Duty Bound: Act III

Duty Bound
Written December 2001
Rated PG-13
Synopsis: Madeline must determine whether or not an operative is working with Red Cell by using “any means necessary.”

Disclaimer: The characters within are property of LFN Productions, Warner Bros., and USA Network. The following songs were also used: “Rods and Cones” by Blue Man Group on their album Audio from EMD/Virgin Records, “Softly Softly” by Sweetback featuring Maxwell on Sweetback’s album Sweetback from Sony/Columbia, and “Firestarter” by The Prodigy on their album The Fat of the Land from Warner Brothers.  No infringement is intended.

A Youtube version of “Rods and Cones” can be found here: https://www.youtube.com/watch?v=DRtaQcVhNGE
A Youtube version of “Softly Softly” can be found here: https://www.youtube.com/watch?v=VQp2kRVluZc
A Youtube version of “Firestarter” can be found here: https://www.youtube.com/watch?v=wmin5WkOuPw


ACT III

FADE IN

INT. SECTION ONE: BREAKFAST ROOM – DAY

Camera is fixed on OPERATIONS; he is seated at the table, looking at his computer screen. CHRISTOPHER enters and refills his coffee cup.

OPERATIONS

Thank you, Christopher.

CHRISTOPHER exits. OPERATIONS sighs and looks across the table. Camera pans across the breakfast table; there is another place setting, but he is dining alone.

CUT TO:

INT. THE PERCH – DAY

Camera shows the Perch, empty, with the speaker in the foreground. OPERATIONS enters. He approaches the speaker and reaches for the button to turn it on. Angle OPERATIONS; he looks sad. Angle OPERATIONS’ POV; he pulls his hand from the speaker, leaving it off.

CUT TO:

EXT. HIDEOUT – DAY

Establishing shot. A large two-story stone house sits on the edge of a cliff overlooking the ocean. There is a helicopter on a nearby landing pad.

INT. HIDEOUT: BASEMENT – DAY

MADELINE is slumped against a cement wall, unconscious. She wakes up suddenly, taking a deep breath. She stands. Angle MADELINE’S POV; the room is unfinished, with concrete walls and floors and no furnishings. She is alone. The door opens, and four large BODYGUARDS walk in. They step aside, revealing SCOTT. He smiles at her.

SCOTT

Hello, Madeline.

Angle MADELINE; her expression is blank, but her eyes are angry. She says nothing. SCOTT approaches her, hands in his trench coat pockets.

SCOTT

(cont.)

I’m sorry for the games, but I knew you wouldn’t willingly
become a hostage. So I needed to get you somewhere that I
could drug you and bring you here. You gave me the perfect
opportunity by bringing me to your apartment, although I wasn’t
expecting that to happen so quickly. But a few drops of chloral
hydrate in your wine, a time-consuming distraction while I waited
for the drug to take effect, and voilà. Here we are.

(leers at her)

Was it as good for you as it was for me?

MADELINE doesn’t react, staring at him blankly. SCOTT looks disgusted and nods to the BODYGUARDS.

SCOTT

(cont.)

She’s all yours, gentlemen. Just don’t kill her…yet.

Angle MADELINE’S POV; the BODYGUARDS close in on her. Angle SCOTT; he smiles in satisfaction. We hear continuous blows being landed. His grin widens as we hear MADELINE groan, and he turns and walks away. More punching can be heard as we…

CUT TO:

INT. SECTION ONE: BRIEFING AREA – DAY

Camera follows OPERATIONS as he walks to the briefing table. He picks up the remote and is about to click it when he looks at the operatives in attendance. Angle BIRKOFF, DAVENPORT, NIKITA, DANFORTH, WALKER, and two empty chairs. Angle OPERATIONS; he is annoyed.

OPERATIONS

Has anyone seen Scott or Madeline?

Everyone is silent.

OPERATIONS

(cont.)

The briefing is postponed.

OPERATIONS exits quickly. Angle NIKITA, who frowns at DAVENPORT. He returns the gaze, equally puzzled.

CUT TO:

INT. THE PERCH – DAY

Angle OPERATIONS as he hurries to the speaker on the ledge. He presses ‘on’ and listens, concern on his face. Off this, we…

CUT TO:

INT. HIDEOUT: BASEMENT – DAY

MADELINE is kneeling on the floor, coughing. A pool of blood is beneath her. SCOTT enters the room, accompanied by MCMILLAN.

SCOTT

May I present to you Madeline, Section One’s chief strategist
and second-in-command.

MCMILLAN

Please, don’t get up.

The men share a laugh. Angle MADELINE; she raises her head to glare at them. She looks terrible. Her face is bruised, and blood has matted her hair in places.

MADELINE

(pained)

Section won’t negotiate.

MCMILLAN kicks her in the chest, and she falls onto her side, curling into a ball with a groan. He laughs.

MCMILLAN

Section had better negotiate. Because if they don’t, you will
die. And it won’t be a pleasant death either.

(addresses SCOTT quietly)

She’s quite a prize. Do you think she’ll talk?

SCOTT

She’s well-trained when it comes to withstanding torture. With
enough pain, it’s possible she’ll break.

MCMILLAN

How about Section? I’ve never had such a high-ranking operative
in my possession before. Will they try to rescue her?

Camera to OPERATIONS. He is staring at the speaker, listening to the conversation that is occurring between SCOTT and MCMILLAN.

SCOTT (v.o.)

(re: MCMILLAN’S question)

I’m not certain. Since she is high on the food chain, they might
agree to a trade. However, Operations is a ruthless, hateful man.
He probably doesn’t even know she’s missing.

Angle OPERATIONS; he looks ready to explode. Off his exit, we…

CUT TO:

INT. SECTION ONE: COMM – DAY

Camera follows OPERATIONS as he strides to BIRKOFF. BIRKOFF is talking to an ASSISTANT.

OPERATIONS

Birkoff!

The ASSISTANT leaves, and BIRKOFF looks up at OPERATIONS.

OPERATIONS

(cont.)

Access Madeline’s clock.

Angle BIRKOFF; he is surprised but doesn’t argue, immediately turning to his computer and following the orders. After a moment, he frowns.

BIRKOFF

That’s strange. She’s not showing up on the reading. I don’t
know where she is.

Angle computer screen; a message blinks across a world map with the words ‘Subject not found.’ Off this, we…

CUT TO:

INT. HIDEOUT: BASEMENT – DAY

MADELINE is sitting up, but she looks like she’s taken another beating. SCOTT is standing before her, arms folded across his chest.

SCOTT

Why not give up, Madeline? You won’t be able to withstand
the beatings much more, despite all of your training. It’s
inevitable.

Angle MADELINE; she is obviously in pain, trying to resist exactly what he’s referring to.

SCOTT

(cont.)

Stop waiting for your operatives to rescue you. I’ve disabled
your internal locator. They’ll never find you.

Off SCOTT’S hardened expression, we…

CUT TO:

INT. SECTION ONE: COMM – DAY

Camera is on OPERATIONS.

OPERATIONS

There’s another one.

Angle NIKITA; she is surprised.

NIKITA

Another clock?

OPERATIONS

Yes. All primary and secondary commanding officers are implanted
with two tracking devices for situations such as this. Scott wouldn’t
know this; he’s not second-in-command.

NIKITA

You think Scott’s behind this?

OPERATIONS

Yes. He’s working with Red Cell. He kidnapped her last night.

NIKITA

But why?

Angle OPERATIONS; he doesn’t even want to think about that. He leans over BIRKOFF and types something on the computer. Angle computer screen; a bar moves across the bottom, indicating it’s searching. Then a box zooms in on a spot on the Spanish coast. Longitude and latitude pop up. Angle OPERATIONS.

OPERATIONS

(serious)

Davenport, assemble a team. I’m going with you.

Off OPERATIONS’ look of determination, we…

CUT TO:

INT. HIDEOUT: BASEMENT – DAY

Camera is on MADELINE. She has a small grin of satisfaction on her face, as if she knows that OPERATIONS is planning a rescue. Angle SCOTT; he’s furious. He slaps MADELINE across the face.

SCOTT

Come on, Madeline! Don’t make this any harder than it
already is. You have two choices: give me the codes to
Section’s mainframe or be tortured.

Angle MADELINE; she won’t talk. SCOTT realizes this and nods.

SCOTT

(cont.)

Don’t say I didn’t warn you. Guards!

The four BODYGUARDS enter the room behind SCOTT and rush towards MADELINE.

CUT TO:

EXT. HIDEOUT – DAY (continuous music: “Firestarter” by The Prodigy)

Montage. A large team of armed Section operatives is closing in on the house. Rooftop snipers fire down on them, but they are quickly taken out. Angle PETER, one of the snipers.

PETER

(into walkie talkie)

We’ve got problems, sir.

Camera to MCMILLAN, who is in the basement. He is frowning. Blows can be heard in the background, from the BODYGUARDS who are still beating MADELINE.

