Ameristan
Written by Charles Welty
Registered WGAw #1012556
ACT ONE
BLACK SCREEN. We HEAR the O.S. ARABIC MORNING SALATU-L-FAJR
or "Call to Prayer" as a SUPERED TEXT CRAWLS UP THE SCREEN:
In June of 1991, Siraj Wahaj, an
African-American convert to Islam
and a recipient of the American Muslim
Communities' highest honors, delivered
the daily prayer at the U.S. House
of Representatives.
Citing the Qur'an, Wahaj prayed that
the "Almighty" would guide American
leaders and "grant them righteousness
and wisdom".
HOLD FOR A BEAT as the text crawls off the screen, then we...
FADE IN:
1 EXT. AL-FAJIR MOSQUE -- EVENING 1
ESTABLISH the modern mosque. SUPER TEXT: Al-Fajir Mosque,
Houston. We might as well be in Medina, except for the
AMERICAN CARS in the parking lot. We HEAR the O.S. SOUNDS OF
TRAFFIC. LOSE SUPER, then we CUT TO:
2 INT. AL-FAJIR MOSQUE -- EVENING 2
MUSLIM MEN are kneeling in prayer. In unison, they move from
their kneeling positions and then sit as ABU KAREEM steps
INTO THE SHOT. He wears a small lapel microphone as he speaks.
KAREEM
My friends. My... Muslim friends. I
have been asked to speak today on
Islam and America.
INTERCUT, as Kareem speaks to VARIOUS MUSLIM MEN who are
listening to the speech. Some of the MUSLIM MEN listen with
skepticism. OTHERS listen impassively.
TOWARD THE BACK, the MUSLIM WOMEN listen from behind an
articulated partition, as all mosques are segregated by sex.
KAREEM (CONT'D)
America, my friends, is the last
challenge for the one true faith.
Kareem pauses, looking around the room at his listeners.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 2.
2 CONTINUED: 2
KAREEM (CONT'D)
What do we see... all around us...
if not lawlessness, immorality, and
disorder? Where does this come from,
if not from a heretical disregard of
Sharia, our sacred Islamic law?
Kareem steps to one side. He pulls out a penny.
KAREEM (CONT'D)
Look at this coin. An American penny.
(looks closely at coin)
What does it say, right here?
(points to coin, reads)
In God we trust. Really? Whose God?
OUR CAMERA comes to rest on TARIG SAEG, handsome, mid-30's,
dressed like a businessman, but not one you would recognize
as a radical Islamist. Kareem continues as Saeg considers
what Kareem is saying.
KAREEM (CONT'D)
God is not allowed... in the
classroom. God is not allowed... in
the courtroom. God is not allowed...
in the city hall. And God is not
allowed... in the Congress, in the
Senate, or even in the local school
board. And I ask myself... Why?
Kareem shuts his palm around the coin.
KAREEM (CONT'D)
To us, the answer is simple. The god
of America is not the god of Islam!
(holds up the coin)
It is not the powerless god of the
Jews that America needs. America
needs... Allah!
The MUSLIM MEN around Saeg WALLA their agreement.
KAREEM continues, still holding the coin.
KAREEM (CONT'D)
If only we Muslims were more clever
politically! We should be running
for every school board, for every
mayoral race, for every state senate
campaign...
SAEG listens to this with caution as Kareem continues.
(CONTINUED)
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Ameristan 2004080379 (written by Charles Welty) -- Act One 3.
2 CONTINUED: (2) 2
KAREEM (O.S.) (CONT'D)
...and for every state assembly race.
At the national level, we need
candidates for every congressional
contest. And we need to enter every
U.S. Senate race.
KAREEM pockets the coin.
KAREEM (CONT'D)
United, we can legally take over
these "united" states and replace
its constitutional government with a
new government... our own caliphate.
SAEG listens to this last statement with a look of surprise
on his face. Kareem continues to speak as Saeg listens.
KAREEM (O.S.) (CONT'D)
United and strong, we will elect our
own leader and give allegiance...
(his hand slowly moves
to his chest)
...to him.
(then, quickly)
And to Islam!
Kareem's gaze comes to rest on Saeg.
KAREEM (CONT'D)
You can take my word, the word of
Abu Kareem! If the eight million
Muslims now in America unite, we
won't have to pursue America.
SAEG reacts as Kareem speaks.
KAREEM (O.S.) (CONT'D)
With its crime, corruption, and out
of control society, my Muslim friends,
America... will come to us!
KAREEM looks over the assembled worshipers for a beat.
KAREEM (CONT'D)
We don't need bombs or bullets to
bring America to sharia! Ballots
will suffice!
He raises his arm with a now open palm and shouts...
KAREEM (CONT'D)
Allahu akhbar!
(CONTINUED)
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Ameristan 2004080379 (written by Charles Welty) -- Act One 4.
2 CONTINUED: (3) 2
Kareem, still holding his open hand above his head, slowly
closes his hand into a clenched fist again.
THE CROWD OF MEN stand. They begin to shout out "Allahu
akhbar!" with raised, clenched fists.
TARIQ SAEG stands, too, but his fist is not raised at first.
Gaining more confidence as the men continue to chant, he
raises his fist above his head, shaking it in time to the
chants.
KAREEM nods approvingly.
SAEG and the men around him continue to shout "Allahu akhbar!" -
in unison. We HOLD FOR A BEAT on Saeg's face, then we CUT
TO:
3 EXT. SAYHUT DESALINIZATION PLANT, YEMEN COAST -- DAY 3
ESTABLISH an enormous construction compound. SUPER TEXT:
Southern coast of Yemen, north of Sayhut.
Large EARTHMOVING EQUIPMENT moves ACROSS THE FRAME. LOSE
SUPER as a LARGE STAKEBED TRUCK pulls INTO THE SHOT. We SEE
cases marked "C-4" and "For Construction Use Only." We SEE
the logo of "Bin-Salem Chemical and Construction Supply" on
the cases of explosives, along with a BIN-SALEM logo.
INTO VIEW -- A LARGE SIGN tells us the name of the project:
Sayhut Desalinization Plant. $10 Billion American tax dollars
at work.
On the sign is the photo of a smiling ALFORD DICKINSON and
with the enigmatic words "Ind-TX" and his name beneath the
full-color photo. (We will meet Dickinson later in our story.)
We also SEE the name "Bin-Salem Construction" on the sign,
along with a logo similar to the chemical logo we saw on the
cases of explosives. Beneath the logo are the NAMES OF THE
CITIES in the East where the Bin-Salem name is known: Riyadh,
Sanaa, Amman. Underneath these cities we SEE names more common
to the West: Berlin, London, New York.
INTO THE SHOT and BLOCKING OUR VIEW OF THE SIGN steps the
CONSTRUCTION FOREMAN, wearing a metal hardhat over his Arab
headdress. He holds a small, remote-controlled detonator. He
YELLS in Arabic to a GROUP OF WORKERS wearing hardhats as
OTHER WORKERS in the b.g. scurry into a concrete-block
shelter. We SEE the subtitles in English.
FOREMAN
(in Arabic)
Inside! All of you! It is not your
time to meet Allah!
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 5.
3 CONTINUED: 3
We HEAR a CELL PHONE RING. The foreman pulls out his phone
and we WIPE TO:
4 EXT. BANQUE DE COMMERCE INTERNATIONALE -- DAY 4
ESTABLISH an enormous multistory glass office building. We
SEE the NAME OF THE BANK on a stone marque in front of the
edifice: Banque de Commerce Internationale, Amman, Jordan.
We HEAR the CELL PHONE as it CONTINUES TO RING O.S., and we
HOLD FOR A BEAT, then CUT TO:
5 INT. ALI BIN-SALEM'S OFFICE -- DAY 5
ALI BIN-SALEM sits in an enormous leather-backed chair in
his office in the Banque de Commerce Internationale. He faces
away from us. A large 3-panel computer display screen with
ARABIC FIGURES stretches across the right side of the desk.
Bin-Salem's arm reaches out from behind the leather chair.
The unseen bin-Salem lifts the receiver from the SPEAKER
PHONE from which the RING SOUND emanates.
We SEE an LCD readout on the phone: ENCRYPTION ENABLED. We
CUT BACK TO:
6 EXT. SAYHUT DESALINIZATION PLANT, YEMEN COAST -- DAY 6
The foreman speaks cryptically.
FOREMAN
(in Arabic)
Yes, Mr. bin-Salem. We're right on
time.
(listens for a beat)
The Star of Medina? Next Friday,
before dusk? Yes, sir, the "Light of
Allah" shipment will be on time.
(another beat)
Fine. I'm ready to make the connection
now.
(another beat)
Right away, sir.
The foreman lifts a small cable that hangs down from the
detonator and connects it to a port on the cell phone.
INSERT -- THE DETONATOR
We SEE the words "REMOTE ENABLED" on the LCD display panel
of the detonator. TWO NEW WORDS scroll across the LCD screen:
"ENTER PASSWORD".
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 6.
6 CONTINUED: 6
BACK TO SCENE
FOREMAN (CONT'D)
(in Arabic)
Ready, sir.
7 INT. ALI BIN-SALEM'S OFFICE -- DAY 7
THE HAND of the UNSEEN BIN-SALEM punches a series of buttons
on his desk phone, slowly spelling out the word "JIHAD": 5-4-
4-2-3. He holds for a beat, then punches the "#" button. We
CUT TO:
8 EXT. SAYHUT DESALINIZATION PLANT, YEMEN COAST -- DAY 8
FAVORING THE FOREMAN, who turns to see, in the b.g., an
ENORMOUS EXPLOSION that throws dirt into the air for a length
of about a half a mile.
Satisfied, the foreman TURNS BACK TOWARD CAMERA. He
disconnects the detonator from his cell phone.
FOREMAN
Success! Another kilometer of pipeline
can now be laid. Allahu akhbar!
The foreman closes his cell phone. He places the phone and
the detonator into his pocket as CLODS OF DIRT rain around
him. HOLD FOR A BEAT, then CUT TO:
9 INT. ALI BIN-SALEM'S OFFICE -- DAY 9
ALI BIN-SALEM spins slowly around in his chair so we can see
his face. We SEE an OMAR SHARIF TYPE, dark-skinned and wearing
a graying beard. Bin-Salem is dressed in the clothes of a
conservative Muslim. HOLD FOR A BEAT on his remarkably serene
face, then CUT TO:
10 EXT. BYRON MIDDLE SCHOOL -- MORNING 10
FROM a HIGH ANGLE, we ESTABLISH a typical middle school.
JUNIOR HIGH STUDENTS move into the building. SUPER TEXT:
Byron, California.
CAMERA LOWERS as we LOSE SUPER and we FAVOR one particular
student, SANDRA EDMOND, 13 years of age, a slender brunette,
as she COMES INTO VIEW. We SEE EARRINGS hanging from her
pierced ears. A SMALL GOLDEN CROSS hangs from the lobe of
each ear -- modest, not ostentatious. She heads into the
building as OTHER STUDENTS greet her ad lib. She is a popular
student.
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 7.
11 INT. BYRON MIDDLE SCHOOL CLASSROOM -- MORNING 11
A Social Studies teacher, MR. ABENDROTH, is posting a large
poster that features the Islamic symbol, a crescent moon, to
a bulletin board as the last of the STUDENTS enter the room.
The BELL RINGS indicating that class is in session as Sandra
slips into her seat.
ABENDROTH
Today we begin our studies of one of
the world's great religions -- Islam.
Abendroth slides a copy of the California middle school
history textbook Across the Centuries onto Sandra's desk.
ABENDROTH (CONT'D)
As an added part of your studies, I
am assigning what's called an
interactive role playing module.
From the beginning of this lesson,
you and your fellow classmates will
become Muslims.
(off Sandra's look of
shock)
Well, not actually. It's just a...
game. Your assignment is to study
the material, then write an essay on
what Jihad means to you.
SANDRA raises her hand, already uncomfortable with the
assignment.
SANDRA
(shaking her head)
Mr. Abendroth...?
ABENDROTH sees the cross earrings dangling from her ears. He
looks at her coldly.
ABENDROTH
Sandra Edmond... am I going to have
trouble with you?
SANDRA looks uncomfortable for a beat, then we CUT TO:
12 EXT. U.S. CAPITOL BUILDING -- DAY 12
ESTABLISH the capitol building. We SEE the American flag
flying proudly from its place on top of the triangle-shaped
portico at the front of the building. We HEAR the SOUNDS of
DOZENS OF MOTORIZED CAMERA SHUTTERS and the O.S. AD LIB CRIES
of "Congressman Dickinson!" by the REPORTERS. HOLD FOR A
BEAT, then CUT TO:
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 8.
13 INT. CAPITOL HALLWAY -- DAY 13
Dozens of REPORTERS, some with VIDEO cameras, some with FLASH
CAMERAS, and others with MICROPHONES, all try to get a piece
of the action as ALFORD DICKINSON, mid-40s, tall, craggy
good looks, moves down the hallway. The two REPORTERS closest
to Dickinson move aggressively to question him. DARRYL HARB,
a field reporter for the Internet World News, is one of the
two reporters. BECCA JESSON, mid-30s, blonde, with CNN, is
the other. Harb gets to Dickinson first.
HARB
Congressman Dickinson!
Dickinson points to Harb. Jesson and the other sharks relent.
HARB (CONT'D)
As committee chairman, you pushed a
compromise bill through the House
that virtually guarantees a student
exchange program between the U.S.
and the Muslim nations that hate us.
Given the attitude of these countries
toward America, do you really think
your exchange program is such a good
idea?
Dickinson stops. The entourage stops. Dickinson looks Harb
over for a moment.
DICKINSON
Harb, is it? Mr. Harb, how do you
expect these countries to change
their attitudes unless we let their
young people come and see for
themselves what we are all about?
HARB
Congressman, what if the students
they send aren't really...?
Dickinson points to Jesson, ignoring the rest of the question.
DICKINSON
Miss Jesson. Nice outfit.
She doesn't let Dickinson's patronizing attitude faze her
one bit.
JESSON
Ms. Jesson. There's talk that you're
up for nomination as Speaker. Any
truth to that?
Dickinson looks her over as he did Harb, but he turns away
with a deprecating smile. Harb notices the slight and moves
in for the kill.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 9.
13 CONTINUED: 13
HARB
How about it, Congressman? You next
in line for the President's job?
DICKINSON
That's... out of my hands.
JESSON
You backed ten billion in loan
guarantees for the Sayhut plant in
Yemen, a country known for harboring
terrorists.
Dickinson finally takes Ms. Jesson seriously. He turns his
gaze back to her, irritated.
JESSON (CONT'D)
Isn't it true that Ali bin-Salem's
conglomerate is the primary
beneficiary of those funds?
DICKINSON
Ms. Jesson. Those funds were
appropriated with the full consent
of both the House and the Senate. If
you have a problem with any of the
appropriations, go see Senator Kennedy
or Senator Clinton. They're both on
the Senate Armed Services Committee.
(deprecating, points)
That's on the other side, Ms. Jenson.
Dickinson turns and heads into a committee hearing room as
Jesson steps aside.
JESSON
(mutters)
That's Jesson.
CHARLES, the SERGEANT AT ARMS, bars the reporters from
entering. Dickinson claps the Sergeant at Arms on the shoulder
a couple of times before he enters.
DICKINSON
Mornin', Charlie! How's the kids?
Without waiting for a reply, Dickinson heads into the room
as all of the reporters except for Harb disburse. Charles,
offended at the over-familiarity, expresses his disgust under
his breath.
CHARLES
(muttering)
It's Charles, you arrogant ass.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 10.
13 CONTINUED: (2) 13
JESSON hears this. Charles gestures, a tip of a non-existent
hat to Jesson. She shakes her head as she moves away.
HARB hears this, too. A soft smile crosses his face.
HARB
That for publication, Charles?
(gestures to Jesson)
Well, there's something the liberal
press and I can finally agree on.
CHARLES
(fingers to lips,
with a smile)
You after another Pulitzer, Mr. Harb?
(conspiratorial)
Unnamed sources on the Hill...
HARB
(interrupting)
Too late. No investigative prizes
for...
(pantomimes spreading
headlines on masthead)
Dickinson -- An Arrogant Ass.
(then)
It's common knowledge already.
CHARLES
(laughs, then a whisper)
I understand it's already on the
Congressional Record!
(conspiratorial)
Arrogant Ass Makes Speaker...
(louder)
Now there's a headline for you!
They both chuckle at the joke, as we HEAR the O.S. SOUNDS of
a SCHOOL BELL RING, then we CUT TO:
14 EXT. TAYLOR HIGH SCHOOL, HOUSTON -- MORNING 14
ESTABLISH the modern facade of the Taylor High School in
Houston. STUDENTS enter and leave the main entryway as the
SCHOOL BELL RING CONTINUES from our previous scene. We HEAR
the O.S. VOICE of PRINCIPAL CASSIE NEELEY:
NEELEY
Ms. Fisher... a moment, please?
HOLD FOR A BEAT, then CUT TO:
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 11.
15 INT. TAYLOR HIGH SCHOOL HALLWAY -- MORNING 15
CASSIE NEELEY, mid-40s, conservative dress, a woman who has
been a school bureaucrat most of her career, flags down BOBBIE
SUE FISHER, 18 years old, a ditsy but striking blonde with a
figure to die for. As she is not one to take on any sense of
responsibility, Bobbie Sue is not happy to be the center of
Neeley's attention. She steps over to her as a BEEFY MALE
STUDENT wearing a Taylor Lions football jacket hurries past
her.
NEELEY
(to Eliot)
Mr. Eliot, this isn't a scrimmage
line.
Neeley signs some paperwork and hands it off to RICHARDS, a
school administrator, as Eliot slows to a walk.
NEELEY (CONT'D)
(to the administrator)
Three o'clock, Mr. Richards.
Richards takes the paperwork and turns away.
NEELEY (CONT'D)
I knew I could count on you.
(to Bobbie Sue)
A word with you, Ms. Fisher...
Neeley gestures to her office.
BOBBIE SUE
Ms. Neeley, I can explain...
NEELEY
That will do, Ms. Fisher.
Bobbie Sue steps over and enters the office. Neeley closes
the door behind her. In the b.g., Eliot speeds off down the
hallway as Neeley closes the door.
16 INT. PRINCIPAL NEELEY'S OFFICE -- MORNING 16
ESTABLISH. We SEE various AWARDS and DIPLOMAS on the wall.
Stacks of bureaucratic stuff on a very filled desk. Two
institutional CHAIRS in front of the desk. In one of them
sits a tall, handsome young man. This is SHAHID RACHMAN, who
is a few years older than Bobbie Sue. When he speaks, his
English often seems flawed. Shahid stands as Neeley makes
the introductions.
NEELEY
Allow me to present Mr. Shahid
Rachman.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 12.
16 CONTINUED: 16
SHAHID
I've come a long way to meet you.
BOBBIE SUE
(to Neeley)
Then, you're not here about the...
lunch thing? That newspaper
reporter...
SHAHID
Lunch thing?
BOBBIE SUE
(to Shahid)
Mr. Donahue, he got on my case about
our prayer...
NEELEY is not happy to hear this.
NEELEY
Newspaper reporter?
BOBBIE SUE
Took pictures and everything.
NEELEY
(sarcastic)
Good start, Ms. Fisher.
(then)
Mr. Rachman is our new exchange
student from Yemen. He's here on
that new Senate program.
SHAHID
A lunch prayer?
BOBBIE SUE
One of the teachers tried to stop us
from saying a prayer over our lunch.
NEELEY
Just doing his job, Ms. Fisher. Can't
have that sort of thing. Intimidating
the students. Pushing religion on
everybody.
BOBBIE SUE
He says it's gonna make the front
page.
Neeley shudders at the thought of it all.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 13.
16 CONTINUED: (2) 16
SHAHID
(big smile to Fisher)
This would not be allowed in my
country.
Neeley reaches over to her desk and pulls a file folder from
the mess of papers.
NEELEY
See? We have something in common.
SHAHID
You have... how do you say it? Leapt
to the wrong understanding?
BOBBIE SUE
Jumped... to the wrong conclusion.
What do you mean?
SHAHID
In my country, prayers are required
in school.
(to Neeley)
We pray five times a day.
NEELEY
Um-m-m. Well, we've got a long way
to go.
She hands the folder to Fisher.
SHAHID
Indeed... we have.
NEELEY
(to Fisher)
As much as I may disagree, your
parents' application for host family
has been approved. Shahid will be
your guest while he is here at Taylor
High for the rest of the school year.
(to Shahid)
It seems the State Department wants
you with us, Mr. Rachman.
Bobbie Sue squeals in delight.
BOBBIE SUE
Cool!
NEELEY
I've placed Shahid in all of your
classes. Please see that he is
welcomed like one of the family.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 14.
16 CONTINUED: (3) 16
BOBBIE SUE
Oh, I will.
(looks him over)
What does your family do for a living?
SHAHID
We herd goats.
(off Bobbie Sue's
reaction)
What does your father do for a living?
BOBBIE SUE
(after a beat)
He has a flock, too.
(off Shahid's reaction)
He's a minister.
SHAHID doesn't answer her for a beat.
SHAHID
This will be interesting.
BOBBIE SUE smiles. There's more there than curiosity and
hospitality.
MS. NEELEY smiles, too. A doubting smile.
SHAHID SMILES, a different type of smile. There's something
possibly sinister in his smile.
We HOLD FOR A BEAT on all three of them, then we CUT TO:
17 EXT. FISHER HOME -- MORNING 17
ESTABLISH a typical suburban tract home in the Houston metro
area. A study in contrasts with a Cadillac Escalade ESV parked
on the street and a Toyota Prius in the driveway. BIRDS are
CHIRPING as we HEAR the O.S. VOICE of PASTOR ROBERT FISHER.
FISHER (O.S.)
Well, you're up early.
HOLD FOR A BEAT, then CUT TO:
18 INT. FISHER KITCHEN -- MORNING 18
AT THE STOVE is ROBERT FISHER, mid-40s, conservative suit,
tie, white short-sleeved shirt. The man is dressed for church
and it's Sunday. In the f.g. are PLATES with UTENSILS and
NAPKINS for three, along with THREE GLASSES filled with orange
juice.
FISHER
Can I make you some breakfast?
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 15.
18 CONTINUED: 18
FAVOR SHAHID at a breakfast table without breakfast. We SEE
an old newspaper spread out on the table. Shahid is working
on a small, partly completed clay model of Michelangelo's
David, a miniature of what he will build life-size later in
our story.
SHAHID
Actually...
MRS. FISHER ENTERS, fastening an earring to her ear. She is
dressed in a light pink outfit. Skirt way past her knees, it
just screams mid-1980s style. Do they look like Baptists, or
what?
MRS. FISHER
Oh, don't bother, Robert. I'll do
that.
SHAHID gestures to the stove.
CAMERA FAVORS some COVERED PANS on the stove. Fisher lifts
one of the lids. We SEE scrambled eggs and grated cheese
under one lid. ANOTHER LID reveals some toasted, diced
potatoes.
FISHER
Why... thank you, Shahid! That wasn't
necessary.
BOBBIE SUE ENTERS. She wears jeans and a tight-fitting shirt,
an outfit that is definitely not out of the 1980s.
