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STAND OFF
(Based on a True Story)
Screenplay by
Jack Stone
FADE IN:
LIMA, PERU
December 17th, 1996.
EXT. SAN ISIDRO/BUSINESS DISTRICT - SUNSET
The city is lined with all the decorations and festivities of
the season of Christmas.
There are icons of Jesus, Mother Mary, saints and other
religious relics. Nativity scenes are plentiful and
brilliant colored lights hang on every street corner.
Children at play run about while couples stroll arm in arm.
A nun continually rings a bell as she awaits donations for
those who are less fortunate.
An old Jeep passes with, IKEUCHI, (34) his assistant EDWIN,
(20) and Ikeuchi's girlfriend, ASAKO (25) who are the
passengers of the vehicle.
Ikeuchi is a reporter for NHK, a major television network out
of Japan.
EXT. AVENUE OF THE AMERICAS/BUSINESS DISTRICT - SUNSET
The Jeep pulls over toward the curb and parks.
Ikeuchi, Edwin and Asako, exit the Jeep.
Edwin reaches in the back and pulls out a Beta TV Camera with
a shoulder harness. They enter a building.
INT. IKEUCHI'S OFFICE - CONTINUOUS
The door swings open and Ikeuchi enters his office. He hits
a light switch and the lights go on.
A film bin and various film/video editing equipment fill the
room.
Edwin and Asako follow behind. Edwin drops the camera and
opens a refrigerator as Ikeuchi moves toward a computer.
Edwin tosses Ikeuchi an Inca Cola and he pops it open.
Ikeuchi sits at his computer and hits a few keys. He takes a
swig of the cola.
Ikeuchi is staring at an on screen message. Edwin walks over
and begins to read the message over Ikeuchi's shoulder.
EDWIN
What's that supposed to mean?
Asako is now standing over Ikeuchi's opposite shoulder and
reading the message as well.
IKEUCHI
I haven't the slightest idea.
Edwin reads the message aloud.
EDWIN
Peaceful days such as this will not last
forever.
(to Ikeuchi)
I don't get it?
IKEUCHI
You left out the most important part of
the message. MRTA.
EXT. AMAZON JUNGLE/RAIN FOREST - DAY
The sun shines bright as tropical and exotic parrots fly
overhead.
Water cascades down a beautiful rainforest waterfall.
Birds chirp and unfamiliar animals communicate to each other
throughout the immensely lush jungle.
An unstable footbridge swings in the breeze high above a
flowing river.
The hurried footsteps of several men running in unison are
heard.
What appears to be soldiers are actually MRTA commandos in
training carrying AK47 machine guns, Uzi's and other assault
weaponry.
The commandos march double-time in formation and go through
the rigors of combative training.
The MRTA are dressed in black caps, green T-shirts, purple
bullet proof vests and black fatigues. Radios and knives are
attached to either shoulder as they continue their maneuvers.
The commandos wear red and white scarves that hide the
identity of each man.
There is black lettering on each scarf. The letters read
MRTA.
EXT. AMAZON JUNGLE/SHANTY TOWN - DAY
Seagulls fly overhead, landing in a trash heap of a garbage
dump.
Filthy, poverty-stricken and barefoot children rummage
through the mountain of trash.
Diseased water flows from the garbage heap toward a small
village.
Smoke streams from a shack. Palm branches blow in the wind.
EXT. AMAZON JUNGLE/SHANTY TOWN - DAY
A sugarcane field has been freshly cleared.
In the field, three young men, SALVADORE (24), HUASCAR (22)
and ABEL (20) kick a soccer ball to each other.
A barely running pick-up truck that is filled with field
workers drives toward the three young men as they continue to
kick the ball about.
A young woman, LUZDINA (19) and her mother, CARMEN (50) exit
from the back of the truck.
The truck continues on.
The soccerball is kicked to SALVADORE. He stops the ball
with his foot as he looks up at Luzdina.
Salvadore kicks the ball toward Luzdina
The ball roles to a rest at her feet. She looks at the ball
and then to Salvadore.
Ludzina kicks the ball back to Salvadore. She runs toward
him. Carmen's eyes are filled with sadness and trepidation
as she watches her daughter run toward the young men.
EXT. PALACE OF JUSTICE/COURTHOUSE - DAY
The Palace of Justice courthouse resembles that of any
monolithic, Roman-architectural structure.
INT. PALACE OF JUSTICE/COURTROOM - CONTINUOUS
The doors to one of the courtrooms swing open.
A court proceeding is in session.
On the left is a Japanese WOMAN (50). She's well dressed and
flanked by her TWO ATTORNEYS.
To the woman's right is PRESIDENT FUJIMORI and his one
ATTORNEY.
A JUDGE sits at the bench, presiding over this divorce
proceeding, at either side is the flag of Peru and a Police
Officer. A stenographer takes shorthand.
There are a few court reporters and a few observers.
Presidential aid, RODOLPHO REÌTEGUI RODRIGUEZ is also present
in the courtroom.
JUDGE
The court has granted the petition for
divorce. If both parties agree, we'll
set a calendar date for April, twenty-
first of next year to deal with the
matter at hand, concerning the alimony
payments. Is April, twenty-first
acceptable to both parties?
Both parties attorneys look toward each other and nod in
agreement.
JUDGE (cont'd)
OK, we'll see you both back here at nine
o'clock in the morning on April, twenty
first.
The judge bangs his gavel.
All parties begin to exit out of the courtroom.
Re‹tegui approaches Fujimori and hands him a briefcase.
President Fujimori is the last to exit the courtroom.
INT. LATIN DANCE CLUB - NIGHT
Traditional Peruvian music plays as young couples dance.
GIOVANA, (20) a free spirited girl, dances alone on the dance
floor. Ludzina is also dancing with a man and blend in well
with the small crowd.
A tough looking man, ROLLY ROJAS (26) also known as, The Arab
walks through the crowd. Conversations stop and everyone
seems to move out of his way as he passes.
There are three young men, EDUARDO (22), TITO (20) and LUCAS
(21) sitting at the bar and sharing in a drink. There faces
turn to expressions of seriousness as, The Arab approaches.
The Arab stops and only looks at the three young men. He
continues to walk. Salvador (sitting at the bar with his
back to the action), finishes his drink and gestures for the
men to follow.
The young men put down there drinks, stand and follow after
Salvadore and The Arab.
Giovana, seeing the men as they begin to exit, pulls Ludzina
from the dance floor and they follow after then men.
EXT. THOMAS EDISON BOULEVARD - LATER SAME NIGHT
The street is a block long and filled with limousines. The
street is cordoned off by a few police officers that are
stopping all vehicle as they approach.
After one of the police officers checks a limousine, he
motions to the other officers to allow the vehicle to pass.
The officers remove the barricade, which is blocking the
traffic from passing and allows the limousine to continue on.
In the background is the well lit building, the Japanese
embassy, obviously there's a significant event in progress.
EXT. JAPANESE EMBASSY/FRONT GATE - CONTINUOUS
Many important and well dressed guests are being dropped off
at the front gate of the Japanese embassy.
Plain clothed, security officers allow guests to pass while
journalists rush in to snap a few pictures.
(Still shots of the crowd reveal some of the dignitaries
names and important position within the government.)
The weary security officers hold the journalists back from
entering the gate as the guests pass into the embassy
grounds.
The gate is closed, only to be reopened for the next group of
dignitaries.
Ikeuchi, moves in, his automatic camera snaps many pictures
as more guest continue to arrive.
INT. JAPANESE EMBASSY/ENTRANCE - CONTINUOUS
This is a casual suit and tie event, although the important
military figures are decked in full honorary uniforms.
A picture of the Japanese emperor and empress hangs on the
wall.
Several important dignitaries are entering the embassy. The
guests are there to celebrate the birthday of Japan's
Emperor.
The visitors enter the home and are greeted by, MORIHISA AOKI
(55), the Japanese Ambassador to Peru and his wife, NAOKO
(50), who is dressed in traditional Japanese kimono.
Distinguished guests pour into the home, there are several
important military, business and political figures present.
A photographer snaps a picture of Aoki shaking hands with
each of the guests as they enter.
The guests include, Minister of State, FRANCISCO TUDELA (45),
and his wife. Supreme Magistrate, CARLOS GIUSTI ACU„A (65),
and his wife IRIS (60).
AOKI
(greeting each guest)
Hello, Hello. How are you? Thank you
for coming.
The guests continue to pour in including, Bolivian
Ambassador, JORGE GUMUCIO GRANIER (55), and his wife,
Admiral, LUIS GIAMPIETRI ROJAS (60), dressed in his military
uniform. Giampietri is accompanied by his wife.
Three Spanish, BOYSCOUTS (12), enter. Aoki stops and poses
for a picture with the three boys.
AOKI (cont'd)
It's nice to have you with us and
congratulations on your foreign exchange
scholarship. You'll have a wonderful
experience studying abroad.
The Head of the Red Cross Delegation, MICHEL MINNIG (45),
enters. He embraces Aoki.
AOKI (cont'd)
(to Minnig)
Good to see you again.
(to his guests)
Please, everyone make your way to the
garden. There is plenty of food and
drink for everyone.
The steady stream of guests continue to arrive and move
toward the garden area of the home.
EXT. JAPANESE EMBASSY/GARDEN - NIGHT
A red and white tent covers the garden area. Traditional
Peruvian music plays over loud speakers.
The guests mingle while, waiters carrying cocktails and
champagne distribute to the guests.
Aoki is chatting with one of his guest, HIROTO MOROZUMI (45).
MOROZUMI
(he raises a glass of wine)
A great success. Everyone seems to be
enjoying the party.
AOKI
Thank you. The tempura was a hit with
the guests.
(to his wife)
Especially the shrimp.
MOROZUMI
I don't understand? Why wouldn't it?
NAOKO
Mr. Morozumi, my husband was making a
joke. I wanted to serve Spanish food, he
insisted on Japanese.
MOROZUMI
Oh!
AOKI
That's why the president's not coming.
He prefers Spanish food.
NAOKO
You keep making jokes like these and
you're going to find yourself in the
unemployment line.
AOKI
The truth is... You never know if
President Fujimori's going to show or
not. One can never know what's on his
mind.
Justice Giusti and his wife are making there way to the
banquet table.
IRIS
This is sushi?
GIUSTI
No. This is tempura.
Giusti takes a piece and eats it.
IRIS
You know you shouldn't be doing that.
Doctors orders, no fried foods.
GIUSTI
Ah, what does he know. Besides, you
can't live forever.
He grabs another piece.
Re‹tegui, aid to President Fujimori bumps into Iris and
almost makes her spill her drink.
REÌTEGUI
Oh, excuse me. I didn't see you there.
I'm sorry.
IRIS
That's OK.
REÌTEGUI
How's the tempura?
Giusti smiles and approves, he picks up another piece of
tempura.
Re‹tegui picks up a piece and moves on.
REÌTEGUI (cont'd)
Enjoy.
Re‹tegui bumps into Gumucio and almost causes him to spill
his drink as well.
REÌTEGUI (cont'd)
Excuse me.
GUMUCIO
Slow down Re‹tegui, what, are you on your
way to put out a fire?
REÌTEGUI
Its very crowded isn't it? If I had to
guess, I'd say there are at least five,
six hundred guests.
GUMUCIO
Will the president make it tonight? I
wanted to talk to him about the new
proposal.
REÌTEGUI
I'm not sure. But, what do I know? I'm
just his aid. I can never figure out
what he's up to.
GUMUCIO
Don't underestimate that man. He always
knows exactly what he's doing.
EXT. AVENUE OF THE AMERICAS - NIGHT
A white ambulance moves down the street.
INT. AMBULANCE - CONTINUOUS
The Arab is at the wheel of the ambulance and NESTOR CERPA
CARTOLINI (35) sits in silent anticipation in the passenger
seat. The ambulance turns onto Thomas Edison Boulevard.
The street is filled with expensive sedans and limousines.
The ambulance pulls behind a couple of limousines that are
waiting to enter the barricaded area.
The officers remove the blockade and allows the first
limousine to pass.
The next limousine pulls up to the barricade and is stopped
by the officers. The ambulance slowly pulls forward.
Again the officers removes the blockade and allow the second
limousine to pass.
The ambulance pulls up to the blockade and the officer
approaches.
POLICE OFFICER
Let me see your papers.
The Arab looks over at Cerpa. Cerpa nods yes.
The Arab hands the officer his papers.
CERPA
I was told to report to the head of
security at the Japanese embassy.
POLICE OFFICER
I haven't received any orders to let an
ambulance pass. You'll have to turn
around.
CERPA
OK. What do I care, I've already been
paid. But for your sake, you had better
let them know that you're sending us
away.
The Arab puts the ambulance in reverse.
The ambulance begins to back up.
POLICE OFFICER
Wait here!
The ambulance stops.
POLICE OFFICER (cont'd)
I'll radio to security and see what they
want me to do.
The police officer walks away from the ambulance and makes a
radio call.
Cerpa lights a cigarette and tosses the match out the window,
never taking his eyes off of the officer.
The officer returns to the vehicle.
POLICE OFFICER (cont'd)
OK. Lets go move along.
The blockade is removed and the ambulance surges forward.
EXT. THOMAS EDISON BOULEVARD - CONTINUOUS
The ambulance turns down Marconi Street and stops in front of
the German Cooperation Building.
Cerpa exits the vehicle, looks around casually and leans
against the ambulance. He drops his cigarette and crushes
it.
Cerpa looks around again and moves toward the back doors of
the ambulance.
He opens them.
EXT. JAPANESE EMBASSY/GARDEN - CONTINUOUS
Aoki and Naoko stroll through the garden and greet their
guests.
Notables and dignitaries mingle and go about having a good
time.
EXT. GERMAN COOPERATION BUILDING - CONTINUOUS
Cerpa approaches and knocks on the heavy, metal security
door.
INT. GERMAN COOPERATION BUILDING - CONTINUOUS
A NIGHTWATCHMAN (60), who is scrutinizing multiple monitors,
looks up and sees an ambulance driver standing at the door.
Cerpa knocks at the door.
The nightwatchman stands and approaches the locked door.
WATCHMAN
Yes? I'm coming.
As the nightwatchman reaches the door he looks out the glass
wired window, which is part of the security door. The
nightwatchman spots the ambulance and unlocks the door. He
opens it.
WATCHMAN (cont'd)
Nobody told me there was an emergency.
Suddenly, several masked armed men, dressed in MRTA regalia
rush the nightwatchman and enter the security room. Each
masked man is carrying a large zip bag.
The last to enter is Cerpa, the ambulance driver.
He calmly removes the keys from the nightwatchman and locks
the door behind him.
CERPA
(checking a watch)
Tie him up good. We need four minutes
without any interference. After that, I
don't care what happens to him.
Three masked men begin to tie up the watchman.
Cerpa removes his white ambulance driver outfit revealing his
uniform. He pulls his scarf over his face.
Others begin to remove an arsenal of weaponry and ammunition
from the baggage.
A detonation device is being set-up.
One of the armed men, The Arab wipes sweat from his brow and
looks up at Cerpa who is watching the second hand on his
watch.
THE ARAB
It's ready.
CERPA
Let's move.
Cerpa places a gag in the nightwatchman's mouth.
He tapes the nightwatchman's mouth shut and with the help of
the others, places him in a closet. They close the door.
The armed men move through the building toward the rear
entrance.
The rear door opens and the masked men rush out, exiting into
the darkness of the night.
EXT. JAPANESE EMBASSY/GARDEN - CONTINUOUS
Guests mingle and share in a toast.
AOKI
A toast to the Emperor of Japan.
Glasses are raised.
8:19 P.M.
A loud explosion is heard by all, shaking the wide-eyed
guests in there shoes and shattering a few windows.
Glasses are dropped and guests scramble about.
Total chaos.
AOKI (cont'd)
Everybody. Into the embassy at once.
The guests begin to run toward the embassy.
One of the guests SAITO (40), speaks as the crowd rushes into
the building.
SAITO
It's probably just a car backfiring.
Another guests MINAMI TOSHIO (45), speaks.
MINAMI
Maybe it's a car bomb!
SAITO
Well, if it is, the police will handle
it.
The garden rapidly empties of guests as what appears to be
police officers converge onto the embassy grounds.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
AOKI
(shouting to the guests)
Please, calm down. There is no cause for
alarm. The police have already arrived
and appear to have the situation under
control. Don't let this spoil our
evening.
The crowd quiets down.
AOKI (cont'd)
Where were we? Oh, yes a toast to the
Emperor.
Gun fire erupts and the guests scatter.
Aoki runs to the front entrance and peers through the front
window. He opens the door and beckons to the police.
Many reporters and photographers stand at the gate of the
embassy. The bulbs from numerous cameras flash filling the
grounds of the embassy, blinding Aoki.
What appears to be police officers move through the grounds
of the embassy and toward the front door where Aoki stands.
Aoki, slightly blinded, motions to a police officer who is
approaching the embassy front door at a quick pace.
AOKI (cont'd)
(shouting to the approaching
officer)
What is it? Is everything under control?
Aoki wipes at his eyes, astonished, he watches as the
unbelievable fills his eyes.
They're not police, they're masked men, MRTA and they're
quickly beginning to converge up and onto the steps of the
embassy.
Guns are pointed at Aoki, he tries to close the door, but
they explode through the door, knocking Aoki off his feet.
The masked men fire automatic weapons over the heads of the
guests.
Aoki's frozen in place.
Tear gas cannisters are lobbed into the embassy, crashing
through the windows.
The guests scream and run toward the back exit. While others
hit the floor.
Heavily armed masked men enter the rear exit. Rapid gunfire
from the police officers rip into the embassy.
The MRTA begin to shoot their guns into the ceiling.
THE ARAB
Everybody. Down! Get down now!
SALVADORE
Down! Do what you're told.
The guests hit the ground.
Shells fired into the embassy from officers outside whizz in
all directions, ripping into the walls.
The MRTA cover their faces with gas masks as the teargas
continues to rise into the air.
EXT. JAPANESE EMBASSY/FRONT GATE - CONTINUOUS
Police officers begin to surround the building, while volleys
of shells are fired at the police from inside the embassy.
Everything resembles a wild west shoot-out. There's no
order, just rampant chaos.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
MRTA return fire.
Guests still on the grounds of the embassy run toward the
front gate. They barely miss being hit by ricocheting
bullets.
CERPA
You!
Pointing to Aoki.
CERPA (cont'd)
Ambassador Morihisa Aoki. Get over here!
Cerpa grabs Aoki by the collar and pulls him back toward the
door.
He shoves a megaphone in Aoki's face.
CERPA (cont'd)
Tell them to cease firing.
Bullets landing nearby cause Cerpa and Aoki to take cover.
AOKI
(grabbing the megaphone)
Cease fire! You are firing on an embassy
filled with guests. Cease fire!
The firing does not subside.
Cerpa grabs at a phone cord, pulling the phone off of a
table. He yanks the phone toward him.
CERPA
(to Aoki)
Make a call to the police. Let them know
that the MRTA have taken the Japanese
embassy and that there are many important
officials and dignitaries being held as
political prisoners. Tell them if they
don't stop shooting, we will begin to
execute them immediately.
Aoki does not know what to do.
AOKI
Prisoners of war?
CERPA
(yelling)
Do what I say!
Aoki grabs the phone and dials.
AOKI
This is a message from Ambassador Aoki,
Japanese Ambassador Aoki. Shut up and
listen to me. The MRTA have taken over
the embassy. They have hundreds of
hostages. Have the police cease firing
into the embassy now! Cease fire or my
guests will be executed.
Cerpa grabs the phone from Aoki.
CERPA
This is commander Huertas speaking.
Cease fire!
Cerpa rips the phone from the wall.
Guests continue to scream.
CERPA (CONT'D)
Shut up! Everybody. Move away from the
windows.
The masked men are tossing furniture in front of the windows.
The Arab is one of these masked men.
THE ARAB
(to the hostages)
Get away from the windows.
The Arab begins to pull those away that don't move fast
enough for him.
The guests eyes are filled with tears and coughing as the
tear gas cannisters continue to fill the room with smoke.
EXT. JAPANESE EMBASSY/FRONT GATE - CONTINUOUS
Police are dug in, scrambling for position and continuing to
fire into the embassy.
INT. JAPANESE EMBASSY/BATHROOM - CONTINUOUS
The firing continues and guests are screaming.
A window is kicked out.
One man, MAYOR FERNANDO ANDRADE (50), leaps through the
window.
INT. JAPANESE EMBASSY/HALLWAY - CONTINUOUS
An MRTA, JULIAN (20) heres the window as it smashes to the
ground. He runs to the bathroom carrying an AK47 to
investigate.
INT. JAPANESE EMBASSY/BATHROOM - CONTINUOUS
Julian looks out the window and sees the wall to the grounds
of the embassy has a large hole blown through it and it
continues to smolder from the explosion.
