BACK SPOOK04 23' SPOOK911 episode: guns and roses EXT AFTERNOON WIDE: SIDEWALK IN FRONT OF BANK (Nanny and Katie walk by the bank window) NANNY You just got that cell phone for Christmas last year. KATIE But now there's a newer one. NANNY So, your dad is going to let you buy a new cell phone even though the one you have works perf.... KATIE (points toward window) Nanny! Those guys in there are robbing that bank! (stops, turns) NANNY (grabs Katie's elbow, spins her around) You had to plead with your dad to hire me back after your last vigilante stunt. (pulls out cell phone, puts it to ear) We'll let the police handle this. (to phone, as Katie slips out of frame stealthily) Yes, there's an armed bank robbery in progress at Merchants Bank on Tenth and... (looks around, sees Katie headed toward the bank entrance, turns) Broadway. Katie! (pockets phone, runs) (Katie enters bank, Thug1 closes bank door and locks it as Nanny approaches, Frustrated, Nanny turns away) This is a nightmare! INT AFTERNOON WIDE: BANK LOBBY THUG1 (points shotgun at Nanny) Get down on the floor. Face down, now! (Katie lies face down, camera angle widens to show several customers and tellers face down on the floor as Thug1 climbs up on a counter, sweeps gun in all directions) EXT AFTERNOON SPLIT-SCREEN: BANK WINDOW (Nanny stands at corner of building looking through window out of view of robbers, pulls earwig from under collar, inserts it into ear, waits for Katie to insert her own earwig) NANNY Katie, if you can hear me, touch your ear. KATIE (touches ear, whispers, voiceover) Sorry, Nanny. I didn't know they were going to lock you out. Are you mad at me? NANNY What part of "We'll let the police handle this" didn't you understand?! KATIE You are mad at me. NANNY No. I'm furious! KATIE We can do this, Nanny! This will be a piece of cake compared to our last mission. NANNY Silly me! I thought being a nanny would be a piece of cake! INT AFTERNOON WIDE: BANK LOBBY (Thug2 begins emptying cash drawer and Thug3 pushes bank manager into the vault) THUG1 Quiet! If anyone moves, I'll blast you! KATIE (waits until Thug1 turns away) Nanny, you got a mission plan yet? NANNY Yes. I'm grounding you for two weeks. KATIE Don't be mad. This is fun! (looks around subtly) Nanny, I think we can do this. The door to the tellers cages is propped open. NANNY This is a nightmare! Katie, listen. The cops will be here within five minutes. If we do nothing, these robbers will be gone before the cops get here. So, please don't be a hero. (pauses) Katie, are you listening? (pauses) Katie? Alright, Katie, I know what you're thinking. You're going to play the superhero again. But think before you act. Don't take down the guy on the counter until after you click on the safety on his shotgun. Otherwise, if he falls, the gun will go off. And before you take him down, you need to divert the attention of the guy behind the teller's window. (Katie nods subtly, then makes a subtle sweeping motion with the back of her hand) (Special affect: the duffle bag on the teller's counter sweeps off the counter and onto the floor) THUG2 Rats! (bends over out of sight) THUG1 (panicked, looks around for Thug2) Lenny?! Lenny?! What's going on?! (Katie makes a subtle tapping motion with her index finger) (special affect: the safety on Thug1's shotgun clicks on) (Katie makes a subtle hugging motion with her arms as Thug1 adjusts his feet to turn toward Thug2) Lenny, is everything alright? (Thug1 loses his balance, he falls onto the counter, then bounces onto the floor, unconscious) (Katie turns toward the main door and makes a twisting motion with thumb and forefinger) (Special affect: the bank's front door unlocks) KATIE (loud whisper, points) Hey, the door is unlocked. Let's get out of here! (everyone in the lobby stands and runs out the door. Katie stands quickly, sneaks to the access door to the teller's cages, on the way, she turns toward Thug2, she makes a grasping and pulling motion with own hand) (special affect: the cash drawer over Thug2's head opens) (Katie crouches out of sight near the teller area access door) THUG2 (stuffing the last of the spilled money back into the bag) I'm okay. I'm okay. I just dropped the money on the floor. (as he stands up with the duffle bag in his hand, he bangs his head on the underside of the drawer, the money goes flying, he falls to the floor, stands rubbing his head, looks around.) Where is everybody?! Where's Vinny? That lily-livered coward! (runs into vault, shouting) Howard, Vinny ran away! We've got nobody guarding the door! We need to get out of here! (Katie, moves into doorway, makes a subtle pushing motion