NICK (on speakerphone) - 63 - You OK? You totally bit it last night. PAUL I'll get through it. Paul hits the hang up button. He turns around to see-A BLOODIED LAP SIU STANDING BEHIND HIM. PAUL (CONT'D) Jesus! Paul falls back onto the floor knocking over his chair. LAP Save her, Wags. Paul backs up against the wall shaking. He presses his fists into his eyes. PAUL You're not here! Not here... He opens his eyes. Lap is gone. INT. GLOBAL CAPITAL - CENTRAL ROOM - DAY The Global Capital management team is seated around the conference table. The attendees include Bob, Noreen, ED, YUMI, and WILSON. Paul stands to the side of the conference table with Nick who holds some folders. Paul stares into space, his mind elsewhere. Everyone looks at him including Nick. Bob breaks the silence. BOB Paul, are you in any condition to make a presentation today? Paul snaps out of his trance. PAUL I'm right as rain, Bob. BOB Let's get going then. Nick walks around the conference table handing out folders. - 64 - PAUL I've discovered a very lucrative opportunity. I think... I think the numbers will bear this out. The monitors built into the table come on to show: NEW VIETBANK. PAUL (CONT'D) I've done the DD on this. It's buying up a loan package from a Vietnam bank. They've got an office out here. It's a quick in and out... nothing but upside. Everyone goes through the numbers on the sheets in the folders. PAUL (CONT'D) As the paperwork shows, the total amount in outstanding loans is... Paul zones out again. PAUL (CONT'D) is... WILSON (under his breath) Ground control to Paul. Come in Paul. Everyone titters. Nick comes to the rescue. NICK The total amount is 95 million all backed by some sweet real estate in Vietnam. WILSON There's something you don't hear every day. YUMI What's the value of the real estate? Nick looks at Paul. NICK Just under fifty million. Nick grabs a remote from Paul. NICK (CONT'D) This is what's in the package as collateral. - 65 - A wide screen goes on in front of them. We see images of HALF NAKED MALE MODELS. NICK (CONT'D) Whoa, my bad. Accidentally opened Wilson's folder. Tittering all around. Wilson looks desperately at everyone. WILSON That is not my folder. Nick clicks again and HOTELS, GOLF COURSES, and OFFICE BUILDINGS in Vietnam appear. NICK Here we go. There's some off the hook money in liquidation. Nick sees that Bob is still tapping his fingers which is a good sign. He looks to Paul. Paul weakly gives him a head nod to go ahead. Nick goes in for the kill. NICK (CONT'D) And check this out. We can get the whole package for ten million dollars. WILSON (unbelieving) C'mon... NICK Straight up. Everyone looks over at Bob. He's still tapping his fingers. Before he can respond, Noreen chimes in. NOREEN Why would the bank sell these loans at such a huge discount? NICK New Vietbank is near bankruptcy with a large docket of unpaid loans. They made overly optimistic evaluations on borrowers and the Vietnam stock exchange is still all jacked up since it took a dump a few years ago. They're completely overwhelmed and they're looking for quick cash. NOREEN - 66 - I don't understand why they can't just sell off the property themselves. NICK They've gotten rid of a bunch of people and what staff is left is basement. They're also shutting most of their overseas branches and foreclosing is still a shameful thing in Vietnam. Right, Paul? He looks at Paul hopefully. Beat. PAUL Yeah... Yes, that's true. NICK They'd rather cut bait and have foreigners go in and do the dirty work. Same thing goes on in Japan and China. NOREEN I have some concerns. Bob cuts her off with a wave of his hand. BOB Emerging markets have a lot of outdated financial systems. We can exploit that. (to Paul) Get the paperwork to me. (to everyone) Who's next? Let's keep it up. I want creativity! Nick pumps his fist and looks over at Paul who shows no emotion. LATER. The meeting is finished. The group is leaving. An extremely excited Nick comes up to Paul. NICK Dude, you nailed it! I am so amped. Did you see Bob's fingers? They were tapping like a mother. PAUL (blandly) Yeah. - 67 - NICK I hope I didn't overstep my bounds in there. My bad if I did, but what a rush! I love working here. Balls to the wall. I mean, Noreen tried to get on our ass, but what's new. She's boss of her little barney fiefdom. So what's next, boss? When we going out again? Cause, we're a great team for the women, you think? I mean you're the stud and all, but I wouldn't cock block you or nothing. PAUL (confused) I'll try to remember that, Nick. Paul walks away. INT. ARGOSY UNIVERSITY - CLASSROOM - NIGHT A classroom mixture of about FIFTEEN TEENAGERS and a FEW ADULTS. Ann is one of them sitting in the back. The TEACHER, 60's, leans on the front of his desk. There are several references to GREEK MYTHOLOGY on the whiteboard. TEACHER OK, the Fates. Who wants that one? A STUDENT puts their hand up. STUDENT 01 Three Greek goddesses that weave the threads of destiny that control us. The teacher goes to the whiteboard. TEACHER Ah, yes. The inescapable destiny of man. All living things must eventually submit to these divine daughters of Zeus and Themis. The Fates controlled the metaphorical thread of life from birth to death. He writes the names of the goddesses. TEACHER (CONT'D) Clotho the spinner, spins the Thread of Life, Lachesis the caster of lots, allots the length of the yarn, and Atropos the inevitable, snips the thread when the time has come for death. One student, BOYD, tries to make a joke. - 68 - BOYD Hey, civilization's first spin doctors! Other students, groan and boo and throw things at him. BOYD (CONT'D) Rough crowd tonight... TEACHER That's weak, Boyd. Even for you. (beat) Ok, let's pick this up next time. The students get up. TEACHER (CONT'D) Remember, papers on chapter three are due next class. I'm not kidding. We hear groans. As Ann and the other students file out, we see Paul standing at the doorway. Ann stops and looks at him. ANN You're alive. PAUL Yeah, it was.... you know... ANN I was worried when you didn't come back. PAUL They kind of carted me off to the emergency room. I'm sorry. ANN Are you OK? PAUL The night just.... it got screwed up. Look, let's try it again. Maybe take you somewhere quieter. ANN What have you got in mind? INT. SEATTLE TOWER - PAUL'S RESIDENCE - NIGHT - 69 - Paul is sitting at his elegant dinner table. Ann sits across from him sipping on wine. They're in the middle of a meal with lasagna, garlic bread, and a large antipasto salad on the table. Jazz music plays in the background. Everything is perfect. Paul finishes off the wine in his glass and with his good arm pours some more. He motions towards Ann. ANN I'm fine. Everything is great. Just delicious. Paul takes a knife from the bread cutting board. He plays with it in his hand. PAUL Good. Maureen is a great cook. Paul flips the point up on ONE FINGER. Tips it for balance. He then skillfully spins it and thrusts it down on the bread cutting board. ANN That's impressive. Paul is impressed himself. PAUL It is. Ann looks at the rest of his place. ANN This place is so beautiful. PAUL I put a lot of work into it. ANN All by yourself? PAUL I'm pretty particular about things. The wine is getting to Paul. PAUL (CONT'D) You look really great tonight, you know? You always look great. ANN That's always nice to hear. - 70 - PAUL I mean it. Just... you look great. (laughs to himself) I have the worst time trying to talk around you. ANN I'm intimidated around you too. PAUL Well aren't we a pair? (beat) Everything is just perfect... Paul reaches for his wine glass and KNOCKS THE WINE BOTTLE OVER. It spills onto his lap. He backs up from his chair. Wine is all over his cream colored pants. PAUL (CONT'D) Jesus! Ann looks at his pants and gives a little giggle. ANN Looks like you've got some new rags for the garage. Paul looks at Ann. His temper flares. PAUL These pants cost more than you make in a fucking week. Paul grabs a napkin and tries to dry the front of his pants. Ann is startled by his outburst. ANN I'm sorry. PAUL (looking at his pants) Dammit. ANN I've upset you. I should leave. She gets up and walks into the living room. Paul looks up. He realizes he went too far. We follow him into the LIVING ROOM. Ann is putting on her jacket. She picks up her bag. Paul stands in front of her. - 71 - PAUL Ann... ANN Thanks very much for the dinner. PAUL C'mon it was a joke. I didn't mean it. ANN Didn't seem like a joke. PAUL I'd never talk to a woman like that. She looks at him. ANN Is that the truth? PAUL Absolutely. Ann stares at him. For some reason Paul has trouble lying to her. PAUL (CONT'D) (sincere) No, it's not. (beat) I need to work on my temper. ANN Ok, well thanks