Julian spots Mayor Andrade as he crawls toward some bushes.
Julian takes aim, bullets from the police gunfire explode
near the bathroom window causing Julian to retreat from the
window and take cover.
INT. JAPANESE EMBASSY/HALLWAY - CONTINUOUS
Julian exits the bathroom and finds himself standing face to
face with a Jesuit Priest, JUAN JULIO WICHT (55).
JULIAN
Running to save your own life and to hell
with everyone else. Get back with the
others.
INT. JAPANESE EMBASSY/SECOND FLOOR BEDROOM - CONTINUOUS
Naoko rushes into the bedroom ripping off her Kimono, she
begins to change rapidly into a pair of jeans and a blouse.
An MRTA, Tito enters the bedroom with his gun in hand.
Naoko, half dressed covers herself with her blouse.
TITO
Hurry up, I've got to take you downstairs
with the others.
NAOKO
(almost angry)
Turn away.
Tito turns his eyes from her as Naoko continues to change.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
The firing into the embassy is sporadic.
Wicht returns to the main room with Julian following close
behind.
Tito comes down the steps with Naoko.
Finally the firing ceases.
CERPA
They've stopped firing.
The stunned guests sit in silence as the MRTA members peer
out every window of the residence.
INT. PRESIDENTIAL PALACE/KENJI'S BEDROOM - SAME NIGHT
KENJI (18), is President Fujimori's son.
He's studying mathematics with his teacher/bodyguard,
Colonel, JUAN VALER SANDOVAL (35). Sandoval is a well built
and handsome, mustachioed man.
Sandoval is standing over the shoulder of Kenji.
Kenji cannot figure out what he did wrong on this last
mathematical formula.
SANDOVAL
There's the problem. You didn't turn the
five into a negative. That's a common
mistake. It's all about concentration.
KENJI
Oh man, I see it now.
There is a knock at the bedroom door.
KENJI (cont'd)
C'mon in. It's open.
President Fujimori opens the door.
FUJIMORI
It's been a long day. I think that I'm
going to turn in.
KENJI
OK. We shouldn't be much longer either.
The phone rings from the next room.
FUJIMORI
There's always something.
SANDOVAL
Would you like me to get it and say
you're not in?
FUJIMORI
No, I'll take the call. Well, good-
night.
SANDOVAL
Good-night sir.
KENJI
Good-night dad.
Fujimori, leaving the door open turns to go and get the
phone.
INT. PRESIDENTIAL PALACE/GRAU SALON - NIGHT
The phone continues to ring.
Fujimori answers.
FUJIMORI
Hello.
His face becomes filled with concern and his voice becomes
almost animated.
FUJIMORI (cont'd)
Cut off all communications to the embassy
and to my office. I'm on my way now. I
should be there shortly.
He hangs up the phone and dashes out the room.
INT. PRESIDENTIAL PALACE/HALLWAY - NIGHT
President Fujimori rushes down a corridor and toward a flight
of stairs.
Kenji rushes toward him.
KENJI
I overheard your conversation father.
What's wrong?
FUJIMORI
Not to worry let me handle it.
KENJI
Dad, I could tell it what very serious by
the tone of your voice. Where are you
going?
FUJIMORI
There's an extreme emergency I must
attend to.
Fujimori begins to move down the stairs.
KENJI
(anxious)
Father, what has happened?
FUJIMORI
Terrorists have stormed the Japanese
embassy. They have more than seven
hundred people held hostage.
KENJI
Grandmother went to the party at the
embassy tonight, so did Uncle Pedro and
Aunt...
FUJIMORI
I know. I don't have time to discuss it
now. I have to be on my way.
Fujimori continues to run down the stairs.
KENJI
Can I come with you?
FUJIMORI
Yes, but we must hurry.
Sandoval hands Kenji his jacket then checks the gun he
carries in his shoulder harness.
Kenji, Fujimori and Sandoval run down the flight of stairs.
EXT. JAPANESE EMBASSY/FRONT GATE - CONTINUOUS
Ikeuchi is shooting footage from his video camera. He spots
Mayor Andrade who is hiding in the bushes.
IKEUCHI
(to Edwin)
Looks, it's Mayor Andrade?
Mayor Andrade suddenly makes a beeline to the front gate and
freedom.
He collapses into the arms of a police officer.
ANDRADE
MRTA!
INT. JAPANESE EMBASSY/SECOND FLOOR - NIGHT
Several hundred hostages are crammed together. There is no
room to move about.
Cerpa peeks out one of the curtains.
SALVADORE
(rapidly coming up the steps
and to Cerpa)
The building is completely surrounded by
police and special units.
CERPA
That was to be expected. Anyone, hurt?
SALVADORE
Tito's been shot!
Cerpa looks over and sees Tito nursing his leg wound.
TITO
It's nothing. I'll be OK.
The hostages are still reeling from the effects of the tear
gas. Many are still coughing and wiping at their eyes.
The Arab, brandishing his weapon, parades before the
frightened hostages, making his way to Salvadore and Cerpa.
THE ARAB
(to Cerpa about the guests)
Look at them, they're as tame as mice, we
got them all under control.
SALVADORE
(aggressively)
They better stay that way for there own
good.
Cerpa holds up a piece of paper.
CERPA
(to the hostages)
See this? This is a list that we intend
to have honored. Until the government
concedes to our demands, you will be our
guests.
One of the hostages, Red Cross Delegation, MICHEL MINNIG
begins to stand.
Salvadore turns his gun on Minnig. Minnig freezes in place.
MINNIG
I'm Michel Minnig, I am the head of the
international Red Cross delegation.
CERPA
I'm well aware of who you are.
MINNIG
Our country is neutral concerning this
matter.
CERPA
Your government takes a very interesting
position concerning political affairs.
You're like a palm branch that blows
according to the wind.
MINNIG
I'd like to help you negotiate with the
Peruvian government.
CERPA
And what makes you think I need your
help?
MINNIG
I'll do all that I can to help resolve
this situation peacefully without any
political agenda.
CERPA
Offer accepted.
Salvadore pulls Minnig from the crowd and begins to frisk
him.
Cerpa spots Francisco Tudela and approaches him.
CERPA (cont'd)
(to Tudela)
It's nice to see you Mr. Tudela. Are you
having a wonderful evening? You better
hope that your friend Mr. Minnig is a
very persuasive man. You see, we're
prepared to die for the fatherland. And
if we die, you will be the first to join
us.
EXT. AVENUE OF THE AMERICAS - NIGHT
The presidential motorcade briskly moves down the street.
INT. MERCEDES BENZ - CONTINUOUS
Colonel, Sandoval drive as president Fujimori and Kenji sit
in the back seat.
The phone rings.
FUJIMORI
(to Sandoval who is driving)
Don't answer that.
The phone repeatedly rings.
EXT. AVENUE OF THE AMERICAS - NIGHT
The motorcade continues racing down the street.
EXT. JAPANESE EMBASSY/FRONT GATE - SAME NIGHT
MONTAGE:
News footage actual incident.
Video camera panning, zooming, confusion, smoke and shaking
cameras.
Various shots of the embassy, smoke, cops getting in
position, soldiers exit vehicles.
CERPA (VO)
(over the megaphone)
You are being ordered to keep away from
the ambassador Aoki's residence. If you
make any attempts to storm this embassy,
we will immediately begin to execute our
prisoners of war.
EXT. NATIONAL INTELLIGENCE SERVICE - NIGHT
Armed guards stand at the entrance.
The metal gate slowly swings open.
Fujimori's presidential motorcade enters the gate.
INT. JAPANESE EMBASSY/MAIN SALON - NIGHT
The Arab is pulling an elderly woman, FUJIMORI'S MOTHER (70),
toward Cerpa. She's smacking and beating on The Arab's arm
as he pulls her along.
THE ARAB
Look what I found!
The woman continues to beat on The Arab. He's a bit amused
by this.
Fujimori's mother's eyes are streaming with tears from the
tear gas, which still has not completely settled.
One man comes to her aid, it's PEDRO, the president's
brother.
PEDRO
Mother, please, don't resist.
MOTHER
You stupid men. How dare you come here
and treat us like this? You will not get
away with this.
PEDRO
(to Cerpa)
I'm sorry. Please don't hurt her, I'll
keep her quiet.
THE ARAB
(about Fujimori's mother)
Do you know who this is?
CERPA
(to Pedro)
Yes, and you're Fujimori's brother. And
now you are our very special guests.
THE ARAB
We'll have no problem with Fujimori now.
Once he finds out his mother and brother
are our prisoners, he'll have no
alternative, but to grant us our demands.
MINNIG
Excuse me, if I may speak.
Cerpa nods.
MINNIG (cont'd)
I think the first order of business is to
gain control of this situation.
THE ARAB
We already have control of this
situation.
CERPA
(to Minnig)
What do you have in mind?
MINNIG
You should begin by showing good faith,
release all women and the elderly.
THE ARAB
(to Minnig)
I suppose you're suggesting we release
Fujimori's mother as well?
MINNIG
Yes, I am. There are too many hostages
for you to maintain.
CERPA
(to The Arab)
This thing is much greater than a
personal vendetta with Fujimori. This
matter before us is political and
ideological as well. There are reporters
outside, they'll want to talk with us.
They'll be covering everything that we
do. This is an international event now,
with many countries scrutinizing our
every move.
(to the hostages)
Fujimori has imprisoned our comrades and
dealt with our political organization
unjustly. We will not show him the same
indifference.
(to Minnig)
Any party that is in opposition to his
regime, he has imprisoned and dealt with
harshly, inhumane.
(to The Arab)
Prepare to release all women and the
elderly immediately.
Minnig breathes a breath of release.
THE ARAB
Including Fujimori's mother?
CERPA
Especially Fujimori's mother.
The Arab storms off.
EXT. JAPANESE EMBASSY/FRONT GATE - NIGHT
Ikeuchi, reporters police and secret service agents standby.
INT. JAPANESE EMBASSY/MAIN SALON - LATER SAME NIGHT
There is a long line of women and elderly.
Some are hugging there husbands.
Cerpa picks up a megaphone and approaches a window.
CERPA
(to the press)
We're going to release all women and
elderly. We're doing this as an act of
good faith. I want the media to get this
release on film.
Cerpa nods his approval and the door is opened.
CERPA (cont'd)
(pulling Minnig by the arm)
Wait.
(he hands Minnig a piece of
paper)
These are our demands. Please, see to it
that they're released to the media before
you turn them over to Fujimori.
Minnig takes the paper and nods in agreement. Minnig turns
to go.
CERPA (cont'd)
I'll be seeing you again won't I?
MINNIG
Yes. I'll be back, you'll need food,
water and other necessities. But, I want
you to know something, you're not
releasing these women and elderly as an
act of good faith. You're releasing them
to lesson your burden, to begin talks
you'll have to commit to releasing
another thirty hostages.
CERPA
I'm sorry, you're right.
MINNIG
Can I let them know that you will be
releasing another thirty men?
CERPA
I'll do better than that. I'll release
thirty-four, when I know that Fujimori
will begin to negotiate.
Minnig takes the first woman by hand and helps her down the
steps.
The procession of women and elderly begin to follow.
EXT. JAPANESE EMBASSY/GROUNDS - CONTINUOUS
The line of women and elderly is a steady stream of people
leaving the embassy, which leads all the way to the front
gate.
One woman being led out is in a wheelchair, and another is on
a stretcher.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
Re‹tegui begins to race toward the front door, he trips,
knocking the elderly and women out of his way.
EXT. JAPANESE EMBASSY/FRONT GATE - CONTINUOUS
Re‹tegui rushes out the door and through the front gate.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
Cerpa and his men take up their arms and aim at the remaining
men.
CERPA
We'll not stand for anymore of that.
Aoki takes his wife by her hand and kisses her.
AOKI
You take care.
NAOKO
I'm scared.
AOKI
Everything will be alright.
She hugs him and goes.
Giusti's wife Iris hugs her husband.
IRIS
Be careful. Don't do anything stupid.
Promise me that you won't?
GIUSTI
I won't do anything to cause you concern.
I promise you this.
IRIS
I'll be praying for you. I'll be praying
for all of you.
She hugs her husband and dries her eyes. She starts to walk
away and he takes her by the hand.
GIUSTI
(gesturing toward the front
gate)
I'll see you on the other side.
They squeeze each others hand. He smiles as she continues
on.
INT. NATIONAL INTELLIGENCE SERVICE/MONITOR ROOM - NIGHT
The room is filled with high-tech instrumentation, assorted
communication devices and an array of telephones.
A soldier, standing at attention guards the door.
Fujimori and Kenji watch the release of the women and elderly
over a series of monitors that fill a wall.
KENJI
There's grandma Mutsue. And Aunty too!
Fujimori says nothing. He continues to watch the monitor.
Secret Service Advisor, VLADIMIRO MONTESINOS TORRES (50),
enters the room.
FUJIMORI
(to Montesinos)
Arrange a meeting immediately with our
top military personnel. Have a group of
special unit soldiers begin to prepare
themselves for possible military
intervention.
MONTESINOS
Shouldn't we find out what they want
before we take any kind of military
action?
FUJIMORI
49 I will not negotiate with terrorists. 49
Fujimori sits back and watches the TV monitor.
A female reporter, PATRICIA HAYES (30), is covering the story
via a live feed. She is on the monitor giving details about
who the MRTA are.
PATRICIA
The group known as Tupac Amaru
Revolutionary Movement, MRTA is an
opposition communist organization,
organized in 1978 by former Revolutionary
Leftist Movement and Leninist
Revolutionary Socialists leaders. The
group came into recognition after
assaulting food warehouses, markets and
trucks loaded with produce. The members
began distributing the goods amongst the
poverty stricken shantytowns that are
prevalent throughout jungle communities
of Peru.
Reporters begin to set up ladders and other devices as a
means to peer over the embassy wall.
President Fujimori and Montesinos are taking notes, while the
embassy crisis is being reported over the monitors.
A buzzer rings into the room. Montesinos answers it.
MONTESINOS
Yes! What is it?
The female reporter continues to report the takeover over the
monitor.
PATRICIA
The MRTA have been know to take over
radio stations, where they've demanded
the release of MRTA political prisoners.
One of their imprisoned leaders is Victor
Polay Campos who was arrested after
raiding police stations, removing weapons
cache, destroying police records as well
as, assassinating a lieutenant and a
police officer during the confrontations.
She points back to the Japanese Embassy.
A soldier speaks over an intercom.
SOLDIER (VO)
Sir, Rodolpho Re‹tegui is here. He
wishes to speak with the president. Do I
have your permission to let him in?
MONTESINOS
(to the president)
Sir, Re‹tegui has arrived. Do you wish
to speak with him?
FUJIMORI
Yes, send him in.
They continue to watch the monitor.
PATRICIA
50 It is widely believed that the leader of 50
this latest attack, who has identified
himself only as, Commander Huertas is
Nestor Cerpa Cartolini. Cartolini came
into notoriety when he was a union leader
at Cromotex, a fabric factory. Cartolini
incited a takeover of the factory, which
left four coworkers and two police
officers dead. Live for CNN news, I'm
Patricia Hayes.
There is a knock at the door.
MONTESINOS
Its open.
The soldier guarding the door opens it and Re‹tegui enters
the room. The door is closed behind him.
MONTESINOS (cont'd)
What do you have for us?
REÌTEGUI
(excited and out of breath)
Sir, I just escaped from the Japanese
embassy.
FUJIMORI
Yes, it was broadcast for the whole world
to see. My aid running for his own life
and not thinking about the safety of the
other hostages. What information do you
have for us?
REÌTEGUI
I risked my life, Sir. I wanted to bring
you first-hand information. I thought
you would be pleased.
FUJIMORI
We don't have much time. Just give us
your information.
REÌTEGUI
There are 14 terrorists. MRTA!
FUJIMORI
Was anyone killed?
REÌTEGUI
No. But they have assault weapons,
grenades and I spotted a couple of
launchers. They're dug in pretty good.
FUJIMORI
Get me a report of everything that you
saw. Don't leave out any details.
REÌTEGUI
Yes sir.
FUJIMORI
You may go.
Re‹tegui turns to go and then stops. He turns back.
REÌTEGUI
I'm sorry sir. I thought I had done the
right thing.
FUJIMORI
Who's to say what was the right thing to
do given the circumstances. I don't
blame you.
REÌTEGUI
Thank you sir. I'm sorry if I
disappointed you.
Re‹tegui exits.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
There is a pile of beepers and cell phones on the floor.
Hostages continue to drop their electronic devices into the
pile and are then frisked by the MRTA.
One of the hostages, ROBERTO FERNANDEZ FRONTZEN (55), removes
his beeper from his pant pocket and turns it off.
The Arab is watching at the top of the stairs as the hostages
continue to submit there electronic devices.
Congressman, EDUARDO PANDO PACHECO (50), approaches the pile
and drops his beeper. It hits the floor, splits open and
reveals no battery.
THE ARAB
(to Pacheco)
You!
The Arab begins to walk down the stairs.
Fernandez drops the beeper he has concealed and with his foot
slides it under a lampshade, which is turned over near a pile
of furniture.
The Arab gives Pacheco a thorough frisking.
THE ARAB (cont'd)
Where's the battery?
Pacheco shrugs his shoulders.
PACHECO
It must have fallen out.
The Arab finds the battery that was kept by Pacheco in his
coat pocket. He whacks Pacheco with the butt of his rifle.
Pacheco hits the floor surprised.
The Arab raises his rifle to strike him again.
Cerpa appears at the top of the steps.
CERPA
That's enough.
The Arab lowers his weapon.
CERPA (cont'd)
(to Pacheco)
There is only one life as we know it.
Are you willing to throw yours away?
The Arab goes back to the top of the stairs.
CERPA (cont'd)
Continue.
The hostages continue to place their objects onto the pile.
Pacheco looks over to Fernandez, his look lets Pacheco know
that the beeper is safely hidden.
Salvadore approaches the staircase.
SALVADORE
There's going to be an interview with
everyone of you. Don't ask questions,
don't speak unless you are spoken to, or
you won't like the outcome.
INT. NATIONAL INTELLIGENCE SERVICE/WAR ROOM - NIGHT
President Fujimori sits at the head of a table, flanked by
top brass.
Fujimori's son Kenji is at his side.
Secret Service Montesinos, Minister of Education, DOMINGO
PALERMO CABREJOS (50), Chairman of the Joint Chief of Staffs
General, CESAR SAUCEDO SANCHEZ (50), General, GASTON IBA„EZ
O'BRIEN (50), and other top looking brass are present.
O'Brien and Sanchez are in heavy discussion with Montesinos
and Fujimori. General Sanchez speaks.
SANCHEZ
Sir, you are Supreme Commander of the
Armed Forces, therefore I don't have to
remind you that the wrong decision would
spell disaster to your political future.
MONTESINOS
That is why we've ordered everyone of you
here, to make sure that the right
decision is made.
O'BRIEN
Sir, the president of Japan and the OAS
are asking for a swift and peaceful
solution. Japan is also demanding an
explanation why you have not returned the
prime ministers calls? They've also
stated that they're willing to put up a
large sum of money for the immediate
release of the hostages.
FUJIMORI
I have dealt with this group of
terrorists before. I understand the
nature of their tactics all too well.
Once we give in to there demands, there
is no telling what they'll ask for next.
Paying a ransom is out of the question.
SANCHEZ
Sir!
Fujimori gestures with his hand to stop him from speaking.
FUJIMORI
We have one goal, and that is to procure
the safe return of the hostages, and to
achieve that objective we can never let
the MRTA define there demands. And most
important, not to let them become aware
that they will not get what they want.
O'BRIEN
We need to evacuate the area and bring in
troops as a show of force to intimidate
the MRTA.
FUJIMORI
No. We must make everything appear as
normal as possible outside of the
embassy. This is crucial if we want to
be successful. We don't need to
aggravate the situation.
Some of the men are taking notes.
FUJIMORI (cont'd)
Remove any unnecessary troops from within
eyesight of the embassy area. No
uniforms. Keep only plain clothes
officers covering the grounds.
Fujimori turns on a projector and places a slide on the glass
plate. The embassy fills a screen on a wall.
Fujimori uses a pointer.
FUJIMORI (cont'd)
We'll need to occupy these residents,
here and here.
MONTESINOS
Yes, they could become of great use to
us.
FUJIMORI
Promise the owners that their homes will
be returned to them in the condition that
we found them. Make sure that they're
compensated well.
A soldier enters the room and hands a message to Montesinos.
Montesinos puts on his glasses and reads the note.
MONTESINOS
They have released there list of demands.
He continues.
MONTESINOS (cont'd)
They want the release of all MRTA members
that are imprisoned.
FUJIMORI
That's more than three-hundred extremely
dangerous men. That's out of the
question.
