Proof of Life Page #8

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
553 Views


from behind, extract cargo and exit.

Basically, we just call the army,

schedule a battle.

How would Wednesday

around 3:
00 be for you?

We don't call them, mate.

Alice will do it for us.

Can you get a bird? Crew plus seven?

Are you in love with this woman?

l don't know

what you're holding out hope for.

You'll save her husband,

she'll see the light and run off with you?

lt doesn't work that way. You know that.

l want to cash out of here.

l want my own shop.

lf we could pull this off....

This is the stuff of legends.

We could sell this.

Don't get me wrong.

l would love to go out of here a winner.

But I have been over this and over this

a thousand times, and it's f***ed!

So we're on, then?

Absolutely.

You're gonna have to lie, Alice.

You got to totally bullshit this bastard.

We've got to get the army

to in vade ELTterritory tomorrow.

Peter's life depends on it.

Youjust have to walk in there...

...you walk right up to Fellner

and you flat-out lie.

Andhe's got to buy it,

or we run out ofoptions.

Alice...

...are you...

...okay?

ELT wants $1 million for Peter.

We don't have it.

That's a lot of money.

lf I gave you information

for protecting the pipeline...

...would Octonal step up

and do the right thing?

What kind of information

are we talking about?

Alice, stop! Alonzo, don't go away.

l'll be right back.

Alice, come on.

You think I don't wake up every morning

and think about Peter?

l have had a dozen meetings with

the transition team about this situation.

Just how wrong I think it is.

F*** you, Ted.

Look...

...l'm not sure

what we're talking about here.

But you give me something to work with...

...and maybe I can push this the last mile.

ELT is going after the pipeline tomorrow.

l know where.

Do you step up for Peter or not?

l don't know what you think

you're trying to accomplish...

...or what you think you know,

or how stupid you think I am...

...but I get three military briefings a week.

lt's a good bet that if anyone knew

what was happening here, it would be me.

ls that a no?

How could you possibly know this?

And who the hell is that?

l'm Kessler. Erich Kessler.

Two phosphorous, two smoke, two HE...

...two flashbangs per mag.

G-36.

But it's a British kick.

-One day's rations.

-One day?

l've just come from an urgent sit-down

with our old friend Dover McLoon...

...at the embassy, who's freaked out today

over a rebel push up towards Rio Verde.

Nice going, Alice.

Ready to rock, Terry.

Kit inspection in 15 minutes.

We're on the bird in an hour.

You heard the man. Let's go!

Let's go! We've got to move right now.

Don't make me wait. Coming at us.

We got to prep that LZ right now!

l've never seen you nervous.

Yes, you have.

l make it 90 to 100.

And that ain't no overnight stay.

Kessler's map is perfect.

Peter is the engineer.

l'm impressed.

Fellner does have clout.

ln less than 24 hours, the army...

...has crossed the river.

How silly.

Well, my old mate...

...why don't you wander uptown?

l'll catch you on the flip side.

Downtown-3 is in position.

Copy, Downtown-3.

Downtown-1, stand by.

This is Uptown-1 . We've arrived and

taken our position by the farmhouse, over.

Uptown-1, this is Downtown-1 .

Solid visual on the wood shack.

Breakfast in bed for one.

Appears principal cargo is on board. Over.

Roger that.

Downtown-1, this is Uptown-1 .

We have breakfast for three

and delivery in progress.

All call signs, let's go on a final head count.

Wood shack, one player.

Red bandanna. POR, door, 6 o'clock.

Barracks, 3 o'clock, five players. Over.

Uptown-1 has a two-man detail

on the farm with a possible cargo inside...

...and...

...we have a player returning downtown

via the upper path.

Downtown-1, this is Downtown-3.

Parade ground, 15.

Copy.

That gives us 21 visuals downtown...

...two uptown, and one in transit.

24 confirmed.

Copy, that makes us ready.

Uptown-1 is good to go.

Standing by, Downtown.

Peter Bowman. Peter Bowman.

Alice sent me.

Alice, your wife, sent me.

She told me about Mali, your daughter.

How she died...

...in Africa.

My daughter?

Mali.

Mali.

Alice told me. Your wife.

So you would know.

l'm here to get you home, okay?

All right?

You're not f***ing with me?

No, mate. l'm for real.

We're gonna get out of here.

All right?

Okay.

Downtown-2,

you've got a player at 5 o'clock.

What f***ing player?

Softly, mate. Softly.

F***!

Downtown-1, what the f*** was that?

All call signs, wait out.

l repeat. What the f*** was that, Terry?

Downtown-2?

Downtown-2, respond!

This is Downtown-2. Not in position.

l've got a 25th confirmed. Visual.

Downtown-3, 12 o'clock.

Downtown-1, I got him.

What are we doing?

Stand by.

What are we doing here?

F***!

Downtown-1, what are we doing?

Go loud.

-F***.

-Roger that.

He's down. Shift, 4 o'clock.

Can you use one of these?

Cover me!

Safety is on! Get down.

-Ready, Peter?

-l'm with you.

Back! Back!

l got the player from the farmhouse.

l'm shiftingposition.

Downtown-3!

Give us some pressure at 9 o'clock,

on my count!

One! Two! Three!

Peter, go! Stay low.

F***!

-Peter!

-l'm ready.

Through there.

Clear!

Stay down! Stay down!

-Which way?

-Come on!

Downtown-1, this is Uptown-1 .

We are secure.

On the lower path, I got the cargo in tow.

We've got bogies up our ass.

Bring the Big Bird to LZ 3.

Copy, Downtown-1. Move to LZ3.

We are Blue, Option 3.

Big Bird, this is Uptown-1 .

Request exfil. We are Option 3.

We are good to go.

Proceed to LZ3. lrepeat, LZ3.

Safety's off, okay?

Okay?

Keep moving.

What are you doing?

Keep going down the path!

Follow the path!

Peter, look at me. Look at me!

You gotta keep going. I know

you're in pain. You've got to keep going.

Don't let the f***ers catch you.

They'll kill you. Stay on this path.

This path leads to Alice.

This path leads home!

Stay in front of me. Go!

Terry, what the hell

is going on down there?

The Big Bird is en route.

lt's okay! Get the camicia up.

Terry, where are you?

Downtown-1 is traveling well.

We've got a visual on the bird.

We're coming in.

You big, beautiful b*tch!

There she is!

You want to go home?

You're going home, baby!

Uptown-1.

This is Downtown-2.

l have a man down. Downtown-3 is down!

Say again?

lrepeat, Downtown-3 is down.

F***!

Give me that f***ing thing!

Go!

Five!

Downtown-2...

...l'm on my way.

Downtown-1, this is Uptown-1.

l've got a man down.

Downtown-3 is down.

l'm going back to get him.

Uptown-2has my cargo on the bird.

We 'llbe evacuating Downtown-3

back to the LZ.

lrepeat. Be evacuating back to LZ3!

Roger that. l'm at the LZ.

Got an eye on the bird, my cargo is in tow.

My back door is clear.

lf you need help, give me a yell.

Look out, grenade!

Juaco!

Peter!

Yeah!

l can't see!

l'm right here.

l got you. Just hang on to me.

Are you crazy?

Get on that f***ing chopper now!

Eyewash! Give me some eyewash!

He needs something for his eyes.

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. 26 Jul 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

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What does the term "beat" refer to in screenwriting?
    A A brief pause in dialogue
    B A musical cue
    C The end of a scene
    D A type of camera shot