BOBBIE SUE
Any bacon, Daddy?
SHAHID
(beat)
'Fraid not.
FISHER
Bobbie Sue, Muslims aren't allowed
to eat pork. Or drink alcohol.
Bobbie looks at Shahid.
BOBBIE SUE
Oh. Sort of like Baptists and Jews,
huh, Daddy?
MRS. FISHER
Bobbie Sue Fisher!
SHAHID
No offense taken, Ma'am.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 16.
18 CONTINUED: (2) 18
Shahid continues working his model.
FISHER
What'cha makin' there?
SHAHID
A model... for the ... how you call
it? The All City Art Show.
BOBBIE SUE
O-o-o-o! How cool!
She saddles over and peers closely at the miniature clay
model.
BOBBIE SUE (CONT'D)
What's it gonna be?
SHAHID
David.
(off Bobbie Sue's
questioning glance)
Michelangelo's famous statue. I am
going to make my own full-size...
what's the word? Interpretation. Our
school... maybe win first prize.
Make big... impression! No?
(laughs)
MRS. FISHER takes a large serving spoon from a drawer.
BOBBIE SUE
All right, Shahid! Good choice! Who
says Muslim's don't like the Jews?
SHAHID's smile fades at this last remark.
MRS. FISHER dishes out the food onto the plates.
MRS. FISHER
You want to come with us to church
this morning? See how the other half
lives?
Shahid looks up from his work. He puts the clay aside and
wipes his hands on a piece of cloth.
SHAHID
(to Pastor Fisher)
I am... welcome at your American
church?
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 17.
18 CONTINUED: (3) 18
FISHER
Shahid, all sinners are welcome in
God's house. Especially at the
Overhill Baptist Church.
MRS. FISHER smiles as she dishes out the scrambled eggs.
PASTOR FISHER smiles.
BOBBIE SUE smiles.
SHAHID does not smile, as a raised eyebrow does the speaking
for him.
BOBBIE SUE grabs a NEWSPAPER from the counter. She SQUEALS
in delight.
BOBBIE SUE
Daddy, look! We made the front page!
Bobbie Sue pushes the newspaper over to her father.
CLOSE SHOT -- THE LOCAL NEWSPAPER
Sure enough, we SEE a COLOR PICTURE OF BOBBIE SUE and a GROUP
OF SIX NERDY STUDENTS seated at a lunch table. The picture
is obviously staged. Bobbie Sue's eyes are shut. Her hands
are folded in an exaggerated prayer stance. HOLD FOR A BEAT
so we can SEE the picture as we HEAR the O.S. VOICE of DARRYL
HARB:
HARB (O.S.)
Religion and politics...
We PULL BACK and we SEE that we are in...
19 INT. IWN NEWS ROOM -- DAY 19
CAMERA PULLS BACK and we SEE the PICTURE OF BOBBIE SUE on an
ENORMOUS HDTV COMPUTER MONITOR, which is on a high-tech stand
in the middle of a modern news rooms. THROUGH A WINDOW in
the b.g. we SEE the WASHINGTON CAPITOL BUILDING.
Harb holds a cup of coffee as his editor, BILLY EDWARDS,
late 40's and overweight, finishes up a phone call.
HARB
They're front page every day now, it
seems.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 18.
19 CONTINUED: 19
EDWARDS
(on phone)
I don't want to hear it, Sammy...
No, you tell 'em your editor said
"No!"
(beat)
Look, I'll spell it for you. N...
O... Capisce?
He hangs up without waiting for a response and turns to Harb.
We SEE a bookshelf behind him. One of the books is a QUR'AN
with a cover in Arabic. We barely notice as Edwards gets up
from his desk and addresses Harb.
EDWARDS (CONT'D)
Interns...
(glances at HDTV
monitor)
Yeah, well, maybe the Muslims are
right. They're inseparable.
This causes an eyebrow to raise on Harb's furrowed brow.
EDWARDS (CONT'D)
You covered the Lewinsky matter.
At this, Harb becomes defensive. He shakes his head.
HARB
Been there...
EDWARDS
Puh-leeze. The good ole boy, who
oughtta know'd better...
HARB
Done that!
Harb begins to search for something among the papers in the
file folder he holds.
EDWARDS
Does his Oral Office thing with the
young intern...
HARB
(still searching)
Don't wanna go there!
EDWARDS
Right wingers scream bloody murder
all the way to impeachment.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 19.
19 CONTINUED: (2) 19
HARB
(still searching)
Apples 'n oranges, Billy.
EDWARDS
Was it? So what happens?
HARB
Nothin'! Hot air and disappointment.
EDWARDS
Hardly "nothin'", Mr. Harb. A little
misdirection. Somalia and a couple a
dozen dead GIs. Clinton walks...
HARB
It wasn't a crime, boss.
EDWARDS
In whose eyes? Clinton walks, we
lose a couple a Blackhawks. Not one
fuckin' peep from the pulpits. But
the Muslims...
Edwards notices SHAWNA, a 30-something BLACK REPORTER, as
the PHONE RINGS on Edwards' desk. Shawna tosses a stack of
paperwork onto Harb's desk. She glares at Edwards and his
obscenity.
EDWARDS (CONT'D)
Oops. Frickin' peep. Sorry, Shawna.
(to Harb)
See what I mean?
The PHONE RINGS. Edwards picks up the phone and barks into
it.
EDWARDS (CONT'D)
Edwards! Talk to me!
(as he shuts the door)
I don't wanna hear it, Jimmie! You
track him down...
HARB picks up the papers Shawna has delivered.
HARB
And the rest, they say, is history.
She eyes a PHOTO on Harb's desk. She picks up the photo.
Shawna BRINGS THE PHOTO INTO THE SHOT. We SEE HARB, surrounded
by SAILORS dressed in naval uniforms of the Israeli Defense
Forces. Behind them is the CONNING TOWER of the INS LEVIATHAN,
an Israeli Dolphin class submarine with the number 5708
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 20.
19 CONTINUED: (3) 19
displayed on the tower. Next to Harb is the sub's COMMANDER,
who we will meet briefly later in our story.
SHAWNA (O.S.)
Speaking of history, you still stay
in touch with these guys?
HARB takes the photo from Shawna. He stares at it wistfully
for a beat as we OIL DISSOLVE TO:
20 EXT. BEACH -- NIGHT 20
There is NO MOON and a small rubber boat plows into the beach.
A team of SIX COMMANDOS, all in black, drag the rubber boat
onto the beach and bury it under some seaweed and driftwood.
The leaders step forward, pulling off their masks and
headgear. We SEE a young HARB and an IDF COMMANDER. This
second man is MOSHE. He speaks to Harb in Hebrew, pointing
to an objective that lies OUT OF THE FRAME.
MOSHE
(in Hebrew)
There!
HARB
(in Hebrew)
We're on it!
Two other commandos follow Harb OUT OF THE SHOT. Moshe
gestures to the remaining two commandos. They EXIT, moving
OUT OF THE OPPOSITE SIDE OF THE FRAME, and we DISSOLVE BACK
TO:
21 INT. IWN NEWS ROOM -- DAY 21
Harb puts the photo back from where Shawna had taken it.
HARB
Oh... now and then.
(looks through the
file)
Whadda ya got for me, Shawna?
Harb looks in the file, then turns back angrily to look at
Edwards. Harb pulls an AIRLINE TICKET from the file.
HARB (CONT'D)
Billy!
(to Shawna)
He wants me on the Fisher story.
(beats on Edwards'
door)
Billy! Open up!
Edwards ignores him. Harb pounds on the door.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 21.
21 CONTINUED: 21
HARB (CONT'D)
Come on, Billy! Open the damn door!
(off Shawna's arched
eyebrow)
Darn... darn door.
Harb looks at the ticket.
HARB (CONT'D)
I can always tell when Billy orders
a flight. He never gets e-tickets.
SHAWNA smiles.
SHAWNA
I hear there's no first class seats
from DC to Houston.
Through the glass door into Edwards' office, Edwards ignores
Harb as he continues to speak on the phone. Edwards extends
his middle finger to Harb.
HARB
No first class seats in there, either.
Shawna chuckles at this as we CUT TO:
22 EXT. SAEG'S CONVENIENCE STORE -- AFTERNOON 22
ESTABLISH a typical corner grocery store, like a 7-11, but
not a chain store. It belongs to Tarig Saeg and the SIGN
outside tells us so. We hear the O.S. SOUND of a CASH REGISTER
RINGING a sale, then we CUT TO:
23 INT. SAEG'S CONVENIENCE STORE -- AFTERNOON 23
Behind the counter is TARIQ SAEG, the Muslim man we saw in
the Al-Fajir mosque at the beginning of our story. He runs
the convenience store with a middle-aged MIDDLE-EASTERN WOMAN,
his wife. At the counter is Bobbie Sue Fisher. She hands him
some cash for some gum.
BOBBIE SUE
Hey, Mr. Saeg!
SAEG
Miss Fisher. Saw your picture in the
paper yesterday. Very... how do you
say it? Courageous.
BOBBIE SUE
Why, thank you, Mr. Saeg!
Saeg rings up the sale and hands her some change.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 22.
23 CONTINUED: 23
SAEG
You know, in my religion, we pray
five times a day.
BOBBIE SUE
I know, silly! We have a young man
staying in our home. Shahid is from
Yemen.
The name causes a reaction of surprise from Saeg, but Bobbie
Sue misconstrues this as interest in her faith.
BOBBIE SUE (CONT'D)
They let you pray in school there.
They won't let us do that here.
SAEG
Maybe you should stand up for what
you believe. Hire a lawyer.
Bobbie Sue barely thinks about this. Then she speaks in a
voice that reminds us of Scarlett O'Hara in Gone With the
Wind.
BOBBIE SUE
I'll think about that tomorrow.
Bobbie Sue takes her purchase and leaves. Puzzled, Saeg looks
at his wife.
SAEG
But... Shahid?
HOLD FOR A BEAT as they consider this. They know what the
name means. After all, they are Muslims. Then we CUT TO:
24 EXT. OVERHILL BAPTIST CHURCH PATIO -- DAY 24
FROM a HIGH ANGLE, we SEE a very LARGE BANNER stretched across
the patio. The banner proclaims "Overhill Baptist Church
Welcomes Scout Troop 714" and "New Members Eat 'n Greet". As
CAMERA LOWERS, we SEE OVER A HUNDRED PEOPLE, some in Scout
uniforms, lined up in the church patio, which is dressed
with dozens of tables and chairs.
A Boy Scout barbecue is in progress. Pastor Fisher and his
wife are serving, as is Bobbie Sue. Other SERVERS in Scout
uniforms man the serving table, too. Shahid scurries around
the area behind them.
As the CAMERA PASSES DOWN the line of congregants, we come
to local congressman Alford Dickinson, who is followed in
line by his obedient WIFE, ANGELA DICKINSON. Angela seldom
speaks and always appears a few steps behind her husband.
She wears a light scarf.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 23.
24 CONTINUED: 24
FISHER spoons some barbecue beef onto Dickinson's paper plate.
FISHER
Alford Dickinson! Always good to
welcome a member in good standing
here at the church! Keeping yourself
busy on the Hill, I hear.
DICKINSON
Always take time for faith and family.
Oughtta be a law. You remember my
wife? Say hello to Pastor Fisher,
Angela.
MRS. DICKINSON smiles shyly.
FISHER
(a nod to her)
Mrs. Dickinson...
MRS. FISHER
(sees her scarf)
Too chilly for you in the shade,
Angela? Shahid, can you set a place
in the sun for the Congressman and
his wife?
DICKINSON REACTS to Shahid's name.
DICKINSON
Shahid!? You are from...
SHAHID
Yemen. Pleased to meet you.
Shahid and Dickinson shake hands.
FISHER
Shahid is part of that new exchange
program Senator Kennedy put through.
DICKINSON
Ah... perhaps while you're here,
you'll take advantage of our Scouting
program.
BOBBIE SUE
(spooning out food)
They have a Muslim scouting program?
DICKINSON
Ah, Miss Fisher. Saw your picture in
the paper. Very... courageous.
A light comes on in Bobbie Sue's clue-less mind.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 24.
24 CONTINUED: (2) 24
BOBBIE SUE
Hey! Mr. Saeg said the same thing!
Do you think?
DICKINSON
M-m-m. And yes, they do have a Muslim
program. A very popular one.
(to Shahid)
I'll introduce you to the leader.
SHAHID considers this for a beat, then moves over to one of
the tables. CAMERA ADJUSTS. As Shahid, now in the b.g., pulls
a couple of chairs out for Dickinson and his wife, Fisher
offers Dickinson some potato salad.
DICKINSON acquiesces. Fisher spoons some potato salad onto
Dickinson's plate.
FISHER
What's this about Hastert retiring?
DICKINSON
Rumors on the Hill. They come and go.
FISHER
He's pushing seventy.
Dickinson smiles a practiced "No comment" smile. Fisher
doesn't push him.
FISHER (CONT'D)
Well, it's good to see you here on
the Sabbath.
DICKINSON
You know I've been taking Saturday
off for a number of years now.
OFF FISHER'S PUZZLED LOOK, the line moves forward and
Dickinson and Angela approach Bobbie Sue. She holds out a
large spoonful of beans to Dickinson.
BOBBIE SUE
Want some pork 'n beans, Mr.
Dickinson? Mama's family recipe?
Dickinson holds up his hand, stopping her.
DICKINSON
Pork? None for us, thank you.
(confidential whisper)
Special diet.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 25.
24 CONTINUED: (3) 24
BOBBIE SUE
(absent-minded wave
of her serving spoon)
Tell me about it. I could lose five
pounds.
But Bobbie Sue is as thin as a rail, and she poses for a
beat so we can't help but notice.
AT ONE OF THE TABLES, Shahid pulls out a couple of chairs
and offers them to Dickinson and his wife, in the b.g.
Dickinson smiles, accepting the offer. HOLD FOR A BEAT, then
CUT TO:
25 EXT. ISLAND OF SOCOTRA, OFF THE COAST OF YEMEN -- NIGHT 25
A 150-foot motor yacht lies at anchor in the Arabian Sea.
Modern. Twenty-five million dollars of the best yachting
experience money can buy. FROM A HIGH ANGLE, we SEE A
HELICOPTER PAD is at the stern and a CHOPPER is lifting off
from it, heading toward land. We SEE the name of the yacht
in the MOON LIGHT -- Star of Medina -- as we SUPER TEXT:
SOUTH COAST OF SOCOTRA ISLAND, YEMEN. We HEAR the O.S. VOICE
of a MALE CREWMAN speaking in Arabic over a LOUDSPEAKER:
CREWMAN (O.S.)
(in Arabic)
Captain Schlesser, to the bridge.
CAMERA PULLS AROUND THE SHIP and through the massive glass
windows of the bridge, we see the CREWMAN replace his
microphone as CAPTAIN SCHLESSER comes up from below.
26 INT. STAR OF MEDINA BRIDGE -- NIGHT 26
Schlesser is a German man with an uncertain background. He
is about sixty years of age with white hair and when he
speaks, it is with a German accent. Schlesser wears a dark
blue sea jacket.
Schlesser checks his wristwatch.
We SEE a peculiar electronic watch -- a VIGILANT RADIATION
DETECTION WATCH. The semi-circular radiation exposure
indicator on the face of the watch STEPS UP A NOTCH.
Schlesser smiles. He then steps away from the wheel. A
CREWMAN, all spit and polish, takes his place immediately.
Schlesser picks up a pair of IMAGE-STABILIZED BINOCULARS
from a small desk on the bridge. He looks through the
binoculars out to the moonlit sea, adjusting the focus wheel.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 26.
26 CONTINUED: 26
INSERT -- OPTICAL -- A MOTOR LAUNCH
INTO FOCUS: A small motor launch approaches the Star of
Medina. In the moonlight, we SEE TWO MIDDLE EASTERN BOATMEN at the front of the launch. Behind the boatman piloting the
launch is a large pile of wooden boxes covered by a tarp. An
ELECTRONIC READOUT in the viewfinder shows the distance
closing between the motor launch and the Star of Medina --
200 meters or so, 180 meters, 150 meters.
BACK TO SCENE
Schlesser pulls the binoculars from his eyes. He looks grimly
out to sea for a beat, then sets the binoculars down on the
desk.
Schlesser opens a drawer and pulls out a small detonator and
a remote control device. He examines them for a beat, then
places the devices into his jacket pocket. He speaks curtly
to the crewman at the wheel.
SCHLESSER
All stop!
CREWMAN
All stop! Aye!
As the crewman brings the yacht to a stop, Schlesser pulls a
SEMI-AUTOMATIC PISTOL and a silencer from the drawer. He
screws the silencer onto the barrel.
The crewman at the wheel sees this. He shows no reaction.
SCHLESSER tucks the pistol behind his back and into his belt.
Schlesser's dark sea jacket hides the pistol from view as he
steps away from the desk. Schlesser heads out the doorway to
the deck.
27 EXT. STAR OF MEDINA DECK -- NIGHT 27
CONTINUOUS ACTION. Schlesser strides on to the deck and steps
over to the railing. In the b.g., the motor launch pulls up
to the side of the yacht.
WITH THE MOTOR LAUNCH
THE BOATMAN piloting the motor launch calls out to the crewmen
up on deck.
BOATMAN #1
Star of Medina!
TWO CREWMEN step over to the railing as the SECOND BOATMAN
throws up a tie line.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 27.
27 CONTINUED: 27
THE FIRST CREWMAN catches the tie line and pulls the bow of
the motor launch up to the side of the yacht.
THE SECOND CREWMAN catches a second line and pulls the stern
of the motor launch to the side of the yacht.
SCHLESSER peers over the side of the yacht, looking into the
motor launch. He reaches into an inside pocket and pulls out
a pack of cigarettes. He takes out a cigarette, lights it,
and exhales impassively as he watches the boatmen unload the
cargo.
IN THE MOTOR LAUNCH
The first boatman rips the tarp off the cargo that lies on
the deck of the motor launch, exposing FIFTY or so SMALLER
BOXES and one other LARGE WOODEN CRATE, somewhat larger than
a suitcase.
The boatmen begin to unload the boxes, handing them up to
the yacht crewmen. As one of the crewmen takes one of the
boxes, we SEE the words "Modeling Clay" on the side of the
box.
As they continue to load the boxes, we DISSOLVE TO:
28 EXT. STAR OF MEDINA DECK -- LATER 28
Schlesser finishes his cigarette as the yacht's crewmen take
the last of the small boxes labelled "Modeling Clay" below.
The only items that remains on deck are the large wooden
crate, still draped with the ropes that the crewmen used to
bring it on board, and one of the boxes of modeling clay.
One of the boatmen calls up to Schlesser.
BOATMAN #1
(in Arabic)
His Excellency promised us a reward
for delivering this.
SCHLESSER
(German-accented Arabic)
Indeed, your reward from Allah shall
be very great.
Schlesser turns and flips his cigarette butt overboard.
SCHLESSER (CONT'D)
(German-accented Arabic)
Come on up. Your payment is ready.
The two boatmen from the motor launch begin to climb up a
rope ladder that is draped over the side of the yacht.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 28.
28 CONTINUED: 28
As the first of the boatmen prepares to step onto the yacht,
Schlesser pulls his pistol and shoots him in the head. His
body drops into the water.
Schlesser looks down the rope ladder and takes aim at the
second boatman. He fires once. The second boatman drops into
the motor launch. Schlesser tucks his pistol back into his
waistband.
SCHLESSER (CONT'D)
Allahu akhbar.
Schlesser opens the box of modeling clay. We SEE a number of
bricks of a white, oily clay-like substance wrapped in a
clear plastic wrapper with the designator "C-4" on it. He
pulls the detonator from his pocket and removes a lead with
a short wire on it. He inserts the lead from the detonator
through the wrapper and into the brick of clay. He sets the
detonator into the box and closes it.
Schlesser steps over to the side of the yacht and drops the
box down into the motor launch. He pulls the rope ladder up
and then steps over to the bridge.
AT THE BRIDGE
Schlesser calls out to the crewman at the wheel.
SCHLESSER (CONT'D)
Full ahead!
CREWMAN
Full ahead! Aye!
WIDE SHOT
The Star of Medina pulls rapidly away from the motor launch.
In the f.g., the body of the boatman that fell into the water
SINKS SLOWLY OUT OF SIGHT as the yacht pulls away.
29 INT. STAR OF MEDINA BRIDGE -- NIGHT 29
Schlesser steps into the bridge and pulls a remote-controlled
detonator from his pocket. We SEE the motor launch in the
distance through a window in the bridge. Schlesser pushes a
button on the remote control. The motor launch EXPLODES in a
BALL OF FIRE and DUST. HOLD FOR A BEAT, then CUT TO:
30 EXT. WASHINGTON MALL -- MORNING 30
FROM a HIGH ANGLE we ESTABLISH the Mall. We SEE the WORLD
WAR II MEMORIAL in the f.g. with the LINCOLN MEMORIAL in the
b.g. and, as the CAMERA PULLS BACK, the WASHINGTON MONUMENT
comes INTO VIEW.
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 29.
31 EXT. WASHINGTON MONUMENT -- MORNING 31
ESTABLISH the base of the monument. We SEE the tall spire of
the Washington Monument towering OUT OF FRAME as tourists
gather at the base. The morning traffic moves in the b.g.
along Constitution Avenue. In the big., we SEE the WHITE
HOUSE in the distance.
AT THE BASE OF THE MONUMENT
IBRAIM AZIZ and YUSEF ACHIM, a grizzled Middle-Eastern
military type, mid-40s, bearded, step INTO THE SHOT. Aziz is
dressed in a business suit. Achim is dressed in a Scout
Master's uniform. They join a group of TOURISTS as they enter
the monument lobby.
32 INT. WASHINGTON MONUMENT LOWER LEVEL -- MORNING 32
A PARK SERVICE WORKER herds the tourists into the elevator
to take them to the top.
The Park Service Worker gestures to the elevator as Aziz
steps over to the elevator. Achim Looks over to the door
that leads to the stairway to the top.
ACHIM
I should like to take the stairs,
Aziz.
AZIZ
Nine hundred steps, Achim?
The Park Service Worker shakes her head. She points to a
sign that reads "Due to enhanced security awareness, the
stairway is closed to the public."
Achim shrugs. He steps into the elevator with Aziz. The doors
close in our face.
33 EXT. WASHINGTON MONUMENT OBSERVATION ROOM -- MORNING 33
As if tracking the elevator, we MOVE RAPIDLY UP THE SIDE OF
THE MONUMENT. INTO VIEW -- THE UPPER OBSERVATION ROOM.
In a SHOT THROUGH THE TOP WINDOW into the upper observation
room, we SEE AZIZ AND ACHIM looking out over Washington, DC.
CAMERA PULLS BACK AND AROUND. We SEE the CAPITOL BUILDING,
the WHITE HOUSE, the LINCOLN MEMORIAL, and the WORLD WAR II
MEMORIAL as we PULL AROUND THE TOP OF THE MONUMENT. As we
PULL BACK to SEE the entire monument and the Capitol building,
the entire city of Washington lies before us. HOLD AT A HIGH
ANGLE for a beat, then CUT TO:
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 30.