MONTESINOS
They also want the American, Lori
Berenson released immediately and
returned home. There is no mention of a
ransom. And what we already suspected,
its signed by Nestor Cerpa Cartolini.
They acknowledge the fact that Cerpa is the leader of this
covert operation.
FUJIMORI
The longer we delay contact with Cerpa
the more options we'll have at our
disposal to deal with this situation. No
one is to talk to the media.
PALERMO
Sir, if I may speak?
FUJIMORI
Yes, by all means. What's on your mind?
PALERMO
I think there is a man that can help keep
this situation from getting out of hand.
A man of God. His name is Cipriani, he's
the bishop from a small village in
Ayacucho.
FUJIMORI
This is a military matter. How could he
help?
PALERMO
The MRTA have called for the church time
and again to join them in their
insurgence against the state.
FUJIMORI
I see. Perhaps, they'll feel that they
have someone to confer with. See if he
will assist us.
PALERMO
I know the man personally Sir. He may
help to resolve this peaceably. But, if
I ask him to assist us, he will decline.
If we want his help, he'll choose to be
neutral.
FUJIMORI
Go to him and see if he will
intermediate.
EXT. AYACUCHO CHURCH - DAY
Ayacucho cathedral sits amidst an impoverished community.
The sounds of children echo throughout the church playground.
EXT. AYACUCHO CHURCH/PLAYGROUND - CONTINUOUS
Two ten year old BOYS are struggling in a fist fight.
Other children are gathered around, cheering the boys on.
INT. AYACUCHO CHURCH/BATHROOM - CONTINUOUS
Archbishop, JUAN LUIS CIPRIANI THORNE stands at a mirror in a
bathroom in the middle of shaving.
Cipriani's not yet fully dressed, wearing his black trousers,
scapular, T-shirt and sandals.
He cuts himself with his razor.
He hears the sounds of the two boys as they scuffle down in
the playground.
Cipriani goes to the window to see what the commotion is.
The two boys continue to slug it out.
Slightly amused, Cipriani grabs a towel and wipes the shaving
cream from his face.
He exits the bathroom.
EXT. AYACUCHO CHURCH/PLAYGROUND - CONTINUOUS
The two boys are still at it.
Cipriani has a hard time separating the two boys.
He grabs one by the collar and kicks the other one in the
bottom.
Cipriani separates the two boys. The fight ends.
The two boys glare at each other. One boy tries to take a
poke at the other.
CIPRIANI
What's all this about?
BOY ONE
He started it.
BOY TWO
I did not. You started it.
BOY ONE
You started it. Not me!
BOY TWO
I did not.
The boy tries to kick the other boy while Cipriani holds fast
to the boy's shirt collars.
CIPRIANI
You boys don't really like each other
that much do you?
The boys shake their heads no.
BOY TWO
I hate him.
BOY ONE
I hate you worse.
Domingo Palermo appears on the steps of the church. He
watches how Cipriani handles the situation.
CIPRIANI
I once knew a couple of boys, much like
yourselves. Didn't care that much for
each other. No not at all. Always
taking a swing at each other. In fact,
I'm sure that if one of the boys were
holding onto a cliff for dear life the
other one would've stood by and watched
him fall. You know what happened to
those two boys?
The boys shrug.
CIPRIANI (cont'd)
They both grew up, and joined the church.
Now, they are great friends and
inseparable. Confused?
The boys don't answer.
CIPRIANI (cont'd)
I'm talking about myself and father
Cordoza. Now, if you don't mind, I'd
like to get back to my shave. Do you
think that I can leave you two alone long
enough for me to finish?
The boys continue to glare at each other. They nod yes.
CIPRIANI (cont'd)
That's fine. That's a good start. Now
shake hands.
The boys still glare at each other.
CIPRIANI (cont'd)
Shake hands, or I'll make you give each
other a hug.
The boys shake hands.
CIPRIANI (cont'd)
That's good boys.
Cipriani pats them on the head.
The boys run off to play.
He turns and notices Palermo who is standing on the steps.
Cipriani starts to walk toward Palermo.
EXT. GREECE/JAPANESE EMBASSY - DAY
New footage of the embassy of Japan immediately after being
bombed by MRTA supporters.
Footage of protest in support of the MRTA.
MONTAGE:
NHK newsreel footage of the Japanese governments statements
and public opinion, which is critical of how the Peruvian
government is handling the embassy standoff.
Japan offers 50 Million dollars for the safe release of the
hostages.
INT. JAPANESE EMBASSY/HABITACIîN G - NIGHT
Cerpa is looking over a long list of names from Aoki's guest
list. He is flanked by Tito, who limps from his bullet wound
and Salvadore.
The Uruguayan Ambassador, TABARE BOCALANDRO (45), is being
escorted from the room by Huascar and Eduardo.
CERPA
(sarcastic)
See to it that the ambassador from
Uruguay is made to feel at home.
Cerpa looks up to see Justice Giusti being escorted into the
room.
CERPA (CONT'D)
(the smile slipping from his
face turns to a scowl)
Supreme Magistrate Acu–a. You have sent
many of our comrades to rot in prison.
Scared and impoverished men with no hope
of ever seeing freedom again. Men, whose
fait lied in your hands and hoping for
justice, received none. Now your life is
in our hands. We will be the one who
decides your fait.
(to Salvadore)
Take him to habitaci—n H.
Giusti is shoved out of the interrogation room by Salvadore.
MAXIMO RIVERA DIAZ (50), General of the National Police is
led in.
CERPA (cont'd)
Chief of Dinc›te. The head of anti-
terrorism.
Cerpa walks over to him and rips his metals from his chest.
CERPA (cont'd)
Take him to H.
Diaz is pushed out the door by Tito. Eduardo and Huascar
returns.
Bolivian Ambassador, JORGE GUMUCIO GRANIER (50), is led into
the interrogation room.
CERPA (cont'd)
Bolivian Ambassador?
GUMUCIO
That is correct.
CERPA
Interesting. Bolivia, a reactionary
government that lines the pockets of
politicians with monies gained from
unlawful narcotics transactions.
Narcotics that are sent around the
America's to poison the minds of its
youth.
GUMUCIO
You make accusations...
Salvadore puts his hand over Gumucio's mouth.
CERPA
No, let him speak. I want to hear what
he has to say.
Salvadore removes his hand.
GUMUCIO
I have nothing to say to terrorists. I
am through speaking.
CERPA
Watch your tongue. We are not Sendero
Luminoso, and that is a good thing for
you. For if we were, you would have
already been dead.
GUMUCIO
I don't think any better of you. And I
don't care what you do to me.
CERPA
Oh, you will. You will. And we'll find
out soon enough what Fujimori thinks of
you. If you are important men, merely
replaceable pawns. Now go.
(to Salvadore)
Take him to H.
Gumucio is shoved out of the room and another hostage is led
in.
INT. JAPANESE EMBASSY/HABITACIîN H - CONTINUOUS
Admiral, Luis Giampietri Rojas is shoved into the cramped and
crowded room. The medals have been ripped from his uniform.
The other men that have been sent into this room are sprawled
about, almost disoriented.
High-ranking military officers, all have their metals ripped
from their uniforms.
Giampietri steps over people and works his way toward the
window.
The window is covered in a metal wiring. He looks about the
grounds of the embassy.
Fernandez approaches Giampietri.
FERNANDEZ
What are we going to do sir?
GIAMPIETRI
First, we're going to have to form a
group of men that can help to communicate
with the outside. We've got to play our
part if we are going to be successful in
our release.
FERNANDEZ
Congressman Pacheco and General Diaz have
already agreed to help.
Giampietri spots Pacheco and Diaz as they look back at him.
He salutes them.
GIAMPIETRI
(laughing slightly)
These hoodlums, aren't so smart as they
think that they are. They have placed
all military personnel together in the
same room. That is their first mistake!
FERNANDEZ
Where do we start?
GIAMPIETRI
Tell the men not to do anything to cause
trouble with these terrorists. They've
killed before. They'll do it again if
given the opportunity.
FERNANDEZ
Whatever they want, I know one thing
that's certain, the president will not
give in to their demands. Expect this
standoff to last quite some time.
Fernandez reaches into his pocket.
FERNANDEZ (cont'd)
I brought you a gift.
He pulls out the beeper he had hidden. He hands it to
Giampietri.
Pleased, Giampietri pats Fernandez' face.
Giampietri snaps off the beeper handle, pulls the carpeting
back from the corner of the room and pulls out a piece of the
rubber matting.
He puts the beeper under the carpet and puts the carpet back
as it was.
OSCAR PAJARES MERINO (45), Major of the National Police is
shoved into the room.
His eyebrow is split open. Pajares falls to the floor.
EXT. JAPANESE EMBASSY/GROUNDS - NIGHT
Eduardo and The Arab, crawl across the embassy grounds with
bayonet blades extending from their rifles.
They're placing wiring and detonation devices around the
embassy grounds.
EXT. APARTMENT BUILDING/ROOFTOP - CONTINUOUS
A block away, four soldiers lie on their bellies with high-
powered weapons aimed at the embassy grounds.
Captain, RAUL JIMENEZ CHAVEZ peers through night infrared
binoculars. He watches Eduardo and The Arab as they crawl
across the embassy ground.
CHAVEZ
(over his radio)
We've spotted two MRTA, they're placing
mines around the embassy grounds.
INT. NATIONAL INTELLIGENCE SERVICE/WAR ROOM - DAY
There is an exact model of the Japanese embassy on a table.
Fujimori and his son, Kenji are surrounded by Montesinos,
General Huaman, General, Sanchez, General, O'Brien, and
other top looking Naval, Army, Air Force and special command
leaders.
President Fujimori speaks.
FUJIMORI
We need to know what is happening inside
the embassy residence at all times. We'll
need to find out exactly where the
hostages are being held and how they are
being treated. Are they being kept in a
single group, or are they scattered
about, confined to different areas?
The officers listen intently.
FUJIMORI (cont'd)
Is it quite possible that they are being
used as human shields. Are they being
tortured? These are some of the
questions that must be answered at once.
Again, we'll need to find a way to plant
microphones and gain access into the
embassy without the terrorists knowledge.
MONTESINOS
Sir, General Huaman has a plan that he
feels may work.
Fujimori is listening.
General Huaman, head of the joint chief of staffs begins to
speak.
FUJIMORI
You got my attention!
General Huaman stands and takes out documentation and begins
to pass them out to all who are present.
HUAMAN
Operation Father Christmas should succeed
successfully without any glitches.
Huaman uses a pointer as he moves toward the embassy replica
to explain his plan.
Blue resin figurines represent the hostages position. Green
figurines represent the terrorists.
HUAMAN (CONT'D)
We noted that Cerpa and his officers
sleep together in this room on the second
floor, while a few of his men kept guard
here and here. We feel that we could
surprise them with a grenade attack to
the room as Cerpa as his men are
sleeping. A direct hit would kill Cerpa
and his lieutenants. We would
simultaneously counter attack with ground
troops converging onto the embassy with
massive firepower. The younger MRTA would
probably surrender when they saw that
their leaders were deceased.
FUJIMORI
Probably?
HUAMAN
Its probable that they would surrender
without the support of their leaders. We
could be ready to make our move on
Christmas Eve. It'd be one hell of a
Christmas gift for the hostages.
FUJIMORI
How many ground troops would you need?
HUAMAN
Two hundred fifty. We'll also place our
best snipers in position to take out any
of the MRTA that are accessible during
the raid.
FUJIMORI
How long do you estimate that this
operation will take?
HUAMAN
Thirty minutes maximum.
FUJIMORI
That's too long and it's too dangerous
for the unarmed hostages. And a hit at
night would cause extra complications.
MONTESINOS
(to Fujimori)
Captain Chavez, while on duty last night
spotted the MRTA planting mines around
the grounds of the embassy. They're dug
in pretty good.
FUJIMORI
(to Huaman)
What are your estimates on casualties?
HUAMAN
As we know, the MRTA arsenal is volatile.
The best case scenario is about thirty
percent of the hostages will die.
FUJIMORI
Best case scenario? No, this will not
do. We've got to come up with a better
plan. This would be too dangerous.
Fujimori takes a deep breath.
FUJIMORI (cont'd)
It's not time to act. We need to wait it
out and see what move they make next.
Montesinos agrees.
FADE TO BLACK.
EXT. JAPANESE EMBASSY/ROOFTOP - NEXT DAY
The MRTA flag is waving in the wind above the roof of the
embassy.
INT. JAPANESE EMBASSY/HABITACIîN H - DAY
Hostages are awoken by the sounds of the chanting MRTA.
MRTA (VO)
Latin America is in chaos. But in the
future we will live in freedom. We will
choose socialism. Give eternal honor to
those soldiers who died for peace.
Fernandez is already at the entrance of the room. The door
has been removed from its hinges.
All doors have been removed from their hinges throughout the
embassy residence.
He turns to Giampietri and sends a hand signal to Giampietri,
as if to say, the coast is clear.
MRTA (CONT'D)
(continuing to chant)
Seeds of freedom have formed in the
people's mind.
Giampietri removes the beeper from the flooring and checks it
for any messages. There are none.
Giampietri and others, including Congressman, EDUARDO PANDO
PACHECO, begin to move together to form a secretive
conversation.
Fernandez keeps watch.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
Hostages gather at the staircase on the second floor and look
down into the main salon.
The MRTA are standing at attention, while continuing in their
monotone chanting.
Cerpa speaks while the MRTA members continue to shout.
CERPA
Some said that we couldn't do it. But
you see what we can accomplish working
together for the good of the fatherland.
MRTA
You fought and died but you have earned
eternal life. You will live forever in
the name of Tupac Amaru.
Cerpa's voice loudly proclaims.
CERPA
Our purpose is to release our comrades
who are held captive by Fujimori's
regime.
Cerpa walks before his comrades confidently.
MRTA
You died for the revolution in the battle
of Los Marinos.
CERPA
Uno dia.
MTRA
No es nada.
CERPA
Tres dias.
MRTA
No es nada.
CERPA
Uno a–o.
MRTA
No es nada.
CERPA
Tres a–os.
MRTA
No es nada.
INT. NATIONAL INTELLIGENCE SERVICE/WAR ROOM - DAY
Fujimori stands at a window alone. He's lost in deep thought
as he looks out over the city.
The MRTA anthem, Battle of Los Marinos reverberates.
EXT. JAPANESE EMBASSY - DAY
Minnig passes the succession of police and reporters. He
begins the long walk toward the embassy.
The cart he pushes is filled with simple supplies. Other Red
Cross volunteers that assist Minnig, are wearing a large red
cross symbol around their necks.
One of the carts has a picture of the Lord of Miracles
stacked on top of the supplies.
Minnig knocks on the door.
The door opens and Tito allows Minnig to pass.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
Minnig enters the embassy and is searched by Tito. So is the
Red Cross assistant.
TITO
(referring to the picture)
What is this?
MINNIG
It's a gift to Ambassador Gumucio from
his wife. It's a painting of the Lord of
Miracles.
Cerpa approaches and takes the painting.
CERPA
(to Eduardo)
Get rid of this.
MINNIG
This picture may help give the men hope.
It could not hurt to let them have a
painting of faith.
There is a note attached to the painting. Cerpa opens the
note and reads aloud.
CERPA
Pray to the Lord of Miracles for he will
hear you.
Cerpa turns to one of the MRTA.
CERPA (cont'd)
Take this painting and note to Gumucio.
See to it that he gets it.
The MRTA takes the painting and exits.
MINNIG
(to Cerpa)
A commission is being formed to begin
dialogue.
CERPA
(to Salvadore and The Arab)
Gather together thirty-four
insignificants from group D. Prepare them
for immediate release.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
The picture of the Lord of Miracles is hung on a wall by two
hostages.
Gumucio reads the note his wife sent him.
GUMUCIO
Pray to the Lord of Miracles for he will
hear you.
INT. JAPANESE EMBASSY/MAIN SALON - DAY
Tito is checking identification of a group of hostages.
The waiters and other insignificant hostages are beginning to
file out of the gate. Three men are being wheeled out on
stretchers.
The three boyscouts move toward the front of the room. As
they reach the front door, Cerpa calls out to one of the
boyscouts.
CERPA
Jericho Camino.
The boy stops in his tracks and turns around looking back at
Cerpa.
CERPA (cont'd)
Youth, such as yourself are the future of
our country. Don't ever forget this.
Jericho listens to the words of Cerpa.
He turns to go, following the sequence of freed men.
INT. JAPANESE EMBASSY/SECOND FLOOR - DAY
The hostages are scattered about in the background.
They're all seated on the floor, legs folded and packed in
tight and orderly rows.
Foreign Affairs Minister, Francisco Tudela is dragged to a
seat that is placed in the middle of the room and roughly
tossed into it.
The hostages don't know what to make of it. They also don't
dare to say a single word.
INT. JAPANESE EMBASSY/STAIRCASE - CONTINUOUS
Cerpa walks up the flight of stairs with, The Arab and
Salvadore at his side.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
Two armed MRTA stand on either side of Tudela.
Cerpa enters from the stairs and sits at a desk.
Everything appears to be a make-shift trial. The MRTA refer
to it as a people's court.
CERPA
Francisco Tudela. You are being tried
today in this court for crimes against
humanity and crimes against the Peruvian
people. You will have the opportunity to
defend yourself from these accusations
and we will be both your judge and your
jury. If you cannot convince us of your
complete innocence to these very serious
charges you shall be found guilty and the
appropriate sentence will be carried out.
The hostages sit astonished.
CERPA (cont'd)
Do you have any questions before we
begin?
Tudela doesn't say a word.
Cerpa holds up a magazine and lets the hostages see that
Tudela's picture clearly graces the cover.
He tosses the publication toward Tudela.
CERPA (cont'd)
This propaganda was produced by the
Department of the Joint Chief of Staffs
was it not?
Tudela does not answer. The Arab walks over and smacks
Tudela in the face.
SALVADORE
Answer the question.
TUDELA
(soft spoken)
It was published by the Department of the
Joint Chief of Staffs. Yes.
CERPA
Is this not your picture on the cover of
the publication?
TUDELA
Yes that is a photograph of me.
CERPA
And this photo was taken at the
inauguration of the international
conference against terrorism. Is that
correct?
TUDELA
Yes. It was.
CERPA
Are you running a counterinsurgency
campaign in the foreign ministry?
TUDELA
That's absurd.
Tudela is smacked again.
The hostages are frightened. Giusti jumps up and lashes out
in anger.
GIUSTI
This is not a trial. This is a lynching.
CERPA
Bite your tongue old man.
Salvadore rushes over to Giusti.
GIAMPIETRI
Magistrate, we all feel what you feel.
They have made up their minds, they will
not hear you. Please, sit down.
SALVADORE
(shouting)
Yes, sit down. You are out of order.
Giusti, shaking with anger and harsh words about to escape
his lips, quietly sits down.
THE ARAB
(to Tudela)
Answer the question.
TUDELA
(very calm)
It is the foreign ministers duty to
inaugurate these kind of events, which
are organized by other branches of the
state. Moreover, I had not taken part in
any of the presentations and the
conference was programmed before I was
even named minister.
Cerpa is surprised by his answer.
Cerpa, Tito, Salvadore and The Arab confer privately.
CERPA
Is what you say concerning this matter
the truth?
TUDELA
Yes, it is.
Cerpa, Tito, Salvadore and The Arab confer privately again.
The Arab goes to the group of hostages and grabs Aoki.
Salvadore pulls Tudela from the chair.
They're dragged toward the balcony.
A megaphone is placed in the hands of Tudela.
Guns are positioned at there backs. They're prodded out onto
the balcony.
CERPA
Do as I tell you.
EXT. JAPANESE EMBASSY/FRONT GATE - CONTINUOUS
Ikeuchi and the other press members watch as Tudela and Aoki
appear on the balcony.
Reporters scramble for their equipment.
TUDELA
(over the megaphone)
This is a message from the MRTA.
Communique number one.
Our members are being sentenced to life
imprisonment by hooded judges in military
tribunals, our comrades have been kept in
total isolation for months at a time and
are dying from tuberculosis and other
diseases, which stem from the inhumane
prison conditions. These men have been
beaten and tortured by prison officials
and the women raped. The Peruvian
government and military has been cited by
numerous human rights organizations as
being the worst violators of human rights
in the western hemisphere. Fujimori and
his regime are war criminals guilty of
torture and a multitude of other human
rights violations. We will continue to
hold these prisoners of war until all of
our demands are met.
Ikeuchi and other reporters snap numerous photos, while
cameras continue to role.
TUDELA (cont'd)
(in megaphone)
Fujimori has thirty minutes to agree with
our demands. If he refuses, both,
Ambassador Morihisa Aoki and myself,
Francisco Tudela will be executed.
CERPA
(taking the megaphone)
Do you hear that? Fujimori has thirty
minutes to comply or these will be the
first two to die.