for inviting me. She walks around him. Paul follows behind as she goes to pick up her handbag on the table. PAUL I'm working on it. I can fix it. (beat) I want to change... She turns, she bumps into his chest. In close quarters, they fumble awkwardly. PAUL (CONT'D) Can I explain? ANN - 72 - You don't have to. PAUL I need to. I need to have you understand. She looks at him. ANN I need to tell you something too. PAUL It's OK, let me try to-ANN (interrupting) I'm the one who isn't honest. My boss pressured me to go out with you. He really needs this deal and he saw you were interested in me. I can't afford to lose my job and I agreed I'd go out to dinner with you. I'm ashamed to deceive you like this. She goes to leave. PAUL I know what he was trying to do. Ann looks at him. PAUL (CONT'D) It's obvious. It's not the first time an Asian businessman has tried this on me. But I don't care. The way I feel about you has nothing to do with him. (beat) I'm trying to figure some things out right now. There's stuff I can't explain... ANN I don't think we're right for each other. We're too different. PAUL I know you feel the same way I do. I knew it the first time we looked at each other. There was a connection. I know you felt it. Call it divine will, karma, kismet, whatever. Ann looks at him. - 73 - ANN But you don't believe in any of that, Paul. You just believe in worldwide capital markets. Isn't that what you told me? Paul just looks at her not sure what to say. ANN (CONT'D) Thanks for dinner. Ann walks to the door. Paul's face turns to anger and is about to say something spiteful, but he controls himself. She opens the door and leaves. Paul looks around the room. His anger welling up, he looks for something to throw. Finding nothing, he just sits on the couch and runs his hands through his hair. PAUL You and your big mouth... Staring at the floor, he notices something under the table. He goes to pick it up. It's the TIGER'S EYE JEWEL from Ann's pendant. It's fallen out of its dragon mouth holder. Paul picks up the marble sized jewel. Gazing at it, he's mesmerized by its shifting bands of light. EXT. SAIGON STREET - DAY Paul sits in the back seat of a taxi. The DRIVER navigates the wide city boulevards of Saigon lined with stately trees and magnificent French villas. EXT. SAIGON HOTEL - DAY The taxi pulls into the entrance of an UPSCALE DOWNTOWN HOTEL near the waterfront. INT. SAIGON HOTEL ROOM - DUSK The hotel room is tastefully furnished. Paul looks out the window at Saigon as the sun sets. He is on his cell phone. PAUL (on phone) I'm going through the most expensive properties tomorrow and see which ones we can unload the quickest. And give me regular updates on the Phoenix buyout. - 74 - NICK (V.O.) Sure. So any babes over there? PAUL (on phone) If I find any I'll air mail one to you. Paul hangs up the cell phone and looks out the window. He pulls Ann's Tiger's Eye jewel out of his pocket. He thinks, then picks up his cell phone -- presses some buttons -- puts it to his ear. ANN (V.O.) (phone message) This is Ann. Sorry you missed me. Please leave me a message and I'll return your call. Thanks.(beep Paul says nothing then hangs up the cell phone. EXT. VIETNAM BEACH RESORT - DAY A taxi pulls up to a newly built resort sitting on the waters of the South China Sea. There are several exclusive bungalows nearby. The property's once magnificent landscape is overrun with weeds and trash. Paul looks over the promotional material of the property. Words and phrases are circled: "Built two years ago to serve the high end eco-tourism market" "5000 feet of beach front" "Twelve bungalows" "Restaurant with lounge and bar" Paul gets out of the taxi. He looks around. PAUL (sighing) Somebody sure let this place go to shit. Paul walks towards the entrance and opens the front doors. INT. BEACH RESORT - LOBBY - DAY Paul takes a few steps and stops. The lobby is in a state of disrepair, Garbage is scattered all over the place. The carpeting has been ripped out and the walls are marked up with Chinese graffiti. There are several dangerous looking YOUNG CHINESE MEN near the back of the lobby sitting and drinking. One sits on a motorcycle. They're obviously gang members. - 75 - LOUD CHINESE RAP MUSIC is coming from the back office behind the front desk. In there are FOUR CHINESE MEN sitting at a table playing cards. They stop to look at Paul. One of them, a HEAVYSET GUY with a cigarette in his mouth, stands up. He comes out to the front counter. PAUL The place is under new ownership. You're all going to have to move out immediately. The Heavyset Guy laughs and looks over at the other gang members. HEAVYSET GUY (in Chinese) (The Yankee is here to kick us out boys!) THREE GANG MEMBERS come over to Paul and encircle him. One TALL KID walks up close to Paul and stares at him. TALL KID (to Paul in Chinese) (Gimme your wallet, Yankee.) PAUL (in Chinese) (Fuck you.) TALL KID (to the rest of the gang) (Hey, the round eye can swear in Chinese.) OTHER GANG MEMBERS come over. There are now six of them around Paul. Tall Kid pulls a gun out and points it at Paul's head. TALL KID (CONT'D) (to Paul) (Know how to say funeral in Chinese?) At that very instant, Paul is in motion. HE RIPS THE GUN OUT OF TALL KID'S HAND AND SMACKS HIM -- BLOOD SPRAYING FROM HIS NOSE -- WITH THE GUN BUTT. In one fluid motion, Paul spins and sidekicks another GANG MEMBER into TWO OTHER MEMBERS dropping them like bowling pins. GANG MEMBER 01 moves towards Paul, but he's knocked out cold by an elbow. Paul whips around and points the pistol at Heavyset Guy's head -- RIGHT ON THE EDGE OF PULLING THE TRIGGER. - 76 - PAUL (in Chinese) Your dead first, fat man. The other gang members aren't sure what to do. The Heavyset Guy knows he has no choice. He motions for them to move back. He looks at Paul. HEAVYSET GUY (in English) Yankee go home. The gang makes room for Paul to leave. He backs up to the door. PAUL We'll be talkin' at you again. EXT. BEACH RESORT - DAY Paul exits the main entrance and walks over to the taxi. He throws the gun up on the roof of the hotel. He stands there for a second. PAUL What the hell was that? EXT. DOWNTOWN DALAT - COMMERCIAL BUILDING - DAY A large commercial building in downtown Dalat. Paul angrily comes out of the main entrance with a couple of CHINESE MEN following him. He stops, turns around and glares at them. They stop and go back in the building. Paul puts his hands on his hips. He's frustrated. LATER. EXT. DOWNTOWN DALAT - DAY We see a mini Eiffel tower in Dalat, a city that bears a vague resemblance to a small French town. The streets are filled with motorbikes. Paul walks along the sidewalk past many FOOD VENDORS. He's on the cell phone. NICK (V.O.) I've left Ho six messages. He hasn't called back. You want me to call Ann? PAUL (on phone) - 77 - I don't want to bring her into this right now. Dammit, I've been to three properties and all of them have squatters. Chinese gang members. Check it out for me. NICK Will do, boss. Paul hangs up the phone. EXT. DOWNTOWN DA LAT - CHO DA LAT - DAY Cho Da Lat is a large, picturesque indoor/outdoor market that sells a staggering range of fruits and vegetables along with poultry. Paul wanders through the stalls. A small group of VIETNAMESE CHILDREN march behind him. A TEENAGE GIRL approaches him holding a box of gum. TEENAGE GIRL Wrigley, mister. 1000 Dong. PAUL No thanks. TEENAGE GIRL 1000. PAUL No. TEENAGE GIRL (firm) You pay 1000. For gum. Paul shakes his head and puts his hand in his pocket. PAUL Ever think of going into commodities trading cause you've got skills. He pulls out a handful of coins and gives the girl some. He takes some gum and waves her off. PAUL (CONT'D) Now beat it. On to the next sucker. - 78 - This brings on a bunch of YOUNG SELLERS offering pens, post cards, and candy. They crowd around Paul. PAUL (CONT'D) What, I got a sign on my back? They jostle for position around Paul as he attempts to give out coins. He goes into his pocket and pulls out a handful of coins. A BOY BUMPS HIS HAND causing some coins to drop. PAUL (CONT'D) Hey! The sellers dive on the ground to get the money. Paul watches one coin roll away. He follows it with his eyes as it bumps into an old wheelchair. A hand reaches down and picks it up. We see it's the Wheelchair Man. He smiles. Paul walks towards him but he's surrounded by kids. PAUL (CONT'D) (to Wheelchair Man) I know you...from the hospital... The Wheelchair Man turns and wheels down a crowded produce aisle of the market. PAUL (CONT'D) Hey, wait! Paul tries to follow, but the kids crowd him. He throws the rest of his coins in the air. As they go after the coins, Paul follows after Wheelchair Man. He cuts through the crowd