Absolute Power Page #15

(as Luther tries

the other hat -very

rakish, he

likes it)

It’s a woman, I can tell.

(as Luther nods)

Never too late, is it?

Luther. Beaming.

LUTHER:

You got that right.

Now, from his happy face -

208 EXT. CAFE ALONZO BUILDING -THREE CURSING WORKMEN -DAY 208

PULL BACK to reveal the workmen are on a scaffolding two

stories up, struggling to replace a glass panel that has

cracked.

The glass panel is heavy and bulky and the workmen are

having a b*tch of a time with it.

The entire front of the building is glass panels. It

mirrors the area across the street --a bunch of

dilapidated brownstones.

)B(

ABSOLUTE POWER -Rev. 5/16/96 82.

209

EXT. BROWNSTONES ACROSS FROM CAFE ALONZO -DAY 209

They are empty and, according to a sign, are due for

demolition. All the windows of the brownstones are

closed --except one. On an upper story.

210

INT. BROWNSTONE -DAY 210

Inside the window. Michael McCarty, who we last met at *

Walter Sullivan’s, is there. He looks out. *

211

HIS POV 211

The glass building and the struggling workmen and, on the

ground floor, a few tables are set outside, with large

umbrellas alongside each.

There is a sign:
CAFE ALONZO.

212

INT. BROWNSTONE -DAY 212

McCarty. Beside him is a leather case. He opens it.

The case. A very high-powered rifle. McCarty begins to

expertly assemble it, taut and businesslike.

213

INT. POLICE HEADQUARTERS DEBRIEFING ROOM -DAY 213

Seth, taut and businesslike, stands by a blown-up map of

the Cafe Alonzo area. The restaurant is circled --and

around it are marked places for policemen to wait --Seth

is giving instructions to those policemen now -

--fifty of them. And no one’s smiling.

214

INT. KATE’S APARTMENT -DAY 214

Kate. Dressed and ready. Lying on her bed. Afternoon

now. She gets up, makes it halfway to the front door -

--can’t do it --she turns, goes back to bed, lies down

again, frozen.

215

EXT. CAFE ALONZO BUILDING -DAY 215

The cursing workmen. The glass panel is so damn

cumbersome they are having a miserable time.

)B( ABSOLUTE POWER -Rev. 5/16/96 83.

216 EXT. CAFE ALONZO -DAY 216

An elderly couple sits at one of the half dozen outdoor

tables.

The place is empty.

217 EXT. POLICE HEADQUARTERS -PARKING LOT -DAY 217

Seth, outside headquarters now, giving instructions to

police officers. Behind them: two dozen unmarked cars.

CUT TO:

218

SUN 218

Later in the afternoon.

219

EXT. POLICE HEADQUARTERS -PARKING LOT -DAY 219

Burton, getting out of his car at Seth’s Police

Headquarters.

Seth, finishing instructing a dozen motorcycle cops. *

Burton moves up behind Seth, waits quietly. As Seth is

done, he sees Burton, they nod, start toward Seth’s car.

BURTON:

The Boss is very grateful.

Thanks.

SETH:

Figured he’d like an eyewitness

report of the capture. This is

our guy --if he’s innocent, he

sure took off awful fast.

220

EXT. CAFE ALONZO BUILDING -DAY 220

The three workmen. Making some headway with the bulky

glass panel -

221

GUNSCOPE POV 221

--now crosshairs cover them and we -PULL

BACK to reveal -

)B(

ABSOLUTE POWER -Rev. 5/16/96 84.

222

INT. BROWNSTONE -DAY 222

McCarty, staring out the window of the brownstone, the

rifle pointed --very relaxed, he pulls the trigger -the

RIFLE’S not loaded yet --and the STACCATO "CLICK" is

all we hear.

223

INT. CAFE ALONZO BUILDING -LOBBY 223

Seth and Burton moving quickly into the lobby of the

glass office building that adjoins the Cafe Alonzo --the

lobby has a clear view of the outdoor part of the cafe.

