Face\Off Page #12

Synopsis: Obsessed with bringing terrorist Castor Troy (Nicolas Cage) to justice, FBI agent Sean Archer (John Travolta) tracks down Troy, who has boarded a plane in Los Angeles. After the plane crashes and Troy is severely injured, possibly dead, Archer undergoes surgery to remove his face and replace it with Troy's. As Archer tries to use his disguise to elicit information about a bomb from Troy's brother, Troy awakes from a coma and forces the doctor who performed the surgery to give him Archer's face.
Genre: Action, Crime, Sci-Fi
Production: Paramount Pictures
  Nominated for 1 Oscar. Another 11 wins & 21 nominations.
 
IMDB:
7.3
Metacritic:
82
Rotten Tomatoes:
92%
R
Year:
1997
138 min
1,778 Views


ARCHER'S mind reels -- he's shaking, losing control.

ARCHER:

What are you going to do!

CASTOR:

You've given me the freedom

I haven't had in years, and

the power to make it pay off

in ways I never thought

possible. But hell -- this

is America. One day a

pauper, the next day, a prince.

And I owe it all to you.

Now if you'll excuse me,

I've got an important

government job to abuse,

-- and a beautiful wife

to f***. Excuse me --

I mean "make love to."

ARCHER freaks out. Two Guards grab his arms and try to drag

him down, but Archer throws them off.

CASTOR impassively buttons his shirt as Archer pounds on the

barrier -- trying to break through -- as Walton zaps him.

ARCHER:

That's not me! That's not me!

The Guards finally drag the kicking Archer out the door.

WALTON:

Sorry, Commander.

CASTOR:

It's quite all right.

You never know what

to expect from a

psychopathic criminal.

INT. CELL BLOCK -- DAY

The Guards dump ARCHER into his cell.

WALTON:

You better be nice, Castor.

You could get mighty lonely

now that Pollux is gone.

ARCHER:

Pollux is -- what?

WALTON:

Archer cut him a deal for

turning state's evidence.

He's free.

ARCHER:

Walton, you have to let

me see the warden --

WALTON:

Or what? You'll have me fired?

Walton pushes a button. STEEL PANELS close off the cell --

silencing Archer's protesting voice.

INT. CELL -- SAME TIME

ARCHER pounds at the mirrored cell door, finding no release

from the horror. He stares at the face of his enemy -- the

enemy who now has total command of his life.

EXT. STREETS OF S.F. -- DAY

Castor drives Archer's car. He punches into the vehicle's

portacomp and smirks as the computer obeys ...

EXT. NOE VALLEY -- NIGHT

TITO lugs grocery bags up to his Victorian flat.

INT. TITO'S APARTMENT -- NIGHT

TITO enters and drops his gear, making his way to the

refrigerator. He opens it -- throwing LIGHT into the room

-- revealing a MAN sitting at the wet bar.

Tito whips out his gun, then sees it's "JON ARCHER."

TITO:

Jon? What the hell happened?

CASTOR:

You're a secret agent

-- you tell me.

CASTOR has laid the bait. He waits ... and waits ... as

TITO studies him. Then, Tito lowers his gun.

TITO:

Christ, you're in a mood.

(pops a beer)

Okay -- you had to pull

out. Pollux wasn't

fooled for a minute.

Castor knows all he needs to know.

TITO (cont'd)

That's what happened, right?

CASTOR:

Dead right. Now -- how

about a beer for me?

TITO:

You ... sure. Hang on --

if Hoag's dead, how'd you

switch back? And ...

(uneasy)

... who pulled you out?

CASTOR:

Nobody.

CASTOR watches the terror build in Tito's eyes. He waits

just long enough for Tito to go for his gun, then ... BOOM!

Castor fires and TITO slumps to the floor.

CASTOR (cont'd)

I'll take that beer now.

INT. ARCHER'S CAR -- MOVING -- NIGHT

Sipping a beer, CASTOR cruises through the middle-class

neighborhood. He smokes absently, clutching Archer's

address on a Post-It.

He drives past peaceful scenes of suburban bliss: men on

hammocks; women chatting; kids playing tag.

CASTOR:

(sickened)

Jesus, what a life.

CASTOR tries to catch a street address and rolls past ...

ARCHER'S HOUSE

Dressed for work, EVE watches blandly as the car goes by.

A moment later, it backs up and parks.

CASTOR forces a smile -- then realizes there's a cigarette

in his hand. He quickly stamps it out.

CASTOR:

Hi, uh -- Eve. Can

you believe I drove

right by the house?

Eve rolls her eyes -- what else is new? Castor looks her

over -- she's much sexier than he expected. But EVE

misreads his fascination with her cleavage -- and brushes a

loose thread off her blouse.

EVE:

What happened to your

big "assignment"?

CASTOR:

What do you know about it?

EVE:

As much as ever. Nothing.

CASTOR:

(relaxing)

It didn't work out as planned.

Where are you off to?

EVE:

The hospital.

CASTOR:

The hospital?

(spots her medical bag)

Oh, that's right --

you're a doctor. Ha-ha.

EVE:

Jon -- I don't have time

to play games. There're

leftovers in the fridge.

CASTOR:

Have fun at work.

CASTOR kisses her -- rather hard -- on the mouth.

EVE:

What is with you tonight?

CASTOR:

Don't I usually kiss my wife?

EVE:

No.

She gets in the car and pulls out.

INT. ARCHER'S HOUSE -- NIGHT

CASTOR steps inside, looks around.

CASTOR:

What a dump.

Rate this script:5.0 / 2 votes

Mike Werb

Mike Werb is an American screenwriter, whose writing credits include Face/Off, The Mask and the story for Lara Croft: Tomb Raider. A Los Angeles native, Werb attended Stanford. He is a UCLA Film School graduate. more…

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