Actor Point >> Movie Scripts >> Courage Under Fire Film Script

Courage Under Fire Movie Script

Writer(s) : Patrick Sheane Duncan

Genres : Action, Drama, Mystery, War

Search IMDb : Under Fire


                                       "UNDER FIRE"

                                      Screenplay by

                             Clayton Frohman and Ron Shelton

                                         Story by

                                     Clayton Frohman

                                      SHOOTING DRAFT

                

               SOMEWHERE IN AFRICA

               EXT. GRASSY PLAINS - DUSK

               BIRDS ARE FLUSHED FROM HIDING. A soldier carrying an automatic 
               weapon rises up out of the grass and looks around. A mortar 
               shell explodes nearby. There are no sound effects. He seems 
               unperturbed.

               Several more explosions in the field. The soldier motions 
               with his arm and:

               FIFTY MORE SOLDIERS RISE UP OUT OF THE GRASS More small 
               explosions.

               FREEZE FRAME

               With a click-click of a camera -- still no fx.

               THE SOLDIERS RUN THROUGH THE GRASS FOLLOWING THEIR LEADER As 
               they do, the platoon leader waves his arms again.

               FIVE ELEPHANTS CHARGE OUT OF THE SHRUBBERY Through a field 
               of small mortar explosions.

               FREEZE FRAME

               With the click-click of a camera.

               THE ELEPHANTS CHARGE OUT ACROSS THE PLAINS Each carries an 
               enormous load of supplies, and each is ridden by a soldier 
               with a rifle.

               A HELICOPTER GUNSHIP DIVES OUT OF THE SKY firing rockets at 
               the soldiers and elephants. A tribal mask is painted on the 
               nose of the chopper.

               THE ELEPHANTS REAR UP IN TERROR

               The soldiers on the elephants stand up and aim rifles at the 
               chopper and begin firing.

               THE CHOPPER ATTACKS THE ELEPHANTS against an African sunset.

               FREEZE FRAME

                                                               DISSOLVE TO:

               INT./EXT. LOBBY OF THE 'NEW PEOPLE'S HOTEL' - DAWN

               A door slams o.s. and the figure of RUSSELL PRICE, 30, appears 
               at the top of some stairs. Sleepy-eyed, he pulls on a multi-
               pocketed fishing vest over a baggy shirt. He carries a beat 
               up canvas bag over his shoulder.

               A BLACK WOMAN, 40, sleeps at the lobby switchboard desk. 
               Another OLD BLACK MAN sweeps the floor. Price mumbles a 'good 
               morning' and goes to two vintage WW II vending machines -- 
               one for candy, one for Coca-Cola. He buys two candy bars and 
               a coke, and begins eating his "breakfast" as he crosses the 
               lobby.

               EXT. THE HOTEL - DAWN

               JIMMY, a cab driver, has been sleeping in a chair against 
               the wall. Several street vendors have their wares laid out 
               on the sidewalk against the hotel. Some are shaded by 
               makeshift awnings, some are not. Jimmy rises as Price arrives; 
               there is familiar ritual in their greeting.

               They cross the street together toward Jimmy's waiting taxi, 
               a hand-painted purple old American car with the words on the 
               door, "New People's Taxi Company" and Jimmy's name in script 
               above it. Price hands a candy bar to Jimmy.

                                     PRICE
                         'Morning, Jimmy, think you could 
                         squeeze me in?

                                     JIMMY
                         Where is you would care to go at 
                         once, Mr. Price?

                                     PRICE
                         Bang-bang.

                                     JIMMY
                         Twenty dollar.

               Price hands him a wad of bills.

                                     PRICE
                         You're a thief, Jimmy.

               Jimmy smiles broadly, nodding, then points to the sky.

                                     JIMMY
                         Booteeful picture, huh, snap-snap?

                                     PRICE
                         I don't do skies.

               The two men get into the strange cab parked in front of an 
               open marketplace just starting to come alive; the cab drives 
               off.

               EXT. A REMOTE AFRICAN VILLAGE - DAY

               The taxi arrives, and Price gets out.

               Price ambles over to stand in the early morning shade against 
               an old building. A hand-painted image of Che Guevarra -- 
               with an X painted over it -- is on one wall. Price pulls a 
               joint from his pocket and lights up, taking a hit.

               The sounds of war machinery soon interrupt the stillness. 
               Price hurries to the corner.

               P.O.V. A JEEP LEADING AN ARMY CONVOY

               Price pulls a handful of colored rags from his pocket and 
               picks out a yellow kerchief, tying it to his arm. Price then 
               steps boldly into the street in front of the approaching 
               convoy. He exchanges shouts with an officer in a jeep, and 
               with a motion is given permission to join.

               PRICE CLIMBS INTO THE LAST OF THREE TROOP TRUCKS

               Each truck is filled with perhaps 25 African soldiers in 
               khaki, each holding an automatic rifle. Another jeep follows, 
               towing a World War II cannon.

                                                                    CUT TO:

               INSIDE THE TROOP TRUCK - DAY

                                     PRICE
                              (cheerily)
                         Hi, guys.

               The soldiers look over disinterestedly. Two dozen cases of 
               Coca-Cola are tied to a stretcher among stacks of guns.

               As Price settles in for the ride, he begins pulling cameras 
               from his bag. Quickly and automatically, rarely looking, he 
               switches lenses, loads film, and prepares his cameras. He 
               has done this a thousand times.

               A SINGLE WHITE SOLDIER -- OATES, rises from among the blacks, 
               and shakily makes his way toward Price. A mercenary dressed 
               in a ragged uniform of his own design, carries two machine 
               guns and a .45. He smiles broadly, recognizing Price. HODGE 
               slaps Price's hands as if they were teammates.

                                     OATES
                         G'damn, Price, you tuna sucking piece 
                         of raw meat -- whatchyou goin' to 
                         Zambeze for?

                                     PRICE
                         Thought I'd get some great shots of 
                         your head gettin' blown to 
                         smithereens.

                                     OATES
                         Smithereens?! Be a great fuckin' 
                         picture, eh?

                                     PRICE
                         Be a prize winner.

                                     OATES
                              (proudly)
                         Ya think so?
                              (beat; changing tone)
                         Trade ya some greenies for a joint.
                              (beat)
                         I gotta have a joint.

                                     PRICE
                         I'm on the wagon, man, sorry.

                                     OATES
                              (shrugs)
                         Ahh. Dope-wise, this place sucks.
                              (looks around, leans 
                              in confidentially)
                         Lotta fuckin' coons around here, eh?

               They nod. He laughs obscenely and deeply.

                                     PRICE
                         I thought you were fighting for the 
                         Government?

                                     OATES
                         I am. This is the Government.

                                     PRICE
                         These are the Rebels.

                                     OATES
                         Fuck they are. This is a Government 
                         convoy to Calunda.

                                     PRICE
                         This is the Abou-Deian Revolutionary 
                         Front.

               Pause.

                                     OATES
                         You're shitting me.

               Pause. Finally Oates starts laughing uncontrollably.

                                     OATES
                         These guys be pissed if they knew, 
                         eh?
                              (Price nods in 
                              agreement; Oates 
                              suddenly gets serious)
                         This is the dumbest motherfucker I 
                         ever signed up for. Don't pay shit 
                         either.
                              (Price nods in 
                              agreement)
                         Nicaragua. That's the spot. Cheap 
                         shrimp, lotta rays -- real thin in 
                         the spook department too, dig?

                                                                    CUT TO:

               EXT. THE REBEL'S AIRFIELD - DAY

               The convoy rumbles past a check-point into a small airfield 
               containing a motley collection of DC-3's and old planes. TWO 
               RUSSIAN ADVISORS and THREE CUBAN ADVISORS watch.

                                     OATES
                         Well hell... I wonder where the 
                         fuckin' Guvmint is?

               As he speaks, the cab of the truck is rocked with a mortar 
               shell and explodes. Soldiers scramble to safety. Some grab 
               the guns being transported.

               TWO SOLDIERS GRAB THE STRETCHER OF COKE and start running 
               for safety. Smoke and explosions are everywhere -- they 
               abandon their cargo and run for cover.

               OATES SCRAMBLES TO SAFE GROUND quickly and instinctively, 
               looking around wildly to "read" the situation. Price dives 
               next to him.

               A SOLDIER IS HIT AND GOES DOWN NEARBY, staggering towards 
               Price and Oates.

               A DC-3 GOES UP IN FLAMES IN THE BACKGROUND

               THE WOUNDED SOLDIER REACHES FOR OATES who darts out quickly 
               and drags the injured Rebel to safety.

               PRICE HAS HIS CAMERAS OUT AT ONCE and is firing away.

               TWO REBEL SOLDIERS POINT TO THE STRETCHER OF COCA-COLA and 
               start moving toward it through the smoke. They want to rescue 
               the soft drinks.

               PRICE LEAPS FROM HIS BUNKER AND RACES TOWARD THEM dangerously, 
               waving and shouting as he does.

                                     PRICE
                         Hold it! Hold it!

               They don't speak English but stop at his craziness.

               PRICE STOPS AND AIMS HIS CAMERA, and as he does he motions 
               for the soldiers to continue.

               P.O.V. THE FRAMED IMAGE -- SOLDIERS, SMOKE AND COKE IN B.G. 
               As the soldiers move toward the Coke, Price snaps picture 
               after picture.

               A MORTAR EXPLOSION BLOWS THE COCA-COLA TO A MILLION BITS The 
               two soldiers stop short -- several more steps and they would 
               have been killed. Price's intrusion has accidentally saved 
               them. The two soldiers run toward safety, bewildered and 
               scared.

               ON THE AIRFIELD - THE SMOKE CLEARS AND ALL IS CALM

               Gradually the airfield comes back to life. Several teams of 
               medics run with stretchers from the hut and begin gathering 
               bodies. Rebel soldiers appear from every conceivable shelter 
               and move across the field.

               Oates emerges and meets Price on the torn up runway amidst 
               the rubble. They look around at the devastation.

                                     OATES
                         Well, I guess we know where the 
                         Guvmint is.

                                     PRICE
                              (cynically)
                         You can walk to work from here.

                                     OATES
                         Convenient, ain't it?

               Oates starts to walk away, then stops and speaks earnestly, 
               as if trying to connect to a real world that doesn't exist.

                                     OATES
                         My brother just got married.

                                     PRICE
                         I don't know your brother.

               Suddenly, the distant roar of a jet. All the soldiers on the 
               field scan the horizon; Price looks up. The air raid siren 
               goes off.

               A JET DIVES OUT OF THE SKY TOWARD THE AIRFIELD OATES AND THE 
               SOLDIERS DIVE TO COVER

               JET STREAKS OVERHEAD and, instead of rockets and bombs, it 
               drops something else:

               THE SKY IS FILLED WITH A MILLION PIECES OF PAPER The jet 
               pulls out and disappears. All is quiet again as the million 
               papers flutter in the sky above the airfield.

               Out of frustration a single soldier fires a couple of shots 
               at the paper.

               Price grabs a piece of paper out of the air. It is:

               A PICTURE OF A SWIMMING POOL IN FRONT OF A CALIFORNIA HOUSE

               HE STARES AT THE IMAGE and turns it over. There is writing 
               on the backside in Spanish and Russian. He looks around.

               OATES WANDERS OVER with a handful of the leaflets.

                                     PRICE
                         What's this?

                                     OATES
                         Great shit, eh?

               Price tries to read the writing on the back as Oates looks 
               at a leaflet familiarly.

                                     OATES
                         U.S. Gummint offers this house to 
                         any Cuban pilot flying Migs for the 
                         Rebels who chooses to defect to 
                         America with a Russian jet. We know 
                         they ain't gonna run off with no 
                         planes -- but the Rebs don't -- 
                         They're scared. They start thinking 
                         about that swimming pool. Damn near 
                         smell that chlorine. Starts workin' 
                         on 'em, and pretty soon they don't 
                         let the Cubies near a Mig. Use their 
                         own spook pilots and destroy their 
                         own air force in a week. Guaran-fuckin-
                         teed.

                                     PRICE
                         C.I.A.?

                                     OATES
                              (proudly)
                         Smartest guys in the world.
                              (afterthought)
                         Hey, you gotta scoop here, eh? You'll 
                         be famous.

               OATES shakes hands with Price who looks at the picture.

                                     PRICE
                              (dispassionately)
                         Maybe.

                                     OATES
                              (looking around)
                         I gotta run... have a good one.

               Oates heads off across the runway as papers continue blowing 
               down out of the sky; Price looks up and speaks to himself.

                                     PRICE
                         I love Africa.

                                                                    CUT TO:

               INT. HOTEL ROOMS AT THE NEW PEOPLE'S HOTEL - NIGHT

               CLAIRE STRYDER, 40, reads a report over the telephone as she 
               times the call with a stopwatch. A photograph of Claire's 
               high-school-aged daughter sits on her dresser.

               ALEX GRAZIER, 50, struggles with his tie and a drink at a 
               dresser in the adjoining room. Their connected rooms are 
               littered with hand washed laundry and the paraphernalia of 
               their trade -- typewriters, tape decks, books, notes, 
               pictures.

               Their love affairs of three years is ending.

                                     CLAIRE
                              (on the phone)
                         "...and so this strange war that 
                         features two provincial governments, 
                         three rival liberation fronts, and 
                         at least twenty-five tribal 
                         associations, grinds into its seventh 
                         year..."

               Alex picks up a Melodica, a novelty wind instrument, and 
               tries to court her with "Caravan" as she files her story. 
               Though mildly put off, she maintains her cool throughout the 
               call. He thinks he's Paul Desmond.

                                     CLAIRE
                         "...The Battle for the Airfield at 
                         Abou Deia is just another chapter in 
                         this endless story. From Ndjamena, 
                         Chad, this is Claire Stryder."
                              (beat)
                         No -- you didn't hear any music -- 
                         must be the connection. Okay? So 
                         long.

               She hangs up and rises more irritated than angered.

                                     CLAIRE
                         Alex, don't play that God damn thing 
                         when I'm filing.
                              (beat)
                         We're late.

               Quickly expressed, her anger passes.

                                     ALEX
                         It's my party -- we'll be late. You 
                         called it a "strange war" and an 
                         "endless story." If you filed that 
                         story for me, I'd say you were 
                         editorialishing.

                                     CLAIRE
                         I like to editorialize. You drunk?

               Alex loves to be melo-dramatic and is quite conscious of his 
               ability to charm. He's also aware that it's worn off with 
               her.

                                     ALEX
                         Drunk? Only with the memories of 
                         making love with you on the plains 
                         of Fianga as the first Army of 
                         Liberation marched in and opened 
                         fire.

                                     CLAIRE
                         And freed the Proletariat.

               Alex raises a drink.

                                     ALEX
                         Right.

                                     CLAIRE
                         I'm going to the party without you.

               She leaves -- he quickly puts on his coat and follows her.

                                                                    CUT TO:

               INT. THE ELEVATOR GOING DOWN - NIGHT

                                     ALEX
                         Christ, I don't want to go to this 
                         stupid party. I'm bad at false 
                         modesty.

                                     CLAIRE
                         You're great at it.

               She straightens his half-tied tie in an act of familiar 
               affection rather than motherliness. Nervousness. She speaks 
               calmly -- this is ground they have already covered.

                                     CLAIRE
                         Alex, you're going to make a great 
                         anchorman in New York and undoubtedly 
                         I could be a Pulitzer Prize winning 
                         hostess -- but I'm not going with 
                         you.

                                     ALEX
                         You can work out of the East Coast. 
                         We'll get a place on Long Island and 
                         burn our suitcases.

                                     CLAIRE
                         I still like suitcases.

                                     ALEX
                         Every Saturday night we'll have a 
                         party... invite all our friends, sit 
                         out on the veranda and interview 
                         each other.

                                     CLAIRE
                         I've done all that.

                                     ALEX
                         I haven't.
                              (beat; changes tack)
                         Well, God dammit, I'm getting tired 
                         of memorizing who's the president of 
                         the... Republic of Maldives.

                                     CLAIRE
                         Mamoon Abdul Gayoom.

                                     ALEX
                         Yeah, he succeeded Mamoon Abdul 
                         Gayeem.

               They both smile slightly as the elevator comes to a stop. 
               The door doesn't open, and the light flickers.

                                     ALEX
                         And I'm tired of Third World 
                         elevators.

               He bangs the door with his fist. It opens, and they enter a 
               dismal hallway. The sounds of a party come from beyond.

                                     ALEX
                         Don't leave me.

                                     CLAIRE
                         I already have.

               As they approach the door to the party, he speaks with new 
               toughness.

                                     ALEX
                         Fuck Abou Deia and New York. I'm 
                         going to Nicaragua with you.

                                     CLAIRE
                         No.

                                     ALEX
                         I've heard it's a neat little war 
                         with a nice hotel.

                                                                    CUT TO:

               INT. THE ROOM WITH THE PARTY - NIGHT

               A cheer goes up for Alex as he and Claire enter. Party hats, 
               booze, hand-made signs reading "Bon Voyage," etc. Fifteen 
               journalists of varying nationalities cover this backwater 
               war.

               Though both upset, they act as if everything is normal.

               PRICE STANDS ON A CHAIR AT THE CENTER summoning Alex who 
               moves through the group with ease, instantly at home. Price 
               holds up a bottle of champagne in toast.

                                     PRICE
                         Alex, get up here!

               Alex climbs on a chair next to Price who puts his arm around 
               him.

                                     PRICE
                         To the man who gave me my first job, 
                         and fired me from my first job... 
                         and gave me my second job...

                                     VOICE FROM CROWD
                         And fired you from your second job...

                                     PRICE
                         Just a few words, Alex.

                                     VOICES FROM CROWD
                         Impossible! Can't be done! etc.

               However miserable, Alex shines in these situations. He raises 
               his hand -- silence.

                                     ALEX
                         You may be asking yourself what 
                         exactly are you doing here in this 
                         "strange war, just another chapter 
                         in an endless story... that grinds 
                         into its seventh year..."

               Claire slips to the side bar and pours herself a drink, 
               watching Alex and shaking her head with some affection.

               JIMMY, THE CAB DRIVER, ENTERS WITH A CAKE covered with 
               candles. The crowd parts for the cake shaped like the country 
               of Chad. The crowd begins singing "Caravan" in a half-drunken 
               tribute to a man they like and respect.

               PRICE MOVES AROUND THE ROOM TAKING PICTURES of the party; it 
               is all casual, silly, fun.

               THROUGH CAMERA P.O.V.'S OF ALEX IN A PARTY HAT, whip pan to 
               CABBY WITH THE CAKE, whip pan to DRUNKEN JOURNALISTS.

               THROUGH CAMERA P.O.V. OF CLAIRE -- FREEZE FRAME, pan follows 
               her as she moves through the room -- FREEZE FRAME, she picks 
               up another drink and leaves through a side door -- FREEZE 
               FRAME.

               ALEX GIVES IN AND JOINS THE SINGING, enjoying his own tribute 
               once he has managed to give in to it.

                                                                    CUT TO:

               INT. THE DARKROOM - RED LIGHTS

               Claire's face is also covered with tears as she smokes, 
               wandering idly among clothespinned photos. A part of her 
               life is ending -- life with Alex -- but it's not ending 
               neatly.

               A ROW OF HANGING PHOTOGRAPHS catches her eye. She stops and 
               looks closely -- then laughs in spite of herself at a series 
               of pictures: PHOTO OF A TALL AFRICAN NATIVE WITH A COCK SO 
               LONG IT IS TIED IN A KNOT; PHOTO OF A BEAUTIFULLY BREASTED 
               AFRICAN WOMAN; PHOTO OF SEVERAL POSING SOLDIERS; PHOTO OF A 
               PHOTO -- THE RANCH HOUSE WITH POOL; PHOTO SELF-PORTRAIT OF 
               PRICE BLOWING SMOKE RINGS; PHOTO OF CLAIRE AND ALEX IN HAPPIER 
               DAYS.

               CLAIRE PULLS THE PHOTO OF ALEX AND HER from the clip and 
               looks at it.

               THE DOOR OPENS, AND PRICE ENTERS

                                     PRICE
                         Oh. I didn't know you were here.

                                     CLAIRE
                         Sure you did. You were taking pictures 
                         of me all over the room.

                                     PRICE
                         Well... yeah... you looked great. 
                         Why aren't you partying?

                                     CLAIRE
                         In a minute.

               He notices the picture she's looking at.

                                     PRICE
                         I printed that up for Alex.

                                     CLAIRE
                         It wouldn't be the greatest thing 
                         you could give him right now...
                              (beat)
                         We just split up.

                                     PRICE
                         Jesus, I'm sorry. Who left who this 
                         time?

                                     CLAIRE
                         I'm the villain... I thought it could 
                         be a little cleaner this time -- me 
                         in Central America, him in New York.

                                     PRICE
                         That's pretty clean.

                                     CLAIRE
                         But he's decided to go to Nicaragua 
                         too.

                                     PRICE
                         To cover you or the war?

                                     CLAIRE
                         To cover everything.

               Silence. Price moves behind her and gently kisses her on the 
               ear. She smiles quickly and nervously.

                                     CLAIRE
                         No.

               He kisses her on the neck.

                                     CLAIRE
                         For godsakes, Russell, listen.

               The sounds of the party can be heard. He ignores them and 
               moves around her, trying to kiss her on the lips. She puts 
               her hand over his mouth.

               Price reacts strongly, flaring slightly and withdrawing.

                                     PRICE
                         I don't want to wait for you again. 
                         We've been circling each other since 
                         the Montreal Olympics.

                                     CLAIRE
                         You're a genius of bad timing.
                              (beat)
                         I'm going back to the party.

               She heads to the door; Price stays. She stops before getting 
               there, hesitates, then pulls the PHOTO OF THE ELEPHANT from 
               the string and returns to Price, handing him the photo.

                                     CLAIRE
                         This is a great shot.

                                     PRICE
                         Thanks.

                                     CLAIRE
                         I've heard the light in Nicaragua's 
                         even better.

               He doesn't respond. They stand for several moments -- the 
               sounds of the party get louder. She turns and heads to Alex's 
               celebration, leaving Price alone in the darkroom.

               PRICE LOOKS AT CLAIRE AS SHE LEAVES, stares aimlessly for 
               several moments, then focuses back on his PHOTO OF THE 
               ELEPHANTS.

                                                               DISSOLVE TO:

                                      NICARAGUA 1979

               EXT. THE STREETS OF MANAGUA - THE CAPITOL - AFTERNOON

               CLOSE ON: TIME MAGAZINE WITH COVER PHOTO OF THE ELEPHANTS, 
               gradually PULL BACK to reveal other magazines, candy, cigars, 
               Nicaraguan toys, all in a corner shop, and finally:

               A FIRE TRUCK LEADS A PROCESSION through the streets -- a 
               group of middle class Nicaraguan women carry a banner that 
               reads "Our Revolution is in Christ" (in Spanish), followed 
               by three Catholic PRIESTS in bright robes, followed by a 
               sound truck with P.A. system, followed by hundreds of 
               townspeople carrying banana leaves and religious signs. All 
               are singing a Catholic hymn in a swaying, hypnotic rhythm. 
               Small red and black flags are scattered throughout.

               A CAB DRIVING THROUGH THE STREETS runs into the parade and 
               stops. Price sits in the front seat -- his luggage is tied 
               precariously to the roof. The trunk of the cab has been 
               smashed in beyond repair. Price hops out of the cab with his 
               camera bag -- he doesn't know what the parade is about but 
               it looks great. He hands the cabbie some money to stay nearby.

                                     PRICE
                         Wait here.

               He runs to join the procession.

               PRICE HOPS ONTO THE RUNNING BOARD OF THE FIRE TRUCK and almost 
               simultaneously his light meter is out. HE is surrounded by 
               images: SMALL GIRLS DRESSED AS ANGELS LINE THE STREET, 
               TOWNSPEOPLE HANG FROM DOORWAYS AND WINDOWS, ICE CREAM CARTS 
               AMONG RELIGIOUS ICONS, SOLDIERS WITH GUNS STAND IN SMALL 
               GROUPS ALONG THE PARADE ROUTE.

               PRICE IS QUICKLY TAKING PICTURES OF EVERYTHING, changing 
               cameras, occasionally taking a quick light reading; his 
               actions are instinctive and automatic. Suddenly:

               TEN YOUNG TEENAGERS BURST INTO THE PARADE They wear red and 
               black handkerchiefs, baseball caps, and strange masks. They 
               are chanting:

                                     TEENAGE BOYS
                         Rafael, Rafael, Rafael... libre o 
                         muerte... Rafael...