and chases after him down several aisles. But every time Paul seems to get closer, the Wheelchair Man turns down another aisle and gets away. The Wheelchair Man turns down a flower aisle and Paul is right behind him. As Paul turns down the aisle he sees it's a dead end. The Wheelchair Man is gone. To Paul's left we see a VERY OLD VIETNAMESE WOMAN sitting at a small table. The table is filled with several Vietnam War souvenirs such as American helmets, clothing, bullets, and pieces of bombs. The old woman stares at Paul. She takes a set of dog tags, and with a toothless smile, holds them up to Paul. He watches them dangle from her hand, the sunlight bouncing off the metal and light reflecting back on his face. Mesmerized, he reaches to take them, but his face suddenly starts to shake. Frightened, he turns and walks off. EXT. TAY NINH ROAD - DAY - 79 - The taxi carrying Paul drives along a wide boulevard in Tay Ninh. He glances out the window and notices a large yellow temple in the distance. He leans forward to ask the TAXI DRIVER about it. PAUL Hey, what's that? TAXI DRIVER That Cao Dai Great Temple. Paul looks at it. PAUL Take me there. The driver turns off a main road and into the large Cao Dai complex. The large brightly colored temple complex emerges in front of them. EXT. CAO DAI GREAT TEMPLE - DAY This is the CAO DAI GREAT TEMPLE, the foundation of the Cao Dai religion. Shimmering in the noonday sun like an oasis, it's ten times the size of the temple in Seattle. It's wildly painted in Day Glo yellow, blue, green, red, and pink. Huge LION STATUES guard the entrance. Paul stares out the window of the taxi as it pulls up to the front. INT. CAO DAI GREAT TEMPLE - MAIN HALL - DAY Paul enters the CAO DAI MAIN HALL which is decorated in a surreal spectrum of colors including a sparkling fluorescent blue ceiling. Large pink pillars are entwined with green dragons. PAUL (to himself) Talk about the Summer of Love... At the end of the huge hall is the Inner Sanctuary which is tiered in twelve steps supported by rows of painted dragons. On a large octagonal base rests the all-seeing and all-knowing Divine Eye, the symbol of Cao Dai or Supreme Spirit. A HYPNOTIC SOUND encircles the temple combining singing, chanting, strings, gongs, and bells. Gongs beat time with string instruments and voices chant over it. - 80 - Paul looks on a wall that venerates several people: Jesus, Joan of Arc, Thomas Jefferson, Victor Hugo, Shakespeare and William Churchill and Sun Yat-sen. There is also a smaller list of names of unknown people. On one line is written: UNKNOWN. Paul goes over to a YELLOW ROBED MALE PRIEST. PAUL (CONT'D) I'm looking for Aunt Minh. MALE PRIEST Yes, Aunt Minh. He bows and motions for Paul to follow him. INT. CAO DAI GREAT TEMPLE - MEZZANINE - DAY Paul follows the priest along a long mezzanine area above the main temple area. Below, a large prayer ceremony is taking place. ROBED WORSHIPPERS in a riot of colors fill the area, sitting quietly, heads bowed. The WOMEN, dressed all in white, sit on the left. The MEN, wearing flowing red, blue, and yellow robes with tall hats, sit to the right. INT. CAO DAI GREAT TEMPLE - BACK AREA - DAY Paul follows the priest into a small room painted all in Day Glo blue. A row of FEMALE PRIESTS sit in chairs along the walls of the room. They're chanting quietly. The sound is hypnotic. In the middle of the room, a MEDIUM, dressed in white, is in a trance-like state. Her left hand holds the rim of an open, BEACKED WICKER BASKET. Next to her an OLD MAN holds a LONG STICK WITH A BRUSH attached. A large sheet of paper is played in front of him. An INTERPRETER dressed in blue, sits next to them. Paul is mesmerized by the colors, the sounds, and the burning incense that fills the small room. The scene takes on a dream-like quality almost hypnotizing Paul. AUNT MINH (V.O.) You've come to see Aunt Minh? Paul snaps out of it and looks down at Aunt Minh now in her 80's, but still smart as a whip. PAUL You speak English. - 81 - AUNT MINH Thanks to the nuns who taught me many years ago. PAUL I was watching your séance. AUNT MINH Do you believe in spirits, Paul? PAUL No. (beat) Well...I don't know. I believe in science. I believe in what I can prove. How do you know my name? She smiles. AUNT MINH Ann tells me everything. (taking his arm) We Vietnamese have always believed the world is alive with spirits. There's little distinction for us between the living and the dead, Paul. PAUL Except for maybe the smell. AUNT MINH (laughing) Ann said you were funny. Among other things. PAUL Hypothetically, what do these spirits want? AUNT MINH Sometimes they want, sometimes we want. It's a two way street. They might give advice to the living. And some who die all alone and no worship given, they might need to remind the living that they should be remembered. Beat. PAUL Ann hates me. Any inside info about her you can share or advice? If you want... AUNT MINH - 82 - I think people with short tempers should take long walks. She takes his arm and walks Paul to the door. AUNT MINH (CONT'D) And she loves roses. PAUL Thanks. AUNT MINH Your anger. Don't get rid of it. Embrace it. PAUL What? AUNT MINH Embrace the energy of your anger. When you embrace it you transform it into something positive. Acknowledge it with a smile. She smiles. PAUL With a smile. AUNT MINH Smile and the roses couldn't hurt either. A priest takes a note from the interpreter, reads it, and walks over to Aunt Minh. He whispers into her ear. Aunt Minh shakes her head and looks up at Paul. She puts her hand up to his face. AUNT MINH (CONT'D) So many paths open to you at any point. Which one you decide to take unfolds more choices. The choice and the path decide your destiny. Paul looks at her strangely and leaves. INT. DALAT BAR - NIGHT Paul is sitting by himself at a bar for foreigners in Dalat. It has American, British and Australian memorabilia including Vietnam War items hanging from the walls. The place is mostly empty. He raises his hand and a YOUNG MONTEGNARD BARTENDER comes over and fills his drink. - 83 - Paul looks at the bartender's wrist. On it is a similar COPPER BRACELET with strange markings. PAUL That bracelet... BARTENDER (looking at his wrist) This? PAUL Where did you get it? BARTENDER It's a Montegnard bracelet. PAUL A what? BARTENDER Montegnards. We're tribesman from central Vietnam. Paul takes the bracelet out of his pocket. He hands it to the bartender. PAUL Recognize that? The bartender looks at the markings. BARTENDER (reading it) It's Jarai tribe. Says... Lam Siu...angels...archangels. (looks at Paul) Good craftsmen the Jarai. He gives the bracelet back to Paul. GUY 01 (V.O.) So I told him that's because one thing is made up of everything else, ya bastard. GUY 02 (V.O.) Abso-bloody-lutely. Paul turns around. Behind him sits TWO DRUNK AUSTRALIAN GUYS, one older, one younger. They're having an animated discussion about the field of physics. - 84 - GUY 01 He was brainwashed by Darwin. GUY 02 The gulah... GUY 01 He said that life is random, solitary and purposeless. GUY 02 Too hell with both of them whingers. They both raise their beers. GUY 01 To hell with Newton's absolute time and Einstein's space time. To hell with them. GUY 02 Damn constructs is what they are. GUY 01 They don't exist. It's an illusion. (dismissive) Life is a progression... GUY 02 It's crap, right? GUY 01 Bloody right, it's crap. Quantum physics says past, present, future is a big 'here.' GUY 02 (confused) Huh? GUY 01 'Big here' means all points of space and time at a single instant. Take time out of it. That's what you've got to bloody do. Take time out of it. Paul joins in on the conversation. PAUL One thing made up of all things. The Australians look over at Paul. - 85 - GUY 01 You got it, Yank. PAUL But that's religion. That's God. GUY 01 Hell, most scientists believe in God and some don't even believe objective reality exists. GUY 02 The universe is a phantasm. GUY 01 Yep. The apparent separateness of subatomic particles is bloody illusory. At a deeper level all things in the universe are infinitely interconnected PAUL Could someone from a past life, could they share the body with someone...now? GUY 02 What, like Warren Beatty in Heaven Can Wait? PAUL Yeah, like Beatty. GUY 02 No bloody way. Why you got a pillaging Viking in you trying to come out? GUY 01 (thinking) It could happen. GUY 02 (reversing quickly) Yeah, it could happen. GUY 01 We humans aren't a chemical reaction, we're an energetic charge. Charge of subatomic particles. They can interact across space and time. So all living things are a co-- co-GUY 02 Codependent? - 86 - GUY 01 No... GUY 02 Cooperative? GUY 01 No... PAUL Coalescent? GUY 01 Coalescent. A