I Want You
fade in: EXT. FRONT OF BUILDING – MARCH 1999 – New York CITY - NIGHT A brilliant photography FLASH bounces off the wall of an old majestic looking office building. The photographer, SARAH HOFFMAN, stunningly beautiful, late twenties. ext. back of building – parking lot - night A BUSINESSMAN, Smartly dressed but ordinary looking, late forties, carrying a briefcase, exits the building and walks towards his car in the parking lot. The flashes are not seen at the back of the building. INT. Dragan'S CAR – BACK OF BUILDING – PARKING LOT - NIGHT Dragan, tall, dark and good-looking, early thirties, takes a long drag of his cigarette, glances at the rearview mirror then at his watch; he's waiting for someone who is obviously late. Sarah comes to the side of the building, near to where Dragan is; they cannot see each other. She sets up her equipment for a new series of shots. cut to:
ext. back of building – parking lot - night The businessman unlocks his car. Dragan gets out of his car, he's dressed in dark dapper looking clothing. The businessman's eyes fix onto Dragan. A rush of cold fear engulfs him. He makes a frantic but futile effort to get into his car, it's too late! Dragan attacks him, cutting his throat. The businessman drops his briefcase, convulses, and collapses. A powerful flash lights the area. Dragan's demon like eyes glitter as he scans the near empty parking lot for the sources of the flash. Nothing, nobody there. He calmly gets into his car and drives away leaving his victim for dead, in a pool of blood. ext. front of building - night Sarah is completely unaware that a brutal silent murder has just happened. She continues to take pictures. A car pulls up to the front of the building. It's Dragan, He watches Sarah. She's fully absorbed with her work and doesn’t notice him. It begins to LIGHTLY RAIN, a YOUNG COUPLE early twenties are kissing on a bench, near the building, they're oblivious to the falling rain. Not far from them is a homeless man trying to accommodate him self in a large discarded cardboard box. Dragan slowly drives away. Frustrated by the change of weather, Sarah ends her shoot and packs her equipment. sarah Damn it! ext. front of building - night Sarah puts the last of her equipment in the trunk of her car. A RUMBLING of THUNDER is heard. The RAIN now coming down heavy. Soaked, she gets into her car and drives away. cut to: int. Dragan's car - traveling - night Dragan follows Sarah, visibility is now extremely poor. He's having trouble keeping up with her. int. Sarah's car - traveling - night Sarah reaches into her purse and pulls out a pack of cigarettes, they fall out of her hand and onto the passenger side floor. She bends to the floor to reach the pack, losing sight of the road only briefly. When she gets up, she gasps in horror. A car ahead of her has come to a complete stop. She slams the breaks, the car slides, and stops inches from the other car. int. Dragan's car – traveling - night Dragan breaks, narrowly missing a collision with Sarah. dragan Fuck! FADE TO: int. Sarah's house – LIVING ROOM – kitchen – night Sarah drops her equipment in the living room. The house is fashionably decorated, an open concept. Unique in that it has very few dividing walls and much open space. She goes to the kitchen, rummages through the fridge, and takes out a piece of left over pie. She hears a CLICKING sound coming from the rear of the house. Listening very carefully for the sound, pause... it doesn't come again, back to the pie. She makes her way to the living room, again the CLICKING sound, this time she's more concerned. She puts down the pie, her eyes search for a weapon; a fork? a large ashtray? a statuette? None will do... She darts to the kitchen and gets a knife. Pause... cut to:
int. Sarah's house – kitchen – REAR OF HOUSE - night Sarah slowly makes her way to the rear of the house. Carefully, alertly, clutching the knife very tightly. She examines the door, then the windows, all locked and secure. A sigh of relief. sarah (whispers to self) Relax. int. Sarah's house – living room - night Sarah's reading a magazine and forever eating the pie. SUDDENLY she gets a chilling feeling that she saw from the corner of her eye a shadow whisk by the living room. Here we go again! Knife in hand, body alert. She gets up from the sofa, her eyes scan the house, and then she sees it. The hallway closet is slightly open... Cautiously, she makes her way to the closet; using the last nerve in her body she slowly slides the door open. SUDDENLY The PHONE RINGS, she SCREAMS, JUMPS, RUNS to the phone and answers it. sarah Hello... I'm, I'm freaking out... no, getting a creepy feeling someone's in the house... I know... I'm gonna take long bath, and go to sleep early... The shoot went fine. No one there, it was perfect, except for the damn rain... okay make it eight, bye bye. She looks more relaxed, Lights a cigarette and makes her way to the bedroom, passes the closet then stops. Goes back to the closet, and quickly slides the door open. Shuffles through the clothes. No one there, to the bedroom again. int. Sarah's house – bedroom – bathroom - night Sarah takes her sweater off, jeans and socks, revealing her shapely body. Now wearing only a bra and panties. She goes to the bathroom, runs water in the tub and takes her bra off, then her panties. cut to: int. Sarah's house – hallway - night Dragan is hiding in the dark shadows, between two huge bookshelves. His view of Sarah is slightly obstructed. It's apparent now that he does not intend to kill her, just wait for her to go to sleep and quietly leave the house. int. Sarah's house – bathroom - night Sarah enters the bubble bath, the warm tranquil water sooth her weary bones. int. Sarah's house – hallway - night Dragan's eyes continue to watch, his face still wet from the rain. int. Sarah's house – bathroom - night Sarah masturbates in the tub... slowly at first... then faster... she nears climax, her back arches, and her breast come up from under the water, her nipples are firm. She moans... her body squirms... and the orgasm comes. She closes her eyes and savors the moment. int. Sarah'S HOUSE – HALLWAY - NIGHT Dragan is mesmerized by Sarah's erotic bath. What might of have been a kill, has now become a seduction. int. Sarah's house – bathroom - night Sarah gets out from the tub, wraps her body in a large towel, and looks at her self in the mirror. int. Sarah's house – hallway - night Sarah walks past where Dragan is hiding to turn off the lights in the hall. Just as she's going to flick the light switch, she notices the hallway floor is wet. Why is it wet? She wonders... did she do it? She's too tired to get paranoid again. The switch is flicked, darkness. cut to: int. Sarah's house – bedroom - night Sarah walks into her darkened bedroom The gleaming moonlight subtly lights the bedroom. She takes off her robe, and slips into bed, nude. SLOW FADE TO: int. Sarah's house – hallway - night Finally, Dragan's chance to leave the house undetected, he carefully makes his move. FADE TO: int. hotel room – later - night Dragan sits on the bed, thoughts of Sarah arouse him and infatuate his mind. He gets up and splashes cold water on his face to cool down. DISSOLVE TO: int. Dragan's p.o.v. – next day - day Sarah leaves her house, she doesn’t notice Dragan in his car 200 feet away watching her. She gets into her car and drives away, he follows. A SONG is heard. Sarah pulls into a car park at an office building in busy Downtown Manhattan. Dragan pulls into an alley on the opposite side of the street. Parks his car. He lights a cigarette and watches Sarah enter the building, a new SONG is heard. cut to:
ext. downtown manhattan streets – day [NOTE: AERIAL View] Dragan's car following Sarah's car through busy streets. A new SONG is heard with a New York theme. EXT. SELF SERVE GAS STATION – LATER - day Sarah fills her car with gas; all the pumps are in use it's a busy station. ext. self serve gas station – phone booth - day Dragan gets out of his car and goes into a phone booth. Lights a cigarette and pretends to make a phone call while watching Sarah. ext. nightclub – later – night Sarah and her friend Amy Myers a model, tall and attractive, late twenties. Arrive in Sarah's car, both women are alluringly dressed. The VALET takes the keys. Amy gives a brutish looking DOORMAN a VIP pass, they enter the club. Seconds later Dragan arrives, gives the Valet his keys, and goes to the front doors. doorman (blocking the door) Sorry pal, VIP only. Dragan reaches into his pocket, takes out a large roll of money, pulls out two fifty-dollar bills and gives it to the Doorman. He's then let into the club. The club is crowded, the dance music is NON-STOP and loud, the Lights and lasers SPECTACULAR, they're HARMONIOUS with the dance music. Dragan searches for Sarah. cut to: int. nightclub – dance floor – bar - night Sarah and Amy are dancing in a crowd of people. An annoying MALE DANCER late twenties, peculiar looking, loudly dressed, hotly pursues them. He desperately tries to impress them, with his collection of clumsy and poor dance moves. amy (to Sarah, loudly) I need a drink, you want one? Sarah nods her head yes. They make their way through the crowd, to the bar. Their admirer follows close behind. MALE DANCER (to Sarah) Hey, how's it going sexy? Sarah ignores him. male dancer You want some of this? He bops his pelvis to the beat of the music. Obviously completely unaware of how ridiculous he looks and sounds. SARAH Have you any idea how stupid you sound? male dancer What ya mean? sarah Why, would I want some of that? male dancer Cause... you need it! sarah (fooling with him) Yes, I guess I do need it, and so does my friend, can you handle both of us? male dancer Fuck yeah, let's go to my van, I give you both some. amy (cuts in) Get lost, you idiot! Amy grabs Sarah by the arm and leads her away from the fool, he follows behind. amy Why do encourage him? SUDDENLY Dragan collides with the Male Dancer, and rams his fist hard into the guys stomach, robbing the fool of his breath. Not one of the several hundred people in the club notices. Dragan disappears into the crowd; the male dancer crumples and falls to the ground gasping for air. INT. NIGHTCLUB – SITTING AREA - NIGHT Sarah and Amy are sitting at a table smoking and sipping their drinks. Amy notice's Dragan coming to them, he looks so suave, dressed in black, he makes his way through the crowd in a slow motion kind of way. Amy directs Sarah's attention to him. amy Look at this! SARAH Nice. AMY This could be good. int. nightclub – SITTING area - night Dragan joins them he's well received, they engage in chat, it's not heard what they are saying. int. nightclub – ladies washroom - night Sarah and Amy are checking them selves in the mirror. SARAH He's so hot! Amy Be careful hon, and I'm calling you in a couple of hours. You had better pick up, I mean it! (beat) Okay. sarah Okay. AMY Don't waste him, fuck his brains out... I would. The two women leave the washroom. FADE TO: int. Sarah's house – bedroom – later - night Sarah and Dragan are in bed having sex, she's moaning he's moaning... He's on top slowly thrusting deep inside her. She raises her legs high and makes fist with her toes. He thrust faster now, she's panting now. Thrusting faster, panting faster, faster and faster. The bedroom is subtly lit by gleaming moonlight. The panting gets louder the moans longer... she orgasms and wraps her legs tightly around his back, a few final thrust and Dragan orgasms too. He rolls off her, and then a long pause... The PHONE RINGS, Sarah picks up the receiver, on the other end, Amy. Amy (V.O.) Is he any good? SARAH Mmm, Hmm, Yesss. Dragan begins oral sex between Sarah's legs as she's on the phone. She arches her hips, Her body quivers. Amy (V.O.) Are you safe? sarah Ohh, Mmm... yes, yes I am... Ahh, gonna come, gotta go. Sarah hangs up the phone, Dragan brings her to a second ecstasy, She moans loudly. FADE TO: INT. Sarah'S HOUSE – KITCHEN – DAY Dragan is preparing bacon and eggs and pancakes with maple syrup. It's a magnificent looking bright spring day; the sunshine is beaming through the windows. Sarah comes out from the bedroom and joins Dragan, She kisses the back of his neck, her thin silk robe drops to the ground. sarah You hungry? Dragan Yes! She leans back on the kitchen counter, picks up a bottle of maple syrup and pours it between her breast cleavage. The thick syrup slowly streams down her chest, her stomach, and her navel, and then between her legs. She grabs Dragan and pulls him into her nude body, smothering his face with her breast... He licks the syrup between her cleavage... then follows the stream down, licking his way. He goes to his knees and licks her navel... she moves her legs apart and arches her hips, he goes down, lower and lower and lower... cut to: INSERT. BACON SIZZLING IN THE FRYING PAN. Meanwhile he brings her to ecstasy... then the DOORBELL rings. cut to: INT. Sarah'S HOUSE - KITCHEN – LIVING ROOM - DAY Dragan gets up, recovers what he can from the now charred bacon, Sarah puts on her robe and answers the door, it's Amy. amy (to Sarah) Good morning. sarah (to Sarah) Hi. amy (to Dragan) How are you? dragan Good! sarah He cooks too! amy I'm sure he does. sarah Behave. Amy devilishly grins at Sarah. amy Of course. sarah I'm gonna take a shower. amy Take your time. Sarah disappears into the bathroom. Amy pours her self a cup of coffee, Dragan continues to prepare breakfast. amy Need help? dragan No... Almost done. amy (she eyes him) So how long you staying? dragan Going tomorrow. amy That’s too bad... what is it that you do again? She continues to eye him, making no effort in hiding her obvious sexual attraction for him. He picks up on this, she glows of sex appeal. The flirting game begins. dragan Import-Export, mostly eastern European art... Sarah says you’re a model? amy More like was... at 29 it's all but over. Gotta find a rich man, get married, divorce him, take his money and then do it again. She steps closer to him, they're almost face to face. Her deep gray eyes blaze with excitement, locking onto his eyes. mesmerized he takes a step back. dragan Interesting... You want breakfast? She takes another step forward and smiles. amy No, just sex... and coffee for me in the morning. dragan Really?