INT. NATIONAL INTELLIGENCE SERVICE/MONITOR ROOM - DAY
Fujimori watches on a monitor as Tudela and Aoki stand on the
balcony.
MONTESINOS
Times running out on us. We can stall no
longer, we've have got to acknowledge
receipt of their demands and offer some
kind of reprisal.
FUJIMORI
No. We cannot give in to them.
MONTESINOS
We can't just stand by and let them
execute these men either.
FUJIMORI
Send one-hundred troops to converge on
the embassy. Give them specific orders
not to attack or incite.
MONTESINOS
This will only provoke them into further
action.
FUJIMORI
Do as you are ordered.
MONTESINOS
You're putting those men's lives in great
peril.
FUJIMORI
I'm well aware of that.
Montesinos picks up the phone.
MONTESINOS
Get me Chavez, immediately.
(a pause)
Captain, we will be sending one-hundred
troops to your command. Keep them on red
alert.
EXT. JAPANESE EMBASSY/FRONT GATE - DAY
Aoki and Tudela remain on the second floor balcony.
SALVADORE AND TITO (VO)
(in megaphone)
You have fourteen minutes.
Several army vehicles filled with troops converge on the
embassy.
Captain Chavez talks over a command walkie-talkie.
MONTESINOS (VO)
(over the walkie-talkie)
Prepare to storm the embassy.
Chavez motions for troops to be prepared.
The troops take position.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
MONTAGE:
The expressions of hostages reveal the tension in the air.
Cerpa watches the clock as it counts down.
Salvadore and The Arab, guns drawn and positioned at Tudela
and Aoki's back.
Tudela's legs trembling.
INT. NATIONAL INTELLIGENCE SERVICE/MONITOR ROOM - DAY
Fujimori watches on a monitor as Tudela and Aoki stand on the
balcony.
Phones are ringing off the hook.
Montesinos is dripping with sweat.
EXT. JAPANESE EMBASSY/BALCONY - CONTINUOUS
Aoki and Tudela await there fait.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
Tito watches from a window as the troops await their orders
to attack.
President Fujimori's brother Pedro folds his hands in
anticipation.
Father Wicht silently prays.
INT. JAPANESE EMBASSY/MAIN SALON - DAY
Cerpa watches a clock.
A phone sits at his side.
INT. NATIONAL INTELLIGENCE SERVICE/MONITOR ROOM - DAY
Every phone in the room is ringing.
Montesinos, hands trembling and sweat dripping down his face
as he holds the radio.
Fujimori watches the clock and then the monitors, which shows
the troops movement around the embassy.
MONTESINOS
Place the call sir. Make the call!
There are less than two minutes left.
Fujimori continues to watch the clock.
FUJIMORI
I am well aware of the time.
Montesinos wipes his brow with a handkerchief.
EXT. JAPANESE EMBASSY - CONTINUOUS
Aoki and Tudela stand on the balcony.
CHAVEZ
(over the radio)
Sir, we cannot just standby and wait for
them to kill these men. Give us the
order to storm the embassy.
MONTESINOS (VO)
(over the radio)
Standby.
Fujimori watches the monitor.
There is less than one minute to go. The second hand
continues to move closer to the deadline.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
Cerpa watches the clock count down. The appointed time
passes.
Salvadore enters.
SALVADORE
It's time.
Cerpa looks at the phone at his side. It remains silent.
CERPA
Bring them in.
Tito enters.
SALVADORE
Why would you order an execution and not
follow through? If we don't do as we
say, they'll think we're weak and
indecisive.
TITO
I agree with Salvadore, we must follow
through with the execution.
CERPA
I was just trying to find out how
Fujimori would handle this situation. He
called my bluff. But, we are in control
here.
SALVADORE
I say we kill those two men. And then
put two more on the balcony and give them
another thirty minutes to decide.
CERPA
(yelling)
I am in charge here! To execute those
two is just what Fujimori wants. Then,
his troops would storm this residence and
a battle would ensue. Even if everyone
of the soldiers, the hostages and all of
us die, we have not accomplished our
objective. Fujimori would still be in
power and our comrades would still be in
prison. No execution. Bring Tudela and
the ambassador back inside and that is a
direct order.
Salvadore is angered.
SALVADORE
Yes sir.
Salvadore and Tito exit. Cerpa contemplates his next move.
EXT. JAPANESE EMBASSY/FRONT GATE - CONTINUOUS
Aoki and Tudela are pulled back into the embassy.
There is a tense moment of silence.
INT. JAPANESE EMBASSY/SECOND FLOOR - LATER SAME DAY
Cerpa watches as the soldiers in vehicles begin to pull away.
The many reporters are still at the front gate, with sparse
police presence around the embassy.
FADE TO BLACK.
INT. JAPANESE EMBASSY - NIGHT
Hostages are lying side by side and sleeping restlessly.
The Arab and Salvadore are checking the rooms. Suddenly the
lights go out.
The Arab and Salvadore go to the window and look for anything
unusual.
The houses next to the embassy lights are on. They can hear
the sound of televisions and family members coming from
inside the homes.
Cerpa approaches.
SALVADORE
What's happening?
CERPA
They've cut the lights. That's all.
THE ARAB
Everything else seems normal.
SALVADORE
It's too quiet out there. Too normal.
They must be planning to attack!
CERPA
It was a long day for both sides today.
There will be no attack tonight.
EXT. MARCONI STREET - NIGHT
A row of houses line the street.
INT. MARCONI STREET/CASA THREE - NIGHT
Casa three is one of five houses that the secret service
branch of the military are using on Marconi Street for
surveillance.
A reel to reel tape recorder plays sounds of kids laughing, a
television game show, audience laughter and a mother's voice
telling the kids to go take a bath.
A pair of speakers are aimed out of the windows in the
direction of the embassy.
INT. MARCONI STREET/CASA FIVE - CONTINUOUS
Two, special service AGENTS in full fatigues are covering
their faces in black shoe polish.
INT. JAPANESE EMBASSY/SECOND FLOOR - NIGHT
Steps are heard coming up the stairs.
Fernandez and Giampietri feign sleeping.
Julian stands at the doorway of habitaci—n H. A flashlight
moves over the faces of the sleeping hostages.
The flashlight goes across the face of Giampietri and
Fernandez. It appears that they are sound asleep.
Julian exits and continues on his nightly watch.
Giampietri gets up and moves to a window. He watches as two
figures crawl across the embassy grounds.
EXT. JAPANESE EMBASSY/GROUNDS - NIGHT
Two special service agents crawl across the grounds of the
back of the embassy.
They make it to the back wall and carefully look about.
They press against the wall as a flashlight from the rooftop
begins to scan the embassy grounds.
With the coast clear, they place a small electrical device on
the wall, hit the dirt. They move on to the side of the
embassy residence.
They place another tiny electrical device on the building and
crawl back toward the embassy garden and disappear in the
bushes.
EXT. JAPANESE EMBASSY/FRONT GATE - DAY
Minnig and Red Cross volunteers push carts of bottled water
and other supplies toward the embassy entrance.
INT. JAPANESE EMBASSY - CONTINUOUS
Salvadore and other MRTA take the supplies toward the
kitchen.
Minnig gestures for the assistants to leave. They do.
CERPA
(to Minnig)
I'm very upset. The power has been
turned off and so has the water. Its hot
in here, and the toilets are beginning to
fail. It won't be long before this
residence is overrun with disease.
MINNIG
I'll see what I can do.
CERPA
How did the media handle the situation
yesterday?
MINNIG
You made a wise decision not to kill
those men. I was pleased. I'm sure that
everyone was pleased.
CERPA
You know that we really don't want to
harm anyone. When can we sit down and
begin to negotiate the terms of their
release?
MINNIG
You still have too many hostages. Agree
to release one-hundred more and I'll try
to get the power back on.
CERPA
You are asking too much.
MINNIG
Fujimori has not budged. He is not
listening to your demands. He has not
responded to my calls or anybody who has
attempted to contact him, this includes
leaders of major nations. You've got to
trust me if you want me to work with you.
CERPA
What do you suggest?
MINNIG
Release some more hostages and lighten
your burden. This will make you look
good in the press and place more pressure
on the Peruvian government to respond.
CERPA
Agreed. I'll release one-hundred more.
But if Fujimori does not turn the
electric and water back on, I will start
to do things that they will not like.
MINNIG
OK, you want the water and electric back
on. Is that it?
CERPA
No. Bring us some flashlights, our
batteries are beginning to run low.
MINNIG
OK.
He turns to go.
INT. JAPANESE EMBASSY/SECOND FLOOR - DAY
Giampietri moves from window to window.
GIAMPIETRI
This is ocean. This is ocean. Do you
read?
He moves to the next window.
GIAMPIETRI (cont'd)
This is ocean. Do you read me?
Giampietri moves to the next window.
GIAMPIETRI (cont'd)
This is ocean. If you can hear me, make
contact. I have been given one of the
hostages beepers. Please, send a
message.
Giampietri checks his beeper. There is no message.
INT. JAPANESE EMBASSY/KITCHEN - CONTINUOUS
Salvadore and an MRTA are searching the carts filled with
supplies for hidden cameras or microphones.
The MRTA that is helping Salvadore removes the scarf from her
face. It's Luzdina, the woman who kicked the soccer ball
toward Salvadore back in the jungle.
LUZDINA
It's too hot to wear this thing anymore.
SALVADORE
Put that back on!
LUZDINA
I can't take it anymore.
SALVADORE
You want to be recognized?
LUZDINA
Recognized? We may not make it out of
here alive. I don't care if anyone sees
my face.
SALVADORE
Still, you should obey your orders.
Luzdina mocking, salutes Salvadore and replaces her scarf.
She continues to check the items.
Another cart is led into the room by an MRTA member.
The MRTA member is also a woman. The woman who was dancing
in the discoteque, Giovana. She too removes her bandana
scarf.
GIOVANA
This thing is unbearable in this heat.
INT. JAPANESE EMBASSY/SECOND FLOOR - DAY
A soccer ball is kicked toward a makeshift goal.
The MRTA are engaged in a soccer game as some of the hostages
watch.
Cerpa enters the room and watches the game as well.
TITO
(to Minami)
Join the game.
Minami snubs him.
TITO (cont'd)
(to Saito)
How about you?
SAITO
I'll make you a deal. If Cerpa fouls me,
the referee sends him out of here.
Permanently.
The other hostages present laugh and applaud.
CERPA
Very funny. Listen, to me everybody, I
have good news for you. We are going to
release another one-hundred men today.
The hostages cheer.
CERPA (cont'd)
(to Saito)
You will not be one of them.
Cerpa looks over at the priest Wicht.
CERPA (cont'd)
Father, you shall be released with this
new group.
WICHT
No. I wish to stay. There are men here
that need spiritual guidance. I want to
see this thing through.
Julian realizes that the father is not a coward after all.
The power switches back on.
The hostages cheer again.
INT. PRESIDENTIAL PALACE/GRAU SALON - DAY
A dozen microphones fill a podium.
The room is bristling with anxious reporters.
Fujimori enters flanked by Montesinos, Palermo and General
Huaman.
Fujimori takes to the podium and the room goes silent.
FUJIMORI
My fellow Peruvians, as you are aware, at
approximately eight p.m. on December,
twelfth, a group of terrorists that call
themselves MRTA stormed the Japanese
embassy and kidnapped more than seven
hundred foreign diplomats, civil servants
and civilians. The MRTA are demanding
the release of four-hundred members of
their terrorist organization. I assure
you that I will do all that I can to
ensure the safety of the hostages and
will work to resolve this crisis. I have
organized a committee of public servants
headed by Minister of Education Domingo
Palermo, who will begin to communicate
with the MRTA on behalf of the Peruvian
people. Thank you.
He attempts to exit the podium.
A reporter tosses a question his way.
REPORTER I
Mr. President, why have you not agreed to
speak about the guerillas until now?
Fujimori stops in his tracks and angrily returns to the
podium.
FUJIMORI
I have read the papers and listened to
the news reports on television and noted
one error by the media has been repeated
all too frequently. The media uses the
word guerilla when referring to the MRTA.
Nothing can be further from the truth.
These men are not guerillas, they are
terrorists. They have a history of
brutal criminal activity, which includes
murder, kidnapping, robbery and
extortion. That is all I have to say.
Other reporters attempt to hurl questions at Fujimori.
REPORTER I
President Fujimori, how do you respond to
Amnesty Internationals accusations that
political prisoners are being tortured
and not receiving fair trials?
REPORTER II
Can we ask you why the American, Lori
Berenson continues to serve a life
sentence for treason against Peru despite
the continued call for her release?
Fujimori exits the podium and leaves the room.
EXT. MARCONI STREET/CASA ONE - DAY
Ikeuchi and other reporters scramble to get the shot of
Ambassador Minnig, Bishop Cipriani, Tito. Julian and The Arab
as they enter the residence.
Cipriani is dressed in black full length gown, red skull cap,
red cummerbund and a white cross is draped about his neck.
INT. CASA ONE - CONTINUOUS
Minister of Education, Palermo and former hostages, Canadian
Ambassador, ANTHONY VINCENT, Greek Ambassador, ALCIBIADES
CARAKIS, French Counselor, HYACINTHE D'MONTERA, Peruvian
Ambassador, JOSƒ DE COSSIO RUIZ, and German Ambassador,
HERIBERT WOECKELL act as negotiators on behalf of the MRTA
and the Peruvian Government.
They are all seated at a desk and waiting for the arrival of
the MRTA.
Minnig, Cipriani, Salvadore, Tito and The Arab enter the
room. They sit down.
PALERMO
(speaking )
Let's get right to this. Uruguay has
agreed to release MRTA prisoners for the
safe return of Ambassador, Tabare
Bocalandro. They'll be releasing, Luis
Alberto Samaniego, and Silvia Soria Gora
today. Will you release the ambassador?
SALVADORE
Done.
PALERMO
Japan has offered a ransom of fifty
million dollars for the safe return of
all of the hostages. Do we have your
cooperation?
SALVADORE
We have not asked for fifty million
dollars. We have only asked for the
release of our comrades from prison.
PALERMO
You have many important Japanese business
men being held against their will. Japan
wants to see that they're safely
returned.
TITO
Everybody wants something. That's why
we're here. They will be safely returned
when our comrades are released, not until
then.
Palermo glares at Tito.
VINCENT
Allow me introduce myself. My name is
Anthony Vincent. I am the ambassador to
Canada. I will be meeting with President
Fujimori to discuss how we can help your
safe passage from the embassy once the
hostages are released. Where would you
like to be taken once this is over?
SALVADORE
Whatever we discuss here has to be taken
back to my comrades, I don't have the
authority to make these decisions.
Anything we talk about must be approved
by us all.
PALERMO
Look, take the money Japan is offering
and we'll see to it that no harm will
come to you.
SALVADORE
(growing angry)
I don't believe you. You will kill us
the first opportunity you have.
PALERMO
You must believe me. We want to resolve
this peaceably.
SALVADORE
We've already released hundreds of
hostages and have not heard from
Fujimori.
THE ARAB
We know that he wants to use military
intervention to resolve this standoff.
We don't trust anything that you have to
say to us.
PALERMO
I'm here representing President Fujimori
and the Peruvian people. We've come to
resolve this thing peacefully.
TITO
If you want us to free the hostages.
Free our comrades. It's that simple.
THE ARAB
Look, we are not stupid. We know that
Fujimori is planning to attack. If he
does, we are prepared to die and take the
hostages with us.
PALERMO
(shouting)
You men are fools!
Tito and The Arab leap up in anger.
Palermo leaps up in response.
CIPRIANI
Gentlemen, please! Everyone maintain
your composure.
Palermo knows that Bishop Cipriani is right. He sits down.
CIPRIANI (cont'd)
It seems that we have talked enough for
now.
(to Tito)
Let Cerpa know that I wish to speak to
him. I will come first thing tomorrow
morning. There is much to discuss.
TITO
Yes, father. I know that we can trust
you.
CIPRIANI
Good. And I believe that both sides want
to end this matter as peacefully and
quickly as possible. We have broken the
silence and have begun our dialogue.
Perhaps, now it is a time for us to go
our separate ways and take this
opportunity to reflect on what has
occurred in this room and focus on the
important issue, a peaceful resolve.
MINNIG
Yes, I agree. Let us concur to meet
again on Tuesday.
Everyone agrees.
MINNIG (cont'd)
Tuesday it is.
CIPRIANI
(to Tito)
Tomorrow is Christmas. Let Cerpa know
that I will say mass for those who will
hear. Let him know that I will hold a
special service, the Sacrament of
Reconciliation, I'm sure that there are
men who will want to reacquaint
themselves with their faith.
TITO
Yes, father. I'll let him know.
The men stand. Tito hugs Cipriani.
They begin to disperse.
EXT. JAPANESE EMBASSY/SECOND FLOOR BALCONY - LATER SAME DAY
A banner is draped out of the second floor balcony by two of
the hostages.
The banner reads: MONEY DOES NOT INTEREST US; WE WANT OUR
JAILED MEMBERS FREED.
EXT. VATICAN/ST. PETER'S SQUARE - DAY
The pope is giving his traditional Angelus Christmas Eve
prayer in St. Peter's Square.
The Pope is condemning the actions of the MRTA. He calls for
the MRTA to release the hostages unharmed.
He speaks in Italian.
POPE
I have followed with concern the serious
events that happened in the Japanese
embassy in Peru, where many people are
being retained as hostages. I feel
deeply united with the people of Peru and
cannot refrain from criticizing such a
cruel and immoral means of pressure.
The crowd of almost twenty-thousand listen to the pope's
speech.
POPE (cont'd)
Violence builds nothing. May God also
help the efforts to achieve a positive
solution to this sad situation, and that
over the next few days the Christmas
period can be celebrated as such, full of
happiness.
EXT. MARCONI STREET/CASA THREE - SUNSET
A group of nuns enter the residence of Casa Three.
INT. CASA THREE - CONTINUOUS
The nuns begin to remove their costumes. They're special
service agents.
INT. JAPANESE EMBASSY/SECOND FLOOR - DAY
Christmas morning.
The picture of the Lord of Miracles is hung over the head of
Cipriani.
There is a makeshift alter.
Bishop Cipriani is giving communion and the Sacrament of
Reconciliation to the Catholic hostages. Father Wicht is
assisting the bishop.
The MRTA stand back and watch.
CIPRIANI
Communion is being offered to all men,
not just these men who are being held
against their will.
Tito looks at the other MRTA who do not respond. He goes up
to receive his wafer and wine.
Cipriani places a white cross around Tito's neck.
Cerpa enters the room and watches as Cipriani places the
cross around Tito's neck.
Bishop Cipriani then gives Tito communion.
CERPA
Tito, come here please.
Tito walks over to Cerpa.
CERPA (cont'd)
(to Tito)
I don't think that it is a good idea for
you to do that again.
TITO
I'm sorry. I won't.
CERPA
(to Tito)
Good.
(to Cipriani)
Father. I have a Christmas gift for you.
Tito embarrassed for showing signs of religiosity, steps away
from Cipriani.
CIPRIANI
Yes? What is it?
CERPA
All Uruguayan hostages will be leaving
with you this afternoon.
(to Tito)
Prepare them to leave with the father.
Will you?
TITO
Yes.
Tito exits the room.
CIPRIANI
God, be with you.
All the hostages respond.
RESPONSE
And also with you.
INT. JAPANESE EMBASSY/MAIN SALON - LATER SAME DAY
TITO
Tabare Bocalandro.
The ambassador steps forward.
CERPA
Merry Christmas ambassador. Let your
countrymen know that we appreciate what
they have done. You may go.
The three men move toward the front door. Tito opens the
door. The Uruguayan hostages exit the embassy.
CIPRIANI
(to Cerpa)
May I speak with you now?
Cerpa gestures toward the first floor room he has set up as
his office. They enter.
INT. JAPANESE EMBASSY/CERPA'S OFFICE - CONTINUOUS
The office is filled with paperwork, radios, a phone, and
ammunition. Tito and Salvadore enter with them.
CERPA
Please, have a seat.
Cipriani takes a seat.
CIPRIANI
Thank you.
Cerpa walks behind a desk and sits down as well.
Cipriani and Cerpa size each other up. Cerpa on the
defensive, with tough responses.
Tito and Salvadore stand in the doorway.
CIPRIANI (cont'd)
What do you expect to accomplish from
this?
CERPA
The release of our comrades.
CIPRIANI
How far are you willing to take this?
CERPA
As far as we have to go to achieve our
goal.
CIPRIANI
Are you willing to lose your life for
your goals? You realize that, that is a
possibility without accomplishing
anything at all.
CERPA
You listen to me, do you think we have
not prepared ourselves to die? Do not
think that we are not ready.
Cerpa looks to Tito and Salvadore.
CERPA (cont'd)
Fatherland or death. We will vanquish.
Salvadore and Tito respond.
