American Roulette Script

"AMERICAN ROULETTE"
Combined Dialogue and Continuity

Post Production Release Script
23rd December 1987
REEL 1 (1A) ZERO AT START MARK ........................ 857.15

REEL 2 (1B) ZERO AT FIRST FRAME ACTION ................ 740.04
TOTAL LENGTH: ............................. 9,252 feet 14 frames
FROM 1st FRAME ACTION REEL 1 (1A) TO LAST FRAME ACTION REEL 11 (6A):
9,180 feet 14 frames
Running time at 24 fps: 1 Hour 42 Mins 00 Secs
"American Roulette"
(c) ROULETTE PRODUCTIONS LIMITED MCMLXXXVIII
All Rights Reserved
Prepared, Word Processed Printed For:
Printed in England by: Film Four Limited:
SAPEX SCRIPTS 76-78 Charlotte Street
Millennium Studios London W1P 1LX
Elstree Way
Tel: +44(0)20-7868 7700
Boreham Wood http://www.filmfour.co.uk
Hertfordshire
ENGLAND
Tel: +44(0)20-8236 1600
Fax: +44(0)20-8236 1591 AMERROUL.rtf
Email:scripts@sapex.co.uk
http://www.sapex.co.uk/
"AMERICAN ROULETTE" Page: (1)
REEL 1 (1A)
ZERO is START MARK

First Frame Action 12.00
First HARD CUT at Sc.3 - 114.15
Scene No. Spot

Foot. Action/Dialogue No. Start End Total
1 BLACK SCREEN.
Starts
12.00
MT 1 TITLE: FADE IN
Starts
12.07 Film Four International
and
British Screen
in association with the
Mandemar Group
present
22.01 TITLE: FADE OUT
MT 2 TITLE: FADE IN
Starts
22.06 a
Hatton-Easton-Lambert
Production
2 EXT. UNDERGROUND. NIGHT.

Starts
30.01 ALONG PLATFORM TO M.S. TRAIN -
PULLS AWAY INTO B.G. - HOLD. MUSIC: IN 30.01
MT 3 TITLE: FADE IN
Starts
41.10 ANDY GARCIA
MT 4 TITLE: FADE IN
Starts
47.09 KITTY ALDRIDGE
MT 5 TITLE: FADE IN
Starts
53.09 AL MATTHEWS
ALFREDO MICHELSEN

"AMERICAN ROULETTE"
REEL 1 (1A) Page: (2)
Scene No. Spot
MT 6 TITLE: FADE IN
Starts
59.09 and
ROBERT STEPHENS
MT 7 MAIN TITLE: FADE IN

Starts
65.10 A M E R I C A N
R O U L E T T E
MT 8 TITLE: FADE IN
Starts
71.09 Production Designer
AUSTEN SPRIGGS
MT 9 TITLE: FADE IN
Starts
77.10 Editor
BARRY PETERS
MT 10 TITLE: FADE IN
Starts
83.09 Director of Photography
TONY IMI B.S.C.
Starts
89.09 Music
MICHAEL GIBBS
Starts
95.09 Executive Producer
VERITY LAMBERT

"AMERICAN ROULETTE"
Scene No. Spot
Starts
101.09 Produced
by
GRAHAM EASTON
Starts
107.09 Written and Directed
by
MAURICE HATTON
3 M. WAIST SHOT CARLOS - TRACK

Starts BACK AS HE WALKS TOWARDS.
114.15
CARLOS It's such a fuck up
(V.O.): I feel it should be
funny. 1/1 118.05 121.07 3.02
Maybe it's too

simple to be funny. 1/2 123.15 126.02 2.03
First I'm obsessed

by a woman who
couldn't care less. 1/3 129.02 132.06 3.04
And there are these

guys trying to kill
me. 1/4 132.15 135.06 2.07
Maybe you're a
little sceptical
... 1/5 138.11 140.04 1.09
... maybe you think

I'm exaggerating? 1/6 140.06 142.05 1.15
You're asking
yourself ... 1/7 143.10 145.02 1.08
... why should

these guys be
trying to kill me? 1/8 146.08 148.10 2.02
Well, they're
trying to kill me
because ... 1/9 150.14 152.14 2.00
"AMERICAN ROULETTE"
Scene No. Spot
4 ALONG PLATFORM TO M.L.S. STAIRS

Starts - CARLOS ENTERS F.G. R (BACK TO
154.04 CAMERA) IN M. WAIST SHOT - WALKS
TO STAIRS.
CARLOS ... I'm the

(V.O.): President of my
country. 1/10 154.04 156.05 2.01
I know ... 1/11 159.03 159.13 0.10
... now you're

thinking he's
crazy. 1/12 160.14 162.11 1.13
CARLOS STOPS, TURNS - WALKS F.G.