               A LARGE PAINTING OF THE FACE OF RAFAEL is carried aloft on a 
               stick, draped with red and black scarves.

               PRICE PHOTOGRAPHS the boys and the painting.

               NATIONAL GUARD SOLDIERS SHOVE INTO THE PARADE Up and down 
               the street they spring into action, running for position 
               with their guns.

               An ice cream vendor is knocked down, a mother clutches her 
               "angel" daughter, another child is whisked inside a door as 
               the Soldiers break into the procession.

               THE "MUCHACHOS" WITH RAFAEL TURN TO RUN but realize that the 
               soldiers have cut off their escape.

               THREE SOLDIERS BREAK into the parade and are separated from 
               the boys only by a group of Priests. Trapped, the boys panic, 
               but as the SOLDIERS push towards them:

               THE PRIESTS BLOCK THE SOLDIERS and intentionally scuffle 
               with them, allowing the boys just enough time to dart into a 
               house. One of the boys drops the picture of Rafael as he 
               heads in the door.

               THE CROWD PUSHES FORWARD, the route to the door is blocked 
               off, and the boys escape.

               SOLDIERS FIND THE PORTRAIT OF RAFAEL and shoot it full of 
               holes with their automatic weapons.

               PRICE PHOTOGRAPHS "RAFAEL" as his image is ripped to shreds 
               with bullets.

               The singing and the parade march on.

                                                                    CUT TO:

               EXT. THE INTERCONTINENTAL HOTEL IN MANAGUA - LATER - DAY

               Overlooking Managua is a sub-tropical paradise that seems 
               far removed from a brutal civil war, this one time tourist 
               watering hole serves as home base to the international press. 
               The cab pulls up, and Price gets out. The driver unties his 
               luggage from the roof as TWO PRESS CORPS MEMBERS recognize 
               Price and greet him as an old friend.

                                                                    CUT TO:

               EXT. THE HOTEL POOL AND OUTDOOR BAR - DAY (DUSK)

               ALEX SITS WITH A BEAUTIFUL NICARAGUAN WOMAN, 35, at a table 
               as PRESS CORPS MEMBERS mingle. A man we will come to know as 
               HUB KITTLE, 40, dressed New York casual, table hops in the 
               b.g.

               PRICE SEES ALEX and sneaks over to drop the Time magazine 
               over his shoulder onto the table in front of him. Without 
               looking up, Alex knows Price has arrived. He smiles.

                                     ALEX
                         Welcome to Managua.

               They shake hands warmly, and Price sits down. Price points 
               to the cover as a beer is served.

                                     PRICE
                         You have something to do with this?

                                     ALEX
                         Well... I thought of calling your 
                         photographs "Pictures from a Lost 
                         War"... I'm great at captions -- the 
                         New York editors loved it since none 
                         of them knew where the hell Chad was 
                         anyway -- it legitimized their 
                         ignorance, got you a cover, me a 
                         feature, and packaged a class struggle 
                         in two words. Nifty, eh?

                                     PRICE
                         Nifty.

               Russell acknowledges ISELA CRUZ sitting with Alex.

                                     PRICE
                         I'm Russell Price.

                                     ALEX
                         I'm sorry... this is Isela Cruz. She 
                         works for the hotel and helps out as 
                         a translator.

                                     ISELA
                         My pleasure.

               IN THE BACKGROUND CLAIRE WALKS INTO THE POOL-BAR AREA She 
               carries her handbag and some papers -- she stops short seeing 
               Price sitting with Alex. She hesitates, starts toward them, 
               stops, and sits down at the bar at the opposite end of the 
               pool.

               Price sees her, and she sees Price. They pretend they don't. 
               Price turns to Isela and launches into a stream of broken, 
               chauvinistic Spanish with his usual elegance.

                                     PRICE
                              (in Spanish)
                         Looks like you guys have a lot of 
                         bang-bang down here, eh? Little 
                         misunderstanding between the poets 
                         and the government?

                                     ISELA
                         "Misunderstanding?!" "Down here" 
                         it's called a war. It started in 
                         nineteen thirty. Before you were 
                         born.

                                     ALEX
                         My Spanish is a little out of shape -- 
                         what'd he say?

                                     ISELA
                         He said he considers it an honor to 
                         be able to photograph our war.

               Price looks at each of them and decides not to push.

                                     ALEX
                         Russell's got a way with words.

                                     ISELA
                         I can tell.

                                     PRICE
                         You're a helluva translator.

                                     ISELA
                         I know. I'm much in demand around 
                         here. Will you excuse me? If you 
                         have any questions, just ask.

               Alex stands to help Isela from her chair. Price presses on, 
               instinctively and effortlessly.

                                     PRICE
                         Who is Rafael?

                                     ALEX
                         It depends who you ask.

               Alex turns to Isela, who stops as she rises.

                                     ISELA
                         Rafael? Comandante Rafael. He is 
                         either a Marxist dupe of Russia and 
                         Cuba...
                              (beat)
                         ...or the most popular leader of a 
                         most popular democratic revolution.
                              (to Price cynically)
                         Take your pick.

                                     PRICE
                         I don't really give a damn... but 
                         the guy's got a great face.

               A beat, then Price asks his question almost sexually, as if 
               he thinks he could seduce Isela, Rafael, the whole war.

                                     PRICE
                         How would he like to be photographed?

                                     ISELA
                         You'd never find him.

                                     PRICE
                         Wanta lay odds?

                                     ISELA
                         You would lose.
                              (beat)
                         You must excuse me.

               She starts to leave again, and again he stops her.

                                     PRICE
                         Just one more thing -- is Rafael 
                         owned by the C.I.A. or the K.G.B.? 
                         I'll figure out the rest.

               Isela seems to welcome the question. Her tone is less flip, 
               and she focuses hard on Price.

                                     ISELA
                         Mr. Price... the world is not divided 
                         into East and West anymore. It is 
                         divided into North and South. By the 
                         time you people figure that out -- 
                         it will be too late.
                              (beat)
                         Congratulations on your cover.

               She touches his Time magazine, kisses Alex on the cheek, and 
               floats magically through the pool area.

               Price frames her with his fingers as if composing a shot.

               P.O.V. OF ISELA THROUGH PRICE'S FINGERS Isela kisses another 
               journalist, grabs someone's hand, and lands gracefully at 
               another table.

                                     PRICE
                         So far this war's got it all over 
                         Africa.

                                     ALEX
                         You're gonna have a ball.

               ALEX PLACES HIS HAND OVER PRICE'S "FRAME" blocking out his 
               view of the sexy Isela. Though Alex's tone is gentle, the 
               threat is obvious.

                                     ALEX
                         Hands off. I need an interpreter 
                         more than you do right now.

               Price takes the hint.

                                     PRICE
                         You still hanging in there with 
                         Claire?

               Alex chooses his words carefully and speaks slowly.

                                     ALEX
                         I'm hanging in there like an interim 
                         post-war government waiting for the 
                         palace to be overrun... by younger 
                         men.

               Silence and an uneasiness that Alex intended. Price manages 
               a smile.

                                     PRICE
                         Younger men.

               Alex smiles disarmingly.

               CLAIRE RISES AT THE OPPOSITE BAR, picks up her papers, and 
               heads straight for the two men with a bounce in her step.

               BOTH MEN ARE A BIT SURPRISED AT HER ENTRANCE and she hands a 
               stack of mail to Alex.

                                     CLAIRE
                         Hi, Alex... Russell! When did you 
                         get in?

                                     PRICE
                         Just now.

               She shakes Price's hand in a friendly manner that comes out 
               awkwardly, then races past the moment to address and entertain 
               both men.

                                     CLAIRE
                         You're not going to believe this -- 
                         I just beat you guys and everybody 
                         else here to a story...
                              (she teases them)
                         ...exclusive... eat your heart out.

                                     PRICE
                         What'd ya get?

                                     CLAIRE
                         I've just been promised a private 
                         interview with Tacho.

                                     ALEX
                              (impressed)
                         Congratulations. The bastard won't 
                         talk to me.

                                     PRICE
                         Who's Tacho?

               They turn to Price as if everyone knows who Tacho is.

                                     CLAIRE
                         That's President Somoza's nickname.

                                     PRICE
                         I don't know who the players are 
                         yet.

                                     ALEX
                         Want me to order you a hot dog and a 
                         program?

               A bit of tension and awkwardness -- Claire quickly takes 
               control and changes the tone.

                                     CLAIRE
                         Fellas! No fighting after six at 
                         night, all right? Curfew.
                              (beat)
                         C'mon, we've all got something to 
                         celebrate.

                                                                    CUT TO:

               INT. THE VIKING CLUB OF MANAGUA - NIGHT

               Corrugated metal roofs, thatched hut booths, a strange 
               combination of decorative and architectural devices. DAISY 
               WILLIAMS, a large black woman from Nicaragua, sings "I Left 
               My Heart in San Francisco" with a mediocre jazz group.

               HUB KITTLE is present, and other journalists drop by the 
               table to say hello.

               A BOY PHOTOGRAPHER, 13, aims an ancient bellows type polaroid 
               at a booth in which Claire sits between Alex and Price. They 
               are holding a pose indefinitely while the boy struggles with 
               the camera. They hold up the TIME COVER and a couple of beers 
               in celebration, and when he finally snaps the picture -- no 
               flash.

               The boy puts the camera down disappointedly.

                                     BOY PHOTOGRAPHER
                              (in broken English)
                         Sometimes it doesn't work.

               The three journalists relax their pose.

                                     PRICE
                         Let me look.

               ON THE BANDSTAND Daisy has just finished "San Francisco" and 
               spots Alex, motioning to him.

                                     DAISY
                         Ladeez and Gen'mun, hep me get Aaleex 
                         ov' here...

               Daisy applauds lightly for Alex to join them. Alex is equally 
               pleased and embarrassed.

                                     ALEX
                         There's not many piano bars left 
                         where I'm still welcome.

                                     CLAIRE
                         Go ahead.

                                     ALEX
                         If she can't sing in the key of C 
                         I'm in trouble.

               Alex excuses himself and joins Daisy on the bandstand. Price 
               and Claire are left alone in the booth as Price hands the 
               repaired camera back to the boy.

               ALEX AT THE PIANO begins a slow, easy cocktail version of 
               "Stardust," the song of his generation perhaps, and he seems 
               happy, seduced by his own chords.

               PRICE AND CLAIRE RESUME THEIR POSE, and this time the camera 
               FLASHES. Price pays for the picture from the boy.

               At first there is a moment of awkwardness between them.

                                     PRICE
                         Well...

                                     CLAIRE
                         "Well"... you finished your assignment 
                         in Chad?

                                     PRICE
                         Got Africa all wrapped up and pouched 
                         to my editor.

               She smiles and relaxes a bit at the typical Price remark.

                                     CLAIRE
                         You're going to love this war, 
                         Russell... there's good guys, bad 
                         guys, cheap shrimp...
                              (an afterthought)
                         And Alex is still singing in the 
                         background.
                              (beat)
                         I missed you.

                                     PRICE
                         We gotta get alone somewhere to talk.

               ALEX BEGINS SINGING as he plays. He sings like a trumpet 
               player -- no voice but great phrasing. He half smiles as he 
               sings, enjoying the song and enjoying making them 
               uncomfortable.

               ALEX AT THE PIANO

                                     ALEX
                         Sometimes I wonder why I spend these 
                         lonely nights, Dreaming of a song...

               BACK AT THE BOOTH

                                     CLAIRE
                         Jesus... he's doing it on purpose.

                                     PRICE
                         Alex is one of the world's leading 
                         experts on military strategy.

               They don't really want to talk about Alex though his presence 
               is unavoidable. Price changes gears, gets slightly goofy, 
               and steers the conversation to more comfortable turf.

                                     PRICE
                         Well, hell, I just got off the boat... 
                         gimme the scoop on Nicaragua...

                                     CLAIRE
                         Well... about sixty years ago the 
                         U.S. Marines invaded to protect 
                         American business interests and put 
                         down a peasant revolt led by a little 
                         man who wore a giant cowboy hat --
                         his name was Augusto Sandino... In 
                         nineteen thirty-four he was murdered 
                         at a peace conference, and the Somoza 
                         family has ruled ever since...

                                     PRICE
                         No, no, no... I don't mean the stuff 
                         about the peasants -- I mean the 
                         real stuff.

               She knows what he means, but she wants to tease him a bit 
               first.

                                     CLAIRE
                         The "real" stuff?... you mean a 
                         history of class struggle in agrarian 
                         societies?

                                     PRICE
                         No, c'mon!

                                     CLAIRE
                         Oh. Okay... well...
                              (beat)
                         Just a couple things.
                              (beat)
                         One -- there's only two kinds of 
                         beer available -- Tona and Victoria. 
                         Victoria's better.
                              (beat)
                         And two -- if you see Miss Panama 
                         hanging around the hotel bar -- hot, 
                         hot, hot -- but don't touch. She 
                         belongs to Tacho, and if anybody 
                         gets caught with her then El 
                         Presidente has promised to personally 
                         cut off the guy's...
                              (unsure which word to 
                              use)

                                     PRICE
                         Pecker?

                                     CLAIRE
                         Yeah... and throw it into Lake 
                         Managua.

                                     PRICE
                         Jesus.

                                     CLAIRE
                         And the lake's already polluted.

               Price is impressed, and yet another new face drops by the 
               booth -- they both recognize and see him coming, a 
               contemporary of Price, REGIS FLYNN, a scraggly British 
               journalist who heads over to their table holding three beers.

                                     PRICE
                              (mutters to Claire)
                         Is there anybody here we don't know?

                                     CLAIRE
                         No.

               Regis slides into their booth, happy to see them.

                                     REGIS
                         G'damn, Price... kudos on the African 
                         snaps.
                              (shakes hands, a 
                              perfunctory kiss on 
                              her cheek)
                         Jeez, Claire, I haven't seen you 
                         since...

                                     CLAIRE
                         Three Mile Island.

                                     REGIS
                         Yeah... shit...
                              (wistfully)
                         Holiday Inn, right?

               He nods; they all sip beers and watch Alex sing.

                                                                    CUT TO:

               INT. THE NIGHT CLUB KITCHEN

               A teenage DISHWASHER looks around nervously, then pulls a 
               paper sack from off the shelf, removing a strange mask from 
               it. He pulls the mask over his head. Then from the bag he 
               removes a hand-made zip gun, puts a bullet in it, and darts 
               into the shadows of a nook, waiting.

               BACK TO THE BOOTH where Regis softly croons a few bars of 
               "Stardust" into Claire's mike. The three of them are having 
               a good time, mildly drunk at best, and uninhibited.

                                                                    CUT TO:

               EXT. THE CLUB

               As we hear Alex's gentle rendition of the standard, a NECKING 
               COUPLE moves back into the shadows of the club. Each pulls 
               on a mask, as in the b.g.:

               ISELA AND AN ELEGANT MAN ARRIVE AT THE CLUB

               The man, somehow out of place, dresses with casual continental 
               style, not overdone but expensive and tasteful -- clearly 
               from another world. He wears a neat hat and moves gracefully. 
               Isela looks stunning, dressed for the evening. The DOORMAN 
               greets them familiarly.

               Isela casually checks her watch as they enter the club.

               The masked couple in the shadows check their watches.

                                                                    CUT TO:

               INT. THE VIKING CLUB

               As Isela and the man enter, commanding attention without 
               trying. Isela stops at the piano long enough to kiss Alex 
               gently before sitting in the booth with the man.

               IN PRICE'S BOOTH the new arrivals have caught their attention -- 
               Price and Alex still clown slightly, and Claire teases them.

                                     CLAIRE
                         Jesus... Louis Jordan walks in, and 
                         I'm sitting with the Everly Brothers.

                                     REGIS
                         Before you fall in love -- that's 
                         Marcel Jazy... friend of wine, women, 
                         and Somoza. They say he's a 
                         businessman...

                                     CLAIRE
                              (interrupting)
                         He's a businessman in search of a 
                         business... he doesn't try very hard 
                         to cover up his connections to the 
                         C.I.A...

               P.O.V. OF JAZY LIGHTING ISELA'S CIGARETTE

                                     CLAIRE
                         But look at his moves -- can the 
                         C.I.A. light cigarettes like that?

                                     PRICE
                         What's wrong with the Everly Brothers?

               THE WAITER ARRIVES AT PRICE'S BOOTH and sets down three shrimp 
               cocktails and more champagne, as:

               INT. THE BACK DOOR OF THE CLUB

               It opens quickly, and three more MEN IN MASKS enter quickly.

               BACK TO THE BOOTH as the waiter speaks with a firm coolness.

                                     WAITER
                         Please stay at your table, and you 
                         won't be hurt.

               A FACE IN A MASK MOVES QUICKLY PAST PRICE'S TABLE

               ANOTHER MASKED FACE COMES OUT OF THE KITCHEN The dishwasher 
               waves a gun.

               TWO MASKED FACES -- THE COUPLE -- ENTER THROUGH THE FRONT 
               DOOR The woman carries an automatic rifle and guards the 
               entrance.

               THREE MASKED FACES APPEAR Almost materialize from thin air, 
               moving silently and without commotion. The music winds down 
               slowly. (Six Guerrillas total)

               A GUERRILLA QUICKLY SPRAYS AN IMAGE ON THE WALL With a few 
               deftly drawn strokes, the FACE OF RAFAEL magically appears. 
               The name "RAFAEL" is written under the face, then other names 
               and revolutionary slogans. As this takes place:

               A WOMAN GUERRILLA HAS A GUN AT THE HEAD OF A NICARAGUAN 
               BUSINESSMAN The middle-aged, well-dressed local sits with 
               his wife and two other men. They freeze in fear, the nightclub 
               freezes, as the GUERRILLAS take control of the room swiftly 
               and smoothly.

               ONE GUERRILLA FACES THE NICARAGUAN BUSINESSMAN at the table 
               and speaks loudly but without panic. The masked Guerrillas 
               around the room are serious but nervous.

                                     GUERRILLA LEADER
                              (in Spanish)
                         We do not want to waste any ammunition 
                         on a head as empty as yours -- but 
                         we will.

                                     BUSINESSMAN
                              (in Spanish)
                         What is this?!

                                     GUERRILLA LEADER
                              (in Spanish)
                         Shut up! Get up!

               The BUSINESSMAN refuses. The GUERRILLA LEADER takes a hand 
               grenade from his pocket and pulls the pin without hesitation, 
               then holds the grenade in front of him fearlessly, inches 
               away from the Businessman's face.

               The Businessman rises slowly. The LEADER motions toward the 
               back door of the club.

                                     GUERRILLA LEADER
                              (in Spanish)
                         You are coming with us -- you will 
                         not be hurt -- we will trade you for 
                         the release of some Nicaraguans who 
                         care about Nicaragua.

               The woman with the gun shoves it into the man's head forcing 
               him to move toward the kitchen door.

               PRICE TAKES PICTURES QUICKLY WITH A TINY CAMERA that fits 
               into the palm of his hand. Neatly, surreptitiously, and calmly -- 
               Price is coolest in any crisis.

               CLAIRE PUNCHES ON HER TINY TAPE RECORDER instinctively, and 
               a tiny red light comes on.

               THE BUSINESSMAN IS SHOVED TO THE DOOR He hesitates, afraid 
               to leave the room. The Guerrilla shoves the grenade in his 
               face; the woman sticks the gun into his neck even deeper.

               MASKED GUERRILLA AT THE FRONT DOOR SHOUTS FOR THEM TO HURRY

               THE BANDMEMBERS -- INCLUDING ALEX -- BACK AWAY FROM THE 
               BANDSTAND Alex trips over the drum set slightly -- a clanging 
               clash of cymbals startles everyone, and as the drama freezes:

               THE KITCHEN DOOR SWINGS OPEN, AND THE BOY PHOTOGRAPHER EMERGES 
               Innocently, the young boy struts out of the kitchen to see 
               what's going on, and as he does the DOOR STRIKES THE ARM OF 
               THE GUERRILLA WITH THE GRENADE, and:

               THE GRENADE IS KNOCKED FREE For an instant, everything 
               freezes, and:

               THE GRENADE ROLLS ACROSS THE FLOOR Daisy Williams, the singer, 
               runs away screaming as the grenade comes to rest near a 
               crowded section of the club.

               A Guerrilla guarding the side door rushes for it, picks it 
               up, and as he does:

               THE GRENADE EXPLODES IN THE GUERRILLA'S HAND A brutal 
               explosion -- the ceiling caves in partially, the musical 
               instruments explode, and:

               THE SANDINISTA GUERRILLAS DART FROM THE ROOM through various 
               doors. The boy photographer lies bloodied. The Guerrilla who 
               picked up the grenade is a barely recognizable corpse. The 
               Businessman is soiled but unhurt.

               ONE HALF OF THE CLUB BREAKS OUT IN FLAME As a broken gas 
               pipe feeds a sudden outburst of fire, the club's patrons 
               panic -- screaming and shoving towards the door as the ROOM 
               LIGHTS UP, and:

               PRICE'S LIGHT METER IS OUT AT ONCE followed quickly by a 
               35mm camera, quickly clicking off picture after picture of 
               the club amid the flames and panic. The new light makes his 
               job easier.

               PRICE TAKES A LIGHT READING near the body of the boy 
               photographer. He sees the boy's camera lying nearby. Price 
               puts away his light meter and feels the boy's pulse, then 
               puts his ear to the boy's heart -- making sure he is not 
               still alive.

               LA GUARDIA SOLDIERS AND FIREMEN FILL THE ROOM

                                                                    CUT TO:

               INT. THE PRESS ROOM AT THE INTERCONTINENTAL HOTEL - LATER

               The chaos of a busy, cramped Telex room. A switchboard -- 
               several journalists trying to place phone calls. Press come 
               and go -- coffee, cigarettes, and half-eaten sandwiches.

               CLAIRE TEARS A STORY OFF THE TELEX while Price stands to the 
               side of the action eating a sandwich and watching.

               ALEX STANDS AT THE CENTER OF IT ALL Established as the senior 
               figure (or one of them) to whom other, younger journalists 
               come for information.

               A YOUNG JOURNALIST, a Time stringer, is slightly distraught 
               on the phone, and interrupts Alex's dealing with others, 
               cupping the phone, to announce:

                                     TIME STRINGER
                         ...it's Charlie, from New York -- 
                         says that a terrorist bombing of a 
                         Central American restaurant isn't 
                         big enough to hold for the world 
                         section...

                                     ALEX
                         Tell him we have pictures.

                                     YOUNG JOURNALIST
                         He knows.

                                     ALEX
                         Tell him there were pieces of body 
                         in the piano, and somebody was 
                         singing, "I Left My Heart in San 
                         Francisco."
                              (beat)
                         What's he got better than that?

                                     TIME STRINGER
                         He's got the Pope visiting Egypt.

               Alex grabs the phone in disgust and launches in.

                                     ALEX
                         Forget the Pope, Charlie. Every week 
                         you got the Pope somewhere. This is 
                         a very big story down here because 
                         it's the first sign of fighting in 
                         Managua.
                              (beat)
                         Yeah, well get a map and look up 
                         Nicaragua -- ya drive to New Orleans 
                         and turn left.

               While Charlie argues on the other end of the phone, Alex 
               initials papers and performs several jobs at once.

                                     ALEX
                         Like hell I'm editorializing, the 
                         whole thing happened in a roomful of 
                         C.I.A. and press. What do you want?!
                              (beats)
                         How do I know they were C.I.A.? They 
                         wore name tags, what do you think? 
                         We're backing a Fascist again -- I 
                         know that ain't news, but see if you 
                         can find an angle!

               HUB KITTLE has been floating through the room and, upon 
               hearing the word "fascist," takes offense and approaches 
               Alex.

                                     HUB
                         Hey! There's fascists and then there's 
                         fascists, right? Be careful how you 
                         throw words like that around.

               Alex ignores Hub though he is slightly pestered by him, and 
               continues on the phone as he initials papers brought to him.

                                     ALEX
                         We don't have any pictures of Rafael 
                         because nobody knows where the son 
                         of a bitch is, and anybody crazy 
                         enough to go after him...

