Proof of Life Page #2

Synopsis: Americans Alice and Peter Bowman have traveled from third world country to third world country working on humanitarian projects. They are currently in Tecala, a country nestled in the Andes, as Peter, an engineer, has been hired by QUAD Carbon, an oil company - the moral "enemy" - to lead a project to construct a dam to prevent what is the constant flooding in the country. Alice and Peter eventually learn that QUAD Carbon cares nothing about the dam, which is just a smoke-screen to get an oil pipeline approved and built. Despite loving each other, they have had problems in the marriage of late because of being in Tecala, where Alice has not been able to find her place, and needing to deal with the aftermath of Alice's recent miscarriage. On his way to work one day, Peter, along with a group of others, are random kidnap victims of left wing guerrillas, the Liberation Army of Tecala (ELT), whose reason for being has changed from a political agenda to a monetary one, primarily getting sai
Director(s): Taylor Hackford
Production: Warner Bros. Pictures
  5 nominations.
 
IMDB:
6.2
Metacritic:
45
Rotten Tomatoes:
40%
R
Year:
2000
135 min
$31,193,043
Website
571 Views


...we were doing what we wanted to do.

l thought we were living our lives together.

That's not what I said.

This isn't just a job!

This is everything

l have prepared for my entire life!

lf Jerry's right, if it's Octonal, they come in

and take this over, l'm f***ed!

l wouldn't get too upset about it.

Maybe Octonal wants a dam

of their very own.

Octonal doesn't build dams, they kick ass.

They don't care about these people.

lt's all about profits.

l don't get it. What is the surprise here?

You wanted to work for an oil company.

l don't work for an oil company.

That's not what l'm doing here!

l'm building a dam

that will save people's lives!

You are building a dam so an oil company

can get a pipeline contract.

-Who cares who pays for it?

-Apparently, no one!

You're drunk.

No, Peter.

This isn't us.

-Let's just go home.

-Great.

That is so supportive.

You don't like this place either.

-l like the project.

-l don't have a project!

Then find a f***ing project!

Damn.

Use your talent, your experience.

There's got to be 25 agencies

working down here.

There's food projects, health-care projects.

Any one of them would be thrilled

to have you on their staff.

l don't get this.

You've hit the ground running

every place we've ever gone.

l'm sorry l'm not bouncing back

fast enough for you.

Five months here, you haven't even started

to learn the language.

l am not getting pregnant again

in the Third World.

No, not Africa.

We're not gonna bring that into this.

-''That''?

-Yes, that.

When the hell are you gonna move on?

lt's over. lt happened.

-lt wasn't meant to be. Get over it!

-l don't want to move on!

Well, I have. And goddamn it,

l'm right here. Right now.

My whole situation is falling apart

and somehow, we're back to this agenda.

l am not an agenda.

You know what?

Go home.

l'm serious.

Take a break.

Well, it's what you want.

lsn't it?

l never said that.

Then I guess it's me.

No.

Ted, tell Octonalhow much local support

we've got down here.

l don't know what to tell you.

We're in Houston looking for help.

Octonal has their own way of doing things.

l'm not the only one

who's going to fight for this.

lf that's a threat, l'm not sure what that is.

But, you lose sight....

No. Ted, you're breaking up.

Don't lose track of where you stand

in the food chain around here.

l've got people here who've burned

their bridges to come work with us.

l can barely hear you.

Can you hear me?

Ted, whenever you're ready.

What the hell am I supposed to tell

my people?

Tell them Quad Carbon is finished.

Tell them Octonalis taking us over.

Tell them to get their rsums out.

l'm heading for the office.

l'll call you back on a landline.

Beatrice, thanks for coming in on Sunday.

Call Ted Fellner.

Tell him l'll be at the office in 20 minutes.

l've got to take the long way around.

Right.

l don't believe this. F***!

Sh*t!

My God!

No. lt's a telephone! lt's just a telephone.

No. l'm not doing anything!

No. I just need my briefcase.

l'm not part of this.

l have some really bad news.

You ought to go inside and sit down.

lt's about Peter.

This morning there was a roadblock

and these guys in ski masks....

They had guns and they took him

with a bunch of other people.

He's been kidnapped.

Do you understand what l'm saying?