She takes another step closer to him, his back is now against the wall. She's wearing a stylish silk shirt and no bra, her harden nipples leave an impression on the shirt, her large breast bounce freely with every movement she makes. Her skirt is tight and short, she's not wearing nylons, her legs are long. She takes the spoon out of her coffee cup, and erotically sucks on it. Her eyes still blazing, still locked onto his eyes. Then she drops the spoon it into the sink, smiles at him and takes a few steps back. amy (sighing) I hate sexless mornings. dragan Must be hard for you, on a long hard day. amy Hard and long is the only way I want it. Dragan puts a scoop of vanilla ice cream into his coffee. dragan You want ice cream in your coffee? amy You like ice cream? dragan Love it! amy Are you loyal to just one flavor or do you mess around with others. dragan I like a bit of variety. Amy's eyes blaze again. AMY Mmm, so do I. dragan It's loud... here in New York. Amy I don't mind it, because I get very loud too. Amy goes to the front door, bends down to the floor to read the front page of the newspaper, Dragan admires her firm nicely shaped buttocks, Amy knows he's looking. amy (still reading) So, what do you think, is it nice? DRAGAN (still looking) Oh yes, very nice... I love New York. She arches her buttocks as she flips through the pages. amy You don't think it's too big do you? dragan (still looking) No, it's just perfect. Amy gets up, and walks back to the kitchen with the newspaper. Dragan sets the table for breakfast. A story captures Amy's attention, she takes a seat and reads on. Sarah comes out from the bathroom dressed, still towel drying her hair; she joins them in the kitchen. sarah (to Dragan) Darling that looks great. She kisses him long and hard. amy (to Sarah) Hon, have you read the papers yet? sarah No. amy You know that building you shot Monday. sarah Yeah, why? amy What time did you leave the place? sarah I don't know, ten or something like that. It started to rain I didn't get all... why! What happened? amy Some guy was killed there that night between nine and eleven. sarah What? amy My god! You could of got in the middle of that. Sarah takes the newspaper from Amy and reads the story. Dragan and Amy look on. amy Maybe you should go to the Cops and tell them you were there? Dragan looks on to Sarah with interest. sarah (still reading) What would that help, I didn't see anything. Amy gets up from the table and gets ready to leave. amy Well kids, must go. sarah See you later today? amy Okay, lets go shopping. sarah Meet me at the lab, at about four. amy See you then. Sarah and Dragan watch Amy leave the house. int. police station – later - day A busy police station, lot of activity happening. DETECTIVE SGT. TONY BARAGGA, rugged looking, late forties. Walks up to his partner's desk, DETECTIVE SGT. SAM COLE, bookish looking, late forties. Baragga We got a break! cole What? Baragga Photographer, a woman, taking pictures of the building about the same time the victim got whacked. We have a partial plate number on the car. cole You have any drugs in your desk? Baragga opens a drawer takes out a bottle of aspirin and slides it on the desk to Cole. Baragga What did you get from Immigration? Cole takes a seat, opens the bottle, and pops three pills into his mouth, and crunches on them as if they were candies. cole The guy's from Yugoslavia, here less than a year, his status is legal. Baragga Not gonna be easy getting the Yugoslav government to cooperate, they have a hard on for us. cole Who doesn't? Baragga DNA is not happening, the rain fucked that up. Cole reads the coroners report. cole (still reading) If it's a professional hit, our guy is long gone. Sarah enters the lab, picks up a large 11x14 envelope from a lab technician at the front desk. Takes a seat at a table and examines the enclosed contact sheets and negatives. She's pleased with her work. Shortly after Amy arrives. amy Come on, let's go shopping. The two women leave the lab. ext. city – sidewalk – walking - day amy Where is he now? sarah He's got to finish some business. I'm gonna have dinner with him tonight. amy Is he really leaving tomorrow? sarah He say's. amy Can't you get him to stay longer? sarah I'm gonna try. amy Is he a good fuck? sarah It was incredible, I came three or four times. And he actually comes after I do! Amy Oh god! It takes me six months of fucking the same guy to get four orgasms. Sarah Besides the sex, he's fun. Amy I'm happy for you hon. Sarah After you left this morning, we talked for hours about everything and anything. God he's like a dream. Sarah and Amy enter a ladies fashion store. FADE TO: Sarah and Dragan are sitting at a candle lit corner table. sarah I don't want you to leave. Dragan reaches into his jacket pocket, and pulls out an airline ticket, he places it on the table and lights a cigarette. sarah What's this? dragan Come with me. Sarah examines the airline ticket. sarah Yugoslavia? dragan Yeah... I really wanna spend more time with you. I'm gonna lose my job if I don't go back tomorrow. Long pause... sarah Okay. (beat) Did I just say yes? dragan You did. SARAH Wait a minute, why don't you stay here in stead. Dragan Because I would lose my job. SARAH I could lose my job too. dragan You're an American, you people change jobs as often as you do shoes. In Yugoslavia a job is for a life time. They look at each other adoringly, and then Dragan leans over the table and kisses her long. ext. restaurant – parking lot - night Dragan walks Sarah to her car, the parking lot is poorly lit. Sarah fishes in her purse for keys. SUDDENLY out of nowhere a MUGGER appears waving a knife, he's a large man early thirties, Looks wired. mugger Your purse, bitch. The mugger watches Dragan carefully, Sarah shaken gives him the purse. Dragan looks at the Mugger coldly. mugger (to Dragan) Wallet, if you try something asshole I'm gonna cut you like a pig. Dragan drops his wallet just as the mugger was going to take it. That’s all the diversion he needed to swiftly disarm him and deliver an awesome punch to his forehead knocking the sorry mugger off his feet. Knowing he's beat the Mugger pathetical lay on the ground, making no effort in getting up. dragan Get up... get lost! Surprised, and woozy the mugger quickly gets up, runs down a darken street and disappears. Dragan picks up Sarah's purse and his wallet. SARAH We should have called the police. dragan I know... I just didn't want to spend the night with the Cop's. sarah That was amazing. dragan You okay to go home alone. sarah Sure. Dragan gives Sarah her purse. She unlocks the car, turns around, and kisses him passionately. int. Sarah's car – traveling - night Sarah makes a phone call on her cell. sarah I'm going to Yugoslavia. Amy (V.O.) What! What did you say? SARAH I'm going with him tomorrow. Amy (V.O.) How far are you from home? SARAH Close. Amy (V.O.) I'm coming over, be there in a few minutes. Sarah ends the call, lights a cigarette, and loses her self in thought. cut to: int. Sarah's house – bedroom - night Sarah's packing her suitcase, while Amy watches. amy What do know about that country? sarah I don't care about all that. amy It's crazy to go. sarah I know. amy It's dangerous there! sarah It is dangerous here! amy Hon, you're my best friend, I am just worried for you that's all. sarah I'm gonna be fine. Amy goes through the contents of Sarah's suitcase. amy So, you gonna wear underwear only? sarah No, why? Amy points out to Sarah that all she has packed is underwear, Sarah's dumbfound the women laugh. amy You really do like him. sarah I'm crazy about him. amy Before this gets out hand and maybe even serious, do I get him for at least one bang? sarah Of course, I promise. Amy lights two cigarettes and gives one to Sarah. amy You got anything to drink? sarah Yep, there's some orange juice in the fridge, and I think I still have vodka, somewhere. Amy You want one? sarah Yes. Amy leaves the bedroom. Sarah takes a long drag on her cigarette and stares into the suitcase. int. JFK AIRPORT – BOARDING area – DAY Sarah and Dragan check in their baggage. Amy is seen in the distance coming to them. dragan Ready? sarah Yes. Amy reaches them. amy So, this is it. sarah See you in a couple of weeks. Amy hugs Sarah, and then gives Dragan a gentle hug and a kiss on the cheeks. She whispers in his ear, her hands clamp onto his crotch, she squeezes. amy If anything happens to my best friend, I'll have your balls! She releases his crotch and hugs him harder, and then kisses him long, her tongue deep in his mouth. He doesn't resist, She pulls his body closer to hers, chest pressed firmly against chest, her hand on his buttocks. A light bite on the lip then she pulls away. Dazed, Dragan licks his lip, and looks at Sarah, she doesn’t seem surprised. amy (to Sarah) Sorry hon, had to do that. sarah Of course you did. dragan We gotta go. sarah Bye. amy See you, be good. Sarah and Dragan make their way through security. Sarah turns around and gives Amy a last wave, then she and Dragan disappear in a crowd of people. DISSOLVE TO: ext. Yugoslavia - Belgrade international airport - night A plane lands on the runway. cut to: int. Belgrade international airport – customs - night Sarah and Dragan collect their baggage and proceed to customs. A stone-faced CUSTOM OFFICER early fifties examines their passports. custom officer (to Sarah) How long you staying in Yugoslavia? sarah Two weeks. The custom officer stamps both passports, then studies Sarah. custom officer What is your purpose here? sarah I'm visiting. custom officer How much money did you bring? sarah About 1000 dollars cash and I have a couple of credit cards. custom officer Go! Sarah and Dragan walk to the exit, where two men meet them. Savo a large powerful but yet gentle looking man, early thirties. Rade a sleepy eyes pale