               Alex spots Price who is standing nearby, still eating a 
               sandwich, still enjoying the high energy buzz of the room. 
               Alex directs his next line so that Price cannot fail to get 
               the message. Alex plays the moment coolly.

                                     ALEX
                         ...is liable to get his nuts shot 
                         off.

               Hub nods seriously, in agreement. Price turns. Alex smiles. 
               Price smiles. Alex hangs up, grumbling, then turns his 
               attention to the persistent Hub Kittle.

                                     ALEX
                         Yeah, well g'bye...
                              (to Hub)
                         Who the fuck are you?

                                     HUB
                              (extending a hand)
                         Hub Kittle. I'm with Lewitsky and 
                         Knupp -- New York. We have a client 
                         down here.

               Alex is irritated but fascinated.

                                     ALEX
                         Who?

                                     HUB
                         President Somoza.

               Alex is incredulous that Somoza employs a New York P.R. firm. 
               Hub is professionally used to this reaction -- no panic.

                                     HUB
                         I know, I know...
                              (beat)
                         But there's an untold story here. I 
                         mean, the man has a point of view 
                         too, right?

               Alex turns to leave; Hub corners him.

                                     HUB
                         We got a national anthem contest 
                         going on right now, and you guys are 
                         ignoring it. Lotta human interest.

               Alex turns to other business though Hub persists.

               ELSEWHERE IN THE ROOM a young NICARAGUAN WOMAN, 18, is talking 
               to Claire. She seems to be part of the local press.

                                     CLAIRE
                         I want you to get me copies of the 
                         Government inventory lists of all 
                         captured Guerrilla weapons. I want 
                         to know if the guns are Israeli, 
                         Belgian, Russian, Cuban...

                                     YOUNG WOMAN
                         The Guerrillas are not supplied by 
                         anybody from the outside.

                                     CLAIRE
                         Fine -- give me proof.

               A TELEPHONE OPERATOR CALLS TO CLAIRE through the chaos.

                                     OPERATOR
                         Su hija, su hija! Your daughter from 
                         Los Angeles.

               Claire sighs at the bad timing but seems delighted to be 
               interrupted by her daughter, and brushes aside a Stringer 
               forcing paperwork upon her. Claire takes the phone into a 
               bare, adjacent hallway for some privacy.

               IN A BARE HALLWAY Claire talks to her daughter.

                                     CLAIRE
                         Hi, baby! How are you?
                              (beat)
                         Has Grandmother spoiled you silly by 
                         now? She has? Good.
                              (beats)
                         Yes, I got your letter with the 
                         picture of your new boyfriend. He's 
                         very good looking... but he's a bit 
                         old, isn't he? No? Just how old is 
                         he?...

               P.O.V. FROM THE TELEX ROOM TO CLAIRE Price knows this is not 
               his world, and he wanders outside.

                                                                    CUT TO:

               EXT. MANAGUAN STREET NEAR THE HOTEL - LATER THAT NIGHT

               Price bounces along, whistling, "San Francisco." An occasional 
               Guardia jeep or taxi rumbles past. He strolls up the walkway 
               of a house from which comes a strange, blue glow.

               INT. THE MONEYCHANGERS HOUSE - NIGHT

               Blue walls, bare bulbs, several pictures on the wall, and an 
               old woman lying in a hammock. Music in the b.g. Price 
               approaches her and hands her a $100 bill -- there is a brief 
               negotiation of the black market value.

                                     PRICE
                              (in broken Spanish)
                         Cuanto?

                                     OLD WOMAN
                         Quince.

                                     PRICE
                         Veinte.

                                     OLD WOMAN
                         Diezysiete.

               She shrugs, declaring the negotiation ended, and leaves the 
               room to change the dollar into cordobas. Price idly studies 
               the pictures on the wall:

               PICTURE OF ANASTAZIO SOMOZA IN WHITE, PICTURE OF THE VIRGIN 
               OF GUADALUPE, PICTURE OF SANTA CLAUS, FADED NEWSPHOTO OF 
               HANK AARON HITTING HIS 715TH HOME RUN.

               PRICE SMILES AND TURNS RIGHT INTO A SHARP BAYONET mounted to 
               a rifle held threateningly by a Guardia soldier.

               THE SMALL ROOM IS FILLED WITH NATIONAL GUARDS We haven't 
               heard them enter over the sounds of music and our 
               preoccupation with the pictures.

                                     PRICE
                         What is this? I'm a journalist!

               No answer. Price pulls a thick passport and press credentials 
               from a pocket, handing them to the Officer in charge.

                                     PRICE
                         Journalista, journalista!

               The officer looks at Price's passport photo, studies it 
               briefly and takes the passport. He nods.

               A rifle butt is jammed violently into Price's belly -- he 
               doubles over. The Officer nods, and Price is led away.

               As the Guard hauls him outside, the OLD WOMAN appears in the 
               doorway with a stack of local currency.

                                                                    CUT TO:

               INT. MILITARY HOLDING CELL - NIGHT

               Price is led into a dark cell where another PRISONER, 50, 
               lies in street clothes on the floor. The Prisoner is spat 
               upon by the Guards and kicked awake. Price cringes.

                                     GUARD
                         Padre Puta, Padre Puta, Padre Puta...
                              (in Spanish to Price)
                         Here is a Priest for you to confess 
                         your sins.

               The Guards laugh and leave. The Prisoner rises to his feet. 
               Price keeps his distance. The Prisoner looks in bad shape.

                                     PRISONER PRIEST
                         Cigarillo?

               Price hands him a cigarette and lights it. A long, deep drag.

                                     PRICE
                         Priest?
                              (the man nods)
                              (in broken Spanish)
                         What are you doing here?

                                     PRISONER PRIEST
                              (in Spanish)
                         The government accused me of using 
                         the church to hide Rebels and guns.

                                     PRICE
                              (in Spanish)
                         Governments are always wrong, eh?

                                     PRISONER PRIEST
                              (in Spanish)
                         This time they're right. Who are 
                         you?

                                     PRICE
                              (in Spanish)
                         Un periodista.

                                     PRISONER PRIEST
                              (in Spanish)
                         Whose side are you on?

                                     PRICE
                              (in Spanish)
                         I don't take sides. I take pictures.

                                     PRISONER PRIEST
                              (in Spanish)
                         No sides?

                                     PRICE
                              (in Spanish)
                         No.

               The Prisoner Priest looks at Price with disdain.

                                     PRISONER PRIEST
                         Periodista Puta, todos periodistas 
                         son putas.
                              (All journalists are 
                              whores)

               The Prisoner sits down in the corner ignoring Price who is 
               surprised to be treated so despicably.

                                     PRISONER PRIEST
                              (quietly)
                         Go home.

                                                                    CUT TO:

               INT. A BRIGHTLY LIT ROOM

               Price is led into a lineup of 10 people, all Nicaraguans. 
               The room is narrow and so brightly lit that at first he covers 
               his eyes.

               FIGURES MOVE IN THE SHADOWS A Guardia soldier moves up and 
               down the lineup, stopping to point at a prisoner. In the 
               line we recognize the WAITER from the Viking Club. Price 
               speaks to the soldier in a calm, reasoned tone.

                                     PRICE
                         Mi amigo -- mala interpretacion, eh? 
                         Periodista, comprende? Famoso. Time 
                         magazine.

               The soldier whirls at Price in a rage out of all proportion 
               to Price's tone, shouting:

                                     SOLDIER
                              (in Spanish)
                         Shut up!

               Price holds up his hands -- he may be fearless, but he's not 
               stupid. The soldier pulls a knife, then pulls his own tongue 
               from his mouth, and makes motions with the knife as if cutting 
               out his tongue. The message is clear -- Price doesn't speak.

               The soldier walks up to the Waiter and points. The Waiter is 
               frightened.

               Through the shadows we see an officer talking with a civilian 
               in a hat. The civilian points to a door.

               THE WAITER IS LED AWAY THROUGH A DOOR protesting desperately 
               as he goes. The soldier moves to the next prisoner -- he too 
               is led away. This repeats itself until the soldier arrives 
               at price.

               THE SOLDIER POINTS TO PRICE

               PRICE'S P.O.V. THROUGH THE SHADOWS The civilian is in a 
               discussion with the officer -- it is clear that his opinion 
               affects the decisions. For a moment Price doesn't know where 
               he's going to be led. The civilian points to a different 
               door -- it opens -- and Price steps down off the display 
               rack into a room.

               THROUGH THE DOOR as Price steps through, the action continues 
               with the other Nicaraguan prisoners. Price looks around 
               quickly, but the Civilian and Officer are gone. He is quickly 
               shown into a bare office.

               INT. THE BARE ROOM

               Pictures on the wall of Somoza and the FLAG RAISING AT IWO 
               JIMA. Price's cameras and bag sit on a desk.

               P.O.V. THE CIVILIAN THROUGH A DOOR -- IT IS MARCEL JAZY His 
               rumpled elegance is at odds with the brutal surroundings. 
               The door closes.

               A SENIOR OFFICER ENTERS THE BARE ROOM, and Price addresses 
               him at once.

                                     PRICE
                         Soy un periodista.

                                     SENIOR GUARD OFFICER
                              (in excellent English)
                         Mr. Price... you must accept our 
                         deepest apologies for the 
                         misunderstanding. Somebody saw you 
                         taking photographs of terrorists 
                         hooligans in the parade and at the 
                         nightclub -- our young officers get 
                         carried away... they're always looking 
                         for traitors.

                                     PRICE
                         That film is half way to New York by 
                         now.

                                     SENIOR GUARD OFFICER
                         I know, I know... It was all a 
                         misunderstanding... una mala 
                         interpretacion. Your cameras.

               The Officer reaches for one of Price's cameras and hands it 
               to him, but as he does:

               THE CAMERA DROPS TO THE GROUND AND BREAKS -- SILENCE The 
               Officer would love for Price to get angry.

                                     SENIOR GUARD OFFICER
                         I'm sorry.

               Price smiles barely, and refuses to pop off.

                                     PRICE
                         Forget it.

               Price puts his cameras in his bag, and as he is shown from 
               the room he notices a copy of the TIME MAGAZINE WITH ELEPHANT 
               sitting on the desk.

                                     SENIOR GUARD OFFICER
                         This way.

               Price is shown to a door, handed over to a soldier, and led 
               outside into the night.

                                                               DISSOLVE TO:

               EXT. MILITARY PRISON - DAWN

               Claire stands at the main doorway surrounded by GUARDS, an 
               OFFICER, and an unidentified CIVILIAN -- she is arguing with 
               them in rapid Spanish, not allowing them to get in a word.

                                     CLAIRE
                              (in Spanish)
                         You throw a journalist in jail -- it 
                         gets in the papers. You walk all 
                         over the same press credentials you 
                         pass out. I demand to speak to someone 
                         in authority or I'll go to Tacho 
                         myself... I don't understand you -- 
                         you're big and strong and handsome 
                         but you're not so smart!
                              (beat)
                         You should be trying to seduce us!

                                     OFFICER
                         Senora...

               PRICE IS SHOWN OUT A DOOR IN THE BACKGROUND and sees her.

                                     PRICE
                         Claire!

               They hurry toward each other and embrace briefly. The Guards 
               watch it all curiously.

                                     CLAIRE
                         You're okay?

                                     PRICE
                         I'm fine -- what're you doing here? 
                         These guys are goons.

                                     CLAIRE
                         They love being beaten up by a woman
                              (beat)
                         I've been looking for you all night -- 
                         why'd they lock you up?

               They walk away together.

                                     PRICE
                         I don't know. Taking pictures. The 
                         usual. Jazy got me released.

                                     CLAIRE
                         Jazy?! You think there's a story 
                         there?

                                     PRICE
                         Ahh... C.I.A. stories are all alike. 
                         I wanta find Rafael.

                                     CLAIRE
                         You need help?

                                     PRICE
                         No. You?

                                     CLAIRE
                         No.
                              (beat)
                         When should we start.

                                     PRICE
                         I figure you probably want to do a 
                         little research on the history of 
                         Marcel Jazy's business connections 
                         in the third world countries with 
                         C.I.A. influence...

                                     CLAIRE
                         Oh. I assumed you'd just look him in 
                         the eye and say "Gimme a break, for 
                         crissakes, Marcel, are you a spy or 
                         aren't you?"

                                                                    CUT TO:

               EXT. GARDEN COURTYARD OF MARCEL JAZY - DAY LATER

               Marcel Jazy stands, drink in hand, looking slightly rumpled 
               in the daylight, slightly older, but more charming and self-
               effacing than his first impression indicated. His two story 
               Mediterranean style house is in slight disrepair; the gardens 
               are scraggly and overgrown. The pool is empty. Jazy addresses 
               Price and Claire.

                                     PRICE
                         ...are you a spy or aren't you, eh?

                                     JAZY
                              (smiling)
                         Spy is such an odd word, Mr. Price... 
                         nobody is a... 'spy'... anymore.

                                     CLAIRE
                         Russell prefers pictures to words...

                                     JAZY
                         You don't have to apologize... you're 
                         journalists.

                                     CLAIRE
                         And you're a businessman?

                                     JAZY
                         A businessman? That sounds good. 
                         Okay, I'm a businessman.

                                     PRICE
                         Why was I arrested, and why did you 
                         get me released, and who are you?

               As he speaks, the questioning comes to a sudden halt as a 
               SPECTACULAR LOOKING WOMAN emerges from the shadows of the 
               house into the light of the courtyard. She is tall, Latin, 
               and besides high heels wears only a shiny, high fashion 
               swimsuit, cut high on the legs.

               Price, Claire, and Jazy stop to watch as the woman stops to 
               look into the empty pool.

                                     WOMAN IN SWIMSUIT
                         No agua.

                                     JAZY
                              (nodding)
                         No agua.

                                     WOMAN IN SWIMSUIT
                              (in Spanish)
                         Oh, Marcel! You told me there would 
                         be water in the pool this week!

               Jazy leans in very coolly to Price and Claire as he pours an 
               extra glass of wine and speaks softly in English again.

                                     JAZY
                         If she dove in, I assure you she 
                         wouldn't notice.

               He carries the glass of wine to the woman, smiling warmly.

                                     JAZY
                              (to Miss Panama in 
                              Spanish)
                         Sweetheart, the Guerrillas knocked 
                         out the pumping station on the road 
                         to Masaya, and we must ration water 
                         for the time being. Next week maybe 
                         things will be better.

                                     WOMAN IN SWIMSUIT
                              (in Spanish)
                         Maybe I should go back to Panama.

                                     JAZY
                              (in Spanish)
                         Maybe you should.

               Jazy pushes a lounge chair over to her and hands her a glass 
               of wine. The woman unfolds gracefully into a lounge chair in 
               the sun. Very sexy. She reaches for and kisses Jazy's hand 
               affectionately -- he kisses her forehead. She feels better 
               now.

               Jazy motions for Claire and Price to follow him inside.

               INT. JAZY'S HOUSE - DAY

               The pool is visible in b.g. His house, like the pool, is 
               rumpled and slightly sloppy though it betrays the taste of 
               its occupant -- books everywhere, pictures on the wall, 
               nothing cheap or tacky but everything is well worn.

                                     JAZY
                         You were arrested because the Guardia 
                         are clowns who specialize in excess. 
                         You were released because I told 
                         them to release you.

                                     CLAIRE
                         These are not the normal duties of a 
                         businessman.

               He looks at them directly.

                                     JAZY
                         But they are the normal duties of 
                         a... spy, eh? You win, I'm a spy.
                              (smiles)
                         There, are you happy? I feel better.

               He refills their glasses.

                                     JAZY
                         Now we can relax. You can turn off 
                         your little thing.

               The red light of her recorder is on. She smiles slightly, 
               undisturbed, and turns it off.

                                     JAZY
                         Oh, I trust you won't say anything 
                         to hurt me. In some ways I'm a 
                         terrible spy. I used to be much better 
                         at it, but now it seems everyone 
                         knows who I am. I have too many 
                         girlfriends. I like to be 
                         photographed.
                              (beat)
                         I talk too much.

               Price and Claire are almost afraid to speak, afraid to 
               interrupt this strange performance.

                                     JAZY
                         I always talk too much... but my 
                         girlfriends like that... No matter.
                              (pointing to the 
                              swimsuited woman)
                         You know who she is?

                                     CLAIRE AND PRICE
                         No.

                                     JAZY
                         That's Miss Panama. Do you know who 
                         that is?

                                     CLAIRE AND PRICE
                         Oh, yeah, yes, etc.

                                     JAZY
                         She's in love with me. I've got to 
                         get some water in the pool.
                              (beat)
                         And once a week I have lunch with 
                         President Somoza to discuss security 
                         measures against the Sandinista 
                         insurgents, but all he wants to talk 
                         about is Miss Panama... he's worried 
                         about her.

               Claire interrupts with a smile.

                                     CLAIRE
                         Because he thinks she's seeing another 
                         man?

               Jazy smiles slightly before confirming.

                                     JAZY
                         ...and he assigned me to find out 
                         who the man is.

               They all smile at this complication. Price is impressed. 
               Jazy changes the subject with fluent and disturbing ease.

                                     JAZY
                         We all know the Revolutionaries are 
                         going to win, don't we?

               Silence. They don't know how to respond.

               THEIR P.O.V. AS MISS PANAMA STRETCHES LIKE AN ENORMOUS CAT 
               They all are slightly entertained and glad for the relief.

               Unsure what to say next, Price notices a picture on the wall:

               CLOSEUP - A BLOWN-UP FRAMED PHOTO OF THE RANCH HOUSE WITH 
               POOL

               The same picture we saw on the leaflets in Africa.

                                     PRICE
                         There's a rumor about this picture. 
                         Some people say you're a genius -- 
                         that you invented this scheme.

                                     JAZY
                         It was lots of people's idea... Have 
                         you been to Leon?

                                     CLAIRE
                         We're going to Masaya... they say 
                         the Rebels have hit the cuartel.

                                     PRICE
                         It's supposed to be nasty there... a 
                         lotta people think Rafael's in the 
                         South. I want to find out.

                                     JAZY
                         No, no, it's not "nasty" yet. Another 
                         week maybe.
                              (beat)
                         You would love Leon. A nice cathedral 
                         and beautiful light... et un peu de 
                         bang-bang.

                                     CLAIRE
                         We're not doing a travelogue, you 
                         understand.

                                     JAZY
                         Of course, of course... only I have 
                         heard that Comandante Rafael has 
                         recently had his unit in the area.

                                     PRICE
                              (surprised)
                         Rafael is near Leon?

                                     JAZY
                         Well... it's a rumor, what do I know?

               The voice of Miss Panama.

                                     MISS PANAMA
                         Estoy desemperado!

                                     JAZY
                         She's lonely!

                                     CLAIRE
                         Don't let us stand in the way.

                                     JAZY
                         It's my job.
                              (beat)
                         You think I talk too much?

               He doesn't wait for an answer, but excuses himself and goes 
               out to tend to Miss Panama.

               P.O.V. OF JAZY AND MISS PANAMA BY THE EMPTY POOL as Jazy 
               touches her, whispers, and she waves to Claire and Price.

                                                               DISSOLVE TO:

               INT. PRICE'S HOTEL BATHROOM - DAY

               Early morning. Price lathers up with shaving cream for the 
               first time, cleaning up. As he applies the lather he stops, 
               and slowly draws a face on the mirror with shaving cream 
               until he is staring at:

               THE IMAGE OF RAFAEL IN SHAVING CREAM ON THE MIRROR

                                                                    CUT TO:

               EXT. NICARAGUAN COUNTRYSIDE - DAY

               A RENTED CAR WITH WHITE FLAGS turns onto the road to Leon. 
               Price drives, eats, and reads a map. Claire takes the map 
               from him and reads it herself. They seem to enjoy their first 
               moment alone without Alex looking over their shoulder. A 
               small band-aid is on Price's clean shaven cheek.

                                     CLAIRE
                         Did you dream about Miss Panama last 
                         night?

                                     PRICE
                         I dreamed about you.

                                     CLAIRE
                         Have a good time?

                                     PRICE
                         Yeah... so'd you.

               She reaches out and touches his band-aid.

                                     CLAIRE
                         And old war injury flaring up?

                                     PRICE
                         Is the tape on?

                                     CLAIRE
                         Of course.

                                     PRICE
                         I was on the deck of the U.S.S. Pueblo 
                         catching some rays when the North 
                         Koreans attacked... took a bullet 
                         right in the chest, but by luck I 
                         had an extra roll of high speed 
                         ektachrome in this pocket right 
                         here... over the heart...

                                     CLAIRE
                         And the bullet ricocheted off the 
                         film, grazed your cheek, and saved 
                         your life.

                                     PRICE
                         You heard about it?! I was lucky.

               PASSING SHOT OF A CLUSTER OF ROADSIDE CROSSES marking a series 
               of graves. Immediately the tone in Claire's voice changes, 
               sobered by the reminder of war.

                                     CLAIRE
                         Did anyone ever die next to you in 
                         combat?

                                     PRICE
                         Yeah.

                                     CLAIRE
                         What did you do?

                                     PRICE
                         F.8 at a sixtieth.

                                     CLAIRE
                         That's an old joke. My question was 
                         serious.

                                     PRICE
                         So was I.
                              (beat)
                         You ever dream about me?

                                     CLAIRE
                         Once.

                                     PRICE
                         How was I?

                                     CLAIRE
                         Fast.

               Again their glibness is interrupted by what they came to 
               see. Even as they joke, they watch the landscape with concern.

               REFUGEES ARE STREAMING OUT OF LEON, mostly women and children, 
               some old men, carrying their possessions. Soldiers stand 
               around.

                                     CLAIRE
                         I'm basically a coward, Russell, I 
                         hope you understand that. I hope we 
                         don't get shot.

                                     PRICE
                         Me too.

                                                                    CUT TO:

               A GUARDIA ROADBLOCK ON A HILL OVERLOOKING THE CITY

               The press car pulls up to a stop. Price and Claire get out 
               quickly, hand their credentials to a soldier, and open the 
               trunk and the hood. As the car is searched they look down at 
               the city.

               P.O.V. LEON AS A PLANE CIRCLES FIRING ROCKETS AND SMOKE RISES 
               from several places in the town. The sound of gunfire.

                                     CLAIRE
                              (to soldier in Spanish)
                         I thought it was quiet here.

                                     SOLDIER
                              (in Spanish)
                         Quiet? Are you sure you want to go 
                         down there? Not me.

               The soldier laughs at the journalists and hands back the 
               credentials.

                                     SOLDIER
                              (in Spanish)
                         You must leave the car here.

               Price speaks in English knowing he can't be understood.

                                     PRICE
                              (to soldier)
                         You thinking of scoring a Toyota?

                                     CLAIRE
                              (in Spanish)
                         No problem -- we leave the car.

               Price and Claire remove their things from the car, and Price 
               takes the distributor cap as well as the keys. They walk 
               over and look down the road leading into the city under seige.

               MORE REFUGEES EVACUATE THE TOWN -- it is a most uninviting 
               sight. The plane passes over the town in the distance firing 
               rockets.

                                     CLAIRE
                         Now what?

               Price responds by flashing his light meter in the air, taking 
               a quick, nervous reading.

                                     PRICE
                         C'mon. Be careful.

                                     CLAIRE
                         Be careful?! Where the fuck we going? 
                         Better light?

                                                                    CUT TO:

               EXT. STREET INTO LEON - DAY

               PRICE AND CLAIRE WALK SLOWLY INTO LEON

               Looking around warily as they go, they are the only people 
               entering the town. Claire speaks softly into her tape recorder 
               as they walk in, recording the event without editorializing.

                                     CLAIRE
                         ...June tenth... the evacuation of 
                         Leon... a woman carries a pig... 
                         signs for the F.S.L.N. are 
                         everywhere... a body...

               THE BODY OF A YOUNG MAN lies ignored on the sidewalk. They 
               continue walking and soon come to:

               AN INTERSECTION HELD BY LA GUARDIA TROOPS WITH A TANQUETTA 
               Price and Claire duck into a doorway, protected in effect by 
               the Government soldiers who wait silently, guns ready, around 
               the corner of a building. We see what they're waiting for.

               A YOUNG SANDINISTA COMES OUT OF A BUILDING a block away, 
               holding a handgun. Momentarily confused, he begins running 
               toward us, toward the soldiers waiting in ambush. The 
               Guerrilla races quickly to his waiting death, and as he turns 
               the corner right into a dozen Guardia troops:

               THE GUARDIA GUNS OPEN UP ON THE YOUNG GUERRILLA, killing him 
               instantly.