SALVADORE AND TITO
Fatherland or death. We will vanquish.
CIPRIANI
Are you prepared to stand before the
throne of God and answer for your acts?
CERPA
(to Cipriani)
Yes, father we are.
CIPRIANI
I asked you a personal question. Are you
prepared to die?
CERPA
The voice of the people is a cry that is
heard by all. I speak for us all.
CIPRIANI
I insist that you answer my question.
CERPA
(to Tito and Salvadore)
Please, let us speak privately.
Tito and Salvadore exit.
Cerpa softens.
CERPA (cont'd)
Father, surely you must understand my
position. My lieutenants are already
showing signs of dissent. Therefore, I
ask you not to insist on anything.
CIPRIANI
Mr. Cartolini I am not your enemy. I
have come to offer my assistance. You
are in greater danger than you realize.
CERPA
Even Jesus said that he did not come in
peace. He said that he came to bring a
sword. Did he not?
CIPRIANI
I am glad that you have not raised your
sword. I think that it is a miracle from
God that there have been no deaths.
CERPA
Then God must be with us.
Bishop Cipriani does not answer.
CERPA (cont'd)
We do not wish to harm a single one of
our prisoners of war, but we cannot stand
by any longer while our comrades continue
to be locked away in conditions not fit
for an animal. Fujimori's regime has
committed crimes against humanity.
CIPRIANI
(interrupting)
And you're committing crimes against
humanity as well. Tell me there is a
difference?
Cerpa does not have an answer.
CIPRIANI (cont'd)
You must realize that you yourself are in
a perilous situation. You must release
these men and find a better way to
accomplish your goals while there is
still time.
CERPA
I cannot do that.
Cipriani stands.
CIPRIANI
My prayers will be with you.
Cipriani hands Cerpa a cross. Cerpa accepts and places it
around his neck.
CIPRIANI (cont'd)
God go with you.
There is a sound of an explosion.
Cerpa grabs his AK47 and runs out of the office.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
Eduardo, Huascar and Giovana, are all positioned in the
windows and ready to fire.
Cerpa runs into the room.
CERPA
What happened?
THE ARAB
I don't know. There was an explosion.
CERPA
Keep your position.
Cerpa races up the stairs.
EXT. JAPANESE EMBASSY/FRONT GATE - CONTINUOUS
Officers scramble for position.
CHAVEZ
(on the radio)
Sir, an explosion just came from inside
the embassy grounds.
MONTESINOS (VO)
Hold your position.
INT. JAPANESE EMBASSY /SECOND FLOOR - CONTINUOUS
Salvadore and Tito have guns positioned on the hostages.
Cerpa races past them.
CERPA
Be prepared to fire on the hostages.
Salvadore and Tito cock position their guns for the ready.
Cerpa races up the steps toward the rooftop.
EXT. JAPANESE EMBASSY/ROOFTOP - CONTINUOUS
Cerpa looks down from the rooftop and sees that one of the
mines have blown a large hole in the ground. It's still
smoldering.
He also sees that there's a dead cat nearby.
Julian and Luzdina appears at his side.
CERPA
Look at that will you? I guess it ran
out of lives.
Suddenly, the sound of a woman, weeping aloud begins to call
out from the front gate.
CARMEN (VO)
Luzdina! This is your mother. Please,
stop what you are doing and come home.
It's painful for Luzdina to hear her mothers crying voice.
She goes to the edge of the roof, hiding from her mother's
sight, but can't help to peek out toward her.
CARMEN (cont'd)
Luzdina! Please, come home. Come home
with your mother.
Luzdina, bows her head.
CERPA
(to Luzdina)
Keep yourself together. This is one of
their tactics to try and break you down.
We spoke about this.
LUZDINA
I know, but it's hard not to feel sad.
CERPA
Go inside. Let Salvadore know that
everything is alright.
Luzdina nods yes, she dries her eyes and enters the embassy.
CARMEN
Luzdina! Luzdina. Why are you doing
this. Why!
EXT. JAPANESE EMBASSY/FRONT GATE - CONTINUOUS
Luzdina's mother continues to cry out to her daughter.
CARMEN
Please, come home with me. Your baby, he
misses you. He cries for his mother
everyday.
Carmen continues to wail, falling to her knees.
CARMEN (cont'd)
Luzdina! Luzdina. Come home.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
The hostage Minami grabs his head as the woman continues to
wail. He bangs his head on the floor.
CARMEN (VO)
Ludzina. Please, talk to me.
MINAMI
(shouting)
I can't take any more of this.
The other hostages try to console him.
MINAMI (cont'd)
(screaming)
I can't take it. Somebody make her stop.
Make her stop!
He jumps up and races to the window.
MINAMI (cont'd)
Get me out of here! Somebody help me.
Aoki runs to Minami's aid.
MINAMI (cont'd)
Get me out of here! I said get me out of
here!
AOKI
Please, this will not help.
MINAMI
Shut up! Don't you touch me! It's all
your fault. If you had taken the
necessary precautions for security. This
would have never happened. Do you hear
me? It's your fault you idiot. What
kind of man are you anyway? This is your
responsibility. What are you doing?
Sitting around here. Day after day.
Eating food and talking about hope.
Hope? You fool! There is no hope for
us.
He continues to shout out the window.
MINAMI (cont'd)
(shouting out the window)
Tell the president to drop bombs from
helicopters and make us all disappear.
Drop bombs, and end this thing once and
for all.
Minami begins to bash his head against the wall.
A group of hostages run to Minami and try to restrain him.
He fights against them with the savage rage of a caged
animal.
Finally they restrain him.
MINAMI (cont'd)
(almost whispering)
Don't let them torment us any longer.
Let this end already.
Tito and Julian stand back and watch Minami as he continues
to struggle.
MINAMI (cont'd)
(to Tito)
Shoot me! Please, shoot me.
AOKI
Please, he needs to see a doctor. Get a
doctor.
The Arab just walk away. Tito remains looking as if he too
is one of the hostages.
When Minami finally settles down, the other hostages release
him.
MINAMI
I'm OK. Really, I'm alright now.
Minami crawls over to Tito and places his gun on his head.
Minami looks up at the startled Tito.
MINAMI (CONT'D)
(almost whispering)
You'd be doing me a favor.
Tito pulls the gun away and looks around at the other
hostages that are all staring back at him.
EXT. JAPANESE EMBASSY/FRONT GATE - DAY
Minnig and Cipriani greet each other at the front gate.
Minnig's bringing supplies into the embassy.
There are several flashlights on one of the carts.
There is also a guitar case.
Minnig and his assistants move the carts toward the embassy.
EXT. JAPANESE EMBASSY/ROOFTOP - NIGHT
Tito and Luzdina are on guard on the roof of the embassy.
They both are carrying the new flashlights.
TITO
How long do you think this standoff will
last?
LUZDINA
As long as it takes.
TITO
Do you believe that the government will
really release all of our comrades?
LUZDINA
You were the one who spoke with them
today. What did they tell you?
TITO
Just talk. A lot of talking.
Tito notices that suddenly a procession of hundreds of people
move through the streets of San Isidro and head toward the
embassy.
TITO (CONT'D)
Do you see that?
LUZDINA
Would you look at that!
They can't believe their eyes.
The procession walks slowly toward the Japanese embassy.
Everyone is carrying a candle. The candlelight seems to
light up the skyline.
TITO
(speaking on his radio)
Sir, you've got to come up to the roof
and see this.
CERPA (VO)
(over the radio)
What is it?
TITO
I can't explain it. You've got to see
this for yourselves.
CERPA (VO)
We'll be right there.
Tito and Luzdina continue to watch as the procession moves
closer to the embassy.
TITO
What a beautiful sight.
LUZDINA
Yes. It's almost holy.
TITO
It is holy.
The procession continues to the front of the embassy and
stops. Silence fills the night air.
Cerpa, Salvadore, Julian, and The Arab make it to the roof.
They all watch as the crowd raise banners in support of the
release of the hostages and wave Peruvian flags.
The crowd begins to sing a religious song. (NEED SPANISH
RELIGIOUS SONG).
CUT TO:
EXT. JAPANESE EMBASSY/FRONT GATE - CONTINUOUS
The procession hold their candles and continue to sing the
song.
The press are frozen in place.
The police are frozen in place.
They all begin to join in singing the religious song.
Two small Japanese children, a boy (3) holds a miniature
Japanese flag. The little girl (4) holds a miniature
Peruvian flag.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
The Spanish members of the hostages begin to join in, singing
the song.
Admiral Giampietri begins to play along on the guitar.
CUT TO:
Close-up on the guitar case.
INT. MARCONI STREET/CASA THREE - CONTINUOUS
Two secret service agents wearing headsets are listening to
the sounds coming from the interior of the embassy.
They pick up the sound of the guitar as it plays along to the
song that the people sing.
The secret service agent smiles and nods.
SECRET SERVICE AGENT
(to Chavez and Huaman who are
watching the embassy through
infrared binoculars)
We got a signal!
Chavez and Huaman are pleased.
EXT. JAPANESE EMBASSY/ROOFTOP - CONTINUOUS
Cerpa watches as the people sing the song in protest to his
actions.
EXT. JAPANESE EMBASSY/FRONT GATE - CONTINUOUS
A single candlelight burns bright, shimmering in the still of
the night.
INT. PRESIDENTIAL PALACE/MAIN ROOM - NIGHT
A fire burns in the fireplace.
A large Christmas tree stands in the corner of the room.
Fujimori sits in an arm chair and Kenji enters. He hands his
father a cup of cocoa.
FUJIMORI
You know, there are times that I wish I
could go back to when I was a child. It
was much easier back then. Not a care in
the world.
KENJI
Is this one of those times?
Fujimori manages to laugh at the words of his son.
FUJIMORI
Son, I can't tell you how many times I've
heard the term go home where you belong.
KENJI
I've been told that too. I just ignore
it.
FUJIMORI
Japanese! I am Peruvian too, my father
immigrated to this country with nothing.
He took any kind of work he could get his
hands on. I was born in this country and
so were my children. We did not have it
any better than Cerpa had it.
(he starts to grow angry)
We were poor, surrounded by poverty just
like they were. And, I wanted to see
this country rid of political corruption
too. That's why I've chosen to serve
this country as its leader. Not to
terrorize it's citizens and cause massive
destruction like their group has.
KENJI
Father, its Christmas. Let's talk about
something else.
There is silence for a moment.
FUJIMORI
Do you remember last summer when we
traveled to the ruins?
KENJI
You mean the ruins of Chavin de Huantar?
FUJIMORI
What a place. Three thousand years ago
that place was built. I've stayed up
late at night, often thinking about the
men that constructed those tunnels and
with such precision. Sometimes I feel
like digging a hole in the ground and
burying myself in it.
KENJI
Maybe, you should consider digging
tunnels under the embassy.
FUJIMORI
What do you mean?
KENJI
Well, you know you can't safely make a
surprise attack on the embassy with
ground troops. Those mines would
probably kill some of the men and
definitely alert the MRTA of the attack.
FUJIMORI
Yes, and digging tunnels into the embassy
would surely give us the edge with the
element of surprise.
Fujimori leaps from his chair and runs to the phone.
He dials quickly. Too quickly, his excitement causes him to
make a dialing error.
He hangs up and dials again.
FUJIMORI (cont'd)
Get me Montesinos.
EXT. CHAVIN DE HUANTAR RUINS - DAY
The ruins of the Chavin de Huantar remain undisturbed as they
have for three thousand years.
INT. CHAVIN DE HUANTAR RUINS - DAY
The tunnels of Chavin de Huantar sprawl throughout this
wonder of the world.
INT. JAPANESE EMBASSY/SECOND FLOOR BATHROOM - DAY
Luzdina and Giovana peer into a bathroom. Their faces
grimacing.
LUZDINA
(disgusted)
This is getting out of hand.
GIOVANA
These men are filthy. We've got to get
someone to get this mess cleaned up.
Two hostages Minami and Saito approach the restroom.
Startled, Luzdina draws her weapon on them.
GIOVANA (cont'd)
Announce your presence, you could've been
shot.
MINAMI
I just want to use the bathroom.
LUZDINA
You can't use it. It's not working.
None of them are working.
Minami turns to go.
Saito unzips his pants and steps into the restroom anyway.
LUZDINA (cont'd)
What do you think you're doing?
SAITO
When you got to go. You got to go.
GIOVANA
Very funny. When you're finished with
that. Get this mess in here cleaned up.
Saito does not enjoy hearing these words, knowing too well,
he had better comply.
INT. NATIONAL INTELLIGENCE SERVICE/WAR ROOM - NIGHT
President Fujimori sits at the head of a table.
Montesinos breaks the silence that fills the room.
MONTESINOS
Well, our best architects have estimated
that it will take more than six months to
dig five tunnels into the embassy.
FUJIMORI
They have ninety days. That's all we can
afford to give them.
MONTESINOS
Are you saying that you expect these
talks to drag on for the next three
months?
FUJIMORI
I'm saying that we need to prepared, for
whatever's thrown at us. If we have to
dig tunnels, then we'll dig tunnels.
MONTESINOS
The architects are telling us the tunnels
cannot be dug in less than six months,
not without the proper machinery.
FUJIMORI
They have ninety days and they have to
work with hand tools only. Because there
can't be any unnecessary noise.
MONTESINOS
Where can we get our hands on dozens of
miners, who can work and keep their
mouths shut about this operation?
FUJIMORI
I've already set up a meeting for you in
La Oroya, with a mining foreman who can
get us the necessary manpower we need.
You'll be leaving immediately.
MONTESINOS
Excellent.
FUJIMORI
Take as many soldiers as you need for
your safety. La Oroya sits deep in the
jungle.
Montesinos nods in agreement.
Fujimori gestures for the lights to be turned off.
Fujimori places another slide on the projector. Plans of the
embassy appear on the wall.
FUJIMORI (CONT'D)
We couldn't come up with blueprints of
the embassy, but we did manage to come up
with a floor layout. From these layouts
we have made accurate prints and will
begin the immediate construction of a
replica of the embassy. General Huaman's
job will be to train the troops and get
them familiar with the layout.
MONTESINOS
How long do you estimate that the
construction will take?
FUJIMORI
I've given the crew chief thirty days.
With three crews working around the
clock, it should be completed on
schedule. I'll be flying out to Canada
first thing tomorrow morning.
Ambassador, Vincent and I are meeting
with the Prime Minister Hashimoto, we'll
be discussing possible asylum for the
MRTA. After that I'll be heading to the
U.S. for a meeting with President
Clinton. Good-luck with you meeting in
La Oroya.
INT. BARROOM - NIGHT
La Oroya, Peru.
Montesinos is in disguise, wearing a mustache. He sits at a
table in the corner of the barroom drinking a beer.
The atmosphere is dingy and rough.
Tough men covered in black coal dust, miners are shooting
pull and drinking hard.
A tough looking, strong man, ARMANDO (60) approaches the
table.
ARMANDO
You wanted to speak with me?
MONTESINOS
Yes, I have a job for you and your best
men.
ARMANDO
What kind of job?
MONTESINOS
One that pays well. Very well. One
catch, no questions asked.
ARMANDO
I'm listening.
Montesinos takes out a paper bag filled with money and pushes
it toward Armando.
ARMANDO (cont'd)
What is this?
MONTESINOS
It's money. A lot of it. And there's
more?
ARMANDO
(looking into the bag)
What do I have to do for this money?
(looking up at Montesinos)
And more.
MONTESINOS
No questions asked.
Montesinos sips his drink. Armando smiles.
MONTESINOS (CONT'D)
I need thirty two of your most skilled
men. Men who can work fast without
complaining under the worst conditions.
Men who can leave tonight and not know
where they are going and when they will
return.
ARMANDO
You ask for much.
MONTESINOS
These men will be paid ten times their
normal daily rate and all there expenses
as well. Each man will return home with
more money than he's ever seen.
ARMANDO
(surprised)
Tonight?
MONTESINOS
Tonight.
ARMANDO
That is impossible.
Montesinos prepares to leave.
MONTESINOS
Thank you for your time.
ARMANDO
Wait! Where should we meet you?
MONTESINOS
Meet me at the La Oroya Airstrip in one
hour.
MONTESINOS (CONT'D)
We'll be there.
The men shake hands and finish their drinks.
EXT. LA OROYA/AIRPORT - LATER SAME NIGHT
Montesinos waits by the government owned private plane.
Two soldiers guard the plane.
Montesinos looks up at his watch. It's ten o/clock.
Suddenly, from the distant darkness, several headlights
approach the makeshift airstrip runway, which is no more than
a clearing in the jungle.
Montesinos looks nervous.
The headlights move closer.
Several old trucks loaded with men arrive.
MONTESINOS
I hope this is a friendly visit.
Armando approaches Montesinos. Montesinos says nothing.
ARMANDO
Here they are. They're not much to look
at, but they are my best men. Ready to
go!
These hardened men jump out of the trucks, hard hats on their
heads and pick ax in hands.
ARMANDO (CONT'D)
(to the men)
Let's go! Move out.
Montesinos motions for the men to follow him. They start up
the steps of the plane.
INT. AIRPLANE - SAME NIGHT
The plane flies through the air filled with miners, covered
in black coal dust, with thick dark skin and worn clothing.
Montesinos and Armando sit together.
ARMANDO
Most of my men have never left their
village before, let alone fly on an
plane.
Montesinos looks back at the apparent hardened men whose
faces shine like children as they look out the planes windows
to see the lights that glow thousands of feet below.
INT. HOTEL ENTRANCE - NIGHT
New Years decorations fill the hotel lobby.
President Fujimori (with a few plain clothes OFFICERS) stands
at the elevator entrance.
The door opens and they enter.
INT. HOTEL - CONTINUOUS
The elevator opens and Fujimori exits and walks down the long
hallway until he reaches a room. He knocks on the door and
it opens.
He enters.
INT. HOTEL ROOM - CONTINUOUS
The sound of New Years Eve revelry bleeds through the hotel
room walls.
President Fujimori is seated next to Naoko.
FUJIMORI
Thank you for agreeing to talk with me.
NAOKO
Thank you for coming.
FUJIMORI
I'll keep this brief and to the point.
NAOKO
What ever I can do to assist you. I
shall.
FUJIMORI
Thank you for your cooperation. What I
need from you mostly, is this. I want
you to make a detailed account of the
embassy. I need to know everything about
the structure. Leave nothing out. There
would be no detail too small or
insignificant.
NAOKO
Yes, I understand.
FUJIMORI
I want to know where the stairs are
positioned, the walls. I want every
construction detail that you can think
of. Do you understand?
NAOKO
Yes, I think I understand.
Fujimori stands.
FUJIMORI
Thank you for your cooperation in this
matter.
Naoko stands.
Fujimori bows and makes his way to the door.
FUJIMORI (cont'd)
I'll see myself out. Thank you once
again.
Naoko follows him to the door and just as he opens it.
NAOKO
I'll have everything prepared for you as
soon as I can.
FUJIMORI
I know that you will.
Fujimori exits.
Naoko watches as Fujimori and his men walk down the hotel
hallway, reach the elevator and enter.
The revelry of New Years is getting louder.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
One of the hostages spins rosary beads through his fingers
and he prays silently to himself.
A few Japanese hostages are meditating.
Others are playing a game of dominos, while a few are busy in
a card game.
Giampietri is playing the song, Volver Volver on his guitar.
Fernandez races into the room.
FERNANDEZ
We've got a few minutes.
Giampietri drops the guitar and moves from window to window.
GIAMPIETRI
Can you read me? This is the ocean. I
have obtained one of the hostages beeper.
Send us a message if I have made contact.
Pancheco sends a hand signal.
The hostages return to their reading or card and board games.
Salvadore and The Arab enter the room to check on the
hostages.
Fernandez and Pacheco feign playing a game of chess.
Giampietri picks up the guitar and returns to playing the
song.
FERNANDEZ
(moving the queen)
Checkmate!
INT. MARCONI STREET/CASA THREE - CONTINUOUS
Secret service officers pick up the guitar playing.
SECRET SERVICE MAN
(to the secret service man next
to him)
Let, Captain Chavez know that Admiral
Giampietri is trying to make contact.
SECRET SERVICE MAN II
Right away.
SECRET SERVICE MAN
Now we've got to figure out which beeper
to send the message to.
EXT. TORONTO/DORVAL INTERNATIONAL AIRPORT - DAY
Fujimori's Presidential plane is parked on the runway.
There are several, dark suited agents, plain clothes police
officers and endless reporters present.
Fujimori walks down the runway and greets Ambassador, Anthony
Vincent.
INT. JAPANESE EMBASSY/SECOND FLOOR - DAY
The Japanese hostages and some of the Peruvians are
exercising. They perform in unison Tai-So. A few others try
to follow along.
Downstairs the MRTA are going through their morning ritual.
CERPA (VO)
Uno dia.
MTRA (VO)
No es nada.