R.
What President of a
country hangs out
in a subway station
on a Sunday night? 1/13 163.05 168.07 5.02
TRACK BACK AS HE WALKS TOWARDS.
Well, I'm that

President ... 1/14 171.08 173.01 1.09
5 (CARLOS' P.O.V.) ALONG PLATFORM

Starts TO M.L.S. TRAIN - DRIVES
174.15 TOWARDS.
CARLOS ... and if I'm not

(V.O.): that President ... 1/15 175.06 177.08 2.02
... then why are

these guys trying
to kill me? 1/16 178.05 180.11 2.06
I told you it was a

fuck up. 1/17 183.15 185.06 1.07
6 INT. TRAIN. NIGHT.

Starts
191.06 M.C.U. KATE - LOOKS DOWN R AS
TRAIN DOOR OPENS - PAN R AND FX:
TRACK IN WITH AS KATE EXITS
TRAIN - WALKS ALONG PLATFORM -
CARLOS STANDS ON PLATFORM IN
L.S. - TRACK IN WITH KATE (BACK
TO CAMERA) AS SHE WALKS TO
CARLOS.
"AMERICAN ROULETTE"
Scene No. Spot
Sc.6 KATE (BACK Good evening Senor

Cont: TO CAMERA) Presidente. 1/18 203.08 205.09 2.01
TO CARLOS:
CARLOS TURNS (BACK TO CAMERA) -

WALKS WITH KATE - HOLD AS THEY
WALK INTO B.G.
CARLOS Good evening Miss

(BACK TO Webber. 1/19 206.14 208.04 1.06
CAMERA) TO
KATE:
7 M. WAIST SHOT KATE L, CARLOS R -

Starts TRACK BACK AS THEY WALK TOWARDS.
209.15
KATE TO Kate. 1/20 211.07 212.01 0.10
CARLOS:
CARLOS TO Carlos. 1/21 214.04 215.01 0.13

KATE:
KATE TO Carlos. 1/22 216.04 217.01 0.13

CARLOS:
CARLOS TO Let me carry your

KATE: bag. 1/23 221.01 222.07 1.06
KATE TO It's not heavy. 1/24 222.15 223.14 0.15

CARLOS:
CARLOS TO It's not heavy. 1/25 224.03 225.04 1.01

KATE: :
Kate ... 1/26 226.11 227.04 0.09
... gracias. 1/27 229.05 230.05 1.00
KATE HANDS HER BAG TO CARLOS -

PAN L OFF CARLOS AS KATE PASSES
L.
CARLOS How was Paris? 1/28 237.11 238.14 1.03

(O.S.) TO
KATE:
CONTINUE PANNING L AS CARLOS

ENTERS F.G. L IN M.C.U. (SIDE
VIEW) - HOLD AS THEY WALK ALONG
PLATFORM.
KATE TO Beautiful. 1/29 239.09 240.06 0.13

CARLOS:
"AMERICAN ROULETTE"
Scene No. Spot
Sc.7 CARLOS What time is your

Cont: (BACK TO train in the
CAMERA) TO morning? 1/30 245.04 246.13 1.09
KATE:
KATE (BACK Seven o'clock. 1/31 248.06 249.07 1.01

TO CAMERA)
TO CARLOS:
8 (LOW ANGLE) UP STAIRS TO M.S.

Starts KATE L, CARLOS R - THEY WALK
250.05 DOWN STAIRS TOWARDS.
CARLOS TO So early. 1/32 250.14 251.12 0.14

KATE:
KATE TO It's the only way

CARLOS: I'll get to the
interview. 1/33 253.03 255.05 2.02
(This Spot Runs 2 Frames
Thru Cut at 255.03)
9 (LOW ANGLE) UP STAIRS TO M.L.S.

