.

' BLOOD
DIAMOND' '
oy
Edward Zwi ck & Marshal l Herskovi t z
Dr af t
JuI y 27, 2005
THESE WORDS APPEAR:
. ' SI ERRA
LEONE, 1999"
]. INT.
-
A HUT
-
BEFORE DAWN 1
A MAN' s HAND, har dwor ki ng, r ough, l i ght . s t wi gs under a ket t l e.
Pr edawn l i ght t r i ckl es Ehr ough Lhe t i n wal l s ont o wel l wor n
f ar mi ng t ool s, . . hoe, pi ck,
axe, a yoke
f or an ox. Ani mi sU
Lot ems and charms hang. we are i n a t ypi cal Mende FARMER' S
HUT. Excepu f or Che ENGLI SH SCHOOLBOOKS on a she1f .
The HAND EhaE l i t . Lhe ket rre t , akes Ehe books of f t he shel f
and gent l y nudges a 14-year-o1d BOy awake wi Eh t hem. The
boy, Ot a i s hi s name, gr oans i n sl eepy pr ot esE.
SOLOMON VANDY smi l es down at hi s son.
SOLOMON
( i n
Mende; subt i t l ed)
Don' t want t o be 1aEe.
The boy si t s up, har f asl eep. sl eepi l y pu11s
a shi r t over
hi s head. Hi s Engl i sh i s mor e school ed t han hi s f aEher ' s.
h Y l
(
i n l t endl i " suUt i r t ed)
Engl i sh boys go
Eo school every day?
sol omon f i l l s a t i n cup of powder ed
mi l k. l l e i s a r nan mar ked
by qui et pat . i ence,
i n Lhe wor n t r ouser s and whi Le cot Eon
shi rt of a Mende f armer. He hands Ehe cup t o t he boy.
SOLOMON
( i n
Mende; subt i Cl ed)
yes,
Ehev do.
n 7 l
( i n
Mendl i ' " uu. i L1ed)
Not every day.
SOLOMON
( i n
Mende; subt i t l ed)
Ever y day. Just l i ke you.
So you
can become a doct or. Not wal k behi nd
an ox l i ke your
f at her .
The boy cat ches hi s MOTHER' s eye as she br east - f eeds hi s
TNFANT BROTHER. Hi s t wel ve-year o1d si st er, N, YANDA, snuggl es
wi t h t hem. she st i cks her congue ouE at her br ot her .
soLoMoN ( coNT' D)
Don, t wor r y. She wi l l be
j oi ni ng
you
next . year.
JASSf E sends bot h her men a ki ss as Ehey head out .
L .
JASSI E
( i n
Mende, s ubui t l ed)
Be carefuJ on the road.
Sol omon
gi ves hi s wi f e an " r know" l ook.
2 EXT. HUT
-
VTLLAGE
-
CONTINUOUS
2
Sol omon and Di a emer ge i nt o t he ear l y l i ghc. Thei r huE i s
i n a haml et ami dsc cassava paEches eeked out of t he
j ungl e.
DI A
Don' t want Eo be a doc t or .
( of . f .
Sol omon' s l ook )
f want . Eo be Pr esi dent .
Sol omon
put s hi s ar m ar ound hi m. They head i nt o t he f i el ds.
CREDTTS OVER
3 SOLOMON AS HE WORKS I N THE FI ELDS. I T I S A TI MELESS 3
PICTURE. ONE OF PASTORAL BEAUTY AND SIMPLICTTY.
4 AT NOONTIME, ,JASSIE AND N' YA}TDA GRING LUNCH. THEY STT IN 4
THE STADE OF A HUGE BEOBOB TREE.
5 DIA RETURNS HOME, CARRYTNG HIS SCHOOLBOOKS. NOW HE WORKS 5
BESI DE HI S FATHER.
a d
o T.HE STIN IS ALREADY LOW AS THEY RETURN TO THE VILLAGE 6
CREDITS END
Sol omon st ands sEock sei l l , sensi ng someEhi ng A f ew
chi ckens f l i t away wi EhouE cr owi ng. The oxen ar e ski cci sh.
SOLOMON
Go bac k i ns i - de. . . NOWI
Di a i s conf used. Sol omon pushes hi m i nco t he huE as gr i nni ng
TEENAGE REBELS appear. One wears a Tupac t -shi rt . He rakes
ever yt hi ng wi ch AX- 47 FI RE. Hut s. Ani mal s.
peopl e.
Sof omon di ves eo Lhe ground. VI LLAGERS run screamj . ng.
Chi ckens sguawk, oxen bray. A rumbl e. Two mud-spl at . Eered
PI CK-UP TRUCKS wi t h sawed-of f roof s crash t hrough Ehe brush,
f ul 1 of R. U. P. REBELS, who gui ckl y j ump
of f
- -
shout i ng,
wi el di ng machet es and aut omat i c rj . f l es, BAI {DOLI ERS OF AI vI Mo
cr i ss- cr ossed on t hei r bar e chest s, GRENADES on Ehei r be1Es.
Sol omon cower s ami dst t he gunf i r e, l ooks ar ound f r anci cal l y.
Men and boys ar e bei ng r ounded up. Hut s seE on f i r e.
Suddenl y he i s yanked up as t . wo REBELS pu1l hi m away--
. l assi e exi cs chei r huc, i nf ant i n her ar ms, mad wi t h f ear
- -
JASSI E
Sol omon !
He shouEs back. Onl y one wor d'
SOLOMON
D r r n I
She doesn' t . She
j ust
st ands Eher e scr eami ng hi s name. Now
Sol omon' s son and daught er come out of t he hut .
DI A
PAPA !
Sol omon, t he r i f l e choki ng hi m, as he' s dr agged away.
SOLOMON
RUN !
Jassi e gr abs her son' s ar m, He r esi sEs, st ar i ng i n anqui sh
at hi s f at her . BuE she t ugs at hi n. And wi t h t he ewo younger
chi l dr en i n t ow, t hey
j oi n
ot her s. Runni ng.
Sol omon wacches t hem di sappear i nco che bush.
rN THE NEXT MOME}IT
he' s rounded up wi t h t he oTHER I ' I ALES. onl y a f ew abl e-bodi ed
among t her n. Most ar e ol d, ski nny men and t er r i f i ed boys.
REBELS pr od t hem wi t h r i f l es, maki ngr t hem f or m a l i ne. Al . 1
under t he wat chf ul sungl asses of an R. U. F. COLONEL.
The PI RST VI LLAGER i s shoved t o hi s knees i n f ront of a t ree
st u: np. A muscl e-bound, SHI RTLESS REBEL wi ch a
gl eami nS
AxE
st r uLs over , hi s eyes ql azed f r om pal m wi ne and mar i j uana.
A second rebel grabs Ehe vi l l age man' s HAND and pl aces i E on
Ehe st ump. The man pu11s hi s hand away. Tupac E- shi r t puEs
Ehe Ak- 47 t o hi s head.
The choi ce i s cl ear . Your head or your hands.
The vj . 11ager t r i es Eo scr ambl e away. RAT- A- TAT! Bul 1et
t hr ough hi s head. The choi ce i s made f or hi m.
The next man i n l i ne i s made t o kneel at t he sEump.
TUPAC T- SHI RT
Long sl eeve or shor t sl eeve?
The ot her sEoned r ebel s f i nd t hi s hi l ar i ous.
ON SOLOMON, wi t nessi ng hi s mut i l at i on as t er r i f i ed WAI LS
r i se ar ound hi m. The di scar ded l i mb i s t hr own i nt o a bag.
The next i n 1i ne, A STRONG YOUNG MAN, i s pushed t o t he st ump.
4.
R. U. F. COLONEL
Not bi m. He can wor k.
The STRONG YOUNG I , I AN i s herded i nt o a wai Ei ng Cruck. NexE
comes ADI OLD MAN. Shaki ng, he of f ers hi s wi t hered hand.
ON SOLOMON. The " cr unch" of t he axe bor es i nt o hi s soul .
The o1d man i s l i f Eed t o hi s f eet i n cl i ni caL shock. BoEb
hi s f orearms end i n bl oody sEunps.
R. U. F. COLONEL
( CONT' D)
You are t he messenger. Spread t he
wor d. Guv' menE say da f ut ur e i s i n
your
hands? We say R. U. F. i s da
f ut . ur e. Revol ut i on i s at hand.
Sol omon i s nexE. He cl , oses hi s eyes as hi s hand i s pl aced
on Ehe t r ee st . ump sl i ck wi t h bl ood. The Col onel l ooks hi m
over . Mot i ons Ehe henchmen t o st op.
R. U. F. COLONEL
You wi l l need your
hands.
Sol omon i s her ded i nt o t he cr uck.
8 EXT. STERRA LEONE
--
(SEEN
FROU ABOVE)
A seapl ane soars above t he bush. AE t he sci ck, DANNY ARCHER.
He has seen more i n hi s t hi rt y years t han mos0 peopl e
have
seen i n a l i f et i me of wat chi ng bad t eLevi si on.
He scans Ehe l andscape Ehen di ps Eoward t he esEuary of a
br oad r i ver , event ual - l y spl ashi ng Co a sLop.
9 NEARBY, ON THE SANDY BANK
si tci ng i n a l awn chai r i s COMI' IANDER RAMBO, a twenty year-
oI d R. U. F. f i ghEer wi t h a goaEee,
wr ap- ar ound sungl asses,
and a Bob Mar Ley E- shi r E. Ar r ayed behi nd hi m, sever al
BODYGUARDS cr adl e aut omat i c weapons whi l e eat . i ng m&m, s. A
huge BOOM BOX t . hr obs out Tupac' s
" I f I Di e 2Ni t e. "
1O TNT. COCKPI T
FAWAZ, a Ehi n Lebanese man, si Es besi de Archer and eyes che
rebel s wai t i ng on Ehe ri verbank. Murmurs a prayer
i n Rrabi c.
ARCHER
Say one f or me, ny f r i end.
Archer cl oses hi s eyes f or a moment , t hen checks t he cl i p on
hi s 9mm si g- sauer bef or e r ucki ng i t . i nt o hi s bel t and pul r i ng
hi s shi r E- t ai Ls over i t . Takes a deep br eat h
1_0
5.
11 EXT. ON SHORE
Ar cher wades i n and appr oaches Ehe
gr oup. I magi ne Eeenager s
on a cor ner i n Bed- SEy car r yi ng AK- 47' s. Thei r menace i s
pal pabl e even as t hey l augh and pass ar ound a bi g spl i f f -
ARCHER
You ar e Col onef Zer o?
COMMANDER RA],IBO
I am Commander Rambo.
ARCHER
i { hat happened Eo CoLonel Zer o?
No r esponse. A f ew of t he r ebel s gi - ggl e.
COMI"LANDER RAIVIBO
He was noE comr ni Et ed Eo Ehe
r ev ol uEi on. You ar e her e t o hel p us
i n our st r uggl e agai nsE t he oppr essor .
ARCHER
I ' m her e Eo do bus i nes s .
They eye each ot her i n si l ence.
ARCHER ( CONT' D)
You have someEhi ng f or me.
CO}OIANDER RAMBO
Fi r sE you wi l l show me what you have
br ought .
ARCHER
No. Fi r s t
@.
wi l l pay f or c hem.
Rambo l ooks aE hi m wi t h dead eyes. Ar cher l ooks back wi t h
eyes equal l y dead. A nast y st and- of f . Unt i l Rambo hands
hi m a smal - l , f i l Ehy cl ot h SACK. Ar cher t i ps a f ew r ough
di amonds i nco hi s hand.
ARCHER ( CO} M' D)
( i n
x r i o; s ubt i El ed)
I hi s i - s noE what was aqr eed.
COI-,IANDER RAMBO
( i n Kr i o; s ubEl c l ed)
;i Y:' u:"' l l l .i i l e
Ehe weapons and
Ar cher cl oses hi s eyes agai n, l ooks back at Ehe seapl ane.
The car go door SLI DES OPEN, r eveal i ng t he muzzl e of a M- 130
As s auf E Weapon. Fawaz r ac k s i t s s l i de.
I n r es pons e, c he Rebei s s l i de t he bol Es on t hei r weapons .
11
b .
ARCHER
( i n
Kr i o; subt i t l ed)
Maybe I ' 11
j ust
do my busi ness wi t h
Ehe governnent . At l east E. he
oppr essor pays hi s bi 11s.
He t ur ns and st ar gs back Eowar d t he pl ane.
COMMANDER RAI{BO
Wai t . . . Wai t . . .
Rambo smi l es as i f i t has af f been a
j oke.
He r eaches i nt o
a r usEy cof f ee can and pul 1s out a huge handf ul of di amonds.
COI'S{ANDER RAI{BO (CONT' D)
Thi s i s what you
wanE?
t l er e. . .
So
many, I don' t know whaE t o do h/ i Eh
t hem al l .
He gest ures
f or Archer t o hol d ouE hi s hands and pours hi m a
handf ul .
COMMANDER
You br i ng a sat el l i t e di sh nexL t i me,
yah? I want t o wat ch NYPD BI ue.
11A MOMEDTIS LATER
As t he seapl ane t akes of f , we see t he r ebel s unl oadi ng cr aLes
of RPGs wi t h Ukrani an marki ngs.
12 I NT. PLANE
Fawaz gl eef ul l y
exami nes t . hei r haul .
FAWAZ
I ' m buyi ng an el ecEr oni cs st or e.
Si L on my ass al l day, dr i nk sweet
Lea and wat ch dvd' s. How abouE i t . ,
Danny?
Ar cher cl oses hi s eyes f or a moment . He i s f r ee-
ARCHER
Fl y che p1ane.
13 EXT. DI AMOND FI ELD
-
SI ERRA LEONE
_
DAY 13
An open pi t
a1l uvi al mi ne car ved besi de a
j ungl e
r i ver . Men
and boys t oi l knee deep i n rnuddy wat er. They di g wi t h t hei r
hands, shovel i ng si l t . i nt o wooden t r oughs. A1I under Lhe
waLchf ul eyes and guns of R. U. F. REBELS who st and on t he
banks passi ng
a f at
j oi nt
r ol l ed i n newspaper .
Meanwhi Le, Ehei r f eader
- -
cApr Ar N
por soN - -
spout s t wi st ed
revol ut . i onary dogrma t o t he di ggers:
I I f I
L2
t _
CAPTAIN POISON
The Freet own guv-a-ment
and Ehei r
whi t e mast ers have raped your
l and
Eo f eed t hei r greed! We have f reed
you!
No more sl ave and masEer here!
We are al l broEhers I
Sol omon. hi s back st rai ni ng under Ehe wei ght of a ci rcuLar
si . eve, pauses
t o wi pe sweat f r or n hi s eyes. He, s pr odded
wi Eh a r i f 1e, l ooks up i nt o Lhe f i er ce FACE of CapEai n
poi son.
CAPTAI N POI SON (COI VT'
D)
Back t o work ! Your work i s
your
l i ber at . i on! Wor k har der ! Di q har der !
Sol omon t ur ns back ! o hi s si eve. AMTHER DI GGER, peer s i nco
hi s si eve, pl ucks
someEhi ng out , hol _ds i c up i n hi s hand.
DI GGER
Kunaa !
A11 work st ops. A rebel comes over. The di gger hand. s hi m
t he Ei ny, mi l ky cr ysEal . A di amond. Wi t houE. a wor d, Che
Commander wraps t.he st.one i n a pi ece
of paper.
As work resumes, sol omon wat ches t he pi ece of paper handed
off to a RUNNER, who runs i t over to the SAI' {E CoMMANDER, who
si t s under Lhe shade of a pal rn
f rond umbrel 1a read. i ng a
Hust l er magazi ne. He st uf f s t he di amond i nt . o hi s shi r t pocket
wi t hout even l ooki ng at i t .
Across f rom sol omon, a 3RD DTGGER gl ances
around. Furt . i vel y
pi cks
a sLone f r om t he si eve and sl i ps i c i nco hi s mouEh.
He meeEs sol omon' s eyes. sol omon l ooks away, keeps wor ki ng.
When he becomes aware of CapEai n
poi son' s
eyes on hi m
sol omon cri es t o shake of f Ehe eyes by shaki ng Ehe si eve.
capEai n Poi son r emai ns st ar i ng aE hi m, i nt ent l y. Then, cal ml y
wal ks over co t he 3r d di gger wi cn che di amond i n hi s mout h.
AND SHOOTS HI M, ac poi nE
bl ank rangre.
Ever yt , hi ng
sEops.
poi son
t ur ns back co Sol omon.
CAPTAI N POI SON
You. Br i ng hi r n ouE.
sol omon puEs down hi s si eve. Looks at t he BoDy f l oat i nq
nex! t o hi m, t urni ng Ehe muddy waEer red
soLoMoN (V.
O. )
Dear Jassi e. I cannot . wr i ee wel l
enough t o put i n a l et t er aI I t he
Ehouqht s i n my head.
8.
14 EXT. R. U. F. DI zu' I OND CA] , I P
-
SUNSET
Sol omon devour s a meager por ci on of r i ce gr uel i n a Li n cup.
Ot her s sl eep i n t hei r f et i d cl ot hes on Ehe gr ound.
soLoMoN
( v. o.
)
Even i f I coul d, my quar ds woul d not '
l et me send i t .
15 EXT. DIA}4OND CA],IP
-
NIGHT
Sol omon si t s shi ver i ng, l ooki ng out at t he guar ds on wat ch.
Beyond, a 1i t TENT where rebel s dri nk and shout back aL a
saLel l i t e TV pl ayi ng,
" Whs WanEs To Be a Mi TTi onai r e. "
soLoMoN
( v. o.
)
I do not know where you are. I do
not even know where I am.
16 EXT. SOMEWHERE IN THE BINTUMANI FOOTHILLS
Jassi e and t he chi l dren are among a group of homel ess Mende.
Di a car r i es t he i nf ant . Hear i ng t r ucks comi nq, t hey scat t er
i nt o t he bush. An R. U. F convoy r oar s past . Af t er a momenc,
t hey r et ur n t o t ne r oad.
soLoMoN
( v.
o. )
I onl y know t hat my t hought . s f I y
over t he mount . ai ns t o you.
71 EXT. BED OF GRASS
-
NI GHT
Sol omon l ays t her e. Eyes open i n a l i vi ng ni ght mar e.
soLoMoN
( v. o.
)
I wi l l f i nd y ou.
J as s i e. f f i t t ak es
my whol e l i f e. We wi l l be t . oget her .
18 EXT. I"IOUNTAINS
-
DAY
A hi gh pass. Mi st y peaks
i n t he di st ance. A BRr LLr AI l l f RED
SHAPE comes i nt o vi ew
-
t he br i ght headdr ess of a HAUSA
SHEPHERD. He car r i es a spear as he l eads a her d of GOATS,
be11s cl i nki ng ar ound t hei r necks.
Pi cki ng up Ehe r ear i s Ar cher . checki ng a handhel d Gps. Hi s
SATELLI TE PHONE buzzes. . .
ARCHER
We' r e t wo c l i c k s f r om Ehe s t r i p.
WhaE' ve you got ?
19 EXT/ I NT. TWI N ENGI NE TURBO PROP
-
FLYI NG
-
SAI , { E
Pi l ot ed by Fawaz. He speaks i nt o hi s SAT
phone, wor r i edl y
l ooki ng down on t he dense
j ungl e
canopy.
1 A
I 5
15
l 7
18
19
20
q
FAWAZ
Exr.
raom,r-rarrv:"1"il,
sure enough, over t he hi rr, comes an armed pat rol
of ECoMoG
SOLDIERS.
The TROOP LEADER approaches
Archer.
TROOP
LEADER
paper s.
Ar cher f i shes ouc i denci f i caci on.
Hands i t over .
ARCHER
pl l i oc
Sni r h, NaEi onal
Geogr aphi c.
TROOP LEADER
you
ar e cr ossi ng
i nt o t i ber i a.
ARCHER
I have a l et Eer
f r om Ehe Mi ni sEer
of
I nE, er i or
and a Li ber i an
vi sa
as- we] f .
( as
t he Capt ai n sEudi es
che paper s)
Doi ng a sEory on t he Hausa who,
as
you
know, ar e al l owed
t o cr oss' t hl
bor der
t o get
Eo gr azi ns
Si " u" A" . '
Up above, t he t i ny pl ane
drones pasE.
The Eroop l _eader
gl ances
up, Ehen ar. Archer,
, l ? ; ; ; ; ; ""; =i u' orr"rs
an unopened
pack
of ci gar et . t , es
f r om hi s snr r t pockeE.
ARCHER ( CONT' D)
Ever read NaEi onal
Geographi c?
The Eroop l eader.
i gnores
hi m, . waLks
over t , o a goaE.
and runs
hi s hands down
Ehe goaE, s
Ui cL,
undei i l =- Jf r i r , .
Hi s hands par E
a r uf r of hai r
__
r eveal i " s
; - " ur ; i ; " i i y
sEr ai shr
l i ne
of STTTGHES
i n Ehe
soaE ; ; ki " .
Archer
f eer-s
che shape of t he
gmm
under
hi s shi rt . , 100ks
ar ound
at t he r i f l es.
Too many ot Ehem.
The Er oop r eader
t akes ouc a KNr FE and cut s
i nt o Ehe sEi cches.
The goat
squear s
a r i t . r e- r t t a-
ki cks
angr i l y.
Fr om
under Ehe goat , ' s
ski n, he t , akes a dozen smal _l ,
, i uqh, Df AI { ONDS.
The t , roop l eader
draws hi s . 45 on Archer.
TROOP
LEADER
You ar e under ar r esE
f or smuggl i ng.
Af(LHts.r(
Now you
l i st en
her e, my man. I am a
good
f r i end
of l t i ni st er
Somor a.
He
wi l l noc be pl eased
you
f . " r u- -
l nEer t er ed
wi ch
hi s busi ness.
20
10.
Cl ear l y Ehe name of Mi ni st er Sor nor a car r i es some wei qhE.
' '
ARCHER
(coNT' D)
You know who I am, don' t you? WhaE
I am. . . ? I don' t t hi nk you want Eo
mess wi Eh me, Or my f r i ends, eh?
( changes
hi s t . ack)
How about I
j usE
l ook Ehe ot . her way
and you pocket
one or Ewo of Ehose
sEones. Buy someLhi ng ni ce f or E. he
wi f e. Or maybe Ehe mi st r ess, eh?
(re
t he shepherds)
Who' s goi ng Lo t e11? Ther n?
The shepher ds l - ook, uncer t ai n, f r on Ar cher t o t he sol di er .
TROOP LEADER
No.
The Er oop l eader FI RES. One of t he shepher ds f al 1s dead.
rhe ot . her i -s cut down as he t ri es t . o f l ee, The l eader f rowns
aE Archer, whose worLd has suddenl y
t . urned upsi de down.
TROOP LEADER ( CONT' D)
We wi l l go
back t o Freet own and ask
Mi ni st er Somor a how he wi shes Eo
t hank hi s busi ness associ aEe.
2I INI. AN AIVOIIn.IOUS ROOM
-_
DAY
Archer i s handcuf f ed Eo a chai r. A l argre, rot und FI GURE
enEer s, si l houeLEed agai nst t . he br i ght wi ndows.
ARCHER
Mr . Mi ni sEer , t her e seens t o have
been a Eer r i bl e mi sunder sE- _
SOMORA BACKHANDS hi m. Archer' s head rocks backwards.
MINISTER SOMORA
I t hought . we were f ri ends.
ARCHER
you ,
r e r i ghE, you' r e r i ghE. . . . I
Eook a 1i t t . 1e i ni t . i aui ve buL__
Anot her SLAP.
MI NI STER
SOMORA
Have I noE been good
t.o you?
ARCHER
( I i c k s
hi s s p1i t . 1i p)
absol ut el y.
And I was pl anni ng
t o
cuE you i n. Haven, L f al ways been__
2L
Thi s SLAP knocks Ar cher ' s chai r backwar ds Eo t he cemenE. He
l i es t her e f or a moment . Somor a f ooms over hi m.
ARCHER
( COMI ' D)
Look . . . i f y ou want ed t o k i 11 me,
you woul d' ve done i t al r eady. So
what i s i t you want me t o do?
Somor a smi l es. One of hi s Eeet h has a t i ny di amond.
22 INT. THE TINITED NATIONS
-
NEW YORK
-
DAY
The SECRETARY GENERAL of Lhe UN Addr esses a a f u11 ASSEI , I BLY.
SECRETARY GENERAL
We pr opose Ehen t o pr ohi bi t t he di r ect
or i ndi r ect i mpor t of al l r ough
di amonds f r om conf l i ct zones t o t he
t er r i t or y of Member St at es
He l ooks at t he f r ont r ow wher e TWO MEN f N SAVI LLE ROw SUI TS
si t among t he Repr esent at i ves. One i s sandy- hai r ed, 4Q, hi s
name i s SI MMONS. He ser ves a di st i ngui shed- l ooki ng ol der
man, 60, wi t h a shock of whi t e hai r . Hi s name i s DE WEl t TE.
SECRETARY GENERAL
(COI\lll'
D)
As we know, t hese st ones ar e onl y a
smal 1 per cent age of t he l egi t i mat e
:i$fi :,
i:l:li"i: ;::rli:;5,
:3x"n:, .
suppor t of such a ban.
The wel l - dr essed di amond i ndusEr y r eps smi l e back.
23 LATER
-
CHAMPAGNE I5 SERVED
i n a r ecept i on ha11. The Di amond i ndust r y REPS and WI VES
mi ngl e wi t h I JN MEMBERS and ot her DI GNI TARI ES. US AMBASSADOR
WALKER appr oaches De Went e, hol ds out hi s hand.
AMBASSADOR WALKER
l i l i st er De Went e. . . Judd Wal ker - -
DE WENTE
Ambassador . Good t o f i nal l y meet
y ou.
AMBASSADOR WAIKER
You don' t . spend much t j . me t hi s si de
of t he At l . an: r c .
DE WENTE
f ' m hopi ng t o c hange t hat . Per haps
wi c h y our hel p.
Z Z
Z J
l a
L a .
AMBASSADOR WALKER
Mr . De Went e, f ' m af r ai d I don' t
have much f ai t h i n any i ndusEr y' s
abi l i t y t o pol i c e i es el f .
DE WENTE
I assur e you,
si r , we bot h want t he
same t hi ng. These
' conf
l i ct ' st . ones
puE t he l egi t i macy of our ent i r e
busi ness ac r i sk.
De WenEe' s young bl onde WI FE appear s aL hi s si de. I t ' s har d
t o deci de whi ch i s mor e beauEi f ul , Ehe woman or t he t wo-
mi l l i on- doI l ar DI AMOND NECKLACE she' s wear i ng.
DE WENTE
( CONT' D)
Dar 1i ng. . . Thi s i s Ambassador Wal ker .
DE WENTE' S WI FE
How ni ce t o meet vou.
oe weNre
( hi s ar m ar ound her )
f C' s my bel i ef
, Ar nbassador , Ehat
di amonds shoul d be associ at ed wi t h
romance and beaut y. Not warf are.
Don' t you agr ee?
How can t he Anbassador not be d. azzl ed? From t he gl i cCeri ng
di amonds, we cut t oi
24 EXT. DI AI {OND FI ELD
-
PI T
-
DAY
24
Sol omon works i n t he muddy wat er, hi s eyes t ransf i xed by t he
spar kl i ng r ef l ect i ons of t he r i ver and Lhe swayi ng t r ees
t hat seej n so unaf f ect ed by t he br ut al i t y beneat h.
soLoMoN
( v. o.
)
Dear Jassi e. How can i t be t hat one
sEone i s wort h more t han anot her?
Sol omon wi 11s hi msel f back t o t he soul - ki 11i ng wor k.
Suddenl y, a WATER PUMP BREAKS
--
gushi ng
l i ke a f i re hose
--
knocki ng over Sol omon and sever al di gger s. Sol omon, s si eve
i s swept down r i ver . He swi ms af t er t he Sf EVE. Gr abs i t .
sl oshi ng hi s way back, when he st ops. . .
There, underwat er, by t he ri verbank, i s somet hi ng SHI NY ENOUGH
t o r ef l ect . t he sun. As t he si l t washes away, t he obj ecE
remaj . ns underwat er, A ROCK of a st . art l i ng pi nk
col or.
Sol omon bl i nks down at i t . . The DI AI ' I OND sparkl es up at hi m.
13.
soLoMoN ( v.
o. )
( coNT' D)
And how can a Ehi ng E.hat comes from
our moc. her t , he eart . h be so beauEi f uL
as E, o make peopl e want t o ki I I ?
Sol omon l ooks around. Rebel guards are f i xi ng Ehe pump,
shout , i ng at . di grgers E. o geE
back t o work.
sol omon scoops t he di amond i nEo hi s si eve, cover s i t wi t h
si l u. Hi s hear t i s poundi ng as he wades back t . o Ehe bank.
REBEL GUARD
You daydreami ng? Get back t . o work!
sol omon nods.
Qui ckl y submer ges hi s si l t - heaped si eve.
25 EXT. I'IIDERNEATH THE MUDDY WATER
-
COMIINUOUS
sol omon overt . urns t , he si eve. Hi s BARE Foor cat ches E, he
di amond.
26 EXT. ABOVE THE WATER
-
SAI'{E
sol omon r ai ses hi s hand Eo get .
t , he guar ds,
at t ent , i on- He
cl uEches hi s abdomen, pai nf ul l y.
SOLOMON
I musE go
badl y.
( pl eadi ng)
Can' E hol d i E i n, boss .
The guar d mot i ons hi m out . sol omon cl i mbs ouE, sl i di ng hi s
second f oot car ef ul l y. He shuf f l es t o t he edge of t he
j ungr e.
CAPTAI N POI SON
SEop.
sol omon f r eezes.
poi son
sear ches sol omon. sEar t i ng wi t h
hi s hai r , hi s ear s, nose. squeezi ng hi s cheeks t o 6ee i nuo
hi s mouEh. Fr i ski ng hi s panEs,
unr ol l i ng hi s cuf f s.
CAPTAI N POI SON ( CONT' D)
Li f t y our
f ooE.
Sol omon r i f t s hi s r i ghE f oot . They check bet ween hi s Eoes.
CAPTAI N POI SON ( CONT' D)
The ot , her.
sol omon, l ooki ng i nEo
poi son, s
eyes, l i f t s hi s l ef t f ooE, .
Poi son checks bet ween Ehe Eoes. Saci sf i ed.
CAPTAI N POI SON (COMrD)
Make i t gui ck.
cl , osE oN sol oMoN' s Foor, as he l owers i t . The Eoes curl
l nt o Ehe sof t muddy ear t h, obvi ousl y r et . r i evi ng someEhi ng.
t )
26
1 A
2' 7 EXT. EDGE OF JLTNGLE
-
MOMENTS LATER
21
As Sof omon sguat s behi nd a f al Len t ree, he eyes t he guards
t hr ough t he br oad l eaves.
Qui ckl y,
hi s t oes r el ease t he r nuddy gob under hi s f ooL. He
r ubs t he mud of f i t . r t ' s r aw beaut y i s al most unnat ur al ,
He gl ances back t o make sure he i s unobserved and t hen ri ps
t he cuf f of f hi s pant s.
A CLI CK at hi s head,
SoLonon sI owl y l ooks up i nt o t he BARREL OF A COLT . 45.
CAPTAI N POI SON
Gi ve i t Lo me.
Sol omon doesn' t move. What di f f er ence does i t make? He
awai t s t he cr ack of t he gun,
when:
A MORTAR ROUND COMES SCREAMING OUT OF THE JUNGLE.
THE EXPLOSI ON knocks Sol omon t o t he ground.
MORE MORTARS. ECOMOG government t roops appear, f i . ri ng
auLomat i c weapons. Sol omon scr ar nbl es over t o Poi son' s bl eedi ng
body, removes t he MACHETE f rom t he bel t .
As shr apnel shr eds t he gr eener y,
he f ur i ousl y di gs wi t h t he
machet e. Wraps t he DI AI {OND i n hi s ToRI v GREEN CUFF and pl ant s
i t i n t he hoI e.
When he i s STRUCK I N THE HEAD BY A RI FLE BUTT.
He f al l s. ECOMOG SOLDI ERS ar e shout i ng at . hi m i n Mende.
Sol - omon r eal i zes he st i 11 hol ds t he machet e, l et . s Lt . dr op.
SOLOMON
Don' t shoot ! I am not R. U. F!
Around hi m ECOMOG sol di ers beat t he rebel pri soners
wi t h
st i . cks i n t he di st ance, ot her s ar e EXECUTED aL r andor n.
28 ExT. FREETOI^IN
-
DAY 28
A convoy of MI LI TARY TRUCKS r ol l s t hr ough t eemi ng st r eet s.
Women wal k wi t h basket s on t hei r heads, t r i bal bel 1s
j i ngl i ng
ar ound t hei r ankl - es. " Busi nessmen, ' i n whi t e sui Cs si p Coca-
Col as out si de a hot e1. A UN hel i copt er ci r cl es over head.
29 ExT. BACK oF A MI LI TARY TRUCK
-
SAME 29
Sol omon si t s chai ned t o ot her r ebel pr i soner s. He' s never
been t o a ci t y, never seen so many peopl e. I t ' s over whel mi ng.
1 : .
He sEares aE t he BEGGARS who run al ongsi de. War orphans,
t he same age as hi s own son. He searches every f ace
30 TNT. FREETOWN PRISON (PADEMBA
ROAD)
-_
DAY
Archer l ooks up f rom a game of sol i Eai re as REBEL
pRrsoNERS
ar e mar ched past . hi s dank ce1l .
REBEL #1
R. U. F. i s eomi ng! Oper aUi on Chop
Hands I GeE ready, my brot hers !
Ar cher cur ns hi s act ent i on back co hi s game as Ehe ce11 door
nexE Eo hi s i s opened and Sol omon i s E. hrown i n.
SOLOMON
f ar n noE R. U. F. My name i s Sol omon
Vandy ! f amaf ar mer !
Ar cher assesses hi m. Sol omon gr i ves
hi m a har d st ar e.
MORE PRTSONERS are broughc i n, one carri ed on a st reccher.
A bandage covers hal f hi s f ace. But when he t urns hi s head,
we see t hat i t ' s capE. ai n
poi son.
Sol omon t ur ns away.
Poi son l i f cs hi s head, sgui nt i ng Ehr ough Ehe CELL BARS.
CAPTAI N POI SON
What . di d you do wi r h i t ?
Sol omon doesn, E acknowl edge
poi son.
CAPTAI N POI SON (CONT'
D)
I ' r n t . al ki ng t o youl you
hear mel ?
Where i s uhe di amond! ?
Ar cher pr i cks
up hi s ear s, buE, goes on pl ayi ng
sol i Eai r e.
CAPTAI N POI SON ( CONT' D)
A pi nk
di amond. f saw you
uake i t ! I
Ar cher ' s hand- , f l i ppi ng over a car d, st ops. Li sueni ng
i nt . enCl y now buE car ef ul not t o show i U.
SOLOMON
you
are mad. I do not . know you.
CAPTAI N POI SON
I saw i u wi Eh my own eyes | !
Poi son reaches
i nt . o hi s sweaE sEai ned shi rt . , an rVoRy CHARM
f r om ar ound hi s neck. Hol ds i t up f or al l t o see.
CAPTAI N POI SON (CONT'
D)
Thj _s bi g! Bi ggest I have ever seen! !
Sol omon j ust
shakes hi s head, absur dl v.
30
r 9.
BU? ARCHER' S EYES. . . ar e on che i vor y char m, even as he keeps
pl ayi ng sol i t ai r e. Poi son ca11s t o t he guar ds.
CAPTATN POI SON
( CONT' Di
I wi l l gi ve a t . housand dol l ar s Eo
t he man who cuEs i t out of hi m!
These words do somet . hi ng t o Sol omon. He st ands and ri ps of f
hi s shi r t . Then hi s t or n pant s. Ever ychi ng. Unt i l he st . ands
compl et el y naked, f aci ng Capt ai n Poi son Ehr ough t he bar s.
SOLOMON
Where i s a di amond? Do you see a
di amond! ? You devi l s have t aken my
f ar ni l y. My home. Ever yt hi ng! Her e!
Look! What i s l ef r t ? What . i s l ef t . ! ?
I f Ehere i s a di anond, t hen you are
t he one who has t aken i t ! !
Poi son l i f t s hi s upper body f r om Ehe st r et cher .
CAPTAIN POISON
Li ar ! He' s a LI AR!
The army guards have had enough. They si l ence Poi son wi t h a
r i f l e but t t o t he f ace. As t hey dr ag hi m away, Ehey gi ve
Sol omon a " goE my eye on you,
Eoo" g1ar e.
Ar cher l ays out a new hand of sol i t ai r e. Hi s eyes move t o
SoLomon, t hen away. He' s hear d al l he has Eo.
Sol omon begi ns put t i ng hi s cl ouhes back on. The f ur y st i 11
i n hi s eyes. Thr ough Ehe bar s, he gi ves Ar cher a f i nal g1ar e.
Ar cher t ur ns away,
j ust
keeps pl ayi ng
car ds.
But t hen ever so car ef ul l y he pi cks out t he ACE OF
DI AMONDS. Fol ds i E i n ha1f . He get s
up and goes
r o hi s
ce1l door . Wai t s unt . i 1 a
pRI SON
GUARD
passes
bv.
ARCHER
Excuse me, br ot her . Thi nk you
coul d
get a message Eo Mi ni st er Somor a?
The pri son guard sees t he PACK oF CTGARETTES
-
and t he f ol ded
card
-
t hat . Archer hol ds t hrough t he bars.
3] . EXT. PRI SON GATE
_-
NEXT DAY
3J.
Ar cher wal ks out i nt o t he st r eet , bl i nks i n t he sunl i qht .
ACROSS THE STREET
-
THE SA}TE SCENE
i s observed i n uhe REARVIEW MIRROR of a parked
car by a man
wi t . h a reddi sh crewcut . Hi s name i s , JOOST-
FAWAZ appears and hands Archer hi s hat.
'1
1
FAWAZ
How on eart h dl d you get Ehem t o 1et
you go?
f | l l LN. gK
I her e' s a f ar mer i n t her e. He
.
mi ght ' ve f ound a
Pl nk.
FAWAZ
i l i ur| ?. 1. r"o.
rol d Somora
you' d geE
fII1L11.E.r(
I need t o cont act our f r i ends i n
London.
FAWAZ
I t hought we wer e wor ki ng f or Somor a.
ARCHER
0l ho needs Somor a i f t he
pi nk
i s r eal ?
Ar cher can t . el 1 t hac Fawaz i s hol di . ng sor net hi ng back.
ARCHER
( CONT' D)
- -What
?
FAWAZ
London wanEs not hi nq mor e t o do wi t h
v ou.
Fawaz hands hi m a newspaper cl i ppi ng.
Al (Ln.gK
(
reads )
" The ar r est i n Si er r a Leone on June
One of Dani el Archer, f ormer mercenary
and smuggl er wi t h Ei es Eo t he De
u:::;,:iil;"S,:;lH'ollflnii:l';,:l:,,
( cr umpl es
i t )
Fucki . nq hel 1 .
He st ar t s of f down t he sEr eeL, cal l i ng over hi s shoul der .
ARCHER
( CONT' D)
Hi s name i s Sol omon somet hi ng. . ,
Mor Egage t he pl ane
i . f you have co
- -
j ust gec hi m ouc .
32 INT. A SHABBY ROO}T IN AN APARTMENT HOTEL
--
DAY
Dr i ppi . ng wer f r om a shower , Ar cher i s wor ki ng t he phone.
32
ARCHER
(on
t he phone)
We1l , can you
t . eI l Mr . De Went , e
Danny Archer cal l ed? Archer.
A. . . R. . .
JUMP CUT
-_
LATER
--
ANOTHER CALL
Ar cher smokes hi s t ent h ci gar et t e_
ARCHER
( CONT' D)
( on
t he phone)
What t i me di d he say he' d be back?
JIIMP CUT
--
LATER
--
ANOTHER CALL
Ar cher pounds
hi s f i st i nco a waf J.
ARCHER (CONT' D)
Yes, he def i ni t el y knows what t hi s
i s i n r egar d t o. . .
yes.
. . .
Yes . . . . f ' v e been ho1di ng. . . .
I n f r ust r aci on, he t hr ows t he phone
acr oss t he r oom.
33 EXT. FREETOV,IN STREET
--
DAY ??
Archer l eaves t he shabby hot el , havi ng changed cl ot hes. He
i s mobbed by che i nevi t abl e
swarm of beggari who carr hi m by
name. . . . " Ar r r - cher r r , Ar r r - cher r . "
ARCHER
pi s s
of f .
He pushes
hi s way pasE, wi t hout a t . race of compassi on.
MEANWHILE
--
THE DOOR TO ARCHER' S HOTEL ROOM IS KTCKED OPEN
. roosr, t he man we saw survei l ri ng
Archer, ent . ers and begi ns
t o SEARCH t he r oom. . . He i s pr of essi onar -
and. br ut al
- -
r l ppi ng
apart beddi ng,
.
smashi ng t he phone
machi ne, even sri ct i ng-[ r-r"
car pee i nt o chi n st r i ps wi t h a r azor bl ade.
I t i s cl ear he i s l ooki ng f or somet hi ng qui t e
smal l .
EXT. BEACH BAR
--
DAY
Ever y r a/ ar zone- has
a pl ace l i ke t hi s. Sol di er s, smuggl er s,
oppor cuni scs
of , ever y st r i pe st and shoul der t o shoul der at a
bamboo bar. Bad guys
and do-gooders,
uN workers and eco-
backpackers dri nk overpri ced, wat ered-down
l i quor, i rade
gossi p,
and hook up f or desper at e
expat r i at e sex.
, , Si er r a
Af r i gue"
bl ends Af r i can dr ums and el 6ct r i c bass.
Every now and ! hen, i n
ghe
di st ant hi l l s, t he mut ed souND oF
AN EXPLOSI ON and a ri si ng COLUMN oP SMOKE. No one pays
any
at . t ent . i on. Ther e i s ser i ous dr i nki ng
Eo be done.
) A
35
34
35
19.
As Archer shoul ders hi s way pasc, we OVERFI EAR bri ef sni ppet s
of conver saEi on. A Ni ger i an peacekeeper hi Es on a t i psy
bl ond Red Cross Worker.
PEACEKEEPER
t hi s pl ace i s noEhi ng but husEl er s
and dopers. I wi l l t . ake
you back t o
Ni ger i a. Show
You
Ehe r eal Af r i ca.
RED CROSS WORKER
I s Ehat , so?
He whi spers i n her ear and she
gi ggl es. NexL t o Uhem, Ewo
SUI TS f rom Ehe Chemi cal Bank:
SUI T #1
Fi f t . y Ehousand i n cash. And EhaL' s
j usE
Eo get a meeci ng wi t h hi m.
SUI T #2
The onl y di f f er ence beEween t he cr ooks
who r un t he count r y and t . he R. U. F. - -
The AFRI CAN BARTENDER
(M' ED)
serves Chei r dri nKs.
AFRICAN BARTENDER (M' ED)
- - i s
f i f t y mi 1es. Wor d on de scr eeE
dey t ook Marampa yesEerday,
He poi nEs
up i nt o t . he hi l 1s wher e anoEher expl osi on r i ses.
AFRI CAN BARTENDER
( M' ED) ( COMT' D)
Ti me t o r econf i r m dose f l i qhc
r eser vat i ons, maybe.
Archer approaches t he bar. Hi s arri val i s cause f or several
whi spered remarks among t hose i n Ehe know.
AFRI CAN BARTENDER (U' EO1 (CO}f l I ' D)
How de body, 1"1r. Archer?
ARCHER
Ever y day above gr ound,
M' ed. . .
( I ook s
Eo t he hi l l s )
Your r ebel f r i ends pl anni ng
co vi si c
us one of Ehese davs?
AFRI CAN BARTENDER (M' ED)
Oh, I
' magi ne
dey come do some
shoppi ng verrry soon.
He l aughs dar kl y. Ar cher sal ut es hi m wi Eh hi s dr i nk. Near by,
an ATTRACTfVE WOMAN Eaps her sw:-zzl e sei ck on Ehe bar as
Oasi s ' " Par Cy Li k e I t ' s
' 99"
ends :
A A
z v .
RADTO AI{NOUNCER
(V.O.
)
Thi s i s Ehe Voi ce of Amer i ca. AnoEher
good day on WaI 1 SEr eeE, , Ehe Dow
l Tones up t went y- f i ve poi nt . s,
t . he
Nas dag up f or t y . . . I n t he Whi t . e Hous e,
Pr esi dent Cl i nt on agai n def ended hi s
r eLaEi onshi p wi t h Moni ca Lewi nsky- -
The woman near Ar cher speaks up:
WOMAN
Ar e you l i st eni ng t o t hi s? The
wor l - d' s f al - I i ng apar t and aLl we
hear about i s Bl owj obgac e. . .
Ar cher t ur ns t o MADDY BOWEN. Maddy' s a
' handf ul '
whose beaut y
bel i es t he ki nd of f i er ce i nt el l i gence t hat sends most men
r unni ng f or Ehe door . Ar cher l i kes what he sees.
ARCHER
When' s t he l as t t i me t he wor l d was n' t .
f al l r nq apar t ?
MADDY
Oh. A r eal i s t , Been Eher e, done
t hat , goE t he t * s hi r t . I s t hat . i t "
ARCHER
Danny Ar cher .
MADDY
Maddy Bowen.
ARCHER
( appr ai s i ng
her )
Amer i can.
MADDY
Gui l t v .
ARCHER
Amer i cans usual l y ar e.
Maddy r ai ses an eyebr ow. He pl ays
r ough. She l i kes i t .
MADDY
Ouch.
ARCHER
Don' t . t . eI I me, y ou' r e
her e t . o mak e a
di f f er ence .
MADDY
And you' r e
her e t o make a buck.
Ar c her s mi l - es . I t ' s been a l ong t i me s i nc e he was i nt er es t ed.
2I
Archer
Archer
ARCHER
See t hat guy? Gover nment mi ni scer
caught
pockeui ng di sast er r el i ef
money. Bad move, know why? Wasn' t
gi vi ng
a bi g enough cut uo hi s boss. . .
( poi ncs
near by)
Thac one. . . ? Se1l s AK- 47' s Eo c he
r ebel s and wai Es f or a cease- f i r e co
buy
' em
at a di scount , t hen af cer
t he f i ght . i ng st ar t s agai n, se11s
t hem back at a pr of i t .
MADDY
And your poi nt
i s?
ARCHER
The poi nt
i s , i t ' s Af r i c a. Ther e i s
no poi nt . You want . anocher ?
MADDY
Vodka. Rocks.
cat ches Med' s eye
- -
who nods appr ovi ngl y
ARCHER
M' ed. Same aqai . n.
MADDY
You wer e bor n her e?
ARCHER
Rhodesi a.
MADDY
You wer e t her e dur i ng t he war ? Musu
have been r ouqh.
ARCHER
( o: i er i ng
not hi ng)
Lov ed i c .
MADDY
And you' r e a smuggl er .
ARCHER
Arn I?
MADDY
Somehow I don' E t ake
you
as che UNI CEF
c)&e.
j us u
s mi l es .
MADDY ( CONT' D)
T was goi ng t o say
' sol . di er - of
-
f or t une' buu i t ' s s uch a cl i che.
at Maddy.
ARCHER
How about hi r ed gr un. Peopl e seem t o
l i ke t haE one.
MADDY
Di amonds?
ARCHER
What i f I t ol d you I was a mi ssi onar y.
MADDY
(
l aughs )
For De Went e?
ltt{'LrlE.t{
I t ' s not
j ust
r ude t o ask t hose ki nd
of ques t i ons , Ms . Bowen, i t ' s al s o
dangrerous.
MADDY
1' 11 t ake my c hanc es.
( 1eans cl oser )
So. . . t e11 me about bl ood di amonds.
And t hen, suddenl y, Ar cher
get s i t . Hi s f ace t ur ns t o st one.
ARCHER
. . . You' r e a
j our nal i st .
MADDY
That ' s r i ght .
Ar cher sEands up f r om hi s st ool .
AJ1Lrl Et(
Pi s s of f .
He Ehrows some money ont o t he bar. Maddy f ol l ows hi m out .
36 EXT. BEACH BAR
__
COITTINUOUS
MADDY
De Went e Di amonds cl osed i t s buyi ng
of f i ces her e t o avoi d U. N. sanct i ons.
But t hey' r e usi ng cut - out s t o buy
sEones f rom Ehe rebel s on t he cheap.
That way nobody accuses t hem of
pr of i Ei ng f r om Ehe war
- - whi ch
t hey
cl ear l y ar e.
ARCHER
I ' m s hoc k ed.
? 6
23.
MADDY
-
I::.::'=:"if;:$ :il';3"'i":3.'::5-r..
y ou r oE i n
j ai 1.
( gr abs hi m)
Don' t you want a chance Eo get even?
He keeps wal ki ng.
MADDY ( CONT' D)
Hey, wai c a second.
She
qr abs
hi s ar m. Moves cl oser .
MADDY
( CONT' D)
( t he
s l i ght es c s ex ual
pr omi se )
Hel p me out her e. . .
He c an' t hel p but gi v e a bi t t er l augh.
ARCHER
Maddy, r i ghC?
( s he
nods )
. . . Us ua11y I l i k ed t o be k i s s ed bef or e
I get f uc k ed.
He wal - ks of f , l eavi ng her t o t he i nevi t abl e swar m of beggar s.
JI I NT. ARCHER' S HOTEL ROOI ' {
- -
AFTERNOON ( MUSI C
OVER)
Ar cher wal ks i n and sees che wr eckage of hi s l i f e.
]N THE BATHROOM
_-
MOMENTS LATER (MUSIC
O\rER)
Ar cher st ar es ac hi msel f i . n che r emai ns of hi s mi r r or . He
opens a boeEl e of vodka and chugs i c.
38 A FLASH CUT
--
GRAINY BLACK & WHITE
Souch Af r i can Secur i t y For ces BREAK DOWN a door and r oust a
sl eepi ng mi ddl e- aged ANC suppor t er f r om hi s bed. Hi s wi f e
SCREAI " I S as Ar cher put s a bag over t he man' s head.
39 BACK TO THE BATHROOM
Ar cher t akes a l ong pu1l of vodka and Losses t he boEcl e.
Wi t h a pl i er s he gr i ps
a f al - se cr own at op A BACK TOOTH.
40 A.TVOTHER FLASH CUT
- -
GRA]NY BLACK & WH]TE
The Bl - ack pr i soner
i s naked, t i ed t o a chai r . we do noE see
what i s bei ng done co hi m. I nst ead, we sLudy Ar cher ' s f ace
as he wat c hes .
5 t
3B
39
40
z 4
{ l - L
A ' 1
+ z
43
A' >
43
BACK TO THE BATHROOM
Br i ghE dr ops of bl ood dr i p i nt o t he si nk. I gnor i ng t he
i ncredi bl e pai n, Archer ri ps ouE Lhe crorrrn.
I nt , o hi s pa1m, he Eaps a bl oody ROUGH Df AMOND.
EXT. RAWDON STREET
(FREETOWN)
-_
ST' NSET
(MUSIC
OVER)
A crowded st reet of l i t . cl e STOREFROI {TS wi t . h hand-pai nEed
si gns of di amonds. St r eeE mer chant s l i ck t . hei r
pal ms
and
hi ss as Ar cher passes.
I NT. FAST EDDTE' S
- -
LATER
( MUSI C
OVER)
Q A A
hi s
4 4
Li ECl e mor e t han a cor r ugat ed shack. We
and r el . uct ant l y accept i ng l ess cash Ehan
INT. FREETOWN
-
STREETS
_
LATER THAT DAY
Joost i s wai t i ng i n Ehe r oad, maki ng no
Archer haggl i ng,
st . one i s wor Eh.
aEEempt Eo hi de.
A\II'U T! E T1
Joost , .
JOOST
Long t . i me, mat e.
ARCHER
How' s AI i c e?
JOOST
We11, Ehank s .
ARCHER
Ti r n must be i n co11ege.
JOOST
Bi g k i ds , bi g pr obl ems . . . y ou
k now.
ARCHER
Company' s doi ng wel l ?
JOOST
Can' E compl ai n. El even war s on t he
c ont i nent . , bus i nes s i s br i s k .
( l ook s
ar hi m)
Hear d you had a bi t . of E. r oubl e i n
t he bush.
ARCHER
Somor a cal 1ed you.
JOOST
Mi ni st , er Somor a and t he Col onel ar e
ol d f r i ends .
25.
JoosE smi l es. Ar cher Eakes out a pack of ci gar et t es, of f er s
one. JoosE demur s. Ar cher pat s hi s pocket . s f or a maEch.
ARCHER
coe a l i ght ?
Joost r eaches i nt o hi s pocket . ,
t . akes out a l i ghEer . As he
l eans i n co l i ghE Ar cher ' s ci gar eEEe- -
ARCHER GRAES HIS HEAD AND SMASHES IT DOWN ONTO HIS UP-THRUST
KNEE, LOW-PUNCHES HI M I N THE GROI N, SWEEPS HI S LEGS OUT FROM
L' NDER HTM, AND THEN STOMPS HIM IN THE KIDNEYS.
ARCHER ( CONT' D)
NexE Ei me t he Col onel has a quest . i on.
A11 he has co do i s ask.
He wal ks away, l eavi ng Joost . wri Chi ng i n che st . reeE.
45 EXT. CAPE TOWN AI RPORT
--
DAY (MUSI C
OVER) 45
Archer pays
cash f or a round-t ri p t i cket Eo London.
45 EXT. LONDON
(CHARTERHOUSE
STREET)
-_
DAY (MUSIC
OVER) 46
The gl obal nexus of t he di amond Erade. A cab pu11s
up and
Ar cher get s ouE, wear i ngr a sui E.
ACROSS THE STREET, a smal l group of PROTESTERS wi rh si gns
t haE r ead, " No Bl ood Di amonds,
" and
' DTC
Funds Tor t ur e. ' ,
One si gn has a drawi ng of a di amond ri ng on a severed f i nger.
4' 7 TNT. DIAITIOND TRADING COMPANY
(DTC)
--
DAY (MUSIC
OVER) 4' 7
Ar cher passes
Ehr ough secur i t . y: f i nger pr i nt . r eader , scanner ,
t he works. He i s buzzed rhrough an ANTI -BAI LI STI C DOOR.
48 I NT, I N A WAI TI NG ROOM 48
He gl ances
at Ehe wel l - l j - E di spl ay cases
- -
one of whi ch
f eaEur es a r epl i ca of ehe 530- car ac
" SEar of Af r i ca" .
A FLAT-SCREEN MONI TOR
pl ays
a Ri dl ey ScoEt commer ci al f or De WenEe di amonds.
RomanEi c. Fl ashy. A young man pr oposes
Co a beauEi f ul
bl ushi ng gi r 1. An ol der coupl e cel ebr at e t hei r anni ver sar y.
Rappers weari ng
' b1i ng'
on t . he Grammy Awards.
DTC CLERK
Mi sEer Si mmons wi l l see you now.
49 I NT. DTC EXECUTI VE OFFI CES
*-
DAY 49
ROLAND SI MMON' S of f i ce i s t asEef ul and i nof f ensi ve. So i s
Rol and Si mrnons. We l asr saw hi m at . Ehe UN.
zo.
