THE AMERICAN

Screenplay
by
Rowan Joffe

Based on the novel A Very Private Gentleman

by
Martin Booth

FADE IN:
1

EXT. NORTHERN SWEDEN - TWILIGHT

A lake.
A forest.
A dacha.
A Saab outside the winterhouse.
A light within.
2

INT. NORTHERN SWEDEN - HOUSE - NIGHT

JACK (dark, fit, mid-forties) is staring at the embers of a

log fire. He sips from a thick cut-crystal glass of whiskey.
The impressive US Army Special Forces crest tattooed on the
shoulder of his bare torso is at odds with JACKs quiet
manner and the distinguished silver that flecks his hair and
stubble. JACK is no longer young.
A creak behind him and his eyes flick over his left shoulder.
INGRID (34) is naked. With an intimate familiarity she kisses
JACK on the top of his head, sits close behind him and wraps
her arms around her lover, linking her slender hands across
his upper chest.
Her head resting on his shoulder, her face beside his, INGRID
and JACK watch the fire together in easy silence.
3

EXT. WOODS- MORNING

INGRID leads JACK through the trees. Her coat has a white fur
collar. They are fresh-faced and warm from bed.
They head towards a vast and frozen lake.
JACK senses something in the woods.
Beneath the Conifers: impenetrable darkness.
JACK looks around.
Thick snow blankets the world and muffles any sound. There is
not the slightest breeze.

"The American" June 21st, 2010

4

page 2.

EXT. LAKESIDE- MORNING

They continue through the woods until they reach the

shoreline of the lake.
INGRID steps onto the ice.
Holds out her hand.
A beat.
JACK takes INGRIDs hand.
Solid as stone, the frozen lake takes his weight.
They walk out, INGRID slipping and laughing.
The landscape is magical.
JACK begins to relax, slipping and swearing.
Suddenly, he stops.
There are footprints in the thin snow going out across the
lake.
Beside the Snow-hares prints are those of a man.
A hunter?

INGRID

JACK studies the two sets of tracks.

INGRID
Dont they always travel in twos?
Those of the Snow-hare are heading out into the lake. The
mans prints are heading in the opposite direction, towards
the shoreline.
JACK spins around in the direction theyve just come from.
No one.
4A

EXT. FOREST - MORNING

A man sits in a Mercedes Benz.

4A

"The American" June 21st, 2010

4B

page 3.

EXT. LAKESIDE - MORNING

4B

Then, about ten metres inland from the edge of the lake, a
low branch dips and a thick rug of snow falls from the
branch.
JACK grabs INGRID, yanks her towards the cover of the
lakeside trees and pushes her down into the snow.
She grunts, winded. He lies besides her.
We hear the CRACK of a bullet- so quiet it might be a bough
snapping under the weight of winter.
It isnt.
Jack?

INGRID

JACK pulls a WALTHER PPK/S semi-automatic handgun from the

pocket of his Parka.
Cocks it.
INGRID
You have a gun...why would you have
a gun...
Theres another CRACK from the trees.
JACK pinpoints the spot from the drift of BLUE SMOKE, almost
invisible in the winter air.
Theres someone in the shadows.
He rubs snow into his woollen hat, edges up until he can just
see over the snow and pumps THREE SHOTS into the dusk under
the trees.
We hear a muttering groan and then a sliding sound, as if
JACK has just shot a tobogganist.
More snow slides off the trees.
4C

EXT. FOREST- MORNING

4C

Man steps out of the Mercedes, pistol in hand. Leaves car

door open.
4D

EXT. LAKESIDE- MORNING

JACK waits.
INGRID gathers her breath but loses her wits:

4D

"The American" June 21st, 2010

INGRID
You have a gun!
JACK keeps his eyes fixed on the trees.

page 3A.

"The American" June 21st, 2010

Jack?

page 4.

INGRID

He stands up slowly and walks inland towards the corpse that

is just visible now in the shadows beneath the trees.
INGRID follows, frightened.
The MAN is slouched forwards in a drift of snow, his body
cushioned in white softness.
JACK kicks the sole of his boot.
JACK grabs his collar and turns him over. He doesnt
recognise him.
Checks his neck for a pulse.
There isnt one.
JACK fumbles at his buttons and rummages in his clothing.
Finds cash and a disposable cigarette lighter but no
identification.
INGRID
Whats happening Jack?
JACK
Ingrid, go back to the house and
wait.
INGRID
Who are you?
INGRID sets off, stumbling up the track they have made
through the snow.
JACK shoots her just once, in the nape of her neck.
She twitches in the snow, her blood staining the white fur of
her coat collar.
From a distance, INGRID looks like a shot Snow-hare.
JACK approaches her.
And steps over her, trying not to look down.

"The American" June 21st, 2010

page 5.

Trying not to look back.

5

EXT. FOREST - MORNING

There is a MAN in the forest; hes standing about 5 meters

away from a dark Mercedes-Benz sedan.
The second hunter.
He is holding an automatic pistol and hes on alert.
JACK comes from behind, walks around the car and kicks the
car door closed. The man turns around surprised, and Jack
gives him a bigger surprise, he fells him easily with a
bullet in the head.
He removes the clip from his WALTHER and reloads it. Steps in
to the Mercedes and drives to the House.
6

INT. HOUSE - MORNING

JACK packs a few belongings in a large holdall.

7

EXT. HOUSE - MORNING

JACK shoots the front right tire of the SAAB.

Then he gets into the MERCEDES.
And drives off down the forest road.
8

EXT. FERRY - LATE AFTERNOON

We see JACK on the moving ferry, standing next to his car,

looking at the water, his surroundings.
9

INT. ROMA TERMINI TRAIN STATION- DAY

Were on JACK
Pronto?

9
*

PAVEL (V.O.)

JACK
Its Jack. Im here.
PAVEL (V.O.)
What do you mean, here?
Rome.
Pause.

JACK

"The American" June 21st, 2010

(calm)
Shit.

page 5A.

PAVEL

A beat.
PAVEL
Theres a bar not far from the
station. Caff Vigeti via Voltorno.
Wait here.

PAVEL puts the phone down.

10

OMITTED

*
10

"The American" June 21st, 2010

11

page 6.

INT. BAR- DAY

11

JACK washes his face in the cramped bathroom at the back of

the bar.
JACKs well trained ear picks up sounds coming through the
ventilation: sounds from the street, from the kitchen.
JACK stares at himself in the mirror. He looks exhausted.
12

INT. BAR- DAY

12

JACK waits.
PAVEL enters.

Sits at JACKS TABLE.

He is older than JACK. Refined but tough. A man of few words
but much gravitas.
Its clear theres a long history of mutual respect between
these two men.
PAVEL
Who was the girl?

*
*

JACK
A friend. Who were the Swedes...

*
*

PAVEL
Im working on that... Its going
to take some time. Did she set you
up?

*
*
*
*

JACK
She had nothing to do with it.

*
*

PAVEL
A pity. Ive made arrangements for
you in a small town in Abruzzo,
while I sort this out.

*
*
*
*

JACK looks at him. There is tension between the two men.

PAVEL reaches into his inside pocket. JACK watches closely.

PAVEL produces an envelope and pushes it across the table.

PAVEL
Turn right outside the bar, then
second left, Via Magenta.

*
*
*

"The American" June 21st, 2010

page 6A.

We now cut to Jack at the car parked on the street,

(Previously hot.) as we hear Pavel.

*
*

PAVEL (V.O.)
Youll find a dark blue Fiat Tempra
with Pescara plates. Ive marked a
small town called Castelvecchio on
the map. Stay there and lay low
till you get my call.

*
*
*
*
*
*

We cut back to the cafe.

PAVEL
Dont talk to anyone. And Jack,
above all else dont make any
friends... you used to know that.

12A

*
*
*
*

PAVEL rises.

JACK watches him go.

INT. BAR - DAY (ALTERNATE VERSION)

12A

JACK waits.

PAVEL enters.

Sits at JACKS table.

He is older than JACK. Refined but tough. A man of few words

but much gravitas.

*
*

Its clear theres a long history of mutual respect between

these two men.

*
*

PAVEL
Who was the girl?
A friend.
A friend?

*
*

JACK

*
*

PAVEL

*
*

JACK
Who were the Swedes...

*
*

PAVEL
Im working on that... Its going
to take some time. Did she set you
up?

*
*
*
*

JACK
She had nothing to do with it.

*
*

A pity.

PAVEL

*
*

"The American" June 21st, 2010

page 6B.

Beat.

*
PAVEL
Ive made arrangements for you in a
small town in Abruzzo while I sort
this out.

*
*
*
*

JACK looks at him. There is tension between the two men.

PAVEL
Dont talk to anyone. And Jack,
above all else dont make any
friends... you used to know that.

*
*
*
*

PAVEL reaches into his inside pocket. JACK watches closely.

PAVEL produces an envelope and pushes it across the table.

PAVEL
Turn right outside the bar, then
second left, Via Magenta. Youll
find a dark blue Fiat Tempra with
Pescara plates. Ive marked a small
town on the map, Castelvecchio.
Stay there and lay low till you
get my call.

*
*
*
*
*
*
*
*

PAVEL rises.

JACK watches him go.

"The American" June 21st, 2010

13

page 7.

EXT/INT. CAR- DAY

13

JACK walks down a narrow street lined with parked cars.

He passes an dark blue FIAT Tempra from around 1995.
JACK waits until hes certain no ones following him before
he doubles back on himself, grabs the key from its hiding
place on top of the rear right tire and climbs inside.
Checking the rear view mirror and the road ahead, JACK opens
the glove compartment and finds a PLAIN MANILLA ENVELOPE.
Inside the envelope is:
-a PASSPORT bearing Jacks photo in the name of Edward Clarke
-a DRIVERS LICENSE in the same name
-several thousand euros in CASH
-A MOBILE PHONE in a cellophane bag.
-and a MAP.
14

EXT. AUTOSTRADA- DAY - TITLES OVER THIS PART

14

A long tunnel: one of the longest in Europe.

JACK at the wheel.
It seems like night: black ceiling, strip lights, shadows.
Vast fans suspended from the ceiling shift the traffic fumes.
A button of light, expanding...
...as we burst into daylight, blinding Jack.
15

EXT. ITALIAN LANDSCAPE- DAY - TITLES CONTINUED

Were in another world and Jack puts on his sunglasses.

15

"The American" June 21st, 2010

page 8.

JACK'S CAR is driving thru an amazing, hard but breathtaking

landscape and finally winds its way up a twisting mountain
road towards...
...a ramshackle, lonely, desolate Italian HILLTOP TOWN.
The town sits beneath its own castle. Medieval towers,
gables, streets and church bells: framed by the snow-capped
mountain peaks beyond.
This is not the Italy of E.M. Forster or of Bella Tuscany.
This is the Italy where the Crusaders built their fortresses.
The Italy where Sergio Leone conceived of his great Westerns.
A CHURCH BELL tolls...
16

EXT. CROSS ROADS- LATE AFTERNOON

16

JACK slows down, taking in the roadsigns.

At the crossroads are SIGNPOSTS, one of which pointing to the
town.
The sign reads:
CASTELVECCHIO.
16A

INT. CAR- CONTINUOUS

16A

JACK looks at the sign and drives up the road to

Castelvecchio. (POV)
17

EXT. CAR - LATE AFTERNOON

17

He looks at the quiet townsquare, at the vast stone ramparts.

An OLD MAN comes out of a crooked medieval doorway, stares at
JACK and disappears into another building. Two women stop
talking to each other and look at him.
JACK looks at the dead sockets of the windows, random beneath
the rotting patchwork of rooves.
A DOG barks. The atmosphere is deathly.
JACK makes a decision.
And drives away.
18

EXT. VIADUCT- LATE AFTERNOON

We see JACKS CAR heading away from CASTELVECCHIO.

18

"The American" June 21st, 2010

page 8A.

The CAR crosses a spectacular VIADUCT that spans a deep

RAVINE.
The passengers window opens.
A MOBILE PHONE in a cellophane bag is thrown out.
It drops hundreds of feet down the ravine.
FADE TO BLACK

"The American" June 21st, 2010

19

page 9.

EXT./INT. CASTEL DEL MONTE, MAIN SQUARE- DAY

19

FADE UP
CASTEL DEL MONTE is a well preserved, happy looking little
mediaeval town with a small handful of tourists.
A chunk of time has passed.
JACK is sitting at a table inside a small BAR wearing dark
glasses, sipping a coffee and reading a guide book on
Abruzzo. He looks like a tastefully dressed, almost Italian
looking, educated American tourist. He blends in. And no one
pays him much attention as he finishes his coffee, pays his
bill, gets up and leaves.
20

EXT. CASTEL DEL MONTE, OLD TOWN CENTRE- DAY

20

At a leisurely pace, JACK passes a row of municipal rubbish

bins just inside the fortified gates to the old town.
Behind the bins we catch sight of JACKs FIAT.
21

EXT. CASTEL DEL MONTE, TOWN SQUARE- DAY

21

Were right in the heart of the mediaeval old town: like the
stronghold at the centre of a castle.
JACK comes out of a shop, clutching a bag containing bread,
cheese and tomatoes.
JACK approaches an old building just off the main square: an
ancient apartment block with a small sign that reads LOGGIA
ARBRUZZO.
22

INT. LOGGIA ABRUZZO, JACK'S ROOM- DAY

22

JACK walks in and puts the bag on the kitchen table and the
guidebook on the bedside table. Apart for this, JACK has
avoided unpacking: living entirely out of his holdall for
some time.
In the bedroom, JACK takes his binoculars off the wall and
goes to the window.
Looks at CASTELVECCHIO through his casement window.
He then hangs them back on the hook on the wall and starts
doing push ups. While he does those, we look at elements of
his apartment, the sound of his push-ups accompanying us:
A toothbrush in the glass by the sink

"The American" June 21st, 2010

page 9A.

A Nikon camera with a long lens on the kitchen table.

One jacket hanging on a hanger.
It is sparse and spartan.

"The American" June 21st, 2010

23

page 10.

INT. LOGGIA ABRUZZO, JACK'S ROOM- NIGHT

23

JACK is lying on top of his bed, fully clothed and wide

awake.
Taped to the inside of the wooden bed frame...
...is his WALTHER semi-automatic handgun.
24

EXT. CASTEL DEL MONTE, OLD TOWN CENTRE-

EARLY MORNING

24

A shot of Castel del Monte from afar.

JACK has his NIKON F6. Hes wandering round town, looking at
the sights: the mediaeval architecture, the square, the
church.
25

EXT. CASTEL DEL MONTE, CHURCH- DAY

25

The CHURCH is at the top of town.

A PRIEST, dressed in black, surveys the world below him:
Locals are going about their business.
The PRIEST notices JACK.
26

EXT. CASTEL DEL MONTE, ALLEYWAY- DAY

26

JACK turns casually down one of the towns many narrow

alleyways.
The alleyway bends left and right in a series of blind
corners and dark tunnels, the street enclosed by arches,
criss-crossed by flying stone buttresses and flanked by
outside stairwells. Its a stalkers heaven- or helldepending on how dangerous the prey.
JACK proceeds along the alleyway until he gets to a
crossroads where FOUR NARROW ALLEYWAYS converge. Each
alleyway leads uphill or downhill with varying degrees of
steepness.
From an upstairs window he can hear the soundtrack of a game
show on television. From another alleyway comes the sound of
a barking dog.
No dog is visible.
JACK knows this dog and knows it lives behind a hidden
archway which is on his right hand side. He lives nearby and
visits the dog every day to give it a biscuit.

"The American" June 21st, 2010

page 11.

The HIDDEN ARCHWAY resembles an archers slit but is big

enough for a grown man to slip through. Unlike a window, the
slit is actually just a crack in a triangular convergence
of two separate and slightly overlapping ancient stone walls.
The confluence of two stone surfaces makes the narrow gap
between them very, very difficult to spot.
JACK slips through the HIDDEN ARCHWAY, making sure no-one
sees him.
Inside are a few steps with 3 front doors connecting to it.
27

INT. BEHIND ARCHWAY- DAY

27

Rotting doors lead to abandoned cellars and storerooms.