deathly looking man, early thirties. Both are very well groomed and sharply dressed. They take Sarah and Dragan's Baggage. dragan (to Sarah) This is Rade, and that's Savo. sarah (to Savo) Hi. savo Good to meet you. The two men shake hands with her. rade Hello. SARAH Hi. The four of them exit the airport building, and get into a waiting Mercedes. Sarah's first impression of Belgrade, as seen from the window of a moving car. A Serbian song is heard. int. Dragan's apartment - night Dragan drops the Baggage on the floor and shows Sarah the apartment. She follows him around with interest. dragan Every thing you need is here except food, we need to go shopping. Sarah grabs hold of him, she's horny. sarah Lets fuck! dragan Lets... She releases him, climbs up on a large impressive oval oak dinning table, and takes her shirt and bra off, he drops his pants and underwear, then pulls her jeans and panties off. She moves her legs apart, he climbs up on top of her on the dinning table. cut to: int. New York – police station - night Cole's, on the phone. Baragga sitting across from him at his desk, going through a stack of files. cole All right, tell them to sit tight, if she makes a move before we get there detain her. Cole hangs up the phone, writes down an address in his notebook. cole We got her, there's two uniforms waiting for us there. Baragga and Cole pull their car up behind a marked police cruiser. They walk over to the two waiting NEW YORK COPS. BARAGGA Let's do it! The two Uniform Cop's, Baragga, and Cole walk up to Sarah's front door. Cole rings the doorbell then knocks. They all wait... cole (to Baragga) What do you think? Baragga I'm going to the back, one of you come with me. Baragga and one of the Uniform Cops go to the back of the house. Cole looks through the window then knocks again. Still nothing... cole Go see if the neighbor's know where she is? The Cop walks across the front yard to the neighbor's house. FADE TO: int. Belgrade – Dragan's apartment - day Dragan's at the door ready to leave. dragan I can get some days off after today. sarah Cool. Dragan gives her a piece of paper. Dragan If you need me, this is my cell number. Be careful where you go with your camera, stay in crowded places. He kisses her goodbye then leaves the house. int. branko matic house – library - day BRANKO MATIC is a tall stocky man with icy cold eyes, harsh voice and numerous facial scarring, walks with a limp, early fifties. He called a meeting, although he's not present yet. An assembly of highly ranked members in his organization begins to sporadically arrive, filing into the specious library. Dragan is there too, but he's keeping to him self, sitting on a sofa sipping Turkish coffee. There's small talk among the members, it's not heard what they are saying. They're drinking Turkish coffee, some even brandy, most are smoking. The library quickly fills with a thick mist of smoke. All the men are well groomed and sharply dressed. (continuing) After a short period, the last of the members arrive. Fourteen in all. INT. BRANKO MATIC HOUSE – FRONT ENTRANCE – STAIRCASES - DAY Branko briskly comes down a magnificent staircase. He's met by his bodyguard BOJAN, a large, eerie looking man. bojan They're all here. branko Good. The two men make their way to the library. int. Branko matic house – LIBRARY - day Branko and Bojan enter the library. The small talk stops. All the men take there're places, they quietly wait for Branko to start the meeting. branko People... I'm getting tired of hearing about the same problems. (beat) We're loosing too much ground, if this shit continues we will have about the same amount of respect as a punk ass kids gang does. (beat) Branko lights a cigarette and hovers around the room. Darko, I want you to go to Germany with Dragan next week. Take out that pig Anton. DARKO is a simple ordinary looking man, late thirties, but looks deceive, in fact, Darko is a cold proficient very sadistic killer who enjoys his work immensely. He's dissatisfied with Branko's order, he considers him self a lone operator. He particularly doesn't like to work with Dragan. The two men don't need to exchange words, to sense the animosity between them. darko (looking at Dragan) I can handle it alone. Irritated, Branko looks at Darko coldly. branko No, jackass you can't handle it alone. He knows you're coming he's well guarded. And there the argument ends. Branko Milan, why the fuck are we getting police pressure lately? MILAN is a small man with a big voice, late forties. He takes a long drag of his cigarette and puts it out. milan It seems the commander wants more money. BRANKO Have his dog killed, cut its head off. milan Done. Branko Boban, how much have we lost to the fucking Russians? BOBAN is a mean looking large man, late forties. boban More than you want to know chief... Boban flips through pages in a file and finds the figures. boban Last week they hit us for almost 800,000 last month a little over 600,000. We lost nine men all-together and seven clients, and a lot of equipment. Branko Set up a counter ambush on the next run, make sure there's a lot of body parts for them to clean up. When its done call that idiot Vladimir and tell him the high jacking stops now, or a war starts. Branko Rade, tell me something good about Kosovo.
rade It's not good, we're not dealing with regular army. Milosevic has Special Forces there. branko (to Savo) How safe is our product over there? savo We gonna lose it all, if NATO bombs. If they don't, we can get it back as soon as the Special Forces leave. branko Can we take it out in small quantities? savo I don't think so, at least not with out causalities, we don't want to fuck with Milosevic right now. Branko turns to Boban. Branko How much do we have there? boban Over 10,000.000 Branko's eyes burn with fury, he lights another cigarette and looks at MARKO who seems uninterested in the meeting. Branko You're my son, you will not be treated any different from anyone else here, Listen to me carefully. (beat) I will not tolerate you killing anymore women... what the fuck is your problem anyway. Can't you just fuck them and leave them alive like everyone else? Marko is a tall muscular man, early thirties. He's not blessed with good looks. He hides his embarrassment well, rolls his eyes, and takes another sip of brandy. Everything about Marko is evil. On his best behavior he's a ruthless mobster on most nights he's a dangerous sexual predator.
Branko Are we clear on this? Marko silently acknowledges him. cut to: MONTAGE. A song is heard. 1. Sarah walking about the city. 2. Sarah taking pictures of the Marshal Tito Monument. 3. Sarah eats a sausage in the park. 4. Sarah buys clothing in a ladies fashion store. 5. Sarah taking directions from a helpful police officer. cut to: int. Dragan's apartment – bathroom – night Sarah's soaking in a warm bath, her breast are peaking out of the water pointing high. Dragan enters the bathroom holding a red rose. dragan Hello beautiful! sarah Hi babe! He gives her the rose, and goes to the sink washes his hands and face, she smells the rose. sarah (glimmer in her eyes) Come here. Dragan looks at her suspiciously, and comes closer. She pulls him into the bathtub clothes and all. They kiss enthusiastically while Sarah takes his clothes off. FADE TO: iNT. New York – Amy'S APARTMENT - DAY Baragga and Cole are at Amy's apartment. Baragga knocks on the door, Amy answers. cole Amy Myers? amy Yes? Cole and Baragga show their Police ID. cole I'm Sgt. Cole, this Sgt. Baragga, can we talk to you about Sarah Hoffman? AMY Yes, Come in. She leads them to the living room, a million thoughts race through her mind, the three of them sit. amy What happened? Is she okay? cole We don't know, she's not at home, do you know where she is? Baragga takes out his notebook and begins to take notes. amy She went to Yugoslavia. cole When? amy Three... four days ago. Baragga Did you actually see her go? Amy Yes I... went to the airport, is she okay. cole Has she been in touch? amy I spoke to her yesterday? Baragga Why did she go there? amy She met a guy, he's from there. cole This guy have a name? amy Dragan, don't know his last name. Amy notices a small piece of hashish she forgot to put away by a large ashtray on the coffee table, a couple of feet from Cole. She becomes nervous about it. cole Notice anything different in her behavior? amy Yes... she's in love, can you please tell me what's happened. Amy looks at a Pack of cigarettes on the coffee table. A cigarette would help immensely right now. She dares not light one up, it may draw the Cop's attention to the ashtray and then the hash. baragga As far as we know she's alright. cole Can you reach her if you had to? Baragga notice her sudden nervousness, he studies her hard. amy No, I don't have a numb... what's this about. cole There's been a murder, she may have been at the scene and might have even witnessed it, we don't know. That’s why we need to speak to her. amy We read about that... before she left. Baragga Why didn't she come to us? Amy She didn't see anything. Cole gives her a card. cole When she calls again it's very important that you have her call us. So that we can put a conclusion to this. amy Of course. Baragga puts away his notebook, and the two detectives getup, Amy sees them out. int. cole's car – traveling - day Cole and Baragga are in stop and go traffic. Baragga It seems we have a suspect. cole This character Dragan, yes, the photographer... I don't know. Baragga The Myers girl is sweating. cole She was worried we might see the hash. Baragga You saw hash? cole Yes, by the ashtray on the table. Baragga If this Dragan doesn't come back it's over, we can't touch him over there. (beat) She's the key to have him come back. cole Assuming that they are in some kind relationship and he didn't take her over there to end her.