34 EXT. REAGAN NATIONAL AIRPORT IN WASHINGTON, DC -- AFTERNOON 34
ESTABLISH. An AIRLINER sits next to a terminal as various
AIRPORT WORKERS load luggage and equipment into the airplane.
35 INT. REAGAN NATIONAL AIRPORT IN WASHINGTON, DC -- AFTERNOON 35
We're AT A TSA SECURITY CHECKPOINT and Achim and Aziz are in
line, waiting to be scanned through the checkpoint. Aziz
wears a herringbone coat, gray slacks, and a white silk shirt
and loafers. Achim wears his scout uniform. Nothing about
them looks even remotely Middle Eastern.
In front of Aziz, the SECURITY WORKERS scan carry-on luggage,
purses, and other items from the many PASSENGERS who wait in
line. As the line moves forward, the workers target a WOMAN
in front of him. She steps aside. Another worker waives Aziz
through the metal detector. He tosses his wallet into a
basket. Achim does the same and hands the baskets to one of
the workers, who passes the baskets through the checkpoint,
but not through the metal detector.
As Aziz and Achim step through, an OLD MAN IN A WHEELCHAIR
tries to go through the metal detector. It BEEPS. The beep
distracts the worker. Aziz grabs the baskets as the worker
gestures to an armed NATIONAL GUARD SOLDIER. The soldier,
carrying an AK-47, steps over to the old man.
As the SECURITY GUARDS begin to search the old man, Aziz and
Achim grab their wallet from the basket. They turn and step
away. We TRUCK WITH THEM. In the b.g. we SEE other GUARDS
surrounding the old man's wheelchair.
Off to one side, a MALE WORKER waves a METAL DETECTION WAND
over an ATTRACTIVE WOMAN IN THE SCREENING LINE. He pokes her
breasts with the wand deliberately as he scans her.
A small smile crosses their lips while Aziz and Achim walk
TOWARD US as the incompetent TSA workers in the b.g. continue
to hassle the passengers. They walk PAST THE CAMERA and OUT
OF THE SHOT. HOLD FOR A BEAT on the crowd, and then CUT TO:
36 EXT. TAYLOR HIGH SCHOOL, HOUSTON -- MORNING 36
ESTABLISH the modern facade of the Taylor High School in
Houston. STUDENTS enter and leave the main entryway. We HEAR
the O.S. VOICE of PRINCIPAL CASSIE NEELEY:
NEELEY (O.S.)
It's out of the question, Mister...
Saeg, is it?
And we CUT TO:
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 31.
37 INT. PRINCIPAL NEELEY'S OFFICE -- MORNING 37
ESTABLISH. Same messy office as in Scene 16 -- various AWARDS
and DIPLOMAS on the wall, stacks of bureaucratic stuff on a
very filled desk, two institutional CHAIRS in front of the
desk. In one of them sits Tariq Saeg. His calm, polite manner
is in contrast to the brusque Principal Neeley.
SAEG
Yes. Tariq Saeg. I run a little store
just down the street from here. Some
of your students, they...
NEELEY
(interrupting)
Your relationship with Miss Fisher
and her family is exactly... what?
SAEG
She is a customer in my store.
(off Neeley's skeptical
look)
It is my understanding that you are
not allowing Miss Fisher and her
companions the right to...
NEELEY
(interrupting again)
I see where this is going. Let me
make this clear, Mr. Saeg. Our Supreme
Court... you do know what the Supreme
Court is, Mr. Saeg?
SAEG
Yes, I know what the Supreme...
NEELEY
(interrupting)
Our Supreme Court has ruled that
prayer is not allowed in public
schools.
Saeg pulls a pocket edition of the U.S. Constitution from
his pocket.
SAEG
Ms. Neeley, do you know what this
is?
Neeley's look says she doesn't give a damn what he holds.
SAEG (CONT'D)
It's a copy of the U.S. Constitution.
NEELEY
I've never read it. Never saw a need
to.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 32.
37 CONTINUED: 37
SAEG
Did you know that I had to write out
an outline of the Constitution when
I took my citizenship class?
A look of surprise on Neeley's face.
SAEG (CONT'D)
That's right. I am a naturalized
citizen. Do you know what our 10th
Amendment says?
A look of apathetic annoyance from Neeley.
NEELEY
Our?
Saeg ignores the racist insult. As he reads, Neeley gets
more and more angry.
SAEG
Here... let me read it to you.
(reading)
The powers not delegated to the United
States by the Constitution, nor
prohibited by it to the States, are
reserved to the States respectively,
or to the people.
NEELEY
Mr. Saeg...
SAEG
No, let me finish. Here's another
one.
As he reads, Saeg's voice grows louder and louder.
SAEG (CONT'D)
Congress shall make no law respecting
an establishment of religion, or
prohibiting the free exercise thereof!
That's from...
NEELEY
The first amendment.
(coldly)
I've read that one.
Saeg takes a deep breath.
SAEG
I'm no expert, Ms. Neeley...
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 33.
37 CONTINUED: (2) 37
NEELEY
Clearly...
SAEG
But it seems to me that the plain
text of the Constitution says our
individual states, or the people,
have the right to interpret what
those powers shall be...
The look on Neeley's face is less than encouraging. Saeg
continues:
SAEG (CONT'D)
Especially in regards to what
prohibiting the free exercise of
religion means.
NEELEY
And they have, Mr. Saeg. Through the
Supreme Court!
SAEG
No, we have that right. Here. This
document says we can make that
decision.
Neeley stands.
NEELEY
Mr. Saeg, this matter is out of my
hands... and yours. If you don't
like it, why don't you run for the
school board? There's four out of
seven seats up for election this
year. In fact...
(picks up a calendar
from her desk)
...you've got about a week to file
your papers.
Neeley sets the calendar back on her desk. Saeg looks up
from his copy of the Constitution.
SAEG
Papers?
Saeg thinks about this for a beat, then we CUT TO:
38 EXT. FISHER HOME -- EVENING 38
ESTABLISH the typical suburban tract home in the Houston
metro area. Pastor Fisher's Cadillac Escalade ESV pulls up
to the curb. We HEAR the O.S. SOUNDS of PLATES BEING SET
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 34.
38 CONTINUED: 38
DOWN ON A TABLE as Fisher gets out and heads for the front
door. He goes inside and we CUT TO:
39 INT. FISHER DINING ROOM -- EVENING 39
Fisher, his wife, Bobbie Sue and Shahid are seated around
the dining room table that is set for dinner. Mrs. Fisher
brings in the last of a setting of food for the evening meal.
On the table is a miniature statue of Michelangelo's David,
about six inches high and made from reddish clay.
Mrs. Fisher hands a bowl of vegetables to Shahid. He serves
some on to his plate, then serves Bobbie Sue.
SHAHID
Mr. Dickinson says I should look
into a scouting program.
(to Pastor Fisher)
Do you know Ibraim Aziz?
Fisher shakes his head.
FISHER
Can't say as I do. You gonna have
some of that chicken, son?
Shahid picks up the plate. He forks over a large piece of
chicken onto Bobbie Sue's plate, then passes the plate to
Fisher.
SHAHID
Yusef Achim?
Fisher spears a couple of large pieces and then passes the
remains, all small pieces, back to Shahid.
FISHER
(shakes his head)
Nope. Doesn't ring a bell.
SHAHID
Well, they came from my country a
while ago. Maybe... ten years.
BOBBIE SUE
Friends of yours?
SHAHID
(nods his head)
Aziz is the local scout master. Achim
runs a scouting camp about a six
hours' drive from here.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 35.
39 CONTINUED: 39
MRS. FISHER
Why, Shahid! Are you going to join
the scouts! How wonderful!
SHAHID
I... I'll need to borrow a car to
get there.
Before Fisher can object, his wife interrupts him.
MRS. FISHER
Why, of course! It's the least we
can do! Honey...
She turns to her husband. He smiles weakly. Oh, well...
Bobbie Sue smiles, too. She picks up the model of the statue.
BOBBIE SUE
So, how's your statue coming?
SHAHID
I've ordered some special clay from
my country. It's more like white
marble than this. It'll be here next
week.
FISHER
You still trying to make that art
show, son?
SHAHID
Yes, sir. But...
An awkward pause. Shahid looks to Bobbie Sue for some support,
then to Fisher. Fisher's raised eyebrows do the asking.
SHAHID (CONT'D)
I need a place to work.
BOBBIE SUE
An art studio! That's what Shahid
needs, daddy! An art studio! We can
use one of the rooms at the church!
You know, that little room there by
the first graders.
SHAHID
It won't be too much trouble?
MRS. FISHER
Nonsense! We're not using that room
anyway. Honey...
Fisher smiles weakly again. He's out voted. To Bobbie Sue:
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 36.
39 CONTINUED: (2) 39
FISHER
You'll have to help him clean it
out.
He picks up the vegetables and spoons some onto his plate.
End of discussion. Bobbie Sue squeals in delight and we CUT
TO:
40 EXT. HARRIS COUNTY JAIL -- AFTERNOON 40
ESTABLISH the HARRIS COUNTY JAIL in Houston. We HEAR the
ECHOING SOUNDS OF A JAIL DOOR UNLATCHING and SLIDING OPEN,
followed by the SQUEAK of a WHEELED CART. The squeaking wheels
continue O.S. as we HEAR the O.S. SOUND of the JAIL DOOR
SLAMMING SHUT. And we CUT TO:
41 INT. HARRIS COUNTY JAIL -- AFTERNOON 41
We're WITH A BOOK CART as we TRUCK DOWN a hallway that is
lined with jail cells. Manning the cart is Abu Kareem, but
he is dressed not in the swank business suit that he wears
when he is speaking at a local mosque. He now wears jeans
and a white polo shirt with the Arabic words "Allahu akhbar"
over the pocket.
ON THE CART are dozens of small paperback copies of the
Qur'an. As Kareem passes PRISONER after PRISONER, he slips a
paperback copy of the Qur'an through the bars of the cells
into eager waiting hands. He ad libs "Good afternoon" and
"Salaam" as he moves down the hall. Business is brisk and
everyone he greets takes a copy of the Qur'an from him.
On the other side of the walkway, a MINISTER works his way
down the row of cells from the opposite end of the hallway.
As he moves, he tries to pass out copies of the New Testament.
MINISTER
New Testament for you, son? The truth
shall set you free!
But there are no takers. As he passes Kareem, he looks back
at him. Kareem smiles softly back at the minister as he
continues handing out the copies of the Qur'an.
The look on the face of the minister tells us that he is not
pleased with his lack of success. We HOLD FOR A BEAT as Kareem
continues to hand out his books, then we CUT TO:
42 EXT. AL-FAJIR MOSQUE -- EVENING 42
ESTABLISH the Al-Fajir Mosque. The parking lot is full once
again, and we hear the O.S. VOICE of ABU KAREEM as he speaks.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 37.
42 CONTINUED: 42
KAREEM (O.S.)
Education! It is the Muslim's highest
priority.
43 INT. AL-FAJIR MOSQUE -- EVENING 43
An even larger crowd than when we first joined Kareem at the
mosque. We TRUCK ALONG ROWS and ROWS of Muslim men. But not
all of them look middle-eastern. In fact, most of them are
WASP MALES. CAMERA CONTINUES TO MOVE PAST THE CROWD.
KAREEM
There is a place, yes, for educating
our boys. And there is a place for
educating our girls.
(beat, then a soft
smile)
It's a sad day when we have to teach
our girls to cook in a "home ec"
class.
The MUSLIM MEN respond with QUIET CHUCKLES. Kareem notes
this.
KAREEM (CONT'D)
You know what I'm talking about. The
only way to promote the law of Allah
in our American society is to make
our point of view known in that
society... and in the classroom.
WE COME TO REST on SAEG, who reacts to what he hears. Kareem
holds up a high school textbook.
KAREEM (CONT'D)
A textbook from one of the local
high schools. Do you know what it
says, right here? This book says
that you... and I, are descended
from an ape! An ape! Now, as a man
of faith, I am indeed offended by
that statement. The man who wrote
this book... he must be one who is
descended from an ape!
The congregation LAUGHS at this.
KAREEM (CONT'D)
But I'm not. And you're not...
Kareem looks out over the crowd.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 38.
43 CONTINUED: 43
KAREEM (CONT'D)
Perhaps, as the Hadiths tell us, he
is one of the Jews from the city by
the sea... one of the infidels who
violated Allah's sabbath, and were
turned into monkeys!
The congregation LAUGHS even louder at this. Kareem gestures
to Saeg.
KAREEM (CONT'D)
Tariq Saeg, my Muslim brother.
Please... join me.
Saeg stands and joins Kareem in front of the Muslim men.
Saeg wears an immaculate new suit, as does Kareem.
KAREEM (CONT'D)
Let me introduce you to what just
might be the future of Islam in
America. Mr. Saeg...
(clasps Saeg on the
shoulder)
...is one of us. He runs a local
grocery store here in Houston. Tariq,
tell your new supporters what you
told me.
Saeg takes a deep breath, then begins.
SAEG
I have decided to run for one of the
four vacant positions on the local
school board.
A collective GASP from everyone. Even the WOMEN behind the
segregated partition whisper among themselves.
SAEG (CONT'D)
They won't let us pray in the schools.
We cannot call on the name of Allah.
It is forbidden. And as we just saw,
their school books call us "sons of
monkeys." Well, I'm not the son of a
monkey!
The men in the congregation WALLA their agreement.
SAEG (CONT'D)
The school leaders have passed rules
that won't let our own daughters
cover their hair. They make our
daughters attend the same classes
with the boys, who taunt them and
leer at them.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 39.
43 CONTINUED: (2) 43
The men in the congregation WALLA their ANGRY CRIES.
SAEG (CONT'D)
So I say... the abuse of our children
and our faith has to stop!
The men WALLA their agreement even louder.
SAEG (CONT'D)
If it's not up to me, who else?
The men APPLAUD WILDLY.
KAREEM
Indeed, Mr. Saeg. Who else will join
our Muslim brother and run against
the infidels on the school board?
Are there no mujahideen here tonight?
Kareem looks over the crowd. The men in the crowd look around,
wondering who will stand.
KAREEM (CONT'D)
I seek warriors, dressed in the white
robes of Jihad, ready to stand for
the cause of Allah in our classrooms.
Who will join with Saeg?
Suddenly, a MAN in a business suit stands up. A SMATTERING
OF APPLAUSE. Then another man stands. More APPLAUSE. Finally,
a third man stands. Kareem gestures to the men to come
forward. They do so and take their stand next to Saeg.
KAREEM (CONT'D)
There you have it! Your new slate of
candidates for the school board, Mr.
Saeg. Conservative faith and family
values. Who could object to that?
Kareem takes Saeg's hand and raises it over his head.
KAREEM (CONT'D)
Wherever Muslims go, they build their
own Islamic paradise. In Kazakhistan.
In Kyrgystan. In Uzbekistan. In
Tajikistan. In Pakistan and
Afghanistan...
Kareem takes the hand of one of the other men. Kareem raises
their clenched hands as the other two men do the same.
KAREEM (CONT'D)
Together we shall build a new America!
An America that shall become all that
(MORE)
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act One 40.
43 CONTINUED: (3) 43
KAREEM (CONT'D)
Allah has meant her to be! Elected
from among us, the true faithful.
(a beat as he looks
over the crowd, then)
Mujahideen! Remember this day! From
this day forward... neighborhood by
neighborhood, town by town, city by
city, and state by state... we shall
rebuild America according to our own
vision. According to our own Islamic
hope! And into our own Islamic
paradise! Into our own... Ameristan!
(beat, then)
Ameristan!
Kareem, Saeg and his school board candidates SHOUT OUT
"Ameristan!" as they hold their clenched hands high over
their heads.
The crowd begins to CHANT "Ameristan!" over and over again,
louder and louder.
We PAN ACROSS THE CROWD as they chant "Ameristan!" until we
come to...
A MAN who wears dark glasses and sits cross-legged among the
worshipers. We HOLD FOR A BEAT on his expressionless gaze as
he looks straight ahead. He removes his dark glasses and we
SEE the face of DARRYL HARB, the IWN reporter. An eyebrow
raises, the only emotional response that he shows to the
continuing chants. Then we...
FADE TO BLACK
END OF ACT ONE
------------------------------------------------------------------------- Ameristan 2004080379 (written by Charles Welty) -- Act Two 41.
ACT TWO
FADE IN:
44 EXT. NEW YORK HARBOR -- DAY 44
The Statue of Liberty lies in the b.g. as the Star of Medina
arrives at berth in New York harbor. A CREWMAN rings the ship's bell, then moves to grapple with one of the tie lines.
As the massive yacht berths, DOCK WORKERS catch the tie lines
thrown to them by the yacht's CREWMEN. A GANGPLANK is quickly
swung into position and Schlesser prepares to debark.
SCHLESSER
An hour to unload, then an hour for
dinner. I want everyone to stay on
board tonight.
A FedEx truck pulls up to the yacht as the dock workers unload
the boxes.
The CREWMAN in charge acknowledges his captain.
CREWMAN
Aye, Captain!
Schlesser turns toward shore and steps hurriedly away. We
HOLD on the DOCK WORKERS as they load the boxes into the
FedEx truck. The crewman signs some paperwork for the FEDEX
DRIVER as we CUT TO:
45 EXT. SAEG'S CONVENIENCE STORE -- AFTERNOON 45
ESTABLISH Saeg's convenience store. A number of STUDENTS
from the local high school pass into and out of the store.
46 INT. SAEG'S CONVENIENCE STORE -- AFTERNOON 46
Bobbie Sue fills up a paper cup with a diet soft drink from
a self-serve dispenser as other STUDENTS make their
selections. She takes her drink over to Saeg, who rings her
up.
SAEG
Bobbie Sue! I have some good news.
(off her puzzled look)
I am doing the running for the school
board!
BOBBIE SUE
Wow!
(then, puzzled again)
You think you can win?
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 42.
46 CONTINUED: 46
SAEG
Allah knows! But I am creating a...
how you call it... a ticket. And we
are for prayer in the lunch time!
You want to support me?
He hands her a flyer. Bobbie takes it, looks at it for a
beat.
BOBBIE SUE
Why, sure! I'm over 18... two whole
weeks now! And my daddy, he's always
telling us to do our civic duty!
(to the other students)
Hey, look! Mr. Saeg's running for
the school board!
(to Saeg)
Why, Daddy'll want to vote for you,
too!
MRS. SAEG stands behind her husband. She wears a scarf over
her hair. She silently encourages Bobbie with a shy smile as
she pushes some more brochures over to her. Bobbie Sue takes
them from her with a smile.
SAEG
(to Bobbie Sue)
You come tonight. We are holding the
press conference. I and the other
candidates. At the school board. You
come. Seven o'clock.
The other students grab the brochures that Mrs. Saeg quietly
offers them.
BOBBIE SUE
Of course. Seven o'clock.
(looking over the
brochure)
Who'da thought... a Baptist family
votin' for a Muslim on the school
board!
And we CUT TO:
47 EXT. HOUSTON SCHOOL BOARD OFFICES -- NIGHT 47
ESTABLISH the modern office building. A number of cars are
in the parking lot, but the lot is far from filled. We HEAR
the O.S. SCREECH of FEEDBACK and TAPPING from a MICROPHONE
and SOUND SYSTEM, then we CUT TO:
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 43.
48 INT. HOUSTON SCHOOL BOARD MEETING ROOM -- NIGHT 48
We're AT A LECTERN and Tariq Saeg stands awkwardly before
the assembled microphones, tapping one of the microphones.
Beside him are the other three candidates for the school
board. Abu Kareem stands to Saeg's right, watching everything.
SAEG
Is this on?
He realizes his mistake.
SAEG (CONT'D)
Oh, I'm sorry.
(an awkward smile)
Saeg takes out a paper and begins to read from a prepared
statement.
SAEG (CONT'D)
My name is Tariq Saeg and these are
my friends and colleagues.
Kareem smiles, always comfortable before a camera or a
microphone... or a crowd, no matter how large or how small.
But Saeg's companions are like fish out of water, squirming
a bit behind Saeg as he speaks. They gradually warm to the
occasion as we HEAR the SOUND of MOTOR-DRIVEN CAMERAS and
see the FLASHES of CAMERA STROBES as Saeg speaks.
SAEG (CONT'D)
We are announcing our candidacy here
in Houston for the Harris County
Board of Education. All of us are
citizens of this great country. We
love our community. And our children.
But...
He searches for words for a beat, then slowly folds the paper.
He holds it by his side, then speaks without his notes, from
the heart.
SAEG (CONT'D)
We are concerned with the direction
that the education of our children
has been taking. It is as if
everything is... how do you say it...
out of control? Yes. Out of control.
The students do not listen to their
parents. They do not listen to their
teachers. And when they do listen,
what they are taught is lawlessness
and...
(searches for words
again)
...hooliganism.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 44.
48 CONTINUED: 48
Saeg gestures to Bobbie Sue.
SAEG (CONT'D)
A few days ago, this young lady
refused to give up her right to pray
in the schools. I am a Muslim, and I
stand behind Miss Fisher's choice.
His Muslim colleagues WALLA their agreement behind him as
Saeg takes the textbook that Kareem used in his lecture
earlier in our story from the lectern.
SAEG (CONT'D)
My... how would you call it...
(gestures to Kareem)
The pastor of our congregation, showed
me this book.
(holds up the book)
It teaches our children that they
are nothing more than sons of monkeys.
My friends, we are not sons of
monkeys. If we tell our young people
that they are descended from animals,
why do we marvel when they behave
like animals?
The MEMBERS OF THE PRESS chuckle at this.
SAEG (CONT'D)
We the people have the right to reject
any government funding that restricts
our rights as parents and as men of
faith to see that our young people
are educated rightly. Not wrongly. I
say that if the federal or state
regulations make us teach what we do
not want to teach, than we shall not
take their money. We will do without
it!
The REPORTERS begin to juggle for position and begin to shout
out questions AD LIB. We SEE that one of the reporters is
DARRYL HARB. He watches all of this calmly as Kareem pins a
button with the pictures of the four Muslim candidates on it
onto Saeg's lapel. Then we CUT TO:
49 EXT. HOUSTON COMMUNITY CENTER -- NIGHT 49
ESTABLISH. We SEE many CARS in the parking lot. Young BOY
SCOUTS in Boy Scout uniforms move with their PARENTS into
the building. Among the people entering are Bobbie Sue and
Shahid. We HEAR the O.S. VOICE of IBRAIM AZIZ call out:
AZIZ (O.S.)
Atten-shun!
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 45.
49 CONTINUED: 49
And we HEAR DOZENS of BOOT HEELS SNAP TOGETHER. CUT TO:
50 INT. HOUSTON COMMUNITY CENTER -- NIGHT 50
We SEE a ROW of teen Boy Scouts, all of them sporting an "In
the Name of God" scouting badge, standing behind IBRAIM AZIZ,
the local scout leader, who addresses his audience from a
lectern. Also in attendance is Tariq Saeg, who stands next
to Aziz, and Congressman Dickinson. Aziz speaks directly to
the audience. He smiles broadly.
AZIZ
As most of you know, I am Ibraim
Aziz. I am the Scout Master of this...
(spreads his arm over
the meeting)
...Houston's largest Muslim scouting
troop.