The MONGREL tied to a post is barking savagely, his leash
keeping him inches from sinking his bared fangs into JACK.
JACK stares at the dog: a mysterious creature of fear and
fury, he throws him a biscuit, the dog calms down.
28

EXT. ALLEYWAY- DAY

28

JACK reappears through the HIDDEN ARCHWAY and slips back into
the alleyway. Its like hes materialised from thin air.
Just then a MAN on an old VESPA turns down the alleyway and
drives towards him.
Casually, JACK continues walking.
The VESPA gets nearer. The MAN ON THE VESPA is wearing
sunglasses.
JACK picks up his pace.
The VESPA is ten metres away.
Five metres.
JACK's face tenses up.
BANG!
JACK drops to his knees with his hand in his coat pocket, on
his weapon we assume. As he goes down, he realizes this is
not a gunshot; he turns around and the tension on his face
disappears.

"The American" June 21st, 2010

page 12.

BANG!
The VESPA backfires for a second time.
JACK takes his hand out of his pocket.
Still on his knees, JACK pretends to tie his right shoe lace.
The MAN ON THE VESPA stops outside an apartment a few meters
further up the alleyway and takes off his sunglasses. Hes a
corpulent, ruddy-faced Italian man in his late sixties.
He stares at JACK.
JACK stands.
MAN ON VESPA
Buongiorno!
JACK
Buongiorno.
MAN ON VESPA
Da dove provenite?
For an instant, the directness of the question catches JACK
out.
America.

JACK

MAN ON VESPA
Ah! LAmericano!
JACK
Si. Il Americano.
JACKs pronunciation is good but his grammar is a bit rusty.
Perhaps hes playing up on this. It suits the role of
American tourist.
The MAN laughs enthusiastically emphasizing the correct
grammar:
MAN ON VESPA
LAmericano ! LAmericano!
A WOMANS VOICE comes from within the house- loud and angrydistracting the MAN ON THE VESPA, who screams back
passionately, enters his front door, and shuts it behind him
with a hearty slam.
JACK walks on.

"The American" June 21st, 2010

29

page 13.

EXT. CASTEL DEL MONTE, TOWN SQUARE- DAY

29

JACK puts some coins in a CANDY VENDING MACHINE outside a

Tabacchi.
The MACHINE takes his money but wont dispense his chewing
gum.
He hits the refund button but nothing happens.
He thumps the machine.
Then sees the pattern of light alter in the shiny plastic of
the vending machine and spins round to see:
The PRIEST.
PRIEST
Can I help you?
JACK
Im no good with machines.
The PRIEST smiles at JACK. He is dressed in an ill-fitting,
un-stylish black suit, a black silk stock and a deep Roman
collar fraying at the edge. His name is FATHER BENEDETTO. He
is older than JACK.
FATHER BENEDETTO
You are American.
This is stated matter-of-factly: like a man practising
English.
Si.

JACK

FATHER BENEDETTO
You speak Italian?
Poco.

JACK

FATHER BENEDETTO
Va bene! You stay at Loggia
Abruzzo.
Also a statement: this time with touch of triumph.
JACK is disconcerted but doesnt show it.
JACK
Not for much longer.
FATHER BENEDETTO
On vacation?

"The American" June 21st, 2010

page 14.

JACK
Working vacation.
This much is true- after a fashion.
They speak in English unless otherwise specified:
FATHER BENEDETTO
Lavoro? Che genere de lavoro?
JACK
Photographer.
FATHER BENEDETTO
Va bene. Che genere de fotografia?
JACK
Pictures of the region.
Architecture, landscapes...
People?

FATHER BENEDETTO

FATHER BENEDETTO stands straight and poses winningly.

JACK
No people. Sights and landmarks.
For guidebooks, magazines...
FATHER BENEDETTO
Ah! Magazine! Which magazine?
JACK shows no discomfort.
JACK
Actually its a syndicate. Lots of
different publications. Um... Casa
editrice.
Father Benedetto points to the camera, assuming it is
digital.
FATHER BENEDETTO
Va bene. So you must share a glass
of wine with me. Questa sera. This
evening.
A beat.
JACK is slightly thrown.
JACK
Youre very kind, but I...
FATHER BENEDETTO
Certo. You want to know the truth
about Abruzzo? A priest sees
everything.

"The American" June 21st, 2010

30

EXT. PAY PHONE, CASTELVECCHIO DAY

Pronto?
Its Jack.

PAVEL

page 15.
30
*

JACK

PAVEL
You dont answer the cell I gave
you.

JACK
Im calling you now.

*
*

PAVEL
You dont make this easy for me
Jack. I have a job for you, ita a
custom fit... You dont even have
to pull the trigger.

*
*
*
*
*

A beat.

Beat.

*
JACK
Ill think about it.

Beat.

*
*
*

PAVEL
Thats a good idea.

*
*

"The American" June 21st, 2010

31

page 16.

INT. FATHER BENEDETTOS HOUSE- MAGIC HOUR

31

The SUN is sinking behind the high mountains that overlook

the hilltop town.
JACK is wearing an immaculate white linen shirt.
Hes sitting in a small walled garden snuggled at the rear of
a crumbling fifteenth century edifice, overlooked yet
secluded and trapping the last rays of the sun.
FATHER BENEDETTO pours two large glasses of brandy from a
globulous green bottle of ARMAGNAC and sniffs his drink like
a honey bee hovering over a bloom.
FATHER BENEDETTO
Que siamo! The quality of the
brandy is good, the liquor is
smooth and the glass warmed by the
sun.
He pronounces warmed war-med. His English is sophisticated
but quaint, like an out-of-date book.
JACK sniffs his drink before he sips it. Not like a
connoisseur: like a White House taster checking the safety of
a Presidential beverage.
FATHER BENEDETTO
(in ENGLISH)
The only good thing to come from
the French...
FATHER BENEDETTO grimaces.

"The American" June 21st, 2010

page 17.

FATHER BENEDETTO looks at JACK.

A beat.
FATHER BENEDETTO
(in ENGLISH)
You study our history?
No.

JACK

FATHER BENEDETTO looks horrified.

FATHER BENEDETTO
You come to Italy to make a guide
book and you dont care about
history?
JACK
I take pictures, father.
A beat.
FATHER BENEDETTO
Of course. You are American. You
think you can escape history. You
live for the present.
A beat.
JACK likes this man. His shrewdness is disconcerting but
humane.
JACK sips his brandy.
JACK
I try to, father.
32

INT. LOGGIA ABRUZZO, JACKS ROOM- DAY

32

JACK completes his morning exercises (self made boxing

bag)then showers and dresses. His manner is precise and
methodical. Only a man who has lived alone for many years can
live like this.
33

EXT. LAQUILA- DAY

JACK drives through a sizeable suburban sprawl. Theres a
good deal of traffic and the landscape is peppered with
shopping malls and office complexes.

33

"The American" June 21st, 2010

page 18.

JACK parks in a tourist car park just outside the mediaeval

walls that surround the old centre of town.
He gets out of the car carrying a copy of the Italian daily
newspaper Il Messaggero.
And folds the front page in half.
34

EXT. OLD TOWN- DAY

34

Theres a MARKET in progress. The central piazza is a hive of

activity. Food, local produce, clothes and cheap CD stalls.
The market has attracted TOURISTS. Standing not far from a
cheese stall is an attractive WOMAN in dark glasses. Shes
rifling through her handbag, searching for something. Under
her right arm is a rolled up copy of Il Messaggero.
The front page has been folded in half.
JACK decides to proceed with caution.
Moving through the busy market, JACK approaches the OLD WOMAN
running a cheese stall.
JACK
Un po di formaggio, per favore.
OLD WOMAN
Quale? Pecorino, parmigiano?
Questo.

JACK

He points.
JACK
E un po di pecorino.
JACK glances casually around for the WOMAN.
Shes sitting outside a CAFE about twenty metres away,
chatting on her cellphone.
JACK pays for his cheese and approaches the cafe.
35

EXT. LAQUILA, CAFE- DAY

35

JACK sits at an empty table next to the WOMAN.

She finishes her call in English. Shes well spoken. As she
replaces the phone in her handbag, she knocks the newspaper
off her table.
JACK picks it up.

"The American" June 21st, 2010

Grazie.

page 19.

WOMAN

JACK
Prego. Youre welcome.
WOMAN
Youre American.
JACK
Amidst gathering clouds.
The WOMAN speaks quickly, purposefully, barely looking at
JACK.
WOMAN
Youre assuming Im English or
youd never have mentioned the
weather. In fact Im Belgian but I
went to boarding school in England.
And am quite happy to converse on
all subjects meteorological.
Judging by her stilted choice of words this is code.
A WAITER comes out and flicks a cloth over the table. Its
nearly midday and the sun is hot. He speaks with a tired
voice:
WAITER
Buongiorno. Desidera?
Hes addressing the WOMAN.
WOMAN
Una spremuta di limone. Per favore.
Her Italian accent is perfect.
Signore?

WAITER

The WOMAN looks at JACK for the first time, studying him,
awaiting his answer as if a great deal depended on it.
JACK
Un gelato al lampone. Per favore.
The final fail safe.
Now they can introduce themselves:
Edward.
Mathilde.

JACK
WOMAN

"The American" June 21st, 2010

page 20.

The identification process over, there is nothing more to do

but get down to business- and conversation becomes suddenly
awkward.
MATHILDE
Its hot. My car has no air
conditioning. I asked for it,
but...
She trails off.
JACK
What car did they give you?
Her HAZEL eyes flick over the crowd in front of the cafe.
She doesnt answer.
JACK clears his throat.
Then says quietly:
Range?

JACK

She takes a long time to answer. When she does, she does so
over the rim of her half-empty coffee cup, scanning the crowd
like a cheating wife customarily anxious not to be seen by
her husband.
MATHILDE
One fifty to one seven five meters.
Time?

JACK

MATHILDE
Five seconds. Seven at the most.
Targets?
One.
Fire rate?
Rapid.

JACK
MATHILDE
JACK
MATHILDE

JACK considers this.

JACK
Magazine capacity?
MATHILDE
Large. Preferably 5.56 millimeter.

"The American" June 21st, 2010

page 21.

The WAITER delivers the Spremuta and the raspberry ice-cream.

The glass of lemon juice twists in MATHILDEs slender
fingers.
MATHILDE
The weapon must be fairly light.
And compact. Possible to be broken
down into its constituent parts.
LAMERICANO
How compact?
MATHILDE
As compact as possible.
JACK clears his throat.
JACK
You want a semi automatic rifle to
fit in a ladys purse?
MATHILDE
A small vanity case would be
permissible.
JACK
A small briefcase would be
possible.
A beat.
JACK
X-rays? Camouflage: lap-top, DVD
player, MP3 or digital camera?
Shes not sure if hes joking or not. Neither are we.
MATHILDE
Not necessary.
Noise?
Silencer.

JACK
MATHILDE

JACK
No such thing. Youll have to make
do with a suppressor like everyone
else. Itll dampen the decibels,
dislocate the sound source and
reduce muzzle flash. I cant make
you silent but I can make you
invisible but only as long as
youre prepared to lose some range.

"The American" June 21st, 2010

page 22.

JACK scans the crowd.

On the other side of the square he spots a YOUNG MAN in his
mid-thirties with short blonde hair and slight sunburn,
hovering by a stall. Average height, slim, athletic build;
sunglasses, stone-washed designer jeans very neatly pressed
with a sharp crease.
JACK
Two oclock.
Excuse me?

MATHILDE

JACK
By the clothes stall. Light blue
shirt. Is he with you?
The YOUNG MAN has disappeared into the crowd.
MATHILDE
I didnt see him. In any case, Im
alone.
A pause.
JACK's jaw muscles grind.
MATHILDE
I can accept a slight loss of
range.
JACK
You want a weapon with the firing
capacity of a submachine gun and
the range of a rifle.
MATHILDE
Can you do it?
A beat.
JACK
Give me a month. To trial. Then a
week for final adjustments.
36

EXT. LAQUILA, VIA LAMPEDUSA- DAY

36

JACK passes a sign for a MODELLING AGENCY. Its a small,

inconspicuous sign, but it catches his eye because its
graphics are subtly lewd and its attached to the buzzer of
what is otherwise a purely residential apartment block.
A beautiful twenty six year old girl, CLARA, pulls up on her
Vespa and parks it on the sidewalk in front of the agency.
She takes off her helmet.

"The American" June 21st, 2010

She and JACK look at one another.
She goes inside and JACK walks on.

page 22A.

"The American" June 21st, 2010

page 23.

36A
37

36A
EXT. CASTEL DEL MONTE, LANDSCAPE- TWILIGHT

37

The sun is sinking.

Its hunting hour.
An EAGLE hovers on the wind above the town, looking for prey.
38

INT. CASTEL DEL MONTE, LOGGIA ABRUZZO- NIGHT

38

JACK is lying on top of his bed, fully clothed but fast

asleep.
Hes dreaming.
In his left hand is a BOOK of MEDIEVAL ART AND ARCHITECTURE.
Twitching in his sleep, JACK's grip on the BOOK slowly
loosens...
THUD!
As the BOOK hits the floor JACK opens his eyes, sits up and
rips the taped WALTHER from beneath the right side of the
bed, pointing it at the door.
Silence.
JACKs heart is beating.
39

INT. LOGGIA ABRUZZO, JACKS ROOM- MORNING

39

JACK is looking through his Binoculars.

JACKS POV:
...of CASTELVECCIO.
Empty but for the occasional stray dog and an old woman.
40

EXT. LAQUILA- DAY

JACK parks his car in the same tourist car park.

40

"The American" June 21st, 2010

41

page 24.

EXT. LAQUILA, STREET- DAY

41

JACK has been watching the entrance to the local POST OFFICE
for about 5 minutes to make sure no-one is there to surprise
him in any kind of unpleasant way.
JACK makes his move.
42

INT. LAQUILA, POST OFFICE- DAY

42

The shop is small. JACK walks up to one of the two tellers,

the one with the female postal clerk.
JACK
Buon giorno.
No reaction.
JACK
Il fermo posta?
The clerk makes a sign with her right hand towards the other
teller. JACK moves to his left and repeats:
JACK
Buon giorno. Il fermo posta?
The POSTMASTER draws a bundle of general delivery envelopes
held together by an elastic band from a shelf near him. Some
letters have been there for weeks. Months even.
Nome?

POSTMASTER

A beat.
Clarke.

JACK

Deftly, like a teller counting through a thick wad of

banknotes he flicks through the mail with thin, wasted
fingers.
Clarky?

POSTMASTER

JACK
Clarke. Una pacchetto.
Pacchetto!

POSTMASTER

This makes all the difference. The POSTMASTER looks

underneath a table where he stores packages.
POSTMASTER
Clarky, Clarky, Clarky. Ecco.

"The American" June 21st, 2010

page 25.

...and reappearing with a PACKAGE.

The PACKAGE is from an Italian PHOTOGRAPHIC SUPPLIERS.
Grazie.

JACK

POSTMASTER
Identificazione.
JACK flicks his eyes downwards. He has already put his
PASSPORT on the counter.
The POSTMASTER scoops it up with bony fingers.
Looks from the picture to JACK.
JACK bears the scrutiny with a deadly straight face.
43

INT. CASTEL DEL MONTE, LOGGIA ARBRUZZO- EVENING

JACK unwraps the PACKAGE.
He removes:
-film
-photographic paper
-development fluids
-fixing solutions
-film protection bags
Then:
-a solid, monolythic rectangular receiver made out of a
single piece of lightweight alloy.
-a bolt assembly.
-a barrel.
Only with this final piece is the puzzle complete.
Laid out on the floor is a Ruger M14 semi automatic rifle.
Without touching it, JACK studies the weapon like a
connoisseur looking at the hue of a wine. In particular he
notices that the SERIAL NUMBER has been scratched off.
Then he moves slowly, assembling the weapon with precision
engineered expertise:
-inserting the barrel into the front of the receiver and
securing it with the nut,

43

"The American" June 21st, 2010

page 26.