coalescence of energy that's connected to every other thing in existence. Past, present, and future. This energy force... is like... like a... GUY 02 Holy Spirit? GUY 01 Was gonna say collective consciousness but Holy Spirit is good...Information all stored in this energy force is accessible by everyone. So two people through time can have a synchronized bandwidth. Like tuning into somebody else's radio station. Paul thinks about it for a moment. Then he grabs his wallet and pulls out a bunch of cash. PAUL (to bartender) Their tab is on me for the rest of the month. GUY 01/GUY 02 Cheers, mate! INT. AIRPLANE - NIGHT Paul is sitting in first class accommodations. He looks out the airplane window into the darkness. He pulls the Tiger's Eye jewel out of his pocket and looks at it. Bands of light seem to emanate from it. We see the light reflect off of Paul's eyes. - 87 - INT. NEW VIETBANK - DAY Ann walks towards Tron who is standing in front of Ann's desk. TRON (under her breath) Looks like you've wrapped someone around your little finger. Tron moves to the side and we see behind her a large glass vase on Ann's desk. It contains FIVE DOZEN ROSES EACH PRESERVED IN 24 KARAT PURE GOLD. Ann approaches slowly, marveling at the flowers. ANN Oh my God. In the middle of the roses is a little dish containing her Tiger's Eye jewel. ANN (CONT'D) (surprised) There it is... Duc Ho leans his head out his office door. DUC HO Ann. Ann comes over and enters Duc Ho's office. INT. NEW VIETBANK - DUC HO OFFICE Ann comes in the office. She practically gags from all the cigarette smoke. Duc stands behind his desk nervously pacing and smoking. DUC HO You must leave the building in Dalat. ANN The school? Why? DUC HO You have to get out. ANN (stunned) I don't understand. We paid you. - 88 - DUC HO There has been a change. Property is being converted to something else. A golf course. ANN Golf course? You can't. We paid you. DUC HO Nothing I can do. The Chinese changed their mind. Nothing I can do. ANN We're not leaving. We have an escrow. DUC HO The Chinese don't give shit about escrows! Don't be stupid, Ann! Ann looks at him angrily. INT. SEATTLE TOWER - OUTSIDE PAUL'S RESIDENCE - NIGHT Ann stands in front of Paul's door. She thinks for a minute, then knocks. An unshaven Paul opens the door. Ann looks up at him. PAUL Hey, Ann. ANN The flowers were...they were well, really expensive. Really expensive. PAUL It's nothing... I just want to see you... ANN I appreciate it, but... Beat. She looks at Paul. ANN (CONT'D) Next time just one red rose is fine. Paul smiles. PAUL Come on in. MOMENTS LATER. - 89 - We are in Paul's living room. Paul stands next to Ann near the balcony. She holds a glass of wine. He has a glass of beer. ANN Thanks for finding my Tiger's Eye. It's very important to me. Ann looks down in her wine glass. She looks like she's about to cry. PAUL What's wrong? ANN It's Ho. The temple school. We're about to lose it and all the temple's money that went into it. PAUL What happened? ANN His partners are kicking us out. I can't let it happen. That school is everything to me. PAUL I'd like to slap him clean into next week. She looks at him. PAUL (CONT'D) Whatever you need, just ask. He puts his arm around her moves the hair from her face. Ann looks at him. She puts her hands on his chest. ANN There's something about you... Something...The first time I saw you... He kisses her before she can say anything else. INT. PAUL'S BEDROOM - NIGHT Ann lies on the edge of a king-sized bed. Her hair is brushed back. Paul kneels down in front of her. He goes slow, gently, taking time with his kisses. MONTAGE - He kisses her. She kisses him. Softly, drawing it out. They make love. - 90 - LATER. Paul is sleeping on his side. He opens his eyes. The room is dark except for some LIGHTED CANDLES around the room. He notices Ann is not in bed. He rolls over. Ann, in his terrycloth robe, is kneeling on the floor in front of the window. Leaning against it is a small picture of the Cao Dai Divine Eye. She bows with her hands, first moving them to her forehead, then towards the knees, and then to the chest. She then bows completely to the ground with both hands flat on the ground in front of her, right thumb crossing her left thumb. Paul watches as she completes the movement three times. She is chanting quietly. Paul slowly closes his eyes. We move from the Divine Eye to Paul. MORPH TO: EXT. JUNGLE - DUSK We are back at the small clearing in the jungle. The boy stands in front the small shrine in the rock outcropping. The jungle rumbles around him. There is rain and lightning. On the rocks around the shelter are THREE CRYING VIETNAMESE CHILDREN. We see a slow motion image of the Tiger's Eye pendant falling --smashing into pieces when it hits the ground. Then disparate images of -- a tiger -- Cao Dai Divine Eye -- muzzle flashes -- explosions -- Ann. SMASH CUT TO: ON TELEVISION We see Audie Murphy on the television firing a machine gun in TO HELL AND BACK. INT. PAUL'S LIVING ROOM - NIGHT We pull back to see Paul sprawled on the couch. The room is dark except for the light from the television. He's smoking a cigarette while twirling his tactical knife with his other hand. He looks uncharacteristically unkempt. There is a whisky bottle on the table. He grabs his remote and surfs through some channels. One channel shows a scene of William Hurt hallucinating in the movie ALTERED STATES. He surfs through more channels including one showing old Vietnam War footage of some DEAD NORTH VIETNAMESE SOLDIERS. Paul perks up. He turns the volume up. - 91 - ON TELEVISION. We see a film reel from the Vietnam War. There are several HALF NAKED DEAD BODIES laying on the ground. ANNOUNCER (V.O.) ...they were known as Sappers, elite North Vietnamese commandos whose mission was to hunt down and kill American recon units in the field. Carrying high explosives around their necks, greasing their bodies to squeeze through fences, shaving their heads, and wearing purple iridescent bikinis, these suicidal fighters brought death upon American soldiers unlucky enough to be hunted by them. PAUL Sappers...Damn cockroaches. INT. GLOBAL CAPITAL GROUP - DAY We see Noreen backing out of her office holding a packing box of supplies. Bob and Yumi walk by her. BOB Noreen, good luck in your future endeavors. It's been such a pleasure working with you. Bob smiles and keeps moving while Noreen just looks at him. INT. GLOBAL CAPITAL - PAUL'S OFFICE - DAY Paul sits at his desk as if in a trance. His office is cluttered and he is unshaven. He leans back in his chair dangling Lap's bracelet from his finger. Nick pops his head in. NICK Got anything for me to do? If not Yumi has some stuff. Paul doesn't turn around. PAUL Nope. Nick looks around Paul's office. NICK First time I've seen your office all messed up. - 92 - Paul spins around holding his knife. It startles Nick. There's a strange look to Paul's face and he speaks with a West Virginia accent. PAUL Did I put a quiver in your liver? NICK (confused) What? PAUL I've gone native. NICK Cool. That's cool. Nick nervously looks at the knife. NICK (CONT'D) See you still got your knife. Paul holds it up and studies it. PAUL (speaking Vietnamese) Toy din-din kung-kung. (beat) Ready this time, Lap. Won't ambush me again, iffen you know what I mean. NICK Sure. Getting ambushed is whack. I know I'd hate it. (beat) Maybe you know, should like blow off the rest of the day. No what I mean? PAUL (not listening) I live for this game, Lap. God help me, that's all I live for. (smiling at Nick) Got recon in my blood. Nick nervously backs out of the office. NICK OK, well let me find the Lap dude and tell him that. I think I hear Yumi... Wait... yeah, that's her. - 93 - He rushes out. INT. PAUL'S BEDROOM - NIGHT The light in Paul's bedroom is going on and off. As we move around the bed we see Paul sitting on the floor up against the wall. The lamp is on the floor next to him. Several beer bottles sit next to him as Paul, knife in his lap, clicks the light on and off and stares blankly into space. For no particular reason, Paul takes the knife, flips it, and HURLS IT INTO THE WALL. INT. PAUL'S KITCHEN - DAY Maureen comes into the kitchen carrying a bag of groceries. She puts them on the counter. INT. MAUREEN'S BEDROOM - DAY Maureen enters her bedroom and takes her jacket off. She walks over to her dresser and looks in the mirror. She notices a letter taped to it with the words FOR DAUGHTER DOCTOR BILLS written on it. She opens the letter. There are several HUNDRED DOLLAR BILLS. She's stunned and stares at her reflection in the mirror. EXT. SEATTLE STREET - NIGHT Paul sits in a traffic jam staring blankly out the window of his car. He shakes himself out of his stupor, takes a deep breath and looks around. He bangs his hands on the steering wheel. PAUL C'mon! Jesus H. Christ! He turns on the RADIO. The 70's hit DREAMWEAVER by Gary Wright comes on. The song starts to skip. Beat. Paul looks at the radio in frustration. PAUL (CONT'D) Fix the song morons... STATIC WASHES OVER THE SKIPPING SONG. It fades in and out. In the background voices emerge. Paul sits up to listen. A FRANTIC VOICE COMES THROUGH THE STATIC. VOICE 01 (O.S.) (distorted) - 94 - Archangels Six, Archangels Six, Big Al on Fox Mike. Repeat.(static) Do you read? VOICE 02 (O.S. Archangels Six (static) --Prairie Fire! Prairie Fire! (static) --boucoup gooks on three sides! We need dust off but don't have a secure LZ. Don't know if we can hold. We have KIA.(static) --danger of being overrun. We need priority air support right away. Over. Paul stares at the radio. He looks nervously out the windows. VOICE 01 Roger Archangels. You got panels out? Over. VOICE 02 (O.S.) Negative Big Al. Popping smoke now. Over. Beat. A plume of YELLOW SMOKE rises into the air near Paul's car. PAUL (to no one) Popping smoke. They're popping smoke! VOICE 01 (O.S.) I have yellow, Archangels. Got you in sight...Ah.. where's your incoming fire coming from? Over. Paul suddenly knows what to say. He talks to the radio. PAUL Bad guys 20 meters north of my smoke along a 100 meter front. If you have me in sight, you are cleared in hot. Over. VOICE 01 (O.S.) Roger Archangels, got you. Two's in hot from the north. Keep your head down, this is gonna be big... The transmission drops out to static. Paul looks around. He opens the car door and gets out. In the car next to his, a SMALL GIRL in the backseat makes a face at him. A MAN and WOMAN sit in the front seat talking. Paul looks up into the darkened skies. He raises his hands to the sky. WE HEAR THE RUMBLE OF MILITARY AIRCRAFT. - 95 - PAUL Two in hot from the north everybody! The people in the car look at him. They think he's crazy. He motions to the sky. PAUL (CONT'D) Keep your head down, this is gonna be big... We hear a WOOSHING SOUND. WITH A ROAR, JELLIED GASOLINE EXPLODES AND A BALL OF FIRE SLIDES AND SPREADS in front of Paul igniting everything in its path. He falls to the ground and rolls to the embankment on the side of the road. THE CAR WITH THE FAMILY EXPLODES IN A BALL OF FIRE. Paul tries to cover himself, but a HOT PIECE OF SHRAPNEL SLAMS INTO HIS SHOULDER. HE SCREAMS in pain. He quickly grabs the red hot metal and pulls it out. Through the smoke and fire, Paul can see several cars in flames. Looking beneath his car, he can see the LEGS OF SEVERAL FIGURES DARTING DOWN THE ROAD. Moving to the front of the car he can make out SEVERAL SAPPERS COMING TOWARDS HIM. Some bang bamboo sticks together as they walk. Barely conscious, he slides down the embankment. MORE GUNFIRE. He turns his head left to see -RIGHT NEXT TO HIM A WOUNDED BLACK AMERICAN SOLDIER. The soldier has a huge chest wound and has lost a lot of blood. He's gasping for breath. BLACK SOLDIER Guess Lap didn't make it... Last radio out... aint gonna make extraction. (beat) Take it... He hands Paul a KODAK INSTAMATIC CAMERA. Paul looks at the camera then at the soldier. PAUL (realizing) Pops... I know you. You're Pops. How do I know you... Pops slaps his hand on Paul's mouth. He puts his finger to his mouth. The ENEMY SOLDIERS are right above them. Something is muttered in Vietnamese - 96 - by one of them. Paul closes his eyes. The soldiers move on. Paul looks to his left and sees-TWO SAPPERS AIMING THEIR WEAPONS AT THEM. Paul -- lightening fast -- takes Pops' weapon and FIRES --one Sapper gets a shot off -- BULLETS PASS EACH OTHER -- Paul is WINGED IN THE THIGH as BOTH SAPPERS GO DOWN DEAD. Paul yells defiantly at them. PAUL (CONT'D) If you're gonna kill me you'd better hurry up cause I'm getting good at this! He throws the weapon down. He reaches over and grabs Pops. PAUL (CONT'D) Pops! Hey... Pops' eyes are lifeless. He's dead. Paul winces in pain and lays down beside him. He looks up at the night sky. He points his finger at it defiantly. PAUL (CONT'D) (yelling) I know who I am! He passes out. INT. SHOPPING MALL - PHOTO SHOP - DAY A bloody and bruised Paul is at the front counter of a small photo processing company. The CLERK stares at Paul. CLERK Maybe you should get that looked at... Paul puts the bloodied instamatic camera on the counter. PAUL I need the film in this developed. The clerk looks at him then picks the camera up and studies it. CLERK Instamatic 333x electronic....cube flash socket... Early 70's. Dude, I'd say it's time for a new camera. Paul puts a bloodied hundred dollar bill on the counter. - 97 - PAUL How fast can you develop it? CLERK OK, may take a while. Something this old, you know? I have to do it by hand. Paul puts another hundred on the counter. CLERK (CONT'D) The sign does say one hour processing. EXT. PARKING LOT - DAY Angle on Paul's car. We see Paul painfully get in and sit down. He holds the package of photos. He's drained from the loss of blood. He goes to open the package, but slowly falls over onto the passenger seat and passes out. MORPH TO: EXT. JUNGLE - DUSK POV FROM SOMEONE low to the ground in a small clearing in the jungle. (The same as the previous dream, but from a different perspective) It's raining. We hear bullets firing overhead and explosions nearby. A SOLDIER comes into view. He's dragging another INJURED SOLDIER that we can only see the back of. WHABOOM! AN EXPLOSION AND BALL OF FIRE. SOLDIER Sappers all over the perimeter! The soldier loads his weapon while braving a hail of incoming bullets. SOLDIER (CONT'D) I'll buy time, Wags! You protect her. (screaming) ARCHANGELS! The figure throws a grenade then unleashes a hail of bullets down the street when-A BULLET STRIKES THE FIGURE IN THE SHOULDER. He's spun around -letting go of his weapon -- dropping to his knees. SEVERAL MORE BULLETS EXPLODE INTO HIS CHEST and he drops to the ground on his back. WHABOOM! A HUGE FLASH ENGULFS THE FIGURE. - 98 - The injured soldier drags his wounded leg towards the camera -- we can only see the top of his head -- he looks up -- IT'S PAUL'S FACE. He looks at the camera. PAUL (West Virginia accent) You OK, little darlin? I've got something for you... Paul removes his hat and takes off a necklace from his neck. He hands it towards the camera. It's the STERLING SILVER DRAGON HOLDING A TIGER'S EYE. PAUL (CONT'D) Put it on. It's Cao Dai. It'll protect you, OK? (looking at it) Well, that looks gooder'n grits, darling. Now don't you go anywhere. I'll be talkin' at you in a bit. Paul smiles and moves away. MORPH TO: INT. ANN'S HOUSE - BEDROOM - NIGHT Ann jerks awake. She is breathing intensely. She rubs her eyes and reaches over to turn on the light illuminating her bedroom. She sits back trying to figure out what she just saw. LATER. INT. ANN'S HOUSE - NIGHT BANGING ON THE DOOR. Ann opens her door to see a bruised and battered Paul. He practically falls into her arms. ANN Oh my god, Paul. LATER. INT. ANN'S HOUSE - BEDROOM - NIGHT We see smoke rise from burning incense on a SMALL CAO DAI ALTER. On the alter are statues of Buddha and Jesus, a cross, offerings of flowers, fruit, wine, tea, and water along with five sticks of incense. The alter sits in the corner of Ann's small, but tastefully decorated bedroom. She kneels in front of it praying. - 99 - ANN Worshipped in every time by all, now gathering all Creation into one family is the Master Above all Enlightened Beings. As the Ultimate Tao is revealed in hushed wonder, the Universe shall stand transformed by igniting the Divine spark which illuminates us all. She gets up and goes over to her bed. Paul, shirt off, and bandaged, is asleep on it. She sits down next to him. He opens his eyes and touches her back. She turns around to him. ANN (CONT'D) Hey. PAUL Hi. ANN How do you feel? PAUL Like I was rode hard and put away wet. ANN You scared me. We need to take you to the hospital. Your thigh may need some stitches. PAUL It's OK, I'll live. ANN What happened to you? Paul runs his hands through her hair. PAUL They missed me again. ANN Who missed you? He sniffs the air. ANN (CONT'D) It's the incense. - 100 - PAUL For your Cao Dai? ANN There for five levels of spiritual development. PAUL Levels? ANN You go through levels of spiritual development: purity, meditation, wisdom, universal knowledge until you get karmic liberation. PAUL Then you get your black belt? She playfully slaps him on the arm. ANN Do you dismiss everything spiritual? PAUL Not everything. He pulls her down to him. They kiss. She pulls away. ANN I'm scared, Paul. PAUL About what? ANN About you, of course. Ann gently massages his