Starts KATE L, CARLOS R - THEY WALK
255.03 DOWN STAIRS TOWARDS.
CARLOS TO Give them hell! 1/34 257.09 258.05 0.12

KATE:
THEY EXIT L. KATE: LAUGHS
10 INT. BACK OF VAN. NIGHT.

Starts
264.14 THROUGH WINDOW AND ACROSS ROAD
TO M.L.S. KATE L, CARLOS R -
THEY WALK TOWARDS - TRACK L AS
THEY TURN CORNER - WALK L.
RUBEN Bueno Muchachos.

(O.S.): (Well boys) 1/35 268.14 270.04 1.06
Here comes Quintas. 1/36 270.09 272.04 1.11
MIGUEL With the bait? 1/37 274.15 276.01 1.02

(THRU
RADIO):
RUBEN Both of them. 1/38 277.09 278.06 0.13

(O.S.):
THEY TURN (BACKS TO CAMERA),

WALK DOWN STREET.
"AMERICAN ROULETTE"
Scene No. Spot
11 EXT. STREET. NIGHT.

Starts
280.12 ACROSS STREET TO M.L.S. KATE L,
CARLOS R.
MIGUEL Lucky guy. 1/39 281.04 282.12 1.08

(THRU
RADIO):
PAN R AS THEY CROSS ROAD, WALK R MIGUEL: LAUGHS

- EXIT - HOLD AS B.G. CAR
FLASHES HEADLIGHTS.
12 INT. VAN. NIGHT.

Starts
297.08 TRACKING L WITH CARLOS AND KATE
IN M.L.S AS VAN DRIVES L.
MIGUEL Miguel here. 1/40 300.03 301.06 1.03

(THRU
RADIO):
Lurking around the
corner. 1/41 302.11 305.02 2.07
RUBEN He's checking

(O.S.): behind that he's
not being followed. 1/42 307.05 310.04 2.15
KATE AND CARLOS TURN, WALK ALONG MIGUEL: LAUGHS

B.G. PATHWAY - CONTINUE TRACKING
L OFF THEM.
Should be looking//
ahead. 1/43 314.06 315.15 1.09
Thru Cut at 315.00)
13 EXT - ACROSS ROAD TO M.S. VAN.

Starts
315.00 ALFONSO That's where
(THRU Alfonso is. 1/44 316.06 318.14 2.08
RADIO):
14 INT. VAN. NIGHT.

Starts
318.15 THROUGH WINDSCREEN TO M.L.S.
KATE L, CARLOS R - WALK ALONG
PATH TO B.G. DOORWAY.
ALFONSO Home sweet home. 1/45 323.11 326.11 3.00

(THRU
RADIO):
"AMERICAN ROULETTE"
Scene No. Spot
15 INT. HOUSE. NIGHT.

Starts
327.05 M.S. DOOR L - DOOR OPENS TO
REVEAL KATE L, CARLOS R - KATE
WALKS TOWARDS FOLLOWED BY CARLOS
- KATE TURNS ON LIGHT, EXITS R - FX:
CARLOS CLOSES DOOR - PAN R AS HE FX:
WALKS TO REVEAL KATE IN M.S. MUSIC: FADE OUT 336.04
KATE TO What is it, a

CARLOS: squat? 1/46 340.09 341.13 1.04
CARLOS TO Yes. 1/47 342.15 343.13 0.14

KATE:
CARLOS PUTS BAG DOWN. FX:
They say it's a

safe house. 1/48 346.05 348.05 2.00
CARLOS WALKS TO B.G. WINDOW -

PEERS THROUGH CURTAIN.
KATE TO Well, I suppose

CARLOS: they know what
they're doing. 1/49 349.11 351.11 2.00
CARLOS TO Oh yes, quite safe. 1/50 352.05 354.06 2.01

KATE:
KATE UNZIPS BAG - TAKES OUT FX:

BOTTLE OF DRINK.
CARLOS TO Good. 1/51 363.13 364.02 0.05

KATE:
CARLOS WALKS TOWARDS.
16 CARLOS ENTERS F.G. R IN M. WAIST

Starts SHOT (BACK TO CAMERA) - TURNS ON
371.12 LIGHT - PAN L AS HE WALKS INTO FX:
B.G. BEDROOM - TURNS ON LIGHT. FX:
17 EXT - ACROSS ROAD TO M.S. VAN. MUSIC: IN 384.02

Starts
384.02
18 INT. VAN. NIGHT.