               CLAIRE TURNS HER HEAD AWAY unable to watch.

               PRICE RECORDS THE EVENT WITH HIS CAMERA

               THE GUARDIA FOLLOW THE TANQUETTA SLOWLY down the street toward 
               the Rebel youth's house. Suddenly the intersection is empty.

               PRICE AND CLAIRE MOVE DOWN A SIDESTREET SLOWLY as:

               SEVERAL GUERRILLA MUCHACHOS DART OUT OF AN ALLEY with 
               sharpened sticks, a spear gun, and one home-made gun. The 
               Muchachos hesitate briefly, lost, and see Price.

               THE MUCHACHOS QUICKLY POSE FOR A PICTURE motioning for Price 
               to record them. They pose instantly in "tough-guy" posture.

               PRICE TAKES THEIR PICTURE and just as quickly they dart away 
               through a bombed out building.

               THREE SANDINISTAS LEAP OFF A ROOFTOP and race toward Claire 
               and Price who freeze:

                                     CLAIRE
                         Russell?!

               For a moment they aren't sure what this means -- are they in 
               trouble? The Sandinistas shove past the two journalists, 
               pushing open a doorway and disappearing inside. For a moment 
               Price and Claire are alone on the street.

               THE DOOR OPENS AGAIN SLOWLY and a middle-aged WOMAN appears, 
               motioning for them to come inside.

               INT. PEDRO'S HOUSE - DAY

               The Three Sandinistas, dressed half in khaki, half recycled 
               disco, are pleading with a young man, PEDRO, 15.

                                     SANDINISTA #1
                              (in Spanish)
                         You must come and help us... one 
                         more time.

                                     PEDRO
                              (in Spanish)
                         No, please...

               One of the Sandinistas brings Pedro his rumpled baseball 
               jersey from another room.

                                     SANDINISTA #2
                              (in Spanish)
                         For Leon... for Nicaragua!

               Pedro sees Price and Claire and is more interested in them. 
               He speaks in broken but understandable English.

                                     PEDRO
                         Americans? Journalists?

                                     CLAIRE AND PRICE
                         Yes.

               Pedro lights up, and runs to a shelf where he returns with a 
               baseball he is signing.

                                     PEDRO
                         Ah! I put my autograph on this ball.

                                     SANDINISTA #1
                              (in Spanish)
                         Pedro! There is no time to waste.

               Pedro is more interested in the two Americans.

                                     PEDRO
                         When you get back to the United 
                         States, I want you to give this ball 
                         to Tippy Martinez for me. He is from 
                         Nicaragua.

               Pedro hands Claire the baseball as the Sandinistas plead 
               with Pedro for his help. He is more interested in getting 
               the baseball delivered to Tippy Martinez. Claire accepts the 
               ball graciously, exchanges awkward glances with Price, and 
               puts it in her shoulder bag.

                                     SANDINISTA #1
                              (in Spanish)
                         Enrique is dead! Roberto has 
                         disappeared! The Guardia has the 
                         church, and we need you!

                                     PEDRO
                              (to Claire and Price)
                         You come, eh?
                              (to the Sandinistas)
                         Can they come with us?

                                     SANDINISTA #2
                         Come! Everybody come!

               They go to the door and open it a crack to look out.

               P.O.V. THE TANQUETTA PASSES as Soldiers kick open doors across 
               the street.

               The Sandinistas go to a corner of the room and push a book 
               shelf out of the way. A large hole has been broken in the 
               wall. They climb through the hole into the living room of 
               the next house; the woman pushes the shelf back over the 
               hole with great effort.

               INT. THE NEXT HOUSE - DAY

               A family huddles in the corner as the MAN OF THE HOUSE pulls 
               back a couch and a hanging blanket, revealing another hole 
               knocked in the wall. The Sandinistas, Pedro, Claire and Price 
               scramble through.

               P.O.V. THROUGH A SERIES OF DOOR-SIZED HOLES IN THE WALLS of 
               all the houses on the block, connecting the homes with a 
               secret passageway. The six of them race through the houses, 
               each hole opening and then closing magically.

               INT. THE KITCHEN OF A TINY SIDEWALK RESTAURANT - DAY

               The Three Sandinistas, Pedro, Claire, and Price emerge. A 
               WOMAN, 50, runs the cafe and welcomes them. The SIX crawl so 
               as not to be seen from the street; they stop long enough to 
               survey the plaza.

               P.O.V. THE CENTRAL PLAZA OF LEON DOMINATED BY A HUGE CATHEDRAL 
               Half a dozen bodies are scattered across the plaza. Otherwise, 
               it is empty.

               P.O.V. SIX GUARDIA SNIPERS IN THE CHURCH TOWER control the 
               plaza. As we watch, they fire off occasional shots in 
               different directions--there is no way to cross the plaza.

               THE WOMAN PULLS A TRAY OF "CONTACT BOMBS" from the oven, 
               home-made grenades that look like muffins on a tray. Pedro 
               grabs one and pretends to bite into it. The Sandinistas start 
               to laugh and catch themselves as Pedro clowns. Claire and 
               Price aren't sure what the "muffins" are and don't respond; 
               mostly they are on edge. The contact bombs are put in a sack.

               The woman opens a trap door in the floor, and the six of 
               them climb down a ladder into a tunnel.

                                                                    CUT TO:

               INT. TUNNEL UNDERNEATH THE FLOOR - DAY

               Pedro leads them with a candle through a dark passage under 
               the street. Overhead we hear gunfire. Rats scurry, and water 
               runs through an open sewer.

                                                                    CUT TO:

               INT. THE CATHEDRAL - DAY

               A tapestry rug is pulled away, and Pedro's head appears. He 
               climbs out and soon all the party is in the church. A PRIEST 
               leads them quickly through an immense, nearly. European 
               interior of ornate altars and burning candles. The small 
               party is led to a small corner of the sanctuary where a long, 
               rickety ladder leads up to the roof.

               THE SANDINISTAS SCRAMBLE UP THE LADDER as it sways. Pedro 
               follows with his sack of contact bombs. Then Price goes up 
               as the Priest holds the ladder. The American is much larger 
               than the Nicaraguans -- the ladder squeaks and sways, and 
               when he is nearly at the top:

               THE LADDER CRACKS as Price reaches the top and is helped to 
               safety. The Priest steadies the ladder now made unsafe and 
               clearly Claire wants to go onto the roof.

                                     PRIEST
                              (in Spanish)
                         No, please... it's not safe. You 
                         must come with me.

               Claire looks at Price -- she wants to go on the roof but the 
               sound of close gunfire settles the dilemma. Claire hurries 
               off to safety with the Priest.

                                                                    CUT TO:

               EXT. THE ROOFTOP OF THE CATHEDRAL OF LEON - LATE IN DAY

               THREE SANDINISTAS, PEDRO, AND PRICE EMERGE FROM A TUNNEL 
               onto a lower level of the cathedral rooftop where a body 
               lies. They are exposed immediately and automatic weapons 
               fire opens up on them -- the Sandinistas flatten against a 
               wall, quickly becoming separated from Price and Pedro.

               TWO SANDINISTAS RACE FOR COVER BEHIND A CUPOLA in a move 
               that is equally daring and foolish. The diversion draws fire 
               from the two soldiers.

               PRICE'S LIGHT METER IS INSTANTLY OUT TAKING READINGS as Pedro 
               huddles with him, curious at this strange act.

               TWO GUARDIA MOVE INTO POSITION TO FLUSH OUT THE SANDINISTAS 
               as they hide behind the cupolas. The hidden Third Guerrilla 
               opens fire killing a Guardia soldier, and the other soldier 
               races for the belltower. As he does:

               THE SANDINISTAS SEIZE THE MOMENT TO RUSH CLOSER, waving to 
               Pedro who slips along a wall with his bag of bombs.

               PRICE STARTS TO FOLLOW BUT IS PINNED DOWN BY FIRE and chooses 
               to take refuge halfway in an alcove. As fire from both sides 
               ricochets all over the rooftop, Price switches camera lenses 
               seemingly oblivious to the action.

               PEDRO MEETS ONE OF THE SANDINISTAS in a protected niche and 
               quickly they are unfolding his bag, setting the "muffin bombs" 
               out on the rooftop.

               THE OTHER TWO SANDINISTAS OPEN HEAVY FIRE and briefly draw 
               heavier fire from the belltower, as:

               PEDRO PICKS UP A MUFFIN weighing it briefly in his hand, 
               like a pitcher. He studies the surroundings -- runners on 
               first and third, no outs -- he spits in his left (his pitching 
               hand) and rubs it in casually.

               Pedro crosses himself, goes into an abbreviated pitching 
               motion, then rears and fires the 'muffin' toward the belltower 
               window, exposing himself as he does.

               AN EXPLOSION IN THE TOWER

               PEDRO THROWS ANOTHER INTO THE TOWER -- another explosion.

               A GUARDIA SOLDIER STAGGERS INTO THE WINDOW and a Sandinista 
               drops him with a shot.

               All is quiet.

               THE THREE SANDINISTAS CAREFULLY RUSH THE TOWER, looking in 
               and motion to Pedro and Price that all is okay, and as they 
               do:

               ANOTHER SHOT RINGS OUT -- they whirl around -- Pedro and 
               Price drop again. A lone Guardia soldier fires at them from 
               the other tower.

               A THIRD SANDINISTA DROPS HIM WITH A VOLLEY OF FIRE Again all 
               is quiet.

               PRICE FOLLOWS THE SANDINISTAS TO THE FIRST BELLTOWER and 
               looks in.

               FIVE BODIES LIE SCATTERED AND BLOODIED One of the Guerrillas 
               kicks a couple of them to make sure they are dead. In the 
               corner, one body lies on top of another. Satisfied, the 
               Sandinistas head for the other tower.

               PRICE STAYS BEHIND TO TAKE A FEW PICTURES and the ever-present 
               light meter appears, followed by several quick shots of the 
               bodies. Then Price goes to one of the arched, stone windows. 
               He looks out over the city.

               P.O.V. OF LEON -- DUSK Late in the afternoon now, the fighting 
               is over for the day. An occasional gunshot. Smoke rises from 
               scattered places throughout the city. There is new rubble. 
               The town is littered with bodies.

               P.O.V. THE RED CROSS WAGON MOVING THROUGH THE STREET

               A man walks in front of it, chanting slowly, rhythmically:

                                     RED CROSS MAN
                         Hay heridas o muertes aqui? Hay 
                         heridas o muertes aqui?
                              (Are there wounded or 
                              dead here?)

               We see a woman drag a body out into the street. The Red Cross 
               man makes small stacks of bodies. He douses the bodies with 
               gasoline and sets the pile aflame. Then continues.

                                     RED CROSS MAN
                         Hay heridas o muertes aqui?

               Price watches. He thinks he hears something, then dismisses 
               it. Something else. A voice, almost a whisper.

                                     VOICE
                         Price. You motherfucker, Price, I'm 
                         talking to you.

               He turns. One of the bodies speaks.

                                     VOICE
                         Where are those bastards... are they 
                         away?

               Price looks out -- the Sandinistas are on the other side of 
               the roof. This war gets stranger.

                                     PRICE
                         They're away.

               A body rolls out from under another body. Blood-splattered, 
               smiling, wiping the blood from his face. It is Oates, the 
               mercenary from Africa. He peeks out the window -- the 
               Sandinistas are on the other side of the roof. He whispers.

                                     OATES
                         What the fuck are you doing here?

                                     PRICE
                         What the fuck are you doing here?

               For a moment they understand that they are there for the 
               same reason -- they make their livings off war. Oates peeks 
               out the window nervously and repeatedly.

                                     OATES
                         Awright, awright -- you're lookin' 
                         good... how ya like Nicaragua?

               OATES readies his automatic weapon in case it's needed -- 
               routine. Price doesn't know how to answer.

                                     PRICE
                         It's beautiful.

               Oates laughs quickly and softly -- he is tuned into the 
               strangeness of Price's answer.

                                     OATES
                         Shitload o' greasers though, eh?

               P.O.V. THE SANDINISTAS HEADING BACK TOWARD US

               OATES AND PRICE SEE THEM, and Oates crawls back under the 
               pile of bodies.

               THE SANDINISTAS LOOK INTO THE BELLTOWER, all looks quiet, 
               and they motion to Price.

                                     SANDINISTA #1
                              (in Spanish)
                         It's getting late -- come on.

                                                                    CUT TO:

               EXT. THE FRONT OF THE CATHEDRAL - DUSK

               The Three Sandinistas, Pedro, and Price are hiding in the 
               shadows of the main church entrance. The Sandinistas are 
               carefully peeking around the corner, checking out the plaza. 
               It seems safe. The door opens; the Priest lets Claire out. 
               For a moment she looks around to see who's still alive -- in 
               the shadows Price looks like one of the Guerrillas. They see 
               each other and embrace briefly.

                                     CLAIRE
                         You're okay?

               The Sandinistas seem to relax. The Sandinistas take pride in 
               Pedro and pat his left arm for Price and Claire.

                                     SANDINISTA #1
                         San-dee Koufax, no?

                                     SANDINISTA #2
                         Si, Koufax.

                                     SANDINISTA #3
                         Es mejor que Koufax, eh?!

               They seem to want approval from the Americans.

                                     CLAIRE
                         Much better than Koufax.

               The Sandinistas slap hands, familiar with the American 
               gesture. The Six start walking across the plaza away from 
               the church. In the b.g. we see piles of bodies burning; the 
               Red Cross tends to the wounded locals. Spirits are high as 
               they walk. The tiny red light glows on Claire's recorder.

                                     PEDRO
                         Koufax is okay... but Tippy Martinez, 
                         he is the best... he pitches for the 
                         Baltimore Orioles, and some day I 
                         will be the second man from Nicaragua 
                         to play in the major leagues...

                                     SANDINISTA #1
                              (to Price and Claire)
                         Tippy Martinez had a good fastball, 
                         but Pedro has a curveball and a 
                         screwball that are better.

               All five of them agree that Pedro is the best; they slap his 
               valued arm and relax for the first time all day.

                                     PEDRO
                         You will give my autographed baseball 
                         to Tippy and tell him in five years 
                         I will be pitching with him, okay? 
                         He better watch out for me, eh?

                                                                    CUT TO:

               EXT. ROOFTOP OF THE CATHEDRAL - DUSK

               OATES CHECKS THE CLIP ON HIS RIFLE and looks down into the 
               plaza.

               OATES P.O.V. TO THE SIX WALKING AWAY He doesn't smile or 
               joke -- it's all business.

               He aims the rifle.

                                                                    CUT TO:

               EXT. THE PLAZA - DUSK

                                     SANDINISTA #1
                              (in Spanish)
                         It's too dangerous to return to 
                         Managua at night. You should stay at 
                         the house of hammocks.

                                     CLAIRE
                              (in Spanish)
                         Gracias. Can they get into trouble 
                         for keeping us?

                                     PEDRO
                         No, no... you are not combatants.
                              (would rather talk 
                              baseball)
                         The Baltimore team is my team...

               A SHOT RINGS OUT, AND PEDRO'S CHEST EXPLODES in front of us. 
               Sudden panic, rage, confusion -- the Sandinistas whirl and 
               scan the building.

               P.O.V. OATES RACING ACROSS THE CATHEDRAL ROOFTOP into the 
               night.

               PRICE GRABS PEDRO'S GUN AND WHIRLS to face the church; his 
               action is instinctive, angry, and electric with energy.

               CLAIRE GRABS PEDRO'S ARM AND DRAGS THE BODY to safety, though 
               there is no safety and the body is lifeless. Her actions are 
               protective and automatic.

               THE SANDINISTAS TAKE CONTROL OF THE SITUATION and move 
               quickly. Two of them fan out to cover the escape. Price 
               screams in the direction of Oates,

                                     PRICE
                         You bastard!

               Claire drags the body near a bench under a tree.

                                     CLAIRE
                         What about him?!

                                     SANDINISTA #1
                              (dispassionately)
                         He's dead.

               The Sandinistas survey the cathedral and streets carefully, 
               warily, upset at their nonchalance. They know the sniper is 
               disappearing into the night, but they continue to look.

                                     SANDINISTA #1
                         I will talk to Pedro's mother. You 
                         must go to the house of the hammocks 
                         if you want to be safe.

               The Three Sandinistas fan out toward the church as it gets 
               dark.

               PRICE AND CLAIRE STAND NEXT TO PEDRO, feeling helpless and 
               ineffective. They both look at the body. Price realizes he's 
               holding Pedro's gun and places it down next to the body. 
               Price notices the tiny red light is still glowing on her 
               tape recorder. He points it out to Claire. She turns it off.

                                                                    CUT TO:

               INT. THE HOUSE OF HAMMOCKS - NIGHT

               IN A NEARLY DARK ROOM full of hanging hammocks, Claire sits 
               on the floor lit by a low wattage bulb hanging from a cord. 
               In another room through a door Price can be seen with a family 
               in the hammock workshop. Claire talks softly into her 
               recorder.

                                     CLAIRE
                         Hello sweetheart, this is your mother. 
                         I'm in Leon and I miss you. Don't 
                         worry about me -- it's not dangerous 
                         at all. I guess you can't believe 
                         what you hear on the news. I'll put 
                         this this tape in the mail when I 
                         get back to Managua, but knowing 
                         what the mail service is like, I may 
                         be home before it arrives. I think 
                         about you all the time and hope I 
                         can make it back before you graduate 
                         from Jr. High.

               As she speaks Price bids the family farewell and comes into 
               the room with Claire where he lies down in a hammock.

                                     CLAIRE
                         I love you and I'll finish this letter 
                         when I get back to the hotel.

               Claire lies down on a mat, exhausted, after turning out the 
               light. Several moments pass before Price speaks.

                                     PRICE
                         I know who shot Pedro. I knew somebody 
                         was in the tower.

                                     CLAIRE
                         Why didn't you tell the guerrillas?

                                     PRICE
                         I don't know... then they would've 
                         killed him I guess. I didn't want to 
                         interfere.

                                     CLAIRE
                         It wasn't an easy choice.

                                     PRICE
                         I think I made the wrong one.

               Silence.

                                     CLAIRE
                         You didn't take any pictures when it 
                         was over.

                                     PRICE
                         I didn't?
                              (beat)
                         I picked up a gun. Jesus.
                              (beat)
                         Is something happening to us?

                                     CLAIRE
                         Yes.

               Silence. They lie for a long time in the dark. A light in 
               the house is turned off. Finally:

                                     PRICE
                         Are you asleep?

                                     CLAIRE
                         No.

               Price gets out of the hammock and lies down next to her. 
               They don't speak. They kiss. She unbuttons his shirt. He 
               unbuttons her blouse. They undress just enough to begin making 
               love softly, quietly.

                                                               DISSOLVE TO:

               INT. PRICE AND CLAIRE'S ROOM - DAWN

               The first light of dawn strikes Claire's bare torso.

               PRICE'S LIGHT METER APPEARS AT HER BACK Price takes a reading, 
               then moves the meter to her neck, another reading. He moves 
               it down her nude body lit beautifully in the vague light, 
               partially covered with a blanket.

               He scurries across the room, stark naked, with a camera. 
               Price begins photographing her.

               He moves back to her and gently removes the blanket from the 
               rest of her body. His actions are quiet and easy. He stops 
               frequently to admire her.

               Claire lies sleeping nude, except for her socks. Price moves 
               around the room -- picture, picture, picture.

               CLAIRE WAKES UP SLOWLY and pulls the blanket back over her. 
               She opens her eyes and sees Price sitting in a chair several 
               feet away with his camera.

                                     PRICE
                         G'morning.

                                     CLAIRE
                         What are you doing?

                                     PRICE
                         You look beautiful.

               She realizes what he's been doing.

                                     CLAIRE
                         How long have you been doing this?

                                     PRICE
                         'Bout ten frames. Wait'll you see 
                         the pictures -- you look great.

               Her sense of violation is balanced by this notion. For a 
               moment we sense her attitude can go either way -- outrage or 
               some sense of being flattered, however ill conceived. She 
               chooses the latter.

                                     CLAIRE
                         I'll bet I look great -- give me the 
                         film.

                                     PRICE
                         After they're printed.

                                     CLAIRE
                         I'll develop them myself -- give it 
                         to me or I'll start taping what you 
                         say in your sleep.

               Price hands her the film and climbs back under the blanket 
               with her.

                                     PRICE
                         I talk in my sleep?

                                     CLAIRE
                         Girl's names and F-stops. Terrible.

               They curl up together, holding onto each other. A small child 
               crosses the courtyard, peeking at them. A rooster crows.

                                     PRICE
                         Call the office. I don't want to go 
                         to work today.

               The peacefulness is shaken by the roar of an engine close 
               by.

               A HELICOPTER GUNSHIP PASSES OVER THE COURTYARD They look up, 
               jolted out of the moment. The war is back.

                                                                    CUT TO:

               EXT. THE OUTSKIRTS OF LEON - MORNING

               Price's rental car is a smoking wreck. He and Claire arrive 
               and she removes a single, feeble white flag that remains. 
               They study the car briefly and then turn as:

               A GUARDIA TROOP CARRIER LUMBERS past with a truckload of 
               refugees behind. They wave the flag and catch a ride with 
               the refugees.

                                                                    CUT TO:

               INT. FIFTH FLOOR OF INTERCONTINENTAL HOTEL - DAY

               Alex comes out a door chatting with somebody, and passes a 
               mini-cam crew, old friends.

                                     ALEX
                         How was Matagalpa?

                                     MINI-CAM CREW #1
                         No bang-bang, Alex... none at all.

                                     ALEX
                         You find anything?

                                     MINI-CAM CREW #2
                         Half the press corps.

               A small laugh. They continue on. Alex enters Claire's room.

               INT. CLAIRE'S ROOM

               Alex enters. Nobody there. As he turns to leave he sees some 
               pictures in a stack of papers on her desk. He picks one up.

               CLOSE UP: A PICTURE OF CLAIRE SLEEPING IN LEON It's all over 
               and he knows it. He stares at, even admires, the image. He 
               puts it down and turns to leave as:

               CLAIRE ENTERS

                                     CLAIRE
                         Oh!

                                     ALEX
                         Oh.
                              (awkwardly)
                         How was Leon?

                                     CLAIRE
                         Bloody.

                                     ALEX
                         Yeah... I'll bet... Claire...

               Alex finally acknowledges that it is over with Claire, but 
               refuses to say it directly.

                                     ALEX
                         I'm tired of Nicaragua.

                                     CLAIRE
                         You haven't been here very long.

                                     ALEX
                         Long enough, lets face it, you were 
                         right... everybody was right.

                                     CLAIRE
                         About what?

                                     ALEX
                         My cheekbones. What do you think of 
                         'em?

                                     CLAIRE
                         I like your cheekbones. Alex, are 
                         you all right?

                                     ALEX
                         This is a face made for television.

                                     CLAIRE
                         You decided to go with the network.

               Alex nods, then seems to hit the end of his own resilience 
               and gets vitriolic.

                                     ALEX
                         Is he a good fuck?

                                     CLAIRE
                         Alex...

               In a simple monologue Alex goes from outrage to acknowledgment 
               of what he already knew.

                                     ALEX
                         That's a reasonable question for a 
                         reporter to ask, isn't it?!
                              (beat)
                         I shoulda never come down here, eh? 
                         This is the way it's going to be.
                              (beat)
                         I'll make a shitload of money in 
                         television for just sitting there.
                              (beat)
                         I'm gonna show up to work at 
                         Rockefeller Center every morning and 
                         they're gonna hand me the news with 
                         my coffee and toast.
                              (beat)
                         I shoulda never come down here, eh? 
                         This war down here belongs to you 
                         guys, okay? I'm on tommorrow's plane.

                                     CLAIRE
                         Alex...

                                     ALEX
                         You want to take me to the airport? 
                         It's okay.
                              (beat -- resigned)
                         I shoulda never come down here.

                                                                    CUT TO:

               EXT. THE MANAGUA AIRPORT - NEXT DAY

               A cab pulls up. Soldiers stand around everywhere. Price, 
               Claire, Alex, and the Cabbie get out. The cabbie takes his 
               bag.

                                     ALEX
                         Take this to check in. I'll be right 
                         there.

               Price pulls a bottle of wine from his camera bag and sets 
               three styrofoam cups on the cab roof. He hands the cork to 
               Alex and shows him the label.