CERPA (VO)
Tres dias.
MRTA (VO)
No es nada.
CERPA (VO)
Uno a–o.
MRTA (VO)
No es nada.
CERPA (VO)
Tres a–os.
MRTA (VO)
No es nada.
INT. JAPANESE EMBASSY/SECOND FLOOR - DAY
Pacheco is looking out a window.
He sees something that has caught his attention.
He gestures for Magistrate Giusti to come over and have a
look.
EXT. ROOFTOP OF BUILDING - CONTINUOUS
A long white banner flaps in the breeze.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
Giusti watches the banner as it continues to blow about. He
smiles.
Magistrate Giusti begins to walk up the steps toward the
rooftop.
EXT. JAPANESE EMBASSY/ROOFTOP - DAY
Giusti steps out on the roof. He turns his face from the
bright sunlight, protecting his eyes.
Tito, approaches Giusti with his gun drawn.
TITO
What are you doing out here. Get back
inside.
Giusti moves toward the front wall.
TITO (cont'd)
Get back inside.
Giusti finds the massive white banner, which waves in the
wind on a rooftop in the distance.
The banner reads, "Happy Birthday Magistrate Giusti, I Love
You." "Your prayers are with us."
Giusti begins to raise his arms, waving to the distant
rooftop.
Tito notices the banner as well. He lowers his gun.
Giusti sheds tears that mingle, both with joy and sorrow.
Giusti also notices that it is his wife that is waving her
arms, trying to get his attention.
Iris is yelling something to him, but he cannot make out what
she's saying.
Magistrate Giusti shouts out to her.
GIUSTI
I love you dear. I love you very much.
I will be with you soon.
EXT. ROOFTOP OF BUILDING - CONTINUOUS
Magistrate Giusti's wife Iris cries mixed tears of joy and
sorrow. His family and friends are also at her side on the
rooftop.
IRIS
He sees us!
She starts to wave her arms about.
IRIS (CONT'D)
Here I am! I'm here. I love you. I
miss you so much.
From the distance Giusti waves back, he blows his wife a
kiss.
INT. JAPANESE EMBASSY/FIRST FLOOR OFFICE - DAY
Cipriani and Cerpa are sitting in conversation.
CIPRIANI
I feel that you have not been completely
honest with me.
CERPA
I don't understand?
CIPRIANI
If you want my help, you must trust me.
I cannot help you if you don't have
complete confidence in me.
CERPA
I'm sorry, I don't understand?
CIPRIANI
I am talking about Nancy. Your wife
Nancy.
CERPA
(coldly)
There are no wives, only comrades with
the same ideology.
CIPRIANI
Excuse me for saying this, but do you
take me for a fool? Your wife has been
imprisoned for the past two years. And
your children have been sent to Paris,
where they remain without the support or
contact of either of their parents. You
expect me to believe that Nancy is not
your primary motivation for this revolt?
CERPA
I expect you to do one thing. Stay out
of my personal affairs. You want to help
us? Arrange for the release of our
comrades. This is all we ask.
CIPRIANI
The release of your comrades includes the
release of Nancy, does it not?
CERPA
Yes, yes it does.
CIPRIANI
Then Nancy does concern me.
CERPA
What is it that you want?
CIPRIANI
When President Fujimori returns from
Canada, I'll go to him myself and speak
to him on your behalf. I will ask him for
a presidential pardon for Nancy.
CERPA
What makes you think that he will listen
to you. After all he has not negotiated
sincerely as of yet.
CIPRIANI
I believe that we'll be able to work
something out.
CERPA
Thank you, father.
CIPRIANI
Perhaps, there is finally a light at the
end of the tunnel.
Cipriani stands to exit.
CERPA
Wait! There is something that I would
like you to do for me.
Cerpa reaches into his pocket and pulls out a pair of
wrinkled letters. It's obvious he has been carrying these
letters since this standoff began.
CERPA (cont'd)
I cannot send letters to Nancy. They
will not get to her. Maybe you can
deliver this letter to her on my behalf?
CIPRIANI
I'll see what I can do.
CERPA
Thank you.
He hands the letter to Cipriani.
CERPA (cont'd)
This one is very important. It's for my
children. Please, can you mail this for
me?
Cerpa hands it to him like its a bar of gold. Cipriani takes
the letter.
CIPRIANI
Yes. You have my word.
Cipriani turns to go.
CERPA
You may not agree with what we're doing
father, but you must understand that
something has to be done. I've seen too
many children die from starvation. You
have to feed hungry bellies before you
can teach them to believe in anything.
Including the word of God.
CIPRIANI
Do not think that I am not familiar with
what you speak of? I have to feed scores
of orphan children everyday. And,
sometimes it is a miracle that we manage.
Bishop Cipriani turns around.
CERPA
There are twenty-four million Peruvians.
They are my people. More than half of
these are barely alive with no hope. No
future. Perhaps, the diplomats and
government officials that are our
prisoners of war, whose comfortable lives
that have been interrupted can become
accustomed to the daily realities that
these people suffer endlessly.
INT. JAPANESE EMBASSY/SECOND FLOOR - NIGHT
The hostages in habitaci—n H are sleeping tightly, packed
together.
Giampietri crawls over to Fernandez.
He shakes him awake.
FERNANDEZ
What is it?
GIAMPIETRI
Look!
He turns the light on the beeper.
The message scrawls across the beeper.
"MESSAGE RECEIVED... REPORT DAILY 7A.M. 3P.M. 6P.M. IN FRONT
OF PAINTING LORD OF MIRACLES."
FERNANDEZ
The gamble paid off.
GIAMPIETRI
We have to let the leaders of the other
groups know.
FERNANDEZ
I'm on duty tomorrow, distributing the
lunches. By mid afternoon tomorrow
everyone will know that we've made
contact.
Giampietri and Fernandez grab each others hands in
excitement. They laugh to themselves.
GIAMPIETRI
Pray to the Lord of miracles for he will
hear you.
EXT. JAPANESE EMBASSY/FRONT GATE - DAY
Speakers blast the group Queen's song, We Will Rock You into
the embassy.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
Cerpa looks out the window and sees a pair of huge
loudspeakers, like those of a rock concert are aimed at the
embassy.
SALVADORE
What are they up to now?
CERPA
It's a war of nerves. Don't let it
effect you.
INT. MARCONI STREET/CASA THREE - DAY
The flooring in the house is ripped out.
Miners are below the surface in the floor and shoveling out
dirt.
An ice cream cart is pushed into the doorway of the home.
One of the miners approaches the cart. He wants an ice cream
cone.
The miner gestures for a cone, but is surprised at what he
sees.
The, ICE CREAM MAN opens the cart and begins pulling out
assault weapons.
EXT. NATIONAL INTELLIGENCE SERVICE - SUNSET
The building of the embassy replica is almost completed.
EXT. JAPANESE EMBASSY/ROOFTOP - NIGHT
Luzdina, Tito, Giovana, Lucas and Julian are on guard duty.
They halfheartedly go through the motions of checking out the
grounds below.
Each one carries their own bugged flashlight.
Luzdina sits down and lights a cigarette.
Julian comes over and joins her.
He opens a thermos and pours her a cup of coffee. She takes
it and he pours himself a cup.
LUZDINA
What are we doing here? I mean what are
we really doing here? I can't take a
bath. The food is terrible. There is no
privacy and this place smells worse by
the day. I can't take it anymore.
JULIAN
I didn't expect this to last so long. I
don't know, sometimes I think we made a
mistake.
Giovana comes over and takes a cigarette from Julian.
GIOVANA
What are you talking about?
LUZDINA
We're talking about all this. What are
we doing here? I have a child at home.
I want to see my baby. Did you hear my
mother when she came to see me? She was
heartbroken. I can't imagine how she
must feel.
GIOVANA
Do you want your son to have a future?
LUZDINA
Of course I do.
GIOVANA
Then stop complaining.
JULIAN
I heard that we've been offered fifty
million dollars.
GIOVANA
Who told you that?
JULIAN
I over heard Cerpa talking to Cipriani.
LUCAS
Fifty million dollars!
JULIAN
When we get out of here, that's at least
a half a million dollars for each and
everyone of us.
LUZDINA
That's more money than any of us will
ever see in our wholes lives.
Tito comes over and takes a seat. He pours himself a cup of
coffee.
TITO
First we got to get the money.
LUZDINA
What would you do with a half a million
dollars? What would you do with all that
money? I mean, if we ever get it.
INT. MARCONI STREET/CASA THREE - CONTINUOUS
The two secret service agents listen to the conversation over
their headsets.
LUZDINA (VO)
I would take my family on a vacation
around the world. I want to see Portugal
and Spain. I would also take my son to
Disneyland. He loves everything Mickey
Mouse. Giovana, what would you do?
GIOVANA (VO)
I'm not concerned with money.
LUZDINA (VO)
Oh, come on. Stop being so damned
uptight. Really, what would you do if
you had money like that?
Lucas and the others prod her for an answer.
LUCAS (VO)
Yeah, tell us what you would do?
JULIAN (VO)
C'mon. Tell us!
GIOVANA (VO)
OK, if I was rich, I would go to, La
Molina University, and study.
LUZDINA (VO)
Study? What would you study?
GIOVANA (VO)
Medicine. I'd like to be a doctor.
LUZDINA (VO)
A doctor?
(to Julian)
And you? What would you do?
JULIAN (VO)
I would build a gymnasium for the
children in my village and I'd start a
soccer team. I'd really like to coach a
soccer team.
LUZDINA (VO)
Tito, what will you do with your money?
EXT. JAPANESE EMBASSY/ROOFTOP - CONTINUOUS
TITO
I'm not concerned with having alot of
money. I'd give it all to the people in
my village for medicine and books. But,
you know what I'd really like to do?
LUZDINA
What could you do without money?
They all await to hear his answer.
TITO
I'd join the church.
LUZDINA
The church? You mean you want to be a
priest?
TITO
I'd like to be like Bishop Cipriani. I
admire him for all that he has done for
us.
JULIAN
Sometimes, I think we were crazy for what
we did. I mean, what if things don't
turn out they way we want them too?
GIOVANA
We have to trust Cerpa. He knows what
he's doing?
JULIAN
Maybe, but he doesn't let us know what's
happening. Days have turned into weeks
and, nothing. We ask him what next?
And we never get an answer.
GIOVANA
He won't let us down.
JULIAN
I hope so. I don't want to end up in
prison for the rest of my life.
LUZDINA
Or dead.
EXT. ANDES MOUNTAIN/YANAMAYO MAXIMUM SECURITY PRISON - NIGHT
The towering prison looms ominously over the mountainous
tundra.
INT. ANDES MOUNTAIN/YANAMAYO MAXIMUM SECURITY PRISON - NIGHT
The freezing air blows into a tiny cell window, which is too
high for anyone to see out of.
A woman coughs.
Nancy Gilvonio sits alone, curled up in the corner of her
prison cell.
She shutters from the freezing air, unable to escape its
aching grip. She curls up in a tight ball to preserve the
heat from her body.
Nancy coughs again, almost uncontrollably.
Pictures of her husband Cerpa and two young children are at
her side. She lowers her head in her lap.
Cerpa's letter with several blotched out sentences is still
in her hands.
Nancy drops the letter to the floor.
INT. MARCONI STREET/TUNNEL - NIGHT
Two wheel barrels filled with dirt is pulled from the tunnel.
Wooden planks support the walls and roof.
Sweating minors use pick ax and shovels, chipping away at the
hardened compressed ground.
Montesinos stands by and watches with Armando.
MONTESINOS
You're men are doing well. They are
right on schedule.
ARMANDO
There is one problem.
MONTESINOS
What is that?
ARMANDO
These men are hard working men and they
take pride in not complaining. They're
simple men, with simple needs. But,
being cooped up down there, day after day
with no relief is starting to make them
edgy. They feel like they are in a
prison.
MONTESINOS
What can I do?
ARMANDO
The soldiers treat them as if they're
nothing more than derelicts. They don't
appreciate it. It won't be long before
they come to blows over this. Could you
see to it that the soldiers realize that
my men are also doing their part for our
country?
MONTESINOS
Yes, I'll have Captain Chavez speak with
his men and put a stop to it right away.
ARMANDO
Thank you.
Armando claps his hands.
ARMANDO (cont'd)
(to the miners)
C'mon, pick up the pace. There is much
work to do.
The miners continue to dig away at an almost maddening pace.
INT. JAPANESE EMBASSY/SECOND FLOOR - DAY
Salvadore and The Arab have Bolivian Ambassador Gumucio up
against the wall. They have their rifle at his throat and
are hurling insults at him.
SALVADORE
You Bolivian swine. I've taken all of
your speaking down to me that I can take.
You're not the one in control here.
THE ARAB
We can kill you any time we want.
SALVADORE
And it's time you learn this.
Salvadore and The Arab begin to drag Gumucio out of the room.
The other Bolivian hostages attack Salvadore and The Arab.
Salvadore and The Arab beat off the hostages with their gun
butts.
Eduardo and Huascar run into the room with guns drawn. The
hostages give up the battle.
Salvadore and The Arab drag Gumucio from the room and toward
the bathroom.
The Bolivian hostages listen as Salvadore and The Arab beat
Gumucio with their fists.
They start to pound their feet against the floor in unison.
INT. JAPANESE EMBASSY/HABITACIîN H - CONTINUOUS
Giampietri, Fernandez, Pancheco and other hostages join in
with the Bolivians by pounding their fists on the wall and
stomping their feet on the ground.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
The Japanese hostages join in.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
Gumucio is tossed onto the bathroom vanity causing the mirror
to shatter. He's being fist beaten by Salvadore and The Arab
into a bloody mess.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
The Bolivian hostages begin to loudly sing the Bolivian
anthem.
INT. JAPANESE EMBASSY/HABITACIîN H - CONTINUOUS
Giampietri, Fernandez, Pancheco and other hostages join in
singing the Bolivian national anthem.
They continue to beat on the walls and stomp on the floor.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
The Japanese hostages join in, continuing to stomp on the
floor and beat on the walls.
EXT. JAPANESE EMBASSY/FRONT GATE - CONTINUOUS
The reporters and police listen as the Bolivian national
anthem emanates loudly from the embassy residence.
IKEUCHI
What's going on in there?
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
The singing continues.
Cerpa runs into the room.
CERPA
(to the hostages)
What are you doing?
Men in dirty clothing, wild hair and beards, sing louder and
louder, almost daring Cerpa to do something.
CERPA (cont'd)
Stop it! Stop it as once.
The pounding get louder and the singing gets stronger.
CERPA (cont'd)
I said stop it.
The hostages momentarily have gained a minor victory.
They continue to pound, stomp and sing.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
Cerpa enters the bathroom.
CERPA
What are you doing?
He grabs Salvadore and The Arab, tossing them out of the
bathroom.
CERPA (cont'd)
Get out of here!
Gumucio falls to the bathroom floor a bloodied mess.
The singing and stomping continues throughout the embassy.
Gumucio begins to sing along to his countries national anthem
through his blood soaked lips.
INT. MARCONI STREET/CASA ONE - NEXT DAY
Palermo, Canadian Ambassador, Anthony Vincent, foreign
ministry officials and government negotiators are seated once
again at the negotiation table.
Minnig, Cipriani, Salvadore, Tito, Julian and The Arab sit
across from these men.
Palermo pounds on the desk. The atmosphere is already hot.
PALERMO
The reports we're receiving is that there
are men that need doctors. That they are
being beaten and you are holding mock
trials. We demand that you allow doctors
to examine the men.
SALVADORE
That is out of the question.
THE ARAB
You will send agents in under the
pretense of being doctors.
CIPRIANI
(to The Arab)
You cannot refuse these men medical
treatment! How do you expect us to
negotiate while those men are living
under these conditions?
PALERMO
We demand the immediate release of these
men!
SALVADORE
You are not the ones in control here. We
are the ones in control. You will not
make demands on us.
THE ARAB
We will not stand for it.
SALVADORE
Fujimori continues to ignore our demands.
Learn a lesson from Uruguay. They showed
good reasoning, sound judgement, they
released our imprisoned comrades and we
released Ambassador Bocalandro, the
Peruvian government has not given us any
sign that they will cooperate with us.
That is not good.
CIPRIANI
Please, could everyone take a moment and
calm down.
(to Palermo)
I understand the minds of these men. In
Peru there has always been an urgency for
solidarity, and solidarity is celebrated
as a Christian virtue. Demands will only
fall on deaf ears.
PALERMO
Yes, but there is no excuse for what
happened in the embassy yesterday.
(to Tito)
If you really wish to negotiate
peacefully, how can you justify beating
the ambassador in that manner?
The Arab sits stone faced and silent.
PALERMO (cont'd)
And now the man needs medical attention
and it's being denied him.
SALVADORE
There has been enough of words. Words,
only words. We demand the release of our
comrades and we get nothing, nothing but
words and more words.
PALERMO
We are making every effort to resolve
this. The president has traveled to
Canada, the United States, the Dominican
Republic, do you know what they offer us?
They offer us only military assistance.
The best they have to offer.
(to Tito)
Do you understand what that means?
CIPRIANI
Sometimes situations of extreme poverty
can spark desperation amongst the young,
who, with little human or Christian
culture, choose violence in an erroneous
bid to seek justice. We cannot resolve
this with anger, lashing out to one
another.
PALERMO
(to Tito)
Send word to Cerpa, that the president
has this message for the MRTA. There
will be no negotiations. President
Fujimori will be meeting with Fidel
Castro when he returns from the U.S.
Castro has offered asylum for you. We
can only guarantee safe passage. Take
the money Japan has offered and asylum in
Cuba. That is the best offer you're
going to receive.
TITO
This is what you are offering?
PALERMO
That is all
TITO
The lives of these men are not worth much
to you are they?
CIPRIANI
Please, let us continue to have dialogue
and use these next few days as a time of
reflection. I think we all should
realize what is at stake.
INT. MARCONI STREET/CASA THREE - CONTINUOUS
The tunnels are very long now, reaching well into the embassy
grounds.
The miners work at a break neck pace, filling wheel barrels
with dirt, shoveling and chiseling away at the dirt.
Suddenly one of the walls give way.
MINER
Look out!
The miners scramble for safety.
Dirt streams into the tunnel, filling it with a thick cloud
of dust.
One minor is almost fully buried. The other minors grab his
arms and pull him from the debris.
The miners get back to work. Digging and filling wheel
barrels.
INT. JAPANESE EMBASSY/CERPA'S OFFICE - CONTINUOUS
Tito, The Arab and Julian enter.
CERPA
So, what news do you have for me?
TITO
Fujimori still will not negotiate.
Cerpa looks disappointed.
CERPA
We always knew that Fujimori wanted to
end this with military intervention.
SALVADORE
Are we going to let Fujimori make our
decisions for us?
TITO
Cuba is offering us asylum. Fujimori is
only promising us safe passage and the
money Japan has offered.
CERPA
No, we're not going to accept asylum of
any kind.
SALVADORE
That's what I wanted to hear you say.
CERPA
First, because I don't know the country.
What's more, I remember when Castro first
took control of Cuba, a group of asylum
seekers arrived with six million dollars.
Castro told them the revolution had
already happened. He kept the money and
sent them to sweep the streets.
THE ARAB
I will fight to the death before I go to
Cuba.
CERPA
We demand the release of our comrades and
when we are successful, we will determine
a specified jungle location for us to be
taken to. Are you with me?
The MRTA respond.
MRTA
Fatherland or death. We will vanquish.
INT. PRESIDENTIAL PALACE/GRAU SALON - NIGHT
Montesinos, and Cipriani are waiting for Fujimori's arrival.
MONTESINOS
I'm sorry Monsignor, I don't know what is
taking so long. We were to meet him here
at eight.
Fujimori's quickly enters the room carrying a brief case.
FUJIMORI
I'm sorry I'm late, I've been trying to
postpone a court appearance, and it
doesn't look like I'm being very
successful.
CIPRIANI
Apparently, the judicial system does not
appreciate that you are after all the
leader of our country.
FUJIMORI
Oh, they realize my position. They tell
my attorney that I have my job to do and
they have theirs. I agreed to a date and
they are keeping me to it.
CIPRIANI
There has been some new developments
concerning the hostages. Apparently,
Ambassador Gumucio was beaten severely
yesterday afternoon and Cerpa is refusing
any doctors to enter the embassy.
MONTESINOS
Other hostages are showing signs of
mental deterioration. There have been
extreme emotional outbursts and even
physical attacks on the MRTA. We're
afraid if we don't give them something
soon, that things will escalate further.
FUJIMORI
I have a scheduled meeting in Havana,
with Castro on Thursday, hopefully there
will finally be closure to this standoff.
CIPRIANI
Forgive me for what I am about to say,
but, you're going to have a tough time
convincing Cartolini that there will
finally be closure. Just as you have not
moved from your position of non-
negotiation, he too has not been swayed
from his demands.