A SMATTERING of APPLAUSE interrupts him. Aziz holds up his
hand to stop the interruption, and then continues. We INTERCUT
to the appropriate characters in our story as Aziz speaks.
AZIZ (CONT'D)
We welcome our friend and supporter,
Mr. Tariq Saeg, and we acknowledge
local Congressman Alford Dickinson,
who I understand is here with Shahid
Rachman and a member of his host
family, Miss Bobbie Sue Fisher.
Aziz pulls a display box from the lectern and opens it. We
SEE an "Allahu Akhbar" scouting medal, a 2-inch pendant
embossed with a crescent and star hanging from a white ribbon,
as Aziz describes the medal.
AZIZ (CONT'D)
The "Allahu Akhbar". Muslim scouting's
highest award. The white bar of Jihad,
the source of Muslim peace. A crescent
moon... the origin of our Muslim
faith. A five pointed star... the
five pillars of Islam.
The audience, including Dickinson, applauds graciously.
AZIZ (CONT'D)
The "Allahu Akhbar" is not easy to
earn. No. One must demonstrate in a
practical way, what Jihad means to
the recipient.
Aziz turns to Saeg and begins to pin the award to his jacket.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 46.
50 CONTINUED: 50
AZIZ (CONT'D)
Tariq Saeg has shown his commitment
to Jihad as he and his companions
fight for seats on the local school
board. For this, and for completing
the requirements as I have described
them, we bestow on you... Allahu
Akhbar!
We HOLD FOR A BEAT on the happy scene, then we CUT TO:
51 INT. IWN NEWS ROOM -- NIGHT 51
Harb carries a file folder filled with printouts as he passes
through the IWN news room. Shawna joins him.
SHAWNA
Hey, Darryl! How about that Houston
heat?
HARB
It was only about 80.
SHAWNA
I wasn't talking about the weather.
She points to his editor's office. Though the glass, we see
one angry editor.
HARB
Shit.
For once, Shawna doesn't object to the swear word.
SHAWNA
M-m-m.
She heads for her desk. Harb dumps the files on a nearby
desk. He takes out his reporter's notebook and flips it open
as he enters Billy's office.
52 INT. BILLY EDWARDS' OFFICE -- NIGHT 52
Edwards sits forward and points an angry finger at Harb.
EDWARDS
There's no story there, Mr. Harb.
HARB
C'mon, Billy! Four underdogs against
the establishment... with a religious
twist.
EDWARDS
People don't want to hear it.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 47.
52 CONTINUED: 52
HARB
Billy, the times... they are
a'changin'.
EDWARDS
Well, you sure as hell aren't changin'
with 'em! See that?
Billy points to the HDTV monitor. We SEE a display of Internet
ads and animated banners.
EDWARDS (CONT'D)
They're called "ads". A magic word
around here. And do you know what
they do, Mr. Harb?
Harb rolls his eyes. He has heard it all before.
HARB
Don't lecture me, Billy!
EDWARDS
They pay the bills. And you know
how? When what we publish brings in
readers through that electronic door,
they see our ads.
HARB
They won't come...
EDWARDS
They click on our ads.
HARB
...if they don't find what they
believe is important.
EDWARDS
No, they'll read what we say is
important. So now you're the editor?
You wanna tell me what this is?
Billy takes his name plaque with his "Editor" title bar from
his desk. He holds it up for Harb to read.
EDWARDS (CONT'D)
Let's see. Ed-i-tor. Gee. Now, just
what could that mean? You...
(gestures to Harb)
HARB
Research the story. Then I write
the...
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 48.
52 CONTINUED: (2) 52
EDWARDS
(angry BUZZING sound)
Wrong! You don't write. Not yet. I
assign the story. You...
(gestures to Harb)
HARB
Research the story.
EDWARDS
Very good.
(gestures to plaque)
Then I review the story. You...
(gestures to Harb)
HARB
Write the story.
Edwards smiles an angry smile.
EDWARDS
I think we are communicating now,
Mr. Harb. Then I...
(gestures to the plaque)
...approve the story. Now, to approve
the story means that... occasionally,
I... what?
(gestures to Harb)
HARB
Disapprove the story. But...
EDWARDS
Ding, ding, ding! The man wins a
cigar!
Edwards puts the name plaque back onto his desk.
HARB
One Muslim man bucks an entire
community.
EDWARDS
One man does not necessarily a story
make, Mr. Harb.
HARB
Believe me, Billy. I know Muslims...
EDWARDS
Do you now?
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 49.
52 CONTINUED: (3) 52
HARB
Yes, I do! Three other men, also
Muslims, join him. And some agitator,
one...
(checks his notes)
...Abu Kareem, is behind him,
encouraging these guys to run for
office.
EDWARDS
(after a beat)
You know what you are? You're a bigot.
Harb is taken aback for a moment.
HARB
No. You have to look past the surface
with these people.
EDWARDS
These people, Mr. Harb? It's a local
story, Mr. Harb. We're a national
and world news portal!
An angry beat, then:
EDWARDS (CONT'D)
I'm killing the story.
Edwards turns back to his computer monitor. The interview is
over.
Harb turns and leaves.
53 INT. IWN NEWS ROOM -- NIGHT 53
CONTINUOUS ACTION. Harb stalks through the news room, heading
for the elevator. We TRUCK WITH HIM and he is getting angrier
and angrier as he walks.
Shawna sees him as he reaches the elevator. She just looks
at him. An unspoken moment of understanding between them.
She knows what Edwards told him.
AT THE ELEVATOR, Harb pushes the down button. The doors open
and he steps inside. Angry, he speaks curtly to Shawna.
HARB
Get me an e-ticket to Houston.
(then a soft smile)
Would you? Please?
The doors close, and Shawna reacts: a SIGH. And we CUT TO:
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 50.
54 INT. HOUSTON COMMUNITY CENTER -- NIGHT 54
A CONTINUATION OF SCENE 50. The meeting has broken up. Saeg
chats amicably with some of the guests in the b.g. as Shahid
and Bobbie Sue speak to Aziz and Dickinson.
DICKINSON
Aziz, my old friend. There's someone
I'd like you to meet. Shahid...
Shahid interrupts him, shaking Aziz hand.
SHAHID
We have already met.
(sweeping gesture)
Most impressive. A large... company.
AZIZ
Troop. We call it a troop. And there's
room for one more.
BOBBIE SUE
Ya think? Cool!
AZIZ
We have a special training weekend
coming up. Would you like to join
us?
SHAHID
I have a deadline for the art show.
My entry is a sculpture... in clay.
BOBBIE SUE
It's only one weekend. Maybe they
have an art program!
AZIZ
We do, as a matter of fact. Clays
and plastiques.
(a piercing look to Shahid)
You would enjoy it. And we can provide
everything you will need.
Bobbie Sue is thrilled with this.
BOBBIE SUE
Your supplies, too! And just one
weekend!
AZIZ
Just one.
Shahid shakes his head.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 51.
54 CONTINUED: 54
SHAHID
Deadlines. But perhaps you have some
extra clay. I need maybe... four
hundred pounds.
AZIZ
I think I can arrange that. Where
would you like it shipped?
SHAHID
(gestures to Bobbie
Sue)
Overhill Baptist Church. Right here
in Houston.
AZIZ
Would next Tuesday be all right?
Bobbie SQUEALS with excitement. Shahid acknowledges Aziz's
agreement to ship the clay with a handshake.
Dickinson smiles. He speaks to Aziz.
DICKINSON
When your weekend is over, would your
troop like to come to Washington next
month? How about a private tour of
the House?
AZIZ
And the Washington Monument would be
nice, too. Perhaps our camp director
can attend. You think they can take
the stairs?
DICKINSON
A long walk down. Nine hundred steps,
they say. I'd be happy to arrange
it.
AZIZ
Allahu akhbar.
We HOLD on Aziz's smiling face, then we CUT TO:
55 EXT. CAMP QUDS OFFICE -- DAY 55
ESTABLISH a typical boy scout camp. An OFFICE CABIN is nestled
among the trees. It's a log cabin building. Various military
style SUVs are parked around it. Other CABINS can be SEEN in
the b.g. as we FRAME THE OFFICE CABIN.
We HEAR the O.S. SOUND of a COMPUTER RING TONE and we CUT
TO:
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 52.
56 INT. CAMP QUDS OFFICE -- DAY 56
YUSEF ACHIM is on a headset with someone. He wears a Muslim
scouting uniform with an "Allahu Akhbar" ribbon. A NAME PLATE
on his desk tells us his name and title: Camp Director.
On a laptop computer, we SEE ACHIM'S VOICE-PRINT dance across
the screen. We don’t know who Achim is talking to. Achim's
hand twirls a pen in front of a video feed that is framed in
a window as an "ENCRYPTION ENABLED" ICON blinks on the screen.
ACHIM
The shipment is on its way. We expect
it by the weekend. My... students...
(he smiles at the
word)
They will appreciate the donation.
Achim listens for a beat, still twirling his pen that blocks
the video window.
ACHIM (CONT'D)
Your nephew? Yes, whatever he needs.
Aziz has taken care of that.
(beat)
It shall be done. Allahu akhbar!
As he moves his hand to punch the disconnect button, we SEE
the IMAGE of BIN-SALEM in the webcam window. The image closes
and is replaced by an image that reads "SECURED CONNECTION
CLOSED."
HOLD FOR A BEAT on Achim's impassionate reaction, then we
CUT TO:
57 EXT. AL-FAJIR MOSQUE -- MORNING 57
ESTABLISH the familiar scene, but now the parking lot is
filled to overflowing. PARKING ATTENDANTS are directing
traffic to parking lots across the street. We HEAR the O.S.
VOICE of ABU KAREEM as he preaches.
KAREEM (O.S.)
Our Ameristan movement draws its
guidelines from Islam. All of our
thinking, our interpretations and
our views about existence, about
life and humanity derive from Islam.
And we CUT TO:
58 INT. AL-FAJIR MOSQUE -- NIGHT 58
Kareem is preaching again, and he is in full form. As he
preaches, we SEE that BASKETS FILLED WITH CASH are being
passed along the rows of MUSLIM MEN.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 53.
58 CONTINUED: 58
KAREEM
We refer to Islam for our conduct!
We are inspired by Islam in whatever
steps we take!
Fistfuls of CASH are being tossed into the baskets.
KAREEM (CONT'D)
The political aspirations of Ameristan
are shaped by Muslims who are devoted
to Allah and worship Him!
One of the MEN holds a basket in front of Kareem.
KAREEM (CONT'D)
And as a political movement,
Ameristan's life blood is derived
from its supporters!
Kareem POURS into the basket two handfuls of $100 dollar
bills.
KAREEM (CONT'D)
Behold! The life blood of Ameristan!
The infidel's currency shall finance
its own downfall!
Kareem looks over to the women's side of the mosque.
ON THE WOMEN'S SIDE of the congregation, the women put cash
in the baskets, too. As the baskets are passed, we hear
Kareem'S O.S. VOICE.
KAREEM (O.S.) (CONT'D)
Ameristan welcomes all who share our
beliefs and thinking... who commit
themselves to our course of action...
who keep our secrets and aspire to
join our ranks in order to carry out
their duty.
BACK ON THE MEN'S SIDE, a particularly full BASKET of CASH
passes among the men until it comes to HARB. As before, he
wears dark glasses and sits cross-legged among the worshipers.
He removes his dark glasses and we SEE his face. He is
reflecting on his past. The VOICE OF KAREEM FADES AWAY and
we OIL DISSOLVE TO:
59 EXT. TEHERAN STREET -- DAY 59
FIVE MEN ride a MILITARY STYLE VEHICLE through a narrow
street. The vehicle pulls to a stop beside a small store
front. Wielding AK-47 machine guns, four of the men get out
and push their way into the shop. Everyone speaks ad lib in
Arabic. We hear the shouts of "Taliban! Taliban!" from inside
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 54.
59 CONTINUED: 59
the shop. The four men enter the shop and herd four PEOPLE
out into the light of day. A WOMAN and a young girl cry just
inside the doorway.
TALIBAN #1
(to the woman)
Cover yourself, you whore!
One of the men pulls a crying YOUNG BOY from his FATHER and
two older TEEN-AGED BOYS. The boy resists. He is SLAPPED to
the ground by one of the four thugs.
TALIBAN #2
This is the Sabbath, and you are
working! You have rejected Allah!
You are "dar al-Harb"! Let all of
Teheran see what the Taliban do to
the dar al-harb!
As the boy is kicked repeatedly, one of the Taliban aims his
machine gun at the father and the two older boys.
The young boy on the ground cringes. We SEE his expression
as he watches the execution. We HEAR the SOUND OF THE MACHINE
GUN. On the young boy's LOOK OF HORROR, we OIL DISSOLVE BACK
TO:
60 INT. AL-FAJIR MOSQUE -- NIGHT 60
Harb still holds a ONE DOLLAR BILL, the minimum he can put
in. He shakes off his revelry, crumples the bill into his
hand, then stuffs the bill back into his pocket. He hands
the basket to a man in the row behind him. Harb stands to
leave. We CUT TO:
61 EXT. ISOLATED LOVER'S LANE -- NIGHT 61
We're on a hillside, overlooking the city. Bobbie Sue and
Shahid are parked. He is in the driver's seat. She is in the
passenger seat, and the SOUNDS WE ARE HEARING clearly indicate
that they are not discussing differential calculus. She breaks
off the kiss.
BOBBIE SUE
I don't suppose Daddy would approve
my being here.
SHAHID
You worry what your father thinks?
BOBBIE SUE
We have issues.
SHAHID
I understand.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 55.
61 CONTINUED: 61
He puts his arm around her. She reacts, pleased. She rests
her head on his shoulder. And we CUT TO:
62 EXT. HOUSTON COMMUNITY CENTER -- MORNING 62
A BUS stands next to the curb as its engine idles. It's half-
filled with teen-aged BOYS, all of them in Muslim scouting
uniforms. The last of the people waiting to board are Aziz
and Achim. Aziz boards first. Achim gestures to the boarding
steps as he speaks to Aziz IN ARABIC.
ACHIM
(in Arabic)
We have much to discuss. Please...
IN A SHOT THROUGH THE WINDOW, we SEE Aziz and Achim take the
front seat. We cannot hear what they say as the bus pulls
OUT OF THE SHOT. We CUT TO:
63 INT. IWN NEWS ROOM -- DAY 63
Harb strides into the news room. He looks over, sees Billy
in his office. He ducks to avoid him and heads straight for
his office. He closes his door, sits down at his desk, and
punches up a phone number. We HEAR the PHONE RING O.S.
(filtered) as we CUT TO:
64 INT. HACKER JACK'S DUNGEON -- NIGHT 64
NIGHT or DAY, we sure can't tell which. We're in a hacker's
dungeon, quite literally. Stone walls. BLOOD RED SPOT LIGHTS
paint what we can see of the stone walls and ceiling. Gothic
furniture everywhere. Creepy as hell. And we HEAR O.S. the
last thing we would expect: MOE, LARRY and CURLY are singing
their trademark harmony "Hello, Hello, Hello!"
A SKELETON is chained to the wall behind HACKER JACK, a late-
teen or early 20-something geek who spins around in his very
tall IRON MAIDEN chair to answer the phone. The STOOGE SOUNDS
are his RING TONES. And another surprise: Hacker Jack could
be the boy next door. No pierced ears, nose, tongue; just a
nice kid with black hair and a neatly trimmed beard. Hacker
Jack wears a Bluetooth headset. He looks at something we
cannot see, OUT OF FRAME.
On an enormous 40-inch HDTV screen we see a CALLER ID panel
open on Hacker Jack's computer monitor. The STOOGE SOUNDS
RING AGAIN as a complete profile of Darryl Harb and IWN
EXPANDS in a separate CALLER ID window. A separate window
proclaims "PROFILING". More windows open with more than we
would ever want to know about Darryl Harb, including his
Pulitzer prize story, an image of his driver's license, his
SSN, his college diploma, a high school yearbook picture,
his class photo from elementary school, even his DOG, a
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 56.
64 CONTINUED: 64
Sheltie. HACKER JACK looks at the screen. He SIGHS, then
speaks into his headset.
HACKER JACK
Gonna cost ya, man.
As the computer connects, the HDTV monitor dutifully informs
us that the connection is open. A TIMER starts counting the
seconds and a red "REC" ICON begins to FLASH on the screen.
We INTERCUT BETWEEN HARB and HACKER JACK as the DIALOG
progresses.
HARB
Hacker Jack! Who's your daddy?
HACKER JACK
You know, you are so behind the times.
Harb swears under his breath.
HARB
Nice to talk to you, too. I need a
favor, brother.
HACKER JACK
No shit, Sherlock. Like I said...
gonna cost ya.
HARB
You don't even know what I'm gonna
ask!
HACKER JACK
Don't need to. Like my favorite
sleuth, it's the game, Watson. My
rates never vary, save when I remit
them altogether.
Harb sighs.
Hacker Jack smiles. He's won. He reaches over, pushes a key.
The REC icon blinks out. He's no longer recording.
HARB
OK. Which one this time?
Hacker Jack sits up like a kid looking over selections in a
candy store. As he speaks, we PULL BACK and we see that the
walls are covered with GOTHIC POSTERS of ELVIRA, MISTRESS OF
THE DARK.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 57.
64 CONTINUED: (2) 64
HACKER JACK
She's leaning forward. That pose...
like she's gonna bust out. You know
the one.
HARB
Oh, yeah.
(rolls his eyes)
HACKER JACK
Original autograph... in red! Circa
1985. No later. And mint condition.
(beat)
Framed would be nice. Silver.
HARB
Elvira. Now who's behind the times?
HACKER JACK
Don't you be trash talking my girl!
Classics never go out of style.
HARB
OK, OK! Elvira poster. Boobs nice
and fresh. With original sig line.
Pre-1985. Consider it done.
HACKER JACK
(all business)
So, who's the mark?
Harb pulls out his reporter's note pad. He looks through it
as he speaks.
HARB
Abu Kareem. A prison chaplain. Runs
some type of educational support
organization. Calls it the Citizens
Education Foundation. Last spoke
in... Houston.
HACKER JACK
So what'cha looking for?
HARB
Well, duh! Bank accounts. Deposits.
Withdrawals. Wire transfers in and
out. U.S. and foreign. Same with
connections to non-profits. And look
for interlocking boards. Cross-check
any name you find, no matter how
clean they look. I need everything.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 58.
64 CONTINUED: (3) 64
HACKER JACK
A couple of hours. Three, tops. I’ll
get back to you.
HARB
That long? You losing your touch?
Hacker Jack loses his smile. The bargaining begins.
HACKER JACK
Now, you see, that's where you make
your assumptions. You want legal, go
see Dunn and Bradstreet.
HARB
I'm asking you, my man.
(beat)
Elvira. On your desk in 72 hours.
HACKER JACK
Twenty-four. And I’ll call you in
two.
HARB
Forty-eight and you'll call me in
thirty minutes. That's what I pay
you for.
Hacker Jack snickers at this, but he agrees to the shipping
and report deadlines.
HACKER JACK
Thirty-six, in sixty. And pay? Cash
money? Such a concept! That'll be
the day.
(beat, then wistful)
And next time you see her...
Harb stiffens, expecting it.
HACKER JACK (CONT'D)
Tell Mom I said "Hi!"
HARB
(skeptical)
Right.
Harb punches his speaker phone button, hanging up the call
as the DOOR TO HIS OFFICE OPENS.
SHAWNA, at the door to his office, leans against the door
with a raised eyebrow and a smirk on her face.
SHAWNA
Hacker Jack is your brother?
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 59.
64 CONTINUED: (4) 64
HARB
He was the black sheep of the family.
It's...
(sighs)
...a long story.
OFF SHAWNA'S REACTION, we HEAR the O.S. VOICE of JAMES EDMOND,
Sandra Edmond's father.
EDMOND (O.S.)
The Muslim crescent? What's this?
HOLD FOR A BEAT, the CUT TO:
65 INT. EDMOND KITCHEN -- NIGHT 65
We're AT THE KITCHEN TABLE and Sandra is studying her role
playing lesson in Islam. Her father, JAMES EDMOND, mid-30's,
conservative haircut and clothes, is looking over the shoulder
of Sandra, his daughter from Scene 11. Her mother, TERRI
EDMOND, is cooking some spaghetti over the kitchen stove.
She is a conservative-looking young woman, slender, but wears
a contemporary style of clothing.
Sandra is working on a DRAWING of a crescent moon with a
star beside it. Sandra looks up with a guilty look on her
face.
SANDRA
They want me to be a Muslim.
James and Terri exchange glances. Terri sets down the spoon
she is using to stir her spaghetti sauce.
TERRI
Let me see that!
James takes the drawing away from Sandra. He hands it to
Terri as he speaks to Sandra.
JAMES
What's this?
SANDRA
My social studies teacher... Mr.
Abendroth. He says we have to be
Muslims for this lesson on Islam.
TERRI
I don't think so!
She crumples the drawing. Sandra objects.
SANDRA
Mom! That's my grade!
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 60.
65 CONTINUED: 65
JAMES
Exactly what do you have to do?
SANDRA
We have to wear Muslim clothing...
TERRI
I don't think so!
SANDRA
Not one of those body suit things.
Just a scarf.
TERRI
No!
JAMES
Go on.
SANDRA
We have to write an essay on what
jihad means to us.
A look of anger begins to cross his face.
SANDRA (CONT'D)
And we have to pray to Allah.
James and Terri exchange alarmed glances.
JAMES
I think we'd better call our lawyer.
Sandra looks up at her angry parents. She sets her drawing
pencil down.
SANDRA
Whatever.
And we CUT TO:
66 INT. COMEDY CLUB -- NIGHT 66
We're in a trendy nightclub in Hollywood. A simple stage is
up front, and it's surrounded by tables with laughing COUPLES.
Sporting a bushy beard and black skullcap, AHMED AHMED bounds
onto the stage. A stage board with the club's name of Comedy
Club of Hollywood announce "AHMED AHMED" in bold letters. He
is a Muslim comic. The audience APPLAUDS WILDLY.
AHMED
Thank you. Thank you. I'm Ahmed Ahmed.
(MORE)
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 61.
66 CONTINUED: 66
AHMED (CONT'D)
(beat, as the audience
laughs)
I'm Osama bin Laden's cousin. They
call me 'bin Laughin'.
His audience is a MIXED CROWD. Some are dressed Western;
others wear the traditional dress of their native lands in
Africa, Asia and the Mideast. Holding his microphone, Ahmed
steps down from the stage to work his audience. A SPOT LIGHT
FOLLOWS him as he strolls among the tables.
AHMED (CONT'D)
I get some dirty looks walking down
the street. People look at me as if
I was responsible for 9/11.
(beat)
Can you believe that? Me? Responsible
for 9/11?
(beat)
A Seven-Eleven... maybe.
And the club audience roars with laughter.
AHMED (CONT'D)
Two words for you... John Ashcroft
and homeland security. Oh, that's
more than two words. But really,
they're one and the same.
(beat, as the audience
laughs)
You know, the other day I went to
the DMV to apply for my California
driver's license. So, I'm thinking,
they're going to put race and religion
on it. I figure when the cop pulls
me over, I'll get two tickets!