S]MMONS
Come i n. Come i n. Tea?
ARCHER
No Ehanks.
SIMMONS
So. Whac br i ngs you Eo London?
ARCHER
Reg. . . Spar e me.
Si mmons adj ust s t he Er ouser s of hi s bespoke sui t . He' d r aEher
t al k about anyt hi ng but busi ness, but i f Ar cher i nsi sEs:
SIMMONS
A mont h ago, of f i cer s of t hi s company
sat i n f r ont of t he Uni ced Nat i ons
and pl edged co uphol d a ban on
" conf I i ct " di amonds.
( l ooks
out t he wi ndow)
We ar e no l onger accept . i ng t he st ones
you suppl y. I ' m t r ul y sor r y you' ve
come al l t hi s way, but our
r el at i onshi p i s of f i ci al l y over .
Ar cher Looks ar ound. Real i zes-
ARCHER
You' r e r ec or di ng t hi s .
Si mmons smi l es. Ar cher doesn' t gi ve a shi t . Recor d t hi s.
ARCHER
( CONT' D)
You' r e l osi ng your hol d on t he gl obal
mar ket . Bi S f i nds i n Russi a, Canada.
You need me more t han ever.
Si r nmons gl ances at hi s wat ch.
SIMMONS
You don' c pl an t . o l ecEur e me on t he
t r ade, do vou?
AT(UtsItsK
The t r ade? Oh, t hat has such a ni cer
r i ng t o i t t han " c ar t el , " " Car t eL"
i s f or Col umbi an dr ug deal er s and
oi l s hei k s . f t ' s s o. . . unbec omi ng.
Archer stands and wal ks to a FRAI4ED WALL PHOTO of the
di st i ngui shed ol der MAN whom we l ast saw at t . he t JN.
ARCHER
( CONT' D)
But s i nc e i t ' s
j us t
t he t wo of us ,
Reg, l et ' s c ut t he bul l s hi t .
( MORE)
z t .
ARCHER (COMr'
D)
You' v e got
ei ght - bi l l i on- dol l ar s -
wor t h of st ones gat her i ng
dust . i n
t hose vaul t s downst ai r s.
( l eans
f or war d)
I f y ou di dn' t k eep
' em
of f t he mar k et ,
t hat r ock on your f i nger woul d cost
l ess t , han your shoes.
SIMMONS
Fi ne. Wr i r e a book . Tel l t he BBC.
ARCHER
( cont i nui ng
over hi r n)
- - Whi ch
Ls why i t woul d be a shame
i f , st sy, anoEher company got al l t he
pr ess, noL t , he ment i On t he pr of i t s
f r om Ehe l ar gesE pi nk
ever Co f i nd
i t s way t o mar ket * -
Thi s pu1l s Si mmons up shor t .
SIMMONS
y ou' r e
bl uf f i nq.
ARCHER
Pr obabl y . But i f I ' m not ,
/ ou' r e
goi ng t o be t he one havi ng Eo expl aLn
Eo Mr . De Went e how i t happened.
He sEands and st . ar Es ouE.
ARCHER
( CONT' D)
Ni ce t al ki ng t o you,
Reg. Love Ehe
new hai r l i ne.
Si mmons hol ds up a hand. , as i f Lo say,
' wai E
a second. ' He
f l i ps a s wi t c h and MUSI C f i l l s t he r oom.
SI!&{ONS
What ar e you
aski ng?
ARCHER
Ten per cent
of mar keE as a f i nder ' s
f ee.
SIMMONS
Fi _v e.
seven.
AR.HER
SI}O{ONS
Agr eed.
ARCHER
ALways a pl easur e
doi ng busi ness.
28.
He t , urns and wal ks out . Si mmons pi cks up t . he phone.
SIMMONS
Get me De Went e.
50 EXT. FREETOWN PRI SON
--
DAY
Sol omon wal ks out of pr i son
t o f i nd Fawaz wai ci ng.
FAWAZ
Sol omon Vandy?
SOLOMON
What, do you want?
FAWAZ
Some f ri ends of mi ne Ehought you
l ook l i ke an honest . man.
Fawaz hands hi m a wad of cash and wal ks away.
51 EXT. HI GH COMMI SSI ON FOR REFUGEES OFFI CE
-
DAY
An abandoned school - l , I en, women wi t h babi es swaddl ed i n
t , r i bal cl ot h. They ar e i mpat i ent , unr ul y_
sol omon sees t he l i ne snaki ng ar ound t he bl ock. He wal ks
casual l y Eoward t . he f ront . , act i ng as i f he knows someone.
SOLOMON
He11o my br oEher . How' s de bodv?
REFUGEE #1
Do I know you?
Sol omon i nsi nuaEes hi msel f besi de hi m i n 1i ne.
SOLOMON
Sur e, sur e. We meE at your
cousi n' s
weddi ng. Don, t , you remember?
Anot her r ef ugee, f ar t her back i n 1i ne, cal l s out angr i l y.
REFUGEE #2
Back i n l i ne!
Ot . her r ef ugees j oi n
i n cal l i ng
, ' end
of t he 1i ne,
, '
eEc.
sol omon i gnores t . hern, f ocusi ng on t he man besi de hi m.
SOLOMON
--and
how i s che happy coupl e?
The angry ref ugee GRABS Sol omon by Che arm.
REFUGEE #2
Hey, mon, who you
t hi nk you are?
51
, a
Sol omon Eur ns on hi m wi ch qui et menaee.
SOLOMON
I f you don' t l et go, I wi l l br eak
your arm. Then I wi l l break your
head.
The wi l d l ook i n Sol omon' s eye i s Er ul y t er r i f yi ng. The man
r ecoi l s i n f ear . The oEher r ef ugees st op t hei r gr umbl i ng.
52 I NSI DE THE OFFI CE
Hundreds of NAMES,
post ed on reErms of paper cover Ehe waI 1s.
Sol omon sear ches t he l i st met hodi cal l y. Even as he' s shoved
and pushed, he hol ds hi s ground. The names he seeks are noE
t her e.
soLoMoN
( v.
o. )
Dear Jassi e. Can i t be Ehat no one
i n our count ry has a horne?
He l ooks ar ound f or someone i n aut hor i t y. Hear s an Af r i can
SOLDI ER speaki ng Mende.
SOLOMON
( CONT' D)
( i n
Mende, subt i cl ed)
Pl ease, f must t aj k t o someone- My
f ani Ty
' s
nane i s not on t he Li st .
The sol di er , who i s bei ng ye1l ed at by f i ve ot her peopl e
si mul t aneousl y, r epl i es angr i l y i n subt i El ed Mende:
MENDE SOLDI ER
Go t o Kambe, t her e i s anot her f i st .
SOLOMON
I have been t o Kambe, and Mombol o,
and Ti bi l i . and- -
MENDE SOLDI ER
Tal k t o che whi t es.
He poi nr s t o a har r i ed RED CROSS OFFI CI AL who f i el ds an
onsl aught of quest i ons. Sol omon pushes hi s way t o hj - m.
SQLOMON
Ex c us e me, s i r , my name i s - -
RED CROSS OFFI CI AL
- - Chec k
t he 1 i s [ .
SOLOMON
I hav e c hec k eq t he l i s r s .
The Br i t . shoucs Eo be hear d over Ehe t umul t .
RED CROSS OFFI CI AI
You have t o f i 1e papers wi t h t . he
Of f i ce of Ref ugees!
SOLOMON
I have f i i ed paper s!
RED CROSS OFFI CI AI
Then God hel p you,
man. Because I
can' t .
Sol omon want s t o scr eam at hi m, but t he Br i t i s r i ght .
53 EXT. OUTSI DE THE FI ELD OFFI CE 53
Sol omon si t . s i n t . he r ni ddl e of t he cr owded st r eet . Ber ef t .
soLoMoN
( v. o.
)
They t ol d us f reedom woul d rnake our
count r y i nt o a par adi se. But i t has
t ur ned i t i nt . o a sewer i nst ead.
54 EXT. SOMEWHERE IN THE SIERFA LEONE HILLS
--
CONTINUOUS 54
Di a, Jassi e and hi s si st er wai t f or f ood at an R. u. F. out post .
e rebel weari ng a DOO-RAG eyes t hen. Di a gl ares as t he man
of f er s hi s t wel ve year - o1d
si st er a Mi l ky Way bar .
Jassi e pu11s her daughrer away bur ANOTHER soLDrER put s
hi s
ar m ar ound her wai st
- -
pi nni ng her ar ms behi nd her back.
R. U. F. SOLDI ER
Maybe you are my new wi f el
Doo Rag st ar t s r o l ead N' yanda away. Di a f l i ngs hi msel f at
t he rebel , bur OTHERS
j ump
hi m and begi n t o bear hi m wi t h
t hei . r r i f 1e but Ls. Jassi e' s scr eans ar e dr owned ouL bv t . he
l aught er of t hei r t or ment or s.
Di a, meanwhi l e, i s l i f t ed up and THROWN i nt o t he back of a
t ruck wi t h several ot her TEENAGE BOYS.
55 EXT. CAPE TOWN AI RPORT
--
DAY 55
Ar cher wal ks t o t he cur b- Joost i s wai t i ng besi de a Mer cedes.
Hi s eyes ar e st i l l bl ack- and- bl ue behi nd sunsl asses.
,JOOST
He want . s t o see you.
f| t(Ln.Lt(
I ' m goi ng
back t o Si er r a Leone,
act ual 1y.
Two square-j awed MERCENARTES emerge f rom t he Mercedes, t he
oucl i ne of handgr uns obvi ous beneat h Ehe t ai l s of t hei r shi r Es.
31.
ARCHER
( COMI ' D)
I don' E s uppos e,
' I ' m
sor r y , ' woul d
suf f i ce?
JoosE smi l es Ehi nl y. The mer cenar i es unobt r usi vel y hem i n
Archer on bot h si des. He expect s Eo be pummel ed at any
moment . I nst , ead t hey pol i t el y open Ehe car door .
,l oosT
Af E. er you.
55 EXT. CAPE TOVIIJ COU}i "IRYSIDE
--
DAY 55
The Mer cedes wi nds i E way i nt o che Sout h Af r i can Vel dt ,
passi ng el egant st abl es, gr ape or char ds and cr i ckec pi eches.
57 I NSTDE THE CAR 57
Ar cher expecLs t o be beat en aE any momenE. I t , doesn' E happen.
57A DRI VI NG DEEPER I NTO THE VELDT 5?A
The l andscape has grown barren. AL a gaEe l i ned wi t . h barbed
wi r e, a si gn
- -
" ExecuE, i ve Out comes" i s f l anked by ar med
sol di ers weari ng cri mson beret s, who wave t hem on. They
f ol 1ow a deser t ed di r t r oad, unEi l - -
58 A RUSSI A}I ATTACK HELI COPTER 58
maEer i al i zes out of nowher e. Af t er maki ng a per i l ousl y cl ose
pass,
i c f l i es away.
BESIDE A}J OLD VTCTORIAI{ FARMHOUSE
The Mer cedes gl i des co a sEop besi de a spr eadi ng acaci a.
COLONEL THEO COETSEE, 60,
Looks l i ke he coul d st i l l l ead a pl at oon on a f i f t y mi l e
f or ced- mar ch i n host i l e condi t , i ons. I n f acE, he st i l I does.
THE COLONEL
HeI I o, Danny.
ARCHER
Si r .
THE COLONEL
You l ook beEt , er Ehan JoosE her e.
ARCHER
rhe co,o"", :il:::""".':::,:'ff"" 1",",1";arrini.
J Z .
THE COLONEL
( r ai s i ng
hi s
gl ass )
Her e' s t o us and Ehose l i ke us- -
ARCHER
( f
i ni shi ng t . he t oast )
--Damn
f ew.
They si p.
THE COLONEL
I want
you t o come back.
ARCHER
Thanks buE I oref er noE Eo.
THE COLONEL
We' 11 be comi ng your way soon. Our
l awyers are i n conversat i on wi t h Ehe
governmenE of Si erra Leone, such as
i L i s .
Ar cher smi l es dar kl y.
THE COLONEL ( CONT' D)
They wanE us Eo t ake back Ehe di . amond
mi nes and f need someone who knows
hi s way around up Ehere.
Ar cher
j ust
t akes anot her si p. The Col onel st udi es hi m.
THE COLONEL
(
COI\]II' D)
Accor di ng t o our Mi ni st er Somor a,
you' ve got someEhi ng i n Ehe wor ks.
Somec hi ng. . . pi nk .
ARCHER
( di sr ni ssi ve)
The f anE, asy of some Mende f armer. . .
THE COLONEL
There i s t he smal l maEt er of paymenE,
on some RPG' s. You haven' t f or got t en
who arranged t hat shi pmenE f rom our
Uk r ani an f r i ends . . . ?
ARCHER
But who i s i u, I wonder , who t i pped
of f Ehe ECOMOG t o t he goat r out i ne?
The Col onel ' s t . one l oses some of i t s war mEh.
THE COLONEL
Pay your debt . i n cash or come back
Eo wor k. Your choi ce.
33.
ARCHER
'
i
fu'=tii'"ol"3i'if,'3'3li'I::*:?'"*
THE COLONEL
(
l aughs )
Oh, Danny. . . You' ] L never l eave.
You' r e Af r i can t o t he bone.
( di snr i ssi ng
hi m)
. l oost wi l l " see you back t o Cape Town.
ARCHER
I appr eci aEe t haE. Thank
you.
THE COLONEL
We' 11 meet agai n soon?
ARCHER
No di sr espect , sj . r , but I hope not .
THE COLONEL
You t hi nk sel l i ng weapons i s beEt er
chan usi ng uhem? At l east when i t ' s
you pul l i ng t . he t r i gger ,
l ou
know
you' r e not t he Ear get .
The Col onel chuckl es, and gi ves JoosE a subt ] e nod.
59 BEHIND THE FARMHOUSE
They approach Ehe parked Mercedes. Archer t urns t o JoosE.
ARCHER
Okay,
j ust get i t over wi t h.
The Ewo mer cenar i es gr ab Ar cher ' s ar ms. . I oost smi f es
s) r mpat het i cal l y and t hen begi ns t o beaE Ehe shi t ouL of hi m.
60 I I VT. THE "EXECUTI VE HOTEL' '
-
FREETOWN
-
DAY
I { al f of i t s SI GN has been bl own away. A f i l t hy r ed car pet
l eads t o a col oni al f acade.
Soi omon, i n a r ed vesE chaE ser ves as a uni f or m, car r i es a
busi nessman' s bags. As t he busi nessman geEs i nt o a cab, a
pack of I ' l ar l bor o 100' s f al l s out of Ehe man' s
pocket .
soLoMoN (v.
o. )
Dear . Tassi e. I t has been so many
weeks and I st i l l cannot f i nd you.
Sof omon wai Es unt i l Lhe cab pu11s away. Then he kneel s and
pocket s Ehe ci gar ect es.
59
60
34.
61 IN1" THE "EXECUTIVE" HOTEL
-
LATER 51
Sol omon car r i es bags up a back st ai r s. He checks t o see i f
anyone i s wat chi ng t hen r i f l es t he bags f or anyt hi ng of val ue.
62 EXT. FREETOWN STREET
--
DAY
At an open-ai r market , Sol omon exchanges t he ci graret t es and
ot her st ol en i t ems f or har d eur r ency.
soLoMoN
(v.
o. )
The ci t y i s l oud and crowded and
di r t y. I mi ss t he f ar m and cannot
hel p wonderi ng what. has happened to
t he cassava crop.
63 I NT. HOSPI TAL
--
DAY 53
Sol -ornon bri bes a LNI CEF OFFI CI AL wi t h t he curreney.
He wal ks pasE r ows of ci vi l i an casual t i es, many of t hem
chi l dr en. He f or ces hi r nsel f t o smi l e aE each f ace he casses.
64 EXT. SQUATTER' S CAMP
- -
NI GHT 54
Pl aces l i ke t hi s def i ne ever y ci Uy i n t he t hi r d wor 1d.
Sol -ornon has Eaken resi dence i n E. he rust ed hul I of an ol d
ear . f E i s bar e excepE f or an ext r a shi r t f ol ded neaEl y.
soLoMoN
(v.
o. )
MosE of al l I mi ss our f ami l y al l
Eoget her i n Che hut . at ni . ghE, Ehe
sound of ehe chi l dr ens' br eaEhi ng,
and your warmEh besi de me.
He l i ghEs a candl e bef or e a wooden ani mi st st . aEue.
soLoMoN ( v. o.
)
( coNT, D)
Whenever I f eel mysel f l osi ng hope,
I t hi nk of Ehese chj -ngs and I know
i E wi 11 be aI I r i ght . .
55 EXT. SOMEWHERE I N THE BUSH
-. -
CONTI NUOUS 55
Di a si t . s i n a dark hut . al ong wi t . h several TEENAGE CAPTI VES.
The door i s f l ung open and GUARDS brucal l y dri ve E. hern out Eo
f or m a l i ne. Di a sEands, Eer r i f i ed, i n a dr i vi ng r ai n.
R. U. F. TRAI NER
Your moEher s and f at her s ar e dead.
Your br oEher s and si sEer s ar e dead.
You are dead t . oo. BuE. you wi l l be
r ebor n wi t . h us. We ar e your f ar ni l y
now.
35.
66 ANOTHER DAY
Di a and ocher s ar e bei ng caughc eo f i r e an AK- 47.
5'1 ANOTHER DAY
Di a car r i es a pl ast i c
j ug
of pal n wi ne t hr ough t he r ebel -
camp. Handi ng i t an ol der guer i l l a, he i nadver cenEl y SPf LLS
some on Ehe man' s t * shi r c. The man begi ns t o BEAT hi m.
b U IrA J. trll
Di a i s hel d down by t wo r ebel s as a cut . i s opened i n hl s ar m
and an uni denEi f i ed powder y dr ug i s pour ed i neo t he cut .
69 LATER
Di a i s bounci ng of f t he wal 1s of t he hut
- -
sEoned out of
hi s ni nd. Sever al t eenage boys ar e si mi l ar l y wast ed.
. ] O
EXT. FREETOWN STREET
( ARCHER' S
HOTEL)
- -
NI GHT
Ar cher gees oul of a cab, car r yi ng hi s bag. Hi s f ace i s
swol l en and sungl asses cover a bl ack eye.
A MI LI TAR. Y , JEEP i s par ked i n f r ont of hi s hot e1. Sever al
ECOMOG t r oops l oi t er , per haps wai t i ng f or hi m, per haps noE.
Not t aki ng any chances, Ar cher Cur ns away.
EXPLOSI ONS LI KE Df STANT THTI NDER r unbl _e Ehr ough t he st i f l i ng
ni ghc as he wal k s . A c ar i s on f i r e. A s ens e of t hi ngs
gr r owi ng out of cont r ol .
A YOUNG AFRI CAN WOMAN, mi ni ski r t . , bi g ear r i ngs beckons hi m.
HOOKER
You l - onel y t oni ght , Ar cher ?
{ pul - 1s down her t op)
I ' m s af e. No HI V. You us e c ondom.
. ] I
ExT. BEACH BAR
- -
NI GHT
Hal f of i t i s bur nE. Peopl e cr owd t he r emai ni ng haf f ,
dr i nki ng as heavi l y as ever . The Af r i can Techno- BeaE t hr obs.
Ar cher get s Med' s at t ent i on at Ehe bar , set s down hi s bag.
ARCHER
M
j - nd
l ooki ng af cer chi s f or me?
( M'
ed nods )
. . . Li k e what y ou' v e done t o t he pI ac e.
BARTENDER
( M' ED)
Fok k i ng F. . U. F. r r y r o hi t t he guv ' ment
bui l di ng
' c r os s
da s t r eet . Shi E,
mahn, hal f da peopl e heah be R. U. F.
(
MORE )
55
6'7
68
59
1 n
' 7)
?(
BARTENDER
( M' ED) ( CONT' D)
( hal ds
hi n t he usual )
Good f or busi ness doh. Ever ' body
dr i nk much as dey can
' f or e
de r ebel s
come an dr i nk uP de r est .
ARCHER
Mi ghc be t i me t o get
Your
f ami l Y
ouL, my f r i end-
The f ac ade of Med' s pr of es s i onal
j ov i al i t . y
di s appear s .
BARTENDER
And
go wher e, mahn? . Jus' f i r e uP de
chopper and f 1y away l i ke you peopl e?
No, mahn, di s my counCr y. We her e
l ong
' f or e
you came and l ong af t er
you gone.
He st ar es at Ar cher , hi s eyes a t r agi c mask of def i ance and
despai r . He t ur ns away.
Fawaz appr oaches. He i s a ner vous wr eck.
FAWAZ
Oh, my God, ar e you al l r i ght . ?
ARCHER
Wher e' s t he f ar mer ?
FAWAZ
He f ound a
j ob
at a hot el . Spends
al l hi s t i me at Lhe r ef ugee of f i c es .
Not exact l y t he behavi or of a man i n
pos s es s i on of a pr i c el es s s t one.
Anot her EXPLOSI ON i n t he di st ant . hi 1I s. Fawaz f l i nches.
FAWAZ
( CONT' D)
The mai n r oad t o Masi aka i s cut i n
t hr ee pl aces. The gover nmenE' s gonna
f a11 any s ec ond, and I ' m f ol l owi ng
some del usi onal f ar mer .
Ar cher sees Maddy t hr ough t . he cr owd. She' s st andi ng apar t ,
l ooki ng somewhat dazed as she moves sI owl y t o Ehe musi c.
FAWAZ
( CONT' D)
The man was a di gger . The odds of
hi m get t i ng away wi t h even a sma1l
st one i s zer o. They s1i t . you open
al i v e
j us t
f or s weat i ng.
ARCHER
I t hi nk Somor a i s l ooki nq f or me.
??
FAWAZ
( r ea11y
wor r i ed now)
Al l ah f or f end. . .
ARCHER
(movi ng
away)
Just . st ay on t he f armer.
But --
FAWA'
Archer has al ready begun headi ng toward Maddy. she sees hi m
comi ng and wat ches hi m wal k t . oward her. They meet i n t he
ni ddl e of a crowded dance f l oor. Al l around t hen, sweat y
bodi es are swayi ng t o t he Af ri can beat .
MADDY
Am f supposed t o ki ss you or f uck
you?
I can, t remember.
ARCHER
How about you
dance wi t h me.
MADDY
Shoul d I ask what happened t o your
f ace?
He t akes her hand and l eads her i nt o t he surgi ng crowd. .
MADDY ( CONT' D)
f guess
not -
They dance as best . t hey can i n t he crush.
MADDY ( CONT' D)
Thi s i s i nsane. I , m dr unk i n an
Af r i can bar danci ng wi t h a mer cenar y.
ARCHER
Whar woul d t hey say i n Ohi o?
}4ADDY
Chi cago.
ARCHER
. . . you can t el l a l oc about someone
by t he way t . hey dance.
MADDY
Then you can probabl y
t e11 ri ght
away t . haE f can' t dance.
They l ook at each ocher .
38.
MADDY
( COMT' D)
I n Mozambi gue, you were parE of a
sear ch- and- dest r oy uni t Ear geEi . ng
ANC l eaders. Then i n Angol a, you
hooked up wi t h De Went e and st art ed
t radi ng guns f or di amonds.
ARCHER
I s t hi s on t he r ecor d?
}4ADDY
But you bl ew i t al l get t i ng gr eedy
and t r yi ng t o go i c a1one. Why:
He doesn' E answer . They ar e l ooki . ng at each ot her . The
musi c i s poundi ng.
SweaE i s pour i ng
of f boEh of t hen but
nei t her boE, her s t o wi pe i t away.
I 4ADDY (CONT' D)
So
you' r e,
what , a Ni hi l i st . ?
OpporEuni st ? Scumbag?
ARCHER
Maybe I
j ust
wasn, t br east - f ed i n
chi l dhood.
MADDY
You t hi nk I , ve never met peopl e
l i ke
you?
ARCHER
I r hi nk you gec
of f on peopl e
l i ke
mp
MADDY
Fuck you.
ARCHER
That , t oo.
They keep danci ng, Ehei . r f aces ver v cl ose.
MADDY
What T' 11. . . nev er under s t and. . . i s
how. . . you
can. . . compar t ment al i ze. . ,
human suf f er i ng.
He st ops danci ng. Looks at her .
ARCHER
Thanks f or t he dance.
He wal ks away.
39.
72 OUTSI DE THE BAR
72
He l i ght s a ci gar eEt e. she appear s and sEands gui et l y besi de
hi m. Toget her t hey wat ch t he di st . ant expl osi onJ.
MANN\ /
I di dn' a - " . . t I I V r , ur a your
f eet i ngs?
He cakes a l ong dr ag. Exhal es.
ARCHER
How l ong you been i n Af r i ca?
MADDY
Four rnonEhs. Bef ore Ehat . Kosovo.
ARCHER
Okay. How many BJacks do you
know
back i n t he St at es
- -
besi des t he
gi rl who cl eans your
house and t he
rnan who pi cks
up your garbage?
MADDY
What ' s t hat . got
t o do wi t h i t ?
ARCHER
f know Bl acks. Gr ew up wi t h
, Jn,
f ought wi Eh
, en.
Behi nd t he cal m
bur ni ng wi t h hat e f or what we, i r e
done t o
, : r n.
They haee you,
hat e me,
haEe each ot her and hace t hernsel ves.
And your bl eedi ng hear t i sn, t sonna
scop
' er n
but cher i ng
each ot her l
Hal f t . he cont i nent i s st ar vi nq and
t he r est i s dyi ng of er os whi l e r hei r
I eader s sel J medi ci ne
r o bui l d pal i - es
and dr i ve Mer cedes.
MADDY
?hat doesn' t make i t r i qhL.
ARCHER
No i t doesn' t , .
But apar t f r om a f ew
do-gooders
who show up f or a week
wi t h t hei r f l ak
j ackel s,
t hei r
f apt ops,
and t hei r l i t t l e bot t l es of
hand sani t . i zer
Ehe Whi t e wor l d doesn, r
gi ve
a f uck about t he Bl ack wor l d. - -
Look at Sudan.
Look aE Rwanda.
Your count r y l oses t hi r t y_f our
mar i nes
i n Somal i a
and t hen does noehi ng
as
a ni l l i on peopl e
di e. except pi t
pi cEures
of st arvi ng
chi l drl n
-on
rv
t o f l agel l at e
t hei r gui l t y
consci ence.
( MORE)
40.
ARCHER
( CONT' D)
( shakes
hi s head)
So someone' s got t o do Ehe di r Ey
wor k- - you Ehi nk Amer i ca doesn' t
seI 1 ar ms or hi r e pr of essi onal s?
You cal l Eher n
' cont r acCor s' .
I sel l
guns . I f I don' t , somebody el se wi l l .
IIADDY
The 1aw of she
j ungl e.
(
si ghs )
I f onl y I had a ni ckel f or ever y
pi ece- of - shi E. who uses i c t o
j usei f y
hi s exi st ence.
He Eur ns t o l ook at her , her f ace r adi ant . wi Eh sweaE.
ARCHER
I l i ke your
smel l .
MADDY
Wel 1, t hat makes me weak at t he knees.
ARCHER
I t ' s al l
gonna
bl ow any mi nut . e. You
shoul d get
out .
MADDY
An ECOMOG rel i ef col urnn l eaves i n
t he morni ng. What about you?
A!(Utl Et(
Bus i nes s t o f i nj - s h up.
MADDY
What coul d possi bl y
be wor t h st ayi ng
and gecci ng your sel f
ki 11ed over ?
He l ook s at her , of f er s a gr i m s mi I e.
MADDY
( CONT' D)
Oh. Ri ght .
He i ndi cat es t he bar e " weddi ng r i ng" f i nger of her l ef t . hand.
ARCHER
Tel I me you never dr eamt of havi ng a
spar kl y di anond of your ver y own.