Starts
386.06 PAST ALFONSO L AND MIGUEL R TO MUSIC: FADE OUT 388.03 UNDER
M.S. RUBEN - LISTENS TO RADIO. DIALOGUE
"AMERICAN ROULETTE"
Scene No. Spot
Sc.18 KATE (THRU How do you like it? 1/52 387.11 388.10 0.15
Cont: RADIO):
CARLOS Neat. 1/53 390.06 391.02 0.12

(THRU
RADIO):

Starts
393.04 C.U. KATE LOOKS F.G. L AT O.S.
CARLOS.
KATE TO Venceremos.
CARLOS: (We shall overcome) 1/54 394.00 395.06 1.06
20 C.U. CARLOS LOOKS F.G. R AT O.S.

Starts KATE.
395.12
CARLOS TO Venceremos.
KATE: (We shall overcome) 1/55 398.08 399.10 1.02
21 C.U. KATE LOOKS F.G. L AT O.S.

Starts CARLOS - SHE DRINKS.
399.11
22 C.U. CARLOS - DRINKS.

Starts
404.12
23 INT. VAN. NIGHT.

Starts
407.15 C.U. MIGUEL (SIDE VIEW) LOOKS L MUSIC: IN 407.15
- SMOKES JOINT.
KATE (THRU Let me give you the

RADIO): goodies. 1/56 410.03 411.10 1.07
Thru Cut at 411.05)
24 C.U. ALFONSO (SIDE VIEW) - LOOKS

Starts R AT O.S. MIGUEL. MUSIC: FADE OUT 411.12
411.05

Starts
411.11 C.U. KATE - LOOKS TOWARDS -
TAKES OFF HER COAT -
"AMERICAN ROULETTE"
Scene No. Spot
Sc.25 - TILT DOWN AS SHE UNZIPS MONEY

Cont: BELT AROUND HER WAIST - TAKES
OUT MONEY.
26 C.U. CARLOS' HANDS - COUNT

Starts MONEY.
431.03
CARLOS Gracias. 1/57 431.05 432.04 0.15
(O.S.) TO
KATE:
CRANE UP TO REVEAL CARLOS IN

C.U. - LOOKS F.G. R AT O.S.
KATE.
27 INT. VAN. NIGHT.

Starts
444.00 M.S. RADIO. MUSIC: IN 444.00
MUSIC: FADE OUT 446.13
CARLOS I shall give you a

(THRU receipt for the two
RADIO): thousand//dollars. 1/58 445.01 448.03 3.02
Thru Cut at 447.07)
28 C.U. ALFONSO'S HANDS POLISH GUN.

Starts
447.07 KATE (THRU What on earth for? 1/59 449.04 450.07 1.03
RADIO):
PAN R AND TILT UP TO REVEAL

RUBEN IN M.C.U.
CARLOS A government in
(THRU exile has to
RADIO): regular Kate. 1/60 452.00 455.04 3.04
Everything
accounted for. 1/61 456.08 458.03 1.11

Starts
458.11 ACROSS F.G. TABLE TO M.S. KATE
L, CARLOS R (SHOULDERS DOWN).
KATE TO Received with

CARLOS: thanks from Miss
Kate Webber ... 1/62 459.15 463.06 3.07
"AMERICAN ROULETTE"
Scene No. Spot
Sc.29 TILT UP TO REVEAL M. WAIST SHOT

Cont: KATE L, CARLOS R.
KATE ... on behalf of

(Cont): the Paris committee
... 1/63 463.07 465.11 2.04
... two thousand

dollars, Carlos
Quintas, President. 1/64 466.04 471.00 4.12
CARLOS HANDS KATE PIECE OF KATE: LAUGHS

PAPER.
CARLOS TO Perhaps it's a bit

KATE: silly but I don't
know how these
things are done. 1/65 479.15 483.15 4.00
KATE TO No, you're quite