Ahmed steps over to a Muslim woman. She wears a scarf.
AHMED (CONT'D)
Ladies and gentlemen, I'd like to
introduce you to my sister, Zayid.
The woman starts to get up.
AHMED (CONT'D)
That's all right. Stay!
She sits back. The audience laughs.
AHMED (CONT'D)
And don't you just love our Muslim
names.
(MORE)
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 62.
66 CONTINUED: (2) 66
AHMED (CONT'D)
(beat, more laughter)
Zayid has cerebral palsy. When we
walk into an airport, security doesn't
just see an Arab. They see a shaking
Arab. 'She's nervous!'
(more laughter)
And she's afraid of flying so she's
crying. So now she's a crying, shaking
Arab. 'She's guilty!'
(more laughter)
And when we go to the airport, our
father always drives. He looks like
Saddam Hussein. Before the hole!
(more laughter)
Speaking of Muslim names, it's a bad
time to be named Ahmed. And twice,
no less. Once a ticket agent was
skeptical about my occupation. 'Oh,
you're a comedian,' the agent says.
'Say something funny.'
(beat)
Ah-h-h... I just graduated from flight
school?
Ahmed smiles as the audience laughs again, and we CUT TO:
67 INT. HOUSTON METHODIST CHURCH -- MORNING 67
A TRADITIONAL SANCTUARY, ornate as hell. Established.
Traditional. ALDRICH WARREN, the congregation's mid-50's
Methodist minister stands behind an ENORMOUS OAK PULPIT. He
has graying hair and granny glasses and wears a BLACK ROBE.
Standing next to Warren in the pulpit is Abu Kareem, dressed
to the nines.
PASTOR WARREN
And so it is with a great deal of
pleasure that I offer the pulpit of
our Houston Heights Methodist Church
to Abu Kareem. His Citizens Education
Foundation is leading the way for us
with a slate of godly candidates for
our local school board. I give you...
Brother Kareem!
With an enormous ROUND OF APPLAUSE, Kareem steps up to the
microphone as Warren steps away. He looks over the
congregation and smiles a benevolent smile. He gestures to
the front row of the pews.
IN THE FRONT PEW are seated Saeg and the other three
candidates for the school board. They stand and wave at the
congregation.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 63.
67 CONTINUED: 67
As the APPLAUSE CONTINUES, Kareem smiles. And we CUT TO:
68 EXT. CAPITOL BUILDING IN WASHINGTON -- AFTERNOON 68
ESTABLISH the Capitol building. We HEAR the O.S. SOUND of a
GAVEL BANGING on a desk, then we CUT TO:
69 INT. CONGRESSIONAL HEARING ROOM -- AFTERNOON 69
CLOSE ON THE GAVEL. We PULL BACK as Congressman Dickinson
bangs the gavel. He sets the gavel down.
DICKINSON
We are convened this morning to re-
consider the payment schedule for HR-
4766, now public law. The issue before
the Committee is...
Another COMMITTEE MEMBER interrupts. We SEE his name plaque:
H. M. HOROWITZ, D-CA.
HOROWITZ
Already decided, Mr. Chairman.
DICKINSON
Congressman Horowitz...
HOROWITZ
The matter was informally agreed
outside of committee, if I am correct.
Horowitz looks from MEMBER to MEMBER. No one disagrees.
HOROWITZ (CONT'D)
Shall wonders never cease? A
bipartisan agreement. An historic
occasion, Mr. Chairman.
DICKINSON
Thank you, Mr. Vice-Chairman. And
thank you, committee members. The
appropriation authorized the
construction of the desalinization
plant in South Yemen. Our bipartisan
support today will ensure its timely
completion.
Dickinson smiles. Horowitz looks from member to member,
glancing over the top of his glasses.
HOROWITZ
With support like this, Mr. Chairman,
maybe you should follow Hastert when
he retires. You want the job?
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 64.
69 CONTINUED: 69
An awkward beat as everybody CHUCKLES.
DICKINSON smiles. We know he does. We HEAR the O.S. SOUND of
a CELL PHONE RINGING, and we CUT TO:
70 INT. STARBUCKS IN WASHINGTON, DC -- MORNING 70
Harb is in the front of a line of COFFEE ADDICTS. His cell
phone is RINGING. He opens his phone as the BARISTA hands
him his order.
HARB
Hacker Jack! Thirty minutes, was it?
It's been two days. And I already
shipped your poster.
He listens for a beat as he takes a sip of his coffee. His
expression changes at what he hears. He stops drinking in
mid-sip.
HARB (CONT'D)
Christ.
(beat, listening)
Send me the report.
Harb shuts his phone and EXITS THE SHOT.
71 EXT. BANQUE DE COMMERCE INTERNATIONALE -- DAY 71
ESTABLISH the enormous multistory glass office building. We
SEE the NAME OF THE BANK on a stone marque in front of the
edifice: Banque de Commerce Internationale, Amman, Jordan.
72 INT. ALI BIN-SALEM'S OFFICE -- DAY 72
The tall executive chair. A large 3-panel computer display
screen stretches across the right side of the desk.
HANDS fly across the ARABIC-ENGLISH KEYBOARD as figures are
entered into various fields on the screen. We SEE a BancSoft
transfer window. A graphic image appears. $1,000,000,000 is
entered into a field on the screen.
CGI ANIMATION: The image SPLITS and ARROWS SPROUT, landing
in fifty different commercial banking centers across the
globe. Like spider webs, the fifty centers spread out to
FIFTY MORE CITIES in a dozen different countries, but in a
different color. Then FIFTY NEW WEBS in a third color spread
to more banking centers, moving across the globe to where
they converge on one small Caribbean country. All of the
arrows converge on...
CLOSE -- St. KITTS & NEVIS, a small island country in the
Caribbean.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 65.
72 CONTINUED: 72
BIN-SALEM sits back as a smug, self-satisfied smile wipes
itself across his face. And we CUT TO:
73 EXT. WINDING MOUNTAIN ROAD -- DAY 73
An AERIAL SHOT of a passenger bus. Make that BUSES, as far
as the eye can see. They are winding their way along a pass
in the hills, heading for...
74 EXT. CAMP QUDS -- DAY 74
A large clearing. A dozen buses spill out HUNDREDS of MUSLIM
BOY SCOUTS. Many of them unload CAMPING GEAR from the storage
bins underneath the buses.
One of the buses that pulls INTO VIEW stops in front of us.
The DOORS OPEN and out steps Achim and Aziz.
One of Achim's AIDES shouts ad lib to the young men, directing
the occupants of the bus to grab their gear and sending them
to the registration tables to pick up their registration
wristbands. But he SPEAKS IN ARABIC and ENGLISH.
AT THE REGISTRATION TABLES, we see that the various troops
are being segregated into two different groups with different
colored wristbands: a BLUE TEAM and a WHITE TEAM. The young
Caucasian men are assigned to the blue team; the Arabic-
speaking young men are assigned to the white team. Achim
speaks to Aziz.
ACHIM
Two teams. The blue team participates
in our basic scouting activities.
The white team is for...
Achim impatiently snaps his fingers at one of the troops
wearing a white team wristband.
AZIZ
...the more advanced level.
The YOUNG MAN immediately grabs two white wristbands and
hands them to Achim. Achim takes a wristband and fastens it
to his right wrist. Aziz does the same with his wristband.
ACHIM
Yes. All the members have been...
(fastening his band)
...pre-qualified.
In the b.g., a FedEx truck pulls INTO THE SHOT. Achim notices
this. He speaks to the young man again.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 66.
74 CONTINUED: 74
ACHIM (CONT'D)
See that the delivery is made to
Uthman Lodge in Section 6. And go
with him. See that he goes nowhere
else.
The young man nods, then hurries off toward the truck.
ACHIM (CONT'D)
(to Shahid and Aziz)
Come, let me show you the advanced
training area.
Aziz and Achim get into a large, military-style Hummer. As
they DRIVE OUT OF THE SHOT, we WIPE TO:
75 EXT. CAMP QUDS, ALONG A WINDING ROAD -- DAY 75
The Hummer pulls up the road, passing TROOPS in military-
style garb.
AZIZ
Pretty remote.
ACHIM
You have no idea. We bought over ten
thousand acres about five years ago...
all of it U.S. government surplus.
AZIZ
Must've been expensive.
ACHIM
(evil laugh)
It was. But another U.S. agency gave
us the money to buy it!
They chuckle at this.
AZIZ
(looking around)
It seems... very complete.
ACHIM
It was a church camp before the
Department of the Interior threw
them out. Infidels! Now we use it
for Allah's purposes. The "First
Amendment" you understand.
AZIZ
Separation of church and state.
ACHIM
We'll soon change that!
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 67.
75 CONTINUED: 75
And the Hummer pulls up to...
76 EXT. CAMP QUDS, UTHMAN LODGE -- DAY 76
From a LOW ANGLE BESIDE THE HUMMER, we ESTABLISH the Uthman
Lodge. Aziz and Achim get out of the Hummer and they go inside
the lodge building, a long building made of logs and cedar
roofing.
77 INT. CAMP QUDS, UTHMAN LODGE -- DAY 77
We see a small lecture area with about thirty student desks
(the kind with lids that open). Seated at the desks are TROOPS
dressed in military-style fatigues. They have been waiting
for Achim. On each desk is a large BRICK of red clay.
Beyond the rows of desks, and off to the right, we see TARGETS
set along one side of the wall, about 75 feet away.
Achim and Aziz ENTER. The troops get out of their seats and
SNAP TO ATTENTION. AZIZ salutes them and takes his place at
the lectern. He speaks in Arabic (subtitles) and in English,
at it suits him.
AZIZ
(in Arabic)
Be seated!
The troops dutifully take their seats. Aziz gestures to an
open seat up front. He introduces Achim to the troops.
AZIZ (CONT'D)
(in Arabic)
Gentlemen, Your camp director, Mr.
Achim, will be your instructor for
this special workshop in clay and
plastiques this weekend.
A MURMUR goes over the crowd.
AZIZ (CONT'D)
(to Achim, in Arabic)
I see your reputation has proceeded
you. Your demonstration on the use
of clay and plastiques has been
anticipated.
Achim picks up an APRON from the lectern and a WATER CANTEEN.
He steps over to one of the desks and takes a small piece of
red modeling clay from the desk. He rolls it in his hands
for a beat. The O.S. SOUND of the FedEx truck APPROACHING
interrupts him.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 68.
77 CONTINUED: 77
ACHIM
(in Arabic)
We have a visitor.
He pulls out a BOX CUTTER.
ACHIM (CONT'D)
(in Arabic)
Now we can work with the real thing.
Achim puts the apron on and clips the water canteen to his
waist. HOLD FOR A BEAT, then we CUT TO:
78 EXT. CAMP QUDS, UTHMAN LODGE -- DAY 78
The FedEx truck slows to a stop as it PULLS INTO THE SHOT.
The Hummer is already there. The FEDEX DRIVER gets out. He
looks around, puzzled. Where is everybody? We HEAR the O.S.
SOUND OF AZIZ speaking IN ARABIC. The driver slowly steps
over to the door of the lodge.
79 INT. CAMP QUDS, UTHMAN LODGE -- DAY 79
AT THE DOOR, SHOOTING INTO THE LODGE, the driver pokes his
head into the room. We see the troops making various little
statues out of red clay as Achim speaks to them in Arabic.
ACHIM
Our supplies. Gentlemen...
Achim gestures to the troops. A dozen of them scramble to
the door. The driver backs out of the room in surprise.
80 EXT. CAMP QUDS, UTHMAN LODGE -- DAY 80
AT THE BACK OF THE TRUCK, the driver steps around and opens
the rear doors. He begins to reach for boxes labeled "Modeling
Clay", but two of the troops beat him to it.
ACHIM
I'll sign for that.
The troops begin to toss boxes of clay from the truck. The
driver hands the waybill pad to Achim, who takes it and signs
for the delivery.
DRIVER
Most obliged...
After about a dozen boxes of clay have been unloaded, one of
the troops tosses a box to a trooper outside the truck. The
box slips and it drops to the ground. We HEAR the SPLITTING
SOUND of the case of clay as it drops to the ground.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 69.
80 CONTINUED: 80
DRIVER (CONT'D)
Careful there!
THE BOX lies on the ground, split open. We SEE some of the
RED BRICKS of clay, but inside is a smaller brick of white
clay, wrapped in what looks like cellophane.
The driver sees the split case. He takes a closer look.
ECU -- THE SPLIT OPEN BOX. We SEE the white clay as the weight
of the box shifts, revealing one brick of white clay with a
YELLOW LABEL and the BLACK LETTERS "C-4". The white brick is
mostly covered by the other bricks of red clay in the box.
THE DRIVER, seeing the C-4, is puzzled. Achim, steps up to
the driver and lies about it.
ACHIM
Modeling clay.
Achim hands the piece of red clay that he holds to the driver.
The driver takes it absentmindedly as the troops stack the
boxes behind him, about six units high. We SEE six columns
of boxes.
DRIVER
Haven't played with clay since I was
a kid.
Achim picks up a box cutter so he can open a box of the newly-
delivered clay.
ACHIM
You've never played with this kind
of clay. You want to try it?
DRIVER
I can't. I got other deliveries.
ACHIM
Here, my boys will unload the rest
of the truck for you. Take a break.
Achim holds up his box cutter and slides the blade open. The
FedEx driver sees this. A look of alarm crosses his face.
Achim notes the look.
ACHIM (CONT'D)
It's all right
(gestures to his troops)
They're good with box cutters.
THE SIX TROOPS behind Achim pull their box cutters and open
the top box on each of the six columns of boxes with movements
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 70.
80 CONTINUED: (2) 80
that would make a swordsman proud, because that's precisely
what they are.
ACHIM (CONT'D)
(a proud, but quiet,
smile)
I taught them.
The driver rolls the clay in his fingers for a beat as Achim
nods to Aziz. Achim steps behind the driver as Aziz distracts
him with the small piece of modeling clay.
From behind, Achim slits the FedEx driver's throat from ear
to ear. BLOOD SPURTS everywhere. No witnesses.
Achim gestures to two of the troops, who drag the body of
the FedEx driver OUT OF THE SHOT.
ACHIM (CONT'D)
Bury the body. Get rid of the truck.
Achim takes the canteen from his belt, unscrews the cap, and
tries to wash the blood from his box cutter. He finds that
there is not enough water in his canteen.
ACHIM (CONT'D)
And somebody fill my canteen.
Aziz and Achim watch impassively as the troops toss the body
into the Fedex truck, we CUT TO:
81 EXT. HOUSTON TV STATION -- NIGHT 81
ESTABLISH the modern TV studio and offices. In the f.g. is a
MARQUE telling us that this is KLIE Channel 7 in Houston. We
HEAR the O.S. VOICE of BECCA JAMES, a TV INFOBABE:
JAMES
It's the race of the decade, ladies
and gentlemen. Welcome back to the
Houston School Board Debates. I'm
your hostess...
82 INT. HOUSTON TV STATION -- DAY 82
CLOSE -- ON A TV MONITOR we SEE BECCA JAMES, a 20-something
clueless newscaster who moderates the debate. She is a blonde,
of course. Gorgeous, but with no content. Typical TV.
JAMES
...Becca James. And bearing the
endorsement of the Citizens Education
Foundation, is Mr. Tariq Saeg, a
local businessman, and his slate of
candidates...
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 71.
82 CONTINUED: 82
WIDE SHOT, as Saeg and his three candidates, wearing
conservative business suits, sit confidently on their chairs.
We HEAR CANNED APPLAUSE. Saeg and his team are tanned, they
sit up straight, and they look quite professional.
JAMES (CONT'D)
...backed by an impressive campaign
war chest of one million dollars!
We PULL BACK to see FOUR MORE CANDIDATES and an empty studio.
These people look like cheaply dressed, over-weight rednecks.
JAMES (CONT'D)
And Missy LePew, representing the
American Values Coalition, a Christian
group.
James gives a suggestive, knowing look AT THE CAMERA as the
CANNED APPLAUSE abruptly ends.
JAMES (CONT'D)
Backed by a war chest of...
(reads from a card)
...fifty-eight thousand dollars.
Ignoring LePew, James turns to Saeg with a statement, not a
question.
JAMES (CONT'D)
You're saying it's time for a change!
SAEG
That's right, Miss James.
JAMES
It's Ms.
Saeg smiles thoughtfully, then continues.
SAEG
One cannot doubt the sincerity of
our esteemed opponents. And we cannot
object to some of their key positions.
But the fact of the matter is that
Mrs. LePew and her coalition have
been most unsuccessful...
LEPEW
(interrupting)
Now just a minute, you lying...
JAMES LEPEW
Mrs. LePew! You'll (spitting with rage)
have your turn. Alien... foreigners!
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 72.
82 CONTINUED: (2) 82
SAEG
Ladies! Please.
(to James)
I accept Ms. LePew's apology.
LEPEW
I didn't offer one, you...
SAEG
(to the TV camera)
Clearly, the dear lady does not know
I studied for two years every night,
taking classes and preparing for my
U.S. citizenship test, which I
passed... with the flying colors! As
did my friends...
Saeg gestures to his candidates beside him, who WALLA their
agreements.
SAEG (CONT'D)
And I venture to say, with all
sincerity, that Mrs. LePew and her
Coalition for American Values have
had their chance. And you have failed.
That's right! I say, you...
(gestures to LePew)
...and your generation have failed.
You have failed our children. You
have failed our schools. And you
have failed our America.
LEPEW
Your America?
LePew and her candidates continue to seethe as Saeg speaks
right into the TV camera without blinking an eye.
SAEG
And so we ask that you give us a
chance. Just one chance.
(searching for words)
It is like... the whole world... she
is upside down. We must...
(gestures, as if
turning a globe)
...turn her back, the way she should
be. To set things right again.
MUSLIM CANDIDATE #1
(Punjab accent)
And we cannot be teaching the monkey
lessons anymore!
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 73.
82 CONTINUED: (3) 82
LePew is indignant. She sputters in anger, as do the other
candidates on her side.
LEPEW
Is that man calling me a monkey?
Why, you...
SAEG
No, no, no! Mrs. LePew, you are making
the grave mistake. My colleague merely
refers to teaching the theory of
evolution in our classrooms.
LEPEW
(to her other
candidates)
He called us monkeys!
LePew and her candidates REACT, indeed, almost like monkeys
as they WALLA their protests.
VIDEO SHOT -- Ms. James looks AT THE CAMERA and shrugs.
But in a WIDER SHOT, off the TV camera, we SEE her give a
"thumbs up" gesture to Saeg.
We PULL BACK and see ABU KAREEM watching it all from the
darkness of the studio. He looks up and we FOLLOW HIS GAZE
to a GLASS BOOTH.
We ZOOM IN on the glass booth UNTIL WE FRAME DARRYL HARB.
Harb looks down from the director's booth, watching the action
below. He scribbles some notes into a notebook.
We HOLD FOR A BEAT, then CUT TO:
83 EXT. CAMP QUDS, UTHMAN LODGE -- DAY 83
ESTABLISH the Uthman Lodge. We HEAR the O.S. VOICE of ACHIM
as he lectures.
ACHIM (O.S.)
C-4. The most powerful non-nuclear
explosive ever created.
84 INT. CAMP QUDS, UTHMAN LODGE -- DAY 84
ECU -- A DESK as a LUMP of C-4 SLAMS INTO THE SHOT. Then,
WHAM! A large HAMMER smashes the lump into a pancake. CAMERA
PULLS BACK as Achim pulls the hammer away from the clay
pancake.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 74.
84 CONTINUED: 84
ACHIM
It's just one of a class of plastic
bonded explosives. It takes its name
from "Composition 4" and it's made
using a plastic binder, hence its
descriptive genre -- plastique.
We SEE hundreds of empty boxes labeled "modeling clay" stacked
in a far corner of the room. The red clay has been set aside.
Each of the thirty TROOPERS in the room are working with the
C-4 on their desks as if it were modeling clay.
ACHIM (CONT'D)
The binder coats the explosive so
it's less sensitive to shock and
heat. And you can mold it into
different shapes to change the
direction of the explosion.
On the blackboard behind Shahid are the following notes:
C-4 Ingredients
RDX Cyclotrimethylene-trinitramine (C3H6N6O6): 91 percent
Id(2-ethylhexyl) sebacate: 5.3 percent
Polyisobutylene: 2.1 percent
Motor oil: 1.6 percent
Binder: polyisobutylene
Plasticizer: id(2-ethylhexyl) sebacate
Chemical marker: 2,3-dimethyl-2,3-dinitrobutane (DMDNB)
ACHIM (CONT'D)
As for how it's made, and why we
eliminate the chemical marker, I
direct you to any Internet search
engine.
All of the student troopers CHUCKLE at the humor of this.
Achim steps over to his own small desk, where an incomplete
miniature of Michelangelo's statue of David has been fashioned
in C-4.
ACHIM (CONT'D)
I'd like you all to take about a
half kilo of plastique and make
something with it. A bird. A camel.
A bunny rabbit.
The troopers laugh at this last figure.
ACHIM (CONT'D)
Anything. You are all sculptors here.
Create to your heart's content. Then
join me in the field for a hands on
demonstration.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 75.
84 CONTINUED: (2) 84
We HOLD FOR A BEAT as the students work on their models,
then we CUT TO:
85 EXT. CAMP QUDS FOREST -- DAY 85
AN ENORMOUS TREE with an open hole carved at the base. We
SEE a C-4 RABBIT in the hole. The CAMERA PULLS BACK and we
see Achim with his troopers 100 yards away.
ACHIM (O.S.)
Because of the stabilizer elements,
it takes a considerable shock to set
off the reaction. Only a detonator
or blasting cap will do the job
properly.
Achim looks back toward the tree.
ACHIM
The blast force expands at about
eighteen thousand miles an hour, not
quite thirty times the speed of sound.
Achim calls out like a lumberjack:
ACHIM (CONT'D)
Timber!
Achim pushes a button on a cell phone detonator. The base of
the tree EXPLODES. The tree crashes to the ground.
ACHIM (CONT'D)
As you can see, the explosion is
nearly instantaneous. One second,
everything's normal. And the next,
it's totally destroyed.
A SERIES OF SHOTS:
A BOULDER with a CLAY SQUIRREL at its base explodes.
ACHIM (O.S.)
Unlike what you see in the movies,
you could never outrun it.
A STAND OF TREES vaporizes.
ACHIM (O.S.) (CONT'D)
How can you outrun a shock wave that
moves at five miles per second?
AN OLD TRUCK blows to pieces.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 76.
85 CONTINUED: 85
ACHIM (O.S.) (CONT'D)
You can't. You blink your eyes.
Everything's gone.
And we DISSOLVE TO:
86 INT. CAMP QUDS, UTHMAN LODGE -- DAY 86
A STUDENT is molding some C-4 into a snake. At the front of
the room, Achim draws a line through the text on the
blackboard that reads "chemical marker".
ACHIM
As you can see, the uses of C-4 are
limited solely by your imagination.
And without a chemical marker, your
plastique is impossible to detect by
the infidel's explosive detection
devices.
