CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

HIDDEN GIFTS

A graduate project submitted in partial fulfillment of the requirements

For the degree of Master of Arts in

Screenwriting

By

Sean Flaherty

May 2010 The thesis of Sean Flaherty is approved:

Eric Edson Date

Thomas McWilliams Date

Date

California State University, Northridge

11 TABLE OF CONTENTS

SIGNATURE PAGE 11

ABSTRACT lV

Hidden Gifts 1

111 ABSTRACT

PREMISE FOR HIDDEN GIFTS

By

Sean Flaherty

Master of Arts in Screenwriting

Hidden Gifts is a detective thriller about Yolanda Martinez, an angry young obituary writer with deep psychological wounds, who, upon being released from a bizarre

"experiment", wants to find and bring to justice the man responsible for her ordeal.

Dismissed by the authorities, Yolanda has no way to pursue this end, until her former captor returns her journal of the experiment in order for her to "write her story."

Yolanda, however, chooses to locate her fellow ex-captives for help in her quest, which seems increasingly impossible because they prove unable if not unwilling to provide her with assistance. Yolanda's desperation grows when she discovers not only that the experiment's mastermind is a rogue CIA agent but that his experiment with Yolanda was merely a trial run for an experiment involving the country's top political and business leaders. We will know that Yolanda has succeeded when she finally meets the CIA man again, understands him, and even tries to protect him from the authorities, just before his corrupt superior has him shot to death.

lV FADE JN:

MOUNTAINS. FOREST. THE WILDERNESS OF THE AMERICAN WEST.

EXT. FOREST CLEARING- DAY

SHUDDERING, a top-heavy OAK TREE is about to break in two, its survival extended only by a taut, dew-beaded SPIDERWEB that ties it to an aspen.

A MOTH flits in - scattering dewdrops, SNAPPJNG the web - and the oak TOPPLES in a wrenching crash. ·

Stillness - then from the dangling web the moth breaks free to flutter into the clearing by a DUFFEL BAG that hangs safe from bears on a ROPE tossed high over a pine branch.

At the clearing's far edge, the moth is swallowed by FOG that encroaches on a TRAIL MARKER - usually three stones stacked large to small.

Here, a BRIGHTLY WRAPPED PRESENT replaces the middle stone.

By the toppled oak, TEN TREKKERS, all dressed in red alpine jackets and pants, tramp into the clear.

As they shed yellow backpacks, we see that the group - six men, four women - represents American races and ethnicities aged 25 to 65 - a diorama of active adults from all over the U.S. socio-economic spectrum.

Standing apart, YOLANDA MARTJNEZ, 27, a grim Hispanic, and "JAN OLSEN", 65, a self-possessed WHITE-ANGLO-SAXON-PROTESTANT, absorb their new campsite.

On weary auto-pilot, the others start unpacking tents and cooking gear, when an ample AFRICAN-AMERICAN WOMAN spots the duffel bag and lets her voice boom like song.

BLACK WOMAN Fresh me-e-e-e-e-at!

An effeminate ASIAN-AMERICAN MAN sees it too.

ASIAN-AMERICAN MAN Fruit and veggies!

1 Yolanda and Jan watch the cheery pair go to lower the bag while a bookish AFRICAN-AMERICAN MAN and a striking BLONDE, not cheery, walk over to receive it.

Yolanda then studies BRAD, an early-30s white man. Clearly off, Brad compulsively hums a JINGLE and checks something cupped in his hand while searching the fog - for the present.

FROM THE DUFFEL BAG the blonde pulls out a laminated square of topographical MAP. For her and the man beside her, deliverance from deprivation is long overdue. Both are pissy.

BLONDE Our last map.

BLACKMAN Two gifts and three days to go.

BLONDE If the note's not lying.

She then takes out a small KIT.

BLONDE (CONT'D) What's this?

Unzipping the kit, the African-American man stares at a syringe, a hypodermic needle, and an ampule of Darvocet.

BLONDE (CONT'D) Doc?

BLACKMAN A sedative.

They regard each other wonderingly, when Brad, nearly hysterical, spots the present between the stones.

BRAD There!

Tension. Eight of the trekkers look where he points.

But Yolanda's eyes meet Jan's, then turn to ROGER, a pinch-faced, mid-50s redhead, who drops his tent poles.

2 Brad starts to raise his voice but, seeing Jan, tones down.

BRAD (CONT'D) The gift's over there, Jan.

When Jan moves, the others converge on the present, their air routine but wary. Yolanda falls into step with Jan.

YOLANDA (concerned) If it's not for Roger, it's for you.

Jan nods. Brad removes the marker's TOP STONE - a crumbly, petrified waffie - and lets it THUD to the ground.

BRAD (reading present's label) Finally, after a whole month ... Roger!

Apprehensive silence. The group makes way for Roger. Brad, holds up a BLACK CAPSULE that he's been cradling in his hand.

BRAD (CONT'D) And the Lord gave unto His chosen Roger a pair of holy tablets? Anti-sanctimony gel caps?!

ROGER (with cynical dignity) I pray God love you all as much as I do.

The trekkers exchange looks: fascination tempered by dread.

Roger squats. He unwraps the box, revealing an old PHOTO ALBUM stamped "Grandma's Brag Book" and, underneath, SOMETIIlNG DARK AND SHINY.

Jan and Yolanda watch as Roger, transfixed, fumbles with the album in his left hand, then takes into his right a 45-caliber POLICE SERVICE REVOLVER

YOLANDA'S POV

With hyper-intensity, she ZOOMS in on the gun, a sight that revives old trauma.

BACK TO SCENE

Roger peeks inside the album: the peek knocks him to his knees. Clutching, he

3 instead drops the album, which opens before everyone.

Roger freezes: the album's pages tum, showing amateurish PHOTOS of Roger violating little boys who are blindfolded, bound, and gagged.

Roger leaps up and waves the pistol at the shocked group.

All.freak but Jan - and Yolanda, whose eyes tum inward.

SMASH CUT TO:

FLASHBACK

Shit-storm central: the TERRIFIED, CRYING EYES of 10-year-old Yolanda stare at her FATHER, ERNIE MARTINEZ, late 30s, in his policeman uniform, desperately pointing his REVOLVER out of a living room window punctured by TWO BULLET HOLES.

ANGLE OUT OF WINDOW

SQUAD CARS fanned out in front of his house, Ernie is in a standoff with his police brethren. Air of extreme tension.

Alone in a comer, the child reaches out to her daddy.

YOLANDA Papa!

Feeling the heat on them, Ernie shields himself with the wall.

ERNIE (screaming angrily) Yolanda, get down!

But the girl's too scared to budge.

YOLANDA Papa!

His eyes flick out the window, then back to Yolanda.

ERNIE Down!

BACK TO SCENE

4 Re-emerging with sudden icy fury, Yolanda breathes hard.

In their fear, the trekkers raise their voices against Roger. GROUP Hold on! Don't, Roger! Put it down! Take it easy! etc.

Beat. Then Jan closes the album with his foot, silencing all. His calm, authoritative manner compels attention.

But Yolanda starts to SHAKE.

JAN Good time to take a deep breath. Roger, what do you want to do?

A 20s HISPANIC MAN makes the sign of the cross.

HISPANIC MAN Take it easy, hue. What would Jesus do?

Discarding all caution, Yolanda steps toward Roger, quaking.

YOLANDA "Suffer the children to come unto" .. .you?

She LUNGES at Roger.

JAN Yolanda!

Jan barely holds her back. But Yolanda froths in his arms, unable to stop.

YOLANDA Fuck thy neighbor?!

Roger, unraveling fast, aims straight into Yolanda's face two feet away.

As Jan tries to immobilize Yolanda with a chokehold, Roger finds the pistol's safety: CLICK.

ROGER "Let he who is without sin cast the first stone."

5 JAN No stones, Roger. Your gift. What do you want to do?

YOLANDA Do unto others - you fuck!

As Roger YELLS and gropes for the trigger, Jan engulfs Yolanda. BAM.

SCREAMS and EXPLOSIONS. Roger shoots at the Asian-American man and black woman.

Stunned, Yolanda sees them likewise crumple to the ground.

SMASH CUT TO:

FLASHBACK

BAM: a THIRD BLAST through the window, as SIRENS and RED LIGHTS rip the sunny suburban calm.

The more Yolanda tries grabbing onto him, the more Ernie pushes her back toward the corner.

YOLANDA (whimpering in Spanish) Papa, I'm afraid.

OUTSIDE

From a side angle, a COP glimpses father and daughter.

COP Hold your fire! He's got a kid!

Grasping nothing, Yolanda feels only her father holding her off.

VOICE ON MEGAPHONE (O.C.) Ernie, come out. We can still protect you.

Wild with desperation, Ernie's eyes flit constantly from Yolanda to the scene outside.

ERNIE They wanna kill me. Turn you fuckers in!

6 COP (O.C.) (to someone approaching him) Where you going? He's got a kid!

Yolanda looks up at her father as he holds her firmly at arm's length - but for her protection or his?

ERNIE Gotta kid here!

BACK TO SCENE

Screaming. Jan, unharmed, rolls off of Yolanda and speedreads the spectacle. Yolanda, face down, moans.

BLACKMAN Get him!

More SHOTS as three trekkers tackle Roger. Jan stands.

JAN They're blanks! He's shooting blanks! Lethim be!

But a 40s ASIAN-AMERICAN WOMAN pins down Roger's pistol hand, the others taking his legs as the pedophile writhes savagely.

The Asian-American man and black woman are amazed to find themselves unharmed.

Hyperventilating, but unhurt, Yolanda lies face-down with her cheek in the dirt.

YOLANDA'S POV

Brad goes to pick up the waffle stone.

Roger stops struggling to scream at the enclosing FOG.

ROGER Who are you?! What do you want?!

His words ECHO, cutting Yolanda to her core, then reverberate into an OCEAN-IN­ SEASHELL SOUND that mutes the scene and shifts it into SLOW-MOTION.

SMASH CUT TO:

7 FLASHBACK

Sobbing, Yolanda sees her father peering at SOMEBODY MOVING along the house's facade toward them.

YOLANDA I'm scared, Papa!

At wit's end, Ernie screams - at his daughter, at the man outside, at heaven above.

ERNIE Go away! Now! Go mvay!

Ernie alone sees the approaching figure.

YOLANDA No, Papa, L. !

He grabs her and sends her sprawling toward the hallway.

ERNIE (viciously) Leave!

Handgun at his side, he turns back to the window.

YOLANDA (shocked, hurt) Papa!

Now on all fours, she sees the other revolver at the window frame FLASH in a RINGING SHOT.

In SLOW MOTION, Ernie is hit in the chest. His weapon hand JERKS and FIRES, but the other revolver thunderflashes three more times.

Beat. Yolanda's father STAGGERS over and, collapsing, topples her into a fetal position, pinning her face-up under his lifeless body.

CLOSE ON

Yolanda's face, BLOOD-SPATTERED, innocence shattered forever.

BACK TO SCENE

From a fetal position, Yolanda watches as in slow motion Brad makes the stone a

8 weapon.

She watches Roger shout mutely at the fog.

ROGER (M.O.S.) What do you want with me?!

The DULL ROAR builds to envelop Yolanda's view of Brad knocking Roger cold and of the stunned trekkers.

In deafening, snail-paced horror, Yolanda gapes at the fog.

DISSOLVE TO:

NIGHT

Through the clearing fog, Orion shines above. Five identical tents are pitched around a CAMPFIRE.

Yolanda scribbles furiously in a JOURNAL, hesitates, then stabs a period to her entry.

Exorcised, she clicks her pen. As she goes to close the journal she pauses to glare at a 15-year-old PHOTO of her father in uniform on the first page.

The photo recalls her deep infuriating pain.

Bringing FIREWOOD, Jan glimpses the photo just as Yolanda slams the journal shut. They share a look. She softens: her anger has nothing to do with him.

But when Jan drops a small log into the fire and almost tips over the COFFEE POT, his jaw clenches and Yolanda stares archly.

JAN Sorry. Didn't plan that.

YOLANDA Forgive you - someday.

Margaret, the Asian-American woman, emerges from a tent and zips it closed, turning off her FLASHLIGHT as she walks unsteadily to the fire. Jan studies her with kind eyes.

9 MARGARET (speech a bit slurred) With that sedative Roger won't move 'til morning. Feel I won't either, for once. (yawning) Great coffee, Jan. G'night, you guys.

JAN 'Night, Margaret.

YOLANDA G'night, Mags.

Jan observes Margaret teetering into her tent, then sets down the firewood and checks his wristwatch.

Yolanda watches him place logs on the fire. Both listen to the night. When one trekker SNORES loudly, they know who.

JAN YOLANDA Simon Simon

They smile.

JAN You're not konked out.

YOLANDA Neither are you.

He pours himself coffee, then blows into the cup before tilting it to his lips.

JAN Damn good. Join me now?

YOLANDA Too keyed up

Jan's tender look invites her to talk. He watches as

SHE STOWS HER JOURNAL IN HER JACKET POCKET.

YOLANDA (CONT'D) Despised Roger before ... he's a monster - a killer - and yet -

10 JAN Not quite: nobody died.

YOLANDA Thought that counts. And you ... saved my life. Don't know how I'll ... don't know how you'll ever make it up to me.

JAN They were blanks, honey.

YOLANDA You knew that? Thought that counts. You owe me.

JAN Well, he won't hurt anybody again. We're out of this soon. I'll make sure of it.

YOLANDA It'll still be wrong. I got mad ... but I didn't give him the gun. His gift exposed his dirty secret, but HOW it exposed him was worse.

For a moment, Jan's face tightens.

JAN You can't mean that. I've been sharing a tent with a pedophile.

YOLANDA I hate him, OK? But his gift was designed to gut him... in front of .. of ..

JAN A captive audience?

YOLANDA Funny. We were targets, and Roger was still a lab rat: we've all been violated by this "Experiment" and its "gifts". Who's gonna pay for that?

The question hangs.

11 JAN That in your journal? I love when you're angry. You get so ... mute.

YOLANDA Cute. Get ready. Three days from now it will be your gift.

JAN Best for last?

YOLANDA Don't. It's sick how much they know us. How can you be so relaxed?

Jan stares into the fire thoughtfully.

JAN Those boys in the photos were victims. But they can move on. I've dealt with so many hostage Takers and captives. Being one myself now confirms something my wife used to say: a person chooses not to stay a victim. My wife ...

He goes to sip his coffee but then doesn't. Fondly, Yolanda imitates Jan's rich drawl.

YOLANDA "Becky. She thought eve1yone should go trekking."

JAN Becky had all kinds of gifts for me - Even how they killed her.. .I can't believe she saw herself as a victim. I hope your dad didn't. ..

Yolanda suppresses a flinch, but Jan catches it.

JAN (CONT'D) People don't get the help they need. No, honey, only thing worries me now is getting no gift at all.

Yolanda, moved despite her pain, watches Jan check the time and stand to search the sky, listening. She looks into the fire to reflect.

12 Then, with one hand Jan picks up the coffee pot as the other goes deliberately into his jacket pocket.

JAN (CONT'D) (offering the coffee) Plenty left.

YOLANDA Keep me up all night.

JAN (sweetly) Doubt it.

Suddenly they hear another loud SNORE.

YOLANDA JAN Sally. Sally.

They laugh.

JAN (CONT'D) Sally loved the coffee. Last chance. One shouldn't drink alone.

Yolanda shakes her head. Jan tops off, replaces the pot and, hand still in his pocket, listens again.

Quiet. He picks up his cup.

JAN (CONT'D) It's getting late ...