-opening the sidefolding tubular stock and engaging the

buttpad,
-snuggling the buttpad to his shoulder,
-looking down the barrel,
-and slowly squeezing back the finger-grooved TRIGGER as we
SMASH CUT TO:
44

INT. LAQUILA, VIA LAMPEDUSA, CLARAS ROOM- NIGHT

44

Our beautiful twenty four year-old Italian girl enters.

CLARA.
She sits on the edge of the bed, whose aging metal springs
squeak slightly, and puts her smoking cigarette in an ashtray
on the bedside table.
She kicks off her slip-on shoes.
Lifts off her dress.
Slips off her panties and lies back on the bed in one
practised motion.
JACK sits on the bed beside her.
He doesnt look at her.
Amore?

ITALIAN GIRL

She reaches up to touch JACK as we cut to:

45

EXT. CASTELVECCHIO, PAY PHONE- DAY

45

JACK
Ill make the delivery and then Im
out.

*
*

JACK knows this is impossible.

A very long pause.
Pavel?

JACK

When PAVEL speaks its with a calmness pregnant with intent.

OK, Jack.
A beat.

PAVEL

*
*
*

"The American" June 21st, 2010

page 26A.

PAVEL
Youre out.

*
*

CU on JACK - suspicious.
45A

EXT. STREET ROME - DAY - CONTINUOUS

45A

We stay with Pavel on the phone. He dials and then...

Hello?

MATHILDE (V.O.)

*
*

PAVEL
Now listen to me carefully...

*
*
CUT TO:

45B

45B

"The American" June 21st, 2010

46

page 27.

EXT. ROAD- DAY

46

FATHER BENEDETTO...
...is sitting in his APE three-wheeler.
Hes broken down on the road between CASTEL DE MONTE and
CASTELVECCHIO.
His comical and endearing method of rural transportation is a
cross between a moped and a miniature pick-up truck.
In the back of the truck are two bleating LAMBS.
The APE is turning over but it wont start.
The bonnet is open. JACK- whos FIAT is parked just up the
road- is fixing the engine.
He gives a signal and FATHER BENEDETTO turns the ignition key
again.
This time the engine starts. FATHER BENEDETTO cheers.
FATHER BENEDETTO
(in italian) See you tonight !
And drives off. JACK only now sees the lambs. He walks
towards his car. Castel del Monte is visible in the
background.
47

INT. FATHER BENEDETTOS KITCHEN- EVENING

47

Sixteenth century. Sombre wood panelling stained dark with

polish and smoke. Two paraffin lamps stand on a huge antique
sideboard, their frosted orbs engraved with scenes from the
life of Our Lord.
The room is filled with a dining table: a massive black
edifice of oak, five inches thick with six legs fluted like
the columns of cathedrals.
Using antique crockery, ancient copper pots and utensils like
old fashioned instruments of torture FATHER BENEDETTO
performs culinary alchemy: transforming flesh into meat,
dough into bread, hard earth nuggets into vegetables.
He hums as he cooks: Madame Butterfly arias.
JACK sips from a glass of wine and watches FATHER BENEDETTO
potter around the wood fired stove. The priest has his own
wine which he sips as he works between bouts of humming.

"The American" June 21st, 2010

48

page 28.

INT. FATHER BENEDETTOS KITCHEN- EVENING

48

JACK eats a bowl of traditional Abruzzo lentil soup in

silence.
FATHER BENEDETTO watches him, pleased to see his guest so
absorbed.
As soon as JACK has finished, FATHER BENEDETTO invites him to
help himself from the ancient tureen.
Then he bustles over to the stove, humming again.
JACK eats, studying a framed photo of FATHER BENEDETTO with
his arm around a tough, corpulent Italian man in his midtwenties. FABIO.
FATHER BENEDETTO returns to the table with a large covered
dish issuing steam into his face.
He notices JACKs eye-line.
FATHER BENEDETTO
All the sheep in my flock are dear
to me, but some are dearer than
most. Especially those that have
strayed from the fold.
Off JACK's intrigued look FATHER BENEDETTO clarifies:
FATHER BENEDETTO
Fabio. He is a... [in ITALIAN] 'car
doctor'. But I suspect his practice
is not entirely sound. Ecco!
FATHER BENEDETTO whisks the lid off the covered dish
revealing a lamb stew covered in sauce.
FATHER BENEDETTO
Agnello. Lamb. With a sauce of
fresh herbs from my garden, garlic,
white wine, seasonal vegetables and
come si dice in Inglese? Brodo di
Agnello. Lamb broth.
FATHER BENEDETTO serves each of them and pours white wine
into fresh glasses.
FATHER BENEDETTO
Also: salsify in virgin olive oil,
zucchini, fried wild mushrooms with
delicate shavings of truffles.
JACK helps himself to vegetables.
FATHER BENEDETTO watches him as he savours his first taste.
JACK licks his lips and sips some cold white wine.

"The American" June 21st, 2010

page 29.

The two men regard one another, the priest awaiting a

verdict.
Its good.

JACK

FATHER BENEDETTO shrugs.

FATHER BENEDETTO
The Holy Father eats better than
this.
The flash of a smile crosses the priests face.
JACK
Have you ever wanted to be anything
other than a priest?
FATHER BENEDETTO
Have you ever wanted to be anything
other than a... come se dice in
Inglese...?
JACK
Photographer?
FATHER BENEDETTO
Photographer.
JACK
I do what Im good at.
FATHER BENEDETTO
Im sure you have other talents.
You have the hands of a craftsman,
not an artist. You are good with
machines. Yet you told me just the
opposite when we first met.
JACK hides his unease from the watchful priest.
FATHER BENEDETTO
Journalism cannot make you a rich
man.
FATHER BENEDETTOs eyes flick over the OMEGA.
No.

JACK

FATHER BENEDETTO
Perhaps you are rich already?
JACK
Im not a young man. I have my
savings.

"The American" June 21st, 2010

page 30.

FATHER BENEDETTO
A man can be rich if he has God in
his heart.
He looks searchingly at JACK.
JACK
I dont think God is interested in
me. Father.
FATHER BENEDETTO
(in ENGLISH)
I know better than to try to make a
convert over stew and Trebbiano.
JACK is silent.
The two men continue eating.
The priest is on a mission to extract the truth... and JACK
knows it.
49

EXT. OUTSKIRTS OF CASTEL DEL MONTE- DAY

49

JACK is driving.
He checks the rear view mirror.
All clear.
JACK accelerates the CAR, scraping the bumper against a small
wall, and drives on, confident he did some damage to the
bumper.

"The American" June 21st, 2010

50

page 31.

EXT. COUNTRYSIDE- DAY

50

A dirt track meanders downhill past a few small holdings and

allotments.
The CAR moves slowly.
JACK pulls up beside a high chain fence.
The DOGS on the other side start barking. This sets off other
dogs in other scrap yards.
JACK gets out of the car and approaches a makeshift hut
beside the fence. Before hes a metre from the door it opens
and a tough, well-built, unshaven Italian man in his midtwenties looks him up and down.
FABIO.
JACK
I have some damage to my car.
FABIO (ITALIAN)
Sorry, too busy.
JACK
Sono un amico di Padre Benedetto.
Suspicion gives way suddenly to warmth:
FABIO
LAmericano?
JACK smiles politely.
JACK
Buon giorno.
FABIO
Ok, Ok, I fix.
51

INT. WORKSHOP- DAY

51

The metal door slides open. FABIO leads JACK inside.

At the back of the cluttered workshop is a blue ALFA ROMEO
being resprayed white. Beside it, one half of a LANCIA is
being welded to another.
JACK knows better than to stare. He follows FABIO through
to...
52

INT. BACK OFFICE- DAY

Girly calendars, Italian style.

52

"The American" June 21st, 2010

JACK
Im taking pictures forty minutes
north of here. Right up in the
mountains. Father Benedetto said
you might be able to help.

page 31A.

"The American" June 21st, 2010

page 32.

FABIO
(in ITALIAN)
You need models. For your
photographs? Italian girls?
He winks at JACK. Hes being friendly.
JACK
My publisher wouldnt stretch to a
four by four and the park trails
are playing havoc with my chassis.
The technical English is slightly beyond FABIOs grasp.
This suits JACK.
FABIO
(in ITALIAN)
Want me to take a look?
JACK
Non grazie! I just need something
to work on a ruptured driveshaft.
FABIO
(in ITALIAN)
Youre a mechanic?
JACK
Just a hobby. I tinker.
JACK looks at the TOOLS hanging on the walls and littering
the work benches.
FABIO shrugs.
FABIO
(in ITALIAN)
Help yourself. [In ENGLISH] My
garage is your garage.
JACK
Grazie mille.
FABIO gets on with work, sliding himself beneath the resprayed Alfa Romeo.
JACK picks out various implements, laying them on the work
surface: drill, hacksaw, lathe, vice, mallet.
Behind an oil pan with a jagged hole in it he discovers
several GEAR WHEELS with the teeth sheared off. He holds the
biggest one up.
Bene?

JACK

FABIO is engrossed in his work.

"The American" June 21st, 2010

page 33.

FABIO
Si! Si! Va bene!
Quante?

JACK

FABIO grins and growls. A gearwheel with no bite is useless

to him.
Niente!

FABIO

JACK wraps the gearwheel in an oily rag and puts it in the

sports bag with the tools.
At the door, he pauses.
Thats when JACK sees it on the notice board. A PHOTOGRAPH of
FATHER BENEDETTO and FABIO. FABIO is much younger in this
photo: fourteen or fifteen years old. Hes wearing an AS Roma
football strip. Again: the priest has his arm around the boy.
On the workbench below the notice board is a MOBILE PHONE in
a cellophane bag.
JACK
Whered you get that?
FABIO
(In ITALIAN)
It was a gift from above.
53

EXT. COUNTRYSIDE- DAY

53

JACK exits Fabios WORKSHOP and looks up...

...at the VIADUCT above him that connects the two towns.
We hear CHURCH BELLS as we cut to:
54

INT. CASTEL DEL MONTE, CHURCH- DAY

54

FATHER BENEDETTO rings the CHURCH BELLS for Mass.

55

EXT. CASTEL DEL MONTE, CHURCH BELLS- CONTINUOUS

55

Close up of church bells.

As the CLAPPERS hit the SOUNDBOWS we smash cut to:
56

INT. JACK'S ROOM, LOGGIA ABRUZZO- CONTINUOUS

56

JACK has laid out his newly acquired tools on the flag stone
floor of his room.

"The American" June 21st, 2010

page 34.

Beside them is the Ruger M14 semi automatic rifle.

Using the CHURCH BELLS as sound cover...
...JACK puts the GEARWHEEL on a flag stone tile and separates
one of the gears from the shaft using the four pound mallet.
57

INT. LOGGIA ABRUZZO- NIGHT

57

By the light of a little desk lamp, Jack is forming

suppressor parts using one of the gear wheels and a hammer,
againusing the Church Bells as cover.
Its very tricky work and his eyes ache in the poor light.
58

EXT. WOODS- DAY

58

JACK is wearing a KNAPSACK over one shoulder.

His manner is dark, purposeful, alert.
The trees offer deep shade.
JACK stops.
Everywhere there is a profusion of autumnal colours.
JACKs guardedness begins to evaporate. He has never seen
anything so beautiful or utterly uncorrupted. He looks
around, bewitched by delicate golds and yellows, brilliant
crimsons.
JACK is transfixed.
59

EXT. RIVER - DAY

59

JACK gets to the edge of the WOODS.

Beyond him is a river.
His original cautiousness has returned.
Carefully, he checks the RIVER for signs of people, surveying
the lake side with his TELEPHOTO LENS, monitoring every
square on an imaginary grid for human activity.
Satisfied that hes alone, he takes a deep breath of air.
And turns back- heading for his car.
60

EXT. RIVER - DAY

JACK has parked his FIAT in the shade of a TREE. The RIVER
shimmers in the autumn sunshine.

60

"The American" June 21st, 2010

page 35.

JACK reaches a patch of soft grass beside the water.

This, he decides, is the perfect spot. He unrolls a blanket,
kneels, and from his KNAPSACK he produces:
-a polystyrene cool box packed with ice and containing a
chilled bottle of Frascati
-a loaf of coarse bread
-50 gms of pecorino
-100 gms of prosciutto
-a small jar of black olives
-an orange
-and a rolled blanket containing the disassembled parts of
the M14 Mini Semi Automatic GUN.
JACK sets the stopwatch on his weather beaten OMEGA.
It takes approximately thirty-four seconds to assemble the
bastardised M14 - including TELESCOPIC SIGHTS and SOUND
SUPPRESSOR- and a further six seconds to press TEN ROUNDS
into the magazine, slot it into the base of the hand grip,
snuggle the butt to his shoulder and place his eye beside the
rubber cup on the sight.
Hes fast.
Carefully he surveys the lake. Settles on a CLUMP OF REEDS.
And with the focus and dexterity of a surgeon, concentrates
until his grip and aim are perfectly tense and still.
A beat...
...as JACK holds his breath. Then squeezes the trigger.
CHOOP!
CHOOP!
CHOOP!
Not the conventional phut, phut, phut of a movie silencer,
but the genuine dampened sonic boom of a TAC 65 sound
suppressor.
Through the sight we see the water churn at four oclock to
the REED CLUMP and four metres off.
From the knapsack, JACK takes a watchmakers steel-handled
screwdriver and adjusts the sight, then loads another ten
rounds in the magazine.

"The American" June 21st, 2010

page 36.

CHOOP! CHOOP! CHOOP!

The reeds are clipped, the bullets slapping into the bank
behind, mud spurting.
JACK adjusts again and reloads.
CHOOP-CHOOP-CHOOP-CHOOP-CHOOP!
The reed clump is shot to shit.
61

INT. LOGGIA ABRUZZO- DAY

61

The sound of CHURCH BELLS.

JACK is at work:
-modifying the SOUND SUPPRESSOR to make it more efficient
-filing a sear on the trigger mechanism until the trigger
squeeze is softer
-adjusting the position of the TELESCOPIC SIGHT mountings
And finally:
-checking the balance of the weapon: JACK poises it on the
edge of a ruler over the pencil mark he has determined to be
the guns centre of gravity.
The M14 balances perfectly.
By now the sun is low and the light fading. JACK's eyes are
sore and his fingers aching.
He sits on his bed with his hands on his knees, silent in the
dying light.
62

INT. BROTHEL, VIA LAMPEDUSA- NIGHT

62

Were in the living room of a small apartment. Its simply

and attractively furnished. There are 3 GIRLS: not obviously
hookers.
The FIRST GIRL is on her mobile phone. Every now and again
she glances at JACK. The SECOND GIRL approaches him for a
light.
C Clara?

JACK

SECOND GIRL
No, questa sera no.

JACK
Is Clara here?
SECOND GIRL
Shes not here tonight.

She loops her arm through JACKs.

"The American" June 21st, 2010

page 37.