We got a call from Tecala this morning.

You're not sending me there.

-l think if you hear me out....

-l just got off the plane, okay?

Terry, I need you down there.

l'm just not good at the moment.

l want you to consider this

your first management assignment.

The first of many.

We all get rattled. lt's not the first time.

That was kind of my point.

-Sir.

-Hey, Henry.

l'm on my way to the airport.

l'll call your mom, see if her and Michael

can make it up this weekend.

l'll call her.

What time is kickoff on Sunday? 2:00?

Yes, sir.

l was really looking forward to it.

Better get back out there with your mates.

Yes, sir.

Can I speak now? Because this is wrong.

This is so wrong.

l'm here to help the people of Tecala.

l'm here to build a dam.

No. I don't work on the pipeline.

l'm here to build the dam at Chimaya.

-For the pipeline.

-Not for the pipeline.

-Yes, for the pipeline.

-Listen to me--

Listen to me. Just listen.

To stop the flooding.

Can you understand that?

Don't you hear me? Didn't you hear me?

l don't work for the pipeline!

l'm here to help the people of Tecala.

You are a prisoner.

Una foto, por favor.

That's it.

This whole box is just....

We brought some albums with us.

l was gonna...

...organize all this,

and I just never got it together.

Oh God, what's that? lt's lndia?

Alice, stop now.

We need just one good picture of his face.

Sorry.

l'm the one who's sorry.

l don't understand my country anymore.

No, it was completely random.

He was out in the barrio.

Anything can happen out there.

They steal your car, your money, whatever.

No, we don't really know a damn thing.

Nothing definite at all.

Let me call you back.

You're telling him

we don't know what happened?

At this point, we don't know.

He was kidnapped, Jerry.

He was taken at gunpoint in a roadblock.

Twenty-five people saw him drive away

in that goddamn truck.

l don't know, maybe it's me,

but that sounds pretty f***ing definitive.

Alex, it's your sister-in-law again.

Janis, did you get the flight?

Welcome back, Mr. Thorne.

How long will you stay this time?

Mr. Peter Bowman.

Let's have a look at you, mate.

Janis!

Alice!

-Go here. Sandro will get your bag.

-Okay.

-Tickets, ma'am.

-Okay. Yeah.

Please don't lose my luggage.

There's a guy waiting from England.

He wants to talk to you about Peter.

He says it's important.

l was against this, but they insist.

Sorry. I hope we did the right thing.

-What's Luthan Risk lnternational?

-He's a negotiator.

-Shall I go with you?

-No. l'll take care of it.

Hi.

How are you? l'm Peter's sister.

Can we help you?

Terrence Thorne. How do you do?

Considering the circumstances,

we're doing all right.

How do you do, Mrs. Bowman?

l'm with Luthan Risk.

We're an international consultancy--

l have one. Your card.

We're based in London. l'm with

our Security and Crisis Response Unit.

l'm sorry for appearing like this.

My company is the designated

K and R consultant for Quad Carbon.

''K and R.'' What is K and R?

Kidnap and Ransom.

-You just flew in?

-Correct. Last night.

Have you spoken to anyone

at Quad Carbon?

London may have. I was just assigned.

All l've seen is an employment dossier.

l'd like to get a proper file going.

l've some questions, and so must you.

l'll try and explain as much as I can.

This is a game.

lt's a game youplay,

whether you like it or not.

For you, it's emotional. For thepeople

holding Peter, it's a business.

The sooner you get comfortable

and objective about that...

...the easier this willbe.

People take hostages all over the world.

Sometimes, it's purely terror...

Rate this script:0.0 / 0 votes

Tony Gilroy

Anthony Joseph "Tony" Gilroy is an American screenwriter and filmmaker. He wrote the screenplays for the Bourne series starring Matt Damon, among other successful films, and directed the fourth film of the franchise. more…

All Tony Gilroy scripts | Tony Gilroy Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Proof of Life" Scripts.com. STANDS4 LLC, 2024. Web. 22 Nov. 2024. <https://www.scripts.com/script/proof_of_life_16311>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Proof of Life

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is a "cold open" in screenwriting?
    A The opening credits of a film
    B A scene set in a cold location
    C A montage sequence
    D An opening scene that jumps directly into the story