( as
he wal ks away)
. . . Peac e.
73 EXT. SQUATTER CAIIP
--
NEXT DAy 73
sol omon emer ges f r om hi s r ust ed hul k t o f i nd Ar cher wai t i ng.
Ar cher l ooks as i f he' s been up al l ni ghc avoi di ngr t he
Mi ni s t er ' s t r oops
- -
whi c h i n f ac t . he has .
4t .
ARCHER
Mr at di d you do, bur y i t ?
sof omon i nsEi nct i vel y l ooks t o see i f anyone i s l i sceni ng.
ARCHER
( CONT' D)
r woul d have bur i ed i c.
SOLOMON
( hear t
r aci ng)
What ar e you cal ki ng abouc?
Ar cher r emoves hi s sungl asses, l ooks Sol omon i n Ehe eye.
At(\-tl Et(
WhaE a: n I
gal ki ng
abouE?
SOLOMON
I musE. go Eo wor k
Ar cher f ol l ows as SoLomon wal ks t hr ough Ehe shanEyEown.
ARCHER
t " I y f r i end Fawaz pai d an awf ul l y l ar ge
br i be Eo
gee y ou ouE of
j ai l .
SOLOMON
I wi l l pay Mi st er Fawaz back. He
has my word. And now you have my
wor d. And we have f i . ni shed speaki ng.
SoJomon r uns f or a cr owded bus. Ar cher waE. ches hi m di sappear -
14 I NT. EXECUTI VE HOTEL
- -
LATER THAT DAY 14
Sol omon i s car r yi ng bags f or WesEer n busi nessmen f r anEi c t . o
gt eE ouE of Fr eeE, own bef or e i t ' s Eoo l at e.
Deposi ci ng t . hei r bags i n a t . axi , he wal ks back i nEo
ghe
l obby
Eo f i nd Ar cher l eani ng agai nsE a post . , smoki ng a ci gar et , E, e.
ARCHER
Why woul d E. haE. R. U . F . capEai n wi t . h
che bandaged eye make up such a sEor y.
Sol omon agai n t , r i es co i gnor e hi m.
whar a' e
u""T:T:;
I:"5:;Dl "rr i E
your sel f ? To who? For how much?
You need he1p, f r i end, wheE, her you
wanE, i E. or noc.
AnoE. her por t er i s eavesdr oppi ng. Sol omon escapes i nEo E, he
aI l ey besi de t . he hot . el , aur ns on Ar cher .
42.
15 EXT . AILEY
-
COTITINUOUS
SOLOMON
f know who
you are. And what
You
are. Men l i ke
You
have Eurned mY
counEry i nt o a l and of Ehi eves and
kj - 11er s. I do nor need
Your
he1P.
Al(Lrllitl
Whau i f I coul d hel p f i nd your f ami l y?
At . Ehese wor ds, somet hi ng f er al appear s i n Sol omon' s eyes'
SOLOMON
Whag do you know of my farni l Y?
ARCHER
The r el i ef agenci . es ar e usel ess, t he
hospi Eal s ar e over whel med. Ther e
are oEher ways.
SOLOMON
Li . ar !
ARCHER
f know peopl e. t ^I hi Ee peopl e.
Sol omon LTI NGES
--
pi nni ng Archer agai nsE t he wal l . Archer
coul d f i ght . He does n' E.
ARCHER
( CONT' D)
The. . . r i ght . . . . sEone- -
Sol omon want , s noEhi ng more chan Eo sErangJ-e hi m, but , he al so
i nt ui t s Ar cher nr i ghE be hi s onl y hope. He r el axes hi s gr i p.
ARCHER
( CONT' D)
- - can
buy anychi ng. f nf or maEi on.
Saf et y. Even f r eedom. BuE a bi g
st one doesn' t sEay secr et . . The mi nuEe
you show i E, your l - i f e
j . s
wor t hl ess.
I ' r n guessi ng t he onLy r eason you' r e
sEi 11 al i ve i s because
you haven' t
Eol d anyone wher e i t i s. Ri ght ?
Ar cher ' s pi Ech
- -
f uel ed by desper at i on
- *
i s mesmer i zi ng.
ARCHER
( CONT' D)
The l asE pi nk Eo come ouE of Af r i ca
f et ched Een mi l l i on dol 1ar s. I know
because I car r i ed i t ouc. You know
whac I goc f or i c?
He opens hi s shi r t . A HUGE SCAR cr osses hi s chesE.
' 15
+ 5 .
ARCHER
( CONT' D)
I was l uckY. f l earned t hat a man
wi l l do anYt hi ng f or a di amond.
SOLOMON
f ou woul d say anyt hi ng. How can f
Er ust
you- - ?
NEARBY, THE CRUIVIP OF AN EXPLOSION, FOLLOWED BY THE CHATTER
OF AUTOMATTC WEAPONS. . . FROM
A BLOCK OR TWO AWAY.
ARCHER
Hear t hat ? I E' s st ar t ed. TheY
nust ' ve snuck i nt o t he ci t y over ni ght .
( 1ooks at Sol omon)
What ' s i t gonna be, f r i . end?
A BLOCK AWAY
Three cut -down t rucks of Rebel s SQUEAL i nt o vi ew and begi n
sprayi ng everyt hi ng wi t h aut omat i c weapons.
ARCHER
( CONT' D)
Yes or no.
A whol e l i f e can change wi t h a si ngl e sy11abl e.
SOLOMON
Yes .
A TRUCK COMES CAREENING AROUND THE CORNER. Archer pushes
Sol or non as Lhe wa11 behi nd t hem i s st i t ched wi t h bul 1et s.
ARCHER
Go. GO!
They begi n t ' o run.
76 THEY RUN THROUGH THE CITY 76
Thei r f at es suddeni y
j oi ned
by t he need t o scay a1i ve.
And deat h l ur ks ac ever y cor ner .
Bands of t eenagers roam t he sEreel s, FI RI NG AUTOMATI C WEAPONS
at anyt hi ng t hat moves. Si gns, st or e wi ndows, car s. Ur ban
Rap doppl ers past as t rueks wj . t h boorn boxes speed by.
At an i nt ersect i on, an i mprompt u ROADBLOCK. Peopl e are pu11ed
out of car s and beat en whi l e t hei r car s ar e set on f i r e.
Archer and Sol omon doubl e back and spri nt pase t he Execut i ve
hot el where a gang of Rebel s are ent eri ng. From i nsi de comes
the sound of SCREAMTNG and more GUNFIRE.
Peopl e ar e bei ng t aken
- -
bl ack and whi t e al i ke
- -
and f or ced
i nt o t r ucks. MI NI STER SOMORA i s 1ed away at gunpoi nt .
'7'7
44.
Women are dragged by t he hai r i nt o al l e)ruays. A man i s Ehrown
out of a f our Eh- sE. or y wi ndow.
I n f act , i t was much worse t . han anyt hi ng we can ever show.
Ar cher , and Sol o4on conl i nue t o r un f or t hei r 1i ves.
St or ef r ont s ar e l ooced. f t ' s i mpossi bl e t o t el 1 Ehe r ebel s
f r om t he ci vi l i ans. edul t s car r y Lel evi si ons. T\ ^/ o men car r y
a barca-l ounqer. Teenage boys wear womens' wi gs and Ehrow
mol ot . ov cockt . ai l s rnade f rom Swedi sh vodka. Rebel ceenagers
ar e sacki ng The Beach Bar
- -
dr i nki ng ever yt hi ng i n si ght .
Me' d l i es dead, spl ayed acr oss t he bar .
Archer and Sol omon run t hrough t . he darkeni ng st reet s as
r ocket s l i ght up t he sky.
They di ve i nt o a r esLaur ant door way, t aki ng r ef uge wi t h ot her s
huddl ed, t er r i f i ed, on t he f l oor . Wi ndows ar e shot out . as
r ounds r i p i n and pl ast er r ai ns down on t hei r heads,
Af t er a deaf eni . ng moment
--
qui et . Archer wat ches t . hrough a
crack i n t he door as ECOMOG t roops are l i ned up agai nst a
wal 1 and execut ed.
HOURS LATER
-
DARK AT LAST
Archer and Sol omon set of f aqai n
They do t hei r best t o st ay i n shadows, huggi ng t he wal 1s of
pock-marked
bui l di ngs, as Lhey t ry t o sneak past t he rovi ng
pat r ol s
and t r ucks f i 11ed wi t . h men, and out of t . he ci t v.
SOLOMON
How. . . much. - . . f ar t her ?
ARCHER
Sooner , . . or . . . 1at er . . . we, 11 be i n
t he bush.
AN HALF-HOUR LATER
Thev ar e st i l i r Lr nni nq.
Bot h men ar e exhaust ed, f i l t hy wi ch soot and shr eat , t hei r
chest s heavi ng. But nei t her even consi der s st oppi ng. Ar ound
t . her n, t he houses ar e becomi ng f ewer -
UP AHEAD
_
AN OPEN FTELD
And t hen anocher . Not hi ng beyond except a t . angl e of banana
Er ees, r ui ned cassava gr oves,
and t he densel y- cover ed hi 11s.
t 6
/ 6
' 79
' 79
ARCHER
Ther e- - !
Wi t h renewed energy, t hey pi ck t hemsel ves up and run:
THE SOTIND OF VOICES
--
CLOSE AT HA}ID
Sends chem DI VI NG i nt o a di t ch.
Thr ee R. U. F. sol di er s ar e seEEi ng up a machi ne gun. Sol omon
l ooks ar ound wi 1d1y. Ther e i s nowher e t o go. I f t hey ar e
sci l l t her e by daybr eak, Ehey wi l l be di scover ed. I f Ehey
t r y Eo r un, t hey wi l l be shot .
A l ook of r esol ve sEeaLs over Ar cher ' s f ace as he r eaches
i nt o hi s boot f or hi s kni f e. Wi t hout a backwar d gl ance, he
sl i t her s out of Lhe di t ch.
80 THE KTLLTNG OF THE THREE SOLp{ERS
I s a deadl y baI 1et . one' s chr oat i s s1i t , t he second i s
gut t ed. But hi s weapon FI RES
- -
al er ci ng Ehe t hi r d sol di er ,
who whi r l s
j ust
i n t i me f or hi s body t o be sci r ched by
r ounds f r om t he dead man' s M- 47
- -
whi ch Ar cher now hol ds.
I t has al l happened i n a mat t er of seconds. But t he gunf i r e
has al er t ed mor e sol di er s f r om near by.
ARCHER
COME ON!
Ar cher and Sol omon t ake of f i nt o t he f i el d
- -
as TRACERS
soon begi n co st r eak past .
81 AT LAST THEY BREAK INTO THE BRUSH
Vi nes whi ppi ng agai nsE t hei r f aces, r hor ns r i ppi ng Ehei r
hands and cl ot hes
- -
unt i l l ong af t er t he gunf i r e has st opped.
aE l ast chev st op.
Bent over doubl e. Gaspj . ng f or breat h i n t he humi d ni ght .
A1 i ve.
The t wo men l ook at one anot , her. They coul d never arci cul ace
i t , bur bor h i nr ui r i vel y know r hi s wi l l be r he def i ni ng
j our ney
of t hei r l i ves.
82 EXT. MAKENI ROAD
--
DAWN (FROM
HIGH ABOVE) 82
I n Car nbodi a, i n E1 Sal vador , i n Sudan as i n Si er r a Leone,
t he i mage of a downEr odden, di spossessed mul t i t ude t r avel i ng
on f oot coward an uncert , ai n end has become Ehe si gnat ure
i mage of our ci me. I t i s t he Age of t he Ref ugee.
80
81
46.
Archer and Sol omon Erudge ami dsg t he Ehrong. Ox-drawn cart s
and t housands of shuf f l i ng f eeE chur n up a sea of dusc.
SOLOMON
Where are we goi ng?
ARCHER
Ther e' s a r el i ef camp i n Por t . Loki .
, - l our nal i sLs wi l l have access co a
SAT- phone. I ' 11 have Fawaz meeE us
wi ch che
p1ane.
SOLOMON
I have agreed t o not hi ng.
Archer l ooks st rai ghE. ahead as he wal ks.
ARCHER
You wi LL.
83 EXT. ECOMOG STAGING AREA
-
MASIAKA
*
DAY 83
I n a soccer sEadi um, ECOMOG sol di er s di st r i but e st acks of
GRAI N beari ng rhe UNI CEF srenci l , BOXES of MEDI CAI , SUPPLI ES.
Ar cher i s ouEsi de t he f ence, t al ki ng t o a guar d. He i s
buf f et ed by hor des of r ef ugees cr yi ng t o get
Eo t he f ood.
fl rl Ltl t r(
--I
work f or E. he Cape Town Heral d.
My wa11eE, my cr edent i al s,
ever yt hi ng' s st i 1l i n Fr eet own. We
bar el y goE out wi t . h our l i ves. . .
GUAR.D
Back away f rom t . he f ence--
Archer gi ves up. Sol omon has been wat chi ng.
SOLOMON
You ar e not a
j our nal i sc.
AI ( Ll t Er (
f
' m
cr yi ng Eo get us out of her e.
SOLOMON
I E. i s as I sai d. You wi l l say
anyt hi ng.
Archer sees ' JOURNAI,ISTS- He wayl ays an Austral -i an CAIVIERAMAN.
AJ1LNE. t 1.
Hey, mat e. I ' m l " ooki ng f or somone
you mi ght know. Nane' s Maddy Bowen.
Amer i can. I f you' ve
met her you
woul dn' t f or get i t .
4" 7 .
AUSSIE CAMEFAMAN
f know her .
ft-K\-nf. 11-
Coul d
you t e1l her Ar cher ' s her e and
I ' v e got t he s t or y s he want . s .
AUSSIE CA}4ERAI'IAN
I ' m out of her e i n an hour . I f I
s ee her bef or e Ehen, f ' 11 t el l her .
ARCHER
Thanks. Cheer s.
84 LATER
- _
Ar cher and Sol omon ar e br oi l i ng under a r el enEl ess sun.
Sol omon sear ches ever y passi ng f ace. Ar cher dozes.
} I ADDY ( O.
S. )
V ^ l i ^ ^ F r r f
f v s
: r v L
v q e .
ARCHER
He110, I " l addy. Thi s i s Sol 0mon Vandy.
I{ADDY
How do
you
do?
( t o
Ar c her ; al l
busi ness )
I ' m on deadl i ne and I ' v e been wai t i ng
f our hour s t o use a SAT- phone- What
do
you
want Eo t ef l me.
Ar cher moves her out of So] omon' s ear shot .
ARCHER
An out f i t named Scar Mi nes i s buvi no
bl ood di amonds.
MADDY
Ano. /
ARCHER
De Went e has no v i s i bl e t i es Lo St ar
- -
but t hr ough a maze of cr osshol di ngs
;H,:: f :1":; :;:ni;.ln:I"3l-"if;,n:"
t hey pl edged
uo uphol d.
MADDY
You hav e pr oof
of c hi s .
( he
nods )
And y ou' J - 1 go on r ec or d?
He l ook s at her .
84
48.
Al:(u.rl.trt(
f f you hel p me out .
!4ADDY
f knew i t .
trJLLIl.Cll,
Bef ore you say anyEhi ng
--
Ehe man
i s a Mende f armer. Hi s vi l l age was
burned t o t he ground. He was f orced
Eo wor k t he mi nes, buE hi s f ani l y
f l ed
- -
wi f e and t hr ee chi l dr en.
He' s been cr yi ng Eo f i nd Chem bue
he' s dr owni ng i n r ed Eape.
Maddy l ooks agai n at Sol omon.
MADDY
How do
you even know t.hi s man?
l+I.Lrl.LK
I know hi m.
Maddy l ooks back at Ar cher .
MADDY
You' r e us i ng me.
AIILTtEI(
And you' r e usi ng me. I sn, E ehac how
i - t works ?
( l eani ng
i n)
You r.,rant. Eo make a dj _f ference, Maddy?
St ar c wi ch t hi s man.
you, ve
got
access Eo U. N. dat abases, you know
al l c he N. G. O. ' s .
MADDY
Look around, Archer. What di f f erence
does hel pi ng one man make?
He l ooks aE her .
MADDY ( CONT' D)
Jesus. Di d I r ea11y say EhaE?
Maddy' s eyes remai n on hi s, conf l i ct ed, as we HEAR t . he BEATTNG
OF HELI COPTER BLADES. . .
85 EXT/ I NT. UNHCR HELI COPTER
-
DAY
85
LooKrNG DowN on a su/eep of grassl and
on whi ch a sea of
f l appi ng whi t e Eent s suddenl y appear s. . . t housands
of t hem. . .
MADDY ( V. O.
)
Ther e i t i s.
49.
85 I NT. HELI COPTER
-
SAME 85
Sol omon, Archer and Maddy have hi t ched a ri de on a U. N.
chopper. Sol omon' s never been up i n one. He sEares down at
t he spr awl i ng t enE ci uy bel ow.
MADDY
At t he moment , t he second l ar gest
r ef ugee camp i n Af r i ca.
SOLOMON
My wi f e i s her e? I n Gui nea?
Maddy reads f rom Ehe comput er mani f est i n her hand.
MADDY
Jassi e Vandy, Kono Di st r i ct . Cr ossed
j . nt o
Gui nea si x weeks ago.
SOLOMON
Si x weeks. And rny chi l dren?
Maddy hesi t at es. f ol ds t he mani f est , t hen
j ust
nods.
MADDY
You woul d have f ound t hem. Someci nes
i t t akes a
year
bef or e new mani f est s
r each che f i el d of f i ces.
( gl ances
at Ar cher )
I was l ucky t . o gec
access Eo t he
UNHCR database.
SOLOMON
f do not know how t o t hank you.
What can Maddy say? She nods.
B' 7 EXT. REFUGEE CAr' {p
-
DAy g7
Archer, soromon and Maddy st ep of f t he chopper t o f i nd-- A
SEA OF HUMA}JI TY behi nd a CHAI N FENCE SLret ; hi ng f or mi l es.
WORXERS wi th worrd Food
program
armbands unl oad suppl i es as
REFUGEES rush t he f ence, pressi ng
f orward, shouci n! -.
I'{ADDy
I hi s i s what a mi l l i on peopl e
l ook
l i k e.
Sol omon st ar es. These ar e hi s peopl e.
cl osE oN ARCHER t . aki ng i c al l i n. He, s seen pr eccy
much
ever yt hi ng t her e i s t o see i n 1i f e. But no one i s- unaf f ect ed.
MADDY
( COMI ' D)
You mi ght cat ch a mi nut e of t hi s on
CNN somewhere between weather and
spor t . s.
As t hey approach t he f ence, Sol omon sees t hat many of che
ref ugees are A] ' I PUTEES. Some reachi ng t hrough t he chai n l i nk
wi t h st umps of ar ms. Sol omon' s hear t i s poundi ng.
MADDY
( CONT' D)
f L says t hey' r e i n Sect or T\ , vo.
Sol omon fol l ows as Maddy shows her BADGE to a UN GUARD, who
r eads her sl i p of paper and poi nt s out t he r i ght di r ect i on-
Archer st ares t hrough t he f ence at t wo Kf DS, each wi t h one
1eg, yet nanagi ng t o ki ck a pl ast i c j ug
back and f or t h.
OEher amput ees st ar e su11en1y. a si gn r eads, " NO PHOTOS FOR
JOURNAI I STS WI THOUT SSS'
A WRI NKLED OLD MAN bl ows hi s l i ps at Archer t hrough t he f ence.
Archer wal ks on. The ol d man shadows hi m. Unt i l ercher
r eal i zes t he f e11ow i s gest ur i ng
t o t he ci gar et t es i n hi s
shi - r t pocket . Ar cher t akes out a ci gar et t e, i s about t o
sl i p one t hr ough t he f ence
- -
When he sees t he man has no hands.
Gr i ml y, Ar cher st i cks t he ci gar et t e
j . n
t he man' s mout h.
Then moves on.
88 EXT. REFUGEE CAMP
-
SECTOR TWO GATE
-
LATER 88
A FRENCH UN GUARD rel ays Ihe paper Io an AFRICAN WFP MONITOR.
FRENCH GUARD
St ay at t he f ence.
Quar ant i ne.
Sol omon gr i ps
t he f ence, waLchi ng t he WFP moni t or as he
di sappear s i nt o che t eemi ng mass.
Ar cher has r ej oi ned t henr . He not i ces Maddy, s expr essi on.
ARCHER
What ' " *rorrgi ^' -
Maddy shakes her head. But Ar cher can t el l she' s keeDi nq
somet hi ng f rom hi m.
Sol omon cat ches si ght of t he WFp monj . t or. He has a woman
wi t h hi m. A woman car r yi ng a l i t t 1e boy and a young gi r l .
SOLOMON
Jass i e . . . ?
( and
t hen he' s sur e)
Jassi e ! JASSI E I
f , ] ,
. l assi e hears her name, l ooks up t hrough t , he hordes of peopl e.
JASSI E
Sol o! SOLO! !
SOLOMON
. ] ASSI E ! !
Sol omon' s f ace mor phs f r or n di sbel i ef t . o
j oy
as
, Jassi e r uns
Ehrough a crush of bodi es t , o hi m
--
Thei r f i ngers GRASP each oEhers Lhrough Ehe f ence. They run
t hei r hands over each ot , hers f aces, unabl e t o speak.
Sol omon l -ooks at t he one-year-ol d i n her arms, an i nf ant
when l ast he saw hi m- He t . ouches hi rn Ehrougrh t he f ence,
The gi r l
, si l ent . , of f er s a weak smi l - e, She' s seen t , oo much.
Then Sol omon l ooks around,
puzzl ed.
SOLOMON
( CONT' D)
Di a?
( t o
. l assi e, i n Mende)
V' l here i s Di a?
The boy i s nowher e i n si ght .
SOLOMON
( CONT' D)
Where i s my son?
Wagchi ng t hi s, Ar cher Eur ns Eo Maddy.
ARCHER
He has a son who goes
t o school ,
r eads Engl i sh.
MADDY
There were onl y t wo chi l dren l i st , ed
on t . he mani f esE. .
ARCHER
--Whar. ?
Maddy t urns away, her eyes bri nnri ng.
AT THE FENCE. Sol - omon r eads. l assi e' s eves.
soLoIlON
Where i s he ! ?
She rubs her cheek agai nst hi s hand, her body t rernbl i ng.
JASSI E
They . . . t ook hi m.
Sol omon l ooks at her, i ncomprehensi bl y. And Ehe words come
out i n a f l ood of Mende
-
Ehat br eaks i nt o a WAI L of gr i ef .
Sol omon d, rops Eo Ehe ground as i f every muscf e i n hi s body
had been cut . He st r uggl es f or br eat . h.
Archer cannot waEch t hei r gri ef yet cannot t urn away.
ARCHER
Fuck t hi s
A GUARD t ri es t o pry Sol omon' s hands f rom t he f ence, buE he
won' t l et go. Sensi ng t roubl e, t he
guard cal -l -s ANOTHER GUARD
over. Bot h of t hen cry t o pu] l Sol -omon f rom che f ence.
SOLOMON
Let t hern ouc.
, Jassi e doesn' t f et go of her husband' s hands.
L J AJ J T r
Sol o Sol - o
Sol - omon st ar t s shaki ng t he f ence.
SOLOMON
Let thern out !
The guar ds begi n Eo beat hi s hands wi t h t hei r r i f l e but t s.
But Sol omon keeps shaki ng t he f ence as i f t o uproot t he st eel -
pos Cs.
SOLOMON
( CONT' D)
LET THEI{ OUT !
Archer put s hi msel f bet ween Sol omon and Ehe guards.
ARCHER
Get of f hi n!
A guar d poi nt s hi s r i f l e and shout . s i n an unknown di al ecc.
ARCHER ( CONT' D)
Fj . ne! , Just get of f hi m!
89 I NT. HELI CoPTER
-
LATER
Archer and Maddy ri de i n si l -ence. SoLomon sLares out Ehe
chopper wi ndow. Hi s knuckl _es bandaged. Devoi d of emot i on.
MADDY
They' r e af r ai d some of t he r ef ugees
mi ght be rebel s . They won
'
t. be
r el - eased unt i l Cher e' s a cease- f i r e.
I ' m sor r y .
Sol omon sEar es out . aC t he di st ant f og- shr ouded mount ai ns.
B9
SOLOMON
What you wanE, Mi st . er Ar cher , i s
beyond t hose hi l l s. That i s wher e I
bur i ed i L.
Ar cher ' s hear t ski ps a beat . Whac was onl y spoken of i s now
r ea1.
Maddy l ooks ac Sol omon, hi s f ace knot t ed i n gr i ef . And t hen
back at Ar cher . She i s put t i ng t he pi eces t oget her .
90 EXT. ECOMOG STAGING AREA
-
MASIAJ{A
-
EVENING
Maddy marches away f rom t he hel i copt er.
.f{J(L.FtE,F(
Maddy , wai c . . .
He gr abs her ar m. She wr enches f r ee of hi s gr i p.
ARCHER
( CONT' D)
I di dn' t t ak e hi s s on! Don' t Di n
EhaE on me !
MADDY
I pi n i c on al l of us . Es pec i al l y
y ou.
ARCHER
Yah, we f ucked t he bl ack man. My
f at her di d and my gr andf at her
bef or e
hi m. Now t he bl ac k man f uc k s hi ms el f .
Tel l me s omet hi ng I don' E k now.
Ti r ed, f ur i ous, done wi ch spar r i . ng, she wal ks of f .
91 EXT. ECOMOG STAGI NG AREA
- -
MASI AXA
- -
NI GHT
sol omon and Ar cher huddl e besi de a f i r e. Ar ound t hem ar e
hundr eds of f i . r es, each wi Eh huddl ed f i gur es si l houet t ed.
sol omon' s shar pens che bl ade of a MACHETE wi t h a whecst one.
Ar cher por es
over a MAp wi ch a f l ashl i ght .
Al 1Ln. CK
You say che mi ne
j . s
near t . he Moa
Ri ver . Wher e exaccl y on t hi s map?
Sol omon' s eyes r emai n on t , he machet e bl ade.
SOLOMON
I do noE need a mac.
ft.I1'\- n.L K
t t r e11, I do.
We f o11ow hi s f i nger ON THE MAp as he La1k s .
90
91
ARCHER (CONT' D)
/
We' r e her e. . . . The pr ess convoy i s
goi ng t o Kai f ahun. Di amond mi nes
ar e her e. Wher e di d you bur y i t ?
:il';:l; :il:',::i.i3i"ui3iiJ"ii3:n.is
currrNG a line up one
ARCHER (CONT' D)
You underst and, when we get t o
Kai l ahun, w' r e gonna have t o go
overl and. You bet t er damn wel l be
abl e t o f i nd i t .
Sol omon i s l ost i n a wor l - d of r i t ual .
SOLOMON
( al most
t o hi msel f )
My son i s a ver y good st udenE. He
wal ks f i ve mi l es Eo t he Si st . er s'
school ever y r nor ni ng t o st udy Engl i sh.
He i s goi ng
t o be a doct or one day.
The pai n of sel f - i nj ur y i s an at t empt t o i nur e hi msel f t o
t he pai n
of Loss. He t ur ns away t o scar e i nEo t he f i r e.
Archer has t o wal k away.
92 NEARBY
-
AN ASANDONED BUTLD]NG
houses t he pal cr y assor t menc of
j our nal i st s.
Ar cher waLks
past t he guards
wi t . h a wave of Ehe f i nger. They assume
--
because he i s whi t e
- -
t hat he bel ongs t her e.
MADDY i s hunched over a port abl e
t l pewri t er, t l pi ng wi t h Lwo
f i nger s. Ar cher l _eans over her shoul der t . o r ead.
ARCHER
" . . . i n t he ni net y degr ee heat , f ar mer
Sol omon Vandy drops Eo hi s knees
agai nst t he chai n- l i nk f ence- - ' ,
Maddy whi . rl s around. Archer f i ni shes t he senr. ence.