with both hands for several seconds) (Special affect: the vault door slams behind Thug2) (Katie makes a wheel-turning motion with her hands) (Special affect: the locking wheel on the vault twirls) (Sound cue: sirens approach) KATIE (walks casually toward the door, dusting off her hands) My work here is done. NANNY (voiceover) Katie, use the back door, unless you want to answer questions from the police. KATIE (turns, runs to back door) Nanny, you're not going to tell my dad about this, are you? EXT AFTERNOON TWO-SHOT: BANK BACK DOOR (Katie exits bank smiling) NANNY (turns and walks away as Katie exits bank) I can't do this anymore. KATIE (follows) Do what? Nanny? NANNY This is all my fault. KATIE What are you talking about, Nanny?! NANNY I think my experience as a soldier is giving you false security that I can protect you from anything. I can't. I think it's best for your safety that your dad finds you another nanny. (exits frame) KATIE (exiting frame) Nanny! No! EXT MORNING WIDE: WILDERNESS CABIN (Nanny, dressed in pajamas, sits in lounge chair on porch reading book, as an eagle screeches. Nanny turns a page, reaches to bowl of strawberries, looks past bowl to driveway. A black limousine approaches. She resumes reading.) ANDREW (exits limo, approaches Nanny) Good morning, Nanny. NANNY (without looking at Andrew) You've got the wrong person. I'm not a nanny anymore. ANDREW I'm not here to ask you to do a nanny's job. I need a black ops soldier. Are you available? NANNY Katie is not involved? ANDREW No. NANNY (puts down book, makes eye contact) I'm listening. ANDREW My wife disappeared. I think she's been kidnapped. NANNY Have you received a ransom demand? ANDREW No. NANNY So, what makes you think this is anything but you're wife out partying and losing track of time? ANDREW After Katie's kidnapping and the bomb plot, I insisted that she call my personal cell phone twice a day. It's been a whole day since she last called. NANNY Did you check her cell phone usage? ANDREW Yes. Not a single phone call for a whole day. NANNY Maybe she's in a country that doesn't support her cell phone service. ANDREW She's in Dubai. They support all cell phone services there. NANNY Dubai?! Another shopping trip? ANDREW (nods) Will you find her for me and bring her home? NANNY It could take me days just to find her. Have you talked to the Feds? ANDREW You know their rules. They won't even start looking for her for two days. You can be there in fourteen hours if you use my corporate jet. I've got them standing by at the airport. It's all fueled and ready to go. Please? NANNY It's a shame you didn't give your wife a locket for Christmas. ANDREW She didn't like the fashion statement. Next time I'm going to insist. NANNY (stands) I'll need a satellite phone and a satellite datalink. ANDREW Done. NANNY (moving toward cabin) I'll need to look at your wife's credit card usage and cell phone records to narrow my search. ANDREW I've got my people working on them as we speak. I'll have them downloaded to the jet as soon as we get them. EXT MORNING WIDE: AIRPORT RUNWAY (Corporate jet takes off) INT MORNING WIDE: CORPORATE JET PLANE NANNY (seated alone in a passenger seat, speaking on sat-phone, surrounded my maps and printouts, reads chart, marks X on map) As far as I can see, Mrs Worthington never strayed more than three miles from the Hotel. If she left Dubai, she did it AFTER she stopped using her cell phone and her credit card. The problem is, even in Dubai, it could take me days to track her down. Do you have any idea what specifically she was shopping for? Do you know what she was shopping for in Istanbul? I'll keep trying to narrow the search. I'll get back to you if I make any progress. (takes a drink from a glass, stands, stretches, crosses to toilet, opens the door, reveals Katie) Katie Worthington! What on earth are you doing here?! KATIE Please don't be mad at me, Nanny. I just want to help. (shows passport) I brought my passport! NANNY (paces, hand to head) Katie! What am I going to do with you?! (stops, points at seat) Go pick up that sat-phone and call your father. He's probably having a heart attack about now. KATIE You're mad at me. NANNY (points) Do it! (Katie exits toilet, exits frame, Nanny enters toilet, slams the door) (time passes) (Nanny exits toilet, crosses to Katie, who is still on the phone) KATIE Got to go, Daddy. Nanny is going to read me the riot act. (clicks off phone, puts it down, folds hands on lap) Let me have it. I know I've got it coming. NANNY What was your mother shopping for? KATIE Excuse me? NANNY What was your mother shopping for? In Dubai? In Istanbul? What was she