SECOND GIRL
Vuole bere qualcosa?
[Would you like a drink?]
JACK shakes his head.
JACK
Grazie, la prossima volta.
[Perhaps another time.]
63

EXT. CASTEL DEL MONTE- NIGHT

63

JACK parks in his usual hiding spot and heads for the town
square.
Suddenly, he spots something.
A hundred yards away is the same YOUNG MAN who JACK spotted
in LAquila.
Cautiously, so as not to spook him, JACK continues walking.
The YOUNG MAN is several parked cars away on the opposite
side of the street, leaning against a Fiat Punto, bending
over as if speaking to the cars occupant.
JACK side steps swiftly down a back street, uncertain as to
whether or not hes been spotted.
Closer on the YOUNG MAN: we reveal that theres no one in the
Seat.
64

EXT. SIDE STREETS- NIGHT

64

JACK slips from one side street to another taking full

advantage of short-cuts, alleyways and crumbling walls. His
route is circuitous. It betrays a perfect knowledge of the
maze-like back streets of the town.
Eventually JACK peeps out of a tiny passageway half-way down
his own street and on the opposite side of the road from his
LOGGIA.
The entrance to the LOGGIA is clear.
JACK crosses the street and slips inside.
65

INT. LOGGIA ABRUZZO- NIGHT

Were in the corridor outside JACK'S ROOM.
JACK takes his right hand from his pocket.
Hes clutching the WALTHER.

65

"The American" June 21st, 2010

page 38.

Slowly, he reaches his left hand upwards, towards the lintel

above the door where he finds...
...a single FEATHER.
66

INT. JACK'S ROOM- NIGHT

66

From the inside of the room we watch four sturdily fashioned

deadbolt locks slide open. Each lock is new and home made.
JACK enters, shuts the door, locks all four bolts. And sits
on the bed.
67

EXT. STATION PLATFORM - MORNING

67

Theres a phone on the Station Platform, its fixed to the

wall of the station building.
JACK puts a coin in the slot. Two rings.
JACK
Ive got company.
JACK scans the area outside.
PAVEL (V.O.)
You got a long list of enemies,
Jack.

JACK
He doesnt add up. If hes not babysitting the Belgian contract then
whats he waiting for? A shooter
would have taken care of business
by now. Whens he going to make his
move?
The door next to the phone opens.
Jacks hand moves to his pocket.
Jack?

PAVEL (V.O.)

We hear a CLICK.
The STATION MASTER steps out onto the platform next to the
phone. Apparently he has spooked Jack as Jack is no longer on
the phone.
The PHONE is deserted.

"The American" June 21st, 2010

68

EXT. TRAIN STATION - CONTINUOUS

page 38A.
68

Little more than a halt: one platform, one track, one station
building - locked and shuttered.

"The American" June 21st, 2010

page 39.

Apart from the STATION MASTER, no ones around.

JACK checks his watch: its exactly noon.
A TRAIN approaches. On the platform, there is also a MAN WITH
A BRIEFCASE. Jack is on high alert.
The train is a Four-carriage local. It rattles round the bend
in the track up the valley, diesel fumes pluming. There are
no more than a dozen passengers on board.
MATHILDE is the only one to alight while the man with the
briefcase boards.
Mathildes once brown hair is now BLONDE. Shes wearing a
skirt and carrying a navy blue canvas sports bag.
They shake hands as the train pulls away, belching and
honking as it rattles over the girders of an iron bridge and
crosses some alpine rapids.
MATHILDE
Edward. How good to see you again.
Something quaint, old fashioned in her diction. English with
the hint of a Belgian accent.
JACK opens the boot of his car and she places her sports bag
beside a WICKER PICNIC HAMPER.
MATHILDE
Refreshments?
JACK
The Carabinieri around here like
checkpoints. Its cover.
She nods.
They get into the car.
As JACKs door slams we smash cut to:
69

INT. CAR- DAY

MATHILDEs sunglasses reflect the alpine landscape.
MATHILDE
You picked a beautiful spot.
She takes off her shades.
Her once hazel eyes are now GREY-BLUE.
She glances round the cars plastic interior.

69

"The American" June 21st, 2010

page 40.

MATHILDE
You would be hard pressed to make a
fast get away in this.
Perhaps shes nervous. Her attempt at humour isnt working
and she stumbles slightly on her grammar:
MATHILDE
I would have thought you to have
had at least an Maserati.
JACK
This attracts less attention.
Is it far?

MATHILDE

JACK
Fifty minutes.
She looks at the high mountains in the distance.
Up there?

MATHILDE

JACK nods.
She eases herself back, resigned to a long climb.
MATHILDE
The train was tiring. One has to
keep alert so much in cities.
Her eyelids are drooping.
JACK
Ill wake you before the turn-off.
She smiles gratefully. But does not shut her tired eyes.
The CLOCK on the dash reads 12:17
70

INT. CAR- DAY

70

They drive in silence.

JACK negotiates the alpine road, leaning into the steering
wheel, shifting up or down a gear and glancing from the
mirror to the road and back again.
JACK secretly scans her, taking in every detail: her lowheeled shoes are expensive but she wears no jewelry except a
Seiko wrist-watch on a metal strap and a thin gold chain at
her throat. Her tan is light, her slightly exposed breasts
and her legs shapely and recently waxed.

"The American" June 21st, 2010

page 41.

But JACK doesnt look at her like an object of desire. He

looks at her cautiously, with an expression that says: this
young woman is ruthless. If she were not, she wouldnt be
alive.
Thats when he notices the CAR in his rear view mirror.
Its too far behind to decipher the make or model and it
weaves in and out of frame as JACK negotiates the alpine
road.
MATHILDE
Are we nearly there?
JACK
The turn-offs up ahead.
His eyes flick to the rear view mirror. Hers to the wing.
She spots the CAR behind. JACK catches her eye questioningly.
MATHILDE
I told you I work alone.
JACK slows just before the turn off and pulls over.
Then stops.
Now its MATHILDEs turn to look questioning.
JACK
Just a precaution.
He gets out of the car and pretends to urinate.
The CAR behind passes at speed.
A gray Fiat Punto. The driver neither slows down nor looks in
their direction.
JACK gets back in the car.
And turns off up a dirt track that disappears into the
meadows.
71

EXT. WOODS- DAY

71

JACK parks his FIAT in the shade of a TREE, near the river.
This is the exact spot where he came to test the weapon.
MATHILDE gets out of the car and stretches.

"The American" June 21st, 2010

page 42.

MATHILDE
Does this place get many visitors?
JACK
This is the only way to get here.
MATHILDE
Did you check it for footprints and
tire tracks?
JACK
Three days ago. I walked along the
river in both directions.
MATHILDE
Lets check again.
72

OMITTED

72

"The American" June 21st, 2010

73

page 43.

EXT. RIVER - DAY

73

MATHILDE
You have tested the gun here
before?
Yes.

JACK

MATHILDE surveys the shimmering water.

Takes a deep breath of mountain air.
MATHILDE
Its beautiful here.
She sits on a tree trunk not far from the waters edge. Her
dress dips between her legs as she leans forward and rests
her forearms on her knees, tired from the journey and the
long, sultry walk.
MATHILDE
I wish everywhere could be this
tranquil.
JACK looks at her, sensing a kindred spirit.
JACK
Youd be out of a job.
MATHILDE
You dont like the peace?
JACK
Its hard to like something you
know nothing about.
74

EXT. RIVER- LATER

74

The WICKER PICNIC HAMPER is sitting on a rug by between the

parked car and the lake. From the hamper, JACK removes:
-a polystyrene cool box packed with ice and containing a
chilled bottle of Aspirinio
-a loaf of coarse bread
-two clods of mozzarella
-150 gms of prosciutto
-100 gms of salame
-a large jar of pitted green olives

"The American" June 21st, 2010

page 44.

-a Thermos of sweet black coffee

-and, wrapped in cloth squares, the disassembled parts of the
improved M14 semiautomatic rifle.
As MATHILDE starts to assemble the weapon with easy skill,
JACK checks the stopwatch on his Omega.
It takes her approximately twenty-six seconds to assemble the
bastardised gun- including TELESCOPIC SIGHTS and SOUND
SUPPRESSOR- and a further three seconds to slot the empty
magazine into the base of the hand grip, snuggle the butt to
her shoulder and place her eye beside the rubber cup on the
sight.
Shes almost ten seconds faster than JACK.
He stares at her: not an alluring young woman with good legs
and nice tits but an extension of the weapon itself and
everything it means.
Rounds?

MATHILDE

JACK
Ive made up two sorts.
He reaches into the PICNIC HAMPER.
JACK
Ten expanding and ten jacketed.
MATHILDE
I should like twenty of each.
Its an order: her voice is emotionless.
MATHILDE
And ten explosive.
JACK
Not a problem.
He hands her the practise ammunition in two small cartridge
boxes: the shells snug in little plastic trays.
JACK
Will mercury do?
She smiles almost imperceptibly.
MATHILDE
Mercury will do very nicely.
She puts the gun down butt-first on the blanket.

"The American" June 21st, 2010

page 45.

MATHILDE
Ive brought my own target.
She reaches into her BLUE CANVAS SPORTS BAG and removes a
life size SUNFLOWER made of metal and plastic. She slots the
three sections together and fixes them into a plastic base.
The plant is approximately six foot tall and the sunflower
itself is roughly the size of a human head.
JACK
I know a place where we can use it.
Follow me.
And gets up, walks towards a tiny path thru the high grass.
MATHILDE follows without speaking. In her wake flutters a
confetti of autumn leaves as her loose summer skirt sweeps
across the forest floor.
JACK
Watch out for vipers.
He keeps his voice down but she hears him nonetheless, waving
with her right hand: the hand holding the AMMUNITION BOXES.
Shes no fool.
Neither is he. He has the gun.
He stops and points at a very overgrown field on a hill,
surrounded by trees.
Mathilde walks on and at ninety meters distance she stops
besides some purple trumpet blooms and plants the
SUNFLOWER.
Returning to Jack, he hands her the weapon.
MATHILDE
Muzzle velocity?
JACK
At least three hundred and sixty
miles per hour. Thats including
twenty off the top for the sound
suppression.
Impressed, MATHILDE looks at the marks on the metal where the
serial number has been burned off.
RUGER?
M14.

MATHILDE
JACK

MATHILDE
Ive not had one before.

"The American" June 21st, 2010

JACK
Youll find it easy. Ive rebalanced it for the weight of the
suppressor. The fulcrum is two
centimetres forward of the grip
now. Which wont matter if youre
firing- and Im guessing you arefrom a fixed position.

page 45A.

"The American" June 21st, 2010

page 46.

No answer.
JACK
No major recoil issues. You should
be able to hold onto any target.
Even the smallest.
MATHILDE puts two jacketed rounds into the magazine and
stands with her feet apart, braced. The breeze beneath the
walnut tree ruffles her summer skirt and presses it against
her legs.
CHOOP! CHOOP!
For a moment longer she holds on the target then lowers the
gun, holding it under her arm like a lady on a shire hunt
would hold a 12 bore.
MATHILDE
Youve done a good job, Edward.
Thank you. Thank you very much.
She makes a minute adjustment to the telescopic sight, with
her fingernail. She cant have turned the vertical screw more
than one notch.
Then she fully loads and fires again.
CHOOP-CHOOP-CHOOP!
JACK lifts his binoculars and looks at the target. In the
centre of the sunflower head are three small HOLES.
With the magazine containing the remaining 28 jacketed
rounds, MATHILDE takes aim again.
CHOOP-CHOOP-CHOOP-CHOOP!
Through his binoculars, JACK can see the empty space where
the sunflower head used to be, the scarred stones behind and
the little scraps of yellow plastic floating on the warm air.
Good shot.

JACK

MATHILDE says nothing. She fills the magazine with expanding

rounds, snaps it in place and hands the weapon to JACK.
MATHILDE
Go to the Flower and fire near me.
Hes taken aback.
Say...

MATHILDE

She looks round for a target.

"The American" June 21st, 2010

page 47.

MATHILDE
...two steps away from me. Two
bursts. Five seconds apart.
Slowly, JACK walks down to the stones, turns and looks back.
Mathilde is well hidden in the deep shade of the trees. In
the poor light all he can see is her dress and her blouse. He
wipes the sweat from his eyes and shuts them tightly.
This is not just a weapon test... its a test of trust.
He opens his eyes again.
MATHILDE turns to face him as he shoulders the weapon.
He aims the M14 at the TREE right beside her.
Holds his breath.
And pulls the trigger.
CHOOP! CHOOP!
MATHILDE remains untouched.
So do the LEAVES.
Troubled, JACK blinks rapidly and counts to five.
Then he fires again.
CHOOP! CHOOP! CHOOP!
Through the sight, we see the leaves fall and the branch
moving sideways.
Relieved, JACK walks slowly back towards Mathilde.
MATHILDE
The sound suppression is superb. I
couldnt place the direction of
fire.
From her sports bag she removes a plain brown MANILLA
ENVELOPE.
MATHILDE
I shall require the rounds and the
weapon by the first of next month.
In the meantime would you tighten
the adjusting screws on the sight,
they are too loose. And shorten the
stock by two centimetres. I also
want a thirty round magazine.

"The American" June 21st, 2010

page 48.

JACK
Youll upset the balance.
MATHILDE
Im prepared to accept that.
JACK
Then Im happy to oblige.
MATHILDE
What about the case?
JACK
A briefcase. Samsonite. Standard
pattern in black with combination
locks. Is there a number youd
prefer?
She thinks.
MATHILDE
Zero-one-four.
JACK
Zero-one-four.
MATHILDE hands him the ENVELOPE and disassembles the weapon.
JACK wraps the M14 parts up in their cloth squares and places
them in the bottom of the PICNIC HAMPER.
MATHILDE
What do you want done with these?
She has collected up the spent CARTRIDGE CASES.
JACK
Throw them in the water.
They walk back to their picnic place.
She walks down to the river and hurls the brass cases in.
Again, the beauty of the place transfixes her.
By the time she turns back, JACK has laid out the picnic.
MATHILDE
How thoughtful.
She reads the label on the bottle of wine.
MATHILDE
Aspirinio. I dont know it.
JACK
Like Moscata but frizzante.

"The American" June 21st, 2010

Deftly he uncorks a bottle.

page 48A.

"The American" June 21st, 2010

page 49.

And pours it into the grass.

JACK
It wouldnt look right if the
picnic wasnt touched.
MATHILDE
You chilled the wine. I thought...
JACK
It had to be chilled. Theyre
Italian cops.
MATHILDE
(disappointed)
You think of everything.
JACK
Im paid to. Dont move.
She freezes.
JACK points slowly.
On her tanned forearm is a BUTTERFLY.
Wow.

MATHILDE

They both stare at the insect, transfixed.

MATHILDE
Its so beautiful.
JACK
Its endangered.
She looks up at him. Like its a revelation she says:
MATHILDE
You like coming here.
JACK
It serves its purpose.
MATHILDE
Youve never taken a woman here
before?
JACK is momentarily taken aback.
No.

JACK

The BUTTERFLY flits away.

"The American" June 21st, 2010

page 50.

MATHILDE
(sadly)
Perhaps you do not have a woman in
your life. It is not easy for us to
keep relationships. Not in our
world.
JACK
I have an acquaintance.
A beat.
She waits for him to say more.
He doesnt.
MATHILDE
Friendships are transitory. It
is...
Suddenly, theres movement in the bushes.
JACK snatches up his BINOCULARS. MATHILDE scans the tree
cover.
Wild boar.

JACK

He hands her the binoculars. And hurriedly packs up the

picnic.
75

INT. CAR- DAY

75

Her sunglasses back on, MATHILDE watches the meadows slip

backwards in the nearside wing mirror as the car bumps back
down the alpine track.
MATHILDE
I wish you hadnt brought me here.
Again... a real sadness.
JACK glances at her.
MATHILDE
This is the sort of place I wish
Id discovered by myself. Then
maybe one day I could have retired
here. But you already know it.
JACK is touched.
JACK
Im much older than you. By the
time youve retired Ill be dead.

"The American" June 21st, 2010

76

page 51.

INT./EXT. RURAL TRAIN STATION- DAY

76

The FIAT pulls up. Mathilde wakes as the car brakes

77

INT. FIAT- DAY

77

The YOUNG WOMANs manner is once more tense and formal.

MATHILDE
We meet as before? Same time next
week?
Mathilde briefly and accidentally drops her Belgian accent to
reveal her American accent. Jack realizes she speaks like an
American and his head spins.
Probably.

JACK

Mathilde opens the door and gets out. Jack does the same and
walks to the car boot. He is there partly to make sure that
she doesnt take the gun as well as her own bag.
The distant sound of a DIESEL ENGINE. The train is
approaching.
MATHILDE
Alright, see you Saturday.
He nods and opens the car boot. She retrieves her bag.
MATHILDE
Thank you for a lovely day. Mr.
Butterfly.
She leans forward...
...and kisses him lightly on the cheek, her lips light and
quick on his stubble.
MATHILDE
You must take your mistress to the
meadow for a picnic.
She walks towards the platform and vanishes around the corner
of the station building.
JACK watches her while she disappears and gets into his car.
And drives off.
Confused.

"The American" June 21st, 2010

78

page 52.

INT. CASTEL DEL MONTE, LOCAL BAR- NIGHT

78

Two OLD MEN drinking beer at the bar. Two more at a table,
playing Scopa with old fashioned Trentine playing cards.
Sitting at the back of the room, JACK stares at a shot of
Grappa.
Above him, mounted on the wall, is a TELEVISION. On the TV is
a Western: Charles Bronson and Henry Fonda in ONCE UPON A
TIME IN THE WEST.
JACK downs his shot, gets up and walks over to the bar. Pays.
The BARMAN nods at the screen.
BARMAN
Sergio Leone. Italiano.
JACK turns and looks.
HENRY FONDA in close-up, is about to shoot a red headed BOY
of seven in the head.
JACK stares. Just at the moment that the gun goes off...
...JACK turns away.
79

INT. BROTHEL, VIA LAMPEDUSA- NIGHT

79

CLARA and JACK are naked.

JACK tries to kiss her on the lips but CLARA turns away: just
enough to let him know this is against the rules.
JACK kisses her neck. Her breasts. Her stomach.
As he moves his head between her legs, her fingers (already
ensnared in his hair) tighten their grip, stopping him from
going further.
JACK looks up at CLARA, across her belly, and she looks back
at him, her expression fixed yet curious.
Against her rules but not, we sense, against her wishes, JACK
kisses CLARA softly, tenderly, deeply until she is moving
against his tongue, using her sex like a mouth to kiss him in
return.
He then turns her over by moving her legs around and
positions himself behind her.
CLARA
Careful, careful!! (slight
resistance)
JACK starts slowly and she starts enjoying it.

"The American" June 21st, 2010

page 52A.

CLARA comes, not wanting to.

Preoccupied, JACK does not. Instead he kisses her.

"The American" June 21st, 2010

80

page 53.

INT. BROTHEL, VIA LAMPEDUSA- NIGHT

80

JACK is in bed with CLARA, covering himself with a sheet.

Morboso?

CLARA

She looks at him.

CLARA
(with certainty)
Morboso.
Morboso?

JACK

CLARA
Morboso is like... when you cant
stop thinking about something.
He stares back at her: wordless.
CLARA
Or someone.
A long pause: her eyes searching his. JACK gets out of bed
and stands by the window, looking through the blind, down
into the street.
JACK
You neednt act.
Act?

CLARA

CLARA watches him, confused but fascinated. JACK is getting

dressed.
JACK
You might have to act with your
other clients but you dont have to
pretend anything at all with me.
She lights herself a cigarette.
JACK
I want you to be yourself with me.
I came here to get pleasure, not to
give it.
He hands her CASH.
She counts it.

"The American" June 21st, 2010

CLARA
Maybe I pretend very well. I got
more tip than the other girls
usually get.

page 53A.

"The American" June 21st, 2010

page 54.

He walks to the door.

Pauses.
JACK
I dont sleep with the other girls.
And leaves.
81

INT. JACK'S ROOM- NIGHT

81

JACK is asleep.
He is not alone.
On the floor next to the bed lies:
INGRID.
Pale as death.
INGRID slowly sits up.
* * *
JACK wakes up suddenly, gasping.
The floor is empty, JACKs sheets twisted and damp.
82

EXT. CASTEL DEL MONTE- DAWN

82

SUNRISE...
...over one of the most desolate and beautiful landscapes in
all Italy.
83

INT. JACK'S ROOM- DAWN

83

In the gun-metal light of dawn, tricky work:

-cartridges taken apart
-tiny holes drilled in the nose to a depth of precisely 3mm
-the hole half-filled with mercury
-and plugged with a drop of liquid lead.
JACK is converting jacketed ammunition into EXPLOSIVE
BULLETS.

"The American" June 21st, 2010

84

page 55.

INT. CHURCH- DAY

84

Outside, the sun is merciless. Inside, JACK has taken refuge

in the cool of the church. He is alone. He is not praying.
Just staring impassively at the gaudy crucifixion: at the
thorns and the nails and the running blood.
Footsteps. JACK checks behind him.
Its FATHER BENEDETTO: dressed for Mass.
FATHER BENEDETTO
Ive been looking for you.
He mops the sweat from his brow with the hem of his Soutane,
takes JACK by the arm and leads him to one side, away from
the light of the candles.
FATHER BENEDETTO
A stranger was here.
A beat.
FATHER BENEDETTO
He came to the church this
afternoon.
Another beat.
FATHER BENEDETTO leans close and whispers:
FATHER BENEDETTO
If you live in Italy, and you are a
man of the cloth, you meet many
people. Besides, I lived once in
Napoli. If you live in Napoli you
know the difference between a fat
wallet and a... custodia per armi
di spalla. How you say in English?
JACK
Shoulder holster.
Si.

FATHER BENEDETTO

JACK glances up and down the aisle.

OLD LADIES are dribbling into church in twos and threes.
The BELL for mass starts ringing.
JACK
Youre a true friend, father.
FATHER BENEDETTO
(shrugs)
Im a priest.

"The American" June 21st, 2010

page 56.

85

OMITTED

85

86

EXT. CASTEL DEL MONTE, STREETS - NIGHT

86

JACK walks down the streets towards the town square.

87

EXT. CASTEL DEL MONTE, TOWN SQUARE- NIGHT

87

A Fiat Punto is parked just off the square. JACK immediately

notices the car and its occupant. He hesitates and then
decides to walk on towards the bar, knowing the cars
occupant will spot him.
88

INT. CASTEL DEL MONTE, LOCAL BAR- NIGHT

88

JACK is drinking a coffee.

He has a pretty good view of the car and the young man
sitting in it. JACK knows the guy can see him too.
The BARMAN hands JACK his change.
BARMAN
Letter from a friend.

BARMAN
Lettera da un amico.

And hands him a small white ENVELOPE.

JACK turns casually away from the BARMANs prying eyes and
opens the envelope with extreme caution.
Inside is a folded CUTTING. Its from the Swedish Daily
newspaper ........... JACK unfolds the cutting. We catch a
glimpse of:
-Ingrids winter house.
-A police line.
-Three COVERED BODIES in the snow.
JACK slips the cutting in his pocket and looks outside.
The car is empty. The YOUNG MAN has disappeared. JACK
hesitates. Then decides to make a move. He grabs three SUGAR
CUBES from a silver bowl on the bar and exits.

"The American" June 21st, 2010

89

page 57.

EXT. CASTEL DEL MONTE, TOWN SQUARE- NIGHT

89

JACK leaves the bar, turning left and walking purposefully

down the street.
90

EXT. CASTEL DEL MONTE, STREETS- NIGHT

90

Its a warm Autumn night. The YOUNG MAN follows JACK.

JACK turns down a dark, deserted alleyway.
The YOUNG MAN hesitates.
His right hand moves casually to his jacket pocket.
And he follows.
91

EXT. ALLEYWAY- NIGHT

91

Were with the YOUNG MAN as he stalks his prey through the
mediaeval maze of streets...
We end up in the narrow alleyway that JACK photographed on
his first day in town.
Up ahead, disappearing round a distant bend, we catch a
glimpse of JACK, his heels CLACKING on the cobbles.
The YOUNG MAN follows swiftly, his trainers silent. He gets
to a crossroads where FOUR NARROW ALLEYWAYS- all identicalconverge. The YOUNG MAN is unsure which alleyway to take.
The streets are empty.
He listens.
From an upstairs window he can hear the soundtrack of a late
night film on television. Its a romantic film, the violins
muffled and sad with longing.
From another alleyway comes the sound of SAVAGE BARKING. The
YOUNG MAN looks around for the source of the barking, but the
streets are empty.
Suddenly, the barking stops.
The YOUNG MAN looks confused.
From his right hand jacket pocket we hear the unmistakable
CLICK of a cocking mechanism.
92

EXT. COURTYARD- NIGHT

92

We recognise the secret courtyard: the one reached by means

of the hidden archway.

"The American" June 21st, 2010

page 58.

With one hand, JACK feeds another SUGAR CUBE to the MONGREL.
With the other hand, he holds his WALTHER behind his back...
...and cocks it.
93

EXT. ALLEYWAY- NIGHT

93

The YOUNG MAN is walking on, past the hidden archway,

scanning the CROSSROADS ahead, unsure which of the possible
alleyways holds his prey.
JACK emerges from the HIDDEN ARCHWAY and walks quickly up
behind him.
JACK has removed his shoes and his bare feet are silent.
He has thirty metres to cover. The gun hangs heavy in his
right hand. Its fitted with a TAC 65 SOUND SUPPRESSOR. He
raises his right hand.
Twenty metres.
The gun is pointing at the YOUNG MAN.
Fifteen metres.
His finger takes up the slack of the trigger.
Twelve meters.
Then:
A VESPA turns into the alleyway behind JACK, its headlights
on full beam.
JACK drops his right hand and thrusts his silenced WALTHER
deep into his jacket pocket.
The YOUNG MAN looks his way.
JACK is outlined by the mopeds beam of light.
The two men are face to face, within a stone throw of each
other.
The YOUNG MANs eyes widen with fear.
The VESPA hurtles towards JACK.
The MAN ON THE VESPA is wearing SUNGLASSES.
The YOUNG MAN starts to panic.
BANG!
The VESPA misfires.

"The American" June 21st, 2010

page 59.

Mistaking the sound for gunfire, the YOUNG MAN bends down and
fires back.
We hear the sound of a single suppressed shot: CHOOP!
JACK dives into an alleyway and hides behind a wall.
The BULLET grazes the FRONT SUSPENSION of the VESPA and
lodges in the REAR COWLING.
The MAN ON THE VESPA swerves and crashes, hitting a stone
staircase.
JACK looks around.
The YOUNG MAN has disappeared.
The MAN ON THE VESPA is completely unconscious.
The front wheel of his VESPA slowly turns, squeaking.
Swiftly, JACK puts on the MANs SUNGLASSES.
Then grabs hold of the battered VESPA...
94

EXT. CASTEL DEL MONTE,

MEDIAVEVAL MAZE- NIGHT

94

JACK rides the VESPA barefoot, turning left and right without
hesitation, through archways, down steps, dropping level by
level, cursing in time with his jagged breathing until...
95

EXT. CASTEL DEL MONTE, TOWN SQUARE -NIGHT

95

JACK emerges from a narrow street.

Hes on the VESPA, looking for the young man.
95A

EXT. CASTEL DEL MONTE, VILLAGE SQUARE - NIGHT

95A

THE YOUNG MAN runs to his car, gets in, suddenly HEADLIGHTS
blaze as the Fiat Punto drives off and heads out of town.
JACK comes round the corner, turns and goes after the car as
we smash cut to:
96

EXT. CASTEL DEL MONTE, OUTSKIRTS OF TOWN- NIGHT

JACKs top speed is 70 Km.
The Fiat Punto gleams black in the streetlight and is well
ahead of Jack.

96

"The American" June 21st, 2010

page 60.

JACK doesnt stand a chance if he doesnt act straight away.

He reaches for his pistol, from his belt at the back, with
his left hand.
JACK shoots once, hits the rear window and rearview mirror.
The Fiat Punto swerves left, hitting the trash cans lining
the side of the road. The car brakes to avoid crashing into
the right corner at the road-junction. The car comes to a
temporary halt and backs up to turn to the left. The car
takes off again like a rocket. JACK is now right next to him
and aims again, shooting at the front right side tire. The
car violently swerves right and forward and hits the low wall
- the car crashes sideways into the wall. As a result, the
Vespa hits the car.
JACK gets up unsteadily. Hes badly scraped but otherwise
unhurt. The crash has made his gun fly thru the air, it must
be somewhere on the road.
He walks around the smashed up Fiat Punto. (shot as the POV
of the driver)
Inside, the YOUNG MAN groans and twitches, locks his doors.
JACK tries to open the driver door unsuccessfully. He bends
down to pick up a stone from the roadside.
The YOUNG MAN goes for what might be a gun but JACK smashes
the car window with the stone and punches the YOUNG MAN in
the face.
Grabs him by the head......and breaks his neck.
He looks for his gun on the road, finds it, and walks away
back in the direction of the town.
JACK gets into his own car and drives off.
97

EXT. LAQUILA, TOWN SQUARE- NIGHT

97

JACK is on the phone.

JACK
The Swedes found me.
A beat.
PAVEL
Stay put. Finish the job.

JACK
How did they know I was here?
PAVEL
Because youve lost your edge,
Jack.

*
*

"The American" June 21st, 2010

98

page 61.

EXT. LAQUILA- THAT NIGHT

JACK comes out of a pharmacy with a disinfectant and
bandages...
...and quite literally bumps into CLARA.
JACK winces with pain.
CLARA
Buongiorno!
JACK
Buongiorno.

98

"The American" June 21st, 2010

page 62.

CLARA
You are hurt?
JACK
I came off my scooter.
CLARA
Madonna! and NO shoes!
JACK
Yeah, well. Its nothing to worry
about really. Maybe a bruised rib.
Una costola incrinata?
CLARA
Stronzo! Let me help you!
Im fine.

JACK

CLARA
But you have to go to the hospital!
JACK
No, no, no. I have pain killers. I
just need a strong cup of coffee.
CLARA
I know a place which make the
strongest coffee in LAquila.
Her limpid brown eyes twinkle.
99

INT. CLARAS APARTMENT- NIGHT

99

A small, simply furnished kitchen.

As JACK sips a large cup of strong black coffee, CLARA cleans
a vicious welt on his right shoulder blade.
On JACKs back is an exquisite tattoo...
...of a BUTTERFLY.
CLARA
Ve bene. Tutto posto. Signor
Farfalla. [Good. Everythings OK.
Mr. Butterfly.]
His eyes open wide and he turns to her quickly.
JACK
Why dyou call me that?
A beat.

"The American" June 21st, 2010

page 63.

CLARA
You have a tattoo. On your back.
Of course.
He relaxes.
But not completely.
99A

EXT. CASTEL DEL MONTE - EARLY MORNING/ DAWN

99A

JACK drives into town, past the Fiat Punto and Carabinieri
cars. The area is taped off and the police are stopping the
cars leaving town.
100

INT. LOGGIA ABRUZZO, JACK'S ROOM- DAY

100

TINS of fruit drops: three kinds: black cherry, pineapple and

lemon. Each tin is emptied of its fruit drops.
Twenty rounds of ammunition- each round packed in silica- fit
exactly into each tin.
Expanding tipped rounds in the black cherry, jacketed in the
pineapple and explosive in the lemon.
JACK re-seals each tin with sellotape.
101

INT. LAQUILA, CAFE - DAY

101

A popular and busy cafe provides JACK with ample cover.

Sitting alone amongst the shoppers, tourists, old men and
office girls, JACK has positioned himself with his back to
the wall, next to a window with a good view of the entrance.
He is reading a copy of Il Messagero, flicking his eyes back
and forth from the cafe entrance to a small column concerning
the murder of two prostitutes in the nearby city of Chieti.
There is a knock on the window.
JACK looks up and sees, CLARA, with a girl he has not seen
before, ANNA. Clara is smiling and waving to him from
outside.
JACK beckons them to come in and they enter the cafe.
CLARA
Signor Farfalla.
Anna.

This is my friend

CLARAs eyes twinkle mischievously.

"The American" June 21st, 2010

page 63A.

ANNA offers her hand to JACK. JACK half rises like the
perfect gentlemen, folding his newspaper and accepting ANNAs
greeting.
CLARA
How are you? Feeling better?
JACK
Yes, much better thank
you...Grazie.

"The American" June 21st, 2010

page 64.

He indicates two empty chairs and sits down again.

JACK
Prego...Will you take a coffee with
me?
CLARA
Grazie but were going to see an
American movie. Anna is learning
English.
ANNA
Lui Americano?
I am.

JACK

JACK glances at CLARA. How much has she told her friend?
ANNA
I would love to go to America.
CLARA looks at ANNA and then at JACK, waiting to see if there
is any reaction. There isnt.
Beat.

"The American" June 21st, 2010

page 65.

CLARA
So perhaps we will have a drink
together soon? I am free...
Her words sound rehearsed. She considers a crowded timetable.
CLARA
...on Wednesday.
JACK
Great. Ill see you then.
CLARA
But Eduardo... Where would you like
to meet?

"The American" June 21st, 2010

page 66.

Again: rehearsed. JACK is not expecting this. CLARA looks at

him mischievously. ANNA is listening.
JACK
How about our usual place?
CLARA
Our usual place?
She feigns complete perplexity.
CLARA
I forgot. Where is our usual place?
The twinkle in her eye. Shes testing him. JACK is the
perfect gentleman.
JACK
Maybe we should try something
different...Why dont you suggest a
place?
There is no warmth in his suggestion. But CLARA doesnt care.
CLARA
Locanda Grapelli?
ANNA
Si! This is the best food in the
area.

"The American" June 21st, 2010

page 67.

JACK
Locanda Grapelli.
CLARA
Youll be there?
JACK
Ill be there.

At eight?

At eight.

CLARA
See you then, Eduardo.
JACK gets up to say goodbye.
JACK
See you then, Clara. It was a
delight to meet you Anna.
Arrivederci.
ANNA
Arrivederci, Signor Farfalla.
Anna kisses Jack swiftly and softly on the cheek.
CLARA does the same on the lips. Behind the mischief in her
eyes is something doubtful. Has she gone too far?
102

OMITTED

102

103

EXT. DOWNTOWN LAQUILA- DAY

103

From a LUGGAGE SHOP that also sells OFFICE SUPPLIES Jack buys
a black combination lock SAMSONITE BRIEFCASE, invoice books,
notepads, envelopes, metal pens and a calculator.
104

INT. JACK'S ROOM- NIGHT

104

JACK opens the black combination lock SAMSONITE BRIEFCASE and

lines the bottom and sides with lead-lined film protection
bags, cut to fit.
Into the base of the briefcase he glues pre-shaped pieces of
firm grey plastic foam. These form the pockets into which he
slots the constituent parts of the Ruger M14 semi automatic
rifle. They fit perfectly.
Over this JACK uses the HOOKS and EYES to clip a false
bottom: a tough card cover onto which are pasted the custom
made headed notepaper, invoice books, notepads and envelopes.

"The American" June 21st, 2010

page 68.

To the briefcases central divider he adds the metal pens, a

calculator and a mobile phone. He sets the combination to
014. Then shuts and locks the BRIEFCASE.
This done he sits on the bed and stares at the case. With his
work complete, he is struck by a terrible sense of emptiness.
105

INT. JACKS ROOM- NIGHT

105

Time has passed. JACK is fully clothed. He is lying in bed on

his back, staring at the ceiling. An alarm clock tells us
its 05.13 am.
106

EXT. PARCO DELLA RESISTENZA - JUST AFTER DAWN

106

A small park not far from Castel Del Montes town square.
It is just after dawn. The pine trees and the poplars are
silent. The sun is not yet up but the day is light. Sparrows
hop about, searching for crumbs.
JACK, ravaged by lack of sleep, wanders about like the demon
of a lost darkness, looking for his hole down to the
underworld.
FATHER BENEDETTO
Buongiorno! Youre up early!
Hes twenty meters away, his hand raised in half-welcome,
half-benediction.
JACK
I just needed some air.
They greet one another and FATHER BENEDETTO falls into slow
step with JACK. The priest walks with his hands behind his
back. JACK with his hands in his pockets.
FATHER BENEDETTO
I walk here to meditate. Once a
week. The trees are like the
Stations of the Cross: by certain
trees I thank God for certain
favours he has granted me. For
example, here by this pine, I thank
him for the many friendships I have
and ask him to look after those of
my friends who are sinners.
They reach a Cypress tree and FATHER BENEDETTO bows his head
in prayer.

"The American" June 21st, 2010

He gives a small sideways glance at JACK.
JACK
All men are sinners.
FATHER BENEDETTO
Some are greater sinners than
others. And those who seek peace
have much sinning in their history.
JACK
I dont seek peace.
Until now.
Maybe.

FATHER BENEDETTO
JACK

FATHER BENEDETTO
Forgive me. This is the priest in
me speaking. But you have done much
sinning, Signor Clarke. You still
do.
JACK
Well you know, I see a whore. Shes
young enough to be my daughter.
FATHER BENEDETTO
I do not refer to the sins of
carnality. But to the deadly
sins...

page 69.

"The American" June 21st, 2010

page 70.

JACK
Arent all sins equal?
FATHER BENEDETTO
We are not discussing theology, my
friend, but you.
JACK is silent.
FATHER BENEDETTO
What job do you do, Signor? Are you
on the run, as they say?
JACK
Everyones on the run from
something.
FATHER BENEDETTO
Some men watch some of the shadows.
You watch them all.
JACK
Everything Ive done, Ive had good
cause to do.
FATHER BENEDETTO
Do you wish to tell me?
Confess?
Yes.

JACK
FATHER BENEDETTO

JACK
For what reason?
FATHER BENEDETTO
For your own sake. Perhaps I can
pray for you?
A YOUNG COUPLE kissing on a nearby bench are part hidden by
the shade of the trees.
FATHER BENEDETTO
I wonder how many bastards have
been made here?
A change of pace.

"The American" June 21st, 2010

page 71.

FATHER BENEDETTO
You work in metal. You are given
some steel by Fabio, the car
doctor.
They stare at one another. JACK wants to confess. He does not
know why. But he doesnt.
The couple catches JACKs eye and he does something were not
expecting:
JACK
Was he conceived here father?
Fabio. The car doctor?
FATHER BENEDETTO is motionless.
FATHER BENEDETTO
Why do you ask me that?
JACK
You have each others photos, you
have each others eyes. Where was
he conceived, Father? Under one of
these trees? At night? Like all the
other bastards?
There is a very, very long pause. FATHER BENEDETTO stares up
at JACK with extraordinary intensity.

"The American" June 21st, 2010

page 72.

FATHER BENEDETTO
I do not remember, Signore. It was
many years ago.
FATHER BENEDETTO walks. JACK follows. A gust of wind makes
dust swirl from the gravel path. The two men do not speak
again until they reach the next set of Cyprus trees.
FATHER BENEDETTO
In the end it is I who confesses to
you.
JACK
And you want me to do the same?
FATHER BENEDETTO
Perhaps. For your own good. You
cannot doubt the existence of Hell.
You live in it. It is a place
without love. As for me, I go about
my daily duties because the town
requires it of me. Some know what
you know. Perhaps I have no right
to wear these robes. But I do have
a heart full of a fathers love.
Something close to His heart! And
for that I am both grateful and
happy.
On JACK.
FATHER BENEDETTO
What do you have, my friend?
Another gust of wind. The priest looks up into JACK's face.
The assassins eyes are red and stinging. Perhaps its from
the dust.
107

INT. JACK'S ROOM- EVENING

107

JACK dresses very carefully for dinner. He checks himself in

the mirror.
It is clear he wishes to make a favourable impression upon
CLARA.
108

INT. LOCANDA GRAPELLI- EVENING

108

Of the thirty or so candle-lit tables that dot the

restaurant, more than half are occupied by romantic couples.

"The American" June 21st, 2010

page 73.

JACK scans the tables and checks his watch. Its shortly
after seven pm and theres no sign of CLARA.
He waits. Then turns to leave.
Ciao.

CLARA (O.S.)

She kisses him once on the lips. Shes hot and flustered.
Shes been rushing.
CLARA
I did not think you would come.
JACK
I wasnt sure you meant me to.
CLARA looks doubtful. Its the same look she gave him at the
cafe. She is breaking the golden rule of prostitution.
Getting involved. Her heart is pulling one way and her head
another.
Certo.

CLARA

A WAITER approaches.
Per due?

WAITER

Judging by his disapproving tone, the WAITER seems to know

what CLARA does for a living. CLARA senses this immediately.
Si.
109

CLARA

INT. LOCANDA GRAPPELLI- NIGHT

109

CLARA and JACK sit at their table, the WAITER lights their
candle and deposits two menus peremptorily.
CLARA
Una bottiglia di acqua minerale non
gassata e... una Parasini, per
favore.
Completely ignoring her, the WAITER addresses JACK with a
wink.
WAITER
Menu in Inglese?
A beat.
JACK
No, grazie.

"The American" June 21st, 2010

page 74.

WAITER
Tedesco? Olandese?

CLARA
(to the WAITER, in
ITALIAN)
He speaks Italian. So do I.
Listen:

CLARA
Parla italiano. Come me.
Quindi ripeto:

She repeats her order, articulating each word emphatically,

like a teacher to a slow school child:
CLARA
Una bottiglia di acqua minerale e
una Parasini, per favore.
She isnt upset. Its just her way of letting both men know
that shes in charge.
The WAITER turns to her, deferring to her strength of
character.
Gassata?

WAITER

CLARA
Non gassata.
He nods with some genuine deference and leaves.
CLARA sighs.
CLARA
(mostly to herself)
Gente di paese.
JACK
Small towns.
JACK smiles. CLARA smiles back. They have this contempt in
common.
The WAITER reappears and pours a thumbful of wine. It is pale
red in colour and frizzante. At CLARAs insistence, JACK
tastes it. It is dry and has a tar-like aftertaste.
CLARA
Parasini. From Calabria. It is
good, you will agree?
JACK
It is. Very good.

"The American" June 21st, 2010

page 74A.

He looks at her and- for a brief moment- he undergoes what is

a unique experience for him: a positive longing to repeat
this brief moment many times in the future.

"The American" June 21st, 2010

page 75.

CLARA catches the glow of his warmth and blossoms.

CLARA
Can I ask you something, Eduardo?
Sure.

JACK

CLARA
You are married?
No.

JACK

A beat.
JACK
I doubt any of the couples here
are. With the exception of the
Germans at table seven. Shes
wearing a wedding ring and they
havent spoken a word to each other
for eight and half minutes.
CLARA
I was sure this was your secret.
JACK
What makes you think I have a
secret?
Theres something desolate about this that JACK cant hide.
CLARA
I do not think you are ordinary
man. I think you are good man. But
you have secret.
A GYPSY approaches, offering CLARA a ROSE. She refuses
firmly.
CLARA
He thinks we are couple.
JACK signals to the GYPSY and buys CLARA a ROSE.
JACK
Why spoil the illusion?
She looks at him and smiles.
CLARA
As long as we know it is an
illusion.

CLARA
Gi, basta saperlo.

"The American" June 21st, 2010

page 76.

Her smile is only a little bit sad.

Nonetheless, JACK doesnt know what to say.
They are saved by the appearance of the WAITER.
WAITER
Buona sera. Desidera?
CLARA orders, full of Italian charm, putting JACK at his
ease. He watches her contentedly: the way she talks and
moves.
110

EXT. CORSO FREDERICO- NIGHT

110

JACK and CLARA are walking. They look like film stars. CLARA
slips her arm through his. They say nothing. The pedestrian
shopping street is thronging with other couples. CLARA spots
a GELATARIA and leads JACK towards it.
111

EXT. STEPS- NIGHT

111

JACK and CLARA are sitting on some stone steps in the main
square. CLARA is holding a magnificent ICE CREAM CONE. Shes
a little bit drunk.
Woooow!

CLARA

She eats, savoring the ice cream. JACK watches, savoring her
pleasure.
How is it?
Bitchin.

JACK
CLARA

JACK
(amused)
Bitchin?
CLARA
Its- come se dice- slang, no?
Ecco.
She licks a tongue-ful, dripping with nuts and chocolate
sauce, then holds the CONE out to JACK.
No thanks.

JACK

CLARA
Come on, Eduardo!

"The American" June 21st, 2010

page 77.

He hesitates. Takes out his gum. Doesnt know where to put

it. CLARA grabs it and wraps it in her paper napkin. JACK
smiles. Eats.
CLARA
It is good, you will agree?
JACK
(his mouth full)
I will agree.
CLARA
(sensing his teasing)
My English is nice!
JACK
Its bitchin.
CLARA
(defending herself)
You know how to swear in Italian?
JACK
Sure. Bastardo. Imbecille.
CLARA
Imbecille? Eduardo! Try: In cula
sorete.
JACK
In cula sorete?
CLARA
Fuck your sister.
Scusa!

CLARA

JACK
I guess Ive led a sheltered life.
Of sorts.
CLARA
Shell-tered?
JACK
Too much work.
CLARAs CELL PHONE starts to ring. Its on silent, but the
screen is flashing, just visible where it sticks out of her
handbag. CLARA looks down at the phone.
CLARA
Too much work.
She turns the phone to silent. And looks up at JACK.

"The American" June 21st, 2010

CLARA
I dont apologise, Eduardo.
For what?

JACK

CLARA
For this I do. My job.
JACK
Never apologise.
He means it.
A beat.
CLARA
Except this job is full of testa di
cazzo.
Mine too.
Lei?

JACK
CLARA

JACK
Si. In fact, Im retiring.
CLARA
But you are too young to...
pensione?
Retire?
Si.

JACK
CLARA

JACK
Youre flattering me.
Si!

CLARA

JACK
Would you be flattering me if I
wasnt a client?
Hes put CLARA on the spot.
JACK
Am I a client?
CLARA takes a deep breath.
CLARA
This say yes.

page 78.

"The American" June 21st, 2010

page 79.

She points at her head.

This...

CLARA

She points at her heart.

CLARA
This cannot be for sale. But I am
not want to... come se dice?
JACK
Give it away.
She looks at him.
JACK studies her, searching for his own feelings.
CLARA
Stronzo! I buy you a present!
She fishes about in her handbag...
...and produces a SILVER BOX.
JACK unwraps the shiny paper. Inside is a plastic case like
the sort you put engagement rings in. Inside the case is a
BADGE, hand-painted, depicting the symbol of the region: the
eagle of L'Aquila. JACK sticks the BADGE in his lapel.
Grazie.

JACK

An embarrassed beat.
CLARA kisses him.
JACK
Grazie, Clara.
CLARA
Prego. Eduardo.
A pause.
CLARA
My appartamento is not far from
here.
112

INT. CLARAS APARTMENT- MORNING

112

JACK opens his eyes.

He sits up like a shot, doesnt immediately know where he has
woken up.
We hear CLARA in the shower.

"The American" June 21st, 2010

page 80.

JACK sits up and looks around at the little room partly like
a curious lover, partly like a very alert man.
Beside him, the drawer of the bedside cabinet is open
slightly. Inside is a plethora of accessories: tissues, eye
make-up remover, a chocolate bar, a notepad, a vibrator and a
RED PURSE.
Curious JACK lifts the RED PURSE. Its surprisingly heavy. He
opens it. Inside the RED PURSE...
...is a Beretta single action Model 950B Pistol.
Just at that moment we hear CLARA turn the shower off.
JACK shuts the drawer and pretends to be asleep.
113

EXT. CASTELVECCHIO, PAY PHONE- DAY

113

JACK is on the phone.

113A

JACK
I need more time.

*
*

PAVEL
Youre testing my patience.

*
*

JACK
Give me a few days.

*
*

PAVEL
Ill give you two days... then you
make the drop.