                                     PRICE
                         Sniff this sucker, eh?

               Alex does, and looks at the label.

                                     ALEX
                         Jesus, where'd you get this?

                                     CLAIRE
                         The C.I.A.

                                     ALEX
                         Where else.

               They toast and drink.

                                     PRICE
                         Hey -- I'll leave you guys alone, 
                         eh?

                                     CLAIRE
                         No, no, don't be ridiculous.

                                     ALEX
                         We're grownups, Russell...
                              (non acerbically)
                         Most of us.

               Awkward smile from Price.

                                     PRICE
                         You two wanta happy snap?

               Price makes the motion of taking a picture. They look at him 
               with affection, yet astounded again by his inappropriateness.

                                     ALEX
                         No happy snaps.

                                     PRICE
                         Okay, okay...
                              (beat)
                         I'll just... be over here.

               He wanders away from the car to give them a moment alone, 
               and as he does he pulls the light meter from his pocket, 
               flipping it on and off nervously without looking at it. He 
               wanders idly toward a Guardia soldier. The soldier gets 
               nervous.

                                     ALEX
                         You're sure about him?

                                     CLAIRE
                         For the moment.

               Alex considers this -- he understands (whether he wants to 
               or not).

               THE SOLDIER COMES FACE-TO-FACE with PRICE, WHO BACKS OFF

                                     PRICE
                              (to soldier)
                         I'm a personal friend of Tacho's.
                              (smiles disarmingly)

               The soldier stops at Tacho's name. Price turns.

               P.O.V. ALEX AND CLAIRE KISSING GOODBYE

               PRICE TURNS AGAIN, embarrassed, faces the soldier.

                                     PRICE
                         Don't look, huh?
                              (beat)
                         No mire!

               The soldier, confused, turns away, and as he does:

               ALEX SLAPS PRICE ON THE SHOULDER, AND THEY TOO EMBRACE

                                     ALEX
                         Don't get hurt.

                                     PRICE
                         Ahh, I'm a chicken, don't worry.
                              (beat)
                         Alex, listen to me...

                                     ALEX
                         Yeah?

                                     PRICE
                         Within a year you're gonna be one of 
                         the "Ten Most Admired Men in America."

               Alex is amused, Price is serious. The cabbie comes out and 
               Alex heads into the airport.

                                                                    CUT TO:

               EXT. SOMOZA'S COMPOUND - A PRESS LUNCHEON - DAY

               Daisy and her combo from the Viking Club perform "The Girl 
               From Ipanema" as ONE HUNDRED PRESS MEMBERS and V.I.P.'s sit 
               at long tables in the garden. The pleasantness of the 
               surroundings is countered by the presence of dozens of 
               SOLDIERS in the background, guarding the house, etc. Visible 
               at the head table are: TWO GENERALS AND THEIR WIVES, MRS. 
               SOMOZA, TWO WEALTHY BUSINESSMEN, MISS PANAMA IN A FLOPPY 
               HAT. Elsewhere mingling are: JAZY, ISELA, PRICE, REGIS. An 
               elaborate array of food sits on the table.

               INT. SOMOZA'S HOUSE - DAY

               Overlooking the gathering from his private living room, Somoza 
               grants Claire her interview. He close the window to muffle 
               the singing.

                                     CLAIRE
                         You're late to your own luncheon, 
                         Mr. President -- we can schedule 
                         this for another time.

                                     SOMOZA
                         Nonsense -- let them wait. We are a 
                         stunning couple, eh? My stomach is 
                         very flat -- I've been working out.

                                     CLAIRE
                         We are a stunning couple. Mr. 
                         President, you own one fifth of all 
                         the land in Nicaragua, you own the 
                         shipping port, the national airlines, 
                         the Mercedes dealership...

                                     SOMOZA
                         I am on a salt free diet...

               He takes her hand and leads her to two large portraits hanging 
               on a wall -- his parents.

                                     CLAIRE
                         Do you always hold hands with 
                         reporters?

                                     SOMOZA
                              (ignores her)
                         This is my mother and father. They 
                         were very special to me. Every Sunday 
                         morning I drive out to the cemetery 
                         and put flowers on their grave. I 
                         think people should know that.

                                     CLAIRE
                         Would you care to comment on the 
                         fall of Leon to the rebels?

               Somoza just smiles unaffected by her questions; she knows 
               the game is undaunted.

                                                                    CUT TO:

               EXT. THE LUNCHEON TABLES - DAY

               Hub Kittle is bending Price's ear in the crowd. Price seems 
               ammused and watches the anthem contest as he munches food.

                                     HUB
                         Listen, Russell, let's grow up. It's 
                         very easy to fall in love with the 
                         underdog, eh? But there's an upside 
                         and downside to this thing -- just 
                         wanta remind you... this stuff about 
                         a "Revolution of Poets" is crap.

                                     PRICE
                         But it's great P.R. So what's the 
                         upside?

                                     HUB
                         Simple. And it could happen. Somoza 
                         destroys the terrorist insurgents, 
                         rebuilds the country, shitcans the 
                         purveyors of excess, stabilizes the 
                         cordoba, and is finally beloved as 
                         the savior of Nicaragua.
                              (beat)
                         Our pal. Got a smoke?

               Price gives him a cigaret.

                                     PRICE
                         What's the downside?

                                     HUB
                         The Commies take over the world.

               It's simple, and Hub is pleased with his presentation. A 
               SOLDIER moves through the crowd looking quite out of place, 
               finds Hub and hands him a note. Hub reads it, seems delighted, 
               and excuses himself from the table.

                                     HUB
                         Excuse me, gentlemen, but the war 
                         may be over.

               Price and Regis look at each other strangely -- what's he 
               talking about? They shrug, Regis bites into a papaya, and 
               Hub hurries inside. Price and Regis watch the singer.

                                                                    CUT TO:

               INT. SECOND FLOOR OF SOMOZA'S HOUSE - DAY

                                     SOMOZA
                         My people love me. My stomach is 
                         flat. Did I say that already? No 
                         matter. It is flat.

                                     CLAIRE
                         There are reports that the Guardia 
                         operates a torture chamber at 
                         Coyotepe.

               Somoza ignores the question and reopens the window, flooding 
               the room with the Tony Bennett classic.

                                     SOMOZA
                         I like this song.

                                     CLAIRE
                         Since the earthquake in 1972 destroyed 
                         half of Managua, over three hundred 
                         million dollars in foreign relief 
                         aid have poured into the country, 
                         yet nothing has been re-built. It is 
                         said that the money has gone into 
                         your pocket.

                                     SOMOZA
                         I love the press, I really do. Some 
                         of my best friends are journalists.

                                     CLAIRE
                         Ecuador, Mexico, Peru, Brazil, and 
                         Panama are reportedly on the verge 
                         of breaking off diplomatic relations 
                         with your regime. Would you comment?

               HUB KITTLE AND AN OFFICER BURST INTO THE ROOM interrupting 
               the interview. Something has happened. Somoza initially lashes 
               out at them -- the first time we've seen him lose his cool -- 
               then recovers.

                                     SOMOZA
                              (in Spanish)
                         I am busy! Get out of here at once 
                         or I'll put my foot up your ass!

               The OFFICER seems familiar with these tirades and grabs Somoza 
               by the arm, whispering into his ear. Somoza seems delighted 
               with the news and turns to Hub for confirmation. Hub nods.

                                     SOMOZA
                              (to Claire)
                         I'm sorry to have to conclude this 
                         most pleasant encounter, but something 
                         has happened.

               As Somoza leaves the room with the Officer and Hub, Hub turns 
               to Claire to squeeze in one final P.R. stroke.

                                     HUB
                         Did he tell you about his parents in 
                         the graveyard, the flowers and all 
                         that?
                              (she nods)
                         Good, good...

               Claire is left alone momentarily in Somoza's room. A soldier 
               enters and accompanies her outside to the luncheon.

                                                                    CUT TO:

               EXT. THE LUNCHEON - DAY

               As Claire comes outside, there is a flurry of activity at 
               the head table. TWO OFFICERS hastily set up an easel with a 
               large military-topographical map of Nicaragua. A SOLDIER 
               takes the microphone from the Singers -- the music grinds to 
               an inglorious halt -- and carries it to the head table.

               Price spots Claire and makes a "What's all this about?" 
               motion. Claire holds out her palms and shrugs -- she doesn't 
               know. All attention is quickly focused on the head table, 
               as:

               PRESIDENT SOMOZA MAKES A GRAND ENTRANCE FLANKED by Hub Kittle 
               and an Officer. He seems suddenly in unusually good spirits. 
               Hub taps the mike -- it works -- he motions for Somoza to 
               come forward.

                                     SOMOZA
                         My friends... this gathering was not 
                         intended to be a press conference as 
                         much as a... "get-together"... but I 
                         have just been handed a piece of 
                         news.

               Somoza plays the moment with theatrical elan.

                                     SOMOZA
                         Rafael is dead.
                              (beat)
                         He has been killed in an ambush in 
                         the Cordillera mountains of the 
                         Jinotega district.

               Somoza points to a spot on the map as do his Officer.

               THE PRESS TABLE IS SHAKEN FROM ITS NONCHALANCE and several 
               journalists immediately leap to their feet to question him.

                                     JOURNALISTS
                         Mr. President! Mr. President!

                                     SOMOZA
                         Please my friends -- no questions. A 
                         press release is being prepared.

               Somoza hands the mike to an aide who returns it to the music 
               stand. Almost immediately the music begins again.

               AT THE PRESS TABLE there is some confusion over the 
               announcement. Some journalists hurry off to file the story, 
               others just sit. Price seems alarmed by the announcement, 
               confused. Slightly wired, he listens to Regis and OTHER 
               JOURNALIST discuss it.

                                     OTHER JOURNALIST
                         They got Rafael? You believe that?

                                     REGIS
                         Every six months Tacho gives this 
                         speech -- maybe they finally lucked 
                         out.

               CLAIRE TRIES TO CORNER HUB KITTLE who is heading back inside. 
               Hub disappears inside, Claire pressing after him.

               JAZY APPROACHES PRICE and leans in as if sharing a confidence. 
               IN the b.g. the luncheon is breaking up.

                                     JAZY
                         Russell, excuse me... but I've just 
                         been put in a rather embarrassing 
                         position.
                              (hesitates)
                         Mrs. Somoza would like her picture 
                         taken with Miss Panama. In color?

               Price throws his camera bag over his shoulder, pulls out a 
               camera, and follows Jazy. They walk toward the head table.

                                     PRICE
                         How the hell could Tacho find Rafael.

                                     JAZY
                         Russell, please... I have my hands 
                         full...

               Mrs. Somoza and Miss Panama are waiting as Price and Jazy 
               arrive. Price is automatically switching camera lenses, but 
               he continues to grill Jazy.

                                     MRS. SOMOZA
                         Tacho, Tacho... venga, por favor!

               Price and Jazy exchange glances as Somoza reluctantly joins 
               the portrait.

               SOMOZA POSES WITH HIS WIFE AND HIS MISTRESS ON EACH ARM as 
               Price flashes a light meter under their noses, then backs 
               off to take the picture.

                                     PRICE
                         Is Tacho lying again? They did kill 
                         him, didn't they?

                                     JAZY
                         Everybody smile.

               Price takes a picture, Somoza wants to leave and Jazy would 
               just as soon have this awkward moment over with, but:

                                     PRICE
                         One more, please! Una mas, por favor?

               Reluctantly they pose again, and Price grills Jazy who is 
               trapped.

                                     PRICE
                         We help each other, right? Could you 
                         move your girlfriend into the sun...

               Jazy moves Miss Panama slightly, returning to Price.

                                     JAZY
                         What do you need?

                                     PRICE
                         Is Rafael alive or dead?

                                     JAZY
                         I don't know.

                                     PRICE
                              (to the posers)
                         Just one more -- thank you.
                              (to Jazy)
                         I thought you knew everything?

               As Somoza holds an interminable pose, Jazy launches into a 
               speech, keeping his voice low enough so Tacho cannot hear.

                                     JAZY
                         What do I know, eh? Tacho needs a 
                         victory very badly... he needs to 
                         prove to Jimmy Carter that he is 
                         still winning. He thinks Rafael's 
                         death is the proof he needs.

                                     PRICE
                         Carter don't need proof. He just 
                         sent twenty-five million in new arms 
                         to Tacho.
                              (to posers)
                         I'm sorry... almost got it here.

                                     JAZY
                         No, no... the arms shipment has been 
                         delayed in New Orleans because Jimmy 
                         is getting nervous.

                                     PRICE
                         The State Department's gonna pull 
                         the plug on Tacho?! Pardon my French -- 
                         but whose fucking side are you on?

               Jazy and Price motion for the posers to move a step over.

                                     JAZY
                         ...I work for everybody. If there is 
                         a transition of power, I facilitate 
                         a relationship with the new people. 
                         If there is not, I facilitate the 
                         status quo.
                              (beat)
                         Either way, I facilitate.

                                     PRICE
                         Great job.

                                     JAZY
                         I send messages to Jimmy and I tell 
                         him that the Revolution is a flood 
                         that cannot be stopped but it can be 
                         controlled... nobody listens... I 
                         can't even get a little water in my 
                         pool.

                                     PRICE
                         Rough ain't it. Thank you everybody, 
                         very nice.

               Price smiles to Somoza, Mrs. Somoza, and Miss Panama. Somoza 
               hurries off from his uncomfortable position at last.

                                     PRICE
                         I don't think Rafael is dead. I'm 
                         gonna find him.

                                     JAZY
                         They say he's very handsome.
                              (beat)
                         It would make a wonderful picture, 
                         eh?

               The two men share a smile.

                                                                    CUT TO:

               EXT. THE ROAD TO MATAGLAPA - EARLY MORNING

               A rental station wagon covered with press flags races along. 
               Inside the car are the British crew -- Regis drives -- and 
               Price and Claire.

                                                                    CUT TO:

               EXT. MATAGALPA - DAY

               A city of about 50,000 located on the side of a hill. The 
               car pulls slowly into the base of the town into a clearing 
               with assorted vehicles -- Red Cross, La Guardia, Press. The 
               car moves slowly as its occupants survey the town, until it 
               pulls alongside a Red Cross truck that has broken down. Price 
               sticks his head out the window to ask instructions of a R.C. 
               WORKER.

                                     PRICE
                         Con permiso -- who controls what 
                         today?

                                     RED CROSS WORKER
                              (in Spanish)
                         The Sandinistas hold the hills, the 
                         Guardia has everything else.

                                     CLAIRE
                         How do we find the guerillas?

                                     RED CROSS WORKER
                              (points)
                         Va alli, dos o tres cuartos, doble 
                         la esquina al francotirador.

                                     REGIS
                         What'd he say?

                                     CLAIRE
                         Go two or three blocks and turn right 
                         at the sniper.

               Regis and his crew don't like this at all. Price points.

               P.O.V. A TOWER FULL OF GUARDIA SNIPERS

                                     PRICE
                         You can drop us off.

               MAIN ROAD INTO MATAGALPA

               A gradual uphill grade -- the press car moves slowly. Guardia 
               are on both sides of the street, as the car stops at the 
               corner, directly beneath the sniper tower. They all look up.

               P.O.V. THE SNIPERS LOOKING BACK DOWN AT THEM

               THE CAR SLOWLY TURNS LEFT

                                     PRICE
                         Wrong way!

                                     REGIS
                         We're not looking for the guerillas.

                                     CLAIRE
                         Then let us out.

               The car stops, the door opens, and:

               A WALL NEARBY IS RIDDLED WITH BULLET HOLES AS THEY CLIMB 
               OUT, so they climb back in quickly.

               P.O.V. A SOLDIER HOLDS OUT HIS ARMS AS IF TO SAY, "accident."

                                     SOLDIER
                         Lo siento!
                              (I'm sorry!)

               The soldier seems sincere, but they don't want to take a 
               chance.

                                     PRICE
                         Go one more block.

               THE CAR MOVES DEEPER INTO MATAGALPA, gradually moving among 
               tanquettas patrolling the streets, coming to a barricade 
               which they manuever past as Guardia soldiers look at them 
               strangely. The car turns around -- it has come too far.

               A GUARDIA OFFICER SIGNALS FOR THEM TO GET OUT but the idea 
               doesn't appeal to Regis and he whirls around, panicking 
               slightly, and heads off in the other direction.

                                     CLAIRE
                         He just wanted to see credentials, 
                         for crissakes, what're doing?

                                     REGIS
                         You want to drive?

                                     PRICE
                         We want out!

               THE BARRICADE OFFICER SPEAKS IN A WALKIE TALKIE to a squadron 
               leader a couple of blocks away as the car approaches.

               THE SECOND OFFICER WHISTLES FOR THE CAR TO STOP but it speeds 
               up.

               THE OFFICER FIRES A PISTOL SHOT AT THE CAR SHATTERING THE 
               WINDSHIELD

               INSIDE THE CAR -- VISION IS BADLY IMPAIRED BY THE SHATTERED 
               GLASS and Regis panics, hitting the floorboard and the car 
               suddenly screeches around a corner, racing through Matagalpa. 
               The car squeals around corner after corner blindly, into:

               A GUARDIA BARRICADE AS A FUSILADE OF SMALL ARMS FIRE RINGS 
               OUT The windshield is totally destroyed now, and:

               THE OCCUPANTS OF THE CAR CROUCH LOW as the car races. Price 
               and Claire scream at Regis to stop, but it's too late.

               THE CAR SCREECHES INTO REVERSE as Regis tries to see out the 
               back window and Price, out of necessity operates the foot 
               pedal with his hand. The car smokes into an intersection and 
               sees:

               AN OPEN BLOCK AHEAD -- no Guardia are visible, so the car 
               races down the open block and as it comes to an intersection:

               A SHERMAN TANK COMES AROUND THE CORNER FACING US

               Several times larger than a tanquetta -- it dwarfs us and 
               everything around it. Its giant gun faces us head on.

               THE PRESS CAR SCREECHES TO A HALT, and everyone scrambles 
               out.

                                     PRICE
                         Periodista, periodista, periodista!

               The mini-cam equipment is dropped as the British crew 
               scrambles to safety against a building. Price and Claire end 
               up on opposite sides of the street.

               Silence -- the huge and silent tank is deciding what to do.

               THE TURRET SWINGS SEVERAL DEGREES TO ONE SIDE and lowers as 
               the scattered journalists freeze.

               A THUNDEROUS ROAR -- THE TANK DESTROYS THE CAMERA EQUIPMENT 
               leaving a huge crater and not a trace of the expensive qear.

               CLAIRE STARTS LAUGHING, FRIGHTENED, nervous and amused.

               PRICE TAKES PICTURES

               A WOMAN THROWS A CONTACT BOMB FROM A WINDOW AT THE TANK The 
               tiny bomb makes a pitiful explosion, hopelessly ineffective.

               THE TANK SWINGS ITS TURRET TOWARD THE HOUSE AND OPENS FIRE 
               and the wall of the house crumbles quickly as a family 
               scrambles to the rooftop of a neighboring house. Their house 
               is destroyed in a second.

               LA GUARDIA TROOPS APPEAR AND BEGIN FIRING TOWARDS Claire and 
               Price, who turn to see:

               SANDINISTA ARMY REGULARS RUNNING DOWN THE HILL alongside the 
               homemade local guerillas. This is the first time we've seen 
               the F.S.L.N. regular army in their camouflaged khaki dress.

               THE GUARD TAKES A POSITION TO FIGHT IT OUT and Claire and 
               Price are caught in a cross-fire, pinned to walls on each 
               street side.

               PRICE PUSHES THROUGH A DOOR TO SAFETY and looks back:

               CLAIRE IS TRAPPED OUTSIDE pounding on a door that doesn't 
               open. She tries another -- no luck. She curls up in a doorway 
               making herself as small as possible as bullets rip the wall 
               around her.

               AT THE TOP OF THE HILL, AN OLD BUS MOVES SLOWLY INTO THE 
               STREET

               Several youthful guerillas are pushing it.

               THE BUS COMES FLYING DOWN THE HILL TOWARD THE TANK Several 
               hundred feet away, it gathers speed toward us.

               INT. THE SPEEDING BUS

               A YOUTH at the wheel props a board under the steering wheel 
               and races to the back as ANOTHER YOUTH opens the door as the 
               bus races past Claire toward the tank.

               THE TWO YOUTHS LEAP OUT THE BACK DOOR where they tumble into 
               the dirt just before:

               THE BUS SMASHES INTO THE TANK AND EXPLODES

               GUARDIA SOLDIERS SHOOT THE TWO YOUTHS before they get away, 
               as:

               GUERILLAS APPEAR ON EVERY ROOFTOP opening heavy fire on La 
               Guardia.

               GUARDIA TROOPS RETREAT QUICKLY ON FOOT AND IN TANQUETTAS

               THE SHERMAN TANK TRIES TO DISLODGE ITSELF FROM THE BUS but 
               cannot, and drags the bus with it as it backs down the hill.

               PRICE RUNS OUT TO CLAIRE and huddles with her. She is shaken 
               but unhurt.

               SANDINISTAS ARE EVERYWHERE, moving into Matagalpa as Price 
               and Claire move past several bodies to higher ground.

               SANDINISTA BARRICADES ARE ON EVERY CORNER where women serve 
               food to their men. Claire and Price wander through, 
               momentarily disoriented. A small boy runs through the street 
               kicking a soccer ball, occasionally avoiding a body. He runs 
               right up to them and speaks.

                                     BOY
                         Busca triquitraques?

                                     CLAIRE
                         Si.

                                     BOY
                         Venga.

               They follow him up a hill.

                                                                    CUT TO:

               EXT. MIDDLE-CLASS HOUSE OVERLOOKING THE CITY - DAY

               THE NEIGHBORHOOD IS TOTALLY SANDINISTA and several guerillas 
               are at the door. The boy speaks to one of the guards, and 
               they are admitted.

                                                                    CUT TO:

               INT. THE HOUSE - DAY

               THEY ARE SEARCHED IMMEDIATELY, asked to put down their gear, 
               asked for credentials, and led down the hallway of a house 
               that is very American middle class.

               ANOTHER SOLDIER WITH RIFLE detains them momentarily before 
               showing them into a room used as a Revolutionary Command 
               office.

               ISELA STANDS IN MILITARY FATIGUES talking to her Sandinista 
               colleagues. Clearly she commands respect and makes decisions. 
               She finishes and turns to Claire and Price in a very 
               businesslike way, never acknowledging directly that they 
               have met before.

                                     ISELA
                         You are looking for Rafael?

               They are somewhat taken aback at her directness and 
               information.

                                     PRICE
                         Yeah. If it's possible.

                                     CLAIRE
                         Do you know why we're here... exactly?

                                     ISELA
                         Mr. Price doesn't do anything before 
                         announcing it first in the bar.
                              (beat)
                         It's a good story. You'll be more 
                         famous.

               EXT. A MOUNTAIN ROAD - LATER - DAY

               An old truck chugs up a series of cutbacks through rough 
               terrain. The truck has no hood, and a BOY sits on the fender 
               pouring oil from a series of Folgers cans into a funnel stuck 
               permanently into the engine. Underneath, dangling cans catch 
               the oil as it flows through. Price, Claire and FOUR ARMED 
               SANDINISTAS sit in the back. ISELA rides in front.

               THE TRUCK PASSES THROUGH A FRIENDLY GUERILLA ROADBLOCK

                                                                    CUT TO:

               EXT. TOBACCO FIELDS IN REMOTE TERRAIN - DAY

               ISELA, CLAIRE, PRICE AND THE FOUR HIKE into increasingly 
               inaccessible terrain.

                                                                    CUT TO:

               EXT. RAFAEL'S CAMP - DUSK

               Heavily guarded but very mobile, the camp consists of perhaps 
               100 Soldiers, women preparing food, several tents. Price and 
               Claire attract attention as they enter.

               PRICE STOPS AND LOOKS AROUND THE CAMP CLOSELY seeming to 
               take it all in. He's been in many similar camps, countries, 
               wars.

               P.O.V. TWO SOLDIERS GUARDING THE ENTRANCE TO ONE TENT

                                     CLAIRE
                         Rafael's tent?

               Price doesn't answer but continues taking it all in, and 
               ISELA shouts to them to continue.

                                     ISELA
                         Venga, companeros.
                              (Come, comrades.)

               THEY CONTINUE INTO THE CAMP, BUT PRICE STOPS AGAIN Something 
               has caught him, his sixth sense, a feeling -- he refuses to 
               walk further for the moment. No glibness, just coolness.

                                     CLAIRE
                         What is it?

               Price looks around, speaks quietly.

                                     PRICE
                         Rafael is dead.

               Claire looks around quickly. There is no evidence to her.

                                     PRICE
                         I can smell it.

                                     CLAIRE
                         I don't know.

                                     ISELA
                              (slightly exasperated)
                         Venga por favor! Alli!

               They continue into the camp -- now Claire looks around 
               nervously. Price mutters a half laugh, softly and strangely, 
               as they are led to a makeshift table and offered food. In 
               the b.g. Isela enters one of the tents.

               PRICE AND CLAIRE SIT DOWN TO EAT and Price continues scanning 
               the camp as they talk.

                                     CLAIRE
                         What're you talking about?

                                     PRICE
                         He's dead. I know it.

                                     CLAIRE
                         Then why did they bring us all the 
                         way here to see him?

               He doesn't know.

               P.O.V. FOUR FIGURES/CONFERRING IN FRONT OF A TENT Isela 
               emerges and joins them. The others are: THE PRIEST FROM LEON, 
               A BUSINESSMAN WHOM WE SHOULD RECOGNIZE FROM EARLIER SCENES, 
               AND COMMANDANTE CINCO, dressed in camouflaged khaki.

               ISELA WALKS OVER TO CLAIRE AND PRICE after talking with the 
               others. She brings COMMANDANTE CINCO with her. They sit down.

                                     ISELA
                         This is Commandante Cinco.

               They all shake hands.

               Isela begins at once.

                                     ISELA
                         Today we took Matagalpa. Leon is 
                         about to fall, and Masaya. And next 
                         week we could be in Managua but it 
                         is still possible to lose.
                              (beat)
                         In the last days of our final 
                         offensive the people of Nicaragua 
                         must know that Rafael is alive and 
                         well.

                                     COMMANDANTE CINCO
                         Queremos un fotografia.

                                     ISELA
                         We need a photograph.
                              (beat)
                         Come with us.

               THEY ALL RISE AND HEAD TOWARDS RAFAEL'S TENT

               INT. RAFAEL'S TENT

               The tent is filled with Sandinista officers and soldiers 
               standing and sitting around.

               RAFAEL'S BODY LIES ON A TABLE The shirtless upper torso 
               propped slightly upright, still wearing glasses, the figure 
               of Rafael is distinctly non-heroic. He is slightly overweight, 
               slightly balding, but as he lies there surrounded by his 
               men, the the glow of lanterns, he looks almost alive.

               Price and Claire look at each other.

                                     COMMANDANTE CINCO
                         Usted es un fotografo magnifico.
                              (beat)
                         Queremos que vive.
                              (You are a great 
                              photographer. Make 
                              him alive.)

               Price laughs -- the request is ridiculous.

                                     ISELA
                              (to Claire)
                         Why is he laughing?

                                     PRICE
                         You're crazy.

               Cinco steps forward -- his presence commands attention. His 
               delivery is forceful but not emotional. As he begins to speak, 
               Price stops laughing.

                                     CINCO
                              (in Spanish)
                         We have momentum, but many more lives 
                         will be lost. Even Washington is 
                         starting to admit that the butcher 
                         Somoza is not loved by his people. 
                         They have detained twenty-five million 
                         dollars in new arms shipments for 
                         Somoza at an airfield in Florida 
                         until they find out if Rafael is 
                         alive or dead. We know about these 
                         things.

               He pauses briefly.

                                     CLAIRE
                         If Washington thinks Rafael is dead, 
                         they will ship the arms to Somoza. 
                         Do you understand.

                                     PRICE
                         Yeah.
                              (without enthusiasm)
                         Commandante... Soy un periodista.

               CINCO attacks that defense with new vigor.

                                     CINCO
                         This has nothing to do with journalism -- 
                         there is more to the world than 
                         journalism. We are going to end this 
                         war with you or without you.
                              (beat)
                         People don't really believe in Rafael -- 
                         they believe in the idea of Rafael, 
                         no? Because for now the idea of Rafael 
                         is enough for the people of Nicaragua. 
                         When the war is over -- none of this 
                         matters.

               PRICE hesitates, his manner devoid of its usual cockiness.

                                     PRICE
                         I don't do things... like this.

                                     CINCO
                         Enough lives have been lost already.
                              (beat of empathy)
                         It's difficult, I know -- but you 
                         must do it.

               COMMANDANTE CINCO PLACES AN ARM ON PRICE'S SHOULDER and speaks 
               in broken English.

                                     CINCO
                         In the morning, eh? When there's 
                         better light!

                                                                    CUT TO:

               INT. PRICE AND CLAIRE'S TENT - LATER THAT NIGHT

               Price lies on his back on a table. Claire sits in a chair, a 
               lantern is on the table. His reclining body is not unlike 
               Rafael's. He plays with a camera without looking at it, 
               turning it slowly, removing and replacing a lens. He's never 
               been this calm, this unmoving.

               Claire, however, moves around the tent like a caged animal -- 
               like Price normally is. She smokes. She's nervous and wired.

                                     CLAIRE
                         I spend my whole life separating how 
                         I feel from how I think and what I 
                         see from what I say -- that's called 
                         journalism, isn't it?

               He nods slightly.

                                     CLAIRE
                         It's disciplined. It civilized. It 
                         involves distinctions. I'm great at 
                         distinctions. I wish I wasn't so 
                         good at them. Sometimes I envy you -- 
                         you don't make any -- it's very 
                         convenient.
                              (beat)
                         The only time I don't worry about 
                         all those things is when I'm with my 
                         daughter.

                                     PRICE
                         Or when you're in bed.

                                     CLAIRE
                         Yes!
                              (beat -- changes 
                              direction)
                         My job is to find a story, then tell 
                         a story -- whatever it is -- because 
                         I believe that if enough people hear 
                         enough stories then somehow, through 
                         information alone, we all have a 
                         better chance to survive.
                              (beat)
                         I believe in information.
                              (beat)
                         That's a very romantic streak I have 
                         running through me -- maybe it's a 
                         weakness. Information is good -- 
                         lack of information is bad. Simple, 
                         eh?

                                     PRICE
                         Not so simple.

                                     CLAIRE
                         You're God damn right it's not.
                              (beat)
                         You take that picture you'll take it 
                         for all the right reasons -- I 
                         understand.

                                     PRICE
                         I'm not gonna take it.

               He fiddles with the cameras.

                                     CLAIRE
                         That's fine for you. But do I go 
                         back and say I interviewed Rafael? 
                         Do I go back and say I missed the 
                         biggest story of the war? Or do I 
                         say Rafael was stone cold dead -- 
                         that's the information, isn't it? Or 
                         do I say he entertained us all in 
                         his inimitably charismatic manner 
                         around the ol' revolutionary campfire?
                              (beat)
                         Can we throw up our arms and say we 
                         fell in love with the querillas 
                         because their cause was... 
                         sympathetic?
                              (beat)
                         Journalists don't fall in love.
                              (beat)
                         Which story do you want me to tell?

               Silence.

                                     PRICE
                         Do what you want to do.

                                     CLAIRE
                         Christ, what the fuck are we doing 
                         here?

                                     PRICE
                         I want to be here.
                              (beat)
                         With you.
                              (beat)
                         What do you want.

               Silence.

                                     CLAIRE
                         I want this war to end.
                              (beat)
                         I'm not going to tell the world that 
                         Rafael is dead.

               Silence. Claire lies down on the cot. Exhausted but high. 
               Price gets off the table and goes to her.

                                     PRICE
                         I love you.

                                     CLAIRE
                         I think I love you.

                                     PRICE
                         Don't think so much.

               He gets on the cot with her. They kiss deeply, passionately, 
               and begin making love.

               EXT. THE CAMP - FIRST LIGHT OF DAWN

               THE CAMP IS COMING TO LIFE as the flap opens on Price's tent 
               and he looks out. He raises his camera and starts taking 
               pictures of:

               A WOMAN COOKING OVER A FIRE AS A BUSINESSMAN LOOKS ON, a 
               face we recognize from earlier in Managua -- FREEZE FRAME

               THREE YOUNG GUERRILLAS PLAYING WITH A DOG -- FREEZE FRAME 

               THE PRIEST FROM LEON DRINKING FROM A GOURD -- FREEZE FRAME

               TWO CHILDREN PLAYING WITH HANDMADE TOYS -- FREEZE FRAME

               ISELA COMING OUT OF ANOTHER TENT -- FREEZE FRAME

               PRICE RISES AND LOOKS AROUND THE CAMP, wandering over to a 
               large can where he drinks some water.

               CLAIRE EMERGES FROM THE TENT and watches Price head over to 
               a shaded area with his cameras.

               CLAIRE'S P.O.V. OF PRICE AS HE MOVES THROUGH A GROUP OF 
               SANDINISTAS GATHERED AROUND A TABLE

               Their backs are toward us as he adjusts seating positions 
               and rearranges items that have been provided for the table.

               He takes a light reading and moves quickly into position. 
               Price raises his camera.

                                                                    CUT TO:

               PRICE'S P.O.V. OF A TABLEAU OF RAFAEL, CINCO, AND SOLDIERS 
               They sit at a table studying a map, a copy of La Prensa is 
               displayed -- the headlines declare that RAFAEL IS DEAD and 
               featuring a photo of Somoza at the luncheon as he points to 
               a map of the country. For an instant Rafael looks alive -- 
               FREEZE FRAME.

                                                                    CUT TO:

               EXT. THE ROAD BLOCK TO MANAGUA - LATER

               Price and Claire are sitting on top of a Red Cross truck as 
               it heads through Sebaco. Soldiers from La Guardia are 
               everywhere. As the truck moves through the village, something 
               catches Price's eyes:

               OATES STANDS AGAINST A WALL IN COMMAND OF A SQUADRON Two 
               whores and several troops sit against a wall. As the truck 
               passes, Oates waves casually, with emotion.

                                                               DISSOLVE TO:

               INT. PRICE'S HOTEL BATHROOM IN MANAGUA - DAY

               Red light in the bathroom as Price pulls several photo prints 
               from the bath and plasters them wet against the mirror.

               PHOTO OF RAFAEL IN THE CAMP, and he looks very much alive. 
               He pulls more shots from the bath: THE PRIEST FROM LEON, THE 
               BUSINESSMAN, COMMANDANTE CINCO AND ISELA. He dries them off 
               and hides them with their negatives under a pile of equipment.

               He picks up the shot of Rafael and leaves.

                                                                    CUT TO:

               EXT. SOMEWHERE IN MANAGUA

               A group of muchachos in masks, baseball caps, and bandanas 
               race through the streets carrying a photo blow-up of Rafael.

                                                                    CUT TO:

               INT. JAZY'S HOUSE

               The newspaper headline sits on Jazy's desk as Jazy studies 
               it unemotionally. We hear Miss Panama's voice:

                                     MISS PANAMA
                         Marcel!

               He spins on his chair as she glides in modeling a new dress. 
               She spins magically for him -- he blows her a kiss.

                                                                    CUT TO:

               EXT. LUSH RIVER VALLEY OF NICARAGUA - DAY

               A small private plane flies through a canyon, dwarfed by the 
               spectacular landscape. Hub Kittle works the room.

               INT. THE PLANE - DAY

               Two MASKED GUERILLAS hold a gun to the head of a pilot. A 
               large sack is crammed into the tiny compartment with them.

               EXT. A SMALL MOUNTAIN TOWN IN NICARAGUA - DAY

               The plane flies in low over the town and suddenly:

               THE SKY IS FILLED WITH LEAFLETS that flutter to the ground. 
               Townspeople, bewildered at first, pick up the papers to see:

               CLOSE UP -- PRICE'S PHOTOGRAPH OF RAFAEL ALIVE

               LOCAL RESIDENTS RAISE THEIR FISTS IN SALUTE to the plane as 
               it disappears into the mountains.

                                                                    CUT TO:

               EXT. THE ROOFTOP GARDEN OF THE INTERCONTINENTAL - DAY

               Journalists are gathered to watch the fighting which is now 
               on the outskirts of Managua. Price stands to the side casually 
               taking pictures of Journalists taking pictures of the war. 
               Hub Kittle floats around providing drinks and P.R.

               P.O.V. A PUSH-PULL AIRPLANE MAKES BOMBING PASSES on the 
               capitol. Columns of smoke rise throughout the city.

               REGIS MOVES HIS MINI-CAM CREW INTO POSITION AT THE RAIL

                                     REGIS
                         We got the smoke in frame?

                                     CREWMEMBER
                              (moves the camera 
                              slightly)
                         We got the smoke.

                                     REGIS
                         Roll it...

               CLAIRE STANDS TO THE OTHER SIDE with binoculars watching. 
               She accepts a drink from Hub and speaks into her tape deck.

                                     CLAIRE
                         Under a steel gray July sky... start 
                         again... under a gray steel Managuan 
                         sky... scratch it... In an 
                         extraordinary development in Managua, 
                         President Anastazio Somoza has ordered 
                         the Air Force to begin bombing his 
                         own capitol, under a sky... fuck 
                         it...

               She fires down the drink and puts down the mike. She picks 
               up the binoculars again and, glancing below, is shocked:

               P.O.V. BELOW -- ALEX GETS OUT OF A CAB WITH HIS SUITCASES

               He starts into the hotel, glances up, and they see each other.

                                     CLAIRE
                         Oh my God...

               Price sees Alex at the same time. Alex waves to both of as 
               he heads into the hotel. Price and Claire look at each other.

               Claire sits down at a table, stunned to see Alex. Price 
               commandeers a waiter and joins her with a fresh tray of 
               drinks.

                                     CLAIRE
                         A Scotch, please...
                              (he nods)
                         Double.

               Price joins her as other journalists jockey for position at 
               the railing. He is equally upset and confused.

                                     PRICE
                         What's he doing here?

                                     CLAIRE
                         I have no idea.

               ALEX COMES THROUGH THE DOOR with a couple journalists, sees 
               Price and Claire and comes over to join them. A polite kiss 
               on Claire's cheek, a handshake for Price. A moment of 
               awkwardness.

                                     ALEX
                         Congratulations.

                                     PRICE
                         On what?

                                     ALEX
                         On what?! The Washington Post, the 
                         Times, networks, wire services -- 
                         everybody's picked up the picture. 
                         It's fabulous.

                                     CLAIRE
                              (nervously)
                         Well, yes... it's fabulous.

                                     PRICE
                         Fabulous.

               Unsure silence.

                                     CLAIRE
                         Why are you back?

                                     ALEX
                         I came back because of Russell.

                                     PRICE
                         Because of me?

                                     ALEX
                         Yeah... the whole fucking East Coast 
                         is falling in love with Rafael -- 
                         they were sure he was dead this time. 
                         Somebody wants to do a musical about 
                         him and his mug's on every T-shirt 
                         in Central Park.

               Alex enjoys the lunatic mixture of politics and popular 
               culture.

                                     ALEX
                         I think he's bigger than Farrah 
                         Fawcett.

               Claire and Price struggle to enjoy this supremely 
               uncomfortable moment. It's not easy to enter the game. Claire 
               attempts to change the subject.

                                     CLAIRE
                         You look good. Things're okay?

                                     ALEX
                         I'm happier in New York, sure, things 
                         are great. You guys?

                                     PRICE
                         Terrific... now... I'm a little slow 
                         here, Alex... what exactly did you 
                         come back for?

               No more games. Alex addresses Price with conviction.

                                     ALEX
                         It's a great story.
                              (beat)
                         I want to talk to Rafael... and you're 
                         the only man in the world that can 
                         take me to him.

               Price's and Claire's hearts sink. They look at each other. 
               Alex, despite his reluctance to return to Nicaragua, seems 
               genuinely enthused about the possible story. Before Price or 
               Claire respond, Hub Kittle notices Alex and comes over with 
               a tray of drinks, extending genuine greetings to the Senior 
               Correspondent.

                                     HUB
                         Alex! Couldn't stay away, eh?

               The fresh round of drinks are put on the table. The sound of 
               bombs ripping the capitol are the only thing we hear.

                                                                    CUT TO:

               INT. CLAIRE'S ROOM - NIGHT

               Claire and Price now have adjoining rooms. She is staring 
               out the window as he comes in. The mood is strained.

                                     CLAIRE
                         We've got to tell Alex what happened.

                                     PRICE
                         No way.

                                     CLAIRE
                         I'll tell him. He deserves to know.

                                     PRICE
                         We don't owe him anything!

                                     CLAIRE
                         We owe him that!
                              (beat)
                         He got you started in this business... 
                         he covered for your missed deadlines 
                         and made excuses for your 
                         unprofessional attitude before the 
                         world fell in love with your 
                         pictures...
                              (beat)
                         Before kids fresh out of journalism 
                         school were rushing off to any war 
                         they could to interview bullets and 
                         take pictures of bodies -- like Price!
                              (beat)
                         He took care of you before you were 
                         hot!

               Silence. She's hitting home but he doesn't want to acknowledge 
               it.

                                     PRICE
                         He wouldn't understand.

                                     CLAIRE
                         Before Nicaragua you wouldn't 
                         understand. I'm not sure I exactly 
                         understand.
                              (beat)
                         What are we going to do?

               There is something calculating in Price's tone, this is not 
               the fearless, boyish innocent anymore.

                                     PRICE
                         I'll take Alex to find Rafael -- 
                         we'll go to Sebaco on the road to 
                         Matagalpa -- the Guardia heavily 
                         control the area and they're scared 
                         right now -- they'll never let us 
                         through. We won't be able to get 
                         near Rafael. Alex will understand -- 
                         and we'll turn around and drive back 
                         without a story.

               Claire is disturbed at this compounding of the lie.

                                     CLAIRE
                         That's a lie!

                                     PRICE
                         Tell me about lies!

               Silence. They are co-conspirators and they know it.

                                     CLAIRE
                         I don't want to tell him either.

                                                                    CUT TO:

               EXT. ROAD TO MATAGALPA - NEXT DAY

               Price's white flagged newly rented press car streaks along, 
               overtaking an ox cart. A guardia convoy is going the opposite 
               direction, back toward Managua. Alex looks out of the car 
               with interest--he hasn't been to the front line for several 
               wars.

                                     PRICE
                         We may not be able to find him, 
                         y'know...

                                     ALEX
                         I've got supreme confidence in you.

               A car is on fire by the side of the road. Price flies past; 
               Alex watches curiously. Several people stand around the car.

                                     ALEX
                         Claire looks good, eh?

                                     PRICE
                         Everybody looks good in the tropics.

               Alex isn't sure how to respond to this curious reply.

                                     ALEX
                         Since I haven't been able to find 
                         Isela since coming back, you're going 
                         to have to translate for me -- what 
                         the hell does that mean?

               Price is nervous, wired, on edge.

                                     PRICE
                         Alex... I love her.

               Alex takes this calmly -- it's not exactly new information.

                                     ALEX
                         And she 'thinks' she loves you.

                                     PRICE
                         It's past the thinking stage.

               Alex looks at the passing scenery -- he's in no hurry.

                                     ALEX
                         I'd like to know something -- it 
                         probably doesn't matter in the great 
                         final scheme of things... but I'm 
                         interested...
                              (beat)
                         Did you ever lay a hand on her before 
                         she left me?

                                     PRICE
                         No!

                                     ALEX
                         That's the truth?

                                     PRICE
                         Yes!
                              (beat)
                         Alex -- we're friends!

               There is something desperate in his voice.

                                                                    CUT TO:

               EXT. A ROADBLOCK ON THE EDGE OF SEBACO - DAY

               Price and Alex are ordered out of their car by a very 
               unfriendly Guardia soldier. He is ordered to put down his 
               camera bag. The hood and trunk are opened.

                                     SOLDIER
                         Venga.

               They are led to a shed by the roadside, A TIRE REPAIR SHOP, 
               where they sit down in an oily, dusty shack. They watch the 
               soldiers:

               P.O.V. THE SOLDIERS TEARING UP THE RENTAL CAR, pulling off 
               door panels, looking for weapons.

                                     ALEX
                         I bet you go through a few rental 
                         cars.

                                     PRICE
                         Don't worry. I put this in your name.

               PRICE AND ALEX JERK TO LIFE at the sound of screaming in the 
               distance. A volley of gunfire follows. Price moves quickly 
               into an adjoining shed and looks through a crack in the wall:

               P.O.V. AN EXECUTION SQUAD IN A FIELD as several bodies are 
               being hauled away. Two soldiers reload their guns. PAN to a 
               figure moving behind a wall -- OATES.

               PRICE HURRIES THROUGH THE SHACKS TOWARD THE EXECUTION WALL 
               as Alex calls to him and hurries after -- Price is single-
               minded. As he moves through the shacks we hear another volley 
               of fire, and Price bursts into a clearing to see:

               TWO TRUCKS BEING LOADED WITH BODIES AS OATES SUPERVISES. 
               PRICE STEPS INTO THE CLEARING -- FACE-TO-FACE WITH OATES.

               They look at each other for several beats before anyone 
               speaks. Oates is slightly embarrassed.

                                     OATES
                         No pictures, eh? Might look bad.

               Oates smiles half-way; Price looks around at the bodies.

                                     PRICE
                         You get paid by the body or by the 
                         hour?

                                     OATES
                         I get paid the same way you do. What 
                         the fuck you doin' in Sebaco -- this 
                         place's about to blow... ain't it?

                                     PRICE
                         You didn't have to nail Pedro.

                                     OATES
                         Who's Pedro?

               Alex arrives and tries to pull Price back -- at the same 
               time he sees the bodies and is sickened at the sight.

                                     ALEX
                         Oh my God...

               A body is carried through and loaded on a truck. Oates's 
               tone is one of explanation rather than defense, very matter-
               of-fact.

                                     OATES
                         There's a motherfucking war goin' 
                         on, pal... lotta sad stories.

               Price mumbles and wanders to the next truck a few feet away, 
               and as he sees it he stops short, speechless. He points:

               THE BODIES OF THE PRIEST FROM LEON AND THE BUSINESSMAN, 
               figures we saw at Rafael's camp, sit in the back of the truck. 
               They are splattered with blood and lifeless. Price is shaken.

                                     PRICE
                         Why them? Why them?!

               Oates has to look to see who he's talking about, and Price 
               loses his cool.

                                     PRICE
                         You're a cocksucker!

                                     OATES
                         I don't suck no dick, man...

               PRICE GRABS OATES AND PUSHES HIM BACKWARDS but Oates responds 
               like an animal. The two men go down in a heap and lash out 
               at each other in the dust. Their fighting is largely 
               ineffective, though very physical, until Oates asserts himself 
               and knocks Price against a wall, breaking free to pick up 
               his automatic rifle that he handles with one hand and shoves 
               it into Price's face.

                                     OATES
                         I'd prefer not splattering your brains 
                         in a dump like this -- I got 
                         priorities.
                              (to Alex)
                         Guy wants to be a hero, pops, get 
                         him outta here before he's a number.
                              (beat)
                         Be a shitty little town to buy it 
                         in.
                              (beat)
                         Who are you?

                                     ALEX
                         Russell, let's get outta here.

                                     PRICE
                              (to Oates)
                         Fuck you.

                                     OATES
                         Guy's got a sense of humor, old man.
                              (beat)
                         Got any dope? Tough place to find 
                         decent dope?

                                     PRICE
                         Why them?

                                     OATES
                         Them? C'mere. You too.

               He leads them under an awning nearby where a couple soldiers 
               sit. A small table, some weapons, two shallow boxes, food, 
               beer. Oates rummages around to find what he wants, and pulls 
               out:

               A HANDFUL OF PHOTOGRAPHS, mostly snapshots, odd sizes, with 
               names written on them. He sifts through them quickly and we 
               see an assortment of photographs of Nicaraguans. He finds 
               what he's looking for and holds up:

               PRICE'S PHOTOGRAPH OF THE PRIEST AND THE BUSINESSMAN, the 
               picture taken in Rafael's camp, blown up, cropped, and 
               identified. The faces are circled.

                                     OATES
                         If your mug shows up in this box... 
                         and ya try to make it through 
                         Sebaco... I owe yer ass.

               This information hits Price in the gut, and he is seized 
               with fear.

                                     ALEX
                         Who gives you the pictures?