shopping for? KATIE Does this mean you're not going to yell at me? NANNY Answer the question. KATIE Oriental rugs. (Nanny sits and studies papers and maps) She sent me a picture of the one she wanted to buy for my bedroom. Want to see it? NANNY She didn't have any charges for rugs in Dubai or Istanbul. KATIE The rug merchants will only take cash. NANNY Very interesting! (points to laptop) Get onto the internet and see if you can locate some oriental rug dealers in Dubai. KATIE (pokes keys on laptop) I'll bet you're glad I came along, huh? NANNY (not looking up) Don't press your luck. INT MORNING MONTAGE: DUBAI ORIENTAL RUG MERCHANTS (Nanny offers 4x6 picture of Mrs Worthington to merchant, he shakes his head. Nanny gives picture to another merchant, he takes picture, hands it back while shaking his head. Katie offers picture to female merchant, she shakes her head. Katie gives picture to female weaver, she takes picture, shakes head, hands back picture. Nanny offers picture to merchant. He shakes head and waives his hand without looking at picture. Nanny insists, he looks at picture, quickly looks away, shakes head, whisks her away with the back of his hand. Nanny exits) EXT MORNING TWO-SHOT: DUBAI ORIENTAL RUG STORE (Nanny exits store pushing Katie by the elbow) KATIE Where are we going? There's a weaver in there I haven't talked to yet. NANNY (pushes Katie around corner and out of sight of merchant, pulls out monocular, looks into window stealthily) I think we have a lead. KATIE Did the owner tell you where Mom is? NANNY No. But he recognized her. KATIE Why don't we go in and ask him? (turns) NANNY (grabs Katie's elbow) Stop. You're not helping. (resumes spying) KATIE (hiding from view of merchant) I'm sorry. I get carried away, don't I? NANNY That merchant not only recognized your mother's picture, he was alarmed. KATIE What are you looking for? NANNY He's dialing the phone. It's a local call. 6434. (pulls Katie) Let's go. KATIE (follows) Where are we going? NANNY Whoever owns that phone number knows where your mother is. INT NOON WIDE: HOTEL FRONT DESK NANNY (approaches clerk with Katie) Hi, I'm investigating the disappearance of Elaine Worthington. I believe you talked to our people on the phone. CLERK Yes. How may I help you? NANNY Did Mrs Worthington have any guests or deliveries while she was here? CLERK Yes. She received a rather large bouquet of flowers. (points) See the hotel florist, if you need more information. INT NOON WIDE: HOTEL FLORIST NANNY (approaches clerk with Katie) Hi, I'm investigating the disappearance of Elaine Worthington. FLORIST She disappeared?! NANNY Yes. Is there anything you can tell us? FLORIST Have you talked to the man who sent her the big bouquet of flowers? NANNY No. Do you remember who he is? FLORIST Of course! He's one of the richest men in the country. His name is Sheik Machmud Al Rahe. Maybe she's staying at his palace. NANNY Would you happen to know where he lives? FLORIST Yes, of course. It's about three miles north of the city just off the main road. It's hard to miss. It looks like a hotel. NANNY Do you have the order form? FLORIST Yes, of course. His assistant ordered the flowers by phone. (pulls slip from stack) NANNY What was the phone number? FLORIST 555-... (Nanny notices two well-dressed thugs talking to the hotel desk clerk who points at Nanny, they turn toward Nanny) BOTH ...6434 FLORIST How did you know?! NANNY (pushes Katie out of sight) Thank you so much for your help. Say, is there a back door to this shop? FLORIST Yes. (points) But it's not very tidy. NANNY (pushing Katie to back exit) You've been very helpful. Thank you. INT AFTERNOON TWO-SHOT: RENTAL CAR (Nanny and Katie enter the car simultaneously and slam the doors quickly) KATIE Can I talk now? NANNY (scanning in all directions) All clear. KATIE Who were those guys? NANNY They work for the sheik. KATIE Why are they after us? NANNY Because we asked questions about your mother. KATIE So, you think the sheik had Mom kidnapped? NANNY Well, I doubt that he would use the word KIDNAPPED. KATIE I don't understand. NANNY The sheik wants to marry your mother, if he hasn't already. KATIE But she's already married! NANNY Yeah, well, that's not much of a problem for a guy with a lot of money and the government of his country in his pocket. KATIE Why would he want to marry a woman who's already married? NANNY Her marital status has nothing to do with it. Your mom is a beautiful woman and the sheik has a need for beautiful wives. KATIE Wives? More than one?! NANNY Lots of beautiful wives. The more the better. KATIE I don't get it. NANNY In America, the measure of a successful