Then, from far away an INDISTINCT SOUND. As Yolanda lifts her head to listen, Jan sets the cup down.

Crisply, his hand leaves his pocket, cupping a SYRINGE with a yellowish liquid and needle that gleams in the firelight.

The sound, man-made - a plane? - grows LOUDER

YOLANDA Hear that?

Without preamble, needle flashing, Jan deftly stabs the syringe into Yolanda's neck and thumbs down the plunger. Yolanda's eyes widen in alarm. Jan cradles Yolanda's

13 face.

JAN Sorry, honey, plan B: "The party has just begun."

He watches her eyes register shock at the second worst betrayal of her life, then gradually flutter shut.

JAN (CONT'D) People need help.

The sound is now clear: a HELICOPTER approaching. Its SPOTLIGHT floods the clearing.

DISSOLVE TO:

EXT. FIELD-MORNING

A SPIDER crawls by the NEEDLE MARK on Yolanda's neck, while her eyes dart under closed lids -

DREAM IMAGES flash with an INCREASING BRIGHTNESS AND DIN that starts out ocean-in-seashell and ends up helicopter approach: Roger screaming, the photo, campfire sparks, the coffee pot, her dying father collapsing on her, and finally Jan's mouthing, "The party has just begun."

Yolanda's eyes burst open and she bolts upright as the chopper sound morphs into the ROAR OF A CAR dopplering away.

YOLANDA (in Spanish) You?! You?! How is it possible?!

She finds herself in an open field - alone and BOOTLESS.

Fingering the needle mark, she hears a CAR pass on a road.

Is she free? She stumbles across the field and up an embankment to find

A COUNTRY ROAD IN SOUTHERN CALIFORNIA

Deliverance. Fiercely, Yolanda starts walking - and laughing, but soon she's jogging and crying, until finally she's sprinting in furious hysteria.

When an SUV comes from behind, Yolanda blocks the lane, waving her arms and

14 babbling.

The driver, a STEFFORD SOCCER MOM, BRATS in tow, slows, almost lowers her window, but then guns past Yolanda.

The SUV's BUMPER STICKER pierces Yolanda's shock: San Diego Padres. Her new mantra.

YOLANDA San Diego Padres, San Diego Padres, San Diego Padres.

She charges on.

LATER

Yolanda, still reeling, approaches two telephone LINEMEN working by a truck.

YOLANDA I need help. I need a phone. I have to call my sister.

LINEMAN I Whazza matter? Where's your car?

YOLANDA No. They left me up the road. I need to get back. I need to tell my sister I'm back.

She grabs his arm, startling him.

YOLANDA (CONT'D) Can I use your phone?

LINEMAN I Hey, Goose-taco, come here.

GUSTAVO 1,Que pasa, jefe?

Lineman 2 approaches. Sensing something about Yolanda, he touches her hand that clutches his co-worker.

GUSTAVO (CONT'D) Hey ... 1,esta bien?

15 YOLANDA I need a phone. I gotta tell my sister I'm OK.

LINEMAN 1 Well, what happened to you?

As she searches for words, Gustavo's eyes narrow.

GUSTAVO She been missing. On the fliers... I been climbing by your face for like a month. 1,Donde has estado, chica?

YOLANDA I was kidnapped. They just let me go. Please, let me call my sister.

GUSTAVO Vaya! Claro que si, amiga. (hands her his CELL) ;,Como es tu nombre?

YOLANDA Yolanda Martinez.

LINEMAN I I'll have dispatch call the cops.

He leaves. Yolanda slumps against the truck, exhausted but afraid. Then, mad at herself, she summons the number and dials, only to reach voicemail.

YOLANDA Ay, Rosi ... Rosi, it's me. I'm back. I'm back, Rosi. I'm here. I'm all right. I couldn't help it, Rosi. I was kidnapped. They kept me 'til this morning. I'm OK...

She musters more anger to stave off a breakdown.

YOLANDA (CONTD) Listen, hermanita, I'm going to the city. I'll call you back. You'll come get me, 1,si? I'll be home today. 1.,0iste? I'm home today. Te quiero mucho, Rosi.

Lineman 1 returns.

16 LINEMAN I Cops on the way.

The two linemen watch Yolanda stare into space.

LATER

An AMBULANCE - no siren - pulls on to the highway.

Near the utility truck, COP I leads Yolanda to the backseat of the

I/E. SQUAD CAR

Yolanda absently accepts a WEATHERED FLIER from Gustavo. Cop I rides shotgun. As COP 2 drives them away, he notices Yolanda in the rear view mirror taking in her new cage.

COP#2 Never rode in a black-and-white, senorita?

YOLANDA No ...

COP#l Does you sister work, ma'am?

YOLANDA (to Cop 2)) I never have. My father did.

COP#2 (thinking he's clever) Oh, yeah? Front seat or back?

Beat. Yolanda focuses on a TATTERED FLIER posted on a phone pole, recalling

THE FLIER IN HER HANDS: It shows the word MISSING, a PHOTO of a plumper Yolanda, her name, etc.

YOLANDA (face hinting of a smile) My sister works at the Bank of America downtown. Oh! She'll be there now!

Cop I nods and writes. Yolanda marvels at the FLIERS POSTED on utility poles - at least two per pole, on dozens of poles - until the thought of Jan sobers her.

17 COP#2 And you're a reporter at the Union-Trib? Huh. Funny, you making the news ... Or making it up! Ha!

Yolanda scowls: Fucking cops. Jan said he'dbeen one.

YOLANDA Just push it. No offender goes unpunished.

INT. SAN DIEGO POLICE STATION - LATER

A small office looks out on a coldly efficient precinct floor. Yolanda sits, jacket on lap, radiant despite her concerns.

Across the precinct, a SECRETARY points ROSARIO - Rosi - Yolanda's sister, 23, to the office. Rosi rushes over and the sisters embrace at the door, emotions gushing.

ROSARIO Ah, Y oli, they said you weren't hurt. Afraid you were ... Gracias a Dios por tu carta. They said people disappear ... You wouldn't join a cult. But kidnapping ... mierda. Dios mio, you look incredible!

YOLANDA You did get the note! Just glad it was me and not you. Hey, those fliers ... thanks.

They laugh and squeeze each other again. Rosi wipes tears.

ROSARIO Mama's favorite picture of you. Prayed she'd watch over you. But they never asked for ransom or nothing. Who took you? Were you alone?

A man's VOICE pricks the reunion.

DETECTIVE PURCELL (O.C.) I'll bet you've got great answers.

ROSARIO (going cold) Detective Purcell.

18 Purcell, 50s - slight, edgy - is a prick, with a CANE. FOLDER in hand, he LIMPS to the desk, letting the sisters stand.

DET. PURCELL Found your sister's report. Somehow it was missmg. (implying Yoli wasn't)

ROSARIO Detective Purcell knew Papa.

Purcell SNORTS bitterly. Yolanda's eyes narrow.

YOLANDA We're not our father, detective.

PURCELL Good story: kidnapped for a month. Your papa wanted to tell stories - to Internal Affairs - about people pressuring him to take payoffs. Didn't go too well for him, though.

ROSARIO Pinche cabron turned nasty soon as he knew who we were.

YOLANDA Listen, asshole, we are nothing like our goddamn father. I was kidnapped. Why would I make that up?

PURCELL Right! You're happy writing obituaries. Cover the police beat, you'd have to report crimes, real crimes: official gets caught taking bribes, lies about who involved him, shoots a fellow officer who was only doing his duty. You'd even cover those losers who try drawing attention to themselves by filing false police reports.

Beat. Cold fury rising.

YOLANDA Least my father tried to come clean. Hope he named you: you reek, maldito hijueputa.

19 PURCELL More than that: he shot me. Shattered my femur. Just before he took you hostage. His own daughter. Helluva legacy.

The sisters are left speechless.

YOLANDA (to Rosi) We're done here. PURCELL Anytime, ladies.

Yolanda grabs Rosi to go.

EXT. OUTSIDE OF POLICE STATION Yolanda stalks out of the building. Rosi barely keeps up.

ROSARIO But you're not even wearing shoes!

YOLANDA (barking) Where'd you park?

EXT. OUTSIDE OF FBI OFFICE, SAN DIEGO

Yolanda's filthy STOCKINGED FEET stride by a

PUDDLE that reflects a sign, FEDERAL BUREAU OF JNVESTIGATION showing upside-down.

INT. CUBICLE

Yolanda and Rosario sit at a neat desk, while myopic SPECIAL AGENT NEIL FRICKHOLM, early 30s - NAMPEPLATE on desk - sprays his pet BRO:MELIAD.

YOLANDA ... Uh, that's right, from across the country. We were drugged on the Fourth of July. Next morning, we woke up in a forest. They left us naked in some mountains, somewhere in the West, probably -

20 ROSARIO (off "naked") Dios mio, hermana!

Frickholm stops, mid-spray, instantly smitten with Rosi.

FRICKHOLM Your espanol is gorgeous. You said, "My God, sister!"

Quirky behavior from a fed, not unwelcome to Rosi, but Yolanda pushes on.

YOLANDA No, it was nine taken, but we were ten altogether. And there were clothes and stuff, food. And these instructions typed out and a map for us to follow, and -

Frickholm stops spraying to hold up his free hand.

FRICKHOLM You were drugged July 4th. How? Where? When?

YOLANDA In my car. At the mall. Around 10:00 a.m. I was starting the car, and something on the steering sprayed this gas ... Everybody said the same thing happened to them. We read we had to participate in this Experiment, make a series of three-day treks to find these sick-ass gifts.

FRICKHOLM Which mall was that? Your sister - Rosario? - told the police she found your car later at the airport.

YOLANDA Westfield Center, near Macy's. The airport? Yeah, they'd want to make it look like I'd just gone away.

Frickholm checks the FAXED POLICE REPORT.

21 FRICKHOLM No sign of foul play. Only your phone and purse was there.

ROSARIO When they moved the car, they must've removed any traces.

Frickholm, impressed, rivets his attention on Rosi.

FRICKHOLM Yes. That works. (back to Yolanda) Your car went into long-term parking on the Fourth. Now this note was postmarked the seventh, here in San Diego.

YOLANDA That first set of instructions offered us a chance to send a note to family or friends. Had to copy exactly or it wouldn't be sent. Uh, Brad tried spelling out "kidnapped", backwards, using capitals among the lower case letters. Got his note back three days later, when we finished the trek to the first gift. Must be back in New York now ...

ROSARIO Wait: all the instructions were written. Except for "Jan" yesterday, the kidnappers never showed themselves - Didn't you try walking out of there?

FRICKHOLM Excellent question.

YOLANDA Edmund - from ... Nashville? - he tried to sneak away the first day. Later we found his cap on the trail with a note: just said "solitary". Week later, we came across Edmund. They'd knocked him out with a tranquilizer dart, left him locked in a cell with food and a treadmill - no window - and knocked him out again to return him. He wasn't hurt, just damn glad to be back.

22 FRICKHOLM Edmund's last name? Or.. .Brad's? Anything that could lead to the other captives?

YOLANDA Right here.

She picks up her jacket.

YOLANDA (CONT'D) We used first names, but I wrote everyone's name down - cities and occupations. See, I got the first gift - this journal.

She pats a pocket: journal not there.

YOLANDA (CONT'D) I started recording everything - hang on a sec -

She turns to the other pocket. Nothing. She rifles through the whole jacket.

YOLANDA (CONT'D) Son of a bitch! He took my journal!

ROSARIO You sure?

YOLANDA It's gone. Rosi, it had a picture of Papa in it. He took it - "Jan". And he was always encouraging me to write in it! Hijo de la chingada!

FRICKHOLM Do you remember anyone's full name?

YOLANDA You mean, besides "Jan Olsen"? Dammit! ... Yes! And it's one you'll know: Margaret Than.

ROSARIO Margaret Than! The Margaret Than?!

23 FRICKHOLM Isn't that a line of clothes?

ROSARIO Margaret Than for the Wild? She's a female Eddie Bauer! You were kidnapped with Margaret Than?!

FRICKHOLM Fascinating. YOLANDA We shared a tent. She's in Boulder, Colorado. Corporate headquarters.

FRICKHOLM Splendid. Now, this "Jan Olsen" ... you could describe him to a sketch artist?

YOLANDA Believe it.

FRICKHOLM I'll get a call put in to Boulder. Then we'll get to work on "Olsen".

YOLANDA Thank you.

Frickholm nods his head, flusters at Rosi, and leaves.

ROSARIO Special Agent Frickholm likes me. Think he could order us in some quesadillas?

YOLANDA Ask him en espanol.

LATER

Yolanda, irked, and Rosi study a SKETCH of a rather sinister-looking figure who only slightly resembles Jan.

ROSARIO He looks mean.

24 YOLANDA (frustrated) The only thing that's right. His eyes are nothing like that. (imitating Frickholm) "And have you any idea, Ms. Martinez, any idea, as to why 'Olsen' would wish to force these so-called gifts on captive strangers?" Excellent question, Agent Frickholm.

ROSARIO Come on. He's not Purcell - and he told you how to get counseling from County Services. He's cute, in a dweeby way.

YOLANDA For Chrisakes, Rosi, that was when he thought I was just nuts. By now Purcell has him thinking I'm headline-crazy. What the hell's taking him?

Spying a gaudily-colored PAPER protruding from the bottom of a stack of files, Yolanda astonishes Rosi by pulling out a magazine, TANGO TODAY, sporting a matador-like tango artist arched dramatically over a femme fatale not unlike a less plump Rosi, bent backwards in an impossible dip.

Deadpan, Yolanda shows the magazine to astonish Rosi again.

ROSARIO Yoli!

YOLANDA Special Agent Neil Frickholm's alter ego.

Rosario alone cracks up.

Just then the G-man returns and, going scarlet, snatches the magazine from Yolanda.

Rosario composes herself as Frickholm stows the magazine.

FRICKHOLM I am sorry for the delay.

25 YOLANDA Is Margaret OK?

The agent overmasters his embarrassment.

FRICKHOLM I finally reached her PR man: To his knowledge, Margaret Than is on her way back to Thailand - from China. For the last month she's been traveling, visiting her plant in Taiwan and opening a new factory in Bangkok.

YOLANDA That's bullshit!

FRICKHOLM He said it's all in anticipation of a big merger.

YOLANDA Margaret Than was kidnapped! Nine innocent people were put through hell by that... (eyeing but discounting sketch) by one very crazy, dangerous son of a bitch. Now what are you going to do about it, Special Agent Tango?

FRICKHOLM Please, Ms. Martinez! I left word for Ms. Than to contact me immediately upon return. Understand, I am filing your report. If you knew just one other last name ...

YOLANDA What?! Do you think I'm making this shit up?! At the same time, all over America, nine ordinary citizens are abducted and transported cross country to the wilderness and forced to backpack for a whole month to find - what - special gifts?! It's .. .sick!

26 FRICKHOLM But Margaret Than is the only ready lead you have! Right now, at least, she's out of the country and won't be back for weeks. Moreover, in the entire country Margaret Than has never been reported missing.

YOLANDA Nobody has ... ? Look, this is all weird, but we're victims of crimes!

He places Yolanda's folder precisely on a stack of files.

FRICKHOLM I am sorry. (eyeing Rosi) Truly. At this juncture, however, there's little more I can do.

He tries to give Rosi a smoldering look- endearingly lame. He picks up one of his business cards, writes his personal phone number on the back.

FRICKHOLM (CONT'D) You will call me, if you can think of anything? Anything.

Rosi graciously takes the card.

YOLANDA Right.

ROSARIO You know how to reach us.

As the two women rise, Frickholm watches Rosi for signs of tango grace. Then he notices Yolanda's feet as she leaves his space.

FRICKHOLM Oh, Ms. Martinez? Have you any idea, any idea, as to why you would be released without your shoes?

Blistering beat.

YOLANDA None.

27 FRICKHOLM Ah!

Frickholm is disheartened on various levels when

Rosi suddenly performs a sexy tango pirouette while singing the last bars of "La Cumparsita". Frickholm's jaw drops, but Yolanda has already moved on.

YOLANDA No importa. I won't let him get away with it.

INT. YOLANDA'S HOUSE - DAY

A bungalow's spare bedroom/office, until two days ago the center for Rosi's campaign to find Yolanda, now for Yolanda's to find "Jan".

Yolanda, fuming at her LAPTOP in pajamas, is poised to take notes, her CELL PHONE cradled in her neck.

She scrolls through the very last GOOGLE references to "Jan Olsen". Nothing. Her call resumes.

YOLANDA (irritated) Yes. Well, Evie, are you telling me now that Ms. Than still hasn't got my message? Then she did. And did she have any message for me? Then can you tell me when you will be in a position to say? Oh no, Evie, I'm sorry.

She jabs the End Call button.

From the doorway, dressed for work, Rosi watches as her obsessed sister renews a different Google search, quickly scrolling to the unfamiliar listings for "Jan Olson" - 11 11 with an 0 •

ROSARIO I thought you were going in today.

YOLANDA Huh? Oh. Later, maybe.

ROSARIO Meet for lunch?

28 No response. Rosi gives up and kisses Yolanda's head. Yolanda looks up.

ROSARIO (CONT'D) Tango Man is kicking himself for not ordering your blood test sooner.

Yolanda smolders at the memory of the agent's bumbling.

YOLANDA Clueless idiot.

ROSARIO I'll call you later.

Rosi leaves. Yolanda scans on until an idea stops her.

Grabbing a TELEPHONE DIRECTORY, she skims past the Olsens, the Olsons and a few odd names, until she finds "OLSSEN".

Aha. But the doorbell RINGS.

She types in "Jan Olssen" when it rings again, followed by THREE QUICK RAPS ON THE DOOR.

Just as NEW LISTINGS appear, Yolanda tears herself away to retrieve an ENVELOPE left by Federal Express.

Rushing back, she rips it open to find only a MAP of the San Diego Zoo.

She starts unfolding the map but when she sees the first listing for Olssen she lets the map drop by the laptop:

In FLASHES she gleams that Jan Olssen was the 1970s Swedish bank robber whose hostages so identified with him that they came to defend him against the authorities - the case that inspired the term "Stockholm Syndrome."

Shocked, Yolanda slaps her hand down on the map - so hard that she has to rub the sting out of her palm.

She reads on, but stealing a look at her hand, she notices that she's smearing strange symbols in BLACK MARKER INK.

No: it's a word written backwards.

She looks where her hand struck the map:

29 "JOURNAL" is written there with an arrow pointing at the center of the zoo's Owens Rain Forest Aviary.

Yolanda is stunned but soon her eyes drift back to focus on Olssen's comment at the moment his bank robbery became a hostage stand-off: "THE PARTY HAS WST BEGUN."

Beat. Yolanda bolts from the room into

HER BEDROOM

Undressing quickly - she is fit - Yolanda throws on old jeans and at-shirt.

From a Timberland bag she pulls out a box with a new pair of HIKING BOOTS. MOMENTS LATER in the office

Yolanda grabs the map and takes a PEN to her NOTEPAD.

On her "Jan" list, under "RETIRED HOSTAGE NEGOTIATOR- CHICAGO" and "WIDOWER", Yolanda scribbles a phrase, pauses to read it and heads out. We see that she just added "SYMPATHETIC KIDNAPPER?!" as the front door SLAMS.

EXT. FREEWAY

Speeding, Yolanda takes the off-ramp for the San Diego Zoo.

EXT. ZOO.

At the ticket booth, Yolanda slides back the map that the TICKET SELLER just gave her.

YOLANDA Got my own.

Inside, a summer CROWD is already forming. Yolanda checks the map against her location and moves quickly.

She spots the huge AVIARY in the distance, when caution catches up with her. Moment of sober uncertainty.

Her pace now slower, she approaches the aviary entrance.

INT. OWENS RAIN FOREST AVIARY

A large, colorful BIRD swoops across the frame of the entrance, SCREECHING.

30 Yolanda enters warily. Over the SOUND OF RUNNING WATER, she hears the voices of TWO SMALL GIRLS AND THEIR PARENTS echoing uphill from her, as they make their way down toward her.

She follows the path up toward the center, checking the arrow on the map. Finally, in the middle of the structure, she sees a SIGN.

Yolanda approaches to read the zoo's concept of a flight-free habitat, then considers the birds moving around freely.

But her journal? On the edge of the sign, she spies a SMALL ARROW, like the one drawn on her map, pointing down.

She waits for the family to pass, glances around nervously, then kneels and looks below the sign.

Taped to the sign's underside is a MANILA ENVELOPE.

Yolanda carefully removes it. Standing, she turns it over to find a HAIKU written with block letters in black marker:

BIG, BUT STILL A CAGE WHILE SOME BIRDS FEEL LIKE VICTIMS OTHERS KNOW THEY'RE FREE

YOLANDA (cursing Jan) Malparido.

She opens the envelope to find only her journal.

She starts flipping through it, back to front: it's complete.

But then she checks the first page: the photo of her father is GONE. But a SLIP OF PAPER is wedged into the binding.

Yolanda removes it and turns it over to read in disbelief:

WRITE YOUR STORY.

Riled, she slams the note back into the journal.

YOLANDA (CONT'D) Hijueputa! She storms out.

31 I/E. YOLANDA'S PARKED CAR- LATER

Yolanda's car sits in a still parking lot. Yolanda stares inward. Journal in hand, she springs out of the car and into the building of the

SAN DIEGO UNION-TRIBUNE

INT. EDITOR'S OFFICE.

Yolanda's boss, LYNN WELLINGTON, late 50s, a would-be Earth mother doomed by too much intellect, prepares herb tea on a side table.

LYNN (off the tea) ... Just what you need after all you've been through. So, you know where he got his nom de guerre, and he returned your journal, sans Daddy's photo. OK.

She shoves a CUP at Yolanda, who stays game-faced.

LYNN (CONT'D) Chamomile. Calms your ... (noticing Yolanda's boots) Oh: You can take the girl out of the wilderness but. .. ? Sweet Mistress of Beasts, you lost like twenty pounds! Look - first step - write the series.

YOLANDA Lynn, I can't write "my story"! What he wants is the ripple effect of his power on the imagination of all the people he can't kidnap.

LYNN And? I want a ripple effect on our circulation. Just tell the hostages' story of the Experiment.

YOLANDA Same thing. No. Look: from the captives I can piece together enough information to find out who "Jan" really is. The story I'll write is the blow-by-blow of bringing the son-of-a-bitch to justice - I

32 Lynn looks at her underachieving obit writer with new eyes. LYNN What happened to you out there?! Listen, finish the first series, then we'll see about a follow-up. Contact your fellow, ex-abductees, but we can't pay you to search for Mr. Mystery Stockholm Syndrome Guy.

Yolanda makes up her mind.

YOLANDA So don't. I want to smell blood. I'll do the series - slant it to flush him out. You'll want the hunt series - and pay me back. LYNN (noncommittally) Huh. But the FBI would take you seriously now.

YOLANDA When Margaret returns. For now - just me. LYNN The verve of angry youth. Just be careful. Whatever his motives, Jan clearly commands extensive resources. Hey, in the second series you could see what everyone's been doing with their "gifts". Sequence the stories in the same order you all got your gifts?

YOLANDA Jefa, you read my mind.

Yolanda drains the tea in one gulp.

YOLANDA (CONT'D) Chamomile. Calming, huh?

Yolanda bounds up from her chair.

33 YOLANDA (CONT'D) That miserable will be the last obituary I ever write. The party has just begun.

INT. YOLANDA'S BEDROOM

Upset, Rosario looks on as Yolanda finishes packing a bag.

ROSARIO And besides going into debt, you could be stepping into real trouble.

YOLANDA Jan's the one in trouble. He made his choice.

Beat. Rosi stares at her sister.

YOLANDA (CONT'D) What?

ROSARIO (sad, hurt, worried) That's what you used to say about Papa.

Yolanda slams down the lid but the suitcase is too full. She unzips the extension and applies force to close it.

She then throws loose items into her carry-on bag, pausing when she sees her closed journal. She turns to Rosario.

YOLANDA I'll be gone two weeks, at most.

ROSARIO Right. Revenge. That'll make everything right.

YOLANDA You weren't there.

ROSARIO No, I was here the whole time.

Rosario stalks out.

Stuck, Yolanda goes to her closet to pull out a BOX OF OLD PHOTOS. She leafs

34 through photos that show their happy childhood tainted by the consumerism of daddy's graft.

Angered, she rifles the pile to find another police portrait of her father and sticks it in the journal.

MATCH CUT TO:

INT. AIRPLANE - LATER

At 3 5, 000 feet, the photo is now taped back into place. Yolanda closes the journal and returns to her laptop.

Her computer screen shows the following list.

Jan's Gifts and What they're telling us 1. my journal - 2. Sally's keys and title to RV - Get off the streets. 3. Simon's sketch pad/art school - Get serious about work. 4. Edmund's gay cruise - Here's the ultimate "outing". 5. Margaret's wristwatch-Take time from work to live. 6. Dr. Arvel's family tree - Embrace your roots. 7. Candace's video collage - Connect with your daughter. 8. Brad's "suicide" tablet - End your useless life. 9. Roger's pistol/personal porn -

Yolanda looks at the pulsing CURSOR after "porn", then types in "You are a monster."

She moves the cursor up to "my journal", pauses, then types in "Tell the story of the Experiment's awesome goodness."

YOLANDA As if, asshole.

At which the BLUE-HAIRED MATRON next to her primly dons headphones, but Yolanda only notices a FLIGHT ATTENDANT'S VOICE corning through the loud­ speakers.

FLIGHT ATTENDANT (O.C.) Ladies and gentleman, in just a few minutes we'll be landing at Las Vegas McCarran International Airport. Please ...

With grim efficiency, Yolanda fastens her seat belt.

35 EXT. OUTSIDE HOMELESS SHELTER, DOWNTOWN LAS VEGAS

Through the door under a dimly lit sign - UNION GOSPEL :MISSION - a WIRY MOTHER SUPERIOR, beaming, leads Yolanda out to the sidewalk, gestures to turn right at the end of the building, and goes back inside.

Yolanda walks down to a fenced EMPTY LOT, where a NEW RV is parked, warm light visible inside the screen door.

YOLANDA'S POV: Someone is moving around inside the RV.

Drawing near, Yolanda detects COOKING SOUNDS and the rich HUMMING of Sally, the stout black woman, 50s, from the Experiment.

YOLANDA (imitating Sally's boom) "Fresh me-e-e-e-e-at!"

SALLY (O.C.) Who in the - ?!

Seeing Yolanda sets off a one-woman Fat Tuesday Parade: dancing, whooping, laughing to tears. Even Yolanda melts under Sally's sweeping joy.

Finally setting Yolanda down, Sally opens her arms wide to indicate her new home.

SALLY (CONT'D) Huh?! Huh?! Oh, I tell you, honey! I tell you! And, child, you're just in time for dinner. (with sudden dignity) Yolanda, welcome to my new home.

She holds open the screen door for Yolanda, who's rather fazed, then bursts into bellowing laughter as she follows.

LATER

Dinner plates still uncleared, Sally's high spirits have been pelted by a new tension. She goes to pour Yolanda's coffee, cutting off another would-be appeal from Yolanda with one of her own.

36 SALLY Imagine, waking up tucked into that bed right there with the title and the keys ... And me without a driver's license since 1988! (off the coffee) Now this ain't as good as Jan's but I like it all right 'cuz IT CAME WITH THE PLACE!

Her laughter rocks the RV until Yolanda kills it.

YOLANDA Sally, you should have gone to the FBI! Please listen, he was behind it. If you know anything about him, you got to tell me!

Sally counters.

SALLY No, Missy, I don't got to do nothing! (sets down coffee pot) Now, I believe you. But that man - I don't care what he calls himself - that man's a good man! You telling me he the one give me this roof that get me off the streets and then expect me to visit trouble on his head?!

Yolanda erupts.

YOLANDA Good men don't take hostages, Sally! They don't put innocent people in danger! He can't throw a fucking wrench in people's lives!

Seeing Yolanda momentarily spent, Sally touches her arm.

SALLY Once I had a wrench. Used it to fix stuff Now I got this home, and I got a job interview tomorrow. I talked to my daughter? After four years! She's willing to see me. (shaking head in wonder) The Experiment give me a vacation, only one I ever had. Didn't think about drinking even once. That's what Jan done. You go

37 ahead now and figure out what to do with your wrench.

But Yolanda, unmoved, only cuts her losses and pushes on.

YOLANDA Giving you a roof doesn't mean a man can do whatever he wants. So be it: Simon Says.

SALLY Simon? Sweet boy. Maybe I'll do a road trip out his way myself. Always wanted to see Motown.

YOLANDA (scheming) Sure. Simple Simon.

START MONTAGE

Yolanda writing in her hotel room, talking on the phone at airline gates, staring straight ahead on a flight, checking into a Detroit hotel, asking about Simon at different Detroit art museums

END MONTAGE

EXT. THE DETROIT INSTITUTE OF ARTS

Under Rodin's "The Thinker", Yolanda takes in the museum's arched facade as she talks on the phone, impatiently.

YOLANDA I am glad readers like the series, but I'd rather hear Jan's whining. Look, gotta go. Goodbye, Lynn.

She ends the call and hurries up the steps into the building.

INT. THE DETROIT INSTITUTE OF ARTS - CONTINUOUS

Almost closing time. Yolanda approaches a bitchy TICKET SELLER who's packing up for the day.

YOLANDA Excuse me. You have a janitor working here named Simon Contreras?

38 TICKET SELLER No. We have Simon Contreras, maintenance engineer. I don't suppose you mean him?

YOLANDA (dismissing the slight) Yes! I need to reach him. It's important.

Indifferent, the seller picks up her cash tray.

TICKET SELLER (pointing) That door. Simon walked in ten minutes ago. Ring the buzzer.

Pumped, Yolanda strides across the foyer and rings a BUZZER that, even after she's taken her finger away, sounds continuously, muffled through the closed door. Soon she hears HEAVY FOOTSTEPS hurrying toward her.

The door opens, immediately stopping the buzz, as a pear-shaped SECURITY GUARD, 40s, looks at Yolanda accusingly, then softens.

As Yolanda watches him pin a NAME BADGE to his shirt, we hear Vern Weaver's high, nasally voice.

VERN WEAVER Sorry. Buzzer's broken.

YOLANDA Oh. Sorry. Uh, I was told that Simon Contreras, the maintenance engineer, is here.

VERN WEAVER Simon? Janitors at the end of the hall.

He holds open the door for her. She flusters a little.

YOLANDA Thanks for letting me in, Vern Weaver.

As she steps in, Vern goes into a Groucho Marx impression that's awful but charming.

39 VERN WEAVER Don't mention it - rearly: it could cost me my job!

Vern flings up imaginary tuxedo tails and Groucho-walks out.

The sweetness bounces off Yolanda. She turns down the hall.

INT. MAINTENANCE ENGINEERING OFFICE

In a changing/locker area, Simon, the mid-20s Hispanic from the Experiment, sits on a bench zipping up his custodian's uniform. Entering from the hallway, Yolanda sees him and goes street.

YOLANDA Hey, Homey, show me your etchings?

Simon, a sweet, talented kid double-takes, jumps to his feet.

SIMON (in Spanish) Yoli, girl! Wow! What are you doing here?!

He stumbles over to hug her. She's touched, but bent on playing him.

SIMON (CONT'D) (still in Spanish) Good to see you! Wow! What you doing here?!

YOLANDA To see you, man, to see you. Glad you made it back OK. You starting your shift?

SIMON Got time, girl. How'd you find me? Thought I'd never see any of us again.

YOLANDA Wasn't that hard: art museums. (explaining her visit) Homes, I'm writing about the Experiment for my newspaper.

40 SIMON Man, I told you we were gonna make it out all right! You with your journal, me with my sketch pad. I've really missed, well, most of you guys. So, are you, like, here to interview me or something?

YOLANDA Like, "or something."

He laughs, so Yolanda does too.

YOLANDA (CONT'D) Did you really get your gift?

SIMON Bank that, chi ca: the only son of mojados to ever attend the College for Creative Studies. Just came from there.

The news flickers darkly across Yolanda's face, but she forces herself to smile broadly and join Simon in a laugh.

SIMON (CONT'D) Woke up in one of their buses, man - not naked, just barefoot! -with a packet of orientation materials. Official, mamacita: Four years tuition paid in full!

YOLANDA (hollowly) Great!

Floundering, she sees his SKETCH BOOK and picks it up.

YOLANDA (CONT'D) This on the bus too?

SIMON Yeah.

Simon watches Yolanda flip through very skillful DRAWINGS of landscapes, then stopping at an excellent sketch of Jan.

41 YOLANDA (off the sketch) Huh. Miss him much?

SIMON Didn't trust him. You did though.

Her eyes dart.

YOLANDA But you didn't?

SIMON (shrugging) Old white guy. I mean, you know.

YOLANDA Yeah. For all the time I spent with him, I don't know how to find him.

SIMON Ex-cop from Chicago, right? How hard could it be? Lost a wife, too, didn't he? (trying to recall name) Uh ... Vicky?

Yolanda flips to the next sketch, which shows herself brooding.

YOLANDA Becky. (off the sketch) Jesus, you made me look pissed off

SIMON (sarcastically) Oh, yeah, right: I did.

She deflects the implication.

YOLANDA Hey, did you report what happened, like to the FBI?

42 SIMON (laughing bitterly) Hell yes! Waste oftime, man. Cabrones. They did nothing.

Dropping her mask, Yolanda jumps to a conclusion and in with both feet.

YOLANDA Look, I found out something: his name's not really Jan Olssen. He was behind the whole Experiment! He drugged you all that last night. I was awake when the helicopters came, so the son-of-a-bitch shoved a syringe into my neck.

Simon absorbs this. His eyes engage Yolanda's.

SIMON No shit, Yoli?!

YOLANDA Palabra, he1mano. And I want to bring that fucker down! Simon looks away to stare within: a shift in feelings, but Yolanda's too caught up to notice.

Then, from up the hall, the buzzer SOUNDS again.

SIMON (still processing) Wow.

YOLANDA Yeah. Can you remember anything else about him?

SIMON (not hearing, to himself) I really misjudged him.

YOLANDA We all did - a lot worse than your average old white guy. Think.

The buzzing is getting on her nerves.

43 SIMON God, ifl could find him...

YOLANDA Damn right.

SIMON (still not hearing her) ... just to thank him ...

YOLANDA (finally hearing him) Thank him?! Simon, what the fuck? You went to the FBI!

Simon, aware of the buzzing at last, stirs. Yolanda is beside herself in disbelief

SIMON (off the buzzer) I got to get the door.

He starts away but turns back at the door.

SIMON (CONT'D) Going to the FBI was the only way I could get my job back. Boss believed me but had to leave a paper trail. I didn't want to. Christ, Y oli, can't you see? Talent without a chance to develop it is just. .. frustration. The Experiment - "Jan" - has given me a shot at life. (his eyes appeal to her) Be right back.

Yolanda gapes. Beat. Then she makes herself hard. She looks back at the sketch pad.

Quickly, she flips back to the sketch of Jan and rips it from the pad. She folds it into her bag, then covers her theft by turning over again to the sketch of her.

The buzzer sound STOPS. Yolanda fumes in silence alone.

INT. HOTEL ROOM - NIGHT

CNN is muted but shows senior SENATOR HARLAN GROVE holding forth. Yolanda sits in bed with her lap top, on the phone with Rosi, stolen sketch beside her.

44 YOLANDA Yeah, filed the one about getting Edmund's gift - tone's really caustic - get the bastard to- (listening) No, Edmund got the trip on the gay cruise ship ... Good question, hermana. Always said he was straight ... Uh huh. Gonna surprise him tomorrow aftern--... No, go ahead. (listens, then bristles) What do you mean? Course I've thought about it, Rosi! My gift's his lame way to get me writing more than obits ... What about it? The picture's part of the mind-fuck. .. Replaced it so I wouldn't forget. (becoming very uncomfortable) Yes - Jesus, Rosi, I'm sure! - Hey can we talk later: something on CNN I need to see .. .'K bye.

Yolanda cuts, then turns offthe TV to brood in silence.

EXT. NASHVILLE SUBURB, OUTSIDE EDMUND'S HOUSE -THE NEXT DAY

Yolanda pulls her rental up to a neat middle class house, confirms the address, and gets out.

Sounds of a HEATED ARGUMENT - and a SEWING MACHINE - carry from inside.

Yolanda advances warily.

FATHER(O.C.) (with strong Filipino accent) How you can leave students?!

EDMUND (O.C.) (effeminate voice) Only for a week!

FATHER(O.C.) You miss month already!

45 EDMUND (O.C.) You do appreciate the difference between kidnapping and a free vacation? My ship sails tomorrow.

Yolanda rings the bell.

INSIDE

In a comer of the living room, a FILIPINO WOMAN, Edmund's mother, late 60s, hunches over a sewing machine. We never see her face. His FATHER, also late 60s, is a pint-sized patriarch.

FATHER I appreciate nothing! (off doorbell) No more surprise! Edmund, you not go crmse.

As the sewing machine WHIRS, Edmund Portal, mid-30s, the Asian-American from the Experiment, paces like a caged beast, watching his father tum into a public­ smiling door-opener.

FATHER (CONT'D) Hello!

Yolanda blinks at Edmund's intense father.

YOLANDA (deferentially) Hello, Mr. Portal? My name is Yolanda Martinez. I'm looking for Edmund. Are you his father?

As Mr. Portal goes to speak, Edmund, suitcase at his side, sees Yolanda and is dumbfounded.

EDMUND Yolanda?!

The machine whirs on.

YOLANDA Hello, Edmund.

Edmund teeters over. Finally, he rallies to kiss Yolanda's cheeks, surprising hell out

46 of dad.

EDMUND Come in. Wow. A minute later and you'd have missed me.

When dazed Mr. Portal opens the way for her, Yolanda steps in. To cover the awkward moment, she nods at the suitcase.

YOLANDA You we're coming ... out?

Both she and Edmund flinch at the accidentally charged word, which Mr. Portal misinterprets badly.

FATHER Oh, no. Oh, no! You not go cruise with American easy lady, you don't!

Beat. Edmund and Yolanda swap surprised looks.

EDMUND YOLANDA No, Papa, I... Mr. Portal, you ...

FATHER (CONT'D) You no go happy-happy sex boat, no! Lady, my Edmund, he good boy, marry Filipino girl!

Yolanda respects any father there for his kid, but Edmund swallows hard. Mother repositions material and sews on.

YOLANDA Sir, please, I'm not Edmund's girlfriend. I was with him when we were kidnapped. I'm not going on the cruise ...

The father bears down on Edmund, who's reaching his limit.

FATHER You not go cruise! You not make happy-happy with American easy lady! You marry Esperanza Duarte, no more excuse! No more, "need work!" Need work?! Need Filipino wife!

47 Edmund finally erupts, taking Yolanda and Dad aback, but Mom keeps sewing.

EDMUND I am not marrying Esperanza Duarte! I do not want sex with a Filipino wife, Papa! Papa! I want to have sex with a man! Yes! Yes, Papa, I want happy-happy with a man!

Edmund catches his breath. Yolanda looks stunned. Blind-sided, Mc Portal listens to the whirring machine, then turns to Yolanda, his public smile is now cracked.

FATHER Edmund always funny boy.

Yolanda, feeling for the father, tries to console him.

YOLANDA Mr. Portal, so much happened in the time we were away, maybe ...

FATHER OK, OK, go cruise. Take free vacation. You nice girl. Not Filipino, no matter. No worry.

Edmund sighs. Yolanda and Mr. Portal turn to him.

EDMUND Papa. I'm gay. You know I am. I am homosexual.

Edmund tears up.

EDMUND (CONT'D) (in Tagalog) I'm a fag, Papa. Like Uncle Estefan. Ask Mama.

Suddenly, the sewing STOPS. But Mom doesn't move an inch.

EDMUND (CONT'D) Mama knows. She's always known, even before I did.

Mr. Portal looks at his son with pain, deep but unreadable.

Yolanda gasps slightly when the father picks up the suitcase and carries it to his son.

48 FATHER (lovingly) Need vacation. Go cruise. (pats Edmund's shoulder) You good son. Have fun.

Edmund wipes a tear, gathers himself, accepts the bag.

EDMUND Thanks, Papa.

He looks gratefully at father and mother, then to Yolanda.

YOLANDA Take me to the airport?

YOLANDA (CONT'D) Sure. (to Mr. Portal) Very nice to meet you, sir.

Fighting tears, Mr. Portal nods. The sewing machine resumes.

On automatic pilot, Yolanda and Edmund, bag in tow, step

OUTSIDE

Y oli absently BEEPS open the trunk and unlocks the doors. Edmund stows his suitcase and they climb in.

YOLANDA (woodenly) Show me the way?

EDMUND Straight until you have to tum.

Yolanda starts the car and they drive off in silence.

DISSOLVE TO:

I/E. CAR, AT TERMINAL

In the white zone, Yolanda turns off the car. They sit silently. Gradually, Edmund stirs, clears his throat.

49 EDMUND I didn't ask why you came.

For a moment, Yolanda has forgotten herself.

YOLANDA Uh, I'm writing about the Experiment for my-

Edmund's fatigue overtakes her too.

YOLANDA (CONT'D) (out of habit, listlessly) Did you go to the FBI?

EDMUND Yes. My father made - (catching himself) I let my father make me.

Beat. She nods, and, sighing, pops the trunk. They get out and Edmund retrieves his bag. They face each other on the sidewalk.

YOLANDA (dully) Jan was behind the Experiment. I found out on that last night.

Edmund absorbs this slowly.

EDMUND Huh. Well, thank him for me. Tell him I miss my boots. If you see him?

Beat.

YOLANDA (exhaling) I will, once I tell him my piece.

Edmund gives Yolanda a hug, which she returns awkwardly.

YOLANDA (CONT'D) Uh... hope you enjoy your gift.

50 EDMUND Have so far. (locking on her eyes) You too.

Watching Edmund wheel his bag through the glass door into the terminal, Yolanda shakes her head in self-disgust.

YOLANDA Jesus, I'm a sap.

CUT TO:

INT. DEPARTURE GATGE, NASHVILLE AIRPORT - NEXT DAY

Yolanda shuffles with PASSENGERS to board her SEATTLE FLIGHT when her phone RINGS. The area code galvanizes her.

YOLANDA Hello?

She hears a throat clear.

MARGARET (O.S.) Well, I'm back.

Yolanda's eyes grow wide - until her customary cool recovers.

YOLANDA About goddamned time, Margaret.

MARGARET (O.S.) We should talk. Where are you?

YOLANDA Bound for Boulder, now.

EXT. TARMAC, BOULDER AIRPORT

Bag in hand, Yolanda leaves a Cessna PILOT for a LIMO DRIVER

EXT. OUTSIDE MARGARET'S MANSION

Arriving at a sleek, cold mansion, Yolanda follows the driver and her bag to Margaret, jet-lagged and smiling at the door.

51 YOLANDA Cessnas. Limos. Mansions - cliches a girl could get used to?

MARGARET (off the bag, to the driver) Top of the stairs, please, Rory. (as Rory enters, off Yolanda's quip) Getting used - that is the problem.

They embrace warmly. Eyes damp, Margaret studies Yolanda, then pronounces.

MARGARET (CONT'D) Vino. And lots of it.

EXT.PATIO

Gorgeous Rockies dusk. Indicating the MILITARY-STYLE WATCH on her wrist, Margaret, gloriously self-possessed, pours Yolanda the dregs of a Shiraz.

MARGARET No, it's not a watch with a vibrating alarm that has been broken. (hearing her own words) Well, OK, it is a watch programmed to vibrate randomly. At first I was more afraid not to wear it - still jumped if I thought it was going to vibrate - But now I see the gift is in the intention. (she fixes on Yolanda's dubious eyes) Jan's intention is to nudge me to seize the sacred moments in everyday life. Now it goes off and I say, "Wake up, Maggie. Don't miss the miraculous in the mundane."

YOLANDA (with put-on cynicism) Disrupt the miracle of sleep much?

MARGARET No. Listen, I felt I'd lost my spirit: Jan's Experiment has brought me back to the path I was on as a wilderness guide ... (with chagrin) ... before I stumbled into "wilderness chic".

52 She starts opening a a new bottle.

YOLANDA Sure it has. Whatta guy. (changing gears) So, your company's going public - sensitive stuff - but why did you actually leave the country?

Margaret screws into the cork.

MARGARET That morning after, my watch woke me up on my living room floor - coldest, most lifeless room here. I missed my sleeping bag our tent. Freaked me out to be dropped back into what I've let myself become. Had to run away, get some perspective. And I did.

YOLANDA As Jan intended? You know, the road to hell - not enlightenment - is paved with good intentions.

MARGARET Cynic, you're a wounded dreamer. But you'll do what you have to do - Jan will too - and your former tent buddy will help you any way she can.

Uncorking the bottle, she fills their glasses.

YOLANDA Even to catch him?

MARGARET Find him, anyway, and thank him. Ifhe wants to be found. I think part of him does.

YOLANDA Why?

53 MARGARET Intuition? Like whenever he talked about his wife. I always sensed he felt. .. not just sadness but that he'd ... failed her somehow.

YOLANDA Felt that too.

Yolanda drinks deep and turns inward. As Margaret sips, her intuition :flashes again.

MARGARET The photo of your father.

YOLANDA Hm?

MARGARET Your father's picture: in your journal, then not.

YOLANDA (warily) Yeah? MARGARET Whole month up there, you never opened up about him. (leaning in) Do it now.

A beat of consideration, then Yolanda's quick dismissal.

MARGARET (CONT'D) And if part of you needs to?

Yolanda gulps wine, swallows, then glares at Margaret glassily.

YOLANDA Spare me.

Yolanda goes to drink again but stops. For once, her anger stands down. Margaret's eyes reflect Yolanda's pain.

MARGARET How old were you?

Tears swell in Yolanda's eyes, but she can't blink them back.

54 YOLANDA Ten.

Yolanda, forgetting her armor, weeps unconsciously.

MARGARET We do stupid things 'cuz of all kinds of pressure, from within and without - stupid, but maybe better than doing nothing. Your father-

But Yolanda scrapes her eyes dry.

YOLANDA Ernie Martinez made his choice: He left us.

Margaret takes Yolanda by the hand. Her watch rests against Yolanda's wrist.

MARGARET But he was your father. Tucked you in? Tickled you with his chin? He loved you, right? And you loved him?

Margaret looks at Yolanda expectantly. Yolanda starts to return the lookjust when Margaret's watch VIBRATES.

Yolanda flinches but Margaret clamps down on her hand.

Beat.

MARGARET (CONT'D) (whispering) Sacred moment.

But Yolanda extracts her hand and retreats into her shell.

YOLANDA He got justice. So will Jan.

CUT TO:

EXT. MONTANA RANCH HOUSE - MORNING

SENATOR HARLAND GROVE steps outside, shadowed by WENDELL, his anxious aide. Jingling a KEY RING, Grove climbs into a NEW HUMMER.

55 WENDELL But, Senator, the Cattlemen's delegation will be here at--

GROVE Wendell, goddamit, I been chomping at the bit to break this pony in.

Grove turns over the engine.

GROVE (CONT'D) Back soon.

EXT. ISOLATED Hil.LTOP IN OPEN COUNTRY

Cresting a hill, Grove parks the Hummer and admires his spread. His phone RINGS.

GROVE Good morning!

Silence, then

MAN'S VOICE Check the glove compartment, sir.

CLICK

Bemused, Grove opens the glove box to find a SMALL BLACK JEWELRY BOX Chuckling, he opens it and a BURST OF YELLOW POWDER knocks him out.

MONTAGE

In a similar manner, eight more extremely high-level Americans are abducted: U.S. Supreme Court Justice Randall O'Day, California Congresswoman Mattie Richards, Admiral Crispin Vest, IT CEO Gil Bates, etc.

END MONTAGE

INT. MARGARET'S OFFICE

CEO's suite, spectacular MOUNTAIN VIEW. Yolanda looks up from her laptop when Margaret enters with a light, mysterious air.

56 MARGARET Mission accomplished: FBI now believes you. Must be required that all G-men look like bloodless drones. Even Agent Frickholm. Ifl didn't know your sister's new beau was tango-happy -

YOLANDA You saw him?

MARGARET Video conference call. Says hi. Must think I can put him in your good favor. How's the article?

YOLANDA Going OK I'm on Doc's gift.

Margaret nods, as her SECRETARY enters with Yolanda's journal and a FED-EX PACKAGE.

YOLANDA (CONTD) (taking the journal, off the package) Photocopied?

SECRETARY Every page. OK to send?

YOLANDA Thanks. Mark it care of Special Agent Neil "Tango Man" Frickholm.

O:ff Yolanda's smirk, the secretary eyes Margaret.

MARGARET Future brother-in-law.

Yolanda's eyes shoot Margaret a facetious dagger. Once the secretary departs, Margaret breaks her news.

MARGARET (CONTD) Frickholm also said a paper in San Francisco is running the series now. Your articles are becoming a sensation in California.

The news hits Yolanda.

57 YOLANDA Not really!

MARGARET Can you spell .. .Pulitzer?

But Yolanda fast-forwards through any distraction.

YOLANDA You had an idea about locating Brad?

Margaret sees through Yolanda's deflection but lets it pass.

MARGARET I asked my advertising guys to birddog the jingle Brad kept humming after he got his gift.

Both somberly recall the drama around Brad's gift.

YOLANDA Great. Thanks.

Closing her laptop, ready to leave, she glances at Margaret. YOLANDA (CONTD) Really, Mags. For everything.

Margaret shrugs humbly.

MARGARET Hey, once a tent buddy...

YOLANDA Yeah. Gumping past feelings) So, OK: I'll be in Seattle for Doc, then Omaha for Candace. Call me if you hear something?

They hug each other, Yolanda with an intensity that surprises both of them. Margaret lets Yolanda pull away awkwardly.

MARGARET Limo's out front. Cessna to Denver.

Yolanda nods, blinking, something stuck in her throat. She walks to the door, pauses,

58 half turns her head.

YOLANDA Hey? Time?

Margaret looks down at her watch.

MARGARET It -

She looks up to see that Yolanda is gone. Beat.

MARGARET (CONT'D) (reverentially, to herself) Didn't even vibrate.

CUT TO:

ESTABLISHING SHOT: FROM ACROSS THE PUGET SOUND, THE SEATTLE SKYLINE, WITH MT. RAINIER TOWERING IN THE BACKGROUND.

EXT. OUTSIDE MEDICAL BUILDING, DOWNTOWN SEATTLE

Yolanda pays her taxi fare, then scans the NAME PLAQUES posted near the entrance. YOLANDA'S POV: a SIGN reads "Arvel Merritt, M.D., Specialist in Podiatry, Suite 8."

Approaching the entrance, she waits for an AFRICAN-AMERICAN COUPLE to exit.

AFRICAN-AMERICAN WOMAN He made your foot stop hurting. What more you expect?!

AFRICAN-AMERICAN MAN Nothing, baby, it's just - damn - the brother's so vanilla!

Yolanda steps into a

HALLWAY

She enters the suite.

INSIDE

59 Yolanda takes in the waiting room: KENNY G MUZAK on hidden speakers, bland yuppie PAINTINGS, non-descript PLANTS, and a PRINT of Norman Rockwell's cutesy "Before the Shot".

The only patient is a MIDDLE-AGED WHITE WOMAN dressed in Liberal Hip, sporting a button: Save Tibet from Richard Gere.

Yolanda approaches the receptionist's WINDOW, which is promptly slid open by an extremely benign-looking WHITE WOMAN in her late-20s, who plasters on her greeting smile.

INT. DR MERRITT'S INNER OFFICE

Yolanda sits before the doctor's desk, as Arvel Merritt, the Experiment's African­ American man, 40s, hastens to retake his seat.

Arvel has long forgotten he taught himself to speak like Henry Fonda.

ARVEL Sorry about the interruptions. OK, so, like you, without Margaret Than, I got nowhere with the FBI. I tell them I wake up barefoot outside the Frederick Douglass-Sojourner Truth Library, and they laugh! At me! Me, who hasn't set foot in the Central District for ... (struggling for self-control) I'll do whatever I can to help you catch "Jan". The man should hang. His "Experiment" and so-called "Gift" have severely impeded my ability to work.

Yolanda pauses: Arvel's vehemence encourages and yet somehow disturbs her. She tries to stay focused.

YOLANDA Sorry to hear that. How so?

Arvel looks exasperated. He reaches behind and from the top of a low filing cabinet grabs an elaborate FAMILY TREE. He flings it down in front of Yolanda.

ARVEL (rabidly) "Embrace your roots," it says. My roots! Exactly the kind of condescending progressive excuse me - bullshit I'd expect

60 from an affiuent white liberal!

YOLANDA Not sure I follow you.

He smacks the top of the genealogical study.

ARVEL (going Jim Crow) Oh, yessah, and here be MY Kunta Kinte. From ol' Sierra Leone. Oh, thanky, massah. I sho' nuf grateful to know where I's come furn. I sho' is!

Yolanda watches in silence, rather embarrassed.

ARVEL (CONT'D) And .. .and, according to this, I have a whole bunch of long lost cousins ... (Jim Crow-ing) ... wcry down South!

Arvel expects a reaction.

YOLANDA (uncertainly) Well...family can be nice ...

ARVEL Excuse me, no: In my experience, family is not nice. I've spent my whole life trying to un-- (overmastering his anger) In any case, knowing where I've come from isn't going to get me where I want to be, and I am not the least interested in getting to know my com pone cousins.

Curious, Yolanda watches him put the chart back and become businesslike.

ARVEL (CONT'D) I know nothing useful about "Jan". Only time we talked alone, all he told me about was walking with his wife in Washington D.C., when the cherry trees were in bloom.

61 Yolanda perks up.

YOLANDA Hold on: D.C., when the cherry... ?

ARVEL (patronizing) Near the National Mall, in the Spring? They're quite famous. He kept going on about how beautiful his wife thought they were, and that the cherry blossom was ... wait ... (remembering) Yes, that the cherry blossom was the symbol of Samurai warriors.

YOLANDA Samurai?

ARVEL Just the kind of thing that would interest a WASP male: (with mocking exaggeration) 'the fleeting beauty of the cherry blossom reminded Samurai of how precious and sad life was because death could come at any moment' ... I mean, please I

But Yolanda absorbs the implications.

YOLANDA Think it was true?

ARVEL No question: after he told me, I saw him try to hide his tears. (pause) 11 11 His name may not be Jan , maybe he wasn't in Washington, but the man definitely saw some flowers with the woman he loved. And he should definitely swing from a high tree.

Yolanda stares at the unsympathetic doctor, unsettled.

62 INT. HOTEL RESTAURANT

Yolanda morosely picks at a SALAD while viewing her laptop, when her phone rings.

She's glad to see Margaret's number.

YOLANDA Hey, Maggie. Miss me already?

Disconcerting silence.

MARGARET (O.S.) (shaken) Yolanda, we found Brad. I think he might be dead.

News that stuns Yolanda.

SMASH CUT TO:

INT. RED-EYE FLIGHT

Amidst sleeping passengers in the darkened cabin, Yolanda sits bolt upright and fumes.

MARGARET (V.0.) I got his work address and his cell number.

INT. JFK - MORNING

Bloodshot but bad-ass, Yolanda wheels her bag out of the terminal. She's wearing a FOREST GREEN FLEECE.

MARGARET (V.O.) You have to hear his voice mail message.

At the curb, Yolanda hails a cab that is promptly usurped by a JERK with a BRIEF CASE talking on his CELL PHONE.

But Yolanda reaches through the window to grab the phone and send it skimming down the sidewalk. The jerk, shocked, runs to retrieve it.

We hear the sound of SPEED DIALING (O.S.)

As the taxi pulls away with Yolanda aboard, the jerk's BRIEFCASE flies out the

63 window to land at his feet.

We hear RINGING (O.S.)

I/E. TAXI TO MANHATTAN

As the taxi crosses the Queensboro Bridge, Yolanda listens to her phone. The voicemail message of Brad, the Experiment's unstable 30s white man, kicks in.

Backed by a STRANGE SOUND TRACK, Brad's voice is a modulated whisper punctuated by a monotone scream.

Eyes glazed as the city flies by, Yolanda studies the message by trying to move her lips in perfect synch with it - an eerie effect.

BRAD (O.S.) Hello. You have reached the voicemail of the failed recording artist and jingle writer formerly known AS BRAD TIFF ANY! Brad WILL NOT BE RETURNING your call, but please FEEL free to LEAVE a message at the beep. p.s., if anyone ever gives you a little black pill - (voice sounding like a cheesy radio huckster) ASK FOR IT BY NAME: SELF-ENDER, 'CUZ ... YOU DESERVE IT! (again whispering) get your affairs in order before you TAKE IT! (a long, creepy pause) ~~~~r~·rr~ !! !

Yolanda waits to hear the recorded sounds of FURNITURE CRASHING and the line going dead.

Hanging up, she leans to the cabbie's WINDOW.

YOLANDA I need to go to ... (shouting over the traffic) MADISON AVENUE!

The taxi gets swallowed in the city's concrete canyons.

64 EXT. PLAZA IN FRONT OF OFFICE BUILDING

Establishing shot: Yolanda crosses a bustling plaza to enter a modem office building.

INT.LOBBY

POV SHOT: Yolanda checks the building DIRECTORY, gets her bearings, and rides the ESCALATOR up to the second floor.

INT. RECEPTION DESK, FITCH-MATHISON ADVERTISING

Yolanda's voice has become dangerously quiet with CONNIE, a vapid, voluptuous receptionist.

YOLANDA So much for being nice in the Big Apple. Connie, I don't give a shit about the company's privacy policy.

Connie picks up her phone and starts to dial.

YOLANDA (CONT'D) Go ahead. Call security. Here... (offers to take phone) Call 'em myself. Doubt I could kick your ass, so I'll tell them (raising voice) how you cheated on me with that dike in accounting!

Yolanda measures the effect of her threat: Connie's eyes and mouth are big as saucers.

YOLANDA (CONT'D) Now, all I need is the home address of Brad Tiffany. Go to personnel and write it down.

As Connie clacks wobbly away, Yolanda calls after her.

YOLANDA (CONT'D) (a favor veils a threat) I got the phone.

LATER, ABOVE THE LOBBY

Yolanda, impassive, walks across the crowded hall to the guardrail.

65 POV shot from below: Yolanda reads the address PAPER and tucks it into her pocket. As she ponders, her phone rings.

BACK TO SCENE

Yolanda sees the number of the incoming call is RESTRICTED.

YOLANDA Hello?

She listens. Beat.

JAN (O.C.) Hello, Yolanda.

It's Jan. Instant adrenaline rush. She inhales deeply.

YOLANDA Huh. Maybe I should get a restricted number too.

JAN (O.C.) You mean you haven't been wanting to hear from me? YOLANDA Well, if you're suggesting we meet for ... coffee ...

Silence. Shit! Will he hang up?

JAN(O.C.) Thought you'd never want any com~e with me.

YOLANDA Oh, I can think of worse things than drinking coffee with you now.

JAN (O.C.) I'm sure you can. (beat) I'm enjoying your series.

YOLANDA Really? Not my intention.

66 JAN(O.C.) I know, honey, but you're a fine writer.

Her mixed feelings make the lull uncomfortable.

YOLANDA Hey, what can I call you? The whole "Jan Olssen" thing's not really working for me.

JAN (O.C.) Well, not "Ernie Martinez". Especially not "Papa".

Yolanda clenches, stifling rage.

JAN (O.C.) (CONT'D) That wouldn't work for me. (beat) Have you found Brad?

Yolanda freezes, but anger steels her. Her view of the TREES in the outside plaza centers and draws her.

YOLANDA Almost. You feel good? Pushed him right over the edge.

JAN (O.C.) Hope so, though I'm not sure what you mean by that. Sounds trite, but things aren't as they appear.

YOLANDA How are they then?

Yolanda walks over to join the crowded cue for the escalator.

YOLANDA (CONT'D) And does this call have a point?

JAN(O.C.) Better. Things are better than they appear. (beat) Of course there's a point, but that's not what you want to ask me.

67 YOLANDA What do I want to ask you?

JAN (O.C.) (snapping) Come on, Yolanda! Life's flashing past you!

YOLANDA (taking aim) Like a cherry blossom?

Beat.

JAN (O.C.) (apologetically) Indeed: all in good time. (beat) Just called to say I'm waiting.

YOLANDA For what?

She starts her descent. JAN(O.C.) For you, honey... to write your story.

ASCENDING POV shot: Yolanda, descending, finally loses her cool.

YOLANDA When I find you, I swear I -

JAN (O.C.) Hey, you sound tired ... but you look good in green.

Yolanda double-takes, gasps and steadies herself on the handrail. Head on a swivel, her eyes dart everywhere.

YOLANDA Where are you? You sonofabitch, I -

Suddenly a MAN'S HAND slips a PAPER under her hand. Her head snaps around to see Jan moving up right by her.

68 JAN (not into his phone) Write your story. Live your life.

Yolanda is dumbfounded, as Jan turns away and quickly gets obscured among the people.

Spurred, Yolanda turns around to start fighting her way back

YOLANDA Stop him! Stop that man!

People resent her intrusion. It's too crowded. She's losing him.

YOLANDA (CONT'D) Please! He'll get away! He's a kidnapper! Help me!

Desperately, with her hands full, she flings herself over the side of the down escalator to land on the escalator going up.

Jan reaches the top. He looks back at her briefly, then a BODY comes between them for a second and he's GONE.

Yolanda elbows her way to the top and looks around at any number of ways Jan could have taken. But he's really gone. Un-fucking-believable.

YOLANDA (CONT'D) Ahhhhhh!

People stare and stay clear. Yolanda still can't believe it.

YOLANDA (CONT'D) Ahhhhhh!

She screams until she's spent. Presently, she recalls her phone: it shows CALL ENDED.

Then she checks her left hand: In it is the photo of her father. She turns it over to find an address: 1200 Baker Street, Houston.

Yolanda stands among the throng, alone.

INT. HOTEL BAR

Exhausted, draining the last of her second TEQUILA, Yolanda reaches Rosi's

69 voicemail. The photo is on the table.

ROSARIO (O.S.) You got Rosi's number. You know what to do with it?

BEEP

YOLANDA Hey, hermana. Just me. Calling. Just ...

Long beat.

YOLANDA (CONT'D) You ever wonder why Papa went on the take? (long pause) I mean, he had more than his folks ever dreamed of

Empty silence. It becomes too much.

YOLANDA (CONTD) Forget it. Catch you later. (choking up) Te quiero, Rosi.

She ends the call and studies the bottom of her shot glass. When her phone rings, she starts, then pounces: the number's unfamiliar.

YOLANDA (CONT'D) Hello?

WOMANS'S VOICE (anally serious) Yolanda Martinez?

YOLANDA Who's calling?

WOMAN'S VOICE Homeland Security, ma'am. Are you Yolanda Martinez?

YOLANDA Yeah.

70 WOMAN'S VOICE Ms. Martinez, I'm calling on behalf of Special Agent Morris Jalouse. Special Agent Jalouse would like very much to speak with you about the report you filed with the San Diego FBI.

Yolanda pinches her empty shot glass.

YOLANDA OK, put him on.

WOMAN'S VOICE Inperson, ma'am.

Yolanda shifts in her seat.

YOLANDA I won't be back in California for -

WOMAN'S VOICE We know where you are, ma'am. Special Agent Jalouse's ETA from California is 20:00 hours Eastern Standard Time. He would appreciate your availability at 21: 00.

Yolanda sits up straight.

YOLANDA You want to tell me where I -

WOMAN'S VOICE Homeland Security will send a car to your hotel door at 21:00. Please do not keep Agent Jalouse waiting.

Yolanda's mind races.

WOMAN'S VOICE (CONT'D) Ma'am?

YOLANDA I'll be ready.

CLICK

Yolanda flags the WAITER. He approaches.

71 YOLANDA (CONT'D) Coffee.

EXT.HOTEL ENTRANCE

Yolanda checks the time on her phone - 8:59 -when from the left a large shiny black SEDAN muscles out of traffic to the curb.

Yolanda draws breath and steps forward but a man's clipped VOICE surprises her from behind.

JALOUSE (O.C.) Ms. Martinez.

She turns to see a very tall, angular man in Armani.

JALOUSE (CONT'D) I'm Morris Jalouse.

She looks back at the sedan: a wanna-be RAP ARTIST emerges.

Jalouse, late 50s, however, is competence personified, his manner precise and utterly humorless.

JALOUSE (CONT'D) Walk this way.

His long, lean strides make Yolanda fall behind.

YOLANDA (calling out) Hey! No I.D.? No flip of the badge?

Yolanda sees Jalouse approach a large shiny black SUV - but pass it. A moment later, Yolanda finds him at the door of a beat-up SMART CAR, wedged perpendicular to the curb.

JALOUSE No flipping badges.

Crisply, the lanky agent climbs into the tiny vehicle and starts the engine.

But Yolanda notices the TRAFFIC backed up behind them and takes her time getting m.

72 YOLANDA (off the car, archly) Way to go green.

Jalouse shifts out of "park".

JALOUSE No talk while I drive.

Looking at the traffic behind them - absolute gridlock - Yolanda prepares to crack wise, when Jalouse guns the car up onto the sidewalk to topple overflowing GARBAGE CANS.

Jalouse hairpins left as his BURST of HORN BLARE, HEADLIGHT GLARE and SPEED scatters PEDESTRIANS.

No talk at all from wide-eyed Yolanda.

INT. MAIN CONFERENCE ROOM, OFFICE OF HOMELAND SECURITY

Lit by the end lamp of a long table - Jalouse's makeshift interview space - Yolanda tries to regain her balance. FILES are open, PAPERS spread out.

Pacing on the edge of the light, Jalouse scans several open files, making notes in each like a chess pro making moves in simultaneous games.

JALOUSE Almost finished, Ms. Martinez. You're sure "Jan" didn't say or do anything else before you lost sight of him on the escalator?

YOLANDA Nothing. I'm sure.

He sifts through parts of Yolanda's photocopied journal.

JALOUSE (thinking out loud) Certainly, his team is thorough, removing­ ! assume - everyone's shoes before releasing them.

YOLANDA (remembering) Why would they do that?

73 JALOUSE (his train of thought already well past this) Only to keep the tracking devices, which would have helped us track them.

Yolanda, impressed, watches Jalouse look for another pile of papers.

YOLANDA Agent Jalouse, you seem rather thorough yourself, but why are you - or Homeland Security - suddenly so interested in this case?

Finding the right pile, Jalouse starts leafing through it.

JALOUSE Indeed. While Margaret Than is a known figure, her return only sent up a red flag. (pause) Off the record - your Experiment has not been the only one.

Yolanda tries to digest this, as Jalouse removes a paper from the pile.

JALOUSE (CONT'D) What brought me in was your having discovered a key player. (beat) Who not only set you free but then contacted you again.

YOLANDA Making you my new best friend.

JALOUSE No, making you mine.

Not comforting news somehow.

YOLANDA So - what? - you won't go looking for Brad Tiffany?

JALOUSE Likely a dead end.

74 His indifference frosts her.

JALOUSE (CONT'D) Houston - Roger's - our best lead.

YOLANDA But Roger's locked up. He's not going anywhere!

Jalouse simply shows Yolanda the poor likeness of Jan made in San Diego.

JALOUSE (tapping the sketch) How well does this capture him?

Yolanda snorts derisively and reaches into her purse.

YOLANDA Try this.

She unfolds the sketch that she stole from Simon.

Jalouse rivets his eyes on the excellent likeness of Jan. Long beat, as Jalouse's face, always expressionless, stiffens slightly and his eyes look inward coldly. Does he recognize Jan?

Jalouse's left hand casually drops to his side.

JALOUSE Much more detailed. I take it Simon Contreras drew this during the Experiment. YOLANDA (guiltily) Yeah.

With his right hand, Jalouse sets his BUSINESS CARD in front of Yolanda, then picks up the sketch and turns away.

JALOUSE (off the card) In case he calls back. (off the sketch) Someone will copy this, then take you back.

YOLANDA Hold on. You gonna broadcast his picture?

75 Put out an APB?

Jalouse stops short.

JALOUSE Absolutely not. (long beat) He'd vanish - with lives at stake. (an afterthought) Keep your phone on.

CLOSE ON Jalouse's left fist, squeezed so tight it may draw blood.

But as he leaves Yolanda notes only his rudeness.

YOLANDA No problem, Agent Jalouse.

I/E. GOVERNMENT CAR- NIGHT

The dark sedan idles at a red light. When Yolanda puts Jalouse's card in her purse, she sees the paper with Brad's address.

She engages the FEMALE AGENT driving.

YOLANDA Instead of my hotel, leave me in the Village?

The sedan makes an illegal left tum from the center lane.

EXT. BROWNSTONE, GREENWICH ViLLAGE

The sedan pulls away, leaving Yolanda to look up at the third floor - dark except for one dimly lit window.

INT.HALLWAY

DARKNESS on the stair landing. Near the end of the hall, FAINT LIGHT seeps through a door left ajar. Creepy.

Yolanda steels herself and starts checking door numbers.

Brad's is the lit door. Yolanda approaches warily, hearing nothing. Visible through the crack is a fallen FLOOR LAMP behind a SOFA CUSHION.

She pushes the door open to find a trendy living room TRASHED, lots of

76 RECORDING EQUIPMENT in ruins.

YOLANDA Hello? Brad?

She steps in to inspect the wreckage, when she spots a FOOT in a sock sticking out from behind the overturned sofa.

YOLANDA (CONT'D) Brad!

The foot doesn't move. Yolanda breathes.

Then it DOES.

She screams. The foot RETRACTS.

YOLANDA (CONT'D) Brad?!

The VOICE of a man excited by God-knows-what responds.

VOICE (O.C.) Brad died! But I'm here!

Yolanda is hit by too many emotions: fear, grief, anger, incomprehension.

Then Brad's head pops up above the sofa. He's wearing the earplugs for an I-POD and a beaming smile.

BRAD Yolanda?!

Euphoric, he jumps up and removes the earplugs.

Relief floods Yolanda.

YOLANDA Christ! I thought you were .. .I thought you took the black pill and ...

BRAD I did! "Self-Ender: 'Cuz I deserved it!" And now... "Brad" is dead.

Resigned to the inevitable weirdness, Brad cleans his hand on his pants to shake

77 hands with Yolanda.

BRAD (CONT'D) (introducing himself, sincerely) George. Nice to meet you. "Brad" - Bradley - is my middle name. I thought I would be cool for the music business.

He laughs in self-deprecation and at Yolanda's befuddlement.

BRAD (CONT'D) My friend, before you stands a man re-born. (suddenly inspired) Hungry?

EXT. PIZZERIA - LATER

Laughing, Brad polishes off the last piece of pizza and sucks a thumb clean.

Yolanda is still digesting Brad's story.

YOLANDA So instead of a suicide tablet, Jan gave you a hallucinogen ...

BRAD (off "suicide tablet") Well, I thought it was going to kill me.

YOLANDA You really did. You tried to kill yourself.

BRAD (serious) Yes. I hated myself for what I was doing. Cliche - the whole advertising rat race - but I hated what I'd become - and was the last person to see it. Nobody to blame but myself: "exchanged love's bright and fragile glow for the glitter and the rouge." (off the words) Jackson Browne - listening to him when you came in. Forgot all I ever wanted was to find someone to love and make music - not make money for shit I don't need. That black pill helped me kill off what was killing me.

78 YOLANDA So, George, you trashed your place ... when you were high?

Brad knows it's crazy but the idea elates him.

BRAD Yeah! (changing gears) I noticed your new hiking boots. Yesterday I bought a new backpack.

YOLANDA Don't tell me: yellow.

BRAD Yep. My college roommate started a school up in the Appalachians. Guess who's the new music teacher?

YOLANDA (begrudgingly) Congratulations. BRAD And what about your gift?

YOLANDA Told you. Using it to find Jan.

BRAD (with a convert's intensity) No. It's not about the gift. It's about using the Experiment to make your life better!

YOLANDA (hollowly) Life will be better when Jan's in a cell.

BRAD You say so. I don't have anything on him that would help you. Wouldn't tell you ifl did. Candace might. Tell you what I will treasure from him, though.

79 YOLANDA Well?

BRAD Actually, from his wife. (leaning forward) Morning after I got my gift. Hadn't slept - fresh out of denial, unraveling fast. Jan hands me coffee and says - (realizing) strange, how his Marlboro manner, um, elevated ordinary moments - (back to his story) well he tells me he once joked about suicide to his wife. Joked. She answered him seriously - and this is it - she said, "Suicide is how integrity preserves itself when all seems lost."

YOLANDA "How integrity preserves itself--"

BRAD "preserves itself when all seems lost." Yeah. (beat) Couldn't see its value until now - Knew what he was doing. All did seem lost to me. Got to see it really wasn't. My integrity lived to tell the tale. (he fixes her in his eyes) And to tell you this: never piss on a do-over, my friend. It's bad form.

Despite herself, Yolanda digests this.

I/E. HOTEL ENTRANCE - THE NEXT DAY

Yolanda hands the RECEPTIONIST her key when her phone rings. As she wheels her bag away, she sees that LYNN is calling.

YOLANDA Jefa, how'd you like the piece on Arvel?

She reaches the door, where A GAGGLE OF REPORTERS turn their collective head.

80 LYNN (O.S.) Yolanda? You seen the Times? Mystical moon maidens, your series has gone national!

The news stops Yolanda in her tracks.

Spotting her, a REPORTER grabs his CAMERAMAN.

REPORTER Here she is.

The cameraman hoists his CAMERA. The gaggle follows suit.

Yolanda is SWARMED by the press.

GAGGLE Yolanda, tell us about the next gift - What are you doing in New York? - Have you found the next recipient? Is it true your looking for 11 Jan 0lsen11 ? What was it like sharing a tent with Margaret Than? What has the FBL.etc.

YOLANDA (into phone) Lynn? Send me some chamomile?

CUT TO:

EXT. FOREST CLEARING - MORNING

Senator Grove, wrapped naked in a PLASTIC GROUND COVER, wakes to find himself amidst other VIPs similarly situated in the middle of nowhere.

Sitting up, he pulls the plastic tightly around himself and takes stock of the bizarre situation.

GROVE What the hell? What the--? (nudges the body next to him) Hey, wake up. What the hell?! Hey, wake up, everybody!

The others stir, soon expressing different degrees of grogginess, confusion, fear and anger.

Grove stands and approaches different PILES OF OUIDOOR GEAR - clothes,

81 boots, water-filtering bottles, packs, sleeping rolls, cooking equipment, food, etc. Each pile is TAGGED with the VIP's name and title.

Grove then picks up a FOLDER near his gear. He pulls out PAPERS with typed instructions and a LAMINATED PIECE OF MAP.

He turns back to the others, their eyes fastened on him as he reads silently. Finally, he looks up, more baffled.

GROVE (CONT'D) Says we're here as part of an "Experiment."

CUT TO:

EXT.GOLDMANESTATE,OMAHA

Yolanda pulls her rental into the semi-circular drive of an ostentatious mansion near Warren Buffet's.

A uniformed Salvadoran MAID, early 40s, answers the bell.

MAID May I help you?

Yolanda sees the maid's handsome face and FREEZES. Beat. Blindsided, Yolanda gasps, then gapes.

YOLANDA (in Spanish) I'm sorry, but it's incredible. (in English) You look so much like my mother!

Despite herself, Yolanda's eyes well up. Seeing that Mom is dead, the fellow Latina sheds her servant's mask.

MAID (with humble dignity) Gracias. (she takes Yolanda's hand warmly) I am Consuelo.

YOLANDA (shaking herself) Yolanda. Mucha gusto. (dabbing eye, laughing)

82 What a fool I am.

MAID You honor her memory. She would be happy to see her little one so beautiful. That one day my own Rosita grow to be so.

YOLANDA (grateful) Thank you.

But Consuelo has a house to run.

MAID You are the Miss Martinez who called?

Yolanda nods. Consuelo opens the door to her.

MAID (CONT'D) Permit me: you have a great gift. (off Yolanda's searching look) Your stories. (somberly) The senora Goldman is at the pool with Katie.

YOLANDA Thank you.

Still moved by the eerie resemblance, Yolanda lets Consuelo lead her in.

EXT.POOL

From a diving board, plain, dark-haired KATIE, 8, waves with desperate hope at Candace, the Experiment's tanned and toned blonde trophy wife, an unapologetic narcissist, who sits with Yolanda around a pitcher of iced tea.

Throughout, Yolanda glances at Katie wistfully.

KATIE Watch, Mommy!

Candace grunts, then shouts across the pool.

CANDACE Jump already, Katie!

83 Candace rolls her eyes at Yolanda, as Katie launches into another cannonball. Yolanda remains impassive.

CANDACE (CONT'D) God help me.

Yolanda opens a tiny MUSIC BOX that tinkles out a plaintive "Sometimes I Feel Like a Motherless Child." She takes out and unfolds the box's tiny COLLAGE.

FROM THE POOL

KATIE How was that one, Mommy?!

Watching Candace tum her back on the child, Yolanda flashes Katie a big thumbs up.

As the melody plays, Yolanda studies the COLLAGE's telling photos: all show Katie looking sad and alone in ballet class, equestrian lessons, tennis togs, piano lessons, etc.

Candace snaps the box shut. Yolanda looks up.

CANDACE (off the music box) Some gift. Ira won't let me throw it out because it's "evidence". "Sometimes I Feel Like a Motherless Child"?! Give me a break.

YOLANDA (appealing) She's a lovely child. (fishing) Wasn't easy to get all these pictures.

CANDACE (dismissively) Katie's just like Ira. (thinking) He'll be glad to know about "Jan". He spent a ton looking for me. Almost sent a private eye to China to find Margaret. Afraid I'd run off with a tennis pro.

Yolanda watches Katie reach the diving board - as Candace adjusts one of her surgically perfect breasts.

84 KATIE Mommy!

CANDACE (gritting teeth) Je-sus. (she calls inside) Consuelo! Time for Katie's bath!

Hearing, Katie rushes one last cannonball.

KATIE Here Igo!

Consuelo steps out. She and Yolanda exchange knowing looks as she picks up a TOWEL to meet Katie at poolside.

YOLANDA (eye on Katie) Then your gift hasn't improved your life - at all?

Candace looks insulted.

CANDACE You kidding?! All that walking - my legs are as knotty as a dyke weight lifter's from Russia. Jan had no right, and he should pay. (remembering) Not that I care, but his wife died a year ago yesterday - if he wasn't lying.

YOLANDA (suddenly rivetted) How do you know that?

CANDACE August 7th. Same day I went in for my lipo.

Yolanda fits the piece in and digs deeper.

YOLANDA Somewhere in the Gulf, right? You know where?

85 CANDACE (shrugs) No. Terrorists overseas? Who knows what's true. (she remembers) She was like a teacher or something, right?

YOLANDA Yeah. Weird: I don't remember asking Jan much about that.

CANDACE He told me she'd have been overjoyed to look like me - (snorting) Why? 'Cuz then her students would be more interested in politics than frat parties!

Candace sees Yolanda kick into high alert.

YOLANDA Becky died on August 7th last year, and she taught college-level Political Science?!

Bingo.

SMASHCillTO:

I/E. CAR

Racing through affluent streets, Yolanda shouts into her phone.

YOLANDA No, Lynn, listen: act as if it were true: Poly Sci professor - Becky, or Rebecca - late 50s or early 60s -killed on or around August 7 last year in a terrorist attack -somewhere in the Gulf region. (she listens) Right. Check NGOs. Humanitarian aid, missionary projects ... Good. OK, call me back ASAP.

Yolanda tears down the street.

86 EXT. CAR RENTAL AGENCY

Striding out the door, bag in tow, Yolanda's phone rings. She stops to answer.

YOLANDA Lynn. (listens) Uh huh ... Pakistan!. .. Yeah? ...

Her excitement grows as finally she hits pay dirt. Beat.

YOLANDA (CONT'D) Rebecca Odle! Gotta be! (repeating) Georgetown? Got it. Earth Mama, I could kiss ya! Call you from D. C.

She beelines for the terminal.

INT. HOTEL ROOM, WASHINGTON D.C. - NIGHT

Yolanda pours over Internet articles about the terrorist bombing that claimed the life of Rebecca Odle and the bomber himself during the inaugural ceremonies of a Karachi hospital.

The bomber, son of a long-time GITMO detainee, died as he was placing the bomb near the visiting delegation.

Rebecca's Washington Post obituary portrays an admirable and accomplished career woman who left behind only a sister.

YOLANDA Becky Odle, you were a great woman, but why no mention of a husband?

She clicks on her Brad article and types.

EXT. GEORGETOWN UNIVERSITY CAMPUS - THE NEXT DAY

Establishing shot. Yolanda gets directions and enters the

INTERNATIONAL LAW AND GOVERNMENT BUILDING

INT. THE DEPARTMENT OF GOVERNMENT'S FACULTY OFFICES

Yolanda arrives at an OPEN DOOR with a sign - PROFESSOR TRISTAN

87 HENNESSEY, PhD

Yolanda knocks, but the PROFESSOR - Tristan is an urbane, late 40s female - keeps scribbling notes.

TRISTAN Not here. Office hours at two.

YOLANDA Air conditioner out?

Tristan sees Yolanda noting the EMPTY HALF of the office as opposed to Tristan's ACADEMIC CLUTTER - normal except that it's littered with all kinds of CERAMIC FROGS.

YOLANDA (CONT'D) You shared this office with Becky Odle?

Tristan looks at her hard.

TRISTAN You knew Becky?

Yolanda's eyes flit from CNN (muted) to Tristan's WASHINGTON POST: the Arvel story is on page one.

YOLANDA I was kidnapped by a man who said he was her husband.

Beat. Tristan puts down her pen, points to a chair.

TRISTAN Sit.

YOLANDA (sitting) I'm Yolanda Martinez.

She taps her BY-LINE meaningfully. Beat.

TRISTAN Those stories have the whole country a-buzz. (pause) "Jan Olssen" married to Becky?

88 YOLANDA (nodding) Was there a Mister Odle?

TRISTAN Odle was Becky's maiden name. Went back to it after her divorce, two years before she died.

Tristan's memory is Yolanda's news, unsettling for both.

TRISTAN (CONT'D) Think I'd better see your I.D.

Odd, but it's enough that Yolanda show her PRESS PASS.

TRISTAN (CONT'D) You're young to be headed for a Pulitzer.

YOLANDA (picking up thread) Divorced. Huh.

Bracing herself, Yolanda hands over the sketch of Jan.

Brooding silence from Tristan.

TRISTAN Yes. That is he.

Yolanda covers her emotion by taking the sketch back.

YOLANDA Who is he?

Tristan broods, but then takes a BOTTLE OF BRANDY and TWO GLASSES from a desk drawer to pour two stiff ones.

TRISTAN (passing a glass) Last week I avoided an anniversary. Here's to loved ones gone.

YOLANDA Salud

89 Tristan pounds hers back. Respectfully Yolanda does too.

TRISTAN Never drink like this, but Becky and I used to have a shot Fridays before heading out. (pause) Do you see all these frogs? (waits) You like 'em?

YOLANDA I don't do cute.

TRISTAN I hate them.

YOLANDA OK: so why--?

TRISTAN About four or five years ago, Becky puts one on my desk. "Leave it there," she says, "and watch."

Tristan pours two more shots.

TRISTAN (CONT'D) Soon, folks start bringing me ceramic frogs. All say the same thing: "When I saw this, I thought ofyou." One gal has brought me at least six. (she sips) One of Becky's many great lessons: people are often clueless but loving.

YOLANDA Was her "ex"?

Beat.

TRISTAN Tell you what: do me a favor, I'll tell you everything I can about her "ex".

YOLANDA What favor?

90 Tristan closes the door. Then she empties the whiskey drawer and removes a FALSE BOTTOM to extract a MANUSCRIPT.

TRISTAN Becky sent this right before she was killed. She thought it would get her killed. I think it did.

YOLANDA The bombing? What is it?

TRISTAN Call it a covert expose. Becky wrote it in secret. It reveals nothing that compromises national security, but it does detail trends that have been corrupting the CIA for the last 20+ years.

YOLANDA CIA?! Was--?

TRISTAN Easy. Becky's last letter said that in Pakistan she was being harassed by her former CIA boss, asshole who'd been stalking her for years, some strategic death specialist - arranges assassinations you'd never know were assassinations - all with zero oversight. He knew about her manuscript. Could cost him his career, so he threatened her. Becky didn't cave. (in angry disbelief) And then, right after Becky sends it off, the son of some third-stringer in GITMO blows up Becky and himself at a hospital inauguration?! Bah!

Tristan drains her shot glass.

YOLANDA Jesus!

TRISTAN He even came here later, snooping around. (snorting, to herself) Jalouse. Fucker.

91 Yolanda freaks.

YOLANDA Jalouse?! Morris Jalouse?!

Tristan freaks.

TRISTAN You know him?

YOLANDA He's heading the investigation to find Jan Olssen.

Stunned silence.

YOLANDA (CONT'D) Holy shit.

Tristan holds out the manuscript.

TRISTAN Give this to your publisher. Becky made me swear if she died to wait a year and then get it to a reporter I trust. Yolanda Martinez, not merely because you don't like my frogs, I trust you.

YOLANDA Wait a second! I don't know--

TRISTAN You don't know who "Jan Olssen" really is.

Sighing, Yolanda accepts the manuscript.

TRISTAN (CONT'D) Curtis Piper. He and Becky started out as analysts in the CIA They fell in love over deep dives.

YOLANDA "Deep dives"?

92 TRISTAN Pulling together many different strands of information. I could never do it in my stint there, but they excelled. Jalouse did too. Becky said that's what made them so effective in the field, later.

YOLANDA So Curtis Piper got the girl, and Jalouse--

TRISTAN --moved up the ladder.

YOLANDA What split them up?

TRISTAN (indicating manuscript) What prompted that. Irreconcilable differences - about the ends justifying the means, finally about if the ends themselves were justified. Becky lived her ideals. Curtis loved her for that, but he was always a team player. She quit the CIA. He didn't change. Finally she quit him.

Yolanda flashes on a thought.

YOLANDA Jalouse knows Piper. When he saw that sketch - he knew Piper was behind the Experiment.

Sudden mixed feelings.

YOLANDA (CONT'D) Does Piper know about Becky's manuscript?

Tristan shakes her head sadly.

TRISTAN After the divorce, she hardly spoke to him: hurt too much to see his broken heart, and, unlike Jalouse, Curtis is no stalker. As far as he knows, the love of his life died in a simple bombing.

93 Yolanda feels challenged to reconceive her villain.

YOLANDA Why would a career CIA operative take captive ordinary civilians?

TRISTAN Maybe Jalouse knows.

YOLANDA He mentioned another Experiment...

As Yolanda digests, Tristan notices BREAKING NEWS on CNN.

TRISTAN Something's happening ...

She un-mutes and they tune in to the

TV

ANCHORMAN (very excited) ... where the FBI is to confirm the bizarre disappearance of nine of the country's top public figures - that's nine of America's most prominent citizens gone missing - among them Senator Harlan Grove of Montana, Supreme Court Justice Randall O'Day, California Congresswoman Mattie Richards, Admiral Crispin Vest, IT CEO Gilroy Bates, and Centurion Studios head Barry Ton1in, all apparently abducted in the last 24 hours ... er. ..

The news program cuts clumsily to the FBI Press Conference, when an FBI SPOKESMAN approaches a podium.

BACK TO SCENE

Tristan gapes at Yolanda.

YOLANDA (to herself) We were only the trial run.

94 INT. FLIGHT - NIGHT

Yolanda looks up from the manuscript: heavy shit.

EXT.FREEWAY, SAN DIEGO - MORNING

Yolanda drives somberly with the manuscript beside her.

INT.LYNN'S OFFICE

Lynn locks the manuscript in a file cabinet.

LYNN But why can't we unmask Piper now? You found him!

YOLANDA Worse for the captives if he knows his cover's blown. Jalouse finds out I traced him through Becky? - we're all in deep shit. Smart to play dumb. And I want to know more about Curtis Piper.

LYNN Why? You don't smell blood yet?

YOLANDA I want.. .to understand him better.

LYNN Gotta friend - very discreet - can check any military history?

YOLANDA Good.

LYNN Off to Houston for Roger?

Yolanda, distracted, nods.

YOLANDA Day or two.

LYNN Don't go home: full-court press ... We'll put

95 you up--

YOLANDA (off "press") I know: my sister escaped to the Ramada - that'd be fine - on Mira Monte, near the tango club - her boyfriend's watering hole.

LYNN Ramada... OK. What about Larry King? They've been calling everyday.

As Yolanda waves off the absurd idea, Lynn's phone rings.

LYNN (CONT'D) Probably them now. (into phone) Hello. (listens, then to Yolanda, covering phone) Uncle Sam wants you.

INT. FBI OFFICE

Frickholm, a-twitter, leads a watchful Yolanda through a beehive of activity - teams of agents on phones, pouring over MAPS, SCIENTIFIC TYPES displaying photos of mountain flora, fauna and rock formations.

FRICKHOLM Special Agent Jalouse is in here.

A CRAMPED CONFERENCE ROOM

Jalouse stands by a table ringed by all of the members of the first Experiment except Roger.

Two strapping HENCHMEN, Kinney and Sills, flank the door.

JALOUSE Ms. Martinez. You haven't kept your phone on.

Though cowed by Jalouse, the alumni wear expressions that reflect their diverse feelings toward Yolanda.

JALOUSE (CONT'D) So, except for Roger Craven, the Experiment group has returned.

96 YOLANDA Group one.

Jalouse lets the slight pass.

JALOUSE (to group) Agents Sills and Kinney will take you to the displays. Anything you can tell us about the terrain may be useful.

Yolanda turns to join the others.

JALOUSE (CONT'D) Ms. Martinez.

She holds back. He waits until they are alone.

JALOUSE (CONT'D) Intriguing, your piece about Brad's gift. I'm curious to read about Roger's.

YOLANDA How goes the search for our man?

JALOUSE Clearly, he's not with the current group. First priority: recover the captives.

YOLANDA Before the month's up.

J alouse stares at her.

YOLANDA (CONT'D) They'll be released in a month - most likely - fit as ever. Astounding the lengths you've gone to, to save face.

He remains silent until she turns to go.

JALOUSE You were in Washington, D.C.

Heart-stopping beat.

97 YOLANDA Dead end. Jan told Dr. Merritt about visiting the cherry trees, near the National Mall?

She looks at him defiantly. Off his slight nod, she goes. But he watches.

INT. MEN'S BATHROOM

Agents Kinney and Sills piss.

SILLS I could kill for a smoke right now.

KINNEY Shit, Sills, you said with Jalouse I'd be in the thick of it.

SILLS Idiot, this is it. Soon as Jalouse has their location, who's going in?

Only Sills flushes and washes his hands.

KINNEY Yeah, but are we gonna get to grease this Boy Scout Piper or not?

SILLS Man hasn't said, but if we do, I'll give you first shot at Curtis Piper - though wouldn't mind greasing the Boy Scout myself

Sills drops a damp paper towel on the floor as they leave.

INSIDE TOILET STALL

Frickholm sits wide-eyed with his pants around his ankles.

EXT. POOL, RAMADA INN -EVENING

Within view of "La Comparsita" Tango Club, Yolanda sits with Rosario and Frickholm over drinks. Frickholm, gloomy, drinks heavily.

ROSARIO There's stuff you're not telling me. I'm not a kid! Papa never meant for you to -

98 YOLANDA (avoiding subject) Hey, Tango Man, when's it heat up next door?

Frickholm is taking a long pull on his scotch. Rosi stews.

FRICKHOLM (focusing) Oh. Around 9:00.

ROSARIO (to Yolanda) Goddamn blind.

YOLANDA Blond?

ROSARIO Can't see this "Jan must pay" crusade is really you trying to punish Papa!

Truth hurts too much.

YOLANDA Brilliant, hermanita.

She drains her tequila. Rosario fumes resentfully.

ROSARIO Yeah, I didn't figure out how right before Papa went bad, Mama's treatments were driving us bankrupt.