CARLOS: right ... 1/66 484.01 485.07 1.06
... I'll keep it as

a momento. 1/67 486.03 487.13 1.10
KATE TURNS, STEPS R BEHIND

CARLOS.
30 INT. VAN.
Starts
488.10 PAST ALFONSO L, MIGUEL R TO M.S.
RUBEN - LISTENS TO RADIO. MUSIC: IN 488.10
KATE (THRU This as well. 1/68 489.03 490.03 1.00

RADIO):
HOLD. MUSIC: FADE OUT 492.00
CARLOS A present? 1/69 491.10 492.08 0.14

(THRU
RADIO):
KATE (THRU The steward on the

RADIO): plane gave it to me
saying it was for
you. 1/70 493.13 497.00 3.03
CARLOS Oh. 1/71 497.13 498.05 0.08

(THRU
RADIO):
"AMERICAN ROULETTE"
Scene No. Spot
31 INT. HOUSE.
Starts
499.14 PAST CARLOS F.G. L (SIDE VIEW)
TO M. WAIST SHOT KATE (SEATED) -
CARLOS UNTIES PACKAGE - HANDS FX:
KATE RIBBON.
CARLOS TO For you. 1/72 503.13 504.13 1.00

KATE:
CARLOS TAKES TOP FROM BOX -

TAKES OUT ENVELOPE - READS -
SHOWS KATE.
Cuidate.
(Take care) 1/73 522.08 523.07 0.15
KATE TO Take care. 1/74 524.10 525.08 0.14

CARLOS:
CARLOS TO Very good. 1/75 528.13 529.07 0.10

KATE:
CARLOS OPENS ENVELOPE - TAKES

OUT GUN.
32 INT. VAN.
Starts
538.02 PAST ALFONSO L, MIGUEL TO M.S.
RUBEN. MUSIC: IN 538.02
KATE (THRU Didn't you know

RADIO): about it? 1/76 538.07 539.12 1.05
CARLOS No. 1/77 540.06 541.01 0.11

(THRU
RADIO):
It's Ramon. 1/78 541.10 542.13 1.03
33 INT. HOUSE.
Starts
542.15 M.C.U. GUN POINTS F.G. R -
CARLOS STANDS B.G. L IN SOFT
FOCUS.
CARLOS TO He loves to show me

KATE: how smart he is at
fixing things. 1/79 543.02 547.08 4.06
HE LOWERS GUN.
"AMERICAN ROULETTE"
Scene No. Spot
34 PAST CARLOS F.G. L TO M. WAIST

Starts SHOT KATE (SEATED).
549.02
KATE TO Can you use it? 1/80 550.02 551.04 1.02
CARLOS:
CARLOS TO Yes ... 1/81 553.11 554.11 1.00

KATE:
PLACES GUN ON TABLE. FX:
... it'll make a

very nice paper
weight. 1/82 558.02 560.06 2.04
35 EXT. STREET.
Starts
562.09 ACROSS STREET TO M.S. VAN - PAN
R OFF VAN TO REVEAL HOUSE IN MUSIC: IN 562.09
M.S. - HOLD. MUSIC: FADE OUT 568.01
36 INT - M. WAIST SHOT CARLOS

Starts (SEATED) LOOKS DOWN - LOOKS F.G.
576.15 R AT O.S. KATE.
37 M. WAIST SHOT KATE ASLEEP ON

Starts BED.
581.09
38 M. WAIST SHOT CARLOS - LOOKS

Starts TOWARDS - TURNS, DRINKS.
584.15
39 DOWN TO M.S. TABLE L, LAMP R - MUSIC: IN 600.03

Starts WINDOW SMASHES - PETROL BOMB FX:
599.14 ENTERS R - EXPLODES. FX:
602.02 TWO FLASH FRAMES.
40 M. WAIST SHOT CARLOS (SIDE VIEW)

Starts - LOOKS R AT O.S. FIRE - KATE
602.04 LIES ON B.G. BED - CARLOS TURNS
(BACK TO CAMERA) AS FLAMES LEAP
IN R. KATE: SCREAMS
41 DOWN TO M. WAIST SHOT KATE LYING

Starts ON BED - SITS UP, LOOKS F.G. R
605.08 AT O.S. FIRE.
"AMERICAN ROULETTE"
Scene No. Spot
Sc.41 KATE: (SCREAMS) Oh God. 1/83 606.12 608.15 2.03