man is expensive cars or expensive watches, or, like your dad, a big house and his own airplane. Here in the Arabian peninsula, the measure of a successful man is lots of beautiful wives. KATIE Yeah, but other people's wives? NANNY To a man trying to look successful, there is nothing he won't do to get a beautiful woman. KATIE That is really creepy! We need to get her away from him! NANNY We need to wait til after dark. EXT NIGHT POV: SHEIK AL RAHE'S PALACE (Nanny scans the grounds of the palace with a night scope, stopping and zooming in when she sees a surveillance camera or one of two wandering guards. The palace is completely surrounded by a ten-foot high wall. A swimming pool is between the main house and what looks like a guest house.) KATIE (whispers voiceover) Can you see my mom? NANNY (whispers voiceover) No. But I'm pretty sure she's in the building on the back side of the swimming pool. KATIE Let's go get her! NANNY Katie, do you remember why I never want to take you on a mission where you know the victim? KATIE Because I lose my objectivity. Sorry, Nanny. I'm standing by for your command. NANNY (points scope at Katie as she offers it) Here. Take a look at the back corner of the palace closest to us. KATIE (points the scope at the corner of the palace, zooms in on the camera attached to it) The surveillance camera? NANNY Yes. On the back side of the camera is a power cable and a video cable. KATIE The video cable is the thicker wire just like on my TV. NANNY Except this cable has a different connector. To disconnect it, you push in and then turn it a half turn counterclockwise, then you pull KATIE Push in and turn counterclockwise, then pull. Got it. Waiting for your command. NANNY (points in front of scope) Now over on the corner of the harem. KATIE The what? NANNY The harem, the dormitory for the sheik's wives. KATIE (turns camera) That whole building is for his wives? How many wives does he have?! NANNY Stay focused. KATIE (zooms in on corner mounted camera) Sorry, Nanny. NANNY Can you reach the video connector on that camera too? KATIE The connector is on the wrong side. It will be harder to reach. NANNY Yes or no. KATIE Yes. Waiting for your command. NANNY Then we're go for rescue. After I take out the two guards on patrol, the guard watching the video screens inside the palace will radio the men and, when they don't answer, he'll come looking for them. He will be carrying a gun. You need to warn me what door he's coming out of so I can be ready for him. KATIE Got it. Two video cables on your command, then I watch for the third guard to come out. Right? Right? (turns scope toward Nanny, but all she's sees is the top of the wall) Nanny? (sweeps scope left and right frantically) Nanny? Oh. Oh, my earwig! (lays scope down on the top of the wall for several seconds, picks it up again, scans the grounds slowly) Nanny? Do you read me? NANNY Loud and clear. KATIE (scans the grounds) Where are you? NANNY I'm hiding from the guard who is coming toward me. KATIE (focusing on the guard patroling the back of the palace) So, if you're hiding, obviously, noone can see you. Waiting for your command. NANNY Katie, I can't see the other guard from here. Focus your scope on the guard on the balcony in front of the harem. When he turns his back, disconnect video cable number one and then give me the GO. KATIE Copy that. (turns the scope to the guard walking on the second story balcony in front of the harem, when he turns away to walk down the stairs, Katie turns the scope toward the palace, zooms in on the corner of the building, and then zooms in on the video camera) Push... and... turn... and pull. (special affect: the cable disconnects, then dangles) Camera one disconnected. Go. (turns scope to the guard below video camera, Nanny springs out from behind a bush, flips him over her hip to the ground, smacks him with the heel of her hand, drags him behind a bush) (turns scope toward harem guard, now on the ground floor walking toward the camera, when guard stops to check door knob, Katie turns scope toward Nanny, sees her scamper from bush to bush.) NANNY Ready camera number two. KATIE Ready camera number two. NANNY Three, two, one, zero. KATIE (turns scope toward corner mounted camera on harem building, zooms in) Push... and... Push... and... Push... and... NANNY Katie, we're losing our window of opportunity. Do you want me to go to a backup plan? KATIE No. I'm good. Push... and... turn... and pull. (pants) (special affect: the cable disconnects, then dangles) Camera two disconnected. Go. (turns scope to the guard below video camera, Nanny springs out from behind a bush, flips him