                                     OATES
                         What's this, an interview? I ain't 
                         that dumb.

               Price turns, he doesn't want to face it.

                                     ALEX
                         Off the record.

                                     OATES
                         Off the record... some pachuco gives 
                         'em to me. Ain't none of my business, 
                         but I heard he gets 'em from a Frog.

               Oates pulls another picture from a different box and holds 
               it up:

               PHOTOGRAPH OF ISELA

                                     OATES
                         Nice, eh?

                                     PRICE
                         She dead?

                                     OATES
                         Not yet.

               Alex grabs Price and heads back toward the roadblock.

                                     OATES
                         Whatya' expect? We're the ones gettin' 
                         our butts kicked.

                                                                    CUT TO:

               INT. THE CAR - DAY

               Price hangs a U-turn at the roadblock and heads back to 
               Managua. He drives crazily.

                                     PRICE
                         Some-motherfucker-took-my-fucking-
                         pictures-I-don't-fucking-know-what-
                         happened!
                              (beat)
                         Fuck me!

               Silence.

                                     ALEX
                         Didn't you ship the film to New York?

                                     PRICE
                         I developed it in my room.
                              (pleads)
                         Jesus Christ, Alex?!

               Silence. The car races.

                                     ALEX
                         Slow down.
                              (compassionately)
                         It wasn't your fault if somebody 
                         stole your stuff...

                                     PRICE
                         It was.

               Alex doesn't force the issue, nor does he understand it 
               entirely.

                                     ALEX
                         What about Rafael?

               No answer -- the car races back to Managua. Alex stares at 
               Price trying to figure out what is wrong.

                                                                    CUT TO:

               INT. PRICE'S ROOM AT THE INTERCONTINENTAL HOTEL - LATER

               A MAID IS CLEANING HIS ROOM which is the usual disaster. 
               Price enters, just returned, and quickly looks for his 
               negatives under the equipment where he had hidden them.

                                     PRICE
                         Algo no esta aqui. Fotografias.
                              (Something is not 
                              here. Photographs.)

                                     MAID
                              (in Spanish)
                         Everything's always a mess here. You 
                         should be neater.

                                     PRICE
                         Negativos, negativos!

               The maid shrugs -- Price is crazy anyway, and:

               CLAIRE WALKS INTO THE ROOM She too looks shaken. He looks 
               up.

                                     CLAIRE
                         Commandante Cinco's body was just 
                         found on the road to Matagalpa.

               The maid starts crying. They look at her helplessly as she 
               sobs, 'Cinco, Cinco...'

                                                                    CUT TO:

               EXT. STREETS OF MANAGUA - DAY

               A cab takes them through the increasingly nervous city. La 
               Guardia troop trucks are everywhere -- things seem more 
               hurried. A hunting rifle sits in the cabbie's lap. They get 
               out and knock on Jazy's door.

               GUARDIA SOLDIERS WATCH THEM FROM A DISTANCE, a development 
               that Price and Claire are aware of.

                                     CLAIRE
                         I don't think it's Jazy.

               Still no answer.

                                     PRICE
                         Oates said it was a Frog. How many 
                         Frenchmen you know around here? Jazy 
                         ain't 'facilitating' shit.

               Price is impatient. He looks around nervously -- the Guards 
               are out of view -- and he slides a knife into the latch, 
               jimmying the lock. The door opens slowly -- an alarm goes 
               off.

               Price and Claire duck inside quickly.

                                     CLAIRE
                         Christ!

               Price, momentarily comfortable with the danger, responds 
               quickly and finds the alarm wire running along the door jamb.

               LA GUARDIA TROOPS NEARBY HEAR THE ALARM and head toward 
               Jazy's.

               INSIDE THE HOUSE PRICE FINDS THE ALARM BOX which he pries 
               open and expertly pulls two wires. The alarm stops.

               Immediately they begin going through drawers and cupboards. 
               She pulls out some harmless snapshots of Miss Panama, replaces 
               them.

                                     CLAIRE
                         Are we looking for negs or prints?

                                     PRICE
                         Anything.

               They find nothing downstairs. The look up at the sound of 
               distant gunfire.

               Suddenly: Loud banging at the front door -- La Guardia.

               EXT. TWO GUARDIA SOLDIERS AND A THIRD ARRIVING - DAY

               They look around warily, hungrily -- they know something is 
               wrong.

               BACK INSIDE THE HOUSE we hear the shouting soldiers, banging. 
               Price and Claire look at each other, and the camera bag. 
               Claire points upstairs to Price, to the door for herself. 
               Russell grabs the bag and bounds quickly upstairs. Claire 
               goes to the front door, shaking nervously.

               CLAIRE OPENS THE DOOR AND FACES THE SOLDIERS

                                     CLAIRE
                         Que quiere?
                              (What do you want?)

                                     SOLDIER
                         Donde esta senor Jazy?

                                     CLAIRE
                         No esta aqui.

                                     SOLDIER
                         Que quienes?
                              (Who are you?)

                                     CLAIRE
                              (smiles)
                         Una novia suya.
                              (A girlfriend of his.)

               The soldiers look at each other curiously and push open the 
               door to look in the house without entering -- respectful of 
               Jazy.

                                     SOLDIER #2
                         El hombre tiene muchas novias, eh?
                              (The man has many 
                              girlfriends, no?)

               The soldiers laugh and peer into the room. Claire forces the 
               door closed on them, teasing slightly.

                                     CLAIRE
                         No, no, no...

               Afraid to make a mistake with one of Jazy's sweethearts, 
               they don't press the issue. The door closes shut.

               INT. THE HOUSE

               CLAIRE sighs with frightened relief and hurries upstairs to 
               join Price.

               JAZY'S BEDROOM as she enters. A rumpled bed, a spilled wine 
               glass -- a pleasant mess.

                                     CLAIRE
                         Russell?
                              (no answer)
                         Russell?

               A door off the bedroom is open -- light spills out. Claire 
               stops cold at what she sees:

               PRICE STANDS IN A ROOM FULL OF PHOTOGRAPHS Hundreds of 
               pictures of all sizes, photographic equipment, an enlarger, 
               cameras and lenses, etc. Pictures of Sandino, newspaper 
               photos, snapshots.

               P.O.V. OF RUSSELL'S PHOTOGRAPHS FROM RAFAEL'S CAMP cropped 
               and blown up -- Commandante Cinco, the Priest of Leon, the 
               Businessman, Isela. Photographs of other slain rebel leaders. 
               The pictures include faces that have been circled with names 
               written in -- exactly as in the pictures Oates possessed.

               They are both stunned.

                                     PRICE
                         Let's get out of here.

               THEY HURRY DOWNSTAIRS and as they get to the front door -- 
               the sound of somebody opening it. They freeze.

               THE DOOR OPENS AND MISS PANAMA ENTERS She smiles and greets 
               them in a friendly, aloof manner, and continues toward the 
               waterless pool.

                                     MISS PANAMA
                         Hola.

               Price and Claire return the greeting and continue out the 
               door.

                                                                    CUT TO:

               EXT. JAZY'S HOUSE - THE SOUND OF MORTAR IN THE DISTANCE

               As they emerge, Claire tears a white cloth in half and ties 
               it to a stick, handing half to Price who does likewise.

               An earth mover goes past, a Guardia soldier at the wheel. 
               More soldiers cling to the machine, their guns at the ready.

                                     PRICE
                         We've got to talk to Alex.

               They start walking.

                                     CLAIRE
                         You think our flags are big enough?

               Flags held high, they move nervously down the street into 
               the ominous silence of the city.

                                                                    CUT TO:

               EXT. STREETS OF MANAGUA - NIGHT

               Alex, Price, and Claire get out of a cab and approach a large 
               statue of Somoza on horseback, surreally lit by floodlights 
               in the center of a traffic circle. Four Guardia Soldiers are 
               visible on the sidewalk in the b.g. drinking with two women.

                                     PRICE
                         This is what I want to show you.

                                     ALEX
                         We drove through three roadblocks a 
                         half hour before curfew so you could 
                         show me a statue of Tacho.

                                     PRICE
                         It's not Tacho. It's Mussolini. Tacho 
                         went to Italy to commission a statue 
                         of himself, he found a warehouse 
                         full of Il Duces on horseback, got a 
                         great deal on one of 'em -- brought 
                         it back and switched heads.
                              (beat)
                         Ya can't tell, can ya?

               Silence. Alex knows Price too well -- it's a great story but 
               that's not why they're here.

                                     ALEX
                         What the hell are you talking about?

                                     CLAIRE
                         I think what he's trying to say -- 
                         what we're trying to say -- is that 
                         things aren't exactly what they seem 
                         to be.

                                     ALEX
                         Well, they don't "seem" to be that 
                         great so I can't wait for this one...
                              (mocks silliness)
                         Hey, here we are! Two guys in the 
                         tropics in love with the same dame... 
                         bullets flying!

                                     CLAIRE
                         Alex! That's not why we're here.

                                     ALEX
                         Oh yeah? I left the country because 
                         of him...
                              (points to Price)
                         ...and I came back because of him...
                              (beat)
                         And now the cutest couple in town 
                         has me looking up a horse's ass on a 
                         midnight tour of Managua.
                              (points up the statue's 
                              ass)
                         What are we doing here?

               Silence. Claire addresses Alex calmly.

                                     CLAIRE
                         Rafael is dead.

               Silence. Alex isn't quite sure he understood.

                                     ALEX
                         In the picture he's dead?

                                     PRICE
                              (shouts)
                         Dead!

                                     ALEX
                         How the hell...

                                     CLAIRE
                              (interrupts quickly)
                         Who cares how?!

               Silence. A bit of gallows laughter from Alex as he circles 
               the statue. Price calms and tries to explain.

                                     PRICE
                         Alex... I think I finally saw one 
                         too many bodies.
                              (beat)
                         Somoza is a killer.
                              (beat)
                         I thought the war would end sooner.
                              (beat)
                         How many reasons do you want?

                                     ALEX
                         You saw too many bodies? That's a 
                         lot of bodies.
                              (beat; to Price)
                         You stupid son of a bitch.
                              (to Claire)
                         Did he talk you into it?

                                     CLAIRE
                         No! I wanted Rafael to be alive.

                                     ALEX
                         In some way I understand him doing 
                         it, I don't like it but I 
                         understand... but you?

                                     CLAIRE
                         I'd do it again.

               Alex lets it all sink in. These two people about whom he has 
               such passionate feelings have totally exposed themselves to 
               him.

                                     ALEX
                         You two have, of course, just served 
                         me up your balls -- if that's what 
                         they're called -- on a platter.
                              (several beats)
                         I can bury you both. You're handing 
                         me your careers.

               They don't respond -- he's right.

                                     ALEX
                         Well, Jesus Christ... this is a 
                         motherfucking story, Russell...
                              (long silence)
                         What am I supposed to do with it?

                                     CLAIRE
                         Anything you want.

               Small, tired gallows laughter from Alex. There is a long 
               silence before Alex speaks, aware of the irony.

                                     ALEX
                         They're holding the lead in the World 
                         section for Rafael.

                                     PRICE
                         It's great stuff, isn't it? We'd go 
                         down in a blaze of glory.

                                     ALEX
                         Oh yeah...
                              (distraught)
                         I don't know what to do.
                              (beat)
                         I've gotta take some kind of a story 
                         back with me. Maybe Jazy, eh?

                                     CLAIRE
                         Oh Jesus.

                                     PRICE
                         It's a little dangerous looking for 
                         Jazy at the moment.

                                     ALEX
                              (mock heroic)
                         Ah, danger -- I love it. You could 
                         ask the pointy-shoed little bastard 
                         about your pictures... and I could 
                         ask him whatever happened to Isela.

                                     CLAIRE
                         She's an officer in the Rafael army -- 
                         we saw her in Matagalpa.

               Alex is surprised slightly, but takes pleasure in revealing 
               it.

                                     ALEX
                         You mean I slept with a Sandinista?

               Price and Claire exchange glances. Alex is dead serious.

                                     ALEX
                         I guess Rafael is alive, eh?

                                                                    CUT TO:

               INT. CLAIRE'S ROOM - NIGHT

               PRICE AND CLAIRE LIE IN BED sweating. A siren and distant 
               mortar can be heard outside. Price goes to the window and 
               shuts it -- the room is quieter and hotter. He pounds a broken 
               air conditioning duct.

                                     PRICE
                         Damn air conditioning.

               He looks out the window -- it never used to be this 
               complicated.

                                     CLAIRE
                         I wish I was home.

               Silence.

                                     PRICE
                         C'mere.

               She goes to him, lies down, and they embrace.

                                     CLAIRE
                         Do you think it's almost over?

               A loud, long burst of automatic weapons fire is heard 
               somewhere outside. Their eyes are open as they hold onto 
               each other.

                                                                    CUT TO:

               EXT. THE STREETS OF MANAGUA - NEXT MORNING

               A sense of foreboding. Heavy road equipment prowls the street 
               looking for Rebel barricades to destroy. Tanquettas and 
               Guardia everywhere.

               The flag draped press car of Price and Alex drives slowly.

               P.O.V. OUT OF THE CAR AS THEY LOOK CAREFULLY Things feel 
               wrong. Guardia barricades are everywhere, forcing them to 
               follow a route they might not choose. The Guardia soldiers 
               at the barricades seem on edge. When Jazy's house is visible 
               in the distance, barricades force them another direction.

               GUARDIA SOLDIERS RACE DOWN A STREET TOWARD GUNFIRE and the 
               car stops. When the road is clear it creeps into an 
               intersection. They check their position.

               THE CAR CREEPS TO A STOP and they look around further.

               A PIG CROSSES THE STREET 100 YARDS AWAY AND IS SHOT BY A 
               SOLDIER.

               Everything is wrong. Price looks around restlessly.

                                     PRICE
                         Alex... let's go back.

                                     ALEX
                         Jazy's probably sitting in the bar 
                         laughing at us. Which way's the hotel?

                                     PRICE
                         I don't know.

               A WOMAN PEEKS OUT OF A DOORWAY WATCHING

                                     ALEX
                         I'll ask her... be right back.

                                     PRICE
                         Just a sec'... take a flag.

               But Alex is out of the car at once, approaching the woman.

               Alex motions that "it's not necessary" and talks to the woman. 
               We can't hear, but she points down the block.

               INSIDE THE CAR Price cranks film into place, his actions are 
               automatic and nervous. When he looks up:

               P.O.V. ALEX FIFTY YARDS AWAY

               Walking in the direction she pointed, he motions to Price as 
               if to say, "Just checking this out."

               PRICE LOOKS AROUND NERVOUSLY FOR A SENSE OF DIRECTION And as 
               he does, looks through the camera.

               THROUGH CAMERA P.O.V. OF THE DEAD PIG followed by quick 
               blurred pans to other images -- TANK, HOUSE, WOMAN, SOLDIER -- 
               until it settles on ALEX IN THE INTERSECTION. Two Guardia 
               soldiers come up to him and he holds out his hands as if to 
               say, "I'm lost."

               ALEX TALKS TO THE SOLDIERS -- FREEZE FRAME click, click -- 
               and the whirring sound of a motor drive, another FREEZE FRAME 
               click, click, more whirring -- Price is on automatic pilot. 
               Another soldier orders Alex up against a wall.

               Nobody sees Price taking pictures -- it happens too quickly.

               THROUGH CAMERA P.O.V. ALEX IS SHOT IN THE CHEST FROM POINT 
               BLANK RANGE -- FREEZE FRAMES click, click, whirring as the 
               images blur and the camera is dropped.

               PRICE STARES WITHOUT THE CAMERA

               P.O.V. ALEX LIES DEAD AS THE SOLDIERS LOOK AROUND The act 
               was random, almost nonchalant.

               PRICE STARTS TO RUN TOWARD ALEX shouting madly.

                                     PRICE
                         You fucks! You fucks!

               He stops quickly as they see him, realizing how exposed he 
               is.

               THE GUARDIA START FIRING AT HIM, realizing the murder was 
               recorded.

                                     GUARDIA SOLDIER
                         Fotografia!

                                                                    CUT TO:

               PRICE LEAPS IN HIS CAR and starts it up, racing around the 
               corner as bullets rip into the car.

               THE WINDOW SHATTERS, AND PRICE IS HIT IN THE SHOULDER He 
               clutches his bleeding arm as he races on.

               EXT. SHANTYTOWN BARRIO - DAY

               THE CAR GRINDS TO A HALT and Price leaps from it, racing 
               into a maze of ramshackle huts.

                                                                    CUT TO:

               INT. SOMOZA'S BUNKER

               A hastily called press conference. Tacho takes a quick drag 
               on a cigarette and makes the announcement.

                                     SOMOZA
                         It is with grave concern that we 
                         announce that Alexander Grazier, 
                         senior American correspondent, has 
                         been murdered at the hands of 
                         terrorists...

               A shock wave goes through the room -- hands raised, questions.

                                     SOMOZA
                         Mr. Kittle has prepared statements 
                         for you.

               Somoza turns and leaves as Kittle passes out press statements.

                                                                    CUT TO:

               INT. CLAIRE'S HOTEL ROOM

               TV is on. She's at the typewriter working on a story.

               A PHOTOGRAPH OF ALEX COMES ON THE TELEVISION NEWS, with 
               Spanish language commentary over the image.

               CLAIRE KEEPS WORKING AND GRADUALLY TYPES LESS AS SHE HEARS 
               the story, finally rising and moving in front of the 
               television as a local newsman reads of Alex's death and we 
               see the Somoza press announcement.

               The phone rings: Claire picks up the phone and listens 
               silently before hanging up. She sits down shakily on the bed 
               and starts crying.

                                                                    CUT TO:

               EXT. THE SHANTYTOWN BARRIO - DAY

               PRICE HURRIES THROUGH the passageways between tin shacks, 
               through tiny yards of goats and chickens, through houses as 
               poor that the war has nearly passed them by. Price is hurting, 
               and looks around with fear to see:

               THE GUARDIA SOLDIERS MOVE DOWN INTO THE SHANTYTOWN, fanning 
               out to quickly engulf the barrio. They move quickly.

               A HELICOPTER GUNSHIP MOVES IN LOW over the barrio and opens 
               up sporadic outbursts of fire to insure nobody will try to 
               flee.

               PRICE RUNS DOWN AN ALLEY and nearly runs right into the 
               Guardia. He hides behind a paper thin wall of flattened beer 
               cans -- the Guardia move past him only inches away. Price 
               starts off in another direction, but Guardia appear -- he is 
               trapped in the barrio.

                                                                    CUT TO:

               INT. HOTEL LOBBY

               Journalists are everywhere -- suitcases packed -- trying to 
               get out of the country. The registration desk is chaos. Regis 
               tries to get the attention of the clerk -- so does everyone 
               else.

                                     REGIS
                         Get my bill and get me a cab, hey, 
                         amigo!

               The clerk is under attack.

                                     CLERK
                         No cabs.

                                     REGIS
                         Cabs!

                                     CLERK
                         No cabs!

               CLAIRE GETS OFF THE ELEVATOR AND MOVES THROUGH THIS CHAOS 
               Regis sees her and tries to give her comfort -- she's beyond 
               that. She wears a jacket and carries her bag -- she's going 
               somewhere.

                                     REGIS
                         I'm sorry, Claire...

               She pushes him away politely; she is single-minded now.

                                     CLAIRE
                         Heard from Russell?

                                     REGIS
                         Nobody has.

                                     CLAIRE
                         Wanta help me find him?

               Regis looks at her like she's crazy.

                                     REGIS
                         Claire... it's on the weird side out 
                         there...

               Hub Kittle enters the lobby, sees Claire and volunteers:

                                     HUB
                         Jesus Christ, Claire, a human tragedy, 
                         what can I say?

               Claire is nearly in tears, but resists.

                                     CLAIRE
                         Fuck off, Hub, get outta my way.

               CLAIRE EXITS THE HOTEL AND GETS INTO HER PRESS CAR

                                                                    CUT TO:

               EXT. STREETS OF MANAGUA - LONG SHOT OF JAZY'S HOUSE - DAY

               Claire stays in her car and watches the house -- no way to 
               get close -- and she continues driving, her route dictated 
               by the same barricades that directed Alex and Price.

               She passes the dead pig in the street, and TWO RED CROSS 
               WORKERS make their way slowly around a corner, frightened. 
               Claire gets out of her car and approaches them.

                                     CLAIRE
                              (in Spanish)
                         Do you know where the American 
                         journalist was killed?

               They all point down a street. She shows them the polaroid of 
               Price and her.

                                     CLAIRE
                              (in Spanish)
                         Have you seen him?

               They haven't and continue on their way. Claire walks in the 
               direction they pointed -- no street fighting but many Guardia.

               P.O.V. PRICE'S CAR FAR DOWN THE STREET SURROUNDED BY GUARDIA

                                                                    CUT TO:

               EXT. SHANTYTOWN - DAY

               PRICE HUNCHES DOWN AND CRAWLS BEHIND THE STALLS as soldiers 
               move through the yards looking for him.

               A WOMAN IN A DOORWAY WATCHES PRICE HIDE

               THE WOMAN APPEARS IN A DOORWAY AND MOTIONS WITH HER HEAD for 
               Price to dart inside.

                                                                    CUT TO:

               INT. THE HOUSE - DAY

               Nothing is said. Price is led into a room, one of many -- 
               but this room is boarded over. There is no escape. Price is 
               in pain, his arm bleeds, he's tiring.

                                     WOMAN
                              (in Spanish)
                         This is the best I can offer.

                                     PRICE
                         Gracias.

               PRICE STANDS IN THE TINY ROOM WAITING

               He leans against the wall behind the door. He shuts his eyes -- 
               a noise at the door. When he opens them:

               THE WOMAN IS STANDING THERE WITH A GUN

               She hands it to him and leaves, bolting the door.

               PRICE LEANS AGAINST THE WALL HOLDING A REVOLVER and he waits -- 
               cameras around his neck, gun in hand, bloody, slightly 
               ridiculous, and scared.

                                                                    CUT TO:

               EXT. THE STREETS OF MANAGUA - DAY

               Price's shot up car is not far away, but she's afraid to 
               approach it. She shows the picture of Price to a small boy 
               who doesn't recognize it.

               GUARDIA SOLDIER SPOTS CLAIRE and walks toward her. She cannot 
               tell if the act is routine or threatening. He calls out to 
               her.

                                     SOLDIER
                         Venga aqui.

               She hesitates -- Alex is dead, everything is crazy. She starts 
               toward him, then changes her mind, turns, and walks quickly 
               away from him.

               THE SOLDIER RUNS TOWARD HER

               CLAIRE RUNS FASTER and darts into a narrow passageway behind 
               a house, where she looks back. He calls for support -- several 
               join him and hurry after her. Panicky, she runs between 
               houses.

               OVERHEAD PLANES BUZZ THE NEIGHBORHOOD as Claire emerges from 
               the 'maze' to see:

               P.O.V. PRICE'S CAR ABANDONED and full of holes near the shanty 
               town. Guardia are everywhere. The helicopter gunship is 
               overhead.

                                                                    CUT TO:

               INT. THE HOUSE WHERE PRICE HIDES - DAY

               He hears the Guard breaking in, and he cocks his gun.

               INT. SAME HOUSE

               as the Squadron Leader and three soldiers burst in -- the 
               woman stands in the middle of the room and lies.

                                     WOMAN
                              (in Spanish)
                         Nobody is here. Get out.

               The Sqaudron Leader points to different rooms for each 
               soldier, and they proceed to kick in each door, automatic 
               rifles ready.

               PRICE'S ROOM AS HE HEARS A SOLDIER AT THIS DOOR.

               THE DOOR IS KICKED OPEN, AND A SOLDIER STEPS INTO THE ROOM 
               For a moment he doesn't see Price -- then he whirls and faces 
               the photographer who's so scared he's forgotten to raise his 
               gun.

               PRICE AND THE SOLDIER ARE FACE-TO-FACE The soldier is a 
               fourteen-year-old boy fighting back tears. He, too, is scared 
               to death. Neither is quite sure why he is there -- they just 
               want it to end.

               PRICE AND THE BOY AIM THEIR GUNS AT EACH OTHER as they hear 
               the voice of the Squadron Leader in the other room.

                                     LEADER
                         Esta alli?!
                              (Is he there?)

               No answer.

                                     LEADER
                         Esta alli?!

               SQUADRON LEADER HEADS TOWARD THE ROOM but as he does, the 
               boy soldier appears in the doorway.