As the troops work on their clay models, we CUT TO:
87 INT. IWN NEWS ROOM -- DAY 87
AT THE ELEVATOR, Billy Edwards steps out, fuming. He heads
into the news room. He stops and yells out at the top of his
voice.
EDWARDS
Harb! Get to the office!
All the REPORTERS and STAFF MEMBERS stop what they are doing.
All heads turn to Darryl's office.
AT DARRYL'S OFFICE DOOR, Harb slowly steps through the
doorjamb, turning toward Billy's office. He sees Shawna.
A worried look crosses Shawna's face.
Harb heads toward Billy's office, carrying a file filled
with printouts.
AT BILLY'S OFFICE DOOR, Harb stops as Billy joins him, fuming.
They look at each other for a beat. Testosterone might as
well be spraying everywhere.
Harb, carrying the file folder, steps into Billy's office.
Billy follows him, SLAMMING the door. PICTURES on the wall
along his office fall to the floor from the force of the
slamming door. The GLASS in the picture frames SHATTERS into
a million pieces.
Shawna shakes her head.
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 77.
88 INT. BILLY EDWARDS' OFFICE -- DAY 88
CONTINUOUS. Billy gestures to a chair in front of his desk.
Harb sits down in it.
Billy reigns in his anger. He puts his hands on his head,
and self-corrects his spine like a chiropractor with a CRUNCH
of VERTEBRAE. Harb watches this all with a look of amazement
on his face.
EDWARDS
(to himself)
Center. Center.
Edwards takes a deep breath, then he looks over at Harb.
EDWARDS (CONT'D)
Does the word "No" have any meaning
to you?
HARB
Billy...
Edwards pulls a paperback dictionary from his desk, flips a
couple of pages, and reads:
EDWARDS
No. Used to express refusal, denial,
disbelief, emphasis, or disagreement.
As in... No, I'm not going. No, you're
wrong.
(looks up)
No, you're not doing the story.
HARB
Jesus...
EDWARDS
(holds up a finger)
No, it's Billy!
(reading again)
Also... Not at all. Not by any degree.
(looks up again)
You getting the point, hot shot?
(reading again)
How 'bout this? A negative response.
A denial! Ha! Or refusal.
Harb starts to object. Billy continues without stopping, as
if one sentence:
EDWARDS (CONT'D)
Not done yet. Interjection, used to
express strong refusal, doubt or
disbelief. Am I getting through to
you, son, or do I need to send you
an e-mail?
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 78.
88 CONTINUED: 88
Darryl sighs. He tosses the file folder onto Billy's desk.
HARB
Billy, they're making illegal campaign
contributions.
EDWARDS
Who?
HARB
The Muslims. And they're running for
public office... all across the
country.
EDWARDS
So...?
(looks over the file,
then...)
More of your brother's sterling work,
Mr. Harb?
Billy closes the file, hands it to Harb.
EDWARDS (CONT'D)
Can't use it and you know it. Find
me a legitimate source, then maybe...
maybe you got a story.
HARB
I'm telling you, this Abu Kareem
fellow is everywhere. Look at this...
(opens the file)
Houston. Chicago. L-A. Detroit,
especially Detroit. New York. Boston.
EDWARDS
Drop it, Darryl. Now.
Darryl sits back in his chair. He sets the file folder on
his lap and runs his hands through his hair, exhausted.
HARB
I need a vacation.
EDWARDS
Good idea. You got time coming, God
knows.
Harb smiles a weary smile.
EDWARDS (CONT'D)
Where you wanna go?
Harb thinks about it for a beat. He pulls out a pair of dark
sunglasses, unfolds them, and slips them on.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 79.
88 CONTINUED: (2) 88
HARB
A Caribbean beach would be nice.
EDWARDS
Go.
We HEAR the O.S. SOUNDS of ECHOING FOOTSTEPS ON CONCRETE. On
Harb's soft smile, we CUT TO:
89 EXT. OVERHILL BAPTIST CHURCH PATIO -- AFTERNOON 89
We are TRUCKING DOWN AN OUTSIDE BREEZEWAY as Shahid and Bobbie
Sue head for a dusty doorway. Lined along the walls are dozens
of boxes of Shahid's modeling clay.
BOBBIE SUE
Shahid, I just couldn't wait for you
to get back! We had this old, dusty,
empty room, and I thought it would
make just the best art studio for
you!
Bobbie and Shahid stop in front of a room with a wooden door
with an old, translucent glass panel. The words "Prayer Room"
are stenciled in peeling paint on the glass. Bobbie Sue has
a passkey to the room. She unlocks the door.
BOBBIE SUE (CONT'D)
Very private. We haven't used this
room in years.
She tries to push the door open. It won't budge. Shahid puts
his shoulder against the door. He pushes it open.
We SEE INTO THE ROOM. An old upright piano sits against one
wall. Lots of dusty linoleum. The only bright spot is a ROOF
WINDOW. Beams of light cut through the dusty room, casting a
spotlight on the floor.
Shahid steps into the room. Bobbie Sue follows him, but WE
REMAIN OUTSIDE, SHOOTING INTO THE ROOM. He looks around.
SHAHID
It's perfect. How can I thank you?
Shahid kisses her softly on her cheek. Bobbie Sue responds
with a look that is definitely not a blush. She stuffs the
key into a pocket over her left breast.
BOBBIE SUE
Here... you can take your key now.
Bobbie Sue CLOSES THE DOOR in our face as Shahid advances
toward her. His face is impassionate, just like a snake.
THROUGH THE TRANSLUCENT WINDOW in the door, we see Bobbie
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 80.
89 CONTINUED: 89
Sue's back being pressed against the dirty glass as Shahid
kisses her. And we CUT TO:
90 EXT. SAEG ELECTION HEADQUARTERS -- NIGHT 90
We're in the same strip mall of Saeg's grocery store, which
is next door to a small, dusty, empty retail space. But there
is an ENORMOUS CROWD in the parking lot. Every parking space
in the lot, and on the surrounding streets, is filled with
cars. We HEAR an O.S. CHEER from the crowd.
91 INT. SAEG ELECTION HEADQUARTERS -- NIGHT 91
The election results are coming in on a LARGE HDTV MONITOR.
The image of Becca James can be seen on the monitor as the
results from the precincts scroll up one side of the monitor.
JAMES
(on the HDTV screen)
Channel 7 is projecting a clean sweep
in the Houston Unified School
District. Tariq Saeg and his team
have received sixty percent of the
vote.
The crowd CHEERS again. Saeg hugs his wife. Bobbie Sue and
Pastor Fisher are there, too.
JAMES (CONT'D)
And in the judicial races, the Citizen
Education Foundation slate has swept
four of the seven judicial slots.
Will we see some changes in
enforcement and interpretation of
Texas law? With more on the story,
we turn to...
CAMERA PULLS BACK and WE FLOAT OVER the crowd. We SEE a BAR,
but we note that the BARISTA is not serving alcoholic drinks.
This is, after all, a Muslim operation.
In the b.g., the legal commentator drones on and on, but we
can't make out what he is saying. The V.O. VOICE OF ABU KAREEM
begins to tell the real story of what is happening.
KAREEM (V.O.)
The ultimate political goal of
Ameristan is Islam. Our Prophet
Mohammed is its model.
Somebody changes the channel on the HDTV and we SEE a NATIONAL
CABLECAST. We see the CEF logo, and COUNTY AFTER COUNTY turns
WHITE as the results of the national elections pour in. Muslim
candidates are winning all over the country.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 81.
91 CONTINUED: 91
KAREEM (V.O.) (CONT'D)
In 1492, Queen Elizabeth of Spain
sent Christopher Columbus around the
world to celebrate the expulsion of
our people from her country. America
was the result.
We DISSOLVE TO:
92 INT. RACHMAN'S ART STUDIO -- NIGHT 92
As KAREEM'S V.O. CONTINUES, we PAN AROUND the studio. We SEE
OTHER PIECES of artwork that Shahid has painted or sculpted.
One of them is the miniature statue of David that Shahid
worked on at camp.
KAREEM (V.O.)
Our holy prophet Mohammed, peace be
upon him, tells us that in the face
of overwhelming odds...
We COME TO REST on a HOODED FIGURE who welds a larger-than-
life-size wire frame model of a man standing. The SPARKS
from the welding cascade all over the place.
KAREEM (V.O.) (CONT'D)
...we must adapt two strategies to
make our victory complete.
The welder stops his work and removes his face shield. We
SEE that the welder is SHAHID. He shakes the metal structure
firmly. It doesn't budge.
KAREEM (V.O.) (CONT'D)
First, we must declare a hudna... we
must seek a "time out" in our jihad...
in our fight to the death... while
we grow strong.
Shahid admires the work for a beat, then turns away as we
DISSOLVE TO:
93 INT. RACHMAN'S ART STUDIO -- NIGHT 93
Shahid has built a heavy stand out of a pallet, finished so
it looks like fine maple.
KAREEM (V.O.)
Our five hundred year hudna... is
over! The time to take back our Muslim
destiny... is now! Ameristan is ours!
We SEE that Shahid has wired some floor lights to the stand
so they will illumine the strong wire frame skeleton that he
has welded.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 82.
93 CONTINUED: 93
KAREEM (V.O.) (CONT'D)
Second, we must learn and practice,
the doctrine of "Al-Takeyya". What
is Al-Takeyya, you ask?
As Kareem's V.O. continues, Shahid plugs a long electrical
cord into a socket in the base of the maple stand. He threads
the other end of the cable to the wall and plugs it into an
electrical outlet.
KAREEM (V.O.) (CONT'D)
I ask you, what is truth? Do we have
an obligation to tell "the truth" to
our enemies?
The LIGHTS on the stand SPRING TO LIFE.
KAREEM (V.O.) (CONT'D)
Does the CIA tell "the truth" to the
American people? Or to Congress? I
don't think so!
The LIGHTS illumine the incomplete wire frame of the statue.
KAREEM (V.O.) (CONT'D)
The Prophet, peace be upon him, tells
us we are permitted to lie... yes, I
use the term... to lie, as a
preventative measure, against harm
to oneself... Or to Islam.
Shahid adjusts the lights so the wire frame is properly lit.
We DISSOLVE TO:
94 INT. RACHMAN'S ART STUDIO -- NIGHT 94
Shahid tests a REMOTE CONTROL panel. He presses a button on
a CELL PHONE for each of the following points
KAREEM (V.O.)
Under Takeyya, the Muslim may...
(with each push of a
button)
...drink wine, abandon prayers, skip
fasting during Ramadan, utter
insincere oaths, even...
As he pushes the last button, the lights on the maple stand
SPRING TO LIFE.
KAREEM (V.O.) (CONT'D)
...renounce his belief in Allah, if
it will benefit Islam!
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 83.
94 CONTINUED: 94
Shahid smiles. He sets the cell phone aside. And we DISSOLVE
TO:
95 INT. RACHMAN'S ART STUDIO -- NIGHT 95
Shahid molds his plastic "clay" over the model.
KAREEM (V.O.)
How do you think our mujahideen were
able to live among the infidels?
A SERIES OF IMAGES
A BOX OF CLAY is opened with a box cutter. The red clay is
discarded and the white clay packed inside the red clay is
carefully removed from the box.
KAREEM (V.O.) (CONT'D)
Attend their parties?
SHAHID adds C-4 to the wire frame of the statue.
KAREEM (V.O.) (CONT'D)
Take their aviation classes?
THE STATUE gradually takes shape into a replica of
Michelangelo's statue of David.
KAREEM (CONT'D)
Blend in with them on their days of
empty patriotism...
DAVID'S HEAD -- as Shahid molds the plastique.
KAREEM (CONT'D)
...as they celebrate their dead
history, motherhood, and apple pie?
SHAHID gently finishes the head.
KAREEM (V.O.) (CONT'D)
As they listen to their godless music?
THE WIRE FRAME is partly covered in C-4.
KAREEM (V.O.) (CONT'D)
As we slit their throats on that
glorious September day?
WIDE SHOT -- THE WIRE FRAME OF THE STATUE
Only the head is complete.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 84.
95 CONTINUED: 95
KAREEM (V.O.) (CONT'D)
The Qur’an is Ameristan's
Constitution. And its special
dimension extends wherever on earth
there are Muslims, who adopt Islam
as their way of life.
Shahid pauses to wipe his hands with a rag as we SEE the
wire frame. It looks like a bizarre skeleton of wire bones
with only the head complete, made of the whitish C-4
plastique. And we DISSOLVE TO:
96 INT. RACHMAN'S ART STUDIO -- NIGHT 96
Shahid pauses to light a cigarette. As he lights it and begins
to mold C-4 to the wire frame, we hear KAREEM'S V.O. continue.
KAREEM (V.O.)
In regards to Ameristan's foreign
policy, our brothers in Hamas must
be our highest priority. What is
Hamas? It is... how do you call it?
An acronym. It means... "the Islamic
Resistance Movement".
A pallet of modeling clay stands to one side. Shahid steps
over to the pallet and pulls open another of the boxes
labelled "modeling clay."
KAREEM (V.O.) (CONT'D)
Takeyya, once again. The fact that
Hamas is actually the Arabic word
for "violence" must be downplayed to
the western audience.
Shahid peels back layers of the brown clay to reveal an oily
white clay-like substance underneath, packed in bricks.
KAREEM (V.O.) (CONT'D)
Like Ameristan and all Muslims, Hamas
owes its loyalty to Allah. Like all
Muslims, Ameristan and Hamas derives
from Islam its way of life.
Shahid slaps brick after brick of C-4 onto the wire frame.
KAREEM (V.O.) (CONT'D)
And like all Muslims, Ameristan
strives to raise the banner of Allah
over every inch of America and
Palestine.
INTO THE BODY of the frame, Shahid presses HEAVY NUTS and
BOLTS into the C-4 plastique.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 85.
96 CONTINUED: 96
KAREEM (V.O.) (CONT'D)
As with Ameristan, Hamas has Allah
as its goal.
ECU -- AS SHAHID PRESSES THE NUTS INTO THE C-4
KAREEM (V.O.) (CONT'D)
(presses a nut)
The Prophet as its model.
(presses another nut)
The Qur’an as its Constitution.
(presses another nut)
Jihad its path.
(presses another nut)
And death for the cause of Allah is
its most sublime belief.
SHAHID picks up another brick of C-4 and manipulates it for
a few seconds, then begins to mold it around the wire frame.
KAREEM (V.O.) (CONT'D)
The land of Palestine has been an
Islamic Waqf throughout the
generations. No one can renounce
it... or any part of it. Or abandon
it or any part of it.
An ash from his cigarette lands on the whitish modeling clay.
KAREEM (V.O.) (CONT'D)
No Arab country... nor the aggregate
of all Arab countries, and no Arab
King or President... nor all of them
in the aggregate, have that right.
The C-4 sizzles for a beat.
KAREEM (V.O.) (CONT'D)
Nor has any organization that right...
be they Palestinian or Arab, because
Palestine is an Islamic Waqf
throughout all generations and to
the Day of Resurrection.
Shahid nonchalantly wipes the smoldering clay away. C-4 is
harmless without a detonator. No more sizzles.
KAREEM (V.O.) (CONT'D)
Peace initiatives, the so-called
peaceful solutions, and the
international conferences to resolve
the Palestinian problem, are all
contrary to the beliefs of the Islamic
Resistance Movement... and to the
beliefs of Ameristan and its members.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Two 86.
96 CONTINUED: (2) 96
Shahid continues to mold C-4 explosive clay onto the wire
frame of the model. Shahid's interpretation of Michelangelo's
David is clearly taking shape.
KAREEM (V.O.) (CONT'D)
There is no solution to the so-called
Palestinian problem except by Jihad.
The initiatives, proposals and
International Conferences are but a
waste of time, an exercise in
futility.
CAMERA PULLS BACK to reveal the completed statue of David on
an illuminated cherry wood stand. Four spotlights recessed
into the base cast their soft illumination over the statue.
KAREEM (V.O.) (CONT'D)
And for our Ameristan movement, there
is no solution to the problems of
the country we used to call America,
except by Jihad. Ameristan will be
ours. Allahu Akhbar!
If the statue weren't made from C-4 explosive, it might be a
thing of beauty. HOLD FOR A BEAT as the morning sun illumines
the statue, then we FADE TO BLACK.
END OF ACT TWO
------------------------------------------------------------------------- Ameristan 2004080379 (written by Charles Welty) -- Act Three 87.
ACT THREE
FADE IN:
97 EXT. HOUSTON SCHOOL BOARD OFFICES -- NIGHT 97
ESTABLISH. The parking lot is JAMMED with cars. Every TV
station in town has a TV news truck parked at the curb. PEOPLE
move quickly into the building. We HEAR the O.S. SOUND of a
GAVEL BANGING. SAEG's O.S. VOICE brings the meeting to order.
SAEG (O.S.)
Order! Order! Ladies and gentlemen,
please...
98 INT. HOUSTON SCHOOL BOARD MEETING ROOM -- NIGHT 98
PRINCIPAL NEELEY stands before the newly convened school
board. Saeg sits in the middle of the panel with a name plate
sporting the title "Tariq Saeg -- Chairman" in front of him.
To his left sit his fellow Muslims. To his right sit the
INCUMBENTS, whom we have not seen before. Missy LePew and
her slate were defeated in the election. In front of each
board member is a red light with the word "No" and a green
light with the word "Yes".
SAEG
As to the continued employment of
Principal Neeley, I call for a vote.
In front of Saeg's co-members, we SEE THREE "NO" VOTES. In
front of the three incumbents, we SEE THREE "YES" VOTES.
SAEG (CONT'D)
A tie. As Chairman, I'll cast the
deciding vote.
The "NO" VOTE blinks on beside his name plaque.
The incumbents are not pleased. Neeley is livid.
NEELEY
This is outrageous! You can't do
this!
SAEG
We can. And we have. The community
has decided, Ms. Neeley. We will not
discourage our young people from
praying over their lunch.
The meeting ERUPTS in HEATED CRIES as they attendees in the
audience leap to their feet. Over the TUMULT, Saeg continues,
BANGING HIS GAVEL as he speaks.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 88.
98 CONTINUED: 98
SAEG (CONT'D)
In fact, we shall encourage them to
pray. Five times a day. And to respect
their parents. And their teachers.
FROM A HIGH ANGLE, we SEE the MEETING ROOM. Chaos reigns.
Over the noise, we HEAR THE SOUND of SAEG'S GAVEL, and we
BARELY HEAR his ending remark:
SAEG (CONT'D)
And Islam.
We HOLD FOR A BEAT on the chaotic scene, then CUT TO:
99 EXT. ST. KITTS AND NEVIS AIRPORT -- DAY 99
We're ON THE TARMAC at an airport the size of a postage stamp.
No big terminal building. Third world simple.
HARB walks slowly down the stairs that have been wheeled up
to the doorway of a small commuter plane. He pauses on the
stairs to put on his sunglasses. He continues down the stairs
to the ground.
But no luggage carousel greets him. He picks up his one small
suitcase from a cart pulled by a tractor-like rig. Harb shakes
his head at the primitiveness of it all as he turns toward
the terminal.
TRUCK WITH HARB as he walks toward the terminal among a CROWD
of TOURISTS. Off in the distance, we SEE a PRIVATE JET with
the Bin-Salem logo on the tail. The jet catches his eye. He
pulls his sunglasses down for a beat to look at it.
THE BIN-SALEM JET taxis to a stop. A door in the side of the
jet opens up and a stairway unfolds. INTO VIEW steps ABU
KAREEM, carrying two LARGE BLACK SUITCASES.
HARB reacts.
HARB
Holy shit.
Harb hurries OUT OF THE SHOT, and we CUT TO:
100 EXT. ST. KITTS STREET -- DAY 100
A beat up old TAXI pulls to the curb in front of a SMALL
CAFE. Harb gets out, hands the driver a bill, then steps
over to one of the tables. A half-dozen TOURISTS, seated at
the many outdoor tables, are drinking coffee. As the taxi
pulls away, we DISSOLVE TO:
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 89.
101 EXT. ST. KITTS STREET -- LATER 101
Harb, his small suitcase on the sidewalk beside him, sits at
the small table. Harb looks up. He sees the bank in the
distance.
102 EXT. BANQUE DE COMMERCE, ST. KITTS -- DAY 102
ESTABLISH. It's actually quite small. Not the imposing
building in Saudi Arabia. More like a store front.
We PULL BACK and SEE Harb across the street from the bank,
seated at his table and reviewing his printout and map. In
the distance, we SEE a TALL FIGURE approaching the bank.
It's Kareem!
A BLACK WAITER approaches. He speaks in a Caribbean accent.
WAITER
Would you like some coffee?
HARB looks up, startled. He looks quickly across the street.
KAREEM enters the bank building.
HARB gestures to the table.
HARB
Sure. Why not?
He looks across the street for a beat, then addresses the
waiter.
HARB (CONT'D)
Got any cigars?
WAITER
Of course.
HARB
Cuban?
WAITER
Is there any other?
Harb smiles. We HOLD FOR A BEAT, then FLIP TO:
103 EXT. BANQUE DE COMMERCE, ST. KITTS -- AFTERNOON 103
It's LATE AFTERNOON. The remains of lunch time dishes and a
half dozen cups of coffee are on Harb's table. So is an
ASHTRAY with a CIGAR BUTT. Harb stubs out a SECOND CIGAR
BUTT into the ash tray.
THE WAITER begins to clear off the dishes. Harb takes notice
of something he sees.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 90.
103 CONTINUED: 103
HARB'S POV -- THE BANK ENTRANCE
A TAXI pulls up to the entrance. Kareem leaves the front
door and steps over to the taxi. He carries a LARGE BLACK
SUITCASE in each hand.
BACK TO SCENE
HARB pulls out a CIGARETTE LIGHTER. He holds it up to an
UNLIT CIGAR which he holds in his mouth. He flips the top up
on the lighter. There is no flame. It's a MINIATURE CAMERA.
CAMERA POV
We FREEZE FRAME the SNAPSHOT as Kareem tosses the suitcases
into the back seat of the taxi.
BACK TO SCENE
KAREEM speaks curtly to the driver, OFF MIC.
KAREEM
Airport.
Kareem gets into the back seat of the taxi. The taxi pulls
away.
HARB tosses a $50 bill onto the table and folds his hand
around his lighter-camera, hiding it from the waiter.
HARB
Can you call me a taxi?
WAITER
Certainly, sir. Where would you like
to go?
HARB
The airport.
(picks up his suitcase)
I'll be right back.
Harb picks up his printouts and, still hiding his miniature
camera in the palm of one hand and his small suitcase in the
other hand, heads across the street, EXITING THE SHOT. We
CUT TO:
104 INT. BANQUE DE COMMERCE, ST. KITTS -- AFTERNOON 104
Harb enters the bank, still hiding his camera in his hand
and his small suitcase in the other. He looks around. His
eyes grow wide at what he sees. He pretends to attempt to
light his cigarette. He pushes the button on the camera in
rapid succession as he walks.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 91.
104 CONTINUED: 104
We SEE what he is aiming his camera at. A ROW OF FORMAL OIL
PORTRAITS of the Board of Directors line one wall of the
bank.