shoulders. ANN (CONT'D) It's not normal for a bloody and battered guy to show up at my door in the middle of the night. As she gets near his bandaged shoulder, he feels it. PAUL Ow... ANN Sorry. - 101 - She leans down to gently kiss his shoulder and runs her fingers over the cuts and bruises. ANN (CONT'D) Tell me what happened to you. Beat. PAUL Well it happened to me, but I don't think it was for Paul Campbell. ANN Excuse me? PAUL Maybe people can tune into somebody else's bandwidth. ANN I don't understand. PAUL I need a cigarette. ANN What's with smoking all of a sudden? You hated smoking when I first met you. And now you smoke, you play with knives, you're not so neat anymore, and you talk funny. "Rode hard and put away wet"? What is that? PAUL Just coloring the language, darling? ANN Darlin? PAUL I need to show you something. He painfully leans over and reaches for his jacket on a nearby chair. He pulls out the bracelet, the medal, and the photos. He gives them to Ann. ANN (holding up bracelet) What's this? - 102 - PAUL It's Montegnard. Jarai tribe. ANN Is this blood on it? She shakes her head and picks up the medal. ANN (CONT'D) (reading) Huan-Chong Dung-Si Diet Mi. (beat) This is a North Vietnamese award. For killing Americans. This is very rare. Where did you find it. Paul sits up. PAUL North Vietnamese? You sure She picks up the photos. She flips through them. ANN They're old photos from the war. Who are they? PAUL One guy is named Pops. One is Lap. Not sure about the others. They're reconnaissance photos near the Cambodian border I think. Ann looks through the photos. ANN Where did you get these? Beat. PAUL A soldier who died a long time ago gave them to me. ANN When you were little? PAUL No. Tonight. Ann looks at him. - 103 - ANN You mean... PAUL I mean a guy named Pops who died during the Vietnam War gave them to me tonight. (beat) During a bombing run over on Pequash Blvd between the Exxon station and Arbys. Ann leans back. PAUL (CONT'D) I know Pops favorite song. I know where Sean "Pops" Ruffner was born and when he died. Why would I know that? ANN I don't know. PAUL Some sort of recon unit called the Archangels... Paul runs his hand through his hair. She looks down and glances through the photos again. She stops at one. She holds it up. She's confused. PAUL (CONT'D) What is it? Beat. ANN I had a dream tonight about the day I was rescued. I have it often, but this time something was different. She looks at Paul. ANN (CONT'D) I remember the face of one of the soldiers. PAUL Yeah? ANN It was you. Paul looks at her. - 104 - ANN (CONT'D) And these photos... She holds up a photograph of a LITTLE CHILD sitting on the ground next to an AMERICAN SOLDIER. PAUL You know her? ANN I think it's me. Paul and Ann look at each other. INT. GLOBAL CAPITAL BUILDING - LOBBY - DAY Paul enters the office building, nods to the SECURITY GUARD at the front desk, and makes his way across the lobby to the elevators. TWO CHINESE MEN come out of the elevator. They bump up hard against Paul. One of the men looks indignant. CHINESE MAN 01 You should watch where you're going, Paul. PAUL I know you? Chinese Man 02 jabs a finger in his chest. CHINESE MAN 02 And you should stay out of Vietnam. PAUL Who are you? They ignore the question and walk away. Paul watches them leave. INT. GLOBAL CAPITAL GROUP - DAY Paul approaches his office. He sees Nick coming out with a garbage bag and broom. NICK Yo, Mick Dundee. Someone jacked up your office. INT. GLOBAL CAPITAL GROUP - PAUL'S OFFICE - DAY Paul walks in and stops in shock. - 105 - HIS MONITORS ARE ALL SMASHED. There is trash everywhere. NICK This was the only office trashed. INT. GLOBAL CAPITAL GROUP - CENTRAL ROOM - DAY Paul is walking down the hallway looking for Bob. In front of him he sees Bob at the conference table with Dennis and his LAWYER. They are in a heated conversation. Dennis sees Paul and points accusingly at him. DENNIS There he is... BOB Dennis now hold on... DENNIS Hold on nothing. You fire that son of a bitch or I'll pull all my money out. PAUL Bob, I need to speak with you. BOB Paul, Dennis has leveled some serious accusations at you. PAUL My office is trashed. BOB I heard about it. Now Dennis is accusing you-PAUL (interrupting) No need to repeat it. I admit I screwed his wife. DENNIS (to Bob) He wrecked my marriage. I want him fired or I'm pulling my money out! PAUL How do I know you didn't wreck my office like you wrecked my SL? - 106 - DENNIS I'll wreck you! Dennis tries to lunge at Paul, but his lawyer holds him back. PAUL Bring it on, cuckold. I'll slap your teeth down your throat and dare you to swallow them! BOB We need to keep calm here. PAUL C'mon Bob. He's like a booger that I can't thump off. BOB Now you apologize to Dennis for that remark! Beat. PAUL (to Dennis) I apologize-DENNIS (to Paul) Fuck you... PAUL --for beating you up and having wild monkey sex with your wife. DENNIS BASTARD! Dennis tries to lunge at him again but his lawyer holds him back. DENNIS (CONT'D) (to Bob) You get rid of him, Bob or I swear to God... Paul turns around to see-ANN STANDING NEAR THE ENTRANCE. She heard the whole thing. Ann looks like she is about to cry. ANN I was coming to say goodbye... - 107 - PAUL Ann... She turns and walks away. Paul follows her. BOB Paul, wait! We aren't done here... INT. BY THE ELEVATOR - DAY Ann walks quickly to the elevator and hits the button. Paul comes down the hall towards her. She gets in and the doors close just as Paul arrives. He hits the elevator buttons. He turns and sighs. The elevator doors open. He turns and sees-The elevator has become a DOORWAY TO THE JUNGLE FROM HIS DREAMS. He steps into the elevator. EXT. JUNGLE - DUSK Paul steps into the small clearing in the jungle. Her stands in front of the small rock outcropping and shrine. The jungle rumbles around him as rain falls. SOMEONE SCREAMS BEHIND HIM. Paul turns. WE SEE ANN LAYING ON THE GROUND CRYING. A LARGE TIGER crouches nearby ready to attack. PAUL Ann! ANN Dung lai! Dung lai! Paul tries to go towards her but a gust of wind knocks him to the ground. THE TIGER LUNGES. ANN SCREAMS. SMASH CUT TO: INT. BY THE ELEVATOR - DAY Close up on Paul's face. He blinks a few times. The elevator doors are open and a PERTURBED DELIVERY KID in it looks at Paul. DELIVERY KID I'm gonna get towed, man if you don't get on the elevator. - 108 - INT. NEW VIETBANK - LOBBY - DAY Paul rushes into the bank. He goes to Ann's desk. She's not there. He looks over at Tron. PAUL I need to see her. TRON She already left for the airport. PAUL Airport... for what? TRON She went to Vietnam. It's about the school. PAUL When is she coming back? TRON She's not coming back here. She quit this morning. INT. GLOBAL CAPITAL GROUP - BOB'S OFFICE - DAY Bob is standing at his desk with a phone headset on. BOB (on phone) It's a subsidiary. We're running the firm's trades through it. (angry) It's fine, Ted. Don't worry. Paul opens the door and walks in. Bob looks at him. BOB (CONT'D) (on phone) I can't talk now. Bob hangs up. He looks at Paul. PAUL I need to go to Vietnam. - 109 - BOB I'm taking over the Vietbank loan account. I have some contacts in the Vietnamese government to deal with it. PAUL It's not about that. I need to go about something else. BOB You are treading on very thin ice around here after your little fisticuffs with one of our investors. You'd be fired right now except you've been my top guys. PAUL Just give this to me. I've made you a lot of money. BOB Not lately you haven't. Paul's temper flares. He slams a chair into Bob's desk. PAUL You were right. I do need to get my priorities straight. He walks out the door. INT. DALAT BUILDING COMPLEX - DAY We are in the hallway of one of several small buildings of a building complex in Dalat. Two rooms have been converted to a children's school. Through a window we see a YOUNG TEACHER in a classroom with SEVERAL SMALL VIETNAMESE CHILDREN sitting and playing games. Ann comes out the classroom door with Aunt Minh. Aunt Minh wears a Cao Dai white long robe. They walk down a hallway to the lobby. ANN What are we going to do, Aunt Minh? The kids are going to be heartbroken. AUNT MINH We'll have to find another place. Have faith. ANN We can't just give this place up. You know what this means to me. And all the temple's money that went into it... - 110 - AUNT MINH It's not the money that's important. ANN I can't let this happen. AUNT MINH You must be careful, dear. These are dangerous people. INT. DALAT BUILDING COMPLEX - LOBBY - DAY In the lobby are THREE YOUNG CHINESE GANG MEMBERS, 20's, tough looking. They're hanging out, smoking, and playing Chinese rap on a boom box. Ann and Aunt Minh walk past them. As Ann and Aunt Minh