*
*
*

A beat.

PAVEL hangs up.

EXT. ROME - STREET -DAY

113A

PAVEL talks on his cell phone.

We cut back and forth between them.

PAVEL
Another Swede?

JACK
I need a few days.
PAVEL
Not a good idea, Jack. Weve got to
make that drop.

"The American" June 21st, 2010

page 80A.

JACK
If we make the drop. I gotta make
sure my side of the streets clean.
PAVEL
Listen to me, Jack. The Belgians
are already jittery. [A BEAT] Our
pretty young client and her
associates think someone might have
put a tail on you.
JACK pops a piece of gum.
JACK
Where are they getting their
information from?

"The American" June 21st, 2010

page 81.

PAVEL
Who knows. But I told em. I told
em if there was even the slightest
chance security had been breached,
youd deal with it immediately. I
told em you were the most security
conscious professional I know. I
told em no one gets close to you.

JACK
They dont.
PAVEL
Exactly. If I cant trust you to
keep a tight lid on operations then
who can I trust?

JACK is tense. Every word is carefully enunciated:

JACK
Ive never jeopardized an operation
in my life.
PAVEL
You dont have to tell me that,
Jack. I know you. You shot your own
girlfriend.

ECU on JACK.
Hes silent.
PAVEL
Clean up what you have to, Jack.
Ill stall them for two days. Then
you make the drop.

JACK hangs up slowly, lost in thought, jaw muscles grinding.

114

EXT. LAQUILA, JACKS CAR- EVENING

114

JACK is sitting in his parked car looking through the Nikon

with the TELEPHOTO LENS.
His POV:
Of CLARA seated in a cafe talking to a slick, tough YOUNG
ITALIAN MAN in a suit.

"The American" June 21st, 2010

page 82.

He is showing her photographs. Of what- we cannot see. CLARA

looks very, very serious.
The YOUNG ITALIAN MAN leaves. JACK watches him get into a
smart black ALFA ROMEO containing two other ITALIAN MEN. Rome
plates.
When he looks back at the cafe, CLARA has gone.
114A

INT. LOGGIA ABRUZZO, JACKS ROOM- DAY

114A

JACK opens his PICNIC HAMPER and in it he puts:

-a polystyrene cool box packed with ice and containing a
chilled bottle of Aspirinio
-a loaf of course bread
-two clods of mozarella
-150 gms of proscuitto
-and his WALTHER PPK/S.
116

EXT. LAQUILA- DAY

116

CLARA is waiting at the end of her street.

She is holding the RED PURSE. At her feet is a blue plastic
bag rounded out by a watermelon.
JACK pulls his CAR into the curb.
CLARA
Ciao, Eduardo!
She opens the passenger door, leans in and kisses JACK long
and full on the lips.
JACK
Put them in the back. Weve got a
way to go.
She puts the plastic bag in the trunk.
Inside the trunk is the PICNIC HAMPER.
117

INT. CAR-

DAY

117

CLARA climbs in and fastens her seat-belt.

She puts the RED PURSE between her legs. JACK glances at the
RED PURSE.
And drives.

"The American" June 21st, 2010

page 83.

CLARA
Where we go?
JACK
Somewhere beautiful.
CLARA
How far do we go? To Fanale?
JACK
An hour. And were not going to the
sea, were going to a river. Near
mountains.
CLARA
For a... come se dice... you have
in the back... Scampagnata...
A picnic.

JACK

She looks at him.

CLARA
A pick-nick! I have practise my
English, Eduardo. I love to have
pick-nick.
It is a beautiful day, isnt it?
It is.
118

JACK

EXT. ALPINE ROAD- DAY

118

The CAR negotiates a familiar hairpin bend.

119

INT. CAR- DAY

JACK is concentrating on the road.
CLARA
Is it more far?
JACK
Ten kilometres. Another twenty
minutes.
She pauses to work out the mathematics. Shes smart. And
puzzled. But shes not frightened. Not yet.
CLARA
Twelve kilometres? In twenty
minutes?

119

"The American" June 21st, 2010

page 84.

JACK
Were going off the beaten track.
She looks confused.
JACK
Lontano. Fuori mano.
CLARA laughs.
CLARA
You will speak Italian. One day, I
will teach you.
120

EXT. ALPINE TRACK - DAY

120

JACK turns off the main road and onto an alpine track.
This is the same route he took with the Belgian woman.
The CAR bumps and tilts on the rough terrain.
121

INT. CAR- CONTINUOUS

121

CLARA is startled by such an insignificant track.

CLARA
Where are we going?
Now shes anxious. This is not what she expected.
JACK
You shall see.
CLARA
I think it is good we should stay
close to the road.
JACK
Theres no need to worry. Ive been
here before several times. Taking
photographs.
He swings the wheel suddenly to avoid a large boulder and the
Fiat pitches as if struck by a wave.
CLARA clings to the door with her right hand, her left hand
dug deep into the fabric of the seat to steady herself.
JACK
Youre not afraid of coming into
the wild with me, are you?
No!

CLARA

"The American" June 21st, 2010

page 85.

She laughs tensely.

CLARA
Of course not. Not with you. But
this...
She snaps her fingers.
CLARA
...sentiero!
She waves her hand in the air.
CLARA
You need a jeep. A Toyota. It is
not good for a... berlina.
Its as if the increased danger of the track diminishes her
English.
JACK
This is a Fiat!
He strikes the steering wheel hard with the palm of his hand.
JACK
Fabbrica Italiana Automobili
Torino. They build tanks. Besides,
I always come here in this car.
You sure?

CLARA

JACK
Of course. I dont want to walk
back to town any more than you do.
CLARA
I think you are crazy. This will go
to nowhere.
JACK
I assure you it does.
She pouts her reply.

"The American" June 21st, 2010

page 86.

After 50 metres JACK twists the steering wheel slightly and

applies the brakes. They roll gradually down to the outer
edge of the woods and come to a stop beneath a familiarly
squat but ample TREE.
Beyond them is the RIVER. The hidden valley is a riot of
autumn colors, the reds and golds more brilliant than weve
ever seen them.
CLARA gets out of the car, dumbstruck. JACK gets out too. He
watches her... then swiftly checks the RIVER through his
miniature binoculars. Deserted. By the time CLARA turns
towards him, the binoculars are hidden.
CLARA
No one comes here?
She speaks so quietly JACK can barely hear her.
No.
Just you.
Yes.

JACK
CLARA
JACK

CLARA turns away, unbuttons her blouse and drops it on the

grass. She is wearing no bra. On her back dapple the shadows
and patches of sun eking through the branches of the tree.
She kicks off her shoes, which curve through the air... and
unzips her skirt. It falls to the grass. She bends and steps
daintily from her knickers. Then turns to face JACK.
JACK cannot take his eyes off her. Dizzy, he steps forward
without meaning to.
Well?

CLARA

"The American" June 21st, 2010

page 87.

She is coquettish- and tosses her auburn hair to one side.

CLARA
I am going to swim in the water.
Are you coming?
She doesnt wait for his reply, but turns and runs through
the grass towards the water.
JACK
There are vipers! Vipera! Marasso!
CLARA
Maybe! But I am lucky!
Quickly, JACK glances inside the FIAT.
The RED PURSE is nowhere to be seen.
CLARA
Come, Signor Farfalla!
JACK undresses. As he removes his clothes, he stalls for
time, using the cover of undressing to search for the RED
PURSE.
We can see it wedged under the passenger seat.
Due to the design of the car, JACK cannot.
Come!

CLARA

JACK turns to face the lake. He is naked. Yet with the

caution of years he does not remove his shoes until he
reaches the waters edge.
CLARA is standing in the middle of the River.
CLARA
Stand by me.
He obeys her order. As he steps into the water the cold hits
him and he gasps. CLARA holds out her hand and he takes it.

"The American" June 21st, 2010

page 88.

CLARA
It is beautiful, no?
Its cold.

JACK

CLARA moves close to him. Looks up into his eyes.

JACK looks down at her and for a moment he forgets the awful
plan in his head.
She kisses him, pressing herself against him, her skin and
body as pure and warm as the water.
He tries helplessly to pull away.
JACK
Maybe we should...
CLARA
Do you make love in the water?
I havent.

JACK

She places her arms around his neck and raises her feet from
the smooth stones, wrapping her legs around his waist. She
tries to push herself onto him but he resists.
CLARA
Whats wrong?
He doesnt know what to say. She looks at him: confused,
searching.
Im cold.

JACK

He walks towards the bank. She follows, but just as JACK

climbs onto the shore she shouts.
AOW !

CLARA

CLARA has stepped on something, she bends down in the water

to pick it up. It is a spent cartridge.
CLARA
Look Jack, a bullet. Maybe hunters
were here?
The word HUNTERS resonates with JACK, a deja vu he is not
wanting to revisit. He is trying not to look too worried.
JACK
I dont think so, besides it looks
ancient. Lets have some lunch.

"The American" June 21st, 2010

122

page 88A.

EXT. RIVER BANK - DAY

122

CLARA is lying naked on a blanket, warming herself in the

autumn sunshine.
Beside her is the RED PURSE.
Through sleepy, half-closed eyes she is watching JACK.
From her POV, JACK is kneeling behind the open PICNIC HAMPER,
unpacking the food and wine. The LID of the basket obscures
his hands.
Eduardo.

CLARA

"The American" June 21st, 2010

page 89.

JACK looks at her.

CLARA
Is this your real name?
A beat.
JACK
Is Clara yours?
Si. Yes.

CLARA

She looks at him. Waiting for his reply.

JACK
Edward is my real name.
Ed-ward.

CLARA

She doesnt believe him.

CLARA
You sure you not married, Eduardo?
JACK
Quite sure.
About this hes telling the truth.
CLARA reaches for the RED PURSE.
From behind the picnic hamper lid we hear the CLICK of a
cocking mechanism.
CLARA hesitates for a moment.
JACK watches her intently.
She reaches into her purse.
JACK is expressionless.
When CLARA withdraws her right hand she is holding a tube of
SUNTAN LOTION.
A beat.
JACK watches as she commences smoothing it into her skin,
rubbing it around her breasts, pushing them aside, pressing
them upwards. Then she caresses the lotion into her belly and
down her thighs, bending at the waist as she works it into
her shins.
CLARA
Will you put this behind me?

"The American" June 21st, 2010

page 89A.

She proffers him the SUNTAN LOTION.

JACK stares at her baking body, transfixed by its terrible
and perfect beauty.

"The American" June 21st, 2010

page 90.

Hidden behind the LID of the picnic hamper...

...his trembling right hand grips tightly to his WALTHER.
A long pause.
Eduardo?

CLARA

Hes frozen.
Amore?

CLARA

Time seems to stop.

ECU on JACK.
Suddenly, CLARA sits up.
CLARA
Eduardo, whats wrong?
JACK swallows.
When he speaks his mouth his dry.
Nothing.

JACK

When he moves towards her, he is holding nothing in his

hands.
He takes the tube of SUNTAN lotion.
JACK (V.O.)
Dear Father Benedetto...
And begins to run it into CLARAs back.
JACK (V.O.)
I promised myself that I would
write to you- as your friend- to
say goodbye.
123

EXT. WOODS- DAY

SLAM!
JACK shuts the boot of the car.
He scans the river banks.

123

"The American" June 21st, 2010

page 91.

No sign of the picnic.

No sign of CLARA.
JACK (V.O.)
Everything Ive ever done...
Then he spots something.
On the ground, not far from the car.
He walks over and picks it up.
Its one of CLARAs shoes.
JACK (V.O.)
Ive done for a reason.
JACK is staring at the SHOE.
JACK (V.O.)
I never thought the day would come
when Id run out of reasons.
Reasons to worry. Reasons to run.
Reasons to pull the trigger.
JACK turns and walks over to the car.
CLARA is in the passenger seat.
JACK (V.O.)
Maybe that days come.
JACK gets into the Fiat.
JACK (V.O.)
Or maybe Ive just found a reason
to stop.
And hands CLARA her shoe.
CLARA
Grazie, Eduardo.
JACK
I still dont understand. Whats
the point of a gun if its not
loaded?
CLARA
One of the girls borrow it to me
after two prostitute in Pescara is
murdered. It make me safe with
clients. I dont tell the police,
certo, but... Madonna, Eduardo. How
they do to these two women!

"The American" June 21st, 2010

page 92.

CLARA
A police agente from Rome show me
photographs. They show photographs
to everyone around Via Lampedusa.
CLARA shivers with disgust.
CLARA
Non capito... how one person hurt
another this way.
JACK looks lost, like a man drained of all resolution.
JACK
Does the gun make you feel safer
with me?
CLARA
You are not client.
JACK
Then whys it in your purse?
CLARA looks unhappy.
CLARA
I work tonight, amore.
Silence.
JACK looks away.
JACK (V.O.)
Theres a chance this is suicide.
Cops often put the heat on working
girls. The girl I told you about,
Clara, might have sold me out, or
maybe shes a hired gun. Then
again, maybe Clara is exactly who
she says she is, and my Belgian
clients will take the gun, shoot me
and keep the money. Always a risk
in my profession, or its possible
my trusted colleague in Rome no
longer trusts me. Maybe he just
wants out and is tying up loose
ends... maybe...
CLARA
Theres a processione...?
JACK
Procession?
CLARA
Tomorrow. In Castel Del Monte. We
go to this together.

"The American" June 21st, 2010

Maybe.

page 93.

JACK

CLARAs eyes light up.

CLARA
And after that? After tomorrow and
the next day.
JACK
I cant stay here forever, Clara.
As the words leave his lips he thinks how much he wishes he
could.
JACK (V.O.)
Its not that Ive given up on
life. Just the way that I was
living it. If you can call it
living.
JACK
Its time to go home.
CLARA
Let me come to your home.
JACK
I cant, Clara.
Shes upset but decides not to press her demand. Jack starts
the car.
JACK (V.O.)
If I had one wish, Father, it would
be this. That its not Clara who
finally pulls the trigger. But
whoever it is... One thing is
certain...
CLARA kisses him and simply says:
CLARA
Stay forever.
The car drives off.
JACK (V.O.)
...by this time tomorrow Ill be
dead.
Fade to black.
124

EXT/INT. CHURCH- DAY

A POSTMAN hands the mail to FATHER BENEDETTO.

124

"The American" June 21st, 2010

page 94.

FATHER BENEDETTO
Ciao Enzo, come stai?
IL POSTINO
Bene grazie, Padre.
We follow FATHER BENEDETTO inside as he rifles through a
bunch of church circulars. One LETTER catches his eye.
He opens it and starts to read aloud:
FATHER BENEDETTO
Dear Father Benedetto. I promised
myself that I would write to youas your friend- to say goodbye...
125

INT. JACK'S ROOM- DAY

125

JACK is standing in his room with a very troubled look on his

face. After staring, for what feels like minutes, he walks
over to the table and takes the M14 out of the briefcase.
JACK is making a final adjustment to the Ruger M14 rifle.
FATHER BENEDETTO (V.O.)
Everything Ive ever done...
We cannot see what hes doing, but we sense the significance
of the moment.
FATHER BENEDETTO (V.O.)
Ive done for a reason.
126

INT. JACKS ROOM- DAY

126

JACK is standing by the door in an impeccably pressed suit,

the black SAMSONITE BRIEFCASE in his hand.
He surveys his room. All evidence of his existence has been
meticulously tidied away. Only his holdall and suitcase are
standing near the door.
JACK picks up his belongings and leaves.
127

EXT. MOUNTAIN ROAD - DAY

127

The sun is shining. The mountains young and sharp and

beautiful. The CAR moves swiftly across the great setting the
road is surrounded by.
128

INT. CAR- CONTINUOUS

JACK watches the road. On the long straights he looks
backwards and forwards.

128

"The American" June 21st, 2010

129

page 95.