We TRUCK ALONG THE LINE OF OIL PORTRAITS. All of the bank
directors are wearing crisp, conservative business suits in
their portraits. Among the portraits is BIN-SALEM, the
Chairman. A picture of KAREEM is also present as one of the
Directors. So is ALFORD DICKINSON. And YASSER ARAFAT. Maybe
it's the look in the eyes -- killers in business suits are
still killers.
PRODUCTION DESIGN GAG: Other portraits include our DIRECTOR,
PRODUCER, and SCREENWRITER.
A BANK CLERK at a desk looks up. He sees Harb.
BANK CLERK
Sir!
Harb is startled. Feeling way too guilty, he pulls his
miniature lighter-camera from his face, hiding it.
BANK CLERK (CONT'D)
No smoking in the bank. Local rules.
Harb pulls the cigarette from his mouth. He pockets it and
the lighter-camera.
HARB
Gee. And I thought it was bad in
Manhattan.
BANK CLERK
Can I help you?
HARB
You wouldn't happen to have an ATM?
The clerk points to the entrance.
BANK CLERK
Just outside the door.
Harb looks over. He feigns surprise.
HARB
Ah... yes. Thank you.
Harb turns and EXITS THE SHOT. And we CUT TO:
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 92.
105 EXT. BANQUE DE COMMERCE, ST. KITTS -- AFTERNOON 105
CONTINUOUS ACTION. Harb steps out of the entrance. He moves
quickly toward the curb, carrying his small suitcase and
calling out as he walks.
HARB
Taxi!
As the taxi pulls up to the curb, Harb steps toward it, MOVING
OUT OF THE SHOT. And we CUT TO:
106 EXT. ST. KITTS AND NEVIS AIRPORT -- AFTERNOON 106
Harb's taxi pulls up to the main terminal. As he gets out,
in the b.g. behind the terminal, we SEE the BIN-LADEN JET
taking off. The aircraft catches Harb's attention. He slams
the roof of the cab in frustration. The DRIVER notices.
CAB DRIVER
You miss your flight?
HARB
No. I just needed to know where that
jet is heading.
CAB DRIVER
I might be able to help.
HARB
How? You got a cousin on the inside?
CAB DRIVER
(wide smile)
This is St. Kitts and Nevis. Everybody
here is my cousin.
Harb smiles. He takes out his wallet. And we CUT TO:
107 EXT. NEW YORK HARBOR -- NIGHT 107
It is night in the New York harbor. The Star of Medina lies
berthed in the harbor. A RUBBER DINGHY bumps softly against
the rear of the yacht. In the b.g., we SEE the STATUTE OF
LIBERTY ILLUMINATED in all her glory. We SEE A PAIR OF BOOTS
WALKING the deck of the yacht.
108 INT. STAR OF MEDINA BRIDGE -- NIGHT 108
We TRUCK WITH THE BOOTS as they pass through the interior of
the luxury yacht, though various passageways and we STOP AT
A DOORWAY. We TILT UP from the boots to SEE SCHLESSER as he
unlocks the cabin door. Schlesser steps into...
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 93.
109 INT. STAR OF MEDINA CAPTAIN'S CABIN -- NIGHT 109
SCHLESSER steps inside and closes the door. He locks it.
Schlesser turns and steps over to a QUEEN SIZE bed, beside
which is a luggage stand with the LARGE WOODEN CRATE that
was delivered by the boatmen off the Island of Socotra.
SCHLESSER picks up a small pry bar and pries off the wooden
top of the crate. He sets the top aside and pries apart the
sides of the crate. The wooden sides fall to the floor,
exposing a large STEAMER TRUNK with a combination lock.
Schlesser opens the combination lock, swings open the lid,
and we SEE what’s inside: The INTERNATIONAL SYMBOL OF
RADIATION tells us this is a NUCLEAR SUITCASE BOMB.
Schlesser sets some switches and dials. He sets the DATE to
11 SEP. The YEAR is obscured by his hand. We PAN DOWN to the
time. Schlesser sets the "ENGAGE REMOTE DETONATION" readout
to 9:11 AM.
Schlesser smiles at the joke. He presses another button and
the words "PASSWORD REQUIRED" appear on an LCD display. He
punches in 5-4-4-2-3. The display reads "PASSWORD ACCEPTED.
REMOTE DETONATION ENABLED AT 09:11."
Schlesser latches the case closed and EXITS THE SHOT. We
HEAR the O.S. SOUND OF THE DOOR BEING LOCKED as we HOLD FOR
A BEAT on the SUITCASE BOMB. And we CUT TO:
110 EXT. STAR OF MEDINA DECK -- NIGHT 110
Schlesser emerges from the bridge. He steps quickly to the
gangplank.
SCHLESSER
Move her to the harbor. I'll have a
shore boat bring me out tomorrow
morning. We'll weigh anchor after oh-
nine hundred hours.
CREWMAN
Aye, Captain.
Schlesser turns and heads down the gangplank. We TRUCK WITH
HIM as he walks along the decking. We SEE his face as he
walks. No smile. No regret. All business. And we CUT TO:
111 EXT. JFK AIRPORT -- MORNING 111
In New York, Bin-Salem’s private jet taxies to a stop. On
the tarmac, the stairway opens and Captain Schlesser climbs
the stairs to meet...
ABU KAREEM. He gestures to the inside of the aircraft.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 94.
111 CONTINUED: 111
KAREEM
Everything set?
Schlesser enters the aircraft.
112 INT. BIN-SALEM'S JET -- MORNING 112
Luxurious as hell, a private Boeing 757 outfitted in leather,
walnut and granite is a joy to behold. Two enormous PAINTINGS
of BARBARA and JENNA BUSH in skimpy bathing suits adorn the
wall of one of the bulkheads.
SCHLESSER
Nine-eleven. Two days from now. Just
like Bin-Salem ordered.
We SEE TWO DOZEN LARGE BLACK SUITCASES neatly arranged along
one side of the cabin. We HEAR the O.S. VOICE of BIN-SALEM.
BIN-SALEM (O.S.)
(in Arabic)
Someone asking for me?
BIN-SALEM ENTERS the main cabin from a private cabin in the
rear of the aircraft. Bin-Salem and Kareem embrace like old
friends.
The CAPTAIN of the aircraft pokes his head out of the flight
deck. Bin-Salem notices and speaks curtly to the captain. NO
SUBTITLES: Our English-only speakers will only understand
the destination.
BIN-SALEM (CONT'D)
(in Arabic)
We leave now... for Reagan
International.
The captain nods and shuts the door to the flight deck. We
CUT TO:
113 EXT. JFK AIRPORT -- MORNING 113
Bin-Salem's private jet LIFTS OFF for Washington, DC. The
aircraft climbs OUT OF THE SHOT and we CUT TO:
114 EXT. DICKINSON'S HOME IN FALLS CHURCH, VA -- DAY 114
ESTABLISH Dickinson's expensive home in this suburb of
Washington, DC. The O.S. PHONE (filtered) RINGS TWICE and we
CUT TO:
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 95.
115 INT. DICKINSON'S HOME IN FALLS CHURCH -- DAY 115
We're in Dickinson's private library. Dickinson leans back
in his expensive executive chair. As he speaks, the CAMERA
PULLS BACK...
DICKINSON
Aziz! Just want to thank you and Mr.
Kareem for supporting our efforts
here on the Hill.
INTO VIEW -- one of the BLACK SUITCASES that Kareem brought
out of the bank. It lays on a credenza beside the desk.
DICKINSON (CONT'D)
(listening)
Yes, I did receive the new set of
luggage. The other committee members
certainly like theirs.
Dickinson flips the suitcase open. It's FILLED WITH CASH.
DICKINSON (CONT'D)
(listening)
The payments on the Sayhut plant
have been accelerated.
(listening)
A tour of Congress? Achim's whole
troop?
(listening)
Sure! Tell Achim I said "Bring 'em
all!"
(listening)
The Washington Monument? No. The
stairs are closed to the public.
(listening)
That's right. For security reasons.
(listening)
Why, certainly. I think I can arrange
that. Who'd wanna search a scout
troop?
(listening)
No. No problem. My aide will escort
you.
Dickinson sets the handset back in its cradle. He turns to
the suitcase, picks up a bundle of cash, and bends the corner
back, letting the bills zip through his fingers. He smiles
and we CUT TO:
116 EXT. REAGAN NATIONAL AIRPORT IN WASHINGTON, DC -- AFTERNOON 116
Harb steps from the terminal entrance toward the curb. He
carries one small suitcase. A row of taxi cabs await him and
other PASSENGERS. He pulls open the door of one of the cabs
as ANOTHER PASSENGER arrives a split second too late.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 96.
116 CONTINUED: 116
HARB
Sorry.
Harb tosses his suitcase inside and gets in. As he closes
the door after him, the cab pulls into traffic.
117 INT. TAXI CAB -- MORNING 117
CONTINUOUS ACTION. Harb, in the rear passenger seat, looks
over at the driver.
MOHAMMED
Mister reporter man. You have been
busy, no?
Harb glances at the CAB LICENSE.
We SEE a NAME on the license: MOHAMMED AL-KASSAR. A mutual
look of recognition passes between them. Mohammed speaks
with a Farsi accent.
HARB
Moe! I have been busy, yes.
Mohammed pulls out into traffic. He drives primarily with
his left hand.
MOHAMMED
Always flying here. Flying there.
HARB
Gotta find the bad guys. Tell the
people.
As Mohammed drives, he brings his right hand up to the
steering wheel. We SEE a HOOK, not a hand. Harb considers
this a moment.
HARB (CONT'D)
Moe, how long have you been picking
me up at Reagan?
MOHAMMED
Ten years. Maybe... twelve.
An awkward beat. Harb just has to ask.
HARB
Your hand, Moe. You've never told
me.
(awkward beat)
How'd it happen?
A look of anger crosses Mohammed's face. He holds up his
hook for a beat.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 97.
117 CONTINUED: 117
MOHAMMED
I was a surgeon... in Teheran. The
Taliban were not just in Afghanistan.
They said I was too Western. I paid
for my "western" ways.
Harb reacts. He shakes his head.
MOHAMMED (CONT'D)
My own colleagues... surgeons! They
took off my hand.
HARB
But you came here.
MOHAMMED
(angry nod)
My wife and children, we came to
America. There was no place else to
go.
HARB
Not England? France?
The suggestion makes Mohammed fume.
MOHAMMED
Nearly one out of five there is Muslim
now.
HARB
But they're not Taliban. They're
like you. They ran from them!
MOHAMMED
You believe that, mister reporter
man?
(piercing look)
No. You don't.
HARB
The Muslims...
MOHAMMED
Wahabbis, mister reporter man. The
Wahabbis. I am not one of them. If I
were, I'd still have my hand.
The cab pulls up to the IWN building. Harb prepares to depart.
He takes his suitcase and holds it on his lap. He hands Harb
some cash.
MOHAMMED (CONT'D)
We're not all like them, are we?
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 98.
117 CONTINUED: (2) 117
The question might as well include him, too. Harb cautiously
shakes his head.
HARB
No.
Harb looks at him, at a loss for words.
MOHAMMED
If they ever got a foothold here,
where would Muslims like me go?
Mohammed takes the cash as Harb opens the cab door.
MOHAMMED (CONT'D)
Mister reporter man, where will you
go, when there's no place to hide?
Harb considers this as Mohammed salutes him with his hook.
Mohammed pulls out into traffic. Harb considers this for a
beat, then turns toward the IWN building. And we CUT TO:
118 INT. RACHMAN'S ART STUDIO -- NIGHT 118
Shahid’s statue is complete. It is surrounded on three sides
by wooden sides, making a three-sided crate. The top of the
crate is in position. Shahid uses an ELECTRIC SCREWDRIVER to
fasten the third panel into position. Bobbie Sue is alone
with him, admiring the statue.
BOBBIE SUE
Shahid! Great job! This is sure to
win the grand prize!
SHAHID
You think so?
She puts her arms around him. She looks him in the eye.
BOBBIE SUE
Shahid... now there's a handsome
name. You never told me what it means.
We SEE a determined look in Shahid's eye. He lies to her.
Shahid actually means "suicide martyr".
SHAHID
Man of commitment.
Bobbie Sue considers what she has heard for a moment.
BOBBIE SUE
Commitment? Now that's rare among
men!
(MORE)
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 99.
118 CONTINUED: 118
BOBBIE SUE (CONT'D)
(beat)
I like that.
SHAHID
Do you? Well, it's not rare among
our men.
Her attention is drawn to a worktable. A small lump of oily
white clay is on the worktable. Bobbie Sue picks it up.
BOBBIE SUE
Gee... what kind of clay is this?
SHAHID
It comes from my country. It has
some special properties. I've been
using it for years.
He takes the piece of C-4 from her and tosses it on the
workbench.
BOBBIE SUE
You're moving the statue tomorrow?
Shahid sets his screwdriver aside.
SHAHID
First thing in the morning. A friend
from a local mosque, he's bringing a
truck.
Bobbie Sue looks the statue over one last time.
BOBBIE SUE
How do you turn the lights on?
Shahid holds up a cell phone. He mimics pushing some buttons.
SHAHID
I have a remote control for that
purpose. I just press a few buttons
to... turn it on.
Bobbie Sue saddles over to him.
BOBBIE SUE
And what button do I press to turn
you on?
She looks at him. Her gaze travels down his body to below
his waist. She looks at him expectantly for a beat. His eyes
are expressionless. Her seduction will mean nothing to him.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 100.
118 CONTINUED: (2) 118
BOBBIE SUE (CONT'D)
(as she looks him
over)
Well, I'm just gonna have to find
out for myself.
AMONG THE DISPLAYS OF STATUARY
We HEAR the SOUNDS of BOBBIE SUE'S ECSTASY as we MOVE through
the displays of statuary and paintings, all done by Rachman.
The earlier displays are gentle landscapes and beautiful
statues.
The displays of statues and paintings change gradually to
more VIOLENT IMAGES an as we move through the statues and
paintings, BOBBIE SUE'S MOANS grow increasingly passionate,
then violent.
THE LAST STATUE we COME TO a clay MODEL of a MUSLIM WARRIOR
holding a SEVERED HEAD in one hand and a CURVED SCIMITAR in
the other hand. Bobbie Sue's SOUNDS end in a SCREAM of TERROR.
119 INT. CAPITOL ROTUNDA -- DAY 119
Dickinson is walking through the Rotunda with ACHIM and JACK,
Dickinson's Congressional AIDE. We TRUCK WITH THEM. Achim
wears a business suit, not his scouting uniform.
DICKINSON
I've arranged for your tour of the
Washington Monument tomorrow. What
time were you planning on coming?
ACHIM
Say, just after nine?
DICKINSON
(to the aide)
Jack?
JACK
All set. But the House tour... you'll
have to postpone it. Ways and Means
meets this morning. Then the vote.
ACHIM
Ah, Hastert's retirement. You're in
the running for Speaker. Good luck.
DICKINSON
Thank you. But I don't think luck
has anything to do with it.
An awkward pause.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 101.
119 CONTINUED: 119
ACHIM
How's your new luggage?
This generates a puzzled look from Jack. A smile from
Dickinson. They walk AWAY FROM CAMERA, moving OFF MIC.
DICKINSON
(moving off mic)
Black... it's my favorite color.
Next to green and gold.
And we CUT TO:
120 EXT. U.S. CENTRAL DISTRICT COURTHOUSE IN SAN JOSE, CA -- DAY 120
ESTABLISH the formal courthouse as the morning traffic moves
through the streets. HOLD FOR A BEAT, then ZOOM UP TO ONE OF
THE WINDOWS as we HEAR the O.S. VOICE of a BAILIFF.
BAILIFF (O.S.)
All rise. The U.S. Court for the
Northern District of California is
now is session, the honorable Justice
Patricia Reynolds presiding. God
save this court, which is now in
session.
We HEAR the SOUNDS of PEOPLE RISING, CHAIRS SHUFFLED, etc.,
followed by the O.S. VOICE of JUDGE P. J. REYNOLDS.
REYNOLDS (O.S.)
Good morning. Please be seated.
We HEAR the ATTORNEYS WALLA their "Good Morning" greetings
to the judge as we CUT TO:
121 INT. U.S. CENTRAL DISTRICT COURTHOUSE IN SAN JOSE, CA -- DAY 121
Judge P. J. REYNOLDS, a black woman of 40-something years of
age, sits at the bench. A bored BAILIFF takes his seat, as
do a half dozen lawyers and a pair of PLAINTIFFS, and JAMES
and TERRI EDMOND, who are husband and wife.
REYNOLDS
In re Edmond v. Byron Union School
District, I am prepared to make a
ruling in this matter.
As she flips through a thick file, we INTERCUT between the
HUSBAND and WIFE, the PLAINTIFF'S COUNSEL, and the
RESPONDENT'S COUNSELORS.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 102.
121 CONTINUED: 121
REYNOLDS (CONT'D)
Plaintiffs are James and Terri Edmond,
and their two children, Charles and
Sandra. They object to the Byron Union
School District's use of a role-playing
game to teach seventh grade world
history students about Islam as
violating the Establishment Clause of
the First Amendment.
Edmond takes the hand of his wife, who looks nervously from
the judge to her husband.
REYNOLDS (CONT'D)
Brown clearly holds that role-playing
activities that simulate religious
activities constitute neither the
practice of religion for the purposes
of Lee, nor an endorsement of religion
under Lemon. Furthermore, Supreme
Court cases since Abington Township
have held that religion may properly
be taught in the schools in a secular
and pedagogical context. The defendants
acted reasonably in their use of the
Islam simulation module. Even if a
constitutional violation had been
found, qualified immunity would exempt
the defendants from liability in any
event.
Judge Reynolds picks up her gavel.
REYNOLDS (CONT'D)
Summary judgment is granted in favor
of the defendant school district and
defendant Superintendent Green under
the Eleventh Amendment. Summary
judgment is granted in favor of all
defendants and against all plaintiffs.
All equitable claims against
defendants are dismissed as moot.
Judge Reynolds BANGS the gavel, then hands the file to the
clerk.
REYNOLDS (CONT'D)
The clerk is ordered to close the
file.
We SEE the disappointed looks of the husband and wife. We
HEAR the O.S. SOUNDS of RAUCOUS APPLAUSE and the SOUND of a
GAVEL BANGING, then we CUT TO:
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 103.
122 INT. FLOOR OF HOUSE OF REPRESENTATIVES -- DAY 122
HOUSE MEMBERS are standing to their feet in the ornate
chamber.
ALFORD DICKINSON, at the main rostrum, takes the gavel from
the retiring DENNIS HASTERT. The APPLAUSE GROWS LOUDER.
Dickinson smiles. He nods to the members of the House. We
hold for a beat, then CUT TO:
123 EXT. OVERHILL BAPTIST CHURCH PATIO -- DAWN 123
A STAKEBED TRUCK with a pneumatic lift is pulled up near
Shahid's studio. In the back of the truck is the crate holding
the statue. AZIZ jumps down from the back of the truck. Shahid
operates the mechanism that closes the lift gate.
AZIZ
We have everything we need?
SHAHID gets into the passenger side. He just looks at Aziz.
AZIZ (CONT'D)
Where's the girl?
SHAHID
Like you said, everything I need.
124 INT. RACHMAN'S ART STUDIO -- DAWN 124
We HEAR the O.S. SOUND of the TRUCK ENGINE STARTING as we
TRUCK THROUGH the ruined art studio, passing among and between
the remains of the smashed artworks by Shahid.
INTO VIEW: A POOL of PAINT. We SEE puddles of BLUE PAINT,
GREEN PAINT, YELLOW PAINT, then what looks like RED PAINT.
Some paint brushes and tipped over EASELS. Some squashed and
empty PAINT TUBES. And we CONTINUE OUR PAN as the TRUCK DRIVES
AWAY, until...
INTO VIEW: BOBBIE SUE'S BODY, naked and covered in blood.
But the body is headless. It's not red paint that we see
everywhere; it's BLOOD. We CONTINUE OUR PAN until...
INTO VIEW: A PEDESTAL, on which rests BOBBIE SUE'S SEVERED
HEAD. The EYES ARE OPEN in terror. The MOUTH IS OPEN in a
silent scream. Hold for a beat, then we CUT TO:
125 EXT. GEORGE BROWN CONVENTION CENTER, HOUSTON -- MORNING 125
ESTABLISH the ten-story convention hall. An entire block
dedicated to commerce. Across the street is the Hilton
Americas hotel, connected to the convention hall by an
elevated passageway. Cars move in front of and around the
building on the Avenida de las Americas. A MARQUE reads "All
City Art Show Meets Today in the George Bush Grand Ballroom".
We HEAR the O.S. VOICE OF PASTOR FISHER:
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 104.
125 CONTINUED: 125
FISHER
Heads up!
HOLD FOR A BEAT, then CUT TO:
126 INT. GEORGE BUSH GRAND BALLROOM -- DAY 126
Pastor Fisher and his wife are among a group of ART PATRONS
admiring the various PIECES OF SCULPTURE that surround the
massive display of Shahid's statute, which is in the center
of the hall with plenty of floor space to set it apart from
the OTHER DISPLAYS. Fisher aims a CAMERA at his wife and the
other patrons.
FISHER
Say "Cheese!"
The patrons RESPOND and a FLASH of LIGHT tells us that Pastor
Fisher has taken the picture. The group breaks up and Mrs.
Fisher approaches her husband. He looks at his watch.
FISHER (CONT'D)
She's late.
MRS. FISHER
Relax. She said she'd be here after
nine. It's only ten after.
We SEE a blue ribbon hanging from a display stand near the
statue.
FISHER
Grand prize...
(shakes his head)
I think it's obscene. Where'd she
say she was last night?
As the patrons move away from the statue, we SEE that there
is no fig leaf covering David.
MRS. FISHER
A friend's.
FISHER
Might as well not bring attention to
it.
As his wife shoots him a quizzical look, Fisher unplugs the
electrical cord. The SPOTLIGHTS on the pedestal WINK OUT.
127 INT. COMMERCIAL AIRCRAFT -- DAY 127
SHAHID sits with AZIZ in the business class section. There
are no other passengers. Shahid pulls his cell phone from a
pocket.
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 105.
128 INT. GEORGE BUSH GRAND BALLROOM -- DAY 128
Mrs. Fisher looks down at the electrical cord.
129 INT. COMMERCIAL AIRCRAFT -- DAY 129
Shahid punches some buttons into the phone. As Shahid prepares
to hit the "Send" button, a FLIGHT ATTENDANT interrupts him.
FLIGHT ATTENDANT
I'm sorry, sir. You'll have to put
that away. We're making our descent
into Reagan International.
AZIZ
Is there a problem?
FLIGHT ATTENDANT
F-A-A regulations. Cell phones can
interfere with our navigation
controls.
SHAHID
Really? I didn't know that.
(to Aziz)
You think they can cause other kinds
of trouble?
Aziz smiles. And we CUT TO:
130 INT. GEORGE BUSH GRAND BALLROOM -- DAY 130
Mrs. Fisher looks over at the statue. As her husband moves
away, the other ART PATRONS complain ad lib about the missing
illumination.
MRS. FISHER
Honey... don't be so stuffy.
She bends down and picks up the electrical plug.
131 INT. COMMERCIAL AIRCRAFT -- DAY 131
Shahid hits the "Send" button and we HEAR a BRIEF TONE. He
looks up at the flight attendant and smiles.