approach, one of the gang members flicks his cigarette butt on Aunt Minh's long robe. The gang members laugh gleefully. Ann quickly wipes it off and glares at him. He smiles devilishly back at her. EXT. DALAT BUILDING COMPLEX - DAY Ann helps Aunt Minh over to a car where a PRIEST in a red robe opens the door. ANN See you tonight? AUNT MINH Remember what I said. ANN I like this place. The kids like it. It's the right place. AUNT MINH I know it means so much to you because of what happened here. Say your prayers tonight and maybe tomorrow we'll find answers. Ann watches as the car drives off. EXT. VIETNAM HIGHWAY - DAY A taxi moves along a highway lined with pancake flat paddy fields and farmland. EXT. DALAT BUILDING COMPLEX - DAY Paul's taxi pulls up to Ann's school building. He runs into the lobby. INT. DALAT BUILDING COMPLEX - LOBBY - DAY - 111 - The young teacher comes down the hallway. She looks very worried. PAUL I need to find Ann. YOUNG TEACHER She's gone! Three children. They went with those men. PAUL Who? Who took them? YOUNG TEACHER Those Chinese men. Bad men I think. PAUL Where did they go? YOUNG TEACHER I don't know. INT. DALAT HOTEL ROOM - NIGHT Paul is pacing around a Dalat hotel room. His cell phone rings. It's Nick. PAUL (on phone) Whatever it is, Nick, I don't have time for it. NICK (V.O.) Listen up. The shit has really hit the fan here. Remember Noreen? After Bob canned her she made some calls. The fund's being investigated for disguising trading losses and padding results. Bob's been in his office dropping f-bombs on his lawyers all day. PAUL (on phone) I don't think I have a job there anymore anyway. NICK (V.O.) Dude, and get this, Duc Ho is in some deep shit with the Chinese out of Macau. Some gang. They're called... hold on... the Monkey's Fist. PAUL (on phone) - 112 - Monkey Fist... NICK (V.O.) Heard of 'em? Seems they've been the ones doing the bad loans at New Vietbank. Beat. Paul realizes what's happened. PAUL (on phone) So the bastard made the loans to the Chinese mob and sold them to me knowing they weren't recoverable...Let the stupid Americans worry about it... NICK (V.O.) He punked us bad. PAUL (on the phone) If you can't spot the asshole, then you're the asshole! Paul angrily HURLS HIS CELL PHONE AGAINST THE WALL. He grabs his jacket and rushes out the door. INT. CAO DAI GREAT TEMPLE - MAIN HALL - DAY Paul enters the main hall. Aunt Minh and some YOUNG PRIESTS approach him. PAUL Have you heard anything? AUNT MINH No. We've called the authorities for help. PAUL They won't get to her in time. AUNT MINH We are praying for her return. PAUL I need to do more than that. I need to find her. I need to find a way... He turns to leave, but Aunt Minh grabs his arm. - 113 - AUNT MINH Release yourself and let the divine do what it wants to be done through you. PAUL Yeah, whatever. INT. CAO DAI GREAT TEMPLE - ENTRANCE - DAY Paul's taxi waits to pull into traffic at the entrance to the temple. Paul glances over on the sidewalk and sees the WHEELCHAIR MAN STARING AT HIM. EXT. DALAT STREET - DAY Paul is in a cab heading down a side street. He closes his eyes and tries to relax. He tries to let go as Aunt Minh instructed. As the cab approaches a small intersection, a BMW stops in front, blocking the cab. The CAB DRIVER honks the horn. Two Chinese men in dark glasses and suits, get out of the BMW. It's Fong and Hiu from the bank. They walk over to the cab. Fong taps on Paul's window with his ring. Paul just looks ahead. He taps again. Hui pulls the driver out of the taxi and scares him away by waving a gun. SMASH! A GUN SMASHES THE CAR WINDOW INTO LITTLE PIECES THAT FALL ALL OVER PAUL. Paul opens the door and gets out. Fong holds his gun to Paul's head. PAUL Well, it's the Monkey Fist pricks. FONG You were warned. Lightning quick Paul takes the gun out of Fong's hand -- elbows him in the nose breaking it. THUD! HIU SLAMS THE BUTT OF HIS GUN into the back of PAUL'S head. He crumples to the ground. Blood gushing from his nose, Fong kicks Paul in the ribs. They take Paul and throw him into the trunk of the BMW and drive off. EXT. DALAT BUILDING COMPLEX - CLASSROOM - DUSK The rays of the setting sun comes through the window of the classroom. We see Paul knocked out, handcuffed to a heating pipe on the wall. He slowly comes to. Fong, his nose welling up, kneels in front of him. - 114 - FONG I think you die tonight. PAUL Where's Ann? Let her go. Fong punches Paul in the face. FONG Everybody die tonight. Fong gets up and walks out the classroom. We see FLAMES and SMOKE in the hallway. The smoke reaches Paul. He starts to panic. Struggling to free himself, he angrily bangs the wall with the back of his head. PAUL Fuck... FUCK! He closes his eyes and leans his head back. The room fills with smoke. When he opens them he sees-THE WHEELCHAIR MAN IS LOOKING AT HIM. He smiles at Paul. PAUL (CONT'D) I know who you are. Come here to watch the Yankee burn to death? Wheelchair Man points to Paul's pocket WHEELCHAIR MAN Huan-Chong Dung-Si Diet Mi. PAUL The medal? You want it back? Paul struggles to get the medal out of his pocket. It falls on the floor. Paul looks at it and struggles to pick it up. He looks at the pin on the back. He looks at Wheelchair Man. He realizes what the medal can be used for. Paul opens the clasp and uses the pin to unlock the handcuffs. He gets up and sees the Wheelchair Man going out the door. He follows him. INT. DALAT BUILDING COMPLEX - HALLWAY - DUSK Keeping low, Paul heads down the burning hallway to the entrance. - 115 - EXT. DALAT BUILDING COMPLEX - DUSK Paul comes out the door. The building is engulfed in flames. He sees in the distance the Wheelchair Man going down a dirt path at the edge of the property and disappearing into the surrounding jungle. Paul follows him. EXT. JUNGLE - DAY Paul walks through the jungle. We see a waterfall in front of him and a wooden bridge. It's the location from his dreams. Through the haze Paul comes to a small clearing. In it sits the Wheelchair Man. As Paul approaches, we see Wheelchair Man START TO MORPH INTO SOMETHING ELSE ON THE GROUND. THE GROUND STARTS TO TREMBLE. Paul struggles to keep standing. The jungle landscape begins DISTORTING AND STRETCHING -- trees change shape -- hills form. Paul looks up as THE SKY TURNS TO GREY AND RAIN FALLS on his face as we-MORPH TO: EXT. JUNGLE - 1974 VIETNAM - DUSK WHOOSH! An RPG rocket streaks over Paul's head. In the distance we see a fire. We hear GUNFIRE -- smoke rises into the rain -- SHAPES move about in the tree line -- Flashes from MUZZLE FIRE -- rak-a-tak, rak-a-tak, the sound of an AK-47. The Wheelchair Man has transformed into his original self -- A HORRIBLY INJURED YOUNG SAPPER laying on the ground. Bleeding profusely, his legs have been blown off and one arm is missing. He gasps for breath. Paul stares at the Sapper as a FORM TAKES SHAPE in front of him -- we see the form become the back of an AMERICAN SOLDIER kneeling down over the Sapper. The soldier removes a canteen from his pack and opens the cap. He lifts up the Sappers head and gives him a drink. The Sapper tries to speak but his mouth is filled with blood. The soldier bows his head in prayer. SOLDIER And Jesus said, "My sheep hear my voice. I know them, and they follow me. I give them eternal life, and they will never perish. What my Father has given me is greater than all else. The Father and I are one." The Sapper's face grows calm as his body goes limp and he lets out his last breath. - 116 - The American soldier stands up and turns around. He looks at Paul. Paul sees the soldier LOOKS JUST LIKE HIM. This is BEN WAGNER. PAUL (realizing) I know you...Wags... Wagner looks down and blows some CLAYMORE HANDLES. BLAM! BLAM! BLAM! One explosion on top of the other. Wagner goes over to some tall grass and puts his hands in it looking for something. He comes out holding a CRYING VIETNAMESE CHILD. It's Ann. He takes her and moves quickly ahead into the jungle. Paul follows behind. Suddenly Wagner collapses to the ground grabbing his leg. He's been shot in the calf. Still holding Ann, he manages to drag himself over to a small rock outcropping and places Ann in a small crevice. Paul watches as Wagner gives her the Tiger's Eye pendant. WAGNER Well, that looks gooder'n grits, darling. Now don't you go anywhere. I'll be talkin' at you in a bit. Paul sees Wagner calm Ann's crying. Wagner moves away and drags himself over to a slight incline. Sappers are surrounding him from all sides. Wagner erupts with MACHINE GUN FIRE into the bushes. VASQUEZ (V.O.) RPG! Move! We see VASQUEZ come out of the bushes and grab Wagner. He drags Wagner away from the spot as WHABOOM! An RPG slams into the ground. VASQUEZ (CONT'D) (loading