Cont:
42 M. WAIST SHOT CARLOS - PAN L AS

Starts HE RUNS.
609.04
KATE (O.S.) Carlos. 1/84 609.11 610.13 1.02
TO CARLOS:
CONTINUE PANNING L TO REVEAL

KATE SEATED ON BED L.
43 M. WAIST SHOT KATE (SEATED) ON

Starts BED.
614.09
CARLOS Kate -- your
(O.S.) TO things. 1/85 615.00 617.03 2.03
KATE:
CARLOS RUNS PAST F.G. R TO L.
44 C.U. FLAMES - CARLOS AND KATE

Starts CAN BE SEEN IN B.G.
617.04
45 M. WAIST SHOT CARLOS (BACK TO

Starts CAMERA) - TILT DOWN AS HE
619.07 REACHES FOR COAT.
46 M.S. LANDING - KATE ENTERS

Starts THROUGH DOOR B.G. R IN M.S. -
622.00 RUNS TOWARDS FOLLOWED BY CARLOS
- THEY EXIT F.G. L.
47 M.S. BURNING CURTAINS.

Starts
628.15
48 EXT - (HIGH ANGLE) DOWN TO

Starts M.L.S. KATE - TILT DOWN AS SHE
632.02 RUNS TOWARDS FOLLOWED BY CARLOS.
CARLOS TO Straight out ... 1/86 633.13 634.12 0.15

KATE:
... watch the wall. 1/87 635.00 635.13 0.13

"AMERICAN ROULETTE"
Scene No. Spot
Sc.48 TRACK BACK AS THEY CLIMB OVER

Cont: WALL.
CARLOS Now straight out. 1/88 641.11 642.14 1.03

(Cont):
49 ALONG PATH TO M.L.S. KATE - RUNS

Starts F.G. L FOLLOWED BY CARLOS - PAN
645.09 L WITH.
50 M.L.S. PATH - CARLOS ENTERS F.G.

Starts IN M. WAIST SHOT (BACK TO
655.03 CAMERA) FOLLOWED BY KATE - THEY
RUN TO B.G.
CARLOS Turn right. 1/89 662.12 663.10 0.14

(BACK TO
CAMERA) TO
KATE:
THEY EXIT B.G. R BEHIND

BUILDING.
51 EXT. STREET.
Starts
666.02 ACROSS ROAD TO M.L.S. CARLOS AND
KATE - PAN R AS THEY RUN R
ACROSS ROAD - STOP ON PAVEMENT -
KATE PUTS ON COAT - VAN ENTERS
B.G. R FROM BEHIND BUILDINGS -
DRIVES TOWARDS.
CARLOS TO Watch it. 1/90 693.09 694.02 0.09

KATE:
VAN STOPS L IN M.S. - DRIVER

OPENS PASSENGER DOOR.
DRIVER TO Do you want a lift? 1/91 702.09 703.08 0.15

CARLOS:
Do you want a lift? 1/92 705.00 706.00 1.00

(Runs Under Spot No: 1/93)
CARLOS TO Yes, please. 1/93 705.10 707.00 1.06

DRIVER:
CARLOS OPENS DOOR FURTHER.
CARLOS TO Come on. 1/94 707.10 708.00 0.06

KATE:
"AMERICAN ROULETTE"
Scene No. Spot
52 PAST F.G. VAN TO M. WAIST SHOT

Starts CARLOS - THROWS BAGS INTO CAB -
708.04 KATE STANDS R - PAN L AS CARLOS
JUMPS IN TO REVEAL DRIVER IN M.
WAIST SHOT - TRACK R AND PAN L
AS KATE CLIMBS IN, CLOSES DOOR FX:
- CARLOS TAKES OUT GUN - POINTS
AT DRIVER.
CARLOS TO Get out. 1/95 717.12 718.08 0.12

DRIVER:
Get out of the car. 1/96 720.01 721.04 1.03
CARLOS PUSHES DRIVER L.
53 M.S. VAN - DRIVER'S DOOR OPENS.

Starts
721.09 DRIVER TO All right. 1/97 721.15 722.08 0.09
CARLOS:
CARLOS TO Get out the car. 1/98 722.15 724.01 1.02

DRIVER:
CARLOS SHUTS DOOR - DRIