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21. INT: [DISTANT FLASHBACK: 1979]
CU — TAPE-RECORDER. [Similar to one in SAFEHOUSE, Scene 20.]
INTERROGATOR (VO)
Talk! Talk! [Various curses] Where are you bastards hiding Judge DiCullo? Talk! SHADOW-HAND strikes GIANNI hard across the face. He doesn't talk. SHADOWS of TWO MEN, huddled in confabulation, are projected against far wall. SECOND INTERROGATOR (VO)
We are sorry, Commander Tate, Sir. Last week, when the other INTERPOL Officers came to Italy to watch interrogations of Red Brigades members, we were able to put on a much better show. We've got the latest equipment. All new for 1979! But this son of a bitch just won't break! We don't want to kill him — then he'll be of no use to us. HECTOR TATE, ALDOUS' UNCLE, is apparently an "observer," here. GIANNI listens to VOICES (OFF); watches ominous SHADOWS of UNCLE and INTERROGATORS. UNCLE (VO)
Oh, nonsense. Go ahead and push him to the end. — on my
responsibility. You see, everybody cracks. And before a man dies, a Voice calls out from deep inside
him. From down in his viscera. The Voice tells you everything you want to know. It's not the man
himself talking — yet it is. I once heard a woman describe it. I personally presided over her
interrogation. She was from San Federal and her nom de guerre was "Magdalena." She said:
"I heard myself cry out his name..." It's fascinating.
SECOND INTERROGATOR (VO) Uh, right. Fascinating. All right, Commander Tate. We'll, how do you say? Go all the way? THREE GHASTLY SHADOWS LAUGH. SECOND INTERROGATOR (VO)
Go to it, Bruno. No more games. This time push him to the end.
FIRST INTERROGATOR connects more WIRES to GIANNI'S BODY. Lets loose jolt of
electricity. GIANNI'S body quakes. His MOUTH opens, yet remains mute. Silent scream is all the more
audible.
DISSOLVE TO: 22. INT: MORNING — 106/5
CU — TAPE-RECORDER.
AMILCAR Whatever happens to us, this way, they'll have a record of our decisions. And why we made them. We are already a military unit. Now I declare us a political body, as well, for our decisions must be political. The question is: How far do we go? Here and now! Mortality weighs heavy on COMBAT UNIT; their words are suddenly immortal. THOMAS fidgets, then leaps up, takes it out on TAPE RECORDER. Irrational shitfit looks foolish, but no one's laughing. THOMAS Jeez, man. I can't even talk to a fuckin' answering machine! I'm the guy who always hangs up on the goddamn tape. I just can't think straight with that fuckin' thing listening in. It's fuckin' torture! GIANNI interrupts. Stern and quiet. GIANNI No, Thomas. It's not. THOMAS shrugs, tries to restore his own dignity. THOMAS I mean, I mean — forget the tape. It's just that — what I meant was, how can we possibly decide? Once we start killing Americans, we make every American think we did it only for the Third World. They'll think we don't give a fuck for the USA! CLAIRE He's right. To most Americans, imperialism is a foreign disease. HERALDO
Then we'll show that it kills them here. In the USA. AMANDA leans in to CANDLE; lights CIGARETTE. By flickering flame, she looks like noble African statue. AMANDA Death day by day... hour by hour... DRONE of HELICOPTER (OFF)! Sudden, low RUMBLE makes SAFEHOUSE shudder. Alarm! AMILCAR
Bob! Check Outside Security!
BOB rushes to MONITOR CAIRN, operates ROUTING SWITCHER.
AMILCAR Yellow Alert!
JOHN, JASON, AMANDA grab SUB-MACHINE GUNS; set-up ROCKET LAUNCHER. THE
PEREGRINE takes out .45 AUTOMATIC; CLAIRE picks up .22. All prepare for firefight. BOB operates
JOY-STICKS; watches THREE MONITORS.
BOB (VO) It's gone. It was local police. Probably looking for one of Dr. Schmuck's junkies. I'll check the block one more time, to be sure. ON THREE MONITORS — JUNKIE, on the run, vanishes into RUBBLE across street. Then, BOB makes last pass over SAFEHOUSE, itself. BOB (VO) All clear.
ON THREE MONITORS — Sudden switch back to Motorcade coverage.
Photographers-turned-AGENTS have fallen into synchronized step, are there to stay.
AMILCAR All clear.
JOHN, JASON, AMANDA hide HEAVY WEAPONRY. COMBATANTS stash PERSONAL WEAPONS.
CUT TO: 23. EXT: [FLASHBACK: JULY 7]
LONG SHOT (POV AMILCAR: He and HORSE are behind COLUMN, across SQUARE.)
— HORSE NEIGHS (OFF), as RED VAN cautiously enters portico'd VILLAGE SQUARE. THREE WOMEN, the
only people in sight, make aggressive, "emergency" gestures, block VAN'S way. Two WOMEN
are teenagers. Beautiful, thirty-five year-old red-head, MAGDALENA, is in charge. She resembles both
UNA and BIANCA. Waylaid VAN comes to uncertain halt. THREE WOMEN surround it.
UNA
Can I help you? WOMEN smile engagingly, do not respond. UNA
Santa Magdalena de la Epiphania?
MAGDALENA
My name is Magdalena. Are you Una Horn? UNA How did you know? MAGDALENA
You're an American movie star, right? Can I have an autograph? UNA is perplexed, but charmed by compass of her celebrity. She looks in glove compartment for pen, paper. MAGDALENA
Can we come in? It's cold out here.
UNA hesitates. Looks at MAGDALENA'S open, smiling face. UNA lets her in.
Then the other TWO WOMEN enter. One takes back seat.
MAGDALENA
How do you say in your American movies? "No monkey business?"
Terrorized, UNA nods. MAGDALENA takes driver's seat. She starts engine; VAN
jolts.
CUT TO: 24. INT: [FLASHBACK: JULY 7] AMILCAR and MAGDALENA sit with UNA on the STRAW. SEVERAL HORSES are in the STABLE. On nod from AMILCAR, MAGDALENA unties UNA'S GAG. BLIND-FOLD stays ON. UNA gasps. UNA Can I have some water? Agua? Please? MAGDALENA gets water, helps her drink. AMILCAR
You and your van have been captured by the Peoples' Revolutionary Army. UNA
But I was already on my way to distribute my — uh, supplies to the people! Take them if you can use them. AMILCAR and MAGDALENA share sexy laugh. UNA understands. UNA Shit, man. Does everybody know about my goddamn — contraceptives? UNA lowers her head. FREEZE FRAME. Then, FLASH of WHITE LIGHT seizes Image. HOLD. HARD CUT TO: |
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