Around and behind them, dozens of cops get in position.

224

EXT. STREET -CAFE ALONZO BUILDING -DAY 224

Around the corner from the glass building --unmarked

cars.

225

EXT. ANOTHER STREET -NEAR THE CAFE BUILDING -DAY 225 *

Motorcycles, waiting in shadow, out of sight.

226

INT. CAFE ALONZO BUILDING -LOBBY -DAY 226

Seth and Burton. They’ve both seen a lot --which

doesn’t mean they’re not tense. Burton takes out some

Tums, offers them to Seth. Seth shakes his head, brings

out Tums of his own.

CUT TO:

227

SUN 227

Starting down.

228

EXT. CAFE ALONZO BUILDING -DAY 228

The three workmen and they hate their job. One of them

glances down.

229

EXT. CAFE ALONZO -DAY 229

Empty.

Now, from the workmens’ angle, a woman moves to one of

the tables. It’s Kate. They don’t pay much attention.

85.

230 EXT. CAFE ALONZO -DAY

230

Kate. She hesitates, then decides on the front table.

She takes a breath. Sits. Motionless.

CUT TO:

231

GUNSCOPE POV -CLOSEUP ON KATE 231

--now crosshairs cover her face and we -PULL

BACK to reveal -

232

INT. BROWNSTONE -DAY 232

McCarty as before, with his weapon. He pulls the trigger

again and again, there is the "CLICK" --now he flicks

away a grain of dust from the barrel -

--then he puts the weapon down, reaches out and -

ONE BULLET. It’s supersonic ammo. McCarty picks it up,

blows on it gently. He might be holding a child.

233

INT. CAFE ALONZO BUILDING -LOBBY -DAY 233

Burton and Seth. They can see Kate sitting alone in the

late afternoon.

SETH:

(mutters)

F***...

--And a goddamn WAITER has appeared and is walking out

toward Kate. He is Asian and very young.

234

EXT. CAFE ALONZO 234

Kate, startled as the Waiter calls out from behind her.

WAITER:

Miss?

(as she spins

around)

What you want please?

His English could be a lot better.

KATE:

Nothing, thank you.

(CONTINUED)

86.

234 CONTINUED:
234

WAITER:

Got to.

KATE:

Pardon?

WAITER:

(gesturing)

You sit you eat please.

235 INT. CAFE ALONZO BUILDING -LOBBY -DAY 235

Seth and Burton. Stunned.

SETH:

This is not part of my brilliant

master plan.

More Tums.

BURTON:

Unfuckingbelievable.

They both crunch away.

236 INT. BROWNSTONE -DAY 236

McCarty, watching the Waiter and Kate. He’s not happy

either. He points a finger at the Waiter, goes "Boom."

237 EXT. CAFE ALONZO -DAY 237

Kate, and it’s almost four o’clock and she’s not at her

best.

KATE:

(gesturing around)

I’m waiting for someone.

WAITER:

He must eat too, please.

KATE:

Oh he will, we both will --we’ll

order half the menu --but just

not now -

The Waiter nods, finally he turns, starts off.

Kate. Trembling.

(CONTINUED)

87.

237 CONTINUED:
237

The Waiter returning.

WAITER:

Cheesecake gone.

KATE:

Thank you so much.

The Waiter nods again, and this time he does go.

Kate, watching him, making sure. Now she sits

straight -

238

CLOSEUP -KATE 238

Very shaky, trying to hold it together. And now

crosshairs cover her face as we PULL BACK to reveal -

239

EXT./INT. UNMARKED VAN ON STREET NEAR CAFE BUILDING -239

DAY:

Collin. He holds a very high-powered weapon. It looks

like it could kill from a thousand yards away.

Where he is --and it’s not a thousand yards away --he’s

in an unmarked van on the street, even closer than

McCarty.

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