his weapon) Sappers all over the perimeter! I'll buy time, Wags. You protect her. (screaming) ARCHANGELS! Vasquez throws a grenade then unleashes a hail of bullets into the bushes. We see a bullet strike him in the shoulder -- drops to his knees -- more bullets strike him -- Vasquez falls on his back. The WHOOSH of an RPG -- AN EXPLOSION -Vasquez disappears in a huge white flash. - 117 - AN RPG ROCKET whistles over Paul's head with a huge roar and SHREDS A TREE behind him. Wagner fires out another magazine, reloads, as dozens of Sappers move in closer to his position. Paul watches as a SAPPER attempts to run right at Wagner in a kamikaze charge, lightning in the sky momentarily revealing the bulky satchel strapped around the Sapper's waist. Wagner guns the Sapper down before he can reach him. Suddenly, BULLETS STRIKE WAGNER IN THE CHEST and he falls down on his back. Paul crawls over to him. He looks at Wagner. Paul grabs Wagner’s gun and fires blindly into the bushes. WAGNER Too late, kid. I've gone as far as I can go. PAUL Do you know me? WAGNER Do you know me? An RPG ROCKET whistles over their heads with a huge roar. They both look at it. PAUL You're my father. I can remember you... (beat) How is this happening? How did you do this? Wagner touches Paul's face. WAGNER How is not important. Explosions and gunfire grows closer. We see enemy fighters nearby. PAUL Dad... Behind Paul, we see the ARC OF TWO RPG'S CONVERGE AND FALL TOWARDS THEM. We see the crying face of Ann in the rock outcropping. ANN Dung lai! Dung lai! - 118 - CLOSE on the Tiger's Eye pendant. Bands of light emanate from it. We see the light reflect off of Ann's eyes then-THE SCREEN FILLS TO A BLINDING WHITE VOID. FADE TO BLACK. IN BLACK Beat. Nothing. FADE IN: Paul lies on his back unconscious. His face is covered with cuts and bruises. After a long moment he opens his eyes. He tries to stagger to his feet, but falls back in pain. PAUL Ann... He manages to stand and looks around in disbelief. Everything is back to present day. It's dark and the jungle is quiet. Hearing a faint noise behind him, he turns around. In the distance, light emanates from a lone three story building. He heads towards the light. As he gets closer, the noise he hears grows louder. It's the crying of children. CHILDREN Dung Lai! Dung Lai! INT. DALAT BUILDING COMPLEX - NIGHT Inside the decrepit old building, we see Ann, hands tied, sitting against the wall of a third floor office. She cradles three crying children from the school. We see Heavyset Guy menacingly approach Ann. He raises his hand to the children. HEAVYSET GUY (in Chinese to Ann) (Shut them up or I will!) Ann tries to calm the children. Fong and Hiu enter the office. HIU (Campbell got away.) HEAVYSET GUY (Fools!) He looks at Ann and the children. Then at Fong. - 119 - HEAVYSET GUY (CONT'D) (Burn it.) Heavyset Guy leaves. Fong and Hiu pour gasoline in the room and light it. The room goes up in flames. EXT. DALAT BUILDING COMPLEX - NIGHT Paul hobbles to the front of the building and enters the front doors. INT. DALAT BUILDING COMPLEX - NIGHT Heavyset Guy is walking down a dark hallway. He hears a CREAKING SOUND and stops to listen. He slowly turns around when he is YANKED INTO A DOORWAY. We hear a THUD. Fong and Hiu run down another hallway. They stop to see Paul standing in front of them. He has his knife in his hand. Fong and Hiu look at each other. Fong takes out his gun -- Paul throws his tactical knife -- before Fong can fire -- THE KNIFE CATCHES HIM IN THE NECK -- HIS GUN FIRING WILDLY -- ROUNDS TEARING ACROSS THE CEILING. Fong falls down dead. Paul quickly approaches Hiu who leans frozen against a wall, his face drained of blood. Paul looks at him coldly then races towards the burning office. IN THE OFFICE The room is covered in smoke as flames kick up around Paul. PAUL Ann! ANN Paul! Over here! He fights through the smoke and fire over to Ann and the crying children. Ann, hands bound, reaches to hug him. PAUL It's OK. We're going to get you out of here. Paul unties the ropes to Ann and the kids as the flames encircle them. The entrance to the office is blocked by fire. Coughing, Paul leads Ann and the children over to the window. There is a rickety fire escape outside it. He grabs each child and lowers them out the window to the escape. After he gets them out he looks at Ann. She kisses him. - 120 - ANN I knew you would come for me. Paul grabs her by the arms and leads her to the window. PAUL Yeah, some things are inevitable. C'mon. He helps her out the window and lowers her down to the fire escape. We see bolts from the escape pop from the wall. EXT. DALAT BUILDING COMPLEX - NIGHT Ann lands on the ground from the fire escape and looks up at Paul. The flames are engulfing the office around him. The fire escape breaks for the side of the building and collapses on the ground. ANN Paul! From the window Paul looks back at her. He's silhouetted by the flames. His face is calm. He seems as if he's accepting his life for the first time. We close in on his eye to-SERIES OF SHOTS We see images of Vasquez, Lap, and Pops dying; the rotating Cao Dai eye; a CLOSE UP of the bamboo paper note Paul received at the temple; the falling Tiger's Eye pendant; Paul's father; Ann as a child in the rock outcropping. The flames overtake the window and the ceiling collapses over Paul. ANN (CONT'D) PAUL! She watches as the burning BUILDING FALLS IN ON ITSELF. Ann kneels down clutches the children as she cries. ThenTHROUGH THE BURNING FLAMES A FORM TAKES SHAPE. Ann stops crying, as if sensing something. The figure comes out of the flames and grows closer, now clearly a human. Ann turns to look -- and stares in utter disbelief. She rises to her feet... ANN'S POV. Paul walks towards her. The cuts and bruises are gone and he's not limping. There is a faint white light around him. Paul smiles. He takes his hand and touches the side of Ann's face. - 121 - PAUL Told you I'd be talkin' at you in a bit. She smiles. EXT. JUNGLE - DAY We move along a dirt path lined with flowers, bamboo, and fruit trees. In the background is a mixture of Christian songs and Buddhist chants. We come to a small clearing where we see Paul, Ann, and Aunt Min. THREE CAO DAI PRIESTS chanting, kneel in front of the small rock outcropping with stone shrine. There is a military photo of Ben Wagner now on it. On one of the boulders next to the shrine is a silver plaque. It says: Greater love hath no man than this, that a man lay down his life for his friends. John 15:13. Ann looks at Paul. He shakes his head. PAUL My father. Just some kid from West Virginia. Never knew he had a son... (looking around) This shrine... the monks...been here for 30 years honoring him and his unit. The Archangels. And they never knew his name. ANN But they knew what he did. And you both found each other somehow across time. (looking at shrine) And now he can rest because we'll remember his name. Your father's name. She puts her arm around Paul's. ANN (CONT'D) You OK? PAUL I think so. I feel... myself. ANN You still talk funny. PAUL Just coloring the language, darlin'. - 122 - She smiles at him. Paul turns to look behind him. Through the jungle mist we see THE FACE OF A TIGER. He looks at Paul and then turns and walks back into the mist. MORPH TO: EXT. JUNGLE - DAY SERIES OF STILL SHOTS We see still images of Paul leading a U.S. JOINT POW/MIA ACCOUNTING COMMAND TEAM through a jungle -- standing at the grave sites for Lap, Vasquez, and Pops -- watching the recovery operations. TV NEWS FOOTAGE Video footage of repatriation ceremony for FOUR FLAG DRAPED COFFINS being walked off a MILITARY TRANSPORT PLANE by SIX SOLDIERS. A JOINT HONOR GUARD is there also. REPORTER (V.O.) The remains of M. Sgt. Kevin Vasquez, 1st Lt. Lap Siu, Sp5c Sean "Pops" Ruffner, and Sgt. Benjamin Wagner. U.S. soldiers previously unaccounted for from the war in Vietnam, being returned for burial with military honors. EXT. ARMY SPECIAL COMMAND HEADQUARTERS - DAY A large military building along the banks of Peugent Sound. EXT. COURT OF HONOR - DAY Paul and Ann walk out onto a small courtyard of cement walkways, a neatly trimmed lawn and rows of rose bushes. A large BRONZE STATUE of a Green Beret aiming his weapon sits in the middle of the courtyard. They walk along the walkway until they come to a 10 foot high MEMORIAL WALL containing TWO LARGE BRASS PLATES. They are marked: KIA and MIA with rows of names below each. He reads down the list until he comes to four names that are listed next to the date December 22, 1974. M. Sgt. Kevin Vasquez, 1st Lt. Lap Siu, Sp5c Sean "Pops" Ruffner, and Sgt. Benjamin Wagner. He runs his fingers over the last name. He smiles at Ann as we FADE OUT. - 123 -