over her hip to the ground, smacks him with the heel of her hand, drags him behind a bush) NANNY Katie, do you have eyes on the third guard? KATIE Third guard! Oh! (turns scope toward palace, sweeps left and right) The guard from the video surveillance room! NANNY Katie! KATIE (zooms in on the third guard with pistol at the ready, then zooms out to show that he's less than 50 feet from Nanny) I see him! He's right next to you. NANNY (looks around for a place to hide) Katie, I need a distraction. KATIE I can do that. (zooms in on a bush) (special affect: branches on the bush rustle.) (guard aims pistol at bush, changes direction. Nanny attacks from behind, grabs the pistol, smacks him with it and drags him behind a bush, returns from behind bush, looks at Katie, hands on hips, deep breath) Sorry, Nanny. I lost focus. NANNY No harm done. (raises hand dangling keys) I have the keys to the harem. I'll get your mother and bring her out the north gate. (points) You drive the car around to the other side. KATIE I'm only twelve. I don't know how to drive. NANNY That's okay. It's a rental. EXT NIGHT WIDE: PALACE NORTH GATE (Katie jerks the car to a stop near the gate, exits the car, looks around) KATIE (whispers) All clear. NANNY (exits gate first, looks around, nods, opens back door, motions to Elaine, whispers) Get in. (Elaine exits gate dressed in "I dream of Jeanie" costume) KATIE (runs and hugs Elaine, whispers) Mommie! ELAINE Katie! What are you doing here?! NANNY Get in! Quickly! Time is of the essence. (Katie and Elaine enter back seat, Nanny closes door) INT NIGHT WIDE: RENTAL CAR NANNY (drives car at high speed, looking repeatedly at the rear view mirror, dials cell phone) Captain, warm up the engines. We have Mrs Worthington and we're on our way. E.T.A. two minutes. (pockets phone) ELAINE (cuddles Katie) Nanny, how could you endanger my daughter like this?! NANNY Believe me, it wasn't my idea. ELAINE What do you mean? KATIE I stowed away in the airplane. ELAINE Katie! These people are ruthless! You could have been hurt! KATIE Nanny wouldn't have found you without me, right, Nanny? NANNY She's right. Without Katie to narrow my search, I would still be looking for you. KATIE And I disconnected the surveillance cameras at the palace so Nanny could disable all the guards. ELAINE How could you disconnect those cameras?! They're out of reach! KATIE Mom, I have something to tell you that I maybe should have told you before. NANNY (eyeing rear view mirror, sees headlights approaching) Katie, you can explain later. We have company. (both Katie and Elaine turn and look out the back window) ELAINE What are we going to do? NANNY First of all, Elaine, you need to trade places with Katie. (Katie responds) ELAINE (hesitates) I don't see what good this is going to do. NANNY The sheik's thugs are going to pass us on the left. So, I'll need Katie next to the window. ELAINE You're going to put my daughter in danger again?! How dare you?! NANNY Just do it! (Elaine complies, the thugs' car passes them on the left, a thug opens the passenger side window and waves pistol and shouts) KATIE Permission to rescind the order, Nanny? NANNY Permission granted. ELAINE What order? NANNY (Fastening own seatbelt) Fasten your seatbelts, please, this could be a rough ride. (Katie joins hand palms up and raises them suddenly) (special affect: the thug's hand raises involuntarily and smacks against the top of the car door, the pistol flies out of his hand) (Thug reaches toward driver, retrieves another pistol, points it out the window) (Again Katie joins hand palms up and raises them suddenly) (special affect: again the thug's hand raises involuntarily and smacks against the top of the car door, the pistol flies out of his hand) (The driver of the car veers into Nanny's lane, she veers to avoid a side collision. Then it happens again) NANNY Katie, I think this driver needs help steering his car. KATIE Copy that. (Katie makes a steering motion to the left with her hands) (special affect: the thugs' car veers off the road to the left, sheers off a fire hydrant and crashes into a tree, Nanny's car continues through the gate toward the waiting airplane.) Nice work, Katie! Good driving! KATIE Thank you, I've been practicing. ELAINE Katie Worthington! Will you please explain to me what just happened?! �2013 Bob Snook. Conditions for use: Do not sell any part of this script, even if you rewrite it. Pay no royalties, even if you make money from performances. You may reproduce and distribute this script freely, but all copies must contain this copyright statement. http://www.bobsnook.org email: [email protected] BACK |