The Study of Leonard Hughes
4.11.2005
WINTER'S DAY
BY JOSHUA J. PROVOST
BY JOSHUA J. PROVOST
Based on Alexandre Dumas'
"The Three Musketeers"
Chapter 65, "The Trial"
"The Three Musketeers"
Chapter 65, "The Trial"
SCREEN BLACK
Federal agents Atwood, Porter, Archer, and Darden are in a large SUV, driving fast, but controlled, to the location where Mrs. Winter is thought to be holed up.
ATWOOD
I’ve been on this case for three years. Winter has been suspected to be involved in every intrigue to hit Washington since her husband was elected Senator. Murder, assassination, extortion, you name it. This is one bad actor.
ARCHER
Why has it taken so long to bring her in?
ATWOOD
She’s good at keeping her nose clean, and she’s a respected public figure in the social circles. Higher burden of proof.
PORTER
What changed?
ATWOOD
She got in over her head on this last go round with the Ambassador. It got messy. She ran, but we think she’s holed up in a construction site outside of Phoenix. They haven’t made a positive ID, and it was too sensitive for the local authorities. That’s why we’re here, and I can’t wait to see her go down.
FADE IN
EXT. HOME CONSTRUCTION SITE – DAY
Atwood, Porter, Archer, and Darden exit their vehicle and cautiously approach the construction site. Atwood and Darden take position with Moss, who is stationed behind a dumpster across the street from the house where Winter is thought to be. Archer and Porter take position opposite them, behind a palette of roofing tiles. A man in a red suit and tie and sunglasses stands at a distance to one side, fidgeting with a stainless steel lighter.
ATWOOD (TO MOSS)
Status?
MOSS
One female, mid-30s, dark hair, slight build.
One female, mid-30s, dark hair, slight build.
ATWOOD
Armed?
Armed?
MOSS
Not that we can tell.
Not that we can tell.
Atwood takes a hard look at the stranger in red.
ATWOOD (TO MOSS)
Who’s he?
Who’s he?
MOSS
NSA, I think. He hasn’t said much. I thought you would know.
NSA, I think. He hasn’t said much. I thought you would know.
ATWOOD
Do we have a visual?
Do we have a visual?
MOSS
Infrared. Bazan is operating the remote cam.
Infrared. Bazan is operating the remote cam.
Moss hands Atwood a silver PDA. On the PDA is an infrared video feed from the remote cam. Through a window, Atwood sees the hazy figure of a woman working on a laptop computer. He studies the screen for a few seconds.
ATWOOD
I need to take a closer look. Darden, take the back. Archer, Porter, cover the front.
I need to take a closer look. Darden, take the back. Archer, Porter, cover the front.
The agents nod in acknowledgement and deploy stealthily to positions closer to the house, as the man in red coolly looks on from a distance.
CUT TO:
EXT. HOME UNDER CONSTRUCTION – DAYArcher and Porter arrive at the front porch and crouch below a bay window. Atwood and Darden go to the right side of the house. Darden proceeds around back and crouches below a back porch window, next to a sliding glass door.
On the side of the house, Atwood crouches next to a side window, opposite of where Bazan is operating the remote cam. Atwood gives a signal to remove the cam, and Bazan tucks it into its case. Atwood braces himself, then takes a quick look through the window. From this position, Atwood can positively identify the woman as Mrs. Winter, the suspect he has been watching for three years. Atwood senses that an arrest in imminent, but is cautious, knowing her wily ways.
ATWOOD (THROUGH EARPIECE)
It’s her, be ready.
It’s her, be ready.
Archer, Porter, and Darden hear the message through their earpieces and respond by cocking their guns.
At that moment, Bazan’s walky-talky squawks with feedback. Atwood flashes a look at a panicked Bazan, who fumbles to silence the device.
Inside, Winter senses a disturbance and looks up from her laptop. Atwood must be ready for the possibility that Winter heard the squawk, and looks through the window again to confirm. Suddenly, Atwood and Winter’s eyes meet, and Winter springs from her seat and bolts down a hallway.
ATWOOD (THROUGH EARPIECE)
She’s running, close in!
She’s running, close in!