                                     BOY SOLDIER
                         No esta aqui.

               The Leader grunts an order, and the squadron quickly heads 
               to the next house.

               PRICE'S BODY SLUMPS AGAINST THE WALL EXHAUSTED, and the woman 
               enters as soon as the last soldier has gone.

               Price's brief moment of peace is shattered by the screaming 
               of Guardia troops and the explosions of rocket fire from the 
               gunship. He looks outside.

               THE GUNSHIP FIRES INTO THE SHANTYTOWN killing several of its 
               own Guardia troops. A GUARDIA OFFICER screams at the gunship 
               and fires a hand gun at the giant chopper.

                                     GUARDIA OFFICER
                              (in Spanish)
                         We are you! We are you! What are you 
                         doing?!

               GUARDIA TROOPS EVACUATE THE SHANTYTOWN in a panicky scramble 
               to escape their own gunship.

               PRICE RACES THROUGH THE BACK OF THE SHANTYTOWN, taking 
               advantage of the chaos, and without slowing down, breaks 
               free of the maze of the barrio.

               CLAIRE'S P.O.V. OF PRICE RACING ACROSS THE STREET, past a 
               body and an overturned, smoking car, back into the rubble 
               strewn blocks of the edge of the city. A tanquetta comes 
               around a corner and sees Price a block away.

                                     CLAIRE
                         Russell!

               PRICE SEES HER, and races along a wall until they meet, 
               grabbing her on the run -- each is panicky and frightened -- 
               and they duck into very shallow cover, barely safe.

                                     PRICE
                         What're you doing here?!

               They embrace quickly and tightly, but look around nervously 
               as they do. Price isn't sure if anybody knows about Alex.

                                     CLAIRE
                         Alex!

                                     PRICE
                         The Guardia did it -- I got pictures.

               P.O.V. A TANQUETTA PASSES ON THE NEXT STREET, visible through 
               shattered holes in the buildings. A Guardia squadron passes.

               PRICE AND CLAIRE RUN DOWN THE STREET in the opposite 
               direction, their path guided somewhat by an overturned bus 
               in an intersection, abandoned barricades and roadblocks, and 
               the rubble of street fighting.

                                                                    CUT TO:

               EXT. THE STREET OF JAZY'S HOUSE - DAY

               PRICE AND CLAIRE hesitate at the corner and move slowly along, 
               seeing two Sandinistas, dressed half in camouflaged gear, 
               half disco. The TWO GUERRILLAS seem to control the street. 
               Price and Claire approach warily.

                                     PRICE
                         Hola.
                              (the Guerrillas nod; 
                              in Spanish)
                         Do you control this area?

               The Sandinista looks at his comrade, then looks around 
               nervously, frightened, then shrugs.

                                     DISCO SANDINISTA
                              (in Spanish)
                         I don't know.

               Price and Claire continue on down the street and 
               simultaneously noticed something strange:

               THE DOOR TO JAZY'S HOUSE IS WIDE OPEN They approach carefully 
               and look in a view to the court-yard. Claire sticks her head 
               in the door slowly, and as she does:

               A GIANT HAND GUN IS STUCK IN HER TEMPLE as TWO MUCHACHOS 
               quickly seize her and Price, dragging them inside.

                                                                    CUT TO:

               INT. JAZY'S COURTYARD - LATE IN DAY

               JAZY STANDS WITH A THIRD GUN AT HIS HEAD, being held by the 
               most forceful and crazed of three young Muchachos. With guns 
               on Jazy, Price, and Claire, there is much confusion as to 
               who's in charge and what exactly they're doing.

                                     MUCHACHO #1
                              (in Spanish)
                         Who are you?

                                     JAZY
                         They are my friends.

                                     MUCHACHO #2
                              (in Spanish)
                         Shut up. We kill them all.

                                     MUCHACHO #3
                              (in Spanish)
                         No. Only him.

               The guns are aimed back and forth in confusion -- Price and 
               Claire don't have a chance to respond, and they're not sure 
               what to say.

                                     MUCHACHO #1
                              (in Spanish)
                         Him or him or her?

               The Muchachos begin arguing rapidly among themselves; and as 
               they do, Jazy addresses Price and Claire coolly.

                                     JAZY
                         Well, here we are, eh?

                                     MUCHACHO #1
                              (in Spanish)
                         Assassin! Shut up!

                                     JAZY
                         The boys are confused -- they think 
                         I had their family killed.

                                     PRICE
                         You murder people.

                                     JAZY
                         "Murder" is a word for criminals. I 
                         have a job to protect the stability 
                         of a continent.

                                     MUCHACHO #3
                         Pig! Hijo de puta!

                                     JAZY
                         Please...

               He is not begging for his life as much as for them to calm 
               down.

                                     CLAIRE
                         You got caught by some boys?

                                     JAZY
                         Yes. Poets too, I imagine.
                              (beat)
                         Is your recorder on?

                                     CLAIRE
                              (hesitates)
                         Yes.

                                     JAZY
                         Good. I have a speech to make.

               The Muchachos don't understand what he's saying, but they 
               stop to listen to his style. The guns remained trained on 
               all three.

                                     JAZY
                         I like you people, but you are 
                         sentimental shits. You fall in love 
                         with the poets, the poets fall in 
                         love with the Marxists, the Marxists 
                         fall in love with themselves. The 
                         country is destroyed with rhetoric, 
                         and in the end we are stuck with 
                         tyrants.

                                     MUCHACHO #1
                              (in Spanish)
                         Shut up!

               Jazy turns to the boy who jams the gun into his head and 
               speaks with tired authority.

                                     JAZY
                         Un minuto, por favor.

                                     MUCHACHO #2
                              (to Price and Claire, 
                              more calmly)
                         Who are you?

                                     JAZY
                              (in Spanish)
                         They are journalists.

               The Muchachos are immediately surprised and delighted, and 
               one of them speaks in excited, broken English.

                                     MUCHACHO #1
                         Periodistas! Take this picture! I'm 
                         going to blow his head off.

               The Muchachos quickly withdraw their guns from Price and 
               Claire and aim them all at Jazy's head.

                                     JAZY
                         Somoza? He is a tyrant too, of course. 
                         A butcher.
                              (beat)
                         But finally that is not the point, 
                         you see. If we wish to survive -- we 
                         have a choice of tyrants, and for 
                         all the right reasons, your poets 
                         choose the wrong side.

                                     MUCHACHO #1
                              (impatiently)
                         Fotografia!

                                     PRICE
                         No.

                                     JAZY
                         Yes.
                              (beat)
                         Your picture of Rafael was 
                         brilliant... but I am alive, and 
                         better looking. A good looking 
                         Frenchman with a sympathetic face is 
                         murdered in cold blood while fighting 
                         for the survival of Europe and 
                         America.
                              (beat)
                         You will have another magazine cover!
                              (smiles)
                         Muy complicado, no?

                                     MUCHACHO #1
                              (in Spanish)
                         Ready! Now!

                                     CLAIRE
                         You picked the wrong side.

                                     JAZY
                         In fifty years we will know who's 
                         right.
                              (beat)
                         Are you going to take the picture as 
                         the bullet enters the skull or as it 
                         comes out? This wall's a nice color, 
                         eh? I can move into the sunlight.

               CLAIRE TURNS AND WALKS AWAY, her back to the scene.

                                     JAZY
                              (to Claire)
                         It's just a story!

               PRICE REMAINS AND STARES AT JAZY as the Muchachos grow 
               increasingly impatient. Some part of him wants to take the 
               picture.

                                     MUCHACHO #1
                              (in Spanish)
                         Shut up!

                                     JAZY
                         They say that if somebody's holding 
                         a gun on you, you should never stop 
                         talking... that's the theory -- who 
                         knows?...

               PRICE TURNS AND WALKS AWAY toward Claire. Still -- Jazy talks.

                                     JAZY
                         Maybe it's a good thing that I talk 
                         too much...

               A GUNSHOT RINGS OUT.

               Price grimaces. Claire shuts her eyes. They turn to look at 
               the fallen Jazy as the Three Muchachos, frightened by their 
               own act, race back into the street. For several moments Price 
               and Claire stand, frozen, until the rumbling sound of a 
               helicopter gunship nearby forces them to hurry outside.

               PRICE AND CLAIRE GO TO THE DOORWAY and look out as a jeep 
               full of Guardia screams past

               P.O.V. SEVERAL GUERRILLAS RETREATING FROM AN ADVANCING 
               TANQUETTA a block away. The neighborhood seems to be changing 
               hands again.

               Price and Claire slump in the darkness near the doorway; she 
               touches near his wounded arm.

                                     CLAIRE
                         You okay?
                              (he nods)
                         Russell... what did Alex do?

                                     PRICE
                         Nothing. He asked for directions.

               She shakes her head and leans it against Price's shoulder 
               but the distant popping of guns does not even allow her a 
               moment of mourning. Their heads pop up nervously.

                                     PRICE
                         We gotta get outta sight -- half the 
                         fucking army's looking for me...

                                     CLAIRE
                         They're not looking for me.

               Silence.

                                     CLAIRE
                         Let me have the film...
                              (beat; unsure)
                         ...if I can't get to the hotel I'll 
                         come back here...

               Price doesn't want her to go alone, but he's not that excited 
               about hiding out in the middle of the city either.

                                     PRICE
                         Aw, Christ...
                              (frustrated)
                         I've wrecked everything else, at 
                         least let me take care of you here.

                                     CLAIRE
                         Russell... it's more dangerous being 
                         with you than being alone.

               He knows she's right. He loves her, and he's made enough 
               disastrous decisions lately. He hesitates, then pops open 
               his camera and removes the film. Price ties the film into 
               the white flag that hangs from a stick stuck into her belt.

               PRICE AND CLAIRE EMBRACE AND KISS BRIEFLY

                                     PRICE
                         Don't get hurt.

                                     CLAIRE
                              (affectionately)
                         That's great advice.

               They kiss, and Claire runs out after a Red Cross truck. Price 
               watches nervously until they turn a corner, out of sight, 
               then goes back inside Jazy's courtyard. PRICE NEARLY STUMBLES 
               OVER JAZY'S BODY, stops, stares -- he'd forgotten already. 
               The body makes him uneasy, and after several moments he finds 
               a sheet and covers Jazy. Price then sits down and waits 
               nervously, sharing the courtyard with Jazy.

                                                                    CUT TO:

               EXT. STREETS OF MANAGUA - DUSK

               CLAIRE WALKS ALONGSIDE THE RED CROSS TRUCK as it comes around 
               a corner. The truck turns one direction, she wants to go the 
               other way toward the hotel.

               P.O.V. -- THE INTERCONTINENTAL HOTEL ON THE HILL IN DISTANCE - 
               DUSK

               Guardia troops heavily patrol the ground between Claire and 
               the hotel -- a jeep, a troop carrier, a tanquetta, and fifty 
               foot soldiers.

               CLAIRE TAKES TEMPORARY COVER offered by a MIDDLE-AGED WOMAN 
               who sees that she is afraid of La Guardia. Claire steps behind 
               a walled yard. Moments later:

               A BOY ON A BIKE RIDES SLOWLY OUT OF THE YARD and turns up 
               the hill toward the Guardia and the hotel. Claire's white 
               flag is tied to his handlebars.

               CLAIRE WATCHES FEARFULLY as the boy pedals into the military 
               zone. The woman offers Claire some food; she declines.

                                                                    CUT TO:

               EXT. THE ROAD TO THE INTERCONTINENTAL HOTEL - DUSK

               THE BOY PEDALS slowly, in no hurry, past La Guardia troops. 
               Some of them watch him curiously, some ignore him. The white 
               flag flutters as he rides.

                                                                    CUT TO:

               EXT. STREETS OF MANAGUA - DUSK

               CLAIRE RETRACES HER STEPS to the block where Price is hiding 
               in Jazy's house.

               THE TWO DISCO SANDINISTAS LIE DEAD IN THE STREET, a dog sniffs 
               at the bodies. Claire looks around -- there is little sign 
               of life. She enters Jazy's house.

                                                                    CUT TO:

               INT. JAZY'S HOUSE - DUSK

               CLAIRE ENTERS and stops. She calls out his name, no answer. 
               Price is gone. She hurries back outside.

                                                                    CUT TO:

               EXT. JAZY'S HOUSE - DUSK

               TWO GUARDIA TROOP CARRIERS RACE PAST, sirens screaming, loaded 
               with Guardia soldiers. Claire steps into the street unsurely, 
               looking every direction.

               PEOPLE BEGIN COMING OUT OF THEIR HOMES and what remains of 
               their small homes. They come one at a time at first, then in 
               small groups, carrying belongings, pets, chickens, etc.

               CLAIRE SHOWS A PICTURE OF PRICE AND HER to a woman who comes 
               out of the house next to Jazy's, but the woman shakes her 
               head, not recognizing Price.

               A PUSH-PULL PLANE DIVES IN LOW FIRING ROCKETS at the homes.

               THE CROWD GROWS and chaotically flees the destruction, 
               gradually finding a direction out of the city. Claire is 
               swept along in the crowds, at first without choice, then 
               finally fleeing for her life with the rest of Managua. As 
               she moves with the crowd, she looks for Price everywhere, 
               without success.

                                                                    CUT TO:

               EXT. A TEMPORARY REFUGEE CAMP - NIGHT

               SEVERAL CAMPFIRES burn near the edge of the city where dozens 
               have taken temporary refuge. Claire arrives to see: A BODY 
               ON A STRETCHER BEING CARRIED up outside stairs to a rooftop 
               from which glow several bare bulbs. She goes up the stairs 
               to the rooftop.

                                                                    CUT TO:

               EXT. A ROOFTOP HOSPITAL - NIGHT

               A MAKESHIFT MOBILE HOSPITAL under awnings and palm fronds, 
               capable of moving location in minutes. A WOMAN DOCTOR and 
               two temporary orderlies tend to wounded. A small black and 
               white television sits on a table and those who are able watch 
               the seige of Managua on television while it goes on around 
               them. Claire looks for Price among the dead or wounded.

               P.O.V. -- THE CITY UNDER ATTACK

               Claire watches for several moments -- smoke, flame, the 
               buzzing sound of planes swooping low, fleeing crowds. She 
               then notices the television.

               PRICE'S FOOTAGE OF ALEX'S DEATH comes on the TV screen, and 
               she pushes closer to see the grim sequence. The NEWS 
               COMMENTATOR explains in Spanish what we see CLAIRE IS SO 
               DISTURBED AT THE IMAGES that she turns away, sickened, hurt, 
               guilty, outraged, but unable to break down. She closes her 
               eyes -- her face is covered with tears. The Doctor notices 
               this and speaks softly to her.

                                     DOCTOR
                         Journalist?
                              (Claire nods)
                         You knew the man who was killed?
                              (she nods again)
                         Fifty thousand Nicaraguans have 
                         died... and now one Yankee.
                              (beat)
                         Perhaps now Americans will be outraged 
                         at what is happening here, eh?

               It takes a while for Claire to respond.

                                     CLAIRE
                         Yes... perhaps they will.

               Noise in the distance from mortars. The Doctor speaks calmly, 
               without bitterness in the voice, but with total conviction.

                                     DOCTOR
                         Maybe we should have killed an 
                         American journalist fifty years ago.

               Claire acknowledges the grim truth of the observation with a 
               slight nod, and walks to the railing as:

               ALEX'S DEATH IS REPEATED IN FREEZE FRAME SEQUENCE over and 
               over again as the Orderlies, Doctor, and patients gather to 
               watch with fascination.

               CLAIRE STARES OUT AT THE CITY ON FIRE, when her eye catches 
               something -- a light in the sky. She watches:

               P.O.V. -- A HELICOPTER WITH SEARCHLIGHT PASSES OVERHEAD, 
               momentarily illuminating the hospital, but it continues on, 
               curiously uninterested in the Guerrilla activity. The chopper 
               sweeps above a nearby hill and hovers, then slowly lowers to 
               earth.

               CLAIRE WATCHES with interest then descends the stairs.

                                                                    CUT TO:

               EXT. THE CEMETERY - NIGHT

               SOMOZA WATCHES AS A BACK HOE DIGS UP THE COFFINS of his 
               parents. An Army helicopter lands, lighting the scene, and 
               Miss Panama rushes from the chopper into his arms as the 
               turbulence from the blades raises her dress and musses his 
               hair. Soldiers place the dirt-covered caskets on the roofs 
               of Somoza's two Mercedes, hastily tie them down, and the 
               strange motorcade, flanked by two heavily armed jeeps, drives 
               off into the dark.

               CLAIRE WATCHES IT ALL from a safe distance, not far from the 
               refugee camp. She turns and walks slowly back to the camp.

                                                                    CUT TO:

               EXT. THE REFUGEE CAMP - LATE AT NIGHT

               Claire sits down against the remains of a wall. The war has 
               overtaken her -- she doesn't know if Price is alive -- and 
               though totally involved, she is at last an observer once 
               again. Claire notices the tiny red light of her recorder is 
               still on. She turns it off, and as the sounds of battle 
               gradually die down, Claire falls asleep -- exhausted.

                                                               DISSOLVE TO:

               EXT. THE REFUGEE CAMP - DAWN

               CLAIRE SLEEPS AGAINST THE WALL as a dog sniffs and licks her 
               face. She awakens with a start -- the dog scurries away. 
               Claire rises and looks around.

               A LOCAL WOMAN PUSHES A CART carrying the wrapped body of her 
               husband through the otherwise quiet streets of Managua.

               CLAIRE MOVES THROUGH THE CAMP just coming to life, and looks 
               around trying to interpret the eerie silence. A WOMAN tends 
               to her TWO SMALL CHILDREN.

                                     CLAIRE
                              (in Spanish)
                         Have you seen La Guardia?

                                     WOMAN WITH CHILDREN
                              (in Spanish)
                         No. Is the war over?

                                     CLAIRE
                              (in Spanish)
                         I don't know.

               A DISTANT, DRONING NOISE GETS STEADILY LOUDER. Claire looks 
               around nervously.

               A CHILD RUNS DOWN THE STREET SHOUTING

                                     CHILD
                         Tanquettas! Tanquettas!

               P.O.V. -- SEVERAL TANQUETTAS AND EARTH MOVERS coming over 
               the hill in the distance. The Refugees look up fearfully and 
               some hide. As the war machinery gets closer, we see that:

               SANDINISTAS ARE DRIVING THE MACHINES draped with red and 
               black (F.S.L.N.), blue and white (Nicaraguan), and yellow 
               and white (the Vatican) flags. Graffiti of victory covers 
               the tanquettas.

               PEOPLE COME INTO THE STREET CHEERING, embracing, only 
               gradually realizing what has happened.

                                     WOMAN WITH CHILDREN
                              (in Spanish)
                         Is the war over?

                                     CLAIRE
                         Yes.

                                     WOMAN WITH CHILDREN
                         Es bueno.
                              (It is good.)

               The woman continues with her children, her comment 
               unemotional, and Claire smiles slightly and walks away, 
               through a city awakening slowly to its victory.

               CLAIRE STOPS A RED CROSS TRUCK and shows the driver her 
               picture of Price. The picture means nothing to the driver. 
               Claire continues through the city, looking for Price.

                                                                    CUT TO:

               EXT. THE INTERCONTINENTAL HOTEL - MORNING

               CLAIRE WALKS INTO THE POOL AREA where chairs and tables float 
               in the pool, the bar is overturned, and the once sumptuous 
               press oasis is a disaster.

                                                                    CUT TO:

               INT. THE INTERCONTINENTAL HOTEL - MORNING

               CLAIRE ENTERS A DESERTED LOBBY, also a mess, and hesitates 
               before climbing the circular stairs.

               CLAIRE LOOKS INTO PRICE'S ROOM, and finds it empty, and 
               typically messy.

               CLAIRE WALKS INTO HER OWN ROOM -- PRICE STANDS AT THE BALCONY 
               looking out at the jubilant city from which smoke still rises.

               CLAIRE AND PRICE EMBRACE DEEPLY, holding onto each other 
               without the slightest intention of letting go.

                                                               DISSOLVE TO:

               INT. THE INTERCONTINENTAL LOBBY - LATER - DAY

               PRICE AND CLAIRE COME DOWNSTAIRS to the lobby. They are 
               cleaned up in fresh clothes; they have survived and the war 
               is over.

               THE LOBBY IS COMING TO LIFE AGAIN with Regis' camera crew, 
               who look like they've had a long night, a BUS BOY, A MAID, 
               AN OLD COUPLE, and A WHITE WOMAN, 38, with TWO SMALL DAUGHTERS -- 
               all either sit or mill in the b.g.

               PRICE AND CLAIRE STOP SHORT at what they see.

                                     PRICE
                         Alex.

               P.O.V. -- A HANDMADE CASKET SITTING IN THE LOBBY with the 
               name, "A. Grazier" scrawled in felt pen.

               Price and Claire stand next to the box silently -- there is 
               nothing to say -- but the silence is interrupted by a familiar 
               voice that is polite, unforced, and sincere.

                                     VOICE OF HUB KITTLE
                         It was the best I would do under the 
                         circumstances. The casket, I mean.

               Awkward silence until they realize that he's sincere.

                                     CLAIRE
                         Can you help us ship it home?

                                     HUB
                         I've already taken care of it.
                              (beat)
                         I always liked the guy. I can't even 
                         get tickets for my own family, but I 
                         could get you two on the plane if 
                         you want.

               We see the woman and little girls as Hub's family.

                                     PRICE
                         Yes, please...

                                     HUB
                         Tacho's in Miami.

               A shared silence at the lunacy of the moment, interrupted by 
               the tired voice of one of Hub's daughters.

                                     HUB'S DAUGHTER
                         Daddy!

                                     HUB
                              (to Price and Claire)
                         I am sorry. I had a job to do -- 
                         that's all -- it put me in some 
                         unhappy situations.

               Hub goes over to take care of his family.

                                                                    CUT TO:

               EXT. PLAZA OF MANAGUA'S LARGEST CATHEDRAL - LATER - DAY

               Thousands of people have gathered to celebrate in loud and 
               joyous singing, led by a group on the highest cathedral steps, 
               surrounded by Revolutionary leaders waving to the crowds. A 
               SINGING GROUP sings a song to Nicaragua, and a song to Rafael.

               RAFAEL'S BODY IN A FANCY CASKET is carried in through the 
               crowd to wild cheering and singing. High over the pallbearers' 
               heads it moves through the crowds.

               PRICE AND CLAIRE STAND TO THE SIDE watching it all. The 
               celebration is joyously infectious, and for the moment we 
               can forget the bloodshed, forget the problems that lay ahead, 
               forget even the death of Alex.

               PRICE PULLS OUT A CAMERA and begins taking pictures of the 
               celebration.

               ISELA IS AT THE MICROPHONE with other Guerrilla leaders.

               CLAIRE WORKS THROUGH THE CROWD with her mike held high, 
               recording the singing of the crowd.

               PRICE BACKS UNDER THE AWNING of a stand selling refreshments, 
               and especially Rum and Coke mixtures known suddenly and 
               triumphantly as "Nicalibres." As Price snaps off pictures -- 
               a voice from an American in casual street clothes drinking 
               at the temporary bar.

                                     OATES
                         Hey, Pricey...

               Price looks over to see the smiling Oates.

                                     OATES
                         It's all over, eh? We made it. I 
                         like the singing.

                                     PRICE
                         What're you doing here?

                                     OATES
                         Free country. Now it's free, anyway.
                              (raises his drink)
                         Nicalibre!

               Oates holds up his Kodak Instamatic camera.

                                     OATES
                         How 'bout a quickie?
                              (no response)
                         No? Things are heating up in 
                         Thailand... thought I'd check it 
                         out.
                              (beat)
                         You ain't gonna turn me in, are ya?

               PRICE TURNS AND WALKS AWAY

                                     OATES
                         Am I gonna see ya in Thailand? We 
                         could be friends!

               Price keeps walking, into the crowd, where he finds Claire. 
               Oates orders another Nicalibre, and beats his foot to the 
               music.

               PRICE AND CLAIRE IN THE CROWD

                                     PRICE
                         We've got a plane to catch.

                                     CLAIRE
                         Did you get enough pictures?

               No answer -- a final complicated question from Claire -- 
               they smile. Price waves for a cab which pulls over. They get 
               in the cab and drive away.

               HOLD ON THE VICTORY CELEBRATION

                                         THE END