BARAGGA We fucked up, I think... If the Myers girl talks to her and this Dragan character finds out, it might spook him. COLE Assuming he's our guy in the first place. BARAGGA He's the best we got right now. Cole takes out a bottle of aspirin from his jacket pocket. He pops three pills into his mouth and crunches on them. int. Belgrade - Dragan's apartment – bedroom - night Sarah and Dragan are having sex, a Song is heard. Sarah's knelling over him, he's inside her, she moans, he moans. Her breast hang teasingly over his face, her hard nipples brush his lips... she rides... she rocks and grinds... she arches her back now, her head drops back, she grinds and grinds harder... his orgasm comes... then hers. She dismounts and snuggles up to him, he kisses the top of her head, and pause... she looks into his eyes. sarah I think... I'm falling in love. dragan I am in love. sarah Are you sure you're not mixing up a good fuck with love? dragan No, I don't think so. sarah You're so mysterious, I really don't know anything about you. dragan There's not much to know. SARAH When do I get to meet your parents? dragan Tomorrow. She kisses his lips gently and curls up beside him, resting her head on his broad chest and closes her eyes. FADE TO: ext. Belgrade police COMMANDERS house – next day - day The Belgrade police commander is a tall wicked looking man, early fifties. He's in full colorful uniform, he briskly walks to his car. Opens the door and discovers the decapitated head of his dog in a pool of blood on the seats. Infuriated he slams the door shut, takes a long drag of his cigarette, flicks it away, and walks back to his house. Dragan gets out of his car, opens Sarah's door, she gets out bewildered about why they're at a cemetery. He takes a beautiful arrangement of flowers out of the trunk then they proceed to make their way through the well-kept grounds of Belgrade's most exclusive cemetery. SARAH Sweetheart, what are we doing here? dragan You said you wanted to meet my parents? sarah I'm sorry. Now at the graves of Dragan's parents, pause... Dragan They were killed when I was thirteen. (beat) They were having lunch with my father's friend at a restaurant. Two Albanian Hitmen came in to kill some mobster, who just happened to be sitting close to where they were. (MORE) (cont'd) There was a lot of gunfire between the Albanians and the mobster's bodyguards. My parents were killed in the crossfire, so were a lot of other people. (beat) My fathers friend survived. He took me in after that day and later adopted me. I was well taken care of... went to college in California when I came back he gave me a job with his company. I never called this man father, but that's what he really is... I owe him a lot. Dragan kneels down to his mothers grave kisses the tombstone then kisses his fathers tombstone. He lays flowers on both graves and Gets up, Sarah holds his hand. dragan They would have liked you... Sarah could say nothing. dragan My father was a well-liked and respected university professor. My mother was a beautiful woman. (beat) It's not right that they should be dead. FADE TO: INT. Dragan'S APARTMENT – BEDROOM – LATER - NIGHT Sarah and Dragan are getting ready to go out for the evening. She's Dressed Provocatively, He Suavely. dragan You look, good! sarAH So do you. Dragan kisses her, his tongue in her mouth... He unbuttons her blouse and slips her bra off. Her breast burst out... he kisses her neck and then goes down to her breast, her nipples are firm, he sucks them... She loosens his belt and unbuttons his pants...
sarah I've not been laid so consistently all my life. I can let you do this to me forever. They drop on to the bed and peel the rest of each other's clothes off. FADE TO: int. movie theater – FOYER – night The Theater, a grand old lady, it's quiet. No one in sight except for the front foyer staff. A period of calm... Then suddenly, doors burst open and a loud herd of people floods the foyer. Among them are Sarah and Dragan they follow the crowd to the exit. ext. sidewalk – walking - night Sarah and Dragan are walking and talking, going toward a bridge on the Dunav River. It's a pleasant night, as they walk farther away from the Theater fewer people are seen, by the time they reach the bridge they are alone. dragan Have you ever stopped and really looked at something hard, and seen it in a different way, than you normally would. Seen the beauty of it. sarah I'm a photographer I see things differently all the time. dragan See that bridge? On first glance, it seems ordinary, but if you look at it longer in a different way, it's really special. (beat) the bridge has a lot of character but you can't see it, unless you want to see it... It's a survivor, it was built in the early nineteen hundreds. It survived two world wars, a lot of car accidents, vandals... To this day, it sits there doing its duty faithfully, and no one stops to really see the beauty of it. sarah Wow! you just made me fall in love with this bridge. They arrive on top of the bridge, and for a while admire the Dunav River running swiftly but silently under them. dragan Would you (beat)
[NOTE: CLOSE UP OF DRAGAN'S HAND IN HIS POCKET] Dragan reaches into his pant pocket and begins to pull something out, but then changes his mind and stops. I want... sarah Darling what? dragan Would you stay longer? sarah As long as you would want me to. Sarah looks at him with glazed eyes, the moment is perfect. She puts her arms around him and kisses him long. INT. / EXT. Dragan'S CAR – NIGHT For a long while Sarah and Dragan are silent in the car, a SONG is heard. Both are thinking of something. Sarah breaks the silence and speaks her mind. SARAH Do you mind that I'm American? Dragan No, not at all. sarah Is the sex good? dragan The best I ever had. sarah So, you wouldn't get bored?
dragan Fuck no, I've been carrying a permanent hard on, since I met you. SARAH Do you use drugs, get pissed drunk often, beat women or expect your wife to stay at home? dragan None of that. sarah Wanna marry me? dragan Yes... yes I do, more than you know! Sarah You like Kids? dragan Love them. sarah You wanna make babes? dragan Several! sarah How about three? dragan Three's good. sarah Would you live in New York? dragan For sure! SARAH You can fuck my best friend, once! Before we get married... and never again. dragan I just want you.
Dragan reaches into his pocket and takes out the most beautiful diamond ring Sarah ever saw. Even in the dark car the huge diamond sparkles magnificently. She's breathless, he puts it on her finger. A joyful tear streaks down her cheek, he wipes it away. Dragan I was gonna ask you earlier, on the bridge, but I lost my nerve. Sarah looks at him, the words don't come, but her expression says all. A NEW SONG is heard. Sarah leans her head on Dragan's shoulder as he drives. SUDDENLY a police siren SCREAMS, BLUE LIGHTS FLASH, a police car is behind them. Dragan pulls over to the curb. The police car stops closely behind them. Dragan Whatever the hell I did, could only cost money. This won't take long. Dragan opens the window, they wait... the Cops don't come. dragan I want to own a video store, don't care if it makes money or not. Just wanna watch the movies. What do you want? sarah Only to keep what I already have now. I love my job, love being with you. The Cops still don't make a move. Dragan becomes suspicious, something's not right. He lights a cigarette and continues to wait patiently. Then, another car pulls up in front of them, they're boxed in now. detective 1, a vile looking, sturdy built man, late thirties and detective 2, a crabby face, medium built man, late forties, Get out of their car, and stand in front of Dragan's car. The two Cops behind him get out of their car and come towards them. Belgrade Cop 1, a medium belt ordinary looking man, late twenties, comes to Dragan's side of the car. Belgrade Cop 2, an awkward looking pudgy man, late forties, goes to Sarah's side of the car. Belgrade Cop 1 Get out of the car! Dragan complies. Belgrade Cop 2 knocks heavily on Sarah's closed window, motioning to her to get out of the car. She does. dragan What are you doing? Belgrade Cop 1 Shut up and turn around, hands on the roof. Belgrade Cop 1 searches Dragan and finds nothing. The other Cop over zealously searches Sarah. He removes her high heals, runs his hands slowly up her long legs unsettling her and Dragan too. dragan (to Belgrade Cop 2) Hey! Asshole... take it easy? The Cops hands go under her skirt and into her panties. Belgrade Cop 2 Mmm, she has a nice bush! Sarah can take no more, she twirls around and smashes the Cop's head with the best fist she could form. He loses his footing and falls to the ground. The two detectives standing back observing laugh at him. Embarrassed he quickly gets to his feet and punches her in the eye, she drops to the ground like a rock. Dragan reacts wildly! Easily disarming and putting down Belgrade Cop 1. The two detectives rush Dragan, the three engages in a hand-to-hand fight. Dragan gets the better of the two detectives, beating on them madly. Belgrade Cop 2 draws his gun and fires two shots into the ground, close to the struggle. Dragan stops, the two detectives use the pause to overpower him, sending him to the ground. Then they brutally kick him and kick and kick. SLOW FADE TO:
int. Belgrade police station – later - night The police station is hectic, phones RING, people YELLING and RUNNING around. A constant flow of prisoners is lead in. Sarah's seen visibly shaken, holding a towel to the cut above her eye. A butch looking female Cop, early thirties, interviews her. It's not heard what they are saying. Four angry men storm into the police station, Milan, Boban, Rade, and Savo. They immediately argue with the senior cop at the front desk. It's not heard what they're saying. The Police Commander comes out of his office, livid he points to Milan to come with him. Boban and Rade continue to argue with the Cop at the front desk. Milan disappears with the commander. Savo notices Sarah across the room, he goes across the room to her. SAVO (to Sarah) What happened sweetie, what did they do to you? Sarah doesn’t answer, she looks up at him. Her eyes are filled with tears. She remembers him. Savo becomes even more angered when he sees the nasty cut above her eye. He shouts out loudly. savo What faggot here, beat on this woman. His question goes unanswered. SAVO Why don't you try me? Fucking coward. Again his enraged voice is ignored. He then takes Sarah by the hand and brings her to Boban and Rade, he's watched carefully by the Cops, but no one interferes. Soon after two Cops lead heavily bloodied badly beaten Dragan down the hall, the Police commander and Milan come out of an office. Sarah runs to Dragan and embraces him. Police Commander Tell Branko it was a mistake to kill my dog! Now get the fuck out of my station. boban Fuck you! Suddenly Dragan collapses, Sarah screams, Milan examines him, it's not good. milan Call an ambulance, now. The situation is chaotic; Savo and Rade take the now hysterical Sarah away from Dragan, and out of the building. They put her in a waiting car and the three of them drive away. int. Dragan's apartment – living room – night Savo and Rade and Sarah enter the apartment. cut to: int. Hospital – emergency RECEPTION area - night Boban, Milan, and two ambulance attendants rush Dragan into a busy emergency reception area. Injury and pain is seen and heard everywhere! A tired and weary looking doctor late forties meets them. doctor Let me take care of him now, you can't help him anymore. Boban grabs the weary doctor by the neck. boban Listen Doctor, he better live or you won't. The Doctor unfazed by the threat shrugs Boban off, and proceeds with Dragan and the two ambulance attendants in the emergency treating room. int. Dragan's apartment – living room - night Sarah silently sits on the sofa. Savo and Rade are seen having a drink on the balcony, they're talking, it's not heard what they're saying. The numbness in Sarah's mind has faded. Her head fills with Questions, how can so much bad happen so fast? What's going to happen to her now? What about the man she loves, will she ever see him again? For the first time the situation becomes clear to her. She realizes that she's in trouble and alone, in a foreign and seemingly crazed country. (continuing) Marko and his bodyguard DUSKO a large menacing looking man late thirties, enter the apartment. Marko (to Savo and Rade) What the fuck happened? savo Cops beat the shit out of Dragan and his friend. marko Where's he now. savo They took him to the hospital. marko How bad? savo I don't know, but it's not good. Marko lights a cigarette, then studies Sarah. Nothing is said for a long time, then he breaks the silence and offers her his lit cigarette, she takes it, and he lights another for him self. marko It's gonna to be fine, okay. He move's her messed up hair away from her eyes, and strokes her head gently, displaying unusual care and sympathy in trying to comfort her. SARAH I wanna go see Dragan, can someone please take me? marko (to Savo) Who's at the hospital? savo Milan and Boban. marko (to Sarah) We're gonna wait to hear what happens. SARAH I wanna go now? marko We wait. Sarah studies the four men, a cold uneasy feeling of danger rushes through her body. sarah Who are you people? marko What? Dragan didn't tell you? SAVO (to Marko) Don't! marko Why not? She should know. Savo's disgusted, he turns away and goes to the balcony.
marko Your boyfriend is a killer, and he does it so very well. He's a Hitman. And with that, shock and bewilderment consume Sarah. RADE (to Marko) Let it go. marko Fuck off! RADE You're an asshole! Rade lights a cigarette and joins Savo on the balcony. marko I suppose he didn't tell you about me? I'm his brother. Sarah heard enough she gets up and wants to leave. A million not so good thoughts race through her mind. marko Where you going? sarah Ah I'm, I'm sorry I have to leave. MARKO I think you should sit down and wait to hear what's up with Dragan. sarah Yes, ah I'll call the hospital and go visit him later, I really should go. marko What hospital is he in? sarah What? marko What hospital is he in? sarah I'll find out! marko How? sarah (pleading) Please let me go. marko (sharply) Sit fucking down, and wait. Sarah sits, Marko takes a seat across from her and watches her closely his dark ire lifeless cold eyes unease her. marko Does he fuck you good? Fear creeps through her body. She doesn't answer. marko You think he's better looking than me? Again she doesn't answer. marko Hey! I'm talking to you! Savo comes inside from the balcony. savo Leave her alone. marko What's your problem? savo You, you fuck! marko What do you care about some American bitch? savo I don't, but she's your brothers friend and that I do care. marko You need to respect me more, I'm your boss! savo You’re a piece of shit, your father is my boss! Do you understand that? Rade's cell phone rings he answers it. rade Yes... when... let me know right away. Rade ends the call, the three other men turn to Rade with interest. rade Dragan's in bad shape, he might not make it. Pause... Marko breaks the silence. marko Well that’s that... you guys wanna fuck this bitch? The suggestion doesn't go well with Savo and Rade. SAVO Touch her, and I'll probably kill you. MARKO Boys this is not good. The bitch already pussy whipped you and you didn't even fuck her yet! A dangerous stand off develops. Rade Stop with this shit. Tension is high between the four men. marko (to Dusko) You wanna fuck this slut? dusko Yes. SAVo Back off! I won't say it again! MARKO Dusko, if he makes a move on me kill him. rade Not a good idea asshole. Rade glares at Dusko. marko Are we going to kill each other over some American cunt! No one answers, Marko moves toward Sarah. She gets up from the sofa, she knows she must do something, before these perverted homicidal maniacs decide her fate. Marko gently strokes his open hand on Sarah's cheek, she apprehensively allows him to do so. Then without warning, with great fury he slaps her face. The smack echoes loudly through the living room. Then he slaps her face again even harder, and then is about to slap her a third time but his hand stops in mid air, because suddenly his revolver is pressed firmly to his forehead. Sarah was able to reach Marko's gun tucked in his pants. Dusko draws his gun and aims it at Sarah. Savo and Rade draw their guns and aim it at Dusko, the moment is tense. Demented as he is, Marko finds the predicament amusing. Marko Baby, pointing a gun at a man is useless if you don't pull the trigger... can you pull the trigger.
(continuing) Sarah nervously steps back and grips the gun tighter, she's terrified. Marko looks at Dusko and signals to him to put away his gun. Dusko holster the gun, Rade and Savo lower their guns but still hold them in hand. Marko steps forward closer to Sarah. sarah I may be scared, but I'll shoot you, have no illusions about that, you slob. Marko stops, less than three feet from her. A long pause... Then SUDDENLY in lightning quick speed Marko makes his move, Sarah pulls the trigger, but no shot is fired. Marko disarms her before she could pull the trigger again. He then knocks her to the floor she crashes hard. He is now standing over her, Savo and Rade don't interfere. marko The only thing worse then being killed, is being killed by your own gun... I keep the first chamber always empty, just in case I happen to lose my gun. One of the very few useful things my father taught me. (beat) your gonna be fucked hard bitch. He pulls her up by the hair, she fights, he puts her in a headlock, then drags her towards the bedroom. marko Dusko give me a hand. Rade blocks Savo from raising his gun at Dusko or Marko. rade Stand down, it's not worth it. Dusko punches Sarah in the stomach, knocking the wind out of her. She's more manageable now; Marko drags her to the bedroom Dusko follows. cut to: int. Dragan's apartment – bedroom - night Marko rips off her blouse and bra, her breast point high. She struggles to free her self from his control. He slams her on the bed, face down to the mattress, feet on the ground. He moves her legs apart and arches her buttocks, then rips off her skirt. He takes a knife out his pocket, and cuts off her panties tossing it to Dusko. She desperately tries to break lose but its no use. She's way over powered. Dusko repeatedly punches her in the ribs and leans on her hard. Marko presses the tip of the cold sharp blade on her buttocks and breaks the skin, blood streaks down her shapely buttocks. He dabs his finger in the blood then licks it. He drops his pants and proceeds to enter her from behind, the sound of his groin slapping against her buttocks is heard. Her dignity, her body is being raped. INT. Dragan's apartment – living room - night Savo is pacing, clearly disturbed about the matter, he and Rade cannot in good conscience let this assault continue but if they tries to stop it someone would be killed. They let it continue. int. Dragan's Apartment – bedroom - night Marko has an orgasm, he pulls out of her, then slaps her firm buttocks. marko That was good! Marko gives her to Dusko, by now she's exhausted and frozen in shock. She has no more strength to resist, there's no need to hold her down any longer. Dusko drops his pants and arches her lifeless buttocks. dusko Christ, what a sweet ass! marko She's nice and tight too.
Marko tucks his shirt in, and buttons his pants while Dusko proceeds to penetrates her hard from behind... Marko pulls her head up by the hair, and discovers she's not conscious, he laughs... marko You fucked her to death. DUSKO What? marko She's dead you idiot, lets go. Dusko does a few final thrusts and pulls out. Disgusted he spits on her limp body. INT. Dragan's APARTMENT – living room - night Savo and Rade are silent, their faces tell all. Marko and Dusko come from the bedroom. marko That was a sweet fuck, I can get used to American pussy. (beat) My brother always did get the best cunts. savo If he lives, he's gonna kill you! marko Clean up the mess, and get rid of the body! savo You killed her? You killed her, you asshole. Marko Not me, she was alive and kicking when I was pumping her. Dusko fucked her to death. dusko I barely did the slut, she just checked out. Marko blows Savo a kiss and he and Dusko leave the apartment. savo Go on, go home... I can take care of this. rade You sure? savo Yeah. Rade leaves the apartment. Savo lights a cigarette and sits back on the sofa he's clearly disturbed. int. Dragan's apartment – bedroom - bathroom - night Savo enters the bedroom, Sarah's nude body is pathetically draped over the end of the bed. He picks her up and begins to roll her up in the blanket, SUDDENLY she AWAKES, she's alive! She had only blacked out from shock. He knows there's nothing he can say to her. He picks up her exhausted body and carries her to the bathroom, she gives him no resistance. He places her in the tub and runs water in it. Then gives her a bar of soap, she does nothing with it. He then applies the soap to her body. She looks up at him, Provoking emotions Savo has never felt before. He's consumed by guilt, and hateful of him self for what happened and his lack of intervention. She takes the soap from him and continues to apply to her body her self. He leaves the bathroom. INT. Dragan's apartment – kitchen - night Savo lights two cigarettes, puts one in Sarah's mouth then prepare coffee for them. savo You going home, I'll take care of it, get you out of Belgrade. EXT. Dragan'S APARTMENT - NIGHT Savo puts Sarah's suitcase and photography bag in the back seat of his car, helps her in then gets in him self and they drive away. cut to:
int. Savo's car – traveling - night Savo and Sarah are silent, nothing is said as they drive through the streets of Belgrade. Then suddenly a loud screeching air raid siren sounds, and will continue to blare for the rest of the night. Savo pulls his car over to the curb. ext. top of hill - Belgrade city - night Savo gets out of his car, Sarah remains seated. He looks up into the clear night sky, nothing happening, then looks at the magnificent Belgrade skyline. All seems normal. He gets back into his car and drives away. Savo gets out of the car, runs inside the travel agency. As seen through the window of Savo's car. Traffic increasing, streetlights shutting down, people running on the streets. Buses are not stopping at their stops, chaos everywhere. She opens the door and slowly gets out of the car. Savo runs out of the travel agency and discovers Sarah is no longer in the car, frustrated he kicks his car then looks down the street, she's gone. As seen through his windshield, Sarah’s walks down the street towards a large build up of Yugoslav army personnel. He stops his car in front of her. cut to:
int. Savo's car - night Savo's car runs out of gas in heavy traffic. savo Fuck! What now! suddenly another car slams into them from behind. Savo looks over to Sarah she's alright, then he grabs her suitcase and photo bag and gets out of the car. ext. Savo's car – in traffic - night Savo opens Sarah's door and helps her out of the car, then they go to the car that hit them. savo Come on, we're changing cars. The driver of the other car meets Savo face to face, Savo points his gun to the other drivers forehead. savo Patriot, I need your car. The frightened man surrenders his car, Savo and Sarah get into the car, Savo aggressively drives up onto the sidewalk and across a park lawn and disappears along a bicycle path leading into a wooded trail. int. hotel lobby – later - night Savo's seen talking to a group of American journalist. It's not heard what they're saying, he points to Sarah, she's sitting in chair about 100 feet away. ext. hotel main ENTRANCES - night Savo kisses Sarah in a traditional Serbian three kisses to the cheeks, holds her hand then wipes away a stale tear from her face and helps her into the car. savo Sorry... He steps way from the car; his eyes don't leave Sarah. The car drives away. cut to: int. Laura's car – traveling - night Sarah begins her journey out of Yugoslavia by car with American journalist Laura WHITMAN, a chic looking woman late forties, and PETER CARSON, a boyish good-looking man early thirties. Their Serbian driver is Goran a small cagey man with large droopy eyes. Everyone is silent as they race through the streets of Belgrade. Suddenly a huge explosion rocks an office building a couple of hundred feet from their moving car. Goran stops the car, he's visibly shaken; the others look through their widows and watch the destroyed building engulfed in furies flames and thick smoke. No one says anything. INT. Sarah'S P.O.V. THROUGH WINDOW OF MOVING CAR - NIGHT Sarah begins to grasp what's happening, when she sees the very bridge Dragan thought so highly of. The bridge that survived two world wars, countless car accidents and vandals. The bridge, it's barely standing now, damaged severely from a cruise missal hit. It looks a sad sight. int. Laura's car – traveling - night Goran is driving aggressively dodging cars and frenzied people flooding onto the streets. He narrowly avoids a collision with a bus. On this night, there are no traffic laws, only pandemonium. laura (to Sarah) Do you know what's happening? Sarah nods her head yes. goran We have two, maybe three hours before the army gets organized. If we're still in the city then, it will be a bad time to be an American in Belgrade. Goran slows the car then stops, there's a long line of cars waiting to cross a bridge. laura What's this? goran I thought it was going to be like this. Sarah's asleep, her head resting on Peters shoulder, he's frustrated with their lack of progress getting out of the city. peter Do we have to cross the Damn bridge? goran Yes, if you want to leave Belgrade by car! There are other bridges but I'm sure same kind of traffic. laura Alright, it's only one bridge, we wait it out, cross it, and get the hell out of the city. goran It's not a good idea to wait to long here, we're all sitting ducks. I'm sure NATO's got this bridge on their target list. peter Well than, that’s fucking great. Some cars ahead of them are trying to get out of line and go back. Goran sticks his head out the window for a better look ahead. He quickly pulls his head into the car rolls up the window and locks the door. goran Close your windows lock your doors. laura What's happening? goran Trouble. peter Where? goran Just ahead, gangs are attacking cars! peter You gotta be kidding! laura Get us out of here. Goran makes a sloppy three point turn ramming into the car behind him and ahead of him. He gets out of line narrowly avoiding collisions with several cars, then drives away. Goran stops the car, they're in a small village, its been destroyed by NATO. The sight disturbs them all except for Sarah who is still sleeping. laura Why did we stop? Goran points to the tail end of an army convoy leaving the village. goran We don't want to follow them, they're targets. laura NATO did all this? to get them? All around them there's destruction, furious fires, thick smoke, injury, pain, and death. A bloodied woman is seen weeping holding a badly charred dead infant. peter That’s brave of the mighty Yugoslav army, to take shelter in a village and expose their people to danger. goran It's brave of mighty NATO to bomb a small farmers village just to get an army convoy that probably has little or no strategic significance. (beat) This is going to be an ugly war... laura Please, just lets go, let's go. goran We can go another way, a bit farther, over the hills. It's much safer. cut to: int. Laura's car – traveling - night The car races around a winding road, high in the heavily wooded hills. peter (to Goran) Can we stop, I need to take a leak. Goran stops the car, Peter gets out and walks into the woods. It's quiet, and very dark, Peter does his business, as he wraps it up he sees a red laser light cutting through the darkness, beaming high into the sky. It spooks him, he rushes back to the car. peter There's something going on, in there. I saw... Before he could finish his sentence a flurry of surface to air missiles are launched from deep in side the woods, then an incredible explosion high in the sky. The missiles hit something, it's not clear what. A raging fireball comes crashing to the ground about 800 feet away. peter What the hell is that? Goran speeds away from the scene. int. YUGOSLAV air space – kosovo - night Six fighter jets rocket through the night sky, American markings are clearly seen on what looks like F-16's. int. Laura's car – kosovo - night The SONIC BOOM of the approaching Six American fighter jets is heard in the car, Goran Turns off his headlights and pulls the car over to the side of the road. goran If I give you the word, get out of the car and go for cover fast. peter Are those NATO planes? goran Probably. peter They wouldn't shoot a civilian car! goran Are you willing to risk your life to find out? ext. Laura's car – side of narrow winding road - night The sound of the fighter jets gets louder, they're getting closer. Then suddenly a barrage of antiaircraft ground fire from deep in the woods sets the night sky afire, the F-16's separate from their formation. One of F-16's is hit but still able to maintain flight, they quickly disappear, the ground fire stops. Shortly after, a camouflaged all-terrain Yugoslav army Reconnaissance truck comes barging out of the woods. The truck's rooftop mounted searchlight is beamed directly at Laura's car. int. / EXT. Laura's car - night Goran reaches into the glove box, takes out a gun, and puts it under his lap. He glances to the blinding light beamed directly at them and sees soldiers getting off the truck. goran Say nothing, let me talk. Then again a barrages of antiaircraft ground fire from deep in the woods lights the sky. Goran uses the diversion to start his car and speed away. goran Down, everyone down! EXT. yugoslav army reconnaissance truck - night The soldiers open fire on Laura's fleeing car, taking out the taillights and shattering the rear window. Then a huge explosion takes out much of the woods and the entire area where the soldiers are. The blast is so furious that a gust of wind jolts the speeding car; Goran barely recovers control and races down the winding hill. A brilliant glow of light is seen behind them. cut to: EXT. YUGOSLAVIAN - MACEDONIAN BORDERS - day Great Chaos, The Yugoslav and Macedonian army's trying to keep order on their respective sides. Fighter Jets are heard rocketing through out the dark night sky. A very tired Yugoslav border guard early twenties leans into the Groan's window and looks into the car. laura (shows press ID) We're U.S. Press, we have been ordered out, may we pass? The guard takes a long look at the battered bullet riddled car, then waves them through. They enter Macedonia. ext. macedonia – U.S. embassy - day Laura's car stops in front of the U.S. Embassy building. There's a lot of activity happening around the building, more U.S. Marines than usual is seen on guard. Laura gets out of the car and walks up to a Marine. Sarah looks at her large diamond ring on her finger then through the window of the car, she sees the U.S. embassy building, the high iron gates, and then the large American flag waving gloriously. ext. macedonia – U.S. embassy - day Laura is talking to a Marine, its not heard what they are saying. Then she comes back to the car, and kneels down by Sarah's window. laura You're safe now, that's the U.S. Embassy. They will see that you get home safely. sarah (week voice) Thank you. SLOW FADE TO: int. Belgrade hospital room – two months later - day The NATO war with Yugoslavia is now over. Dragan lay in bed motionless, his eyes flicker then slowly open. He's coming out of the coma. He looks bewildered and extremely tired. The room is flooded by soft sunlight coming from a large window. A pleasant looking nurse early thirties, enters the room and examines his eyes, then takes his blood pressure reading. DRAGAN Water... nurse Alright, but don't talk anymore or try to get up. You have been in a coma for long time. The nurse slowly pours water down his throat, he coughs then troughs up most of the water he swallowed. dragan How long? nurse Two months, now please don't talk any more. Dragan takes a deep breath then closes his eyes. int. New York – Sarah's house - day A cup of coffee slips out of Sarah's hand and crashes to the floor. She's shaking. Amy comforts her, then seats her at the table and cleans up the mess. Sarah lights a cigarette and takes deep drags. sarah Thanks. amy For what? sarah For everything. Amy finishes cleaning up the mess and pours Sarah another cup of coffee, then joins her at the table. sarah You really don't have to stay with me any longer. amy I don't mind hon, besides this works out better for me anyway. I don't have to travel a million miles to borrow your cloths. Sarah smiles, then starts to weep, Amy embraces her. cut to: Dragan's walking down the street, all around him is destruction, caused by the two months of NATO bombing. Work crews are busy rebuilding. Dragan arrives at his apartment and finds a portion of the building damaged. int. Dragan's apartment – LIVING ROOM - day Dragan opens the windows, exhausted and still woozy he goes over to the couch to lie down. Then the phone rings, he gets up slowly, goes to the phone and rips the cord out of the wall, and then lights a cigarette and goes back to the couch lie down again. FLASHBACK INT. Sarah'S HOUSE – BATHROOM – NIGHT (FLASHBACK) Sarah gets out of from the tub, wraps her body in a large towel, and looks at her self in the mirror. int. restaurant – night (flashback) Sarah and Dragan are sitting at a candle lit corner table. Dragan reaches into his jacket pocket and pulls out an airline ticket, he places it on the table and lights a cigarette. Sarah examines the airline ticket. Dragan leans over the table and kisses her long. int. Dragan's apartment – night (flashback) Dragan drops the Baggage on the floor and shows Sarah the apartment. She follows him around with interest. (continuing) Sarah grabs him and wraps her leg around him, they kiss, int. Dragan's apartment – bathroom – night (flashback) Sarah’s soaks in the warm bath. Dragan arrives holding a red rose. He hands her the rose, she smells it. Sarah tells Dragan to come closer to her, Dragan looks at her suspiciously, and goes closer to her. She pulls him into the bathtub clothes and all. They kiss enthusiastically while Sarah undresses him. int. Dragan's apartment – bedroom – night (flashback) Sarah and Dragan are getting ready to go out for the evening. She's dressed provocatively, he suavely. int. Dragan's car – traveling – night (flashback) Dragan reaches into his pocket and takes out the most beautiful diamond ring Sarah ever saw, even in the dark car the huge diamond sparkles magnificently. She's breathless, he puts it on her finger. A joyful tear streaks down her cheek he wipes it away. She looks at him, the words don't come, but her expression says all. ext. Dragan's car – night (flashback) Belgrade Cop 1 searches Dragan and finds nothing. The other Cop over zealously searches Sarah, he removes her high heals runs his hands slowly up her long legs unsettling her and Dragan too. His hands go under her skirt and into her panties, she smashes his head with the best fist she could form, he loses his footing and falls to the ground. The two detectives standing back observing laugh at him. Embarrassed he quickly gets to his feet and punches her in the eye, she drops to the ground like a rock. Dragan reacts wildly! Easily disarming and putting down Belgrade Cop 1, the two detectives rush Dragan, the three engages in a hand-to-hand fight. Dragan gets the better of the two detectives, beating on them madly. (continuing) Belgrade Cop 2 draws his gun and fires two shots into the ground, close to the struggle. Dragan stops, the two detectives use the pause to overpower Dragan, sending him to the ground. Then they brutally kick him and kick and kick. BLACK OUT: FLASHBACK ENDS. INT. Dragan'S APARTMENT – LIVING ROOM - DAY Dragan sits up, lights another cigarette, rubs his sore eyes, and then gets up from the couch and stares out the window. FADE TO: int. Savo's apartment – kitchen - two weeks later - night Savo enters his darkened apartment, he's holding a paper grocery bag. He turns the lights on and is startled to find Dragan sitting in the kitchen pointing a silencer-equipped gun at him. savo (well composed) You're looking good. dragan (calm voice) Put down the bag, place your gun on the table slowly. Savo puts the bag down on the counter, then the gun. A long pause... savo So now what? If you wanted to kill me I would have been dead the second I got in. dragan I was going to marry her. Pause... savo I did what I could. dragan (sharply) It wasn't enough.
savo Should I have killed Marko and Dusko? Is that it? Suddenly Dragan fires a shot at Savo shattering his left knee. Savo drops to the ground holding his knee he's in great pain. dragan (coldly) You should have killed them! Dragan gets up from the chair and stands over Savo. savo (angry) For Christ sakes, we're friends! dragan Yes, that’s why I'm not gonna kill you. But you will always walk with pain. Dragan fires another shot at Savo hitting his other knee, Savo cries out in pain. Dragan leaves the apartment calmly as though nothing happened. ext. café – dusko's car – later - night Dusko and Rade are sitting in the car waiting for someone to come out of the café. Dragan holds a newspaper over his silencer equipped gun. He walks up from the rear of the car to the open window of the drivers side, and fires four shots into Dusko's groin and one shot in the head. Dusko slumps over and dies. Rade makes a desperate effort in getting his gun out, but it's to late. Dragan already has his gun pointed at him. dragan Drop it out the window.
Rade reluctantly drops his gun out the window. Dragan fires two quick shots at Rade, hitting both of his knees. Then calmly walks away. Rade cries out in pain. int. Marko's house – bedroom – later - night Marko's having sex with an attractive prostitute, early twenties. He's on top, her legs are high up on his shoulders. He's inside her, thrusting hard and fast. The bedroom is dark. Suddenly there's a shot in the dark. Marko cries out in pain. Someone turns on the lights. It's Dragan, Marko's bleeding profusely from the buttocks. Dragan points his gun at the petrified prostitute. dragan Get out! The frightened prostitute quickly grabs some of her cloths and hurries out of the room, nude. marko You shot me! dragan I'm going to kill you! marko What the fuck is it about this American bitch? That gets you so hot? Dragan fires again, the shot blows away Marko's earlobe. Marko cries out in pain, he's mad as hell! marko You're dead! dragan No... you are. Dragan fires another shot, blowing away one of Marko's fingers. He's in great pain, he rolls around on the bed his nude body covered in blood. Another shot is fired, blowing away his elbow. The pain is now too much, he blacks out. black out:
int. Marko's house – bathroom - night Marko's in the bathtub, Dragan turns on the cold shower, it brings Marko back from his black out. There's blood everywhere, the water is red. Barely alive, he looks up at Dragan. marko Please... no more. dragan When she asked for no more what did you do? Dragan mercilessly puts the barrel of the silencer deep into Marko's mouth, pause... then a shot. FADE TO: int. Branko's house – LIBRARY – one week later - day Branko is sitting having a brandy and a cigarette. He's emotionally distraught. Boban and Milan are with him. boban They found her. No sign of Dragan. Pause... branko He's around... take her out, make her suffer long. Tell them to watch their backs. Dragan's probably close. boban Done. branko Contact Darko, tell him to hold off on the Miami hit. Have him ready to go to New York, in case these guys fuck up. int. New York - Sarah's house – LIVING ROOM – later - night Sarah's sitting on the couch, reading a book barely concentrating. The living room is dimly lit. A song is heard. Suddenly she gets a cold chill and a feeling someone else is in the house. She puts the book down and slowly looks up, Standing in the dark shadows is Dragan. (continuing) Several emotions rush through her head all at once. She doesn't know whether to scream, cry, or be happy or even afraid. Tears trickle down her cheeks. Dragan embraces her. They hold each other long. sarah I thought you were dead. Dragan gently wipes her tears away. dragan Not that easy. Long pause... sarah Don't die on me again. Nothing more is said... int. Sarah's house – bedroom – later - night Sarah and Dragan are asleep in bed. Dragan opens his eyes and listens carefully, something's wrong, he can feel it. A period of time passes, nothing happens. Feeling more at ease he closes his eyes. int. Sarah's house – LIVING ROOM - bedroom - night Two large men, hitman 1, and hitman 2 dressed in dark clothing, stealthily make their way through the darkened house. They both have their silencer-equipped guns readied. They enter the bedroom; one-man stays at the door the other goes to Sarah. He stands over her, puts his gun away, and takes out a knife. Then suddenly a shot is fired from the direction of the bathroom. The bullet strikes the back of the head of Hitman 1, standing at the door. He drops to the ground, dead. Sarah awakes, she sees Hitman two standing over her. He scrambles for his gun. Sarah's eyes light up in fear, he aims the gun in the direction of the bathroom and fires four shots blindly into the dark. Pause... (continuing) Then three quick shots are fired from the bathroom, the first bullet striking the Hitman in the chest, the other two bullets strike his neck. The Hitman falls over top of Sarah spraying her with his blood. Dragan comes out from the dark shadows in the bathroom, he cautiously makes his way to Sarah. She's frozen in fear, her face covered with the dead Hitmans blood. Dragan picks up the dead Hitman on top of her, and throws him to the floor. Dragan Are you alright? Sarah looks up at him, wheezing for her breath unable to answer. dragan We're not safe here, we gotta go. He holds her trembling nude body. sarah Who are they, what do they want with me? dragan The father of the man who raped you sent them. sarah Your father? dragan You know than... yes my father. sarah Why? dragan Because I killed his son... my stepbrother. sarah I'm glad. dragan I'm so sorry, I didn't think they would move so quickly.
sarah Your stepfather is trying to kill you too! Dragan Yes... sarah And I thought I had a fucking dysfunctional family. dragan I should have killed him. (beat) I'm sorry. FADE TO: int. hotel room – next day - day Sarah and Dragan are drinking coffee and smoking, both of them are weary and tired. dragan Try your friend again. Sarah makes a call on her cell phone... no answer. sarah She's definitely on her way to my house. Dragan Do the Cops have my picture? sarah Yeah they do, they took my camera and all my film. dragan We don't have much time, it won't take them long to figure out I'm alive and that you're with me. cut to: int. Sarah's house – LIVING ROOM - bedroom - day Amy enters the house, drops two brown paper bags on the coffee table. amy (shouts) I bought breakfast... time to get up hon. (continuing) She enters the bedroom expecting to find Sarah asleep. Instead she finds two dead men. Horrified, she runs out of the bedroom and into the living room, where she picks up the phone and calls the police. Sarah has her long beautiful hair cut short, and colored. Dragan waits, reading a newspaper. A song is heard. ext. Sarah's house – later - day Cole and Baragga arrive at the scene. There's a lot of police activity buzzing around the house. int. Sarah's house – LIVING ROOM - day Cole and Baragga enter the house; It's busy with a lot of Cops doing their thing. A network of police radios is heard. Cole disappears into the bedroom, Amy's being interviewed by a pretty female COP (peterson), late twenties. Baragga joins them. BARAGGA Will you be okay? Amy still shaken lights a cigarette. amy Do you know where she is? BARAGGA We'll find her. cut to:
int. Sarah's house – bedroom - day Cole examines one of the dead Hitman. A police photographer is taking pictures of the other dead man. A forensic team of three is busy doing their thing. The first senior Cop on the scene is SGT. WILSON, a tall solid looking man late forties. He's in the bathroom writing a report. cole Wilson. Wilson comes out from the bathroom. sgt. wilson Hey, Cole... you got a professional double hit here. cole How did it go down? sgt. wilson A hell of a fight, four shots from the guy you're looking at, all misses. The bullets are in the mirror. Four shots from the shooter in the bathroom, he didn't miss. cole What time do you have death? sgt. wilson Somewhere between five and eight hours ago. cole What about ID? sgt. wilson Nothing, they weren't wearing any. cole The guns? sgt. wilson Tagged and taken in already. The interesting thing is, both of the victims were packing polish made 9mm Makarovs with silencers. Very rare hardware in the States. cole You know your guns. sgt. wilson Hobby. Baragga enters the bedroom. Baragga (looks at Wilson) Wilson. sgt. wilson Tony. Baragga (to Cole) Professionals? cole Looks that way. Cole runs his latex gloved hand over a wet spot on the sheets where Sarah was sleeping. Then puts his hand to his nose and smells it. cole The Hoffman girl pissed the bed... she's scared. Baragga It seems our friendly Dragan is back in town. cole We never did get confirmation of death. Baragga She's with him... I wanna get him this time. cole We gotta go to the top, lock the city down. Or we're gonna lose him again, and her... cut to:
ext. zadanko's house – later – day Mrs. Zadanko a quaint looking woman early forties, answers the door. Sarah and Dragan enter the house they're expected. Mrs. Zadanko says nothing, she returns to the living room sits on the sofa and resumes her tapestry work. PAVLO ZADANKO an intellectual looking man late fifties comes out from the kitchen. pavlo Come with me please. Sarah and Dragan follow him into the kitchen. An adorable eight-year-old girl is sitting at the table eating a snack, she stares at them. Pavlo leads them to the basement and into what looks like a wine cellar. The wine cellar is actually a forgery studio, the studio is cleverly hidden behind a large rack of wine. Getting into the studio requires moving the large rack of wine, an easier task than it looks. The entire rack is imbedded into an invisible sliding track. Pavlo slides the rack to one side, revealing a heavy Iron door with a digital keypad lock. He punches in his seven-figure code, the door unlocks and the three of them enter. Inside it's well lit and loaded with sophisticated printing and computer equipment. It's nicely furnished and even has a small wet bar. pavlo Please sit down. Sarah and Dragan sit, Pavlo takes their pictures with a digital camera. Then sits down behind his large work desk. dragan I need the documents by no later than morning. pavlo My friend, that’s not possible. dragan Make it possible! Pavlo sits back in his chair and thinks for a few seconds. pavlo No, I can't work that fast. The best I can do for you my dear friend is tomorrow night. dragan Have it ready by eight. pavlo Alright. dragan Canadian Passports, Birth Certificates, Citizenship Cards, Marriage License and Driver Licenses. Simple names. pavlo Do you want to be Mr. and Mrs. Kemp? DRAGAN That’s fine. Dragan takes an envelope out of his jacket pocket, he places it on the desk. Pavlo takes the envelope and puts it inside a drawer, gets up and leads them out of the studio. Baragga makes his way through the crowd and into the detective's squad room. Cole is sitting behind his desk typing a report on the computer. Baragga We have an ID on the car, and plate number. A kid at the airport car rental place recognized the photo. Our Dragan's driver's license and credit card identifies him as Ronald Cain. cole I have a uniform with the Myers girl. We have lock down on the city. Forty men, for 24 hours. Baragga The parents of the Hoffman girl are flying in from L.A. tonight. She didn't call them for almost a year. They're not close... No activity on her credit cards. You think she's alive. cole For sure. Baragga What the hell did she do to them over there? Cole flips through a few pages, and then reads a report. cole She pissed off the wrong people. Now they want her dead, and our friend Dragan is protecting her. (beat) We finally got something back from Belgrade. Dragan Matic, Mob solider, and son of Branko Matic. Leader of Yugoslavia's most powerful paramilitary crime organization. A Serbian nationalist, and a ruthless mobster, the worst kind. Rumored to have killed more men than... New York's annual homicide rate. He's notorious for his lethal temper, and his ability to still be breathing. He's a big deal there. Even Milosevic would rather fuck with us than him. Baragga If I were them. I figure the Cops would cover all the major exit ways. I would drive out of New York and board a plane in the next big city. COLE Okay, we do check points on the major arteries out of the city. Baragga I'm gonna turn up the heat... give the press their photo's. Cole opens a bottle of aspirin pops three pills into his mouth and crunches on them. cut to:
int. Belgrade – Branko's house – kitchen - day Branko's having breakfast. Boban enters the kitchen, pours himself a Turkish coffee and joins Branko at the table. boban I pulled Darko off the Miami job. He's in New York by noon. Branko Dragan ordered documents from Pavlo. He's gonna pick them up at eight. Make sure Darko has everything he needs when he gets there, he won't have much time. boban Right. branko What a fucking mess! Two men down and four before them... I lost two sons and all because of an American woman. boban This is turning out to me more trouble than any problem we ever had with the fucking Albanians or Russians. And more costly too. ext. phone booth – suburban New York – next day - day Sarah's calling Amy, Dragan waits in the car. sarah Amy? cut to: int. Amy's apartment – LIVING ROOM - day Amy's on the phone, a female Cop (Peterson) listens to the conversation on the extension phone. amy Hon, where are you? You okay?
Sarah (v.o.) I'm alright; I can't really explain what's going on. I just want you to know that I'm going away for a while... with Dragan, he's alive. You must know what happened in my house, it's not what it looks like, alright. amy Hon, I don't know what to think. Sarah (v.o.) There're some real bad people after us. Plus now, the Cops too. amy Well you call me again? Sarah (v.o.) As soon as things get normal--look I have to go... love you. Click... Sarah hangs up. Amy puts down her phone, the female Cop makes a call on her cell. officer peterson Peterson here sir, the subject just called... alright... yes sir. She hangs up. An athletic looking man meets Darko who is dressed in a stylish dark suite, carrying only a small bag. They know each other, nothing is said. The two men leave the airport building. cut to: int. donut shop – suburban New York - day Sarah and Dragan are at the counter ordering. dragan Two large coffees, double cream double, sugar. A typical looking pretty teen-age girl prepares their order. Then they take a seat by a large window, radiating a soft pastel colored sunset. dragan Try to relax, in less then an hour we'll be on our way to Boston, then Brazil. sarah I just want this to be over. dragan If something goes wrong tonight, I want you to surrender to the Cops. They can't do much to you. Tell them the truth and tell them you need protection, they have to help you. Sarah looks distraught, she's hesitant in telling Dragan something... Dragan picks up on this. dragan What is it? sarah Uh, I, I'm pregnant. Sarah breaks down and silently cries. Dragan is stunned, he doesn't know what to say. sarah It happened in Belgrade... I, I don't know if its yours or because of the rape. Dragan holds her hand. Dragan (gently smiles) It's mine, I know it is. sarah I think so, but when we get to Brazil I want to get a blood test, okay. dragan Okay. Sarah leans over the table and hugs Dragan, he kisses her. Then he sees two cops enter the donut shop, he pulls away from Sarah. dragan A couple of Cops just came in, try to be calm, alright. Sarah Ohh, no. dragan They didn't come in here looking for us. They just want coffee. Dragan slips his hand behind his back readying to draw his gun if need be. One of the Cops goes to the washroom while the other orders coffees. So far, neither of them notices Sarah and Dragan. While the Teen-age girl prepares his order the Cop casually scans the shop. Sarah has her back to him and blocks Dragan from his view. His order is ready, he pays the girl and sips on his coffee, his partner comes out of the washroom. [NOTE: close up Dragan griping his gun] The Cop takes his coffee from his partner and then they leave. Dragan releases his grip of the gun. dragan They're gone. sarah Let's go before another one comes. Sarah and Dragan get up and leave the donut shop. ext. donut shop – suburban New York - night Sarah suddenly embraces Dragan. sarah I'm scared I'm really scared. dragan Hang in there just a while longer. sarah Why Brazil? dragan It's the best place in the world to be, if you don't want to be found. Especially if you have money, and I have a lot of that. SARAH You better take good care of me.
dragan I will... can I have your wallet. Sarah reaches into her purse, takes her wallet out and gives it to him. Dragan troughs it under a bench. sarah Why did you do that? dragan I hope that a Good Samaritan won't find it, and try to return it to you. The Cops are probably monitoring your credit cards. We need someone to start using them, so that the Cops think you're still here. phone rings, Baragga picks it up on the first ring, Cole's sitting across from him he's half asleep. Baragga Baragga... How long ago... How about the car... all available units sweep the area, ten-mile radius. Baragga hangs up the phone. Baragga They were seen at a donut shop, twenty minutes ago.
cole Let's go. The men get up from their desks and head out. ext. QUIET suburban street - night The middle class neighborhood is poorly lit. Dragan parks the car under one of the few light post on the street, about 4oo feet from Pavlo's house. cut to: Dragan reaches down to his pant leg and pulls out a Walther ppk automatic pistol. He unlocks the safety and hands it to Sarah. She takes it hesitantly. dragan Stay in the car, I wont be long. If you need to use this, don't hesitate even for a second, just shoot. understand. (beat) If I'm not back in twenty minutes, I want you drive away from here fast and go the police. sarah Come back. dragan I will, I promise you. They kiss long... Then Dragan gets out of the car and disappears into the dark. Sarah slides over to the drivers side of the car. cut to: INT. COLE'S CAR – TRAVELING - NIGHT Cole and Baragga carefully watch the traffic as they cruise the suburban streets near the donut shop in search of Dragan and Sarah. baragga They're close. cole If they're in the same car we got them. ext. PAVLOV's house – the side - night Dragan looks through the window and sees Pavlo sitting alone in the dark, only the TV on. Something's wrong, Dragan knows it. He goes around to the back of the house. cut to: int. pavlo's house – LIVING ROOM - night Pavlo's mindlessly watching TV; SUDDENLY he feels the cold steel of a silencer press against the back of his head. He's terrified, Dragan leans over to Pavlo's shoulder and whispers in his ear. dragan Where are they? pavlo They're not in the house, I, I swear. dragan If you're lying, you're the first to die. dragan Where are your wife, and kid? pavlo I uh, I sent them away for tonight. dragan Did you do the documents? pavlo Yes, yes of course. dragan Where is it? pavlo Downstairs in the shop. dragan Is anyone in the shop? pavlo No, no no. Dragan fires his gun into the TV; It sparks, then smokes, Then complete darkens. the TV is dead... dragan Are you sure? pavlo Yes, no, I don't know. They said they be outside. I didn't see them come back in, I don't know. dragan You didn't see me come in either. pavlo Ohh, I can't die, I, I just can't die. Who's gonna look after my family. dragan Okay let's go, no lights. The men move slowly through the dark, Pavlo leads the way. Into the kitchen then the basement. Down the stairs to the large rack of wine, behind the rack, punch in the code for the iron door. The door opens, enter the studio, no one there, no ambush. Pavlo gives Dragan a large envelope containing the documents. dragan Right than, lets do it again. And so they do it again, through the iron door, past the rack of wine, up the stairs. Into the kitchen then the living room, still no one there, no ambush. PAVLO Please let me live, please, please. dragan When you wake up kiss your kid, she saved your life. Dragan strikes Pavlo over the head with his gun. Pavlo drops to the ground he's out cold, but alive. So far so good, now back to the car, Dragan exits the house. int. Cole's cAR – TRAVELING - NIGHT Cole turns onto Pavlo's street, the two detectives are silent as they slowly cruise. ext. pavlo's house – back yard - SUBURBAN street - night Slowly carefully, Dragan makes his way through Pavlo's back yard. Then he realizes there won't be an ambush, at least not here. They must be waiting for him at his car, of course the car, its perfect. He expected them in the house and would not of thought of a hit at the car. They have Sarah, but he still has the element of surprise. He calmly makes his move, walks out to the street, 400 feet from his car. (continuing) 350 feet, he can see a figure sitting in the car in the driver side. 300 feet, it's too dark, he can't make out who's in the car. It could be Sarah, or not, 250 feet, still can't make out who's in the car, time to act or the element of surprise will be lost. int. cole's car – traveling - night Cole makes a u-turn and drives out of the street. Had he only continued a few hundred feet more they would have seen Dragan's parked car. EXT. SUBURBAN STREET - NIGHT Dragan's 200 feet away from his parked car, he raises his gun, aims at the car windshield. Now 150 feet... he fires his gun four times, all hits to the driver side windshield. The figure in the car slumps over. 100 feet, still calm, and very alert, he continues his march to the car, 50, 25 feet, finally there. His heart skips a few beats, he looks inside the car and pulls the slumped over dead person up by the hair. It's not Sarah, just as he thought, his gamble paid off. In the car is one very dead HITMAN. But where's Sarah? Could there be another Hitman? Not likely. Then a muffled scream comes from the trunk, followed by frantic banging. It has to be Sarah, the Hitman put her in the trunk. His guard down, Dragan opens the trunk. There she is, but also someone else! a hand is over her mouth, another hand holding a silencer-equipped gun comes out from underneath her, and it's not her hand. Dragan quickly reacts, and points his gun into the trunk, but he hesitates to shoot for fear of hitting Sarah. The hesitation cost him dearly. The person underneath Sarah fires his gun three times. The first bullet misses, the second, and third bullets both strike him in the chest. Dragan falls to the ground. Sarah becomes wild, pounding and scratching at the person underneath her. He grabs her throat and chokes her, she goes limp. The person shoves her body to the side and gets up, revealing him self, it's Darko. He has a nasty fresh scratch running from the corner of his eye down to his chin. (continuing) He slowly leans out-side the trunk expecting to see Dragan dead on the street. Instead he only sees a track of blood leading under the car. Dragan has managed to pull him self to safety. Disgusted, Darko hangs out of the trunk and points his gun under the car to deliver the final deadly shot. Sarah gets up, and furiously body slams Darko. He goes flying out of the trunk and onto the street, his gun falls out of his hand and lands about four feet away. The two men lock eyes, pause... Darko scrambles to retrieve his gun, too late, Dragan's already aiming at Darko's head and fires a single shot hitting Darko between the eyes. A trickle of blood runs down his nose, then he dies... Sarah's long legs step out of the trunk and onto the street. She kicks Darko's gun even farther away. Dragan drags him self out from under the car. Sarah pulls him to the curb, holding him, comforting him. sarah You better not die on me again, Damn it! Dragan try's to say something... it's no use, he's too far gone. The end comes fast, his eyes roll, he vomits a large amount of blood, but he manages a smile good bye, he's dead... Sarah kisses his bloodied mouth, and then rocks him in her arms. There are no more tears left. It's over, it's finally over. Then, headlight of a slowly approaching car light up the scene. The car stops, and a sweet looking elderly lady late sixties gets out of the car. elderly lady (kind, sweet voice) Ohh my, oh dear lord, oh what happened here? Sarah's says nothing, she continues to rock Dragan in her arms like a mother does an infant child. The elderly lady bends down to check Darko's pulse, yes he's dead. elderly lady (kind, sweet voice) Dear is he dead too? sarah (staring at Dragan) Yes, he is. elderly lady (sharp, cold voice) Good... Sarah can't believe what she just heard. She looks at the Elderly Lady, whose sweet demeanor all of a sudden turns wicked. ELDERLY LADY (sharp, cold voice) If you play with the devil you're going to get hurt. SARAH And I suppose you're the devil's mother? elderly lady (kind sweet voice) No dear, I'm just a friend--of his.
Then, the elderly lady reaches into her purse and begins to pull out a gun. Realizing this Sarah makes a frantic effort in trying to get Dragan's gun out of his clutching hand. It's a race... The elderly lady wins the race and fires. Her aim is not so sharp. The first shot misses Sarah and hits the taillight of the car. The second shot hits Dragan in the chest. There is no third shot, because by now Sarah fires her gun. It's a deadly direct hit to the eye. The elderly lady-assassin falls forward to the ground, face first, she's dead... SARAH Bitch! Now it's over... The TITLE SONG (I want you)is heard. FADE OUT. THE END
Copyright © 2000 D Daniel Vujic |