Yolanda is amazed.

YOLANDA Rosi! Are you sure?

Rosi gives her a look that could petrify.

YOLANDA (CONT'D) Mama never told us! (moved and uncomfortable) Ah, Rosi - that's - something. (deflecting, to Frickholm) What's eating you?

99 He swallows and looks into his glass.

FRICKHOLM Taxpayers money earmarked for greasing "Boy Scouts". I was a Boy Scout. (making toast) Curtis Piper, here's to ya!

Beat. Yolanda is blindsided.

YOLANDA What?!

EXT. MOTEL PARKING LOT

Yolanda on her cell paces nervously under the confused eyes of Frickholm and Rosario.

YOLANDA Lynn. How soon could I get on Larry King Live?

CUT TO:

LARRY KING LIVE

Yolanda sits at Larry's table with Candace and Arvel.

LARRY KING So your fellow ex-captives don't want to see their captor brought to justice - Stockholm Syndrome?

Yolanda grabs her moment: show time.

YOLANDA Maybe. To me Jan's a misguided patriot who aims to correct the country's ills by giving positive examples of its citizens, and now its leaders, who return to basics.

LARRY KING Basics like ...

100 YOLANDA The fundamental things he thinks Americans need: healthy food, regular exercise, a natural environment, and time to consider the kinds of people we are and the gifts we may be overlooking. Thats why Senator Grove and company are off backpacking in the mountains.

LARRY KING But you would like to see him pay for his cnme.

YOLANDA (looking into camera) His methods are criminal, but (meaningfully) to write my story I'd like to talk to him again. And there are things he needs to hear from me.

Mission accomplished.

LARRY KING You feel the same, Candace?

CANDACE Larry, I hope the next anniversary of his wife's death Jan will be with her, not abducting outstanding Americans.

Image of Candace on TELEVISION SET in a dark office

PULL BACK to show Jalouse digesting Candace's revelation

EXT. LUGGAGE CARROUSEL, HOUSTON AIRPORT

Yolanda finds a message from a strange number in D.C.

TRISTAN (O.S.) (panicky) Hey, it's... the frog princess. Two suits just left: questions about your visit, what my friend had been working on. Stalker knows you know about my friend's ex. That at least. Shouldn't talk. Keep the papers safe. And

101 yourself Get you a message about how to reach me.

Click.

Beat. As Yolanda digests the new worry, she realizes her bag has passed right under her nose.

EXT. PARKING LOT

Yolanda parks her rental. On the passenger seat is the face- down photo with the address "1200 Baker Street, Houston."

Yolanda flips it over and studies her father's picture, then lets it fall back on the seat, FACEDOWN and CROOKED.

EXT. HARRIS COUNTY SHERIFF'S OFFICEMENTALHEALTHUNIT

Establishing shot. Yolanda enters the front door.

INT. MENTAL HEALTH UNIT

A new facility - attractive, completely unlike a jail but for the no-nonsense doors, windows and sturdy GUARDS.

DR ANTON LIKOVIC, 50s - short, expedient, self-important - hovers over Yolanda as she signs a WAIVER.

DR. LIKOVIC Just a formality. You'll be fine.

YOLANDA (caustically) Only - if I'm taken hostage, my release won't be negotiated.

Smiling at nothing, the doctor leads her up a hallway.

He thumbs through Roger Craven's FILE.

DR LIKOVIC To put it bluntly, as Forensic Psychiatry expert witness in this case, I'm keen to learn anything that could bolster an insanity defense. The photo album revealed only so

102 much. I really appreciate your account.

YOLANDA (ironically) And now you're hoping my presence will set Roger off

DR LIKOVIC Ms. Martinez, Roger's wife and lawyer have waived the normal confidentiality restrictions in his best interest.

At Yolanda's deadpan expression, the doctor indicates their arrival at an attractive lattice that secures Roger's cell.

DR LIKOVIC (CONT'D) Hello, Roger. You have a visitor.

Sitting on the edge of his bed, Roger- gaunt and ashen -looks up. He winces at the sight of Yolanda.

YOLANDA Roger.

DR LIKOVIC Would you like to visit Yolanda?

Roger looks down and shakes his head.

YOLANDA I want to know how you feel about your gift now.

ROGER Go away.

YOLANDA Jan was behind it.

ROGER Go away!

DR LIKOVIC He's read your articles.

Beat. Roger shoots to his feet.

103 ROGER Tell Jan ... he took light back to when life went dark! Too dark, too light - you're still blind!

He plops down on his bed with his back to them.

Scribbling a note, Likovic leads Yolanda away.

DR. LIKOVIC "Took light back to when life went dark" - classic repetition compulsion.

YOLANDA What?

DR. LIKOVIC Oh. (rehearsing, for court) Roger's gift put him back in touch with when he was first raped. He was raped as a boy, so he's compelled to rape boys. And keep raping - trying to get a handle on his original trauma - in exactly the wrong place.

Thoughts start firing in Yolanda.

YOLANDA Do people work out their unresolved traumas - on others?

DR. LIKOVIC Well, they often try to - unconsciously, of course.

YOLANDA Say Jan was traumatized by his wife's death: could the Experiment, be his way of working it out?

DR. LIKOVIC Hm.. .It could: by watching how the captives receive their gifts -

YOLANDA (owning the idea) - he's learning how to receive gifts himself.

104 The doctor struggles to keep up with her.

YOLANDA (CONT'D) He thinks the Experiment's helping America; really it's helping him to get his wife's gifts.

DR LIKOVIC (really curious) But-why?

Yolanda's Eureka moment.

YOLANDA (more to herself) Redemption - hers - and his.

They reach the elevator. Pushing the button, Likovic goes suave.

DR LIKOVIC If only we had more time, I'd love to know how you feel about your gift. Maybe you'd like to ...

As soon as the door opens, Yolanda darts in and pushes down.

YOLANDA Thanks. You've been very helpful.

Denied, the doctor nods at the closing door.

EXT.PARKING LOT

POV SHOT from a driver's seat in a nearby car.

Yolanda returns to her rental.

I/E. YOLANDA'S RENTAL

Yolanda buckles up, then notices her father's photo, now FACE UP and STRAIGHTENED against the passenger seat.

Startled, she picks it up to discover underneath a SMALL CARD that in Jan's handwriting reads

DISCOVERY GREEN, GAIEWAY FOUNTAIN, 9:00 - Since I need to hear from you.

105 POV SHOT

Yolanda reflects in her car.

PULLBACK TO REVEAL

The SILHOUETTE OF A MAN watching Yolanda, the BLUE GLOW of his ELECTRIC CIGARETTE flaring in the shadows.

EXT. DISCOVERY GREEN PARK, DOWNTOWN HOUSTON

Yolanda sits on the grass by GATEWAY FOUNTAIN in daylight, reflecting somberly over the photo of her father.

INT. RESTAURANT

Yolanda, her untouched soup gone cold, leaves a message on Rosi's voicemail.

ROSARIO (O.S.) You got Rosi's number. You know what to do with it?

BEEP

Beat.

YOLANDA I think you are brilliant. Papa wasn't bad, just scared we'd lose Mama - Treatments in Mexico gave her a lot of good years. My "make Jan pay" crusade was more about punishing Papa. Rosi, you gave Papa back to me. Thanks. You're much brighter than your big sister. (pause) Off to redeem myself - if I can. Abrazos to you and Tango Man.

She BEEPS off

EXT. DISCOVERY GREEN PARK- NIGHT

Standing by Gateway Fountain, Yolanda scans STRAGGLERS and their CHILDREN squeezing the last drop from the warm evening.

POV SHOT

106 looking down a grassy knoll at Yolanda by the fountain.

PULL PACK

The silhouette of Blue Cigarette Man watching Yolanda.

BACK TO SCENE

Yolanda looks through the dancing columns of water at the PEOPLE on the other side of the fountain, her gaze resting briefly, fondly, on

AFATHER who looks like a younger Ernie Martinez carrying his small DAUGHTER on his shoulders.

Yolanda's eyes flit from figure to figure, stopping once or twice at different men in their 60s, ONE who bears a striking resemblance to Piper - but isn't.

YOLANDA'S POV

Then a COLUMN OF WATER disappears to reveal Curtis Piper facing Yolanda from the fountain's far side.

Off Piper's nod, they walk toward a halfway point on the fountain's periphery.

YOLANDA (calling across) Curtis Piper.

Piper slows.

PIPER (calling back) Knew you'd make a great reporter.

YOLANDA That why you chose me?

PIPER I wanted a "20s West Coast journalist". No idea it'd be you.

YOLANDA Sally was "50s Southwest homeless?"

Piper nods, closer now, their voices at normal volume.

107 PIPER Once selected - randomly - you were analyzed to determine your gifts.

YOLANDA Deep dive?

PIPER (grimacing) No, my vision for a new CIA: "a better America - one kidnapping at a time." (with chagrin) Way ahead ofits time.

BIG BAND SOUNDS drift across the open space. Piper points.

PIPER (CONT'D) Like big band?

Yolanda lets him steer her along the walkway toward the amphitheater.

PIPER (CONT'D) How's your story coming?

YOLANDA Let you know in a bit. (struggling) You know I wanted you behind bars ...

He waits patiently. She jumps in.

YOLANDA (CONT'D) Morris Jalouse knows you're behind the Experiments.

PIPER But does he know you know that?

Yolanda stops and locks eyes on him.

YOLANDA He had Becky killed. He was behind the bombing.

Long beat. He reads her, believes her, then takes a gutting stoically.

108 PIPER Why?

YOLANDA (tearing up) She wrote an expose on the fascism in the CIA - Tristan Hennessey's been holding it.

A huge blow, but Piper sees it all clearly. Shakily, he resumes their walk.

PIPER Becky's last gift.

An emotion - PART LAUGH, PART SOB - surges from him.

YOLANDA I'm sorry.

PIPER Part of me knew. Where's her book now?

YOLANDA Safe. With a publisher.

He nods, grateful.

POV SHOT

Yolanda and Piper strolling along.

PULLBACK

Sills takes a last drag from his blue electric cigarette. He speaks into a small WRIST MI¥£.

SILLS Subjects approaching amphitheater.

He looks in the distance at a TREE-LINED KNOLL.

BACK TO SCENE

Music growing louder, Piper eyes the CONCERT AUDIENCE in the AMPHITHEATER.

109 PIPER Never took a life - except for war. Killing Jalouse won't bring her back - worse for him to fall in shame.

YOLANDA He's already gunning -

Suddenly a bullet POCKMARKS the WALL ahead of Piper and RICOCHETS. Piper zeros in and shouts.

PIPER Sniper! Everybody, clear out!

Yolanda freezes, but Piper grabs an USHER and points to the pockmarked wall.

PIPER (CONT'D) Sniper! Clear them out! Stay low!

The usher kicks into gear.

USHER Let's go people! That way! Stay low!

Panic starts FANNING out.

Piper sees Yolanda standing stock-still.

PIPER Yolanda! Down!

He tackles her but a bullet RIPS into his back as they tumble down.

CUT TO:

TREE-LINED KNOLL

Kinney looks above the telescope on his SILENCER-RIFLE to the mayhem below. Satisfied, he returns to the crosshairs.

BACK TO SCENE

An OCEAN-IN-SEASHELL SOUND drowns out the MUTE SCREAMS AND STAMPEDE OF THE BYSTANDERS. Lying prone, Yolanda looks up, not making sense of anything until

110 YOLANDA'S POV with hyper-intensity, she ZOOMS in on the BLOODY HOLE below Piper's right shoulder blade.

Kicked into life, she crawls to Piper's side and checks their cover: not good enough.

Except for them, the immediate area is clear and quiet.

Yolanda kneels.

YOLANDA Move. Get up, Piper.

Another silent bullet PIFFS the wall again, GRIT spraying her.

Quickly, Yolanda gets Piper's right arm around her shoulder and positions her legs, but as she lifts, something inside makes her falter.

YOLANDA (CONTD) (voice cracking) Get up now, Papa.

Another PIFF, closer.

She hoists Piper to his feet and helps him round the comer of walls that separate two sections of amphitheater seats.

They take shelter inside the corner.

PIPER (painfully) Get away now.

She looks Piper over.

YOLANDA Hang on.

She speed-dials a number, waits.

PIPER Called me Papa.

Yolanda watches him anxiously.

111 YOLANDA (into phone) Lynn.

CUT TO:

INT.LYNN'S HOUSE

Lynn on the phone in her kitchen finishes scribbling a note.

LYNN I'm on it.

Urgently, Lynn starts dialing.

CUT TO:

EXT. AMPHITHEATER

Amidst SIRENS and HELICOPTER SEARCHLIGHTS - POLICE CORDON at a healthy distance - Yolanda holds Piper in the lee of their comer.

YOLANDA (into phone) He's shot! Get us help!

She hangs up.

PIPER (weakly) Fitting. Becky said I had an unhealthy love of Benny Goodman.

His laugh turns into a rattling cough.

PIPER (CONT'D) Sorry. Didn't plan on this.

YOLANDA Don't talk - My fault - Jalouse was on to me.

Piper shakes his head. Yolanda weeps openly.

PIPER Knew from the giddyup - second Experiment - death sentence. Don't let him ... kill you.

112 YOLANDA Or you.

Her phone rings. She cups it as if in prayer.

YOLANDA (CONT'D) Please. (into phone) Hello.

ANDERSON COOPER (O.S.) Yolanda Martinez? This is Anderson Cooper from CNN.

Deliverance.

ANDERSON COOPER (O.S.) (CONT'D) Your editor Lynn Wellington said you had a statement for us about your situation. You're on the air ...

Yolanda cuts him off.

YOLANDA (panicking) Piper's shot! They're not sending help! He needs a doctor!

ANDERSON COOPER (O.S.) Um, we'll check on that. Chief Investigator Jalouse reported you're being held by Curtis Piper, who's allegedly behind these "Experiments" ...

Yolanda stops listening as she notices Piper's eyes going glassy.

YOLANDA Piper!

PIPER (fading) No idea... 20s West Coast reporter ... was you ... Thanks.

113 YOLANDA (struggling) Thank you. (whispering) God bless you.

Piper dies. Yolanda is devastated.

ANDERSON COOPER (O.S.) Ms. Martinez? Are you there?

Yolanda sits, catatonic. Will she ever move again? But then, beginning weak and low, she starts to WAIL.

She wails long and hard.

And then, suddenly, she stops. Tentatively, she puts the phone to her ear. She looks at her fallen friend. She struggles to find her voice. Then, summoning the strength he inspired, she puts the receiver to her mouth.

YOLANDA (starting soft but growing stronger) Hello. This is not a hostage standoff. Curtis Piper was unarmed. And now he's dead. I ask that you please keep your cameras on me until my personal safety is guaranteed by Agent Jalouse's superiors. I have evidence that Jalouse is behind the murder of Piper's ex-wife, Rebecca Odle, last year in Pakistan...

Yolanda's words become a VOICEOVER as the camera pulls high above to take in the park, downtown Houston and beyond.

DISSOLVE TO:

MONTAGE

Slow images of Yolanda attending Piper's funeral, writing, working as a Union­ Tribune metro reporter.

News clips show that the CIA is under federal scrutiny, Jalouse is being arraigned, Yolanda is up for a Pulitzer Prize for her series, Yolanda approving the cover art for her forthcoming book Hidden Gifts.

END MONTAGE

114 EXT. CEMETERY

With Rosi and Frickholrn, Yoli puts small stone TRAIL MARKERS on her parents' graves.

FADE TO BLACK.

115