EXT. HIGHWAY SERVICE STATION- DAY

129

JACK comes off the highway on a slip road and pulls into a
forecourt consisting of several rows of pumps, a WC, a repair
garage and a CAFE.
The car park is not large. JACK parks the Fiat near the CAFE.
JACK double checks the magazine in his handgun is full and
slips his WALTHER into his jacket pocket.
Stepping out of the car he looks around the car park. Its
ominously empty. In the near distance we can hear the ROAR of
highway traffic.
JACK takes the BRIEFCASE from the rear seat and walks away.
He makes a show of locking the car but doesnt.
130

INT. CAFE- DAY

130

Almost empty.
JACK sits at a table at the back of the cafe. From here he
can see both entrances: the public entrance and the service
entrance and also the door to the bathrooms. Through the
window, he has a good view of the garage forecourt and the
slip road to and from the autostrada.
JACK places the BRIEFCASE on a chair beside him and puts a
PAPER BAG on the table next to the sugar dispenser. He checks
his watch. It is two minutes before noon. He orders an
espresso.
His nerve-heightened senses take in everything: the sound of
the hum of traffic, the buzz of the refrigeration units and
the murmur of the cafes few occupants.
JACK's eyes flick outside to the forecourt.
We hear the cafe door open.
And in an instant, MATHILDE is at his table.
She is dressed in a tight black skirt, a simple blue blouse
and a dark blue jacket. Her hair is neatly styled, her makeup immaculate and heavier than weve seen her wear before.
She looks exactly like the kind of woman who might carry a
Samsonite briefcase.
MATHILDE
Hello. I see you have brought it in
from the car with you.
She speaks quietly: her voice low and attractive.

"The American" June 21st, 2010

page 96.

JACK
All there, as agreed.
MATHILDE
Whats in the paper bag?
The WAITRESS comes over with Jack's coffee. MATHILDE orders
another for herself.
JACK
Sweets. For your journey.
She opens the bag and takes out one of the TINS.
She can immediately feel that its heavier than it should be.
JACK
I guessed youd have a sweet tooth.
MATHILDE
That is most thoughtful of you.
The polite phrase sounds even more polite with her slight
Belgian accent.
The WAITRESS returns with the second espresso and MATHILDE
pays for them both.
JACK watches as she stirs her coffee to cool it. Shes
nervous.
JACK
I suppose Ill read about this in
the Times.
For a moment she is pensive.
MATHILDE
Yes, I expect so.
She drinks her coffee, holding her cup in mid-air and looking
out the window.
JACK follows her eye-line to check shes not signalling to an
accomplice.
The FORECOURT is still empty.
In the silence we can hear the buzz of the refrigeration
units.
MATHILDE looks at JACK. Her expression is impossible to read.
Perhaps its tinged with sadness. She drinks the rest of her
coffee.

"The American" June 21st, 2010

page 97.

MATHILDE
Im just going to the ladies. Wait
here.
She picks up the CASE.
There is nothing JACK can do about this. She has taken him
off guard and grasped the initiative.
All he can do is wait.
131

INT. BATHROOM- CONTINUOUS

131

MATHILDE enters a cubicle, opens the CASE, bypasses the

stationery, lifts the false bottom and checks the M14 parts
are present and correct.
Then she loads a magazine of her handgun.
132

INT. CAFE- DAY

132

MATHILDE returns from the bathroom.

MATHILDE
Shall we go.
Not a question, a command.
JACK is obliged to stand up.
133

EXT. HIGHWAY, CAR PARK- DAY

133

MATHILDE walks towards a silver 5 series BMW with slightly

tinted windows.
She is carrying the BRIEFCASE.
JACK has his right hand in his jacket pocket.
MATHILDE
You wont need your piece.
JACK
You never know.
She stops beside the BMW.
JACK still has his hands on the Walther.
OK?
Sure. You?

MATHILDE
JACK

"The American" June 21st, 2010

page 98.

MATHILDE
Everythings just fine.
Her RIGHT HAND slips into her pocket.
JACK twists his wrist upwards and thumbs the cocking lever.
MATHILDE
Final payment.
She hands JACK an ENVELOPE.
MATHILDE
Buy yourself a retirement clock.
JACK braces himself for a bullet.
Just then...
...a COACH pulls into the car park.
It stops with a hydraulic hiss and dozens of TEENAGE KIDS
descend.
MATHILDE and JACK are surrounded. There is nothing either of
them can do.
MATHILDE looks suddenly relieved.
She leans forward and kisses JACK lightly and quickly and on
the lips.
MATHILDE
Have you taken your girl up to the
meadow yet?
JACK doesnt answer. His whole body is still tense for the
bullet that he knows is coming. Perhaps there is a second
person in the car.
MATHILDE
(whispers to JACK)
Do it.
She gets into the drivers seat of the BMW and swings the
BRIEFCASE into the back.
MATHILDE
Goodbye, Mr. Butterfly.
JACK tenses as MATHILDE raises her hand in farewell.
The BMW pulls away and disappears down the slip road onto the
autostrada.

"The American" June 21st, 2010

page 99.

JACK watches it go.

Thumbs back the lever on his Walther.
Gets into his Fiat.
And opens the ENVELOPE.
-No wires.
-No tricks.
-Just TWENTY THOUSAND US DOLLARS.
JACK stares at the money. He isnt supposed to be alive. For
a while he stays put. He shuts his eyes in the sunshine and
listens to the laughter of the teenage kids. To a girl
calling: Amore! To the cicadas. To the distant rush of
traffic on the autostrada.
SMASH CUT TO:
134

EXT. AUTOSTRADA

SLIP ROAD - DAY

134

JACKS FIAT turns off the highway beneath a sign.

The sign reads CASTEL DEL MONTE.

EXTRA MATHILDE/ PAVEL PHONE CALL

PAVEL
Change of target.
135

EXT. ITALIAN COUNTRYSIDE - MATHILDES BMW IS FOLLOWING JACKS

135
FIAT
MATHILDE
It didnt work out, but Im
following him.
PAVEL
Stay on him!

135A

EXT. BAR HOME - DAY

Yes.
Its done.

135A

PAVEL

*
*

JACK

*
*

PAVEL
Ill confirm with her.

*
*

"The American" June 21st, 2010

page 99A.

JACK
Youll confirm with me, Im
finished...
Beat.

*
*
*
*

Pavel?

JACK

PAVEL
Have a nice life Jack.
I will...

JACK

JACK hangs up. PAVEL dials another number. We stay on his

face.
Hello...

MATHILDE

*
*
*
*
*
*
*
*
*
*

PAVEL
Just go off the phone with Jack, he
told me the exchange was
successful.

*
*
*
*

MATHILDE
There wasnt an opportunity...

*
*

Find one.

PAVEL

*
*

135 (ALTERNATE)

PAVELS phone rings. He answers.

PAVEL
Is it done?
No.

MATHILDE

*
*
*
*

PAVEL
What happened?

*
*

MATHILDE
There wasnt the opportunity.

*
*

Beat.

*
Find one.

PAVEL

*
*
*

"The American" June 21st, 2010

136

EXT. AUTOSTRADA SLIP ROAD- DAY

page 99B.
136

The BMW exits the highway on the same slip road signed CASTEL
DEL MONTE.

"The American" June 21st, 2010

page 100.

137

OMITTED

137

137A

OMITTED

137A

138

EXT. CASTEL DEL MONTE, CHURCH STEPS- DAY

138

The town square is jam-packed with cars and coaches.

Hundreds of tourists and locals have gathered near the church
square. There is even a camera crew.
The church doors open. As FATHER BENEDETTO steps out a CHOIR
starts to sing.
Behind him, LOCAL MEN are carrying a larger-than-life painted
wooden STATUE OF SAINT DOMINIC.
Draped over a shepherds shoulder and wrapped around his neck
is a lamb.
The CHOIR, standing outside the church, keeps singing while
the procession, with the STATUE, moves onto the small church
square. FATHER BENEDETTO walking now behind the statue as
this strange annual religious parade is about to start its
trip thru town.
139

EXT. CASTEL DEL MONTE, STREET- DAY

139

MATHILDE is carrying the SAMSONITE BRIEFCASE, she is forcing

her way into a home by breaking a locked door.

"The American" June 21st, 2010

140

page 101.

EXT. CASTEL DEL MONTE, TOWN SQUARE- DAY

140

We see JACK looking for Clara. The town square is tightly

packed so its hard to find people, let alone move. We then
see his POV when suddenly two hands appear from behind in
front of his eyes, he turns around and of course it is Clara.
Clara kisses Jack deep. A long and loving kiss. Meanwhile the
sound of the choir is getting louder, meaning the procession
is coming closer to them.
141

EXT. ROOF- DAY

141

We presume MATHILDE has killed someone as there is a body

lying on the floor when we see her from behind, gun in hand,
climbing thru a window and onto a roof.
142

EXT. OPEN SPACE- DAY

142

The PROCESSION emerges thru the archway into the sloping

piece of road leading to the town square.
FATHER BENEDETTO, the STATUE and the CHOIR march on while a
crowd lines the street on either side of the procession.
143

EXT. OPEN SPACE- DAY

143

Jack and Clara have to shout at one another above the noise
of the choir approaching. Theyre in mid conversation.
CLARA
...I cant...I have to work tonight
JACK
Dont work tonight.
CLARA
You come to my apartment after.
JACK
If I asked you would you come away
with me?

"The American" June 21st, 2010

page 102.

CLARA
Come away with you?
Why not?
Together?
Together.
144

JACK
CLARA
JACK

EXT. ROOFTOP - DAY

144

MATHILDE is on the roof, taking up her position to shoot. She

looks thru the viewfinder, adjusting the sight, trying to
locate Jack. The Church clock behind her indicates it is
nearly noon.
145

EXT. TELESCOPIC SIGHTS- DAY

145

Other HEADS...
-TOURISTS
-PROCESSION CROSSES
-KIDS on their PARENTS SHOULDERS
...keep blocking our view of JACK.
146

INSERT:

146

The TRIGGER FINGER, hesitating.

147

EXT. OPEN SPACE- DAY

147

Were right in the midst of the crowd.

Where?

CLARA

JACK
Wherever. We could come back here.
For good.
To live?

CLARA

JACK
Where else?

"The American" June 21st, 2010

Forever?
Forever.

page 103.

JACK
JACK

A pause.
JACK
Unless you have other plans.
CLARA
Other plans?
She swears in Italian. Obscenities. Then throws herself
around JACK and squeezes him with all her strength. There are
tears in her eyes.
CLARA
I love you, Signor Eduardo
Farfalla.
He looks at her.
I...
148

JACK

INSERT:

148

The TRIGGER FINGER squeezes.

The M14 Mini fires.
An EXPLOSIVE BULLET travels down the chamber at approximately
360 miles per hour headed straight for JACK's temporal lobe.
Only it never gets there.
The gun jams.
A chamber explosion is a nasty thing. Instead of shooting out
of the barrel, the round explodes in the cannon's chamber.
Hot shrapnel fragments like a land mine, ripping into
MATHILDEs hands, forearms and face...
149

EXT. OPEN SPACE- DAY

A loud BANG pulls JACK and CLARA apart as...
...MATHILDE drops two stories onto the street.
CLARA
What happens?

149

"The American" June 21st, 2010

page 104.

Jack sees Mathildes fall.

JACK
Take this...meet me at the river!
He gives her the money.
They become separated by the procession...
Meet me!

JACK

CLARA
Who are you!?
JACK
My name is Jack!
Jack!

CLARA

She looks worried.

Go!!

JACK

CLARA turns and walks off through the crowd.

JACK watches her go.
Then runs through the Procession and catches the attention of
Father Benedetto. He runs up the steep slope towards the
place he saw Mathilde fall. Another person in the crowd also
watches Jack run away, he keeps a keen eye on Jacks
movements. Father Benedetto lets the procession go on and
attempts to follow Jack, who is much faster of course. Some
other people from the choir follow their priest, not knowing
why he is leaving the procession. The other person (PAVEL)
slowly follows them, up to a certain point from where he
cannot possibly be seen by Jack.

"The American" June 21st, 2010

page 105.

The explosion has torn the flesh from Mathildes hands and
lacerated her face. The fall has crippled her.
But as JACK kneels beside her, her pulse confirms that shes
alive.
JACK
Who do you work for?
The explosion has deafened her. She cant hear him.
He presses his mouth close to her ear. And shouts:
Who?

JACK

Her bloodshot eyes struggle to focus on JACK as she starts to

form the words:
MATHILDE
Same man as you, Jack.
Suddenly, JACK spins around, his WALTHER in his right hand.
Father Benedetto stands quite close to Jack, and is totally
out of breath.
FATHER BENEDETTO remains where he is.
JACK cocks his weapon, steadying it straight at the priests
heart.
A beat.
JACK stares at FATHER BENEDETTO, his finger clenched tightly
on the trigger.
The priest swallows, looking from the bloody body of MATHILDE
to JACK.
Her eyes are closing.
JACK
Whos friend are you, Father?
FATHER BENEDETTO looks at JACK.
There is great compassion in his voice:
FATHER BENEDETTO
Im a friend of Jacks.
A beat.
JACK un-cocks his WALTHER.
And pockets his weapon.

"The American" June 21st, 2010

page 106.

JACK
Maybe youd better do what you do.
He looks down at MATHILDE.
JACK turns to leave. Sees the choir boys.
JACK walks across the half-empty open space with his hand
thrust deep in his pocket...and turns down a narrow alleyway.
A long pause.
Then a single figure steps from a hiding place near
the steps.
And follows.
1) 2-shot Jack and Father B. Im sorry father.
150

EXT. ALLEYWAYS- DAY

*
150

JACK uses his knowledge of the medieval maze at the heart of

town to elude the procession.
PAVEL follows, his hand thrust deep in the right hand pocket
of his suit jacket, gaining swiftly on JACK...

30 metres
20 metres
10 metres
We hear the unmistakable CLICK of the cocking mechanism in
PAVELs pocket and see the shape of the barrel through the
expensive material, pointing at JACK as...

...JACK turns and shoots.

Both men fire at the same time.
JACK is the better shot. His first bullet hits PAVEL in the
heart.

The second shot hits PAVEL in the middle of the forehead. The
impact of the bullet destroys his face, plunging him suddenly
back into anonymity.

JACK turns and continues on his way.

We can tell by his face hes in extreme pain.

151

OMITTED

151

"The American" June 21st, 2010

152

page 107.

EXT. ROAD- DAY

152

JACKS FIAT races away from CASTEL DEL MONTE.

We can hear SIRENS.
153

INT. FIAT- DAY

153

JACK is at the wheel.

A LAND ROVER carrying CARABINIERI races towards us coming in
the opposite direction.
They drive past JACK, heading straight for town.
JACK drives on.
Slowly his head starts to dip, like a man falling asleep at
the wheel.
But he forces himself awake.
154

EXT. ALPINE ROAD- DAY

154

The FIAT weaves its way up the mountainside.

155

EXT. ALPINE ROAD - DAY

155

JACK turns off the main road and onto an alpine track.
This is the same route he took with the Belgian woman.
And with CLARA.
The car bumps and tilts on the rough terrain.
Surrounded by trees now.
The track turning to grass.
156

EXT. WOODS- DAY

156

The FIAT approaches the outer edge of the woods.

Jack turns off the motor and lets the car coast towards the
stream.
We see CLARA standing next to a tree, her Vespa leaned up
against it.
We see JACKS face.
Time seems to slow.

"The American" June 21st, 2010

page 108.

CLARA stands there.

JACKS car slowly crawls towards her.
His view of her is getting hazy...
Sunlight taking over, his car eases slowly past her and
gently comes to a stop against the trunk of the tree.
Silence.
Then the steady sound of the horn honking.
From beyond the car we see a single butterfly fly up and rise
towards the sky.
157

OMITTED

157

158

INT. FIAT- DAY

158

JACK is slumped against the wheel.

He isnt breathing.
On his face is an expression of serene peace.
FADE TO BLACK.

THE END.