SHAHID
Well... you never know.
He pockets the cell phone. As the flight attendant turns
away, we CUT TO:
132 INT. GEORGE BUSH GRAND BALLROOM -- DAY 132
MRS. FISHER plugs in the cord.
THE LIGHTS on the base of the statue SPRING TO LIFE.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 106.
132 CONTINUED: 132
THE STATUE OF DAVID is illuminated in all its glory for one
last time. The PATRONS SIGH at the beautiful sight. Then in
a FLASH OF LIGHT, the STATUE EXPLODES and we SMASH CUT TO:
133 EXT. GEORGE BROWN CONVENTION CENTER, HOUSTON -- MORNING 133
CGI FX: From a HIGH ANGLE, we SEE half of downtown Houston
is blown to dust by the explosion. The statue was made of C-
4 explosive.
CGI FX: THE CONVENTION CENTER blows apart.
CGI FX: THE DUST CLOUD rises as the SHOCK WAVE EXPANDS,
obliterating everything for blocks around the building.
134 EXT. WASHINGTON MONUMENT -- MORNING 134
ESTABLISH the Washington Monument on the grounds of the Mall.
TOURISTS move through the SECURITY SCANNERS and through the
massive doors into the monument.
ACHIM and a group of THIRTY SCOUT TROOPERS in uniforms stand
to one side. They all wear their "Allahu Akhbar" awards on
their uniforms. And they are wearing backpacks.
THE SECURITY GUARD inspects the backpack of one of the
troopers.
We SEE a lunch pail. A scout manual. A flashlight. Typical
scouting stuff. Oh, and a CLAY ANIMAL SCULPTURE. It's made
from C-4 explosive, but the guard doesn't know this.
THE SECURITY GUARD waves them all through.
JACK, Dickinson's aide, directs the troopers through a side
gate and into the interior elevator.
ACHIM
Boys... Nine hundred steps. It's a
long walk down.
Achim directs his thirty troopers to the elevator. They step
inside and the DOORS CLOSE IN OUR FACE.
JACK turns and heads out of the monument.
135 EXT. WASHINGTON MONUMENT -- MORNING 135
ON THE OUTSIDE, we CLIMB UP and UP along the face of the
monument. In the b.g., we SEE the WORLD WAR II MEMORIAL, the
REFLECTING POOL, and the LINCOLN MEMORIAL. We finally come
to the UPPER LEVEL OBSERVATION DECK.
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 107.
136 INT. WASHINGTON MONUMENT UPPER LEVEL -- MORNING 136
The group of TROOPERS exit the elevator. ACHIM points out
the Capitol building in the distance.
MOS -- VARIOUS ANGLES
We SEE the various sights in the distance: the WHITE HOUSE,
the VIETNAM VETERANS MEMORIAL, the LINCOLN MEMORIAL, the
REFLECTING POOL, the WORLD WAR II MEMORIAL, the SMITHSONIAN,
the AIR AND SPACE MUSEUM, the IRS BUILDING, the CAPITOL
BUILDING.
Finally, Achim sends the troops down to their positions, one
by one.
ACHIM
Gentlemen. Time.
He remains at the top as they head down the stairway beside
the elevator.
137 INT. WASHINGTON MONUMENT STAIRWAY -- MORNING 137
We SEE the TROOPERS as we move quickly down the stairs. Every
fifteen steps or so, one of the troopers stands quietly. We
SEE the troopers mouthing the words "Allahu akhbar! Allahu
akhbar!" over and over again.
138 INT. WASHINGTON MONUMENT OBSERVATION DECK -- MORNING 138
ACHIM takes one last look over the Mall. He stiffens himself
with resolve.
ACHIM looks at his watch. It's 9:10AM.
ACHIM takes out his cell phone. He whispers a soft prayer.
ACHIM
Allahu akhbar!
ACHIM punches a series of buttons on his phone. We CUT TO:
139 EXT. NEW YORK HARBOR -- MORNING 139
HIGH ANGLE OFF ELLIS ISLAND. The STAR OF MEDINA lies at anchor
between Ellis Island and the Battery. The Statue of Liberty
stands proudly in the b.g.
140 EXT. GROUND ZERO IN NEW YORK -- MORNING 140
In New York, the President is touring the "Ground Zero"
memorial. He speaks before a CROWD of TV JOURNALISTS. It's
all a staged photo op.
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 108.
141 EXT. REAGAN NATIONAL AIRPORT IN WASHINGTON, DC -- DAY 141
Outside of Washington, DC, Bin-Salem’s jet sits on the tarmac
at a small airport.
142 INT. BIN-SALEM'S JET -- DAY 142
SCHLESSER pulls out a cell phone dials a phone number.
Nothing. He looks at the SIGNAL BARS on the phone. We SEE
WEAK SIGNAL BARS.
SCHLESSER
(German accented Arabic)
Can't get a signal. Sometimes it
works... sometimes it doesn't.
(in English)
Damned American cell system. It's
never adequate for the task at hand.
143 EXT. WASHINGTON MALL -- MORNING 143
JACK walks quietly toward the Capitol building. He stops.
Something about what he just did bothers him. He turns and
looks back with a questioning look toward the Washington
Monument.
144 INT. BIN-SALEM'S JET -- DAY 144
Bin-Salem looks up as Schlesser continues to stare at his
malfunctioning cell phone.
BIN-SALEM
(Arabic)
Patience, my friend. 1993 to 2001.
Eight years. 2001 until today. What's
another minute?
SCHLESSER looks at the SIGNAL BARS. They are full strength
now. He PUNCHES IN A NUMBER, then HEARS IT RING.
145 INT. STAR OF MEDINA CAPTAIN'S CABIN -- MORNING 145
LIGHT filters in from the portholes. We SEE the SUITCASE
BOMB. We HEAR some ELECTRONIC SOUNDS as the REMOTE DETONATION
ELECTRONICS WAKE UP. And we HEAR a CELL PHONE RING TONE.
146 EXT. REAGAN NATIONAL AIRPORT IN WASHINGTON, DC -- MORNING 146
Bin-Salem's jet sits on the tarmac. As Shahid and Aziz move
quickly up the exterior stairway, we HEAR the TOWER O.S. and
FILTERED.
TOWER (O.S.)
(filtered)
Bin-Salem craft Delta 1776, you are
cleared for takeoff.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 109.
146 CONTINUED: 146
The stairway is pulled up and the jet taxis OUT OF THE SHOT.
147 INT. BIN-SALEM'S JET -- DAY 147
Shahid and Aziz take their seats next to Bin-Salem. Outside
the windows, we SEE that the jet is moving faster and faster,
and then is AIRBORNE. Schlesser hands the cell phone to Bin-
Salem.
SCHLESSER
You want to light up New York?
SHAHID
Too bad we can't see the light of
Allah from here.
AZIZ
But we can. In high definition.
Aziz tunes a HDTV monitor to CNN. The ANNOUNCER drones on
about the President's visit to the Ground Zero memorial. The
TIME MARKER on the CNN screen reads 9:10 AM. Schlesser notes
this.
SCHLESSER
Time.
Bin-Salem punches in a series of numbers into Schlesser's
cell phone.
BIN-SALEM
J... I... H... A...
148 EXT. WASHINGTON MALL -- MORNING 148
JACK looks back at the monument. A brief, tense moment.
CGI FX: The Washington Monument EXPLODES from just below the
center to the top.
CGI FX: PIECES of the monument FLY EVERYWHERE, and TOWARD
CAMERA as the bodies of people on the Mall, and CARS and
TRUCKS on Constitution Avenue are tossed away by the force
of the explosion like match sticks.
CGI FX: JACK is BLOWN TO PIECES by the force of the blast.
149 INT. BIN-SALEM'S JET -- DAY 149
Everyone in the aircraft looks down to the ground. Below and
THROUGH ONE OF THE WINDOWS in the aircraft, we SEE the
DEVASTATION BEGINNING at the Washington Monument.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 110.
149 CONTINUED: 149
SERIES OF QUICK EXTERIOR CUTS:
THE WORLD WAR II MEMORIAL: The FORCE WAVE from the explosion
flows into the granite columns representing the states of
the Union. The columns begin to topple like dominoes from
the force of the explosion, falling in a semicircle away
from the Washington Monument as the CAMERA and the FORCE
WAVE of the explosion continues past the columns toward...
THE LINCOLN MEMORIAL: The granite columns disintegrate, the
roof collapses, and Lincoln's statute crumbles to dust. We
CUT TO:
THE SMITHSONIAN INSTITUTION: The glass windows IMPLODE from
the force of the explosion. We SEE INSIDE the front of the
building as the displays inside SHATTER. And we CUT TO:
THE IRS BUILDING: The glass windows of the IRS BUILDING on
Constitution Avenue IMPLODE from the force of the explosion.
CUT TO:
THE WHITE HOUSE: The WINDOWS and the CHANDELIER in the front
of the WHITE HOUSE SHATTER from the force of the blast. The
gurgling WATER FOUNTAIN in front of the White House
DISINTEGRATES.
THE WHITE HOUSE SECURITY BOOTH: The booth DISINTEGRATES from
the force of the blast, and the SECURITY FENCE is blown apart.
CUT TO:
150 EXT. WASHINGTON MONUMENT -- MORNING 150
The shaft of the monument DISINTEGRATES and falls in on
itself, sending debris and wreckage across the Mall.
151 EXT. U.S. CAPITOL BUILDING -- MORNING 151
The granite columns CRACK and the windows IMPLODE from the
SHOCK WAVE from the explosion at it hits the building.
AT THE TOP OF THE CAPITOL BUILDING, the American flag is
RIPPED from its pole on the portico by the force of the blast.
152 EXT. WASHINGTON MALL -- MORNING 152
AERIAL SHOT -- ABOVE THE MALL, as the cloud from the explosion
rolls up into the sky. As DUST obscures our view, we CUT TO:
153 INT. STAR OF MEDINA CAPTAIN'S CABIN -- MORNING 153
We HEAR the TONES from Schlesser's phone as they are received.
ONE TONE for J. Another TONE for I. Another TONE for H.
Another Tone for A.
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 111.
154 INT. BIN-SALEM'S JET -- DAY 154
A TENSE BEAT. Bin-Salem pushes the final button.
BIN-SALEM
D!
We SEE the live news feed. A FLASH of LIGHT, then the news
feed goes to SNOW and STATIC.
155 EXT. NEW YORK HARBOR -- MORNING 155
CGI FX: In New York Harbor, the Statue of Liberty and the
Brooklyn Bridge evaporate in a flash of light. The nuclear
blast destroys the entire harbor and most of Manhattan.
156 EXT. GROUND ZERO IN NEW YORK -- MORNING 156
The President and everyone else near the former World Trade
Center die of radiation burns.
157 INT. BIN-SALEM'S JET -- DAY 157
Schlesser turns back from watching the devastation in the
Mall below. He looks at Bin-Salem.
SCHLESSER
The American cell system just might
be adequate after all.
Bin-Salem smiles and we CUT TO:
158 INT. IWN NEWS ROOM -- DAY 158
The WINDOWS into the news room EXPLODE INWARD. Pieces of
TEMPERED GLASS fly everywhere.
HARB and SHAWNA are in Harb's office. They duck instinctively
as the news room is devastated. The CNN feed on the HDTV
goes WHITE with SNOW and STATIC.
HARB
Jeez!
It's QUIET, then a lone telephone BEGINS TO RING. Then ANOTHER
PHONE RINGS in the b.g., followed by ANOTHER PHONE and
ANOTHER. DOZENS OF PHONES are RINGING now.
After about SIX RINGS on his line, Harb picks his phone up
from the debris of what used to be a neat office.
HARB (CONT'D)
(to Shawna)
Find out what happened!
(answering the phone)
Hello!
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 112.
158 CONTINUED: 158
Shawna leaves. It's KAREEM'S O.S. VOICE we HEAR.
KAREEM (O.S.)
Darryl Harb?
159 INT. BIN-SALEM'S JET -- DAY 159
Kareem speaks to Harb on a cell phone. We INTERCUT BETWEEN
HARB in his OFFICE and KAREEM on BIN-SALEM'S JET.
KAREEM
Such an appropriate name. We both
know what it means.
HARB
Who is this?
KAREEM
The obligatory call taking
responsibility for the death and
destruction around you. Dar al-harb.
The domain at war. Islam and the
infidels. We are "Al-Ameristan," Mr.
Darryl Harb.
HARB
Al-Ameristan?
(recognizing the voice)
Abu Kareem! What have you done?
Kareem is pleasantly surprised that Harb recognizes his voice.
KAREEM
A demonstration. To the world in
general. To you, in particular. And
to the Jews... in the U-S-A and in
Palestine. And to all those who will
not embrace Islam.
HARB
Palestine? You mean Israel!
KAREEM
Semantics, Mr. Harb. Not much longer
a political reality.
HARB
Oh, it's real enough. You'll find
out!
KAREEM
Jews. Christians. Agnostics. What
are they, Mr. Harb? Buddhists. Hindus.
Even atheists. They are all "dar al-
(MORE)
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 113.
159 CONTINUED: 159
KAREEM (CONT'D)
harb," Mr. "Darryl Harb." What is
your real name, anyway? Just who are
you?
HARB
A Muslim, you lying, murdering fraud!
KAREEM
Oh, no!
HARB
That's right! A Muslim! My mother
and sister fled from you and your
self-righteous hypocrites.
KAREEM
You are the hypocrite! You deny the
plain words of the Prophet. You make
friends with the infidel. You embrace
his western ways. You shall die with
him, Mr. "Darryl Harb."
SHAWNA sticks her head into Harb's office door. The black
woman's face might as well be white with shock.
SHAWNA
(in tears)
The Washington Mall. An enormous
bomb. There's nothing left. Other
cities, too. Houston. Chicago. Boston.
Los Angeles. And New York harbor's
been nuked.
HARB
(yelling it)
Kareem!
Kareem is quiet as a mouse.
HARB (CONT'D)
There is no place America won't go.
No price she won't pay!
KAREEM
Spare me, Mr. Harb! There will be no
response. America will fall to its
knees in surrender. She will rise in
triumph and glory as Ameristan!
HARB
You are a madman!
KAREEM
It's happening now, Mr. Harb!
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 114.
159 CONTINUED: (2) 159
HARB
You're a liar! A murderer!
KAREEM
What is life, Mr. Harb? What is truth,
apart from Islam?
HARB
The American people know the truth
when they see it!
KAREEM
Do they?
HARB
People like you murdered my father
and my brothers! I know all about
truth!
KAREEM
Do you, Mr. Harb? Here's the truth!
A Muslim is now President of the
United States.
HARB
What are you talking about?
KAREEM
What are Sunnis? What are Shiites...
compared to the defeat of the Great
Satan? Under the War Powers Act, our
man has dictatorial powers, handed
to him by America's own Senate and
Congress.
HARB
You are insane!
KAREEM
And he will shut your news agency
down. You will be under arrest in
less than 24 hours. All except for
your editor, of course.
SHAWNA
(on a cell phone)
Darryl! The Vice-President is dead.
160 INT. VICE-PRESIDENT'S RESIDENCE IN ANNAPOLIS, MD -- MORNING 160
AT THE V-P'S DESK, we see the FIGURE of the VICE-PRESIDENT
slumped over his desk. We HEAR SHAWNA's VOICE from our
previous scene.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 115.
160 CONTINUED: 160
SHAWNA (O.S.)
Heart attack!
(beat)
The stress was too much for his heart.
161 INT. IWN NEWS ROOM -- MORNING 161
A look of horror crosses Harb's face.
HARB
Billy Edwards? My editor?
KAREEM
A Muslim... one of ours, Mr. Harb.
Why do you think he killed your story
about me? And why do you think he's
not in the office today... on the
anniversary of our last and glorious
victory?
Harb winces at this. He knows he should have seen it coming.
HARB
Then who...?
(he figures it out)
Dickinson! The Speaker of the House
ascends to the presidency if the
President and Vice-President die!
162 INT. BIN-SALEM'S JET -- MORNING 162
Schlesser, Achim, Bin-Salem, and Kareem gloat over their
victory.
KAREEM
Very good, Mr. Harb. But way too
late. America's National Cathedral
is now a mosque. From her pulpit,
the message of Allah's prophet shall
be heard throughout the land!
HARB
Everything you did, everything you
said... was a lie!
KAREEM
Of course, Mr. Harb. Al-Takeyya. The
lie is different at every level. And
we will wage our jihad until the
West falls in submission. Because I
say to you, America and the West,
you have no idea, no concept...
(drawing it out)
...of just how much we hate YOU!
(MORE)
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 116.
162 CONTINUED: 162
KAREEM (CONT'D)
(a quiet beat, then)
Allahu akhbar, Mr. Harb.
Kareem folds up his phone.
163 INT. FLOOR OF HOUSE OF REPRESENTATIVES -- DAY 163
At the THOROUGHLY TRASHED House of Representatives, the Chief
Justice in his BLACK ROBE hurriedly gives Dickinson the Oath
of Office. Various HOUSE MEMBERS are bruised, bloody, and
their clothes are a mess from the devastation of the shock
wave that hit the building.
CHIEF JUSTICE
I, Alford Dickinson...
The Chief Justice is taken aback as Dickinson speaks. The
man knows the oath by heart, like he has been rehearsing.
DICKINSON
I, Alford Dickinson, do solemnly
swear that I will faithfully execute
the office of President of the United
States, and will to the best of my
ability, preserve, protect and defend
the United States of Ameristan.
CHIEF JUSTICE
The Constitution, Mr. President.
Protect and defend the Constitution...
of the United States of America.
Dickinson ignores him.
DICKINSON
So help me Allah.
164 EXT. SKY OVER THE MEDITERRANEAN SEA -- NIGHT 164
BIN-SALEM'S JET flies through the night sky. And we SUPER
TEXT: 12 HOURS LATER.
165 EXT. INS LEVIATHAN -- NIGHT 165
The Israeli Naval Submarine Leviathan surfaces in the Arabian
Sea. We SEE the sub's NAME and the NUMBER 5708 on the conning
tower of this Dolphin-class boat (the year in the Hebrew
calendar in which Israel gained its independence).
AT THE LEVIATHAN'S CONNING TOWER
A CREW MEMBER aims a shoulder-launched missile toward the
night sky. He wears a HEADSET and we HEAR the CREW MEMBER'S
VOICE as he sets the missile's course.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 117.
165 CONTINUED: 165
NAVAL CREW MEMBER
(in Hebrew)
Target acquired.
166 INT. BIN-SALEM'S JET -- NIGHT 166
Bin-Salem, Kareem, Schlesser, Aziz and Shahid are still
celebrating their victory. In contradiction of Islamic law,
they salute themselves with VARIOUS ALCOHOLIC BEVERAGES.
BIN-SALEM
Salaam!
(to Shahid)
Most excellent work, my nephew!
Bin-Salem lifts his glass for a toast.
BIN-SALEM (CONT'D)
Allahu akhbar!
Bin-Salem salutes all of them with his glass. He takes a
drink, and we CUT TO:
167 EXT. INS LEVIATHAN'S CONNING TOWER -- NIGHT 167
The Leviathan crew member prepares to fire.
COMMANDER (O.S.)
(filtered, in Hebrew)
Fire!
The MISSILE FIRES, streaking up into the night sky. CUT TO:
168 EXT. SKY OVER THE MEDITERRANEAN SEA -- NIGHT 168
The missile streaks toward bin-Salem's private jet, which is
silhouetted against the FULL MOON. We CUT BACK TO:
169 INT. BIN-SALEM'S JET -- NIGHT 169
Bin-Salem looks absentmindedly out a window. He still holds
his glass. His conspirators in the b.g. are still celebrating
their apparent victory.
THROUGH THE WINDOW we see the MISSILE APPROACHING over the
SILHOUETTE of the FULL MOON.
BIN-SALEM's EYES GROW WIDE. He takes a quick, close look OUT
THE WINDOW toward us, then we CUT TO:
170 EXT. SKY OVER THE MEDITERRANEAN SEA -- NIGHT 170
The INCOMING MISSILE impacts with the starboard wing of Bin-
Salem’s private jet airplane with an ENORMOUS EXPLOSION. CUT
TO:
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 118.
171 INT. BIN-SALEM'S JET -- NIGHT 171
The PILOT struggles to control the aircraft. We see the SEA
RUSHING UP TOWARD US as the aircraft noses down into the
ocean. CUT TO:
172 EXT. BIN-SALEM'S JET -- NIGHT 172
The aircraft plummets toward the sea. Before it hits, we CUT
TO:
173 INT. INS LEVIATHAN'S CONNING TOWER -- NIGHT 173
MOSHE, the COMMANDER in Scene #20, wears the naval uniform
of the IDF as he speaks into a radio telephone handset.
MOSHE
Hallelu... JAH!
(then)
Thank you, Mr. Harb.
Moshe thoughtfully places the handset back into its cradle.
174 EXT. WASHINGTON MALL -- DUSK 174
From an AERIAL SHOT over the Mall, armored personnel carriers
and tanks occupy the area as far as we can see. We HEAR
DICKINSON'S VOICE in a RADIO NEWS SPEECH.
BARBED WIRE encircles the Mall as GUARD TOWERS every one
hundred yards or so admit UNIFORMED SOLDIERS.
Search lights light up the DICKINSON (V.O.)
perimeter as we HEAR the Under the War Powers Act,
O.S. VOICE of PRESIDENT and in light of the
DICKINSON on a news feed. devastating attacks on our
homeland, I am, for the
We SEE the CHARRED HULK of duration of the war on
the remains of the terror, suspending the
Washington Monument. legal doctrine of habeus
corpus. The protections
Army TANKS and ARMORED afforded under the Bill of
PERSONNEL CARRIERS are in Rights shall no longer be
position around the Mall, applied. We must regroup.
all facing outwards toward We must rebuild from the
the streets. ashes of these attacks. We
shall forge a paradise
MILITARY PERSONNEL wearing where prostitution, drug
fatigues and driving JEEPS abuse, homosexuality, and
are everywhere. abortion will no longer be
tolerated, under penalty
of death.
(CONTINUED)
-------------------------------------------------------------------------
Ameristan 2004080379 (written by Charles Welty) -- Act Three 119.
174 CONTINUED: 174
BARBED WIRE is coiled around DICKINSON (V.O.) (CONT'D)
the perimeter of the Mall, We shall build a new
with checkpoints at various Ameristan... where prayers
places along the perimeter. will not only be introduced
into schools and public
CAMERA PULLS BACK over the buildings again, they will
Mall to FRAME the CAPITOL be mandatory five times a
DOME. day. Allahu akhbar!
THE CAPITOL BUILDING itself is pocked-marked with blast marks.
Most of the windows are blown out. CAMERA RISES and we SEE a
new AMERICAN FLAG with a WHITE CRESCENT MOON and a STAR in
the blue background. It flies on the same flag pole as the
American flag did before the explosion. HOLD on the desolate
scene as we ROLL END CREDITS.
THE END
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The Ameristan script and novel is protected by copyright © 2004, 2005 by Charles R. Welty. Other content and images are the property of the content's owner. All rights reserved internationally. Last update: Saturday, 21 October 2006. |
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