MONTESINOS
He doesn't have any other options open to
him. The Peruvian people have marched on
the embassy. They want him to
relinquish.
CIPRIANI
Yes, and there have been an enormous
amount of protest in support of his
position as well.
MONTESINOS
If you are referring to the bombing of
the Japanese embassy in Greece, that is
just another act of terrorism. Hardly,
what one would consider support from the
masses.
FUJIMORI
This is a matter for the people of Peru.
They voted me into office and they have
shown that they do not support Cerpa, or
his movement.
An elderly Spanish woman, the house COOK, enters the room.
COOK
Sir, dinner is ready to be served.
FUJIMORI
Let us continue this conversation at the
dinner table.
The men all get up to enter the dining area.
CIPRIANI
(to Fujimori)
Please, if I may have a moment of your
time.
Fujimori takes Cipriani aside from the others into is
personal library.
INT. PRESIDENTIAL PALACE/LIBRARY - CONTINUOUS
They each take a seat.
CIPRIANI
I believe that if we offer Cartolini the
release of his wife Nancy Gilvonio, Lori
Berenson and possibly a few other of his,
(searching for the words)
as he likes to use the term, comrades, we
could end this stalemate once and for
all.
FUJIMORI
I appreciate your position Monsignor, but
I can't do that. I have taken the
position of non-negotiation and I will
remain steadfast.
CIPRIANI
Yes, but you must understand the man's
position. His wife has been imprisoned
for more than two years now.
FUJIMORI
Yes, I am aware of that. She is
imprisoned for severe crimes, crimes of
treason. And I cannot release a
dangerous criminal back into society.
CIPRIANI
I feel that I am thrown in the middle of
two stubborn men. How can I help either
side, when neither will bend?
FUJIMORI
Monsignor, you have mentioned that Cerpa
has a wife in prison. Are you forgetting
that my own younger brother Pedro, who
has always looked up to me, is being held
prisoner as well? I am not attacking
this issue with reckless abandon. I am
trying my best to resolve this matter
quickly and with no bloodshed. But, I
cannot give in to terrorism. And if you
do not understand my position. Than
please, try to respect it.
CIPRIANI
My meetings with Cartolini have revealed
many things. They don't have a well
planned strategy, but they have a strong
desire to ride this out. Stubborn, I
say, but strong willed. This is a
dangerous combination. They make loud
demands, but their demands are simple.
They hold on to hope, in a situation that
appears hopeless. You must give them
something.
FUJIMORI
Even if I wanted to give them something.
I could not.
CIPRIANI
The weight of the world is on your
shoulders Mr. President. I pray that you
will make the right decision. God, is
with you.
The men exit the library and head for the dining area.
INT. JAPANESE EMBASSY/CERPA'S OFFICE - NIGHT
Cerpa is writing another one of his communiques.
SALVADORE (VO)
(over the radio of Cerpa)
Cerpa, you need to come see this.
CERPA
(over his radio)
What is it now?
SALVADORE (VO)
We're patrolling the grounds and found
something that concerns me greatly.
CERPA
(over his radio)
I'm listening.
INT. MARCONI STREET/CASA THREE - CONTINUOUS
The secret service agents are listening in on the radio.
SALVADORE (VO)
There is a hole in the ground.
CERPA (VO)
How deep is it?
SALVADORE (VO)
Large enough for a person to enter.
SECRET SERVICE MAN
(concerned)
They've found tunnel four. Notify
Captain Chavez.
The other secret service man radios to Captain Chavez.
SECRET SERVICE MAN II
Captain they've discovered tunnel two.
CERPA (VO)
Where's it coming from?
SALVADORE (VO)
It appears to be coming from the building
the we used to enter the embassy.
CERPA (VO)
Load it with mines.
SALVADORE (VO)
Standby
(a pause)
More bad news. The Arab just found
another one it appears to be coming from
one of the houses on Marconi Street.
CERPA (VO)
You know what to do.
INT. JAPANESE EMBASSY/CERPA'S OFFICE - CONTINUOUS
Cerpa is more than angered, he's irate.
CERPA
(to Tito)
Call for an interview with the
international press.
TITO
What's happened now?
CERPA
Tunnels. They're digging tunnels onto
the grounds of the embassy. It's time to
let the world know how Fujimori is
playing with the lives of these men.
EXT. JAPANESE EMBASSY/FRONT GATE - DAY
Ikeuchi, Edwin any other members of the media storm the
embassy front door.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
Ikeuchi, and several other reporters fill the main salon.
Cameras role and all manner of questions are being hurled at
Cerpa.
IKEUCHI
The Japanese hostages that I have spoken
to say that the letters that they are
receiving from their loved ones are being
kept from them. Why is that?
CERPA
Only letters that are written in Spanish
can be given to the hostages.
IKEUCHI
And why is that?
CERPA
Because I can't read Japanese.
The reporters laugh.
REPORTER
Many of the letters that were sent to
their loved ones have come to them with
sections blotted out. Why is this?
CERPA
There are certain things that we don't
want discussed outside of this embassy.
IKEUCHI
Is the beating of Ambassador Gumucio one
of those things?
CERPA
I'm not going to answer that.
REPORTER II
When did you first discover what appears
to be tunnels?
CERPA
Last night. That is why we have asked
for this press meeting.
IKEUCHI
Do you feel that there will be an attack
on the embassy?
CERPA
If they are planning an attack, we will
be ready and hold fast to our threat of
killing all of our prisoners of war. We
have tried to reason with Fujimori and he
will not hear us.
REPORTER III
What will you do now?
CERPA
We will prepare ourselves for battle if
necessary.
IKEUCHI
Now that you have let the world know your
opposition to the president. What is it
that you are hoping to accomplish by
letting this situation continue to
escalate?
CERPA
We have been offered money, the
opportunity to leave Peru with safe
passage. We have not asked for these
things. This is a war between two
ideologies.
REPORTER III
How do you answer to the charges that you
have been beating hostages and denying
them medical attention?
CERPA
This is simply not true. Fujimori is
using propaganda to undermine our cause.
REPORTER
You have accused the Peruvian government
of cruel and inhumane treatment of MRTA
members that are being held in prison.
How can you justify keeping seventy-two
men hostages now for more than four
months. Is this not cruel and inhumane?
CERPA
Peruvians are being imprisoned by the
Japanese regime, they have taken control
of our country and left us with no
future. The Japanese special interest
are raping the land of it's resources.
Are we to stand by and watch this. Doing
nothing. Fujimori should set the
Peruvian people free and return to Japan
where he belongs.
Cerpa storms off.
IKEUCHI
(trying to shout to Cerpa)
Is it the MRTA's position that this
confrontation stems more from racial bias
than from political ideology?
TITO
No more questions.
Salvadore and Tito, and other MRTA begin to remove the
reporters from the embassy.
SALVADORE
Let's go everyone out.
EXT. NATIONAL INTELLIGENCE SERVICE - DAY
The embassy replica is complete.
President Fujimori, Montesinos and General Huaman inspect one
hundred and forty of Peru's top commandos who are standing at
attention with their weapons positioned over their shoulders.
HUAMAN
You men have been chosen for a special
assignment. Today will be begin to train
for Operation Chavin de Huantar.
Behind you is an exact replica of the
Japanese embassy. No detail has been
left out.
The embassy replica towers behind the commandos.
The three men continue walking the line of the impeccably
dressed commandos.
HUAMAN (cont'd)
It is your duty to familiarize yourself
with every characteristic of this
building during your training. The
textures of the walls, the carpeting that
covers the flooring. You must know this
building better than your own home, the
size and location of every closet,
bathroom, cabinet or any of the other
dozens of features. The slightest mishap
could result in your own death, the
deaths of the hostages or other commandos
in this platoon.
Huaman turns to a SERGEANT and nods. The Sergeant blows a
whistle.
The commandos run double-time in perfect unison toward the
embassy replica.
INT. JAPANESE EMBASSY/REPLICA - CONTINUOUS
Soldiers move about in mock training.
They turn corners with weapons drawn. Hit the floor, and aim
at artificial targets.
INT. MARCONI STREET/CASA THREE - DAY
Deep below the floor of the house the miners have almost
completed the tunnels.
Armando exits one of the tunnels and approaches Montesinos.
ARMANDO
(to Montesinos)
Things are looking good. It shouldn't be
much longer now.
INT. JAPANESE EMBASSY/CERPA'S OFFICE - CONTINUOUS
Cerpa, Salvadore, The Arab, Julian, Luzdina and Tito are
arguing over Cerpa's inability to convince the government to
accept their demands.
SALVADORE
The government has stalled long enough.
The media is beginning to refer to us as
a terrorist organization therefore we've
got to act now.
CERPA
We are moving forward. This is another
one of Fujimori's tactics to test our
nerve and ability to hold together. It
is apparent that they will have to accept
our demands once they realize that we
will not bend.
THE ARAB
I have stood by for months now. I have
not said much, but you are beginning to
show signs of weakness. You're losing
the support that we once had for you.
Your inability to remain our
authoritative figure is apparent.
SALVADORE
The hostages are beginning to rebel
against our control.
TITO
The hostility level is magnifying. They
are becoming insubordinate.
SALVADORE
Fujimori's only response to our demands
has been that he will not negotiate. We
must make him realize his wrong doing.
With grave consequences.
THE ARAB
I say we have a vote. If Fujimori's
regime does not respond by the end of
this week, we are going to have to being
a schedule of execution.
SALVADORE
That is what we agreed upon from the
outset.
THE ARAB
A vote. If Fujimori doesn't begin to
release our comrades we begin the
executions. Those who agree raise your
hands.
Immediately The Arab and Salvadore raise their hands. Julian
and Luzdina slowly raise their hands. Finally Tito raises
his hand.
Cerpa shakes his head yes.
SALVADORE
Then it is done.
INT. MARCONI STREET/CASA THREE - NIGHT
Dozens of soldiers begin to pour into the house.
INT. NATIONAL INTELLIGENCE SERVICE/WAR ROOM - NIGHT
A slide of the embassy's interior fills the screen. There
are five solid red lines, which represent the tunnels.
A huge red X represents the exit points of the tunnels and
into the embassy grounds. There is one red X that is
directly centered in the first floor main salon. Two more
in adjoining rooms.
Captain Chavez, General Huaman, General O'Brien, Sanchez,
Montesinos are listening to Fujimori's plan of attack.
Fujimori is going over the locations of the tunnels. He
focuses on the tunnel that is in the embassy, first floor,
main salon,
FUJIMORI
This is the point of entry that we will
need the most fire power. This is also
the area most prone to casualties because
there will be an immediate confrontation.
HUAMAN
The element of surprise should give our
commandos the edge.
MONTESINOS
Not just the element of surprise, but the
number of commandos. They should have
the first floor under control in less
than twenty seconds.
HUAMAN
If all goes as planned.
Fujimori points to a location on the embassy grounds.
FUJIMORI
Once the commandos make their way past
the grounds from this location.
Fujimori points to one of the tunnels that lead to the
embassy back wall.
FUJIMORI (cont'd)
The group from house five will scale this
wall and take the back half of the second
floor.
MONTESINOS
The MRTA will be too busy trying to hold
the ground floor to control both a
frontal and rear assault.
FUJIMORI
And that's when the helicopters will drop
in troops onto the rooftop.
HUAMAN
I see, yes. They shouldn't expect troops
to be coming from above the second floor.
FUJIMORI
The MRTA will be inundated with too many
ground troops to try and retreat to the
rooftop where they could pose a threat to
the media and innocent civilians as well
as fleeing hostages.
MONTESINOS
Remember, that this will only be our last
resort. There are still talks, but quite
frankly they're not moving forward. The
MRTA are beginning to realize that their
efforts have been fruitless.
FUJIMORI
And that is when the situation becomes
most dangerous.
The phone rings.
MONTESINOS
(answering the phone)
Yes? I'll let him know immediately.
Montesinos hangs up the phone.
MONTESINOS (cont'd)
It's confirmed, Castro has agreed to
offer asylum to Cerpa and his men.
INT. MARCONI STREET/CASA ONE - DAY
Another negotiation meeting is underway.
Tito, The Arab, Salvadore and Julian attend.
Palermo and Cipriani along with Minnig and Vincent are
present.
CIPRIANI
Your refusal to allow medical treatment
to the hostages has only infuriated
President Fujimori. We feel that we have
done all that we can to reach a peaceful
and amicable agreement. You must give us
something.
PALERMO
The Peruvian people have supported out
position, we have stated all along that
we will not negotiate with terrorists.
VINCENT
(to Palermo)
Please, don't let this meeting get out of
control.
PALERMO
How can I control my anger with seventy-
two men being held at gun point. These
meetings have been going on and on.
There has been no progress.
SALVADORE
I don't think that you understand. We
hold the cards. We deal the cards. We
make the rules and the game is ours.
THE ARAB
We have heard your idle threats long
enough. We have shown good faith by
releasing more than six hundred hostages.
SALVADORE
And from the beginning I expressed my
voice, I wanted to carry out executions
before release, but we complied with your
requests.
TITO
These requests were made in good faith.
SALVADORE
You have given us nothing. What are the
lives of the men that we hold worth to
you?
TITO
We have asked for the release of all
imprisoned MRTA. Nothing more.
Salvadore stands.
CIPRIANI
This is impossible.
PALERMO
Take the asylum offered by Castro. This
is your last chance.
SALVADORE
We are sorry that you feel this way.
The MRTA exit the meeting. Palermo, Vincent, Reporters
following after.
The only ones left are Cipriani and Minnig.
CIPRIANI
These men do not understand the grave
danger that they are facing.
MINNIG
They don't trust us now. Not since they
found the tunnels. I have done all that
I could have I not?
CIPRIANI
You have done well.
MINNIG
I feel like I've been used up. That no
matter what measures are taken to resolve
this, there would only be one outcome. I
don't want the deaths of these men or the
lives of the hostages on my conscience.
I mean, I stopped the rotary club from
smuggling in microphones in ice cream
containers. I stopped the firemen from
using metal flasks as microphones. I
didn't allow secret service to pose as
Red Cross assistants.
And I have not been looked upon
favorably. I tried to play fair. I
really tried my best
CIPRIANI
You have done more than could be expected
of one man.
MINNIG
Yet, I have not done enough.
CIPRIANI
There is still one last thing that I
could do.
MINNIG
What could you do that you haven't
already tried?
CIPRIANI
I can go to the president, one last time
and try to intervene.
INT. JAPANESE EMBASSY/SECOND FLOOR - DAY
Saito is writing a letter to his wife. He erases what he has
written.
Other Japanese hostages play a game of cards while Aoki read
a newspaper.
Minami finds a ray of sunlight. He moves toward it and
places his face in the ray and seems to enjoy the warmth of
the sun.
SAITO
(to Minami)
Hey, Minami?
Minami does not respond.
Saito goes over to him and tries to strike up a conversation.
SAITO (cont'd)
I have written a letter to my wife. Do
you want to hear it?
MINAMI
When I get out of here, I'm going to
spend the rest of my life with my face in
the sun. The things people take for
granted until they are taken from them.
SAITO
Listen to my letter. Tell me what you
think.
Saito reads the letter.
SAITO (cont'd)
Dear Marico, my beloved. These past
months have been very hard on all of us.
If it was not for your letters of support
and if you had not exhibited so much
strength, I don't believe that I could
have endured this long. It is difficult
for a man to be confined, to have his
basic freedoms taken away. But, what I
have learned the most from all this is
that I love you more than I ever knew
possible.
MINAMI
My wife and I had an argument the day I
left, to come to Peru for a business
meeting. My wife asked me not to come,
she complained that I am always away on
business. That I never spend time with
her anymore. She was right. I just hope
that I have the opportunity once again to
make it right. I believe if we get out
of this alive, I will return to Japan and
never leave again.
(he turns to Saito)
Please, tell ambassador Aoki, I am sorry
for the things I said to him. He has
shown signs of courage and humility
throughout this ordeal. I am ashamed of
my behavior.
SAITO
There is no shame. We must bond
together.
MINAMI
Yes.
SAITO
I have one question if I may ask?
MINAMI
Yes, if I can be of help.
Saito takes out a pen and his letter, he prepares to write.
SAITO
How do you write, I love you in Spanish?
EXT. PRESIDENTIAL PALACE - NIGHT
It appears that Cipriani is out for an evening stroll.
Cipriani reaches the presidential palace and stands before
president Fujimori's home.
Fujimori's home is grander than any church that Cipriani has
ever held a service in.
Cipriani approaches the gate of the home. He walks up to the
guards.
CIPRIANI
Please, could you let the president know
that Bishop Cipriani has come to speak
with him.
GUARD
It's almost four in the morning.
CIPRIANI
Please, I would like to talk with him.
It's very important.
The guard picks up a phone.
GUARD
(while on the phone)
I'm sorry to disturb your sleep sir, but
Monsignor Cipriani is here at the front
gate and he is requesting to speak with
you.
(a pause)
Yes sir.
The gate swing open and Cipriani begins the long trek up to
the front palace doors.
President Fujimori opens the front door, wearing a bathrobe
and his pajamas.
CIPRIANI
I'm sorry to have awoken you.
FUJIMORI
That's quite alright. I wasn't really
getting much sleep.
CIPRIANI
I understand the way you're feeling.
FUJIMORI
Come in.
CIPRIANI
Thank you.
Cipriani enters and Fujimori closes the door. They walk into
the Grau Salon.
INT. PRESIDENTIAL PALACE/GRAU SALON - CONTINUOUS
FUJIMORI
Can I get you a cup of coffee?
CIPRIANI
No. No thank you.
FUJIMORI
What can I do for you?
CIPRIANI
For me? I ask nothing.
They sit across from each other.
CIPRIANI (cont'd)
I have done all that I can to help end
this matter concerning the hostages. It
has taken a great toll on my personal
health.
FUJIMORI
I'm sorry to hear that?
CIPRIANI
I have gotten to know Mr. Cartolini over
these past few months. I have learned
many things about his life and even
performed communion for him. He has
opened up to me as much as one man could
in his situation. Mr. Cartolini has
shown time and again that he wishes no
harm to the men he is holding captive.
FUJIMORI
If this man did not intend any harm, he
would not have done this thing. He is
the main reason that we have this
problem.
CIPRIANI
But, there is a bigger problem now. One
that I did not foresee. He is losing the
battle not only to you, but with his own
men. Time is running out for him.
FUJIMORI
What is it that you want me to do?
CIPRIANI
I want that you search deep in your
heart. I am going to ask you to do
something that you don't want to do.
Something that is against all your
personal convictions and moral
principals. I want you to give me Nancy
and ten other prisoners. I believe that
he will accept the offer of asylum in
Cuba and we can end this without any
bloodshed.
FUJIMORI
You must understand my position.
CIPRIANI
If Mr. Cartolini loses the control over
his men, there will be drastic measures
taken. Many of the men being held
against their will shall be killed.
FUJIMORI
I cannot find it in myself to release
Nancy Gilvonio. I'm sorry, I cannot do
this.
Cipriani sits back and takes this all in.
FUJIMORI (CONT'D)
I'll agree to release six prisoners.
They will not be men who have committed
any violent crimes. I can do no better
than this. I will only release them, if
and only if, they will accept Cuba's
offer of asylum.
Cipriani bows his head in humility.
CIPRIANI
Thank you. I will bring the offer to Mr.
Cartolini myself, right away.
Cipriani takes Fujimori's hand.
CIPRIANI (cont'd)
I am sure that God has kept his hand on
you over this matter. You have born a
burden greater than most men and held
your honor.
FUJIMORI
One last thing, there are men that need
medical attention. See to it that Cerpa
allows immediate medical attention for
the men who need it.
Cipriani stands.
CIPRIANI
Thank you so much. I know this was a
difficult decision to make.
FUJIMORI
I'll see you to the door.
CIPRIANI
No, you have done enough already.
Cipriani exits and president Fujimori remains seated.
EXT. JAPANESE EMBASSY/FRONT GATE - MORNING
The sun is rising on the horizon of the city.
Cipriani and Minnig walk through the front gate and up to the
front door. They enter.
Tito greets Cipriani.
TITO
Good morning, Monsignor.
Salvadore, The Arab and Julian begin to search Cipriani and
Minnig.
CIPRIANI
(holding up a letter)
I have a letter from Fidel Castro. He
has indeed agreed to offer you asylum.
You should take him up on his offer.
Salvadore takes the letter and begins to read it. He tosses
the letter to the floor.
CIPRIANI (cont'd)
(to Tito)
Could you let Mr. Cartolini know that I
wish to speak with him?
SALVADORE
What about?
CIPRIANI
I have a personal message for him.
Cerpa exits his office.
CERPA
What message do you have for me
Monsignor?
CIPRIANI
I must speak to you in private.
SALVADORE
Whatever you have to say, say it to all
of us.