CUT TO:
INT. HOME UNDER CONSTRUCTION – DAYDarden jumps up, draws his pistol, and enters assertively through the sliding glass door just as Winter emerges from the hallway into the great room. Winter’s momentum caries her towards the back door, but she lurches and turns, panicked, at the sight of Darden.
Now headed towards the front of the house, she is surprised by Arched and Porter, who kick in the front door and storm at her. Two gun barrels inches from her face, she instinctively turns once again, but loses her footing and falls amidst the dust and debris, just as Atwood enters the back door and Bazan and Moss approach to secure the exits.
Darden, ever anxious to shoot first and ask questions later runs towards her, puts a knee in her back, and presses the cold steel of his pistol to the back of her head.
ATWOOD
Back off, Darden! She’s not going anywhere.
Back off, Darden! She’s not going anywhere.
Dejected with her sorry situation, Winter blows her hair out of her face, creating another puff of plaster dust. Darden and Porter grab her arms, lift her upright, and seat her on an overturned bucket in the middle of the room. Sitting there, Winter faces an imposing wall of federal agents, four standard issue pistols trained at her head and torso.
ATWOOD
Charlotte Winter, you have the right to remain silent. Anything you say may be used against you in a court of law.
Charlotte Winter, you have the right to remain silent. Anything you say may be used against you in a court of law.
WINTER
You don’t know who you’re dealing with.
You don’t know who you’re dealing with.
Atwood takes a step forward.
ATWOOD
I’d cooperate if I were you, Mrs. Winter.
I’d cooperate if I were you, Mrs. Winter.
CUT TO:
EXT. HOME CONSTRUCTION SITE – DAYThe man in red flips his lighter open and closed one final time, then begins to walk towards the house.
CUT TO:
INT. HOME UNDER CONSTRUCTION – DAYATWOOD
You’re being charged with the murder of Congresswoman Bennet.
You’re being charged with the murder of Congresswoman Bennet.
CUT TO:
EXT. HOME CONSTRUCTION SITE – DAY
The man in red walks steps from into the street and continues to walk mechanically.
CUT TO:
INT. HOME UNDER CONSTRUCTION – DAY
ATWOOD
Attempted murder of a federal agent.
CUT TO:
EXT. HOME CONSTRUCTION SITE – DAY
The man in red continues to walk across the street.
CUT TO:
INT. HOME UNDER CONSTRUCTION – DAY
ATWOOD
Murder of federal agent Breeze.
CUT TO:
EXT. HOME CONSTRUCTION SITE – DAY
The man in red walks steps from the street into the dirt yard in front of the house.
CUT TO:
INT. HOME UNDER CONSTRUCTION – DAY
ATWOOD
Conspiracy to murder Senator Ward.
CUT TO:
EXT. HOME CONSTRUCTION SITE – DAY
The man in red steps over a pile of debris.
CUT TO:
INT. HOME UNDER CONSTRUCTION – DAY
ATWOOD
Accessory to the assassination of Ambassador Buckman.
CUT TO:
EXT. HOME CONSTRUCTION SITE – DAY
The man in red steps from the dirt onto the front porch of the house.
CUT TO:
INT. HOME UNDER CONSTRUCTION – DAY
ATWOOD
And the murder of your husband, Senator Winter.
Winter remains defiant.
WINTER
You’ve got nothing. It’ll never stand up in court.
Suddenly a new voice is heard approaching the front door. The agents turn to look as best they can without letting Winter out of their sight.
LELAY
I’ve heard enough from this whore.
I’ve heard enough from this whore.
The man in red enters the house and the agents clear a path, splitting into two groups. Winter squints to see him as he approaches. Finally, she can make him out, and becomes disturbed and highly agitated.
WINTER
What are you doing here?!
What are you doing here?!
Outnumbered and outgunned, Winter makes a break for the back door, despite the impossibility of escape. The agents begin to pursue, but are stopped in their tracks by the sound of a single gunshot. Collectively, they turn to the man in red, who is returning his sidearm to its holster.
FADE OUT
LELAY
Clean this place up.
Clean this place up.
THE END
- posted by Joshua Provost @ 8:36 PM 0 comments