ARCHER (CONT' D)
" - - r at t l _i ng Che wi r e wi t h hi s power f ul
hands. . .
"
MADDY
(
def ens i ve )
. . . What ?
ARCHER
Not hi ng.
MADDY
You t hi nk I ' m expl oi t i ng hi s gr i ef .
92
55.
Ar cher
j ust
l ooks at her . She l oses i t .
MADDY
( CONT' D)
You t hi nk f l i ke bei ng here? Do you
have any i dea what I cou1d make back
i n t he sLat es wri t i ng
garbage about
movi e st ar s- - ?
( r i ght eous
f ur y)
Al l anybody sees her e ar e vi ct i ms.
Noc peopl e. Wi t h f aces. And l i ves.
They deserve a voi ce.
(shaki ng
her head)
And the worl d deserves to know where
t he t hi ngs t hey buy come f rom. And
how much t hey r ea11y cost .
( Lur ns
away)
So get out of my f ace and l et . me
work.
Archer wat ches her work f or a moment . Rubs hi s eyes.
ARCHER
. . . Sol omon t hi nks hi s son i s goi ng
t o be a docEor one day.
( she l ooks up)
What ' s Ehe l i f e expect ancy f or i nf ant s
i n a camp l i ke t hi s? WhaU' s goi ng
t o happen t o a t wel ve year-ol d gi rl ?
Thac di amond i s t he onl y chance he' s
got
of geEt i ng hi s f ami l y out .
MADDY
You expecE me t . o bel i eve you gi ve a
r at ' s ass abouc hi s f ami l v.
ARCHER
No. I ' m j us t
ex pl oi t i ng hi s gr i ef .
She gl ares
at hi m, t hen l ooks away. There are i nherent
cont . r adi ct i ons i n bot h Uhei r i nt ent i ons.
ARCHER
( CONT' D)
f need co get t o Kai l ahun. The onl y
way now i s wi t h a UN convoy. I ' m a
TV
j our nal i st
and he' s our camer anan.
Maddy' s shaki ng her head. She won' t do i c.
MADDY
No.
ARCHER
f sewed R. U. F. di amonds i nt o t he
ski ns of goat s. I was smugr gl i ng
t hem acr oss t he bor der i nt o t , i ber i a.
Maddy i s t aken by sur pr i se. She' s war y but r eady t o l i st en.
ARCHER
( COI \ r I ' D)
The st ones go t o a mi ddl eman i n
Monr ovi a. . .
93 FLASH CUT
-*
THE BACK ROOI4 OF A SEEDY SHOP 93
Fawaz spi l l s a bag of r ough di amonds ont o t he counEer .
ARCHER
( V. O.
)
. . . who pay s of f a c us c oms of f i c i al
who cer Ei f i es t he di anonds wer e r ni ned
i n Li ber i a. . . s o t hey c an be
Legi t i macel y expor t ed.
94 FLASH CUT
--
A CUSTOMS DESK 94
wher e a CERTI FI CATE OF ORI GI N bear i ng a Li ber i an seal i s
si gned, st amped and af f i xed t o a WOODEN BOX NAf LED SHUT.
ARCHER ( V.
O. )
Once they reach London or the Antwerp
cuEt i ng houses
- -
no guest i ons asked.
95 FLASH CUTS
--
IN THE BOWELS OF THE DTC
-
LONDON 95
A SOR?ER di scar ds che cer Ei f i caEe of or i g, i n
- -
spi l 1s t he
DIAI' IONDS onTo a SORTING TABIJE, mi xes Them wi l h OTHER DIA.MONDS.
ARCHER
( V.
O.
)
They become l i ke any ot her di amond.
95 FLASH CUT
- -
WI DER
95
Ther e ar e many sor t i ng t abl - es, each wi Eh PI LES OF DI AMONDS.
El ect r oni c sur vei l l ance camer as obser ve i t al l .
MADDY
( V.
O.
)
And De WenEe knows about al l t hi s?
ARCHER
( V.
O. )
Suppl y and demand, Maddy. Cont r ol
the suppl y and you keep demand hi grh.
91 FLASH CUT
- -
THE UN 91
Dewent e and Si mmons si t bef or e Ehe Gener al Assembl y pi ousl y
accept i ng t he congr at ul at i ons f or t hei r r i ght eous st and.
A_t(uttEf(
When Af r i can r ebel s f l ood t he mar keE
wi t h a bj . l 1i on dol l ar s wor t h of r ough,
De Went e can' t af f or d t o i gnor e i t .
Techni cal l y speaki ng he' s noc
pr omot i ng t he war . He' s
j ust gi vi ng
Ehem t he means t o do i t .
. )
/ -
98 BACK IN THE ABAI\TDONED BUILDING
-.
NIGHT
98
Maddy' s st ar i ng at Ar cher . He' s
gi . vi ng her Ehe bi ggest st or y
of her car eer .
MADDY
You' 11
go on t he r ecor d?
Ar cher
gi ves her a l ong I ook. Nods yes.
AlLLrtE l.(
And i f f come ouc wi t h t hi s st one. . .
Danny Archer
--
such as he i s
di sappears f rom t he f ace of Lhe eart h-
99 I Nf . PRESS BUS
-
MORNI NG
99
Someone i s usi ng sgr i ps of t ape t o wr i t e on t he si de of
t he bus. l t board Lhe bus, a Spani sh report er speaks i nt o a
di gi Cal recorder. A CNN report er chat s wi t h a French radi o
t ype. A BBC cr ew pl ays car ds acr oss Lhe seat s.
Sol omon st ands out si de t he bus awkwardl y hol di ng a vi deo-
canera, a l ami nat ed PRESS rD around hi s neck.
SOLOMON
r cannot do chi s--
ARCHER
Why noE?
SOLOMON
I am not a
j our nal i st .
tI]aL.NEf(
Of cour se you' r e noE.
SOLOMON
Then how can I say I am?
ARCHER
Because you do, because t hat ' s how
you get on t he bus- . . , f ust do i t !
Archer and Sol omon make t hei r way down t he ai sl e, Archer
smi l i ng co al l l i ke he bel ongs t her e, Sol omon massi vel y
uncomf ort abl e. They nod t o Maddy. Sol omon t akes a seac
besi de a Spani sh r epor t er .
SOLOMON
( ut t er l y
wooden)
I am. . . Ehe caner aman.
l OO EXT/ I MI . JoURNALI ST' S BUS ( TRAVELI NG)
- -
DAY 1OO
The UNI CEF convoy wi nds i t s way t hrough Che Kanagari hi l I s.
Sol omon st ar es out aE Lhe passi ng l andscape.
58.
soLoMoN
( v. o.
)
Di a. Yest er day I r ode i n a
hel i copt er . Oh, my God. You woul d
noL bel i eve how bi g and beaut i f ul i s
t hi s l and of our s.
101 A MUDDY JUNGLE TRATL 101
A pl at oon of chi l d sol di er s t r udges al ong, si ngi ng a
revol ut i onary song: "The
peopJe wi Tl benef i E f rom Ehe rj ches
of Ehei r l and; R. U. F,
j s
Ehe savi or we need. " A ni net . een
year - o1d l eader pr ods Di a t o si ng l ouder .
102 BACK TO THE BUS I O2
wher e Sol omon i s t al ki ng qui et l y t o Maddy.
soLoMoN
( v. o.
)
f have been l i vi ng i n t he whi t e
peopl e' s wor 1d. Comput . er s, vi deo-
caner as and sat el l i t e phones.
you
wouLd l i ke i t ver v much.
103 AN R. U. F. ENCAMPMENT TO3
The chi l d sol di er s pr epar e f or bat t l e. Under Ehe wacchf ul
eye of t hei r ol der commander s, some f i et d- st r i p weapons and
pai nt t hei r f aces, whi l e oEhers sni f f amphet . ami nes. Tvro
st r ong men hol d Di a' s ar m and i nj ect hi nr .
soLoMoN
( v. o.
)
I hope you are abl e t o keep up wi ch
your
school wor k.
you
must sEudy
har d i f you t r ul y hope t o be a doct or .
104 A FI REFTGHT I N THE JUNGLE
104
a pl acoon
of R. U. F. i s ATTACKI NG a smal l haml ec. Ol der
f i ght er s wal k behi nd t he chi l d sol di er s, t hr eaEeni ng t o shoot
t hem unl ess t hey advance.
Di a f i r es hi s AI <- 4' 7 i ndj , scr i mi nar eJ. y.
He ki l l s an ox and
t hen a man who t ri es t o f 1ee. Tears st rean down hi s f ace.
soLoMoN
( v.
o. )
Your mot . her and si st er s ar e al i ve,
Di a. You must keep your sel f al i ve,
t oo. Unt . i 1 I can f i nd you. And
bri ng you home.
105 THE BUS COMES TO A SUDDEN, CREAKI NG STOP. 105
Everyone l ooks out t he wi ndow. Up ahead, t he road i s bl ocked
by shout i ng VI LLAGERS. ECOMOG sol di ers t ry t o keep order.
IRTSH JOURNALIST
What ' s goi ng on?
59.
A RED CROSS TRUCK l i es overt urned on t he road. Charred. A
hol e i n i t s si . de f r om t he RPG t hac hi t i r .
I RI SH JOURNALI ST ( COMI ' D)
Chr i sc. Must have been an RpG.
The word, "RPG" has a speci al resonance f or Archer. Cameramen
r ush t o gr ab
Ehei r gear . Ti me t o go t o wor k.
ARCHER
Wai t . No. . .
The
j our nal i st s push past hi m.
ARCHER (COI {I I ' D)
The R. U. F. i s out t her e, j us t
wai t i ng
f or anot her t ar get . . , I t ' s danqer ous.
MADDY
( gi ves
hi m a l ook)
Duh.
She pushes past hi m down t he ai sl e.
] -06 OUTSI DE THE BUS
] -05
Maddy and sol omon navi gaEe t he conf usi on of sol ders and
vi l l ager s. Jour nal i ses speak i nt o r ecor der s
, , .
. .
, , t hese
peop)e, havi ng come onJy t o heLp, have now become t arget s. , ,
A soLDr ER eyes sol omon suspi ci ousl y. why i sn' E he usi ng t he
camer a? Ar cher l i f cs i c t o sol 0mon' s eye and Eur ns i t on.
THROUGH THE VIEWFINDER (VIDEO
IMAGE)
sol omon PAI I S rhe t ragi c scene
--
comi ng t o resr on a MoTHER
beggi ng f or someone t o hel p her wounded son.
The sound of gunf i re. ECoMoG t roops have seen somet hi nq i n
. he t r ee- l i ne and have begun exchangi ng f i r e.
ARCHER
Hur r y i r up, f ol ks ! Unl ess you wanc
t o end up t he same way!
sol omon can' r move,
j ust
scar es at uhe boy and mot her .
ARCHER ( CONT' D)
Sol omon- - - l et ' s go-
Sol omon put . s down t . he canera and approaches t he boy.
ARCHER ( CONT' D)
What . are you
doi ng?
sol omon pi cks
up r . he boy and begi ns car r yi ng hi m co t he bus.
50.
ARSHER ( CO} I T' D)
No. . . What ar e you
doi ng! ?
107 AT THE BUS
.
TA]
Maddy hel ps t he i nj ur ed boy aboar d. A JoURNAl r sr seops hi m.
FRENCH JOURNALIST
You c an' t do t hi s
- -
t her e' s no r oom!
AUSSIE JOURNALIST
Let
' sm
on, you bl oody f r og!
MORE JouRNALr sr s j oi n
i n:
" f er chr i ssake" " mi ght as wer l
do somet hi ng! "
" Make r oom"
" who t he hel l needs t hi s?
TV CAI'TERAMAIV
Lay hi m acr oss che seat . Easy- -
The boy' s mot . her chat Eer s her t hanks i n Mende.
AUSS]E JOURNALIST
Wher e you bl okes gonna si t ?
Good guest i on.
Ar cher l ooks ar ound. No seat s 1ef t .
ARCHER
Bo11ocks. . .
COCKNEY \TOURNALIST
They can ri de wi t . h me. Come on.
1OB LATER
_-
ARCHER, SOLOMON A.IVD MADDY
now ri de i n t he Land Crui ser. A l oquaci ous COCKNEY JOURNALI ST
i s dr i vi ng. Ahead, t he bus bel ches bl ack di esel .
COCKNEY .JOURNALIST
- - Li ke
t he f ooki n' M- 4. Just what
t hi s pl ace
needs, bi t of envi r onmenf aL
bl i ght on cop of t he r esE of i E.
Fr9m. Ehe passenger
seat , Archer l ooks back and sees Maddy
noddi ng of f i n t he back, her head r est i ng. agai nst t he wi hdow.
COCKNEY JOURNAIIST (CONI'
D)
- - Di esel
f umes, t oxi c chemi cal s,
pest i ci des,
maybe a nucl ear r eaccor
cr t wo t o mel t down. . .
A TREMENDOUS EXPLOSION AI{EAD
The l ead mi ni *bus has Hrr A i JAI I D M] NE. A f i rebal l ri ses
i nLo a chi rnney of bl ack smoke.
AUTOMATIC WEAPONS FTRE PROM THE BUSH
1 n R
51.
R. U. F. f i ght er s ar e emer gi ng f r om Ehe Er eel i ne.
JUST AHEAD
The bus i s RAKED wi t . h f i r e. I T SKI DS TO A STOP, bl ocki ng
t hei r way. Rebel s, ar med wi t . h Ak- 47' s, cl ose i n.
ARCHER
GET OFF THE ROAD!
But t he Cockney f al l s agai nst . Archer, SHOT i n t he head. The
car KEEPS MOVING as Archer t.ri es Eo reach past. Ehe dead man
and grab
Ehe wheel . Bef ore he can gai n conErol :
THE LAND CRUI SER CAREENS of f t he shoul der of Ehe road,
SMASHI NG i nE. o a Eree.
GUNFI RE shaEEers Ehei r wi ndows as Sol omon THROWS HI MSELF on
Eop of Maddy, pushi ng her down Eo t he f l oor of t he vehi cl e.
ARCHER manages Eo push t he dead
j ournal i st
out Ehe door and
Ehrow t . he Land Crui ser i nt . o reverse.
R. U. F. FI GHTERS
* -
who have been r unni ng t owar d t . he car
- -
ar e f or ced Eo scaEEer or el se be r un over .
As Ar cher r ar ns Ehe shi f Eer i nE. o f i r sE, a REBEL r uns up t o
Ehe car f rom behi nd, hi s weapon hel d above hi s head, prepari ng
t o shooE down i nEo Ehe back seat . JusE as he FI RES, Ehe car
l ur ches f or war d and hi s bul l et s sEi t ch t he car qo hat ch.
THE LAND CRUISER
Swerves away, t aki ng of f t he f ront . bumper of t he l ead Eruck.
A r ebel r ai ses an RPG Eo hi s shoul der , t akes ai m. Fi r es.
ARCHER swerves aE Ehe l ast moment . The RPG passes by, i t s
exhaust t r ai l t he onl y evi dence of t he near - mi ss.
They cr ashe headl ong i nt o Ehe br ush. I t ' s a bone- j ar r i ng
ri de:
j agged
branches l oom and penet . rat e Ehe wi ndows, Ehe
chassi s gr oans as t i r es
pound over r oot s and hi dden boul der s.
BACK ON THE ROAD
Jour nal i sEs ar e r oust ed aE gunpoi nt . t owar d an uncer t ai n f aE. e.
109 EXT. DI RT ROAD
--
AN HOUR LATER
-*
AT DUSK
The Land Cr ui ser emer ges f r om t he bush. I E. , s a wr eck. The
wheel s gr i nd agai nst t he wel l s, t wo E. i r es ar e f I at , sr nashed
wi ndshi el d. bu1l eE hol es al ong i t s l engt h.
Archer st ops and has t o f orce t he door open t o get ouC. He
peer s
under Ehe bonnet . Bul l et ho1es. I t ' s hopel ess.
1 n o
62.
ARCHER
Grab
your t hi ngs.
They have no choi ce but Eo seL of f on f oot .
110 LATER
-
THE NI GHT SKY ] S SPECTACULAR 110
As t hey Erudge al ong under a bri ght canopy of sEars. One
mi ghE even t hi nk of di amonds. Archer uses dead reckoni ng.
ARCHER
The SouUhern Cross. Long as we head
Nor t h, we' 11 hi t t he mai n r oad.
They wal k i n si l ence f or a moment .
MADDY
What do you Ehi nk happened Eo Lhe
peopl e on t he bus.
ARCHER
You rea11y want t o t hi nk about i . t ?
Up ahead, Sol omon sEar es up at a par t . i cul ar l y br i ght st . ar ,
SOLOMON
Kya kwayera taari q.
MADDY
We cal l i t Venus.
SOLOMON
We say t he moon' s wi f e.
( poi nt i ng)
She f ol l ows hi m t hr ough t he sky.
Two days bef ore t . he new moon, she
comes out al one, l ooki ng f or hi m.
The moon and hi s wi f e are never
separ at ed f or ver y 1ong.
He i s t hi nki ng of . I assi e. Maddy i s moved.
111 AT F] RST L] GHT
-
A BURNT-OUT CHURCH 111
Looms out of t he
j ungl e
as t hey wal k a nar r ow Lr ack.
Pornographi c GRAFFI Tf has been spray-pai nt ed on t he church,
and " West Si de Wi ggaz. " HEADLESS BODI ES hang f r om t he t r ees.
II2 SUDDENLY
-
OUT OF THE .]T]NGLE II2
Come a scary-l ooki ng band of semi -pri mi Ui ve nat i ves adorned
wi . t h col or f ul amul et s, she11s and t al i smans. They car r y a
mi scel l any of handguns, macheces and spears.
SOLOMON
Be v er y s t i 11.
( MORE)
o J .
SOLOMON
( CONT' D)
Do not : . ook t hej n i n t he eye.
( t o
Ar cher )
They are Kamaj or.
The HEADSMAN gest ures angri l y at Archer. Sof omon l owers hi s
eyes and responds def erent i al l y. Archer whi spers t o Maddy:
AKL.l ttrK
Local mi l i t i a. Pr ot ect i ng t hei r
homes.
The Headsman qest ures wi t h hi s machece. Several of hi s men
prod Archer f orward wi t h an ol d doubl e-barrel ed shoEgun.
1]3 LATER
.
THEY WALK A JI]NGLE PATH 113
Archer l ooks around f or any means of escape. There i s none.
114 EXT. MENDE VI LLAGE
--
DAY LI A
They emer ge f r om t he bush t o di scover a cl ust er of bui l di ngs
unt ouched by t he ravages of war. Fl oweri ng gardens and neat l y-
r aked pat hs. Af t er al l chey have seen, i t seems dr eaml i ke.
A GROUP OF CHILDREN
Emerge f rom t he bui l di nq and race t oward t hem.
MENDE CHILDREN
Where are you frorn? Have you
come
f r om Amer i ca? Do you
have CD' s?
A GENI LE VOI CE cal ] s ouI .
GENTLE VOI CE
Don' t be bocher i ng t he peopl e now.
Let t hem come i n.
The chi l dren i nscancl y obey. BEN, JAI I I N KAPANAY appears i n
door way. He i s a EaI I , si xt y- f i ve year - 01d
di st i ngui shed-
l ooki ng Mende wi t h a t r i m whi r e bear d.
BENJAI{IN
( i n
Mende; subt i t l es)
Thank you, Ubani .
you
can l eave
t her n her e. I t ake r esponsi bi l i t y.
KAMAJOR HEADMAN
( i n
I ' l ende; subt i t l es)
Good. Now t hey are your probl em.
The Kamaj or s back away, vani shi ng i nt o t he f or esE.
BEN.JAI{IN
I f you' r e
l ooki ng f or money, weapons
or f ueI , f don' t have anv.
54.
ARCHER
f{ow about food?
BENJAI,IIN
I f
you ask pol i t el y. My name i s
genj ami n
Kapanay.
ARCHER
Danny Ar cher . And t hi s i s- -
MADDY
- - Maddy
Bowen. How do
you
do?
BENJA}IIN
Ver y weI 1, Lhank you. Chi cago?
MADDY
How--
BENJAI'{]N
- - I
r ecogni ze t he accent -
( Eo
Sol omon; i n Mende)
Wel come, Br ot her .
SOLOMON
( i n
Mende; s ubt i t l es )
I am Sol omon Vandy, f r om Bo.
BENJAI'{IN
( i n
Mende; s ubLi t l es )
Whac. shoul d I make of your
compani ons?
Sol omon doesn' t know how Co answer . He l i es badl r r .
SOLOMON
( i n
Mende; s ubt i t l es )
I hey ar e. . .
j our nal i s t . s .
BENJAI.IIN
( i n Mende; s ubt i t l es )
\ h. And I suppose
you
ar e, t oo.
Sol omon l ooks away, ashamed. Benj ami n t ur ns Lo Maddy.
BENJAMI N
( CONT' D)
Mi ght f i ncer est you i n a gl ass of
l emonade?
] - 15 EXT. MENDE VI LLAGE
- -
LUNCH ] . 15
Under a cover ed por ch, t hey eat l - unch
- -
ser ved by Benj ami n' s
young Mende wi f e and hi s t hr ee chi l dr en.
BENJAI'{IN
I don' t under sLand why anyone
woul d wi l l i ngl y l i ve i n t . hat col d.
( MORE)
55.
BENJAI { I N ( COMT' D)
The wi nd of f t he l ake. I cr i ed ever y
ni ght . r ny f i r sE wi nt er .
MADDY
How di d you end up ac Nor Ehwest er n?
BENJAI,IIN
Because of Pr esi denL Kennedy, who
e] s e?
MADDY
Excuse r ne?
BENJA}IIN
By way of ,Jarnes McGrat.h, a young
Peace Cor ps vol - unE. eer f r or n Wi nnecka
- -
who f ound a semi - Ji cer ace Mende boy
and was f ool i sh enough Eo bel i eve he
couJd benef i t f r om hi gher educaEi on.
ARCHER
How l ong wer e you i n Ehe St . aces?
BENJAMI N
Whj . ch Ei me? I ended up get Ei ng my
Mas Cer s aC St anf or d
- -
bet Cer c J i maEe.
MADDY
Buc you came back?
BENJAI{IN
To show my peopl e Che way. Hah.
They ar e ser ved a pLat ' Cer of vegeLabl es by a wel l - manner ed
t en year - ol d boy. Benj ami n' s son, UCHENNA.
BENJAI { I N ( CONT' D)
Thank you, Uchenna.
SOLOMON
You bui l c t hi s s c hool ?
BENJAI,IIN
Sc ar c i ng i n 1967. Chi l dr en f r om al l
ov er t he di s t r i c t f i nd Chei r way
her e. Over f i ve hundr ed gr aduat es
s i nc e we beqan.
Y,ADDY
That ' s r emar kabJe. r , al oul d you
mi nd
i f I Eur ned on my cape r ecor der .
BENJA}4IN
I ' l l mak e y ou a deal , Mi s s Bowen
- -
I gi _ve you an i nt er vi ew and you t each
at my s c hool f or a monEh.
MADDY
(
l -aughs )
I ' d l i k e t hat .
BEN.JA}TIN
But y ou won' t do i t .
I'IADDy
No.
BENJAIqIN
An honest j our nal i st . ,
how r ef eshi ng.
The Erut h i s, f have done wel l _ Eo
keep a J- ow pr of
i I e. Thi s i s a ver y
dangerous parE of Ehe count ry wi t h
Ehe di amond mj -nes so cl ose by.
Sol omon, meanwhi l e, hasn' t . been abl e t o t ake hi s eyes of f of
Benj ami n' s young son. The boy smi l _es back at hi m.
SOLOMON
My son wanEs t o be a docEor .
BENJA}I]N
Very good. Where i s he now?
A si f enc e.
AJ(LNtsK
We don' E know.
BENJAMIN
I undersE. and. . .
] - 15 A SERI ES OF ] MAGES
115
Benj ami n gi ves
t hem a Eour : a gr oup of ei ght year - o1ds cr owd
ar ound a si ngl e compuEer ; a t en year - ol d gi r r i s bei ng t aught
t o use an ar Ei f i ci al l i nb; Ewel ve year - ol d boys pl ay cr i cket .
BENJAI.{IN
Many of t hese chi l dren were t aken by
t he R. U. F. We have t aken t hem back.
( Jooks
at Sol omon)
Some of them have been made to do
horri bl -e t hi ngs. We are t , ryi ng Eo
br i ng t , hem back Eo 1i f e.
Sol omon t urns away t o hi de Ehe surge of emot i on,
1.I' I LATER
--
AT STINSET
II7
They si E dr i nki ng wi ne. The Af r i can sunseE i s i ni mi t abl e.
BENJA},ITN
i E was al - 1 ver y cl ear i n 1954.
( MORE)
BEN'JAI"IIN
(Collll' D)
Pol i t i cal f r eedom pl us economi c
devel opment equal s happi ness. But
somet i mes revol ut , i on l eads t o chaos
and economi c oppor t uni t y doesn' t
necessar i l y br i ng out t . he besc i n
peopl e. Cer t ai n per sonal i t y t l pes
r eal i zed f r eedom coul d be anot her
name f or greed.
( r ai ses hi s gl ass)
And here we are.
MADDY
But Look what you' ve accompl i shed.
BEN,IAI'{IN
And Look what good
i t has done my
count r Y. . .
MADDY
" Ther e i s no easy wa1k t o f r eedom. "
We can onl y do Ehe best we can.
BENJA-I'{IN
Mandel a. Hi s best i s a bi E bet t er
Ehan mi ne. . .
He Eakes a l ong l ook at hi s chi l dr en.
ARCHER
Had manv at t acks i n t he area?
BENJA}IIN
I ' ve known mosC of t he
young peopl e
i n t hi s di st r i ct si nce t hey wer e
bor n. The l ocal commander i s st i l l
af r ai d I ' 11 come af t er hi m wi Lh nr y
r ul er -
ARCHER
You Ehi nk because your i nEent i ons
ar e good Ehey' 11 spar e you?
Benj ami n t akes t he quest i on i n st r i de.
BENJAI'IIN
My heart al ways t ol d me Ehat peopl e
are i nherenEl y good. My e)q)eri ence
suggest s ot her wi se. Whi ch t o bel i eve?
Benj ami n t . ur ns hi s penet r at i ng gaze on Ar cher .
BEN. ] A}I I N
(COMT' D)
What about you, I {r. Archer? I n your
l ong car eer as a. . .
j our nal i st .
. .
Woul d you say peopl e are most l y good?
h x
Ar cher scar es back. The souND of A GHI LDREN' s cHot R' . .
'
118 rN THE cEl rrER oF THE vTLLAGE
--
THAT NrcHT
118
The chi l dr en ar e si ngi ng " Hi gh We Exul t Thee, Real m of t he
Fr ee, " t he nat . i onal ant hem of Si er r a Leone. Sol omon and
Maddy si e wi ch Benj ami n and hi s f ami l y.
Maddy sees Archer geE up and wal k away.
119 AT THE EDGE OF THE COMPOUND
119
Ar cher sEands al one. He t , akes a l onq puI I f r om a pl ast i c
j ug. Maddy st eps out f rom Ehe shadows.
ARCHER
Pal m wi ne. Sap comes r i ght out of
t he t r ee,
He of f er s t . o her and she t akes a swi g. Makes a f ace.
ARCHER
( CONT' D)
You geL used Eo i c.
He t akes anot her l ong dr i nk. He' s pr et t y dr unk.
ARCHER
( CONT' D)
Drank chi s as a boy.
MADDY
Rhodesi a.
( of f
hi s l ook )
I Eake noces.
I ndeed, her I i t t . l e spi r al not ebook i s al r eady i n hand. He
l ooks at her
- -
consi der i ng
- -
t hen, what t he hel l , . ,
ARCHER
I got
sent Eo Sout h Af ri ca when t he
munt z over r an Lhe f ar m i n
' 16-
MADDY
- - Af t er
you l ost your par enLs.
ARCHER
( dar k l augh)
ThaE' s a pol i t , e way of puct . i ng i c.
Mum was raped. Dad was decapi t at ed
and hung f rom a hook i n che barn.
MADDY
You wer e, whaE, t en
year s
oLd?
ARCHER
Ni ne. Boo- hoo.
MADDY
Then at ei ght een you j oi ned
t he
: . m\ t
Ar cher peer s - a n" r .
ARCHER
Want t o hear about t he f i rst t i me I
banged a
j our nal i st ?
She
j ust
l ooks at hi m. He t akes anot her l ong dr i nk. Re1ent s.
ARCHER (COI I T' D)
Yah, yah. Fi r st t hey had us doi ng
di r r y 1i t r 1e
j obs
i n Lhe r ownshi ps-
MADDY
Wi t h Ehe Secur i t y ser vi ces.
ARCI{ER
You t hi nk you know about t he Securi Ey
servi ces ?
( anot her
dar k l augh)
You don' E know shi Ee. That was a
pi cni c
compared Eo what we di d on
Ehe Moz border. Somet i mes I t hi nk.
' God
wi l l f or gi ve us f or what we
di d- ' Then r l ook ar ound and f
wonder . . . what woul d God want wi t h a
pl ace
Li ke t hi s?
He t akes anot her dr i nk but t he
j ug
i s empt y- He t osses i t .
ARCHER ( CONT' D)
By
' 94
I
' m
a t en year s vet . Then
poof .
No mor e apar t hei d, no mor e
army. Thanks very much, see ya l at er.
Tr ut h and r econci l i at i on. Kumbaya.
He r ai ses hi s mi ddl e f i nger i n a uni ver sal gest ur e.
ARCHER (CO}TT' D)
They Lol d us we were f i ghEi ng
Communi sm.
pr ot ect i ng
our
' way
of
I i f e. '
( a
r uef ul l augh)
Tt ' s about who get s
what . Oi ] .
Col t an. Di amonds- So one dav I
deci ded, f uck i t , now I want t ni ne.
MADDY
Ar e you goi ng t o st eal hi s di amond?
ARCHER
We have no chance rn heLl of get t i ng
Che di a-nrond.
MADDY
Doesn' E answer t he quesEi on.
ARCHER
That di amond
--
wheEher I st eal i E
or
j ust
Eake t he commi ssj - on
- -
i s my
t i cket out of her e.
I4ADDY
To go where?
Ar cher hasn' c got t en t hat f ar i n hi s Ehi nki ng.
I2O EXT. HILL COUNTRY
-
NEXT MORNING
(SEEN
FROM ABOVE) 120
Benj ami n dri ves t hem down roads chaE. are 1i t t 1e more t han
ani mal t racks. Bush pi gs scamper. Chi mpanzees chat cer above.
Sol omon l ooks up i nt o t he canopy of f orest as t he sun dart s
i n and out of vi ew.
soLoMoN
(v.
o. )
Dear Di a. I have f ound a pl ace f or
your
st udi es once you
ret urn home.
Benj ami n shows Maddy t he hi ppos spl ashi ng i n Ehe ri ver.
BENJAM]N
Do not be f ool ed by t he movi e where
Ehey wear pi nk
ski rEs and dance on
Ehei r t oes. They ar e exEr emel y
dangerous, easi l y angered, and very
f as t .
Benj ami n' s l ove of al l Chac he sees i s i nf ect i ous. As he
pl ays t our
qui de,
Ehey f or get f or a moment t hei r di r e
ci rcumsEances and surrender t o t he
j oys
of t he nat ural wor1d.
soLoMoN ( v. o.
)
There i s a man I want . you t o meet .
He i s a t eacher . You wi l l l i ke hi n.
nenj ami n t urns a wry eye t o Archer.
BENJAHIN
1^3:";';:il H'i"Yiln3i,'fiIl'ii3n:l;"
ARCHER
Thank you f or your
he1p, Mr . Kapanay.
I won' t f or geE i t .
BENJA-I,IIN
I hope Ehe sEor y wi l l end t he way
you want i t t o.
' 7r .
I2I UP A}IEAD
.
A TEMPORARY ROADBLOCK I2I
guATded by TWO TWELVE YEAR-OLD CHILD SOLDIERS.
ARCHER
Keep goi ng.
BENJAI{IN
What.-
-
?
ARCHER
Dr i v e r i ghE at t hem. They ' 11 pani c .
I nsEead Benj ami n sl ows Ehe car .
BENITAI{IN
Do you know wher e t he wor d,
' i nf anEr y'
comes f r om? I E means chi l d sol di er .
They ar e
j ust
chi l dr en
THE TWO R. U. F. SOLDI ERS
ar e i ndeed chi l dr en. One wear s a Mi chael t Tor dan
j er sey,
Ehe
ot her has skat eboar d st i cker s on hi s I ngr am submachi ne gun.
BUE Ehei r eyes ar e gl azed
and deadened.
BENJAI { I N ( CONT' D)
He11o, l i t E1e br oEher s . WhaE ar e
your names?
CHI LD SOLDI ER #1
I ar n Dead Body. Who di s mot haf uckah?
BENJAI{IN
We ar e Eeacher s on our vr ay Eo
Kai l ahun.
CHi LD SOLDI ER #2
Onl y R. U. F on da r oad!
BENJAJVIIN
I under sEand but we have Eo- -
CHI LD SOLDI ER #2
ONLY R. U. F I
BENJAMI N
Now l i s t en her el I am- -
The boy Fr RES Hr s wEApoN wi t houE war ni ng. Benj ami n i s hi c
i n t he chest . .
ARCHER
JESUS FUCKI NG CHRI ST!
' 72.
HC 1CANS OVCT ANd STOMPS ON THE GAS PEDAL. ThC CAT LURCHES
FORWARD, knocki ng asi de t he ot her boy. Archer has Lo
pracEi cal l y st raddl e t he wounded man Eo speed away'
L22 IN THE CAR
(TRAVELING)
L22
Benj ami n Er i es Lo speak. Bl ' ood bubbl es f r om hi s l i ps'
*lj(uflEt(
Do NOT Er y Eo Ea1k . I f
You' r e
not
dead, i t ' s onl y bec aus e y ou' r e hi E
i n t he l ung noL t he hear t .
Sol omon i s l eani ng over Ehe seat , openi ng Benj ani n' s shi r E.
ARCHER
( COMT' D)
( t o Sol omon)
Don' E wor r y abouE Ehe enEr y wound.
Lean hi m f or war d, t her e' s
goi ng t o
be a bi g hol e i n hi s back. Pr ess
your hand agai nsc i t . . Keep i t t her e-
( t o MaddY)
I f t her e' s any wi ne l ef E i n c hat
j ug, pour i E al 1 over ever yLhi ng.
( c o Benj ami n)
How f ar Eo Kai l ahun?
BEIV.]AI{IN
( weakl y)
You. . . s ai d. . . noE Eo EaI k .
ARCHER
A f ucki ng comedi an.
He pus hes Ehe ol d c ar ' s ac c el er aEor t o i t s l i mi t .
I23 IN THE CAR
(TRAVELING) --
DUSK T23
Benj ami n i s sl umped, unconsci ous, agai nsE t he passenger door .
ARCHER
How' s hi s pul s e?
MADDY
I L' s a pul s e.
I24 ROUNDING A BEND L24
They are suddenl y confronEed by ewo ARI' IORED CARS and a pl atoon
of whi Ee mer cenar i es car r yi ng Uzi ' s. The sol di er s al l wear
mar oon ber eEs wi c h c he i ni t i al s E. o.
725 MOMEIITS LATER
_
TWO MEDICS ATTACH AN IV ?O BEN.]AMIN L25
Ar cher and Sol omon hel p pl ace hi m on a l i t t , er . He i s
consci ous agai n.
You' 11 be al l r i ght .
BENJA}ITN
( l ooks
hi n i n r he eye)
Wi l l you?
He i s hurri ed away as--
A}T ATTACK HELTCOPTER ?AKES OFF NEARBY
Rai si ng a cl oud of dust . Joost appear s out of t he conf usi on.
JOOST
Ar c her . . . what t he f uck- -
'TKLr T,r(
Good t o see
you,
t oo, Joost .
Maddy i s f ur i ousl y scr i bbl i ng not es of al l she sees.
JOOST
l Ve' r e evacuat i ng al l non- mi l i r ar y
per sonnel .
Rel i ef wor ker s,
j our nal i s Es .
( t o
Ar cher )
Shi t e-bags .
ARCHER
How f ar ' s t he t r ont l i ne?
JOOST
Ther e i s no f r onr l i ne. Li t t i e
buggers are everl l ^rhere.
( s t ar t s
of f )
Col onel ' s t hi s way.
125 THE COLONEL' S HQ
I 25
A l ar ge t ent . The col onel por es
over a map whi l e t ar ki ng on
a SAT-phone. Archer and Joost ent er.
THE COLONEL
( on
t he phone)
- - but
i f we bl ock t hei r escape by
cut t i ng t he br i dge- -
( sees
Ar cher )
Wai t One. . .
(covers
t he rnout . hpi ece)
i l i r: l
' r
wanE ro say r t ol d
ARCHER
BuE y ou
wi l 1.
THE COLONEL
T:".:' ::::ri;::'.fl:";l#:l5 li:":l'"u
ARCHER
I n r eEur n f or a mi ni ng concessi on or
Ewo, no doubt .
/trl l tr
.\nT.n\]trT.
( a
modest nod)
I ' ve
got a C- 130 Eouchi ng down aE
1400. Ever ybody noE pr epar ed Eo
get
di r t y i s on i t .
( checks hi s waEch)
You' ve
got t hi r t y mi nut es t o make up
your mi nd. You' r e ei t her wi t h us or
ouE of her e.
He t ur ns back Eo hi s conver sat i on- Ar cher i s di smi ssed.
727 EXT. A}I OTHER PART OF THE CAMP
--
N] GHT I 21
l 4addy i s wai t i ng as Archer wal ks back.
ARCHER
How i s he?
MADDY
They s ay he' 11 1i ve.
ARCHER
You' r e on a pl ane
f or Ghana i n hal f
an hour .
( l ooks
aE her )
Do me one l ast f avor .
I . l addy
j ust
l ooks aE hi m. Archer i ndi cat es a young I i I ERCENARY
sEandi ng guar d i n f r ont of a l ar ge suppl y t ent .
ARCHER
( CONT' D)
Go t e11 t hat
guard you
wanL t , o put
F::,:i :' *:;":l :.:"ver
of sol di er of
MADDY
You' r e goi ng i n.
( Ar cher
nods)
You and Sol omon-
Archer nods agaj . n. She shakes her head.
MADDY ( CONT' D)
Now?
( anor her nod)
You' r e an i di ot .
15.
ARCHER
Hel p me or noE?
Haddy shakes her head sadl y. She t urns away, pushi ng t . he
hai r out of her face as she approaches the YOUNG MERCENARY.
MADDY
Hi , t here. I ' l addy Bowen, Vani Ey Fai r.
You mi nd i f I ask you
a f ew quest i ons?
YOUNG MERCENARY
Depends what t hey are--
I'IADDY
Oh, so you' r e f ani l i ar wi t h our
devi ous ways, are
you?
She f l ashes a devast at i ng smi I e. And whi l e hi s back i s
t . urned, we SEE Archer edge pasE
t oward t he back of Ehe cenE.
T2B I NSI DE THE SUPPLY TEMI
I 2B
Archer f orages f or what ever he can 1ay hi s hands on. l nEo
hi s
pack he st uf f s K- r at i ons, a GpS, f i r st - ai d ki L-
He desper aEel y l ooks f or one mor e t hi ng. And t her e i e i s.
A SAT- phone. He sEuf f s i c i n. out si de, t he SOUND of a pl ane.
T29 EXT. AI RSTRI P
--
MOMENTS LATER
I 2g
A gi ant . C- 130 Her cul es Eouches down.
THE SWARM OF JOURNAJ,ISTS
Ai d workers, and ref ugees surge onEo t he t , armac. carryi ng
her bag, Maddy moves agai nst . t . he t i de, l ooki ng around
Sol omon appear s besi de her , subEl y caki ng her ar m.
SOLOMON
Thi . s way.
ARCHER i s wai t . i ng behi nd a Eent , t . he pack
al ready on hi s
shoul der s. She t ur ns E. o Sol omon.
l'lADDY
Good l uck E, o
you,
Sol omon Bo.
Sol omon t . akes her hand i n bot h of hi s.
soLol'10N
Thank you
f or al l you' ve
done.
MADDY
I hope you f i nd whaE, you, r e
l ooki ng
f or .
She Eurns co Archer. They l ook aE each ot . her.
- 7
6.
ARCHER
Yeah. Thanks.
I'{ADDY
- * Just
keepi ng my end of t he deal .
A moment of si l ence. She can be as t ouqh as he can.
ARCHER
Li s t en-
-
t"lADDY
No, y ou l i s t en- -
And t hey
j ust
st ar e at each ot her .
ARCHER
I n anot her l i f e, maybe.
MADDY
Sur e. . . Ok av . . .
ARCHER
Fi nd your sel f
a good man, Maddy.
You deser ve t o be happy.
She consi der s hi m
- -
wi shi ng she wer e l ess af f ect ed by hi m.
I'IADDY
f have t hr ee si st er s. A11 mar r i ed
t o " good men. " Long as t hei r
pr escr i pt . i ons
ar e f i - 11ed t . hey' r e
happy. No r hanks. I pr ef er
my 1i f e.
( hands
hi m her car d)
Of f i ce phone,
home phone,
ce11 phone.
I ' m used t o bei ng pur sued.
but what
r he he1l .
He s mi l es .
I ' I ADDY ( CON?' D)
I t ' s a wor l d phone,
by t he way.
ARCHER
You shoul d get on t he pl ane.
MADDY
So shoul d you.
He smi l es and Eur ns away.
I ' I ADDY ( CONT' D)
Ar e you goi ng
t o cal l me?
ARCHER
Soon as I ' m near a phone. . .
77-
MADDY
Yeah, r i ght .
She Eurns Eoward Ehe
pl ane. They head Ehe opposi Ee way.
130 r N THE BUSH
130
Archer and Sol ornon begi n co
j og'
13] - BACK AT THE AI RSTRI P
] . 31
Maddy i s abouE Eo board Ehe pl ane when JoosE wayl ays her.
,JOOST
Where i s he?
MADDY
Where i s who?
She cont . i nues up Ehe sEeps Eo Ehe p1ane, ' JoosE. l ooks ar ound.
No si gn of Ar cher . The wheel s begi n Eo Eur n i n hi s head.
L32 ARCHER A}]D SOLOMON TREK I32
i nEo t he bush. They move gui ckl y, puEEi ng di sEance beEween
Ehemsel ves and Ehe E. O. camp. As t hey r un, THE CAMERA r i ses
up, hi gher and hi gher , unEi l t hei r ci ny f i gur es have
di sappeaTed and Ehe PRAME I S FI LLED WI TH NOTHI NG BUT GREEN.
We sense of t he i mmensi t y of Ehe chal l enge chag l i es ahead.
133 EXT. THE BUSH
- -
LATER 133
Archer and Sol omon have st opped Eo cat ch Ehei r breaEh. Archer
di gs out t he SAT- phone, f i r es i E up and punches i n a number .
ARCHER
( on
Ehe
phone)
. . . Fawaz ? . - . 1 k now. No
gi me
now. . . .
That
' s
r i ght . . . . Two days t o geE i n,
one Eo
get ouE. . I ' 11 cal 1 when we' r e
headed f or c he sEr i p- Ri ghe. . .
' Bye.
He l ooks up t o see i f Sol omon has been l i sr eni ng. BUE Sol omon
i s s car i ng of f i nc o che
j ungl e.
soLoMoN
( v.
o. )
Dear Di a. I am comi ng. Wi Eh ever y
sLep I am cl oser . I can f eel you
are nearby. I am comi ng soon.
134 EXT. A ruNGLE TRAI L ELSEWHERE 134
A c ol umn of R. U. F. guer r i l l as
wal k a
j ungl e
Er ai 1. We can
SEE by t . he gouges of eart h EhaE Ehey are i n di amond counEry.
Di a, l ooki ng much ol der , car r i es an AK- 47.
t 6 .
135 BACK TO ARCHER AND SOLOMON 135
as he st uf f s t he SAT- phone i nt o hi s back. He set s of f wi t hout
a word, knowi ng Sol omon wi l l f ol l ow.
136 THEY TRAVEL BY NI GHT
135
On nar r ow di r t r oads, 1i t onl y by t he moon.
137 HEADLI GHTS APPROACH
137
Archer and sol ornon t ake cover as TRUCKS pass
f i 11ed wi ch
R. U. F. t eenager s, l aughi ng, smoki ng ganj a, musi c bl ast i ng.
Sol omon st udi es each passi ng
f ace. Al most i nvor unt ar i l y he
r i ses t o hi s f eet
- -
t r yi ng r o get a bet t er 1ook. suddi nl y
he t hi nks he sees a f ami l i ar f ace
- -
coul d i t be Di a? He
moves cl oser
--
but t he t ruck i s movi ng away.
SOLOMON
Di a! !
Heads t ur n i n t he passi ng
t r uck. I t , s not Di a.
suddenl y sol omon i s grabbed
f ron behi nd and t hrown t o che
ground.
Archer l ooms over hi m.
ful LnEl {.
What t he f uck are you
doi ngl !
SOLOMON
GET OFF ME!
Meanwhi l e, on t he road, t he t rucks have sl owed. Suddenl v__
THE BRUSH EXPLODES WITH GUNFIRE
Red and Green TRACERS shred t he dense f ol i age around t hem.
Bul l eEs WHr Z by t hei r heads, Rr cocHET of f anci ent t r ees.
They scrambl e t o t hei r f eet and race bri ndl y back i nt o t he
bush. Behi nd t hem, t he SOTI ND of ehei r pursuers.
soon t he brush grows
more dense. rn t he
pi t ch
darkness t hey
ar e 1i Ler a1l y f i ghr i ng t hei r way f or war d, f l ai l i ng wi t h bot h
ar ms t o r i p hol es chr ough r he t hi ck f ol i age. t hel r hands
and f aces ar e soon cut and bl eedi no.
13 8 THEY RUN
].3 B
unt . i 1 t hey can run no f urt her. Archer st , urnbl es and f al rs.
sol omon crump-1_es t o t he ground
besi de hi m. As t hey 1i e t here,
wi nded, rhey HEAR VOI CES:
They can see t he GLOW OF CI GARETTES t hrough rhe f ol i age onl y
a f ew yar ds
away as R. U. F. sol di er s appr oach.
ON SOLOMON AIVD ARCHER
as t he sol di er s' boot s pass wi Ehi n i nches of
ghei r
hi di ng
p1ace. They bury t . hei r f aces deeper i n t he mud.
139 DAYBREAK
139
f i nds t hem st i 11 hi di ng. Caut i ousl y, Ehey ener ge
- -
sEi f f ,
weE, and mi ser abf e f r om a ni ght spenE on t he
j ungl e
f l oor .
ftl(LrlEx,
(
f ur i ous )
NexE t . i me you pu1l
somet , hi ng l i ke
EhaE I wi l l shoot you r nysel f .
SOLOMON
( equal l y
f ur i ous)
Shoot me nor^r. IE i s what you are
pl anni ng
anyway.
ARCHER
what ar e you t aLki ng about , ?
SOLOMON
You Ehi nk I do not know che ki nd of
man you are?
you
buy di amonds from
Ehe same peopl e who t ook my son.
ARCHER
- - Maddy
r ol d you.
SOLOMON
I s Ehi s t r ue?
Ar cher l ooks at hi m.
ARCHER
Yes . I t i s t r ue.
SOLOMON
And al l y ou hav e s ai d. . . How t he
di amond wi l l f r ee my f ami l y. ?hi s,
Eoo, i s a l i e. f s i t not ?
ARCHER
I don' t know. Maybe.
( l ooks
at . hi m)
BUE I ' m not , Che onl y one who t el l s
1i es , am I ?
SOLOMON
I do noc l i e.
ARCHER
No?
you
don' E gi ve
a f uck abouc
f i ndi ng r he di ar nond.
( MORE)
. J U .
ARCHER
(CONT' D)
You' r e ouE her e l ooki ng f or your
son. And you' d cut my hear E out i n
a second i f i t means a chance t o
get
hi m back.
Sol omon i s shocked i nt o si l ence. Ar cher i s r i ght .
SOLOMON
Yes . I t i s t r ue.
The cwo men st are ac each ot her.
AKLI1Et(
Long as we underst and each oEher.
He set s of f i nt o t he br ush, l i mpi ng heavi l y.
SOLOMON
You ar e hur t .
ARCHER
( wi t hout
l ooki ng back)
I ' m f i ne.
Sol omon reaches t o t ake Ehe heavy pack f rom Archer' s shoul der.
Archer grabs hi s hand. They l ock eyes f or a moment . .
SOLOMON
You ehi nk I ' m goi ng t o st eal i t ?
Archer t urns and wal ks away. Sol omon l ooks down t o see BRI GHT
DROPS OF BLOOD f r om Ar cher ' s booE st ai ni ng Ehe gr r ound.
140 LATER
-
THE UNMISTAKABLE SOUND OF APPROACHING HELICOPTERS 140
f or ces t hem Co t ake cover . Two E. O. gunshi ps
st r eak past .
Ar e t he chopper s l ooki ng f or t hem, or i s i t a coi nci dence?
]41 LATER THAT DAY
-
THE SUN HAS REACHED ITS ZENTTH T4T
as t hey t rudge onward. Archer' s l i mp i s more pronounced.
He t i ps back hi s cant een and f i nds i t empEy. Sol omon not i ces.
He passes hi s cant een t o Ar cher , who hesi t . at es f or a moment ,
t hen l aughs and put s hi s mouch t o a bl ack man, s cant een.
).42 LATER
-
THEY TRAVERSE A HIGH RTDGE I42
I n t . he di st ance, we see Ehe r ecedi ng peaks. Ar cher begi ns a
conver sat i on, as much ouE of bor edom as anyUhi ng el se.
,+t1LT!L11
So y ou' r e a f ar mer . . .
Sol omon l ooks aE hi m war i l y. Nods.
ARCHER
( CONT' D)
What do you grow?
SOLOMON
. Casava.
ARCHER
I grew up on a f arm.
(rernernberi ng.
. . )
Hat ed ever y mi nut e of i t .
End of conver sat i on. They wal k on i n si l ence.
143 STI LL LATER
-
DEEP PI TS I N THE EARTH 143
Begi n t o appear as Archer and Sol omon cl i mb t hrough a hi 11y
l andscape. Sol omon st ares at Ehe di amond mi nes.
SOLOMON
I t i s l i ke t hey ar e eat i ng t he ear t h.
He wal ks on. Ar cher l abor s t o keep up wi t h Sol omon' s pace.
144 ABANDONED HOUSES
:-44
caved- i n and 1i st . i ng, l i ne a st r eet wher e deep pi Ls have
been dug beneat h Ehei r f oundat i ons. rmpoveri shed SQUATTERS
f o11ow t hem wi t h l i st l ess, hungr y eyes as t hey pass.
Ar cher i s
j i ccer y
Lo be obser ved. But i n Af r i ca, peopl e
ar e
ever l r uuher e. Bl ood squi shes i n hi s boot as he wal ks-
145 BY SUNSET
145
They have been wal ki ng f or t wel ve hour s. Ar cher has t o si t .
ARCHER
How much f ar cher - - ?
SOLOMON
One day more.
He kneel s bef or e Ar cher .
SOLOMON ( CONT' D)
Let me see your
l eg,
AP' 1Jt r P
t t ' s f i ne
Sol omon t ouches i t and Archer GRUNTS i n pai n.
ARCHER (COMil
D)
I t ' s i nf ect ed. Fr om l yi ng t her e al l
f ucki ng ni ght .
Sol omon l i f Es Ar cher ' s pant l eg. Exar ni nes i c.
o z .
SOLO}TON
Gi ve me your kni f e.
A H ( H F K
I n t he ot her boot .
Sol omon t akes t he K-Bar. Archer gri cs hi s t eet h. We cannot
see what Sol omon does
- -
but f r om t be expr essi on on Ar cher ' s
f ace, we can onl y i magi ne.
Sol omon sEands. Archer t ri es t o buE t he pai n i s overwhel mi ng.
SOLOMON
I wi l l be back.
Ar cher pul l s hi s Si g- Sauer 9mm f r om hi s beLt .
ARCHER
No- -
Sol omon sEart s wal ki ng away. COCKS t he weapon-
ARCHER ( CONT' D)
You t hi nk I won' t shoot you.
SOLOMON
Shoot me, t hen. And t r y t o f i nd t he
di amond your sel f .
( keeps
wal ki ng)
f wi l L be back.
L46 LATER THAT NIGHT
-
A SMALL VILLAGE 146
has been Eaken over by CHI LD SOLDI ERS. They si t , t hrowi ng
bul l et s i nt o a bar r el f i r e and LAUGHI NG as Ehey expl ode.
Sol omon cr eeps t o t he edge of a huE
- -
peer i ng aE t he f aces.
No Di a.
Si x mor e t eenager s ar e l oadi ng Ehe spoi l s of Ehe vi l l age
ont o a t r uck. One of t hem coul d be Di a, He i sn' E.
I47 HOURS LATER
-
THE MOON HAS RISEN
I47
Archer awakens t o see sol omon wal ki ng Eoward hi rn ouE of Ehe
bush. He car r j . es a
poul t i ce
made of l eaves and mud.
He kneel s and begi . ns Eo appl y i t Eo Ar cher ' s wound.
SOLOMON
I t houghE about not comi ng back.
( 1ooks
at hi nr )
f Eal ked t o my son abouE i t .
Ar cher l ooks aE hi m. WhaE r he hel l i s he ual ki ng abouE?
R?
SOLOMON
(CONT' D)
f t al k t o hi m al l t he ci me.
( wor ks
on t he 1eg)
He says f must f orgi ve what you have
done i n t he past .
And t r ust t hat
you wi l l hel p gec my f ani l y back.
Ar cher doesn' t . know how Eo r espond t o t hi s si mpl e absol ut i on.
Af(\-n.trK
You' r e f ucki ngr cr azy.
Sol or non f i ni shes wr appi ng t he poul t i ce.
SOLOMON
f wi l l go
and f i nd us wat er .
He st ands agrai n and wal ks away.
Ar cher can' t bear f eel i ng power l ess.
Fi ghEi ng t he pai n, he
st ands and t r i - es Eo wal k. r t . ' s excr uci at . i ng.
st i t r r r e
cont i nues hobbl i ng
- -
unEi l f i nar l y he si cs on t he gr ound.
148 CAPE TOI^JN AIRPORT TERMINAL
--
NIGHT
14g
Maddy de- pl anes wi t h a conEi ngent
of
j our nal i st s.
Li ke
everyone el se who geEs
of f a pl ane
chese days, she t . urns on
her ceLl phone
t o check f or messages. Ther e ar e none.
Ar cher hasn' t cal 1ed.
I49 DAWN IN THE JUNGLE
L4g
i s sof t and f ul 1 of pr omi se.
Low cr ouds hang
j usE
above t he
t r eet ops as f i - r sE. l i ght t ouches t he moi st gr eener y.
Ar cher ' s f ace i s at peace
as he wakes. sol omon sl eeps near by.
Ar cher r eaches t o scr at ch hi s nose and r eal i zes he i s cover ed
wi ch BLACK ANTS. scr ambl i ng
co hi s knees, he f r ant i ca: . t y
br ushes t hem of f . They ar e i n hi s ear s, i nsi de hi s shi r c.
sol omon
awakens and begi ns Eo l augh at Ar cher , s
f r enzv.
ARCHER
r HATE FUCKING ANTS !
SOLOMON
I Ehi nk you
ar e f eel i ng beEt er .
And t hen Sol omon r eal i zes t hac he, t oo, i s i nf est ed. He
r eaches i nt o hi s pant . s
and begi ns t o hop ar ound. Now i E' s
Ar cher ' s
t ur n t o l augh.
soon Ehey ar e bot . h si c: i ng on t he gr ound,
LAUGHTNG f or no
r eason
- *
except . . of cour se, as a r el ease f r om ar l t haE has
bef al l en
t hem.
Q A
150 THE ENDLESS HI LLS
150
gl ow pi nk
i n t he dawn as t . hey wa1k. A her d of ant er ope bur st ,
f r om Ehe br ush and bound maj est i cal l y away.
SOLOMON
. . . You ar e how o1d?
ARCHER
Me? Thi r Ey . One.
SOLOMON
And you
have no wi f e?
ARCHER
No.
SOLOMON
No chi l dr en?
r,^
ARCHER
l \ u .
Sol omon shakes hi s head. Af t er a momenc, Ar cher can, t r esi sE.
ARCHER ( COI UT' D)
. - whaE?
SOLOHON
Tr ul y, I do not . under sEand
whi ce
peopl e.
ARCHER
That makes t wo of us.
AS THEY CREST A HI LL
Sol omon suddenl y sLops. He l ooks ar ound. Then he f a11s Eo
hi s knees. Ar cher cl i mbs Eo wher e he i s and l ooks ar ound- -
A I4ASS GRAVE
has been f ashi oned f r om an abandoned di amond pi E. BODTES
pi l ed
hi gh
- -
men, women, chi l dr en. None of Lnem sol di er s.
ARCHER ( CONT' D)
Ani mal s.
SOLOMON
No ani mal woul d ever do such a t hi nq.
I E makes no sense.
Sol omon f or ces hi msel f t o wal k among Ehe cor pses, pr ayi ng
t . hac hi s son i s not . anong t hen. t ei r s st r eam down hi s cheeks.
SOLOMON
(CONT' D)
My peopl e val ue l i f e. The t ' t ende
f i nd i c har d even t o Eake t he l i f e
of a chi cken. God gi ves
l
j . f e;
onl y
he rnay Lake i t back.
( a
st r angl ed cr y)
How can t hey do Ehi s?
Archer has no answer. Just l ooks at hi m.
SOLOMON
(CONT' D)
(numbl Y)
Why i s Ehere so much evi l here?
What i s wrong wi t h us?
151- HOURS LATER 151
Archer uses a t ree branch as a cane.
ARCHER
( f eel i ng
hi s f or ehead)
I ' ve st opped sweaEi ng. We' ve got
Eo
f i nd wat er .
SOLOMON
Then we must move f ast er.
Ar cher nods and pushes hi msel f pasE Ehe pai n i n hi s I eg.
L52 HOURS LATER
-
THE ST' N IS SCORCHING AT }{ID-DAY ]-52
Ar cher st umbl es. Sol omon of f er s a hand t o l i f t hi m t o hi s
f eet . Ar cher i gnor es i t . Ahead i s a CLEARI NG, and i n i t :
A BULL ELEPHA}TT
st ands t al 1 and menaci ng. Besi de hi m, on t he gr ound, i s hi s
mal e
--
gri evousl y wounded and BELLOWI NG pi t eousl y.
For a moment , Archer and Sol omon are t oo st unned t o speak.
ARCHER
Back away. And wat ch where you st ep.
Sol omon f r eezes.
SOLOMON
I s i E- -
ARCHER
A ni nef i eLd. Yes .
They scare at Ehe MAGNTFI CENT CREATURE who ref uses t o l eave
hi s f a11en mat e. 51ow1y t hey r et r ace t hei r st . eps.
No sooner have they turned Ehei r backs Chan AII EXPLOSION
shakes t he ground
and A FLOCK OF BI RDS ri ses over t he f i el d.
a c
They know what i t means. Gr i ml y, t . hey keep movi ng.
'
153 THE JUNGLE AT Nr cHT 153
i s a f r eaky pl ace at t he bese of t i mes wi t h st r ange shapes,
shadows, and noi ses ever pvher e. f n t hei r st at e, i t . f eel s
l i ke a bad aci d t r i p. Sol omon hear s t he WHI SPERED VOI CE of
hi s son. He car r i es on an i magi ned conver sat . i on.
SOLOMON
. . . . Why ? The c ows wi l l do f i ne i n
t he upper pas t . ur e. . .
ARCHER
Hey. . .
SOLOMON
( i n
a k i nd of t r anc e)
- -
Yes. And next year we wi l l pl ant
c of f ee-
-
ARCHER
HEY !
( Sol omon
i s s t ar t l ed)
You' r e hal l uc i nat i nq.
SOLOMON
No. I am not .
.
I 54 HOURS LATER
-
ARCHER
154
Ar cher i s hal f - asl eep as Ehey t r udge chr ough deep
j ungl e.
He st ops suddenl y. A SNAKE hangs menaci ngl y f r om a t . r ee.
ARCHER
Do you
see t hat ?
SOLOMON
What ?
ARCHER
The. . . s nak e.
SOLOMON
No.
ARCHER
Good.
Archer now sees ehat i t i s onl y a t . ree branch.
THEY WALK ON FOR A MOMENT
Thi s Ci me i t i s Sol , omon who sEops short . .
87.
SOLOMON
Wai t . . .
( l i s t eni ng)
Can you hear i t ?
Ar cher l i st ens har d. A wei r d cr oaki ng sound. Fr ogs?
ARCHER
Fr oqs ! !
SOLOMON
YES !
Frogs mean wat er. They st umbl e f orward t o di scover--
A S]'IALL STREAJVI BED
They f l i ng t hemsel ves ont o t hei r bel l i es and begi n t o dr i nk.
ARCHER
What i f . . . t hi s wat er . . . i s bad?
SOLOMON
You can wai t f or beer .
Good
poi nt .
Ar cher dr i nks hi s f i l 1.
155 THE NEXT MORNI NG 155
Fi nds t hem si Et i ng by t he st r eam. Ar cher st udi es hi s map.
ARCHER
Thr s r nusc be t he Mel i . f t r uns f r om
t he Nort h. The Moa runs f rom t he
Easc. Wher e t he r i ver s meet i s wher e
t he mi ne i s , r i ghc?
Sol omon says not hi ng.
ARCHER
( CONT' D)
Ri ghe ?
Sol omon
j ust gl ar es at hi m.
ARCHER ( CONT' D)
You get t hat di amond, you can hi re a
Eeam of peopl e t o f i nd hi m. You can
buy the whol e damn governrnent!
( I eani ng
i n)
What are you gonna do, spend t he
r esE of your
l i f e sear chi ng t he bush?
Sol omon l ooks aE hi m. Yes. I f necessar y.
I55 HOURS LATER
_
THEY FOLLOW THE STREA}I 155
now grown i nEo a broad ri ver.
P R
T5' 7 HOURS LATER
-
THEY CLIMB A STEEP RAVINE T5' 7
Archer i s sEruggl i ng. Once agai n, Sol . omon of f ers a hand t o
hel p hi m over a boul der . Thi s t i me, Ar cher
gr udgi ngl y accept s
t he hand. The moment i s underpl ayed buE deepl y si gni f i cant .
CresEi ng a hi 1l , Sol omon l ooks down on Ehe conf l uence of t he
t wo r i ver s. A f ami l i ar gor ge.
SOLOUON' S POV
-
THE DIAMOND MINTNG CAI"IP
i s spread ouE be1ow. HOLES and PI TS pock t he l andscape.
Ar cher
j oi ns
hi m at Ehe over l ook.
ARCHER
That ' s i t , i s n' t i E?
Sol omon' s f ace i s cl ouded wi t . h memor y. I E' s a
pl ace f r om hi s
ni ghEmar es. A pl ace
he hoped never t o see agai n.
A LARGE CONTI NGENT OF R. U. F, TROOPS
i s encamped near t . he mi nes. Archer can see dozens of t i ny
f i res wi t h t rooDs huddl ed besi de t . hem.
ARCHER
( CONT' D)
Chr i st . .
He kneel s
- -
t r yi ng t o f i gur e ouE Ehei r next move.
ARCHER
( CONT' D)
Okay. . .
He di gs i nco hi s pack f or Ehe SAT* phone.
ARCHER
( CONT' D)
The E. O. woul d want . t o know about a
f or ce t hi s si ze. I f I cal l Joost ,
he' 11 s end i n an ai r s t r i ke. . .
( t he pl an unf ol ds)
We use i t as a di ver si on.
Bel ow Ehen, TEENAGE REBELS pl ay soccer i n a ragged f i e1d.
I s Di a arnong t hem? I t i s t oo f ar away t o know.
SOLOMON
No ai r sE. r i ke.
ARCHER
How do we get . i n Ehere wi t houE some
ki nd of di ver si on?
SOLOMON
No. . . ai r . . . s Er i k e.
ARCHER
He i sn' ! down t her e.
89.
SOLOMON
How do you know?
AJI LI TK
(
col dl y)
i l m cal l i ng i E i n.
(t urns
on SAT-phone)
They' 11 come i n at f i r su l i ght . .
Lor , r . Over Ehat r i dge. That ' s how
r nueh Ei me you' ve got . .
Sol omon t ur ns and st ar cs down t he hi l l .
ARCHER ( CONT' D)
HoI d up Eher e, boy- - !
Sol omon r eacEs Eo Ar cher ' s i nst . i nct . i ve
use of " boy. "
ARCHER ( CONT' D)
I ' m noE l et t i ng you get your sel f
ki l l ed unEi I I have Ehar f ucki no
sEone. We wai t . f or dar k.
A LI ST OF CALL NUMBERS i s Eaped Eo rhe i nsi de of Lhe SAT-
phone' s
case. Ar cher punches
i n a nur nber .
ARCHER ( CONT' D)
(on
che SAT-phone)
GeE, me Joost Ar cher . . . . He' 11
know- - Ask i f he' s i nt er esEed i n t he
l oc at i on of a maj or R. U. F. canp.
158 LATER
--
THE DI A}4OND CAUP
--
NI GHT
158
i s
j usE
as we remember i E. Muddy and exhaust . ed SLAVE WoRKERS
t ry t . o keep ouE of A DRTVTNG RArN, sguaEt . i ng under corrugraged
: i n r oof s whi l e eaEi ng Ehei r t i ny por ui on
of r i ce gr uei .
Rebel sor di er s
- -
adul t s and t eenager s al i ke
- -
eat . Red cr oss
r aEi ons whi l e Er yi ng t o keep war m and dr y.
ARCHER AND SOLOMON
have crawl ed f orward t . o t he edge of t he camp.
ARCHER
I can' c wal k i n L. her e.
you
scay i n
TI l:T: ::."ifl::":"*"';:i"':::LI""
j l "oEBI l *erer.
rhe ai r sEri ke happens
( r ac k s
t he s l i - de of
hi s Si g- Sauer )
You do ex ac al y as I s ay . And don' t
mi s c ak e me f or y our f r i end.
y ou
f uc k wi t h me and I , l l s ur el y k i I I
YOu.
90.
A SENTRY
huddl es mi ser abl y i n t he r ai n.
Archer SPRI NGS out of t he shadows and choke-hol ds hi m
--
t hen drags hi m back i nt o t he bushes where Sol omon i s hi di ng.
Ar cher t . akes hi s weapon
-
an H&K assaul t r i f l e,
Sol omon st ands up and wal ks i nt o Che camp as i nconspi cuousl y
as possi bl e. Ar cher wat ches under cover of t he br ush as:
15 9 SOLOMON t_ 5 9
i nsi nuaEes hi msel f among t he mi serabl e workers, movi ng f rom
hut t o hut
- -
t r yi ng ! o see i f Di a i s among t hem.
He i sn' t . Sol omon moves deeper i nt o t he vi 11age.
AT(L11Er(
cur ses as Sol omon wal ks out of hi s l i ne of si ght . .
1 60 I N THE CA}I P 15 O
Sol omon i s about , t o gi ve
up hope, when--
HE. SEES DI 4. Sol omon bl i nks back hi s di sbel i ef .
Di a' s wi r h TWO OLDER REBELS, who ar e wat chi ng hi m r . ake a hi t
f r om a bi g spl i f f , l aughi ng as he chokes on t he smoke.
Sol omon Er i es t o wi l l Di a t o Eur n i n hi s di r ect i on.
1 61 ARCHER
1 51
Scut t l es Ehr ough t he bush
- -
t r yi ng Eo get a l i ne of si ght .
I 52 EXT. TWO SENTRI ES 162
appear nearby
--
carryi ng f ood f or t he sent ry Archer has
ki l l ed. Unabl e t , o f i nd hi m, r hey begi n t o CALL out f or hi m.
163 I N THE CAI {P 153
Di a and t he ot her sol di ers separat . e. Sol omon moves out f rom
the shadows -
SOLOMON
( whi sper i ng)
Di a-
-
Di a t urns
--
uncomprehendi ng.
Sol omon t akes hi s arm.
91.
DI A
( suddenl y
f ear f ul )
NO!
SOLOMON
Di a. i E' s me !
Three mont hs of horror, of depravaEi on, of l rauma, of
unspeakabl e act s have Eaken rooE i n Ehe soul of Ehi s young
boy. Hi s f ace conEor t s i n st r uggl e. Then- -
l JI 1{
GET AWAY FROM ME! GET AWAY!
(
screami ng )
FARMER! TRAI TOR!
He t r i es Lo br eak f r ee of Sol omon' s gr asp. A f ew oEher
sol di er s HEAR hi m cr y out . They E, ur n Eo l ook.
164 ARCHER
164
hear s i E as we11. He st eps f r on hi s hi di ng pl ace
- -
t r yi . ng
t o see what i s happeni ng.
165 AN R. U. F. SOLDI ER 155
sees Sol omon hol di ng Di a by Ehe arm. He HI TS HI M I N THE
BACK wi Eh hi s r i f l e buEE. Sof omon cr umpl es Eo t he gr ound.
165 ARCHER
155
ai ms Ehe assaul t ri f 1e, buc t he GUARDS have pi cked up Sol omon
and
- -
at si xt y yar ds, aE ni ght , i n t he dr i vi ng r ai n
- -
t her e' s no way Ar cher can get
of f a cl ean shot - Then- -
The SOUND of a SLI DE bei ng racked. The barrel of an AK-A7
i s pl aced agai nst Ar cher ' s head.
I5' 7 EXT. THE REBEL CAMP
--
NEXT MORNING 167
Sol omon' s arms have been TI ED behi nd hi s back
--
t he rope
l ooped over a t r ee br anch and r e- Ei ed. He l ooks up Eo see- -
DI A. st andi ng wi t h sever al guar ds. Hi s f ace i s har d and
wi t hdr awn. He t ur ns away f r om Sol omon, s gaze,
A SHOVEL i s t hr own at Sol omon, s f eet .
VOICE
I knew you woul d come back.
Sol omon l ooks up i nt o t he di sf i gured f ace of CAPTAI N POI SON.
A br uEal scar onl y adds Eo Ehe mal i ce i n hi s eyes.
Poi son mot i ons t o t he dozens of HoLES Ehat pock t he l andscape
--
gi anE
scars of di amond f i el ds t haE have been mi ned out .
A A
POI SON
See how I have dug. I have f ound
not hi ng.
( co
sol omon)
You wi l l di gr agai n f or me.
you
wi l l
di g up what you have come back f or.
SOLOMON
No.
POI SON
No? Do you
t hi nk t he whi t e man wi l l
r escue you?
He t ur ns Sol omon' s head vi ol ent l y t o t he l ef t , wher e:
r|I{L.'IE}{
Has been made t o kneeL, arms t i . ed behi nd hi s back, head t o
t he gr ound,
wi ch a gun hel d t o t he back of hi s sku11.
POI SON ( COI JT' D)
Thi s whi t e man i s t he cause of your
suf f er i ng. Thi s whi t e man, hi s
mast ers abroad
--
and hi s bl ack
puppet s i n t . he government .
Poi son whi ps out a dog- ear ed mani f est o f r om hi s ar my
j acket .
POI SON (COM|
D)
Foday Sankoh say
--
resi sE and
overt hrow t . hose who woul d expl oi t .
you!
Shed t hei r bl ood.
He sl aps Sol omon' s head wi t h Ehe book.
POI SON ( CON" ' D)
Maybe some more di ggi ng wi l l hel p
you
l ear n t hi s l esson.
The r ope hol di ng sol omon i s cuL. He f a1l s t o t he gr ound
and
i s pr odded
t o hi s f eec by sever al soLDr ERs hol di ng Ak- 47' s.
Sol omon l ooks down at t he shovel . But doesn, t move.
sur r epEi t i ous] y
Ar cher gl ances
at hi s wat ch. r c i s 5: 59.
PO] SON ( CONT' D)
pi ck
i t uD.
SOLOMON
Why?
you
are goi ng
t o ki 11 me any*ay.
Wi t h a si gh,
poi son
whi sper s i n Sol omon' s ear :
93.
POTSON
I do not need t o ki 1l you,
Sol omon
Vandy. Because now you have a natne.
And a f ami l y. I f you do not gi ve me
r hi c d' i =nanA
I wi l l f i nd t hi s f ani l y
- -
i l ;;
;; ;";;;" round your
son.
He goes
t , o Di a and put s hi s arm around hi m.
POTSON ( CONT' D)
f wi l l r ape your
wi f e i n f r ont of
you,
t hen sl i t her t , hr oat .
(
smi l es )
And I wi l l keep your daught ers f or
mysel f .
I t i s Ehe f i r st t . i me we bave seen t he l i qht go out of
SoLomon' s eyes i n par t
because of
poi i on, i
wor ds, buc
most l y because of Di a' s l ook of i ndi f f er ence.
POTSON ( CONT' D)
You t hi nk I am a devi l . BuE onl y
because I have l i ved i n hel l . I
want t o geE out . You wi l l hel p me.
Curi ousl y enough, Ehese words coul d have been Archer, s when
f i r st we met hi m. He wat ehes as:
Sol omon t akes t he shovel . Ar1 hi s hopes and dreams end here.
He i s musr di g t he ear t h one 1ast , t i mL uo save hi s f ami l y.
He l ooks out at t he
j ungl e.
Not hi ng l ooks f ami l i ar
- -
t he
t r ees SWI RLI NG. . . maki ng hi m di zzy.
SOLOMON
f don' t r emer nber . . .
Archer, head t o t he ground,
wat ches sol omon crosel y. Sneaks
anot her peek
at hi s wat ch. 0500 hour s. No ai r st . i i ke.
"' i
nA
.i
F r ^-o91to*
! l r r u ! s , v r y \ . , u r f a mi l y wi l l d i e !
As i f sl eep- wal ki ng; Sol omon begi ns t o wal k t owar d Lhe pi t s.
Poi son and sever ar ar med r ebel s f ol r ow cl ose behi nd.
168 THE FI RST ROCKET EXPLODES
158
i n t . he mi ddl e
of t he carnp
*-
sendi ng a corrugat ed hut sky
hi gh. Everyone i s knocked t o t he gi ound.
An E. O. HELI COPTER GUNSHI P sTreaks by overhead, THE SEcoND
RocKET hi t s a Er uck
- -
i nst . ant r y t ur ni ng i u i nt o a f i r ebal r .
THE GTI NSHI P' S GATLI NG GUNS
f i re. 800 ROUNDS
pER
sEcoND chew up everyt hi ng i n i E. s pat h.
94.
ARCHER' S GUARD
i s al mosE cut i n hal f by t he devast aEi ng f i r epower . Ar cher
r o1l s behi nd a t r ee
- -
CHUNKS FLY f r om i Ls base.
SOLOMON, CAPTATN POTSON AND AN R. U. F. GUARD
have been knocked i nto a muddy DIAUOND PIT. Sol omon hugs
t he
ground as t he
j et
SCREAI {S over
--
st . i t chi ng t he ground.
ARCHER get s eo hi s f eet and spri nt s t oward Di a
--
i gnori ng
Ehe EXPLOSI ONS al l ar ound hi m. Si nce hi s hands ar e st i 1l
Ei ed behi nd hi s back
--he
hurEl es a BODYCHECK i neo che back
of t he SOLDI ER guardi ng t he boy.
He THROWS HI MSELF on t op of uhe boy
--
as t he
gunshi ps make
anoEher pass
- *
KI LLI NG R. U. F. sol di er s who Lr y Lo escape.
159 EXT. AT THE BOTTOM OF THE DI A}, I OND PI T 169
Sol omon Eurns over Ehe body of a dead guard
and f i nds A
MACHETE i n hi s be1E. CapCai n Poi son l ooks up f rom Lhe muck
and r eaches f or hi s 9r un
- -
onl y i t i sn' t i n hi s hol st . er .
Fr ant i cal l y, he di gs i n
ghe
mud. I t . ' s nowher e t o be f ound.
Sol ornon, meanwhi l e, geEs Eo hi s f eet , and moves Eoward Poi son
--
who f r anci cal l y t . r i es t o cl i mb out of t . he
pi E
- -
The si des ar e hi gh and sl i - ck. The cl oser Sol omon get s, t he
mor e f r ant . i cal l y Poi son Er i es Co cl aw hi s way out . BuE Ehe
wa1l s ar e
j ust
t oo sl i pper y. . .
He FALLS back
- -
sl i di ng down
- -
aE. l asE f i ndi ng hi s gun.
He r ai ses i c, but . i t ' s Eoo l ace
- *
Sol omon RAf SES THE MACHETE.
A11 we can see i s t he 1i p of che pi t , buE we can HEAR Poi son' s
SCREAI {S as Sol omon' s powerf ul arm RI SES and FALLS.
Sol omon' s f ace i s cont , orEed
--
as E. he rage Ehat has been
bur i ed f or so l ong f i nds i Es expr essi on, He br i ngs t he
machet e down agai n
- -
and agai n wi t n al l hi s ni ght . Bl ood
spauEer i ng hi m. Unt , i . 1 he st . ops.
Wi Eh di sbel i ef and hor r or aE whaE he' s done.
170 TWO ARMORED VEHI CLES 170
appear wi Eh . 50 cal i ber machi ne guns FI RI NG f r om Ehei r mount . s.
Behi nd t hem, MERCENARI ES weari ng Ehe red beret of Ehe E. O.
Joost or gani zes bl ocki ng
posi Ci ons
ar ound t he per i meEer of
Ehe vi l l age
- -
cut , Ei ng down anyone who t r i es E, o escape.
I t , i s al l over i n a mat , Eer of mi nuEes.
95.
171 A SI LENCE 171
As t he SMOKE and DUST cl ears, hardl y a soul i s movi ng, THE
COLONEL st ri des i nEo camp f ol l owed by TWO BODYGUARDS.
ARCHER squi nt s i nt , o t he sun as Ehe Col onel l ooms above hi m.
THE COLONEL
Thank
you f or cal l i ng i n t he l ocat i on.
A}(Utttrt(
You' r e wel c ome.
THE COLONEL
f hen agai n, you had an ul t . er i or
noEi v e.
SOLOMON ener ges f r om t he pi t ,
cover ed i n bl ood. He i s a
t er r i f yi ng si ght
- -
t hi s gent l e man t r ansf or med i nt o some
k i nd of mons t er .
THE COLONEL
( CONT' D)
f hi s must be t he f amous Mr . Vandv.
( t o
Ar cher )
I nt r oduce us.
AKL]:TEt(
I hi . s i s Col onel Coet see. He want s
t he di amond.
THE COLONEL
No mor e t han r zou.
Ar cher nods. Tr ue enouqh.
THE COLONEL
( CONT' D)
( c al l s
ouc )
J ooSE.
' Joost appear s, hol di ng a 9mm t o Di a' s head. Di a i s shocked
' t ^ . .
L . : ^ t ^ r l
Dy nl s r acner ' s appear ance.
THE COLONEL ( CONT' D)
( c a11s
out . )
Lt . Gans .
A mer cenar " y LI EUTENANT appear s.
THE COLONEL
( COMT' D)
You wi l l or gani ze t he wi r hdr awal .
We move out i n t hi r t y mi nut es.
( t ur ns
t o SoLomon)
LeE' s t ak e a wal k , s hal l we?
The Col onel ' s t wo bodyguar ds f ol l ow.
96.
L72 MOMEMIS LATER
-
ARCHER AND SOLOMON T12
ar e l ed at gunpoi nE i nEo t he di amond f i el ds by t he Col onel ' s
BODYGUARDS. The Col onel and Joost f ol l ow behi nd wi t h Di a.
JOOST
How much f art , her?
Sol omon doesn' c answer . They pass
one pi e af Eer anot her .
A SAT-phone RI NGS i n t he pack carri ed by one of t , he Col onef ' s
bodyguards. The guard
answers i t and hands i . t t o The Col onel .
?HE COLONEL
(on
che SAT-phone)
. . . . No . . . No t r ans por t , f or
ffi:i'ffi:i';;; i;'?ff: ifi: .:T:::
He hands E,he
phone back t,o Ehe bodyguard.
I73 HAI,F A MILE ON
_
IN A GROVE BY THE RIVERSIDE T73
Sol omon sEops. The oEher s r eact , , expect ant .
Loomi ng out of t he t hi ck growt . h i s THE RUBBER TREE. Vi nes
have cover ed i Es base, but i t ' s def i ni t el y Ehe same t r ee.
Sol omon measur es Ehe di st ance. Takes anot her f ew st eps.
He i s about Eo r ai se Ehe shovel . Then sEops dead, Ehe r nuscl es
of hi s ar m t ensi ng. Tnches f r om hi s f ooE, unmi st . akabl e
- -
i s t he TRI GGER of a l and mi ne
- -
par Ei al l y cover ed by vi nes.
Sol omon gl ances back t o Joost , who st ands several yards away.
He does n' t s ee i t ,
Sol omon l ooks back at Ehe ur i gger
- -
an i dea f or mi ng- He
c ur ns i n Ar c her ' s di r ec Ei on. . .
SOLOMON
( l ooki ng
ar ound)
An el ephant . graveyard.
JOOST
What ? Keep di ggi ng.
Ar cher knows Sol omon i s Er yi ng hi m someEhi ng
- -
i n code.
Sol omon caref ul l y Eakes a st . ep si deways. Si nks Ehe shovel
i nt o t he ear E, h. Swa11ows. He' s st i 1l i n one pi ece.
He si nks Ehe shovel i n agai n. And agai n. Di ggi ng.
The Col oneL wat ches
, i nt ent . l y.
91 -
Sol omon t hrows uhe shovel asi de. Gecs down on hi s knees,
di ggi ng wi t h hi s hands now. Fast er . Scoopi ng out di r c and
r ocks and sand. Unci l t her e i s not hi ng l ef t t o scr ape oue.
He st ar es i nt . o Che empt y hol e, conf ounded. . .
He l ooks t o Joost , t hen Ar cher , t hen back i nt o t he ho1e.
Gr abs t he shovel agai n, st ar t s di ggi ng Ehe hol e l ar ger , wi der .
SOLOMON
I c i s noc her e i t i s not her e!
THE COLONEL
What do you mean?
SOLOMON
Thi s i s where I buri . ed ehe st . one.
I n t hi s pI ace. But i t i s not her e!
( besi de
hi msel f )
Someone has t aken i c ! Come see f or
yoursel f 3
The Col onel mot i ons Joosc over co Sof omon. Joost l eaves Di a
by che Col onel ' s si de.
As t he mercenary vent ures over
--
SoLomon gl ances at Archer, hi s eyes convey somechi ng. Archer
r eads t he l ook. Out of t he cor ner of hi s eye, he sees:
The TRI GGER- I E l i es bet ween Sol omon' s hol e and Joost .
Sol omon Er i es desper aEel y not t o l ook at Che Er i gger as JoosE
comes cl oser . Cl oser .
JOOSE' S bOOE HI TS ThE TRI C. GER. CLI CK. A Mi I I i SCCONd Of
r eal i zaE. i on on t . he st unned mer cenar y' s f ace bef or e- -
THE EXPLOSI ON bl ows hi m Eo bi Es.
Sol omon i s al ready DI VI NG behi nd a Eree scump as--
Di a i s t hrown t o t . he ground.
Archer sei zes t he momenE
--
sendi ng an OPEN-HAND STRI KE Eo
Ehe t hroat of hi s woul d-be execut i oner, Ehen grabbi ng
Ehe AK-
4J , and shoot i ng hi m bef or e r i ppi ng t he gun out of hi s hands.
ARCHER
STAY DOWN!
SOLOMON remai ns f l at , t ened behi nd t he Eree sEump, head down.
Archer sprays GUNFI RE aE t he mercenari es
--
hi Et i ng t he
Col onel and t he guards. He e>cpends t he ent i re c1i p.
And no one i s l ef E st andi nq
98.
He l ooks back aE t he rebel canp
--
knowi ng t hat ot her
mercenari es have heard che GUNFI RE.
ARCHER
(CO}M'
D)
Let ' s go !
Sol - omon get s
up, or i ent s hi msel f and begi ns t o count st eps.
Spear s t he shoveL i nt o t he ear Eh. Di gs.
ARCHER
(COI VI ' D)
( admi r i ngl y)
You l y i ng bas t ar d. . .
Sol omon t hrows Ehe shovel down.
THERE f N THE HOLE
- -
peeki ng out of t he di r c i s r he r or n
gr een cuf f of a pant l eg.
Sol 0mon di gs i t out wi t h hi s hands.
FAR OFF VOICES
can be hear d
- -
comi ng t hei r way. Ar med E. O. mer cenar i es.
Archer rams a f resh cl i p i nt o che nrachi ne gun,
and reaches
i -nt o t he dead bodyguard' s pack
f or hi s SAT-phone. But as he
l ooks up, he sees
U L A
hol di ngr The Col onel ' s 9mn. Ai med ac hi m.
SOLOMON
Di a__
Di a' s eyes f l i cker f r om Ar cher t o sol omon and t . hen back.
SOLOMON ( CONT' D)
Di a, l ook ac me.
Di a l ooks i nt o Sol omon, s eyes.
SOLOMON ( CONT' D)
( i n
Mende)
You are Di a Vandy. Of t he proud
Mende.
Your mot her l oves you
--
and she
wai t s by t he f i r e maki ng pl ai nt ai ns
and r ed pal m
scew wi t h your
si st er ,
N' yanda, and t he new baby.
( moves
cl oser )
The cows wai t f or you.
And Babu Ehe
wi l d dog who mi nds no one but you.
( moves
cl _oser sEi l l )
And f am your f aEher who l oves you.
And you
wi l l go home wi t h me, and be
my son.
He wal ks ri ght up t o hi m, i gnori ng t he gun,
and wraps hi s
arms around hi m-
99.
Di a goes l i mp, t he gun hangs l oosel y aE hi s si de
- -
as he
al l ows hi msel f t o be he1d.
BEHIND THEM,
THE
JUNGLE ERUPTS WITI]
.GUNFIRE
Sol omon Ehrows Di a t o Lhe
ground. Archer eakes cover,
FOUR MERCENARIES ARE ADVANCING
acr oss t he r i ver
- -
f i r i ng as Ehey come.
Ar cher RETURNS FI RE, hi t ci ng t wo, The ot her s hi t t he gr ound.
ARCHER
MOVE, MOVE. MOVE! ! !
He SHOVES Sol omon and Di a t . o t hei r f eeE.
ANOTHER SPRAY OP GUNFIRE
pi ns
Chem down.
ARCHER ( CONT' D)
When I sCar t f i r i ng. You g!
( scands
up)
. . . . NOW!
He l ays down COVERING FIRE
--
as Sol ornon and Di a head for
t he br ush. Ar cher wai t . s unEi l t hey ar e saf e, t hen- -
I E' s hi s t ur n t o make a r un. He t akes of f .
I c' s onl y Ehi r t y yar ds or so, buE t hey seer n an ecer ni t y.
He i s al most i nEo t he brush when--
He i s HI T i n Ehe baqk. He grunEs and doubLes over.
ARCHER
( CONT' D)
Fuck !
He f i ght s t he shock and Ehe pai n
- -
adr enal i ne ki cki ng i n
- -
and st umbl es i nt o t he dense cover.
I' I4 UP AHEAD
-
IN THE BUSH I' 7 4
He f i nds Sol omon wai Ei ng. Sol ornon has no not i on EhaC Archer
has been wounded.
SOLOMON
How f ar ?
ARCHER
( Ehr ough gr i t t ed
t eech)
I her e' s . . . a s t r i p. . . on a r i dge. . .
f i f t een ki l omeEer s, . . souch. Fawaz
, . r i 11 meet us . . . . . GO!
They Cake of f i n chat di r ecEi on.
1 n n
175 I N THE JTI NGLE
--
MTNUTES LATER 175
An eer i e guLet . , br oken onl y by t he cal l s of exot i c bi r ds.
Archer l eads t hem
--
payi ng f or every st ep. The ent ry wound
i n hi s back i s sma11, a] mosc unnot i ceabl e.
He st ops and pul Ls out t he SAT- phone. Di al s.
ARCHER
(on Lhe SAT-phone)
. . Wher e ar e you? We' r e t weLve
cl i c k s out . . . . . . Two hour s at most . . .
FAWAZ
( O. S.
)
- - You
have i t ?
ARCHER
(on
che SAT-phone)
. . . Roger t hat .
FAWAZ
( O.
S. )
Car r yi ng a l ot of f uel . Don' t know
i f I can handl e t hree more onboard.
Archer l ooks up ahead t o where Sol omon and Di a are wai Ei ng.
ARCHER
(on
t he SAT-phone)
f ' 11 get i t sor t ed.
He punches t he but t on and st ar t s of f agai n.
L76 THREE KI LOMETERS LATER I 15
SoLomon i s STARI NG at t he bl oody exi t wound bel ow Archer' s
ar m pi t
- -
t he st ai n spr eadi ng.
Ar cher sees hi m see i t . Looks at hi m.
SOLOMON
You must s i . t .
f|J(LrlE|(
Yeah, l et ' s
j us t
have t ea.
He st ar t s movi ng agai n.
L11 THREE KILOMETERS LATER L11
Ar cher has t o st op. Hi s br eat hi . ng i s Labor ed. He wi pes hi s
r nout h. Looks at hi s hand. No bl ood.
AJILn-trt(
Mi s s ed. . . t he l ung. . . but i t
' s
sLi 11. . . . c ol Lapsed. Coul d. . .
be. . . . wor s e. . . . f
guess .
J . U J . .
SOLOMON
ResE now. They wi l l not f i nd us.
Ar cher l ooks ar ound. As i f sensi ng Ehei r
pur sui E'
ARCHER
They ' r e good.
( s c r uggl es
t o hi s
f eeE )
LeE' s go. . .
i Je wi l l s hi msel f onwar d.
1?8 THREE MORE KI LOMETERS
178
have t aken t hei r t . oI l . Ar cher i s scunr l cl i ng now. Sol omon
says somet hi ng Eo Di a i n Mende.
SOLOMON
We wi l l car r y you.
ARCHER
No.
SOLOMON
Yes .
They each t ake one of Ar cher ' s ar ms over t hei r shoul der s.
Yoked Eoget her , t hey st . r uggl e on.
I ' 79 TWO KI LOMETERS MORE I 19
And Ehey have r eached t he base of a r ocky r i dge. Ar cher
E. akes ouE t he bi nocul ar s and sees- -
BI NOCULAR POV
- -
OFF I N THE DI STANCE
TWO E. O. ARI " I ORED VEHI CLES chur n up dust as Ehey appr oach.
Behi nd t hem come a squad of i nf anE. r y on f ooE.
IN THE SKY ABOVE
The Ces s na appear s , c i r c l i ng.
THE RI DGE ABOVE THEM I S VERY STEEP
wi t h dense br ush bl ocki ng t hei r way. I n or der Eo make i c t . o
t he l andi ng s E. r i p, t hey wi l l hav e Co c l i mb i U.
I t . woul d be di f f i cul t enough Eo cl i mb on one' s own, but Eo
car r y anot . her man
- -
as Sol omon Er i es as he hoi sEs Ar cher
over hi s shouf der
- -
i s beyond i magi ni ng.
ARCHER
1n)
SOLOMON
No- -
One st ep. Anot her sLep. And t hen anot her .
Sol omon' s st . r engLh i s t r emendous. They make pr ogr ess. Hand
over hand. Rock by rock.
sol or non' s f ace conEor t s wi t h t he ef f or t . Hi s l egs t r er nbl e
but st i l l he keeps goi ng.
The t op of t he r avi ne appear s,
f ar away, but t . ant al i zi ngl y i n si ght .
For a moment we mi ght even bel i eve t hey wi l l make i t
- -
but
Lhen Sol or non l oses hi s f oot i ng.
He st . umbl es.
Archer i s sl ammed t o t he ground, grunt i ng
i n pai n. Sol omon
r eaehes t o pi ck hi m up agai n.
ARCHER
STOPI DAI ' TN. T! .
Ar cher ' s shi r t - f r onE i s SOAKED i n BLOOD. He i s pal e and
gaspi ng f or br eat h. Sol omon goes
t o pi ck
hi m up agai n.
ARCHER (COI , I T' D)
No. LeE me. . . s ee i t . . .
SOLOMON
Mr . Ar cher * -
ARCHER
You. . . . want i t a1l . . . f or your sel f
_
sol omon shakes hi s head, smi l es r uef u11y. Thi s i s t he momenc
he r eal i zes Ar cher i s noE goi ng
t o make i t .
He hands Archer t he wrapped st . one. Archer peel s i t open.
Even wrapped i n-a di rt y cl ot h, i t t akes t he breat h away
--
l i ke sonet hi ng f r om t he Gods.
ARCHER ( CONT' D)
f t ' s r eal . . .
He hol ds i t up t o bhe war m af t er noon l i ght . .
ARCHER ( CONT' D)
So. . . . beaut i f u1.
Archer l ooks up t o see sol omon sbari ng at hi rn. He wraps i t
back i n t he c1oEh.
ARCHER ( CONT' D)
Take i t .
103 .
SOLOMON
I t hougrht you woul d st eal i t f rom
me,
ARCHER
I t occur r ed Lo me.
Sol omon smi l es.
SOLOMON
To me, as wel l .
1BO UP ABOVE 180
The pl ane t ouches down.
181 DOWN BELOW 181
The Ar mor ed Car s ar e get t i ng
cl oser .
182 ARCHER TB2
Looks over at Sol omon
--
who has hi s arm prot ect i vel y around
Di a.
IN THE BEAUTIFUL AFTERNOON LIGHT
The boy l ooks l i ke t he same i nnocent chi l d he once was.
ARCHER
Take. . . . . your . . . . boy. . . . home.
Sol omon l ooks back at hi m, t ear s i n hi s eyes.
He nods. I n deep and si mpl e gr at i t ude.
Archer nods back. Then--
ARCHER ( CONT' D)
Hel p ne. . .
He st r uggl es t o pi ck
up t he machi ne gun.
Sol omon put s i t
i nt o hi s hands.
ARCHER
( CONT' D)
Put t he st r ap. . . over my shoul der .
Sol omon hel ps secur e i t i n p1ace.
.50 CALIBER ROUNDS FROM THE ARMORED CAR
Begi n t o l and
- -
shor t
- -
but get t i ng cl oser .
183 ARCHER FI RES A BURST PROM HI S MACHI NE GUN 183
Moment ar j . l y st oppi ng t hei r pr ogr ess.
J - U { .
ARCHER
.
co Now.
SOLOMON
Goodbye. . . . Danny.
Ar cher ' s eyes f l i cker f or a moment . . Smi l es,
ARCHER
Te11 Fawaz i f he t r i es t . o cheat . you,
I ' 11 be wai t i ng f or hi m i n He11.
Sol omon nods once more.
Di a meeLs Ar cher ' s eyes f or Ehe f i r sE t i me, Ehen l ooks away.
Sol omon l eads hi s son up t he r i dge.
]- 84 ARCHER
18 4
set t l es hi msel f
- -
as cor nf or t abl y as he i s abl e
- -
among t he
r ocks. He FI RES anot her bur st
- -
t o di st r acE t hem f r om
Sol omon and Di a as t hey cl i mb t he ri dge.
185 DoWN BELoW
195
The at t acki ng mer cenar i es scr ambl e f or cover .
We SEE Sol omon and Di a run for the pl ane.
We CAI.{NOT HEAR
whau i s sai d above rhe ROAR OF THE
pROp.
187 BACK TO ARCHER
I87
He has t aken t he sAT-phone f rom Ehe pack.
rn hi s hand i s
Maddy' s car d. He di a1s.
188 EXT. CAPE TOI,VN
-
AN oUTDooR CAFE
--
INTERCUT
188
Maddy si t s wi t h a gr oup
of
j our nal i st s.
Her ce11 phone RI NGS.
MADDY
uaddy Bowen. . .
ARCHER
Tol d you
f woul - d ca1l .
Maddy i s shocked co hear hi s voi ce. She i mmedi at el y get s
up
and wal ks away f rom t he Labl e.
MADDY
And I ' m so gl ad you di d. When am I
goi ng
t o see you?
F\
ARCHER
Li Et l e pr obl em
t her e.
| { t l
MADDY
Whau do you mean- - ?
Above on t he r i dge, Ar cher HEARS t he pl ane t aki ng of f .
ARCHER
Li s t en. . . Maddy . . . I want y ou. . . t o do
me anocher f avor .
By now Maddy can hear t . he weakness i n hi s voi ce, t he l abor ed
br eachi ng. Then, t he SOUND of gunf i r e f r om bel ow.
MADDY
Ar cher , ar e you
al l r i gt hc?
ARCHER
Li st en, f need you t o go t o Gui nea.
MADDY
Ar c her , what ' s goi ng on- - ?
ARCHER
Wi l l y ou j us t
s huc up and l i s t en- -
Got t o. . . meet Sol omon aE t he UN c amp.
Found. . . hi s s on. . . but t hey , r e. . . goi ng
t o need. . . he1p.
MADDY
You' r e hur t . Oh, my God- - wher e ar e
you?
ARCHER
f
' m
i n a r ea11y . . . beaut i f ul pl ac e.
. .
And. . . I wi s h y ou
wer e her e. . ,
MADDY
Ar cher , oh, shi t . Let me get you
hel p-
-
ftlLLl-t.gJ.(.
. . y ou t ak e c ar e of Sol omon. . . .
Tel l hi s s cor y f got t a go. . .
Maddy' s eyes ar e wel l i ng up.
MADDY
Ar cher - - -
ARCHER
Goodbye, Maddy. . .
MADDY
Archer-- !
The connect i on has been 1ost . Ar cher has hung up.
105.
189 ARCHER 189
pushes away t he phone and si Us back agai nst a mossy rock,
hi s f ace i n r epose. He l ooks up aE che shaf t s of sunl i ght
made vi si bl e bv t he dust and haze.
I n che qui eu, bi r ds f l i t , i nsect , s buzz, t he l eaf y br anches
of t rees hundreds of years o1d sway i n che breeze.
I c remi nds us of how Sol ornon experi enced E, he nat . ural worl d
when f i rst he f ound t . he di amond.
He l ooks down
- -
a hal f - smi l e on hi s f ace as DROPS OF HI S
BLOOD mi x wi Eh Ehe r ed di r t of Af r i ca.
He l ooks up i nEo Che sky
--
where THE CESSNA grows srnal l er
and smal l er as i ! f l i es out of vi ew.
190 ARMED E. O. MERCENARI ES 190
swarm up Ehe hi l l si de t oward Archer. We expecE hi m t , o reEurn
FI RE, buE he does n' t -
As Ehe f i r sE sol di er r eaches hi s posi ui on, we SEE Ehat Ar cher
i s dead. He si Es wi t h hj . s back agai nst . t . he mossy r ock
- -
eyes cl osed. At peace aE l asE.
191 EXT. LONDON ( TO
ESTABLTSH)
- -
DAy 191
Fr om pasEor al t r anqui l i cy t o t , he chaos of ur ban 1i f e. Sol omon
sEands Eransf i xed by Ehe noi se, Ehe Craf f i c, Ehe crowded
si dewal ks of t . he Ci t y of London.
He st ands aE a st , reeE. corner, uncomf orEabl e i n a sui t t wo
si zes E. oo sr nal l and sEi f f new l eat her shoes.
Maddy i s Eher e by hi s si de. She gent l y
t ouches hi s ar m.
MADDY
Come on. We' re al most . t , here.
I92 THEY REACH THE EMBAI..IKMENT
I92
Maddy st ops besi de che Hungerf ord f ooEbri dge.
MADDY
Just . wal k t . o t , he mi ddl e.
SOLOMON
You' r e not comi no?
MADDY
f
' m
noE her e.
So1omon col l ecr s hi msel f . He has sur vi ved hosr i l e
j ungl e,
mer cenar i es and t he R. U. F. .
yet
t . hi s seems as daunEi nq.
1. 01 .
193
I N THE MI DDLE
OF THE BRI DGE
193
Sol omon wai t s.
A man appr oaches.
I t , s Si mmons.
SIMMONS
You are Sol omon
Vandyl
sol omon nods.
several paces
behi nd Si mmons
are t wo B. D' GUARD. .
SOLOMON
And you
are?
SIMMONS
r am Lhe end of your j ourney.
si mmons mot i ons
f or a br i ef case.
one of t he men br i nqs
i t
f or war d, unl ocks
r he combi r . , . t i or , ,
oJJ" J i a.
194 THE I MAGE FREEZES.
CLI CX
Tg4
Maddy i s behi nd
a wa1l ,
t aki ng pi ct ur es
wi r h
a t el ephoco.
195 EXT. THE BRI DGE -
COMI I NUOUS
195
SIMMONS
You must under st and,
Mi sLer
Vandy,
Ehac your
di amond
couf d
ni ve enOed
up no pl ace
el se but wl t h us-
Sol omon
st ares
ac t he neat rows
of
pOUND
NOTES.
r r , s ar ,
" o, r l j Yot t
( coN' D)
Sol omon
l ooks f r om t he money,
t o Si mmons.
rr is nor .":3;f;To*
r- assu5e
". rl t HSt i r, ri on
pounds
i s
* : : :
Ehan anyone
wi l t
of f ei you
f or
chat sEone,
under t he ci r cur n" i ar r " " " .
r.w?nr ,^,nr.
i3!o|?l*r""u
ro me by
Mi s t er
Ar c her .
SII"DIONS
_ _( s wal
l owi ng
i r r i t ac i on)
. . What
was pr omi sed
t o you?
SOLOMON
My f am. i l v.
your
f ami r " at t * ot '
108.
SOLOMON
They are i n a refugee cal np. When
t hey ar e her e,
you wi l l get
t he st one.
Si mrnons t akes a moment t , o di qest t . hi s.
SOLOMON ( CONT' D)
f wi l . l t ake t he money, t oo.
Si rnmons sees t . hat Sol omon i s seri ous.
SIMMONS
I "l ay t see what I ' m buyi ng?
SOLOMON
You wi l l get Ehe st one once my f ami l y
i s her e.
SIMMONS
How do I even know you have i t?
SOLOMON
You have my word.
He Looks f rom Si mmons, t o t . he ot , her men, back Lo Si mmons.
soLoMoN
(co\ I t , D)
Mi st er Ar cher t ol d me t hi s busi ness
i s based on a per son' s wor d. And a
deal - i s made wi t h a handshake.
Wi t h a cor di al smi Le, he ext , ends hi s hand t o Si mmons.
196 INT. SMALL LONDON HOTEL ROOM
-
EVENING
(MUSTC
OVER) 195
Sol omon si t s on t he edge of t he BED, wai t i ng. The l i t t l e
roorn i s l i t . t . ered wi t h empt y boxes of t ake-out , .
I 9' 7 LATER
-
TI FPA}I Y' S ON BOND ST. (MUSTC
OVER) I gl
sol omon st.ares at a DrAI' IOND NECKLACE t.he wi ndow. He' s never
seen a pol i shed st one, l et al one f or Ey i n a dazzl i ng set . t i ng.
WOMA}J' S VOI CE
(ENGLI SH
ACCENT)
Now t hat ' s what I cal l bl i ng.
He l ooks up t o f i nd an at Er act i ve ENGLTSH woMAN, bl ack, 30, s.
SOLOIV1ON
I beg your pardon?
BLACK WOMAN
. . . You' r e Af r i c an.
( of f hi s t ook. . . )
I ' m good wi t h accent s.
She of f er s her hand.
1 n q
BLACK WOMAN
(CO}CT' D)
El i zabet h Sweet .
SOLOMON
I arn Sol omon Vandy.
198 LATER
-
AS THEY WALK ALONG REGENT STREET 198
BLACK WOMAN
(ELTZABETH)
- - Ehen
af t er unj - ver si Ey I went t o
st r ai ght t o wor k f or Ehe bank. I ' ve
al ways regreEt ed not havi ng t aken
mor e t i me of f t o Lr avel . Af r i ca
especi al l y.
SOLOMON
I t i s ver v beauci f ul .
BLACK WOMAN
I can onl y i magi ne. Te1l me about
Si er r a Leone. . .
Sol omon st ops wal ki ng. Suddenl y ver y af r ai d.
SOLOMON
How do you know where I come from?
BLACK WOMAN
You sai d- -
SOLOMON
No. I di d not say.
( st eps
t owar d her )
WHO ARE YOU? W}IAT DO YOU WAIVT?
BLACK WOT"IAN
( backpedal i ng)
Look- -
SOLOMON
cEr AWAy FR9M
UE!
BLACK WOMAN
Ihey onl y want t,o make sure you have
: t s
Sol omon l ooks around, suddenl y f ri ght ened, cert ai n now t hey
are bei ng observed- He t urns and runs of f down t he st reet .
199 LATER
-
BACK rN SOLOMON' S HOTEL ROOM (MUSTC
OVER) 199
He si cs al one on t he bed. The phone
RI NGS. He pi cks i t up.
SOLOMON
Hel 1 o?
Hi s eyes begi n Eo we1l .
11n
2OO INT. HEATHROW IIITERNATIONAL
TERMINAL
-
DAY
2OO
Sol omon wat ches t he t ravel ers corni ng t hrough t he cusEoms
gaEe, hi s eyes rnovi ng over every f ace.
Maddy i s nearby, waE. chi ng f rom a respect f ul remove'
Then. . , Eher e Ehev ar e' . ' Li k e a v i s i on' Onl y r eal - .
JASSI E
Sol a !
She runs t o hi m. Sol omon' s daught er approaches more
t enCaEi vel y.
Sol omon kneel s down, scoops her i n hi s ar ms.
Nearby, Di a sEands awkwardl y, somet hi ng damaged i n hi s eyes.
S1owl y he al l ows hi msel f Co be dr awn i nt , o hi s f at her ' s ar ms.
Maddy i s cr yi ng as weJl .
The f ami l y remai ns i n an embrace as t he worl d moves around
Ehem, unawar e of t he moment ' s si gni f i cance.
201 EXT. WATER] , OO BRI DGE
-_
DAY
2AI
Sol omon and Si mrnons meet agai n. A Bent l ey i dl es nearby.
SIMMONS
You ar e saEi sf i ed?
Sol omon nods, st ar Es t o r each i nt o hi s pocket .
SI MMONS
( CONT' D)
Nol her e.
He cl i mbs i nEo t he wai t i ng car . Sol omon war i l y f of l ows.
202 IN THE CAR
202
Si mmon' s ASSOCI ATE hands over t he br i ef case. Si mmons Eakes
t he di r t y, t or n- of f panEl eg wi t h some di st ast e, but when he
opens i c, hi s expr essi on changes Eo wonder .
SIMMONS
Ext r aor di nar y.
The t wo associ at es st ar e at t he st one i n di sbel i ef .
SI MMONS
( CO} I I ' D)
May I drop
you somewhere. Mr. Vandy?
SOLOMON
No. Thank you.
Sol omon opens t he door, uses a
phrase we have heard bef ore.
111 .
SOLOMON
( CONT' D)
Al ways a pl easur e doi ng busi ness.
203 FOUR STORIES UNDERGROUND
T-
LATER
(MUSIC
OVER) 203
The t hi ck STEEL DOOR of t he VAULT hi sses open. The DI AMOND,
now l ocked i n a gl ass
box, i s wheel ed i n on a car t , Secur i t y
cal neras f oLl ow i t . . The box i s pl aced i n i t s own STEEL DRAWER,
ami d a wal l of sEeel dr awer s
2A4 I NT. A S}4ALL OFFI CE
-.
SAI UE
(MUSI C
CONT) 204
Maddy tl 4)es away on a l aptop.
205 EXT. FRONT OF DTC BUILDING
-
LONDON
-
DAY
(MUSIC
CONT) 205
As De Went e st eps out of a shi ny LI MO, he i s met by sever al
TV CAMERAS and REPORTERS.
REPORTER
Mi st er De Went e! Car y Wr i ght , CNN.
Coul d you comment on al l egat i ons
t hat your company buys bl ood di amonds
f r om Si er r a Leone?
BODYGUAF-DS i nsi st t he report ers keep t hei r di st ance.
DE WENTE
f
' m
not goi ng ! o comrnenL on some
sensat i onal i sU magazi ne ar t , i cl e. De
Went , e f nt ernat i onal i s as concerned
as anyone about di amonds from t,hese
regi ons reachi ng Ehe market pl ace.
206 I}i l T. TIN HEARING ROOM
205
Superi mpose: UN Sl : bcom4ri t t ee. on I nt ef nat . i onal Trade, 2002
AIVIBASSADOR WALKER
- - t hi s
si t uat i on i s account abl e f or
unspeakabl e Cragedy. . .
( scans
t he r oom)
. . . The nat ur al . r esour ces of a nat . i on
are t he soverei gn propert y
of i t s
peopl e. . .
THE FACES OF REPRESENTATI VES, Ehought f ul and skept i cal al i ke
--
TO MADDY' S FACE as she si E, s among t he report ers. The words
wash over her .
AI "I BASSADOR WALKER (V.
O. )
(CONT' D)
. . . They ar e not our s t o sEeal , or
t ake by f or ce, or expl oi t i n t he
name of our comf ort . , our corporat i ons,
or our consumer i sm.
J. 72.
2O' I INT. OUTSIDE THE UN CHAMBERS
-
SAME 207
'
SOLOMON si t s on a mar bl e bench wear i ng hi s new sui t .
AMBASSADOR WAIKER
(V.O.
)
The Thi rd Worl d i s not a worl d apart
and t he wi t ness you wi l l hear t oday
speaks on i t s behal f .
I n Sol omon' s f ap i s a copy of Vani t y Fai r . I t . i s open t o
l 4addy' s st ory on t he di amond t rade.
On a f aci ng page are PHOTOGRAPHS: workers i n a di amond mi ne;
Sol omon at t he r ef ugee camp; chi l d sol di er s cl uuchi ng weapons, .
An4. g p_i ct ure pf Arc4er. Vi brant , i nEense, haunt ed.
A LIN PAGE opens the DOOR.
UN PAGE
They' r e r eady f or you,
si r .
Sol omon cl oses t he magazi ne. St ands. And heads i n.
A-},IBASSADOR WALKER (V.O.
)
Let us hear t he voi ce of t hat worl d,
J. et us J. earn f rom t hat voi ce, and
l et us i gnor e i t no mor e.