MCMILLAN

(into walkie talkie)

What kind of problems?

Gunfire is heard over the walkie talkie, followed by a groan.

MCMILLAN

(cont.)

Peter, report!

(pauses for answer)

Peter?

Camera to PETER. He is dead. Camera back to MCMILLAN.

MCMILLAN

(cont.)

Peter! Dammit!

MCMILLAN puts the walkie talkie in his pocket. Angle SCOTT; he looks concerned.

SCOTT

What is it?

MCMILLAN

I don’t know. I heard gunfire.

MCMILLAN looks in the direction of the BODYGUARDS. He suddenly realizes what’s happening.

MCMILLAN

(cont.)

Let’s get out of here.

(to BODYGUARDS)

Leave her!

SCOTT

(shocked)

Leave her? What are you talking about?

MCMILLAN

It appears that Section came for her after all.

CUT TO:

EXT. HIDEOUT – DAY (music continues)

Montage. Section is still fighting Red Cell outside of the house. The good guys are winning. Bodies are piling up outside. Soon, there are no enemies remaining.

DAVENPORT

(into headset)

Perimeter’s clear. Move in.

The operatives head for all possible entrances and burst through the doors, taking out any opposition that they face. Camera follows one operative as he enters the house. He stops and looks around. We see that it is OPERATIONS. He removes a tracking device from his pocket. Angle device; a dot is blinking in the upper left-hand corner of the screen. The device is apparently used to pinpoint MADELINE’S location in the house. Angle OPERATIONS; he glances around once more and starts on his way, a gun in one hand and the tracker in the other. A GUARD turns the corner, ready to fire. OPERATIONS notices him immediately and pulls the trigger; the GUARD is killed. OPERATIONS continues his search.

NIKITA (o.c.)

Watch your back!

Angle NIKITA as she blasts away some GUARDS that were coming up behind OPERATIONS. OPERATIONS turns around to watch the men fall to the ground. NIKITA walks beside him, glancing at the tracker.

NIKITA

(cont.)

Is that dot Madeline?

OPERATIONS nods. Angle tracker; the dot appears closer than it was before.

OPERATIONS

She’s on a different level. We need to find some stairs.

CUT TO:

EXT. HIDEOUT – DAY (music continues)

MCMILLAN, SCOTT, and the BODYGUARDS are running for the helicopter. Gunfire is heard, and three of the BODYGUARDS fall to the ground. Angle DAVENPORT and DANFORTH as they chase the others across the yard. MCMILLAN climbs into the helicopter, and SCOTT sits beside him, pulling out a handgun and shooting at the Section operatives. The remaining BODYGUARD gets in the pilot’s seat and starts up the engine. Angle MCMILLAN.

MCMILLAN

(shouting)

Get us out of here!

The helicopter slowly rises from the ground. DANFORTH lunges at it, catching one of the skids. He tries to climb into the cabin and grabs SCOTT’S leg, pulling on him.

SCOTT

(yelling)

Alastair, help me!

MCMILLAN sees DANFORTH and pushes SCOTT out of the cabin.

MCMILLAN

(to BODYGUARD)

Go, go!

Camera remains on the helicopter as it flies out of sight. Angle DAVENPORT; he runs over to DANFORTH and SCOTT, who are wrestling on the ground, and cocks his gun, pointing it at SCOTT. SCOTT holds his hands up. DANFORTH stands and aims his weapon at SCOTT as well. Off SCOTT’S look of defeat, the music fades out and we…

CUT TO:

INT. HIDEOUT: BASEMENT – DAY

MADELINE is sitting in the dark, alone. The door opens, and light is cast on her. She looks up, squinting. Angle OPERATIONS and NIKITA as they enter the room.

OPERATIONS

(shocked)

Madeline!

He rushes over to her and kneels down. Angle NIKITA; she looks concerned but turns away to give them a moment and watches the door. Camera back on OPERATIONS and MADELINE. He is shaking as he tilts her chin up.

OPERATIONS

(softly)

Oh, Madeline… What have they done to you?

MADELINE struggles to stand, wincing in pain. OPERATIONS tries to help her.

MADELINE

I’m okay.

OPERATIONS picks her up and cradles her in his arms. MADELINE doesn’t say anything, but she moans softly and closes her eyes. Angle NIKITA; she looks sympathetic.

NIKITA

Is she all right?

OPERATIONS

We have to get her back to Section.

NIKITA

(nodding)

Follow me.

Off their escape, we…

FADE OUT

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