CIPRIANI
Do you wish for them to hear it as well?
CERPA
Yes, if you have something to say, say it
for all to hear.
CIPRIANI
So be it. President Fujimori has made
this offer to you. He has done so
reluctantly, out of my request.
Cipriani hands Cerpa an envelope. Cerpa opens it. He reads
the letter and looks up at Cipriani.
CERPA
Is this true?
CIPRIANI
Yes, it is true.
Salvadore takes the letter from Cerpa's hands and reads it.
SALVADORE
Fujimori has broken his silence.
TITO
What does it say?
SALVADORE
It says that Fujimori will release six
imprisoned MRTA.
The MRTA present all shout aloud in joy of this news. All
except Salvadore and The Arab.
CIPRIANI
This is a victory for you.
MINNIG
A victory for all of you.
SALVADORE
Victory? We have waited four months for
this? The release of six? No, if it
takes four more months to have six more
released it will be worth the wait.
MINNIG
You are being foolish. This is a great
triumph on your behalf.
Cerpa sinks into himself.
CERPA
They have not offered the release of
Nancy? Why?
CIPRIANI
I'm sorry I had personally requested her
release. He would not have it.
SALVADORE
And what of Victor Polay? What of the
others?
CIPRIANI
If you accept this offer, you can
continue to petition for the release of
the others.
Salvadore rips the letter in half.
SALVADORE
No. Uno dia. No es nada.
Salvadore tries to get the others to rally behind him.
SALVADORE (cont'd)
Tres dias. No es nada.
The other MRTA appear exhausted.
SALVADORE (cont'd)
We said if it took a year, two, three, we
would wait it out. This is a
breakthrough. This is just the
beginning. The next offer will be
twenty, possibly fifty. Uno dia. No es
nada. Tres dias, no es nada.
The others join in.
MRTA
Uno a–os. No es nada. Tres a–os, no es
nada.
Cerpa silently sits down and does not join in the chanting.
He looks up at Cipriani. He shakes his head no.
CERPA
One last thing, Fujimori has personally
asked permission for doctors to bring
medical aid for the ill men. Will you
allow this?
Cerpa, filled with sorrow shakes his head no.
CIPRIANI
May God have mercy on your soul.
Cipriani and Minnig exits the door of the embassy to the loud
chanting of the MRTA.
MRTA
Uno dia. No es nada. Tres dias. No es
nada. Uno a–o. No es nada.
INT. MARCONI STREET/CASA THREE - DAY
More high-powered weaponry is smuggled into the house via ice
cream cart.
Soldiers in full fatigues and face paint take their weapons
and double-time down into the tunnel.
INT. JAPANESE EMBASSY/SECOND FLOOR - DAY
Supreme Magistrate Giusti stands before the painting of the
Lord of Miracles. It appears that he is praying.
Giampietri approaches the painting and he too appears to be
praying.
Salvadore and The Arab look over to Giampietri and Giusti as
they continue on their way out of the room.
GIAMPIETRI
(to the secret service agents)
Hell is below us and only the damned are
present. Above us lies clear blue skies.
(to Giusti)
Let your men know that Cerpa has not
accepted the Fujimori's offer. Prepare
them for a full assault on the embassy.
Code for attack will be, Hail Mary the
purest conceived without sin.
GIUSTI
(begins to pray)
Hail mother the purest conceived without
sin, intercede for us to God the father,
in the name of Jesus, have mercy on our
souls.
EXT. JAPANESE EMBASSY/FRONT GATE - DAY
April 22, 1997.
Peaceful protesters stand outside the embassy holding banners
that call for the release of the hostages.
A military marching band begins to march down Thomas Edison
Boulevard, playing a military marching song.
They reach the embassy gate.
INT. PALACE OF JUSTICE/CORRIDOR - CONTINUOUS
Re‹tegui sits outside of the courtroom as Fujimori's ex-wife
and her attorneys enter.
INT. PALACE OF JUSTICE/COURTROOM - CONTINUOUS
President Fujimori and his attorney sits in the courtroom
waiting for his divorce case to finally have closure.
The judge enters and takes his seat.
INT. MARCONI STREET/CASA THREE - DAY
At the end of the tunnel soldiers await the order to attack.
A dynamite charge is being prepared by a special force
commando.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
A pile of weapons sit in the corner unattended.
The MRTA members are playing a game of soccer.
Cerpa sits by the stairs and watches the game.
SALVADORE
(to Cerpa)
Come and join in the game. Remember what
Bishop Cipriani said, you need to start
exercising!
Cerpa ignores the request and watches as the game continues.
Salvadore approaches Cerpa while the game carries on.
SALVADORE (cont'd)
It's not good for the moral of the men to
see you like this. Join in the game.
CERPA
Yes, you are absolutely right.
SALVADORE
We have said from the beginning that
Fujimori always wanted a military
solution. Now it's time to regroup and
show them we mean business.
CERPA
Yes, I know.
Tito kicks the ball to Cerpa. Tito smiles.
Cerpa kicks it back. He joins in the game.
CERPA (cont'd)
C'mon, let's go.
INT. PALACE OF JUSTICE/COURTROOM - CONTINUOUS
The sound of the soccer game is the only sound heard.
Fujimori mind is a million miles away as the two sides
arbitrate over this court proceeding.
INT. MARCONI STREET/CASA THREE - CONTINUOUS
Montesinos stands in the main room of the home.
Captain Chavez exits the tunnel.
CHAVEZ
The detonation device is ready.
MONTESINOS
OK! Let's get on with this.
Montesinos picks up the phone.
INT. PALACE OF JUSTICE/CORRIDOR - CONTINUOUS
Re‹tegui's phone rings. He answers.
REÌTEGUI
Re‹tegui speaking.
INT. MARCONI STREET/CASA THREE - CONTINUOUS
Montesinos is on the phone with Re‹tegui, while Chavez stands
by.
MONTESINOS
Get me the president.
REÌTEGUI (V.O)
I'm sorry, he's very busy right now.
He's in court. He can't come to the
phone.
MONTESINOS
This is urgent. Get me the president
now.
INT. PALACE OF JUSTICE/COURTROOM - CONTINUOUS
Re‹tegui runs into the courtroom. The judge looks up.
JUDGE
(scolding)
This is a courtroom, this court is in
session.
REÌTEGUI
Yes, I'm sorry.
FUJIMORI
What is it?
REÌTEGUI
Montesinos. It's urgent.
Re‹tegui continues his fast pace toward Fujimori.
Fujimori takes the phone.
FUJIMORI
Yes?
INT. MARCONI STREET/CASA THREE - CONTINUOUS
Montesinos is talking with Fujimori.
MONTESINOS
We've got to move. Everything is in
place and ready. Cerpa and most of his
men are in the main salon, they're
playing a game of soccer.
INT. PALACE OF JUSTICE/COURTROOM - CONTINUOUS
The judge is growing angrier by the moment.
JUDGE
What is the meaning of this?
FUJIMORI
(to the judge)
Please excuse me.
FUJIMORI'S ATTORNEY
May we have a moment your honor?
FUJIMORI
(to Montesinos over the phone)
We've got to go in now!
JUDGE
This is highly irregular.
The judge bangs his gavel.
JUDGE (cont'd)
Court will resume in ten minutes.
The judge exits the stand.
FUJIMORI
I said now!
INT. MARCONI STREET/CASA THREE - CONTINUOUS
Montesinos in heated conversation with Fujimori.
Chavez, looking back from the tunnel and shaking his head no
to Montesinos.
MONTESINOS
Wait! We need more time.
FUJIMORI (V.O.)
Now, you've got to go now!
MONTESINOS
They're not prepared. Give me five
minutes.
FUJIMORI
Now! Go now.
Chavez hears the phone call coming over his radio. He
doesn't wait for Montesinos to give the order.
Chavez radios to the special commando that is ready to
detonate the tunnel device.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
The message comes over Admiral Giampietri's beeper. "HAIL
MARY THE PUREST CONCEIVED WITHOUT SIN."
Giampietri nods to Fernandez and Pancheco. They exit the
room.
GIAMPIETRI
Hail Mary the purest conceived without
sin.
The other hostages begin to repeat this prayer aloud.
INT. MARCONI STREET/TUNNEL - CONTINUOUS
CHAVEZ (VO)
(over the radio)
Detonate. Let's move out.
Soldiers stand prepared to storm the embassy.
The special commando attempts to detonate the device. It
doesn't go off.
COMMANDO
(to Chavez who races into the
tunnel)
It didn't go.
CHAVEZ
What's the problem?
COMMANDO
The fuse didn't catch.
CHAVEZ
Let's go. Again. Move it.
The commando begins to remove and set-up a second detonation
device.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
The soccer game really heats up and the MRTA are enjoying
themselves.
HOSTAGES
Hail Mary the purest conceived without
sin.
INT. PALACE OF JUSTICE/COURTROOM - CONTINUOUS
President Fujimori stands by. He knows that this is it, and
anything could happen.
INT. MARCONI STREET/CASA THREE - CONTINUOUS
Montesinos wipes the sweat from his brow.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
The soccer game continues, while eerily the hostages go
unnoticed as they all slowly begin to lie on the floor.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
All the hostages lie on the floor.
HOSTAGES
Hail Mary the purest conceived without
sin.
INT. MARCONI STREET/TUNNEL - CONTINUOUS
The second device does not work.
CHAVEZ
(to the detonation commando)
Get that thing working now!
The detonation commando swiftly set-up another fuse.
INT. MARCONI STREET/TUNNEL - CONTINUOUS
MONTAGE:
Soldiers await before five tunnel entrances for a full on
assault on the embassy.
Kenji's bodyguard, Colonel, Juan Valer Sandoval awaits to
attack.
INT. MARCONI STREET/CASA THREE - CONTINUOUS
MONTESINOS
(to Chavez)
What the hell is going on down there?
Montesinos looks at his watch. It's 3:23 p.m.
CHAVEZ (V.O.)
No detonation. Standby.
MONTESINOS
(screaming loudly)
Lets go.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
The soccer game continues.
Cerpa kicks a goal.
INT. MARCONI STREET/TUNNEL - CONTINUOUS
Anxious soldiers waiting to storm the embassy.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
The MRTA wipe the sweat from the brows and jostle each other
about.
Suddenly, the floor that the MRTA are standing on rises
violently with a shattering explosion.
Cerpa, Tito, Luzdina and several other MRTA are blown into
the air.
Those who can, grab for their guns.
The sound of a second violent explosion happens somewhere in
the embassy.
Swarms of commandos exit the fractured floor into the main
salon. The MRTA are totally caught off guard.
Commandos begin to pull triggers on automatic assault weapons
and kill Luzdina, Giovana, Tito, Julian and then Cerpa.
Salvadore and The Arab grab their weapons and fire off shots
exiting the main salon.
A third loud explosion is heard, rocking the embassy.
EXT. JAPANESE EMBASSY/GROUNDS - CONTINUOUS
Commandos exit tunnels on the embassy ground and are blown
into the air by mines. Other commandos continue past the
wounded soldiers.
Another group of commandos exit a ground tunnel and are
injured by the mines. They place ladders up the side of the
building and race up the steps.
More commandos, exit the tunnel and kick, open the front
door, while still others break-out windows, shooting into the
embassy.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
Giampietri and Fernandez lead the Peruvian group of hostages
as they begin to fight with the remaining MRTA.
INT. JAPANESE EMBASSY/MAIN SALON - CONTINUOUS
The room is already filled with smoke.
Salvadore runs into the room where Francisco Tudela is being
held hostage. He points his gun to kill Tudela.
Salvadore begins shooting.
He hits Tudela in the leg.
Colonel, Sandoval steps in front of Tudela and pushes Tudela
to the ground. Sandoval is hit by Salvadore's shells and
falls to the floor.
Other commandos begin to fill the room.
Salvadore shoots at the endless stream of soldiers. He
manages to hold the soldiers back long enough to spot Tudela.
Salvadore follows Tudela as he crawls across the floor to
escape. Salvadore tosses a grenade at Tudela. The grenade
bounces off of the door frame and explodes on the other side
of the room.
The shocked Tudela continues to crawl for safety.
Salvadore goes after him and is met by a wall of soldiers.
The soldiers unload into Salvadore. Salvadore is ripped
apart and killed instantly.
INT. JAPANESE EMBASSY/SECOND FLOOR - CONTINUOUS
The Arab is struggling with Minami. Minami falls down and
The Arab raises his gun to kill him.
Supreme Magistrate Giusti attempts to fight off The Arab.
The Arab's youth and strength is too much for Giusti. The
Arab, unmercifully kills Giusti.
Minami goes to the aid of Giusti. It's too late. He's dead.
Eduardo and The Arab race up the steps to the roof.
Suddenly, the roof explodes in his path. Commandos appear at
the huge opening and begin to fire at The Arab and Eduardo.
The Arab, Eduardo and Captain Chavez are killed in the
crossfire.
The sound of shells diminish as the battle downstairs comes
to an end.
Commandos, running from the rooftop and from the floor below.
COMMANDO
Cease fire!
The commandos begin to shout.
COMMANDOS
Cease fire! Cease fire!
The battle is over.
The only sound heard is the sound of Minami crying aloud as
he holds onto Magistrate Giusti.
Commandos cheer loudly.
Hostages begin to slowly materialize from every hiding place.
In contrast to the cheering of the commandos, tears flow down
the faces of the hostages.
INT. MARCONI STREET/CASA THREE - CONTINUOUS
A commando brings word to Montesinos.
COMMANDO I
Sir, it's all over.
Montesinos slumps into a chair.
MONTESINOS
Where's Captain Chavez?
The commando shakes his head no.
COMMANDO I
He didn't make it sir.
The phone rings and continues to ring. Finally, Montesinos
answers the call.
MONTESINOS
Yes?
(a great pause)
Yes, its finally over.
INT. PALACE OF JUSTICE/COURTROOM - CONTINUOUS
President Fujimori drops the phone from his head. He exits
the courtroom.
INT. PALACE OF JUSTICE/CORRIDOR - CONTINUOUS
President Fujimori steps to a huge window and looks out over
the city.
FUJIMORI
(to Re‹tegui)
Prepare an emergency meeting with the
press.
EXT. JAPANESE EMBASSY/ROOFTOP - A LITTLE LATER
The tattered MRTA flag is pulled down from the flag pole by
one of the commandos.
EXT. JAPANESE EMBASSY - CONTINUOUS
Smoke fills the sky. Helicopters peel off in the distance.
Weary hostages stream out of the Japanese embassy along side
cheering soldiers.
Tudela drags his injured leg as he exits wearing white
trousers and shirt that are blood soaked.
Injured soldiers are carried out on stretchers.
Giampietri carries the guitar over his shoulder and runs into
his wife who hugs him tightly.
Saito and Minami find their wives and leave the embassy
grounds arm in arm.
The media begin to crowd the stunned hostages and firemen
rush in to put out the fire that is beginning to blaze out of
control.
Iris, the wife of the slain magistrate is about to enter the
embassy gate as Giampietri, who is walking arm in arm with
his wife are leaving.
Giampietri stops her from continuing on. She doesn't
understand. He shakes his head no.
Iris falls to her knees and begins to weep. At her feet are
the cards with prayers on them, burned out candles and other
faded religious symbols of hope.
EXT. SAN ISIDRO/RESIDENTIAL NEIGHBORHOOD - SUNSET
President Fujimori's motorcade drives past small homes.
INT. MERCEDES BENZ - CONTINUOUS
President Fujimori watches the children as the motorcade
passes by.
CIPRIANI (VO)
They never knew the danger they faced.
Cerpa's men were determined to not allow
a peaceful outcome. Every opportunity
was given for them to leave the embassy
and they refused to take it. They chose
death over defeat. In Peru there has
always been an urgency for solidarity,
and solidarity is celebrated as a
Christian virtue. Sometimes situations of
extreme poverty can spark desperation
amongst the young, who, with little human
or Christian culture, choose violence in
an erroneous bid to seek justice.
EXT. THOMAS EDISON BOULEVARD - NIGHT
President Fujimori's motorcade approaches the embassy. The
aftermath of the standoff looks like that of a world cup
soccer game. Debris everywhere.
The media converge onto Fujimori's car.
Fujimori steps out of his vehicle and is thronged by
reporters. He climbs onto the roof of his car.
A megaphone is placed in his hands by Ikeuchi. Fujimori
pulls out a note and begins to read from it.
Microphones are shoved toward the vehicle.
FUJIMORI
When the MRTA refused doctors to the
hostages whose mental and physical health
were deteriorating, we knew we couldn't
standby any longer. We knew we had to
act and act accordingly. The operation
was planned so there would be no victims
and followed through when we realized
that these terrorists would not accept
any reasonable offer to surrender the
hostages. One of those hostages has
indeed died. Supreme Court Justice
Carlos Giusti Acu–a. He was not the only
one to die, Captain, Raul Chavez and my
dear friend Colonel, Juan Valer Sandoval.
(his voice begins to break)
Chizito, as we liked to call him was my
sons teacher. He had a wife and two
children. He left behind a farewell
letter to his companions, as if he had
known the outcome of this...
(searching for the words)
His letter showed a deep love for his
country and his family.
The reporters for once are speechless as Fujimori shows
genuine emotion.
FUJIMORI (cont'd)
Captain, Chavez had asked his fiancŽs
parents for their daughters hand. They
were to wed when this crisis came to an
end. But, that is not to be.
Fujimori steps down from the hood of the car.
Reporters begin to throng Fujimori and toss related questions
toward him. Fujimori's brother Pedro approaches him through
the crowd.
They shake hands and then hug.
They enter his vehicle and the motorcade pulls away.
EXT. PALACE OF JUSTICE - DAY
The coffin of Magistrate, Carlos Giusti Acu–a is carried up
the courthouse steps by pallbearers. There is a crowd of
several hundred.
DISSOLVE TO:
INT. MILITARY CHAPEL/FUNERAL - DAY
Military personnel in full uniform are in morning.
Two black coffins sit in front of a room filled with people.
Peruvian flags are draped over the coffins. Red roses fill
the room.
Kenji is present at the funeral of his bodyguard.
One of the flags is removed from a coffin and is folded by
military soldiers. The flag is handed to President Fujimori.
President Fujimori, approaches a woman, Colonel Valer's wife,
Marina who is red-faced from shedding too many tears, her
daughter, Valeria (12) is weeping uncontrollably.
President Fujimori hands the young girl the folded Peruvian
flag.
DISSOLVE TO:
INT. CHURCH/FUNERAL - DAY
Cipriani walks up to a coffin.
Tito's body lies in the coffin. The cross that Bishop
Cipriani gave to him is still around his neck.
DISSOLVE TO:
EXT. WASTELAND/GRAVEYARD - DAY
Red, dry desert and rocky land spans into the distance.
A black and white wooden cross marks a freshly dug grave.
A wreath of fresh flowers and the name etched onto the cross
reveal that it is the freshly dug grave of, Nestor Cerpa
Cartolini. His final resting place.
DISSOLVE TO:
INT. AYACUCHO CHURCH/CIPRIANI'S PRIVATE ROOM - DAY
There is a stack of mail waiting on his desk.
On the top of the stack of mail is a letter that is written
by the hand of a young child.
The letter is postmarked with the red stamp of France, Par
Avion. The name on the letter is Nestor Cerpa Cartolini.
Bishop Cipriani picks up the stack of mail, realizing that
the letter came from Cerpa's children in France, he drops the
stack and holds onto the child's letter.
He sits in his chair holding the letter. He begins to cry.
There is a commotion coming from the playground.
Cipriani stands and goes to the window and looks out over
the playground. It's the same two boys, slugging it out in a
fight again.
Cipriani just watches the two boys fight as tears flow down
his cheeks.
EXT. IKEUCHI'S OFFICE - DAY
Ikeuchi tosses a camera into the back of his Jeep.
ASAKO
So, how long are you going to be gone
this time?
IKEUCHI
Maybe, two months.
ASAKO
Why don't you take me with you?
IKEUCHI
(joking)
I've learned many things these past
months and one is that I can't take you
anywhere.
He starts up the Jeep.
IKEUCHI (cont'd)
I'll write you soon and let you know how
it's going.
Aoki gives him a kiss good-bye.
Ikeuchi starts to drive away.
He stops the Jeep and backs up.
IKEUCHI (cont'd)
C'mon, get in.
Aoki get into the Jeep. It pulls away.
EXT. ANDES MOUNTAIN - DAY
The mountainous terrain is breathtaking. Llama's cross a
grassy terrain.
Ikeuchi's Jeep rounds a corner on a winding mountain road.
The wind blows through Aoki's hair.
Two farmers ride bareback on donkey's.
As the Jeep passes a small poverty stricken village, a group
of small children play near the road.
The emaciated, dirty and impoverished, almost naked children
watch as the Jeep continues on its way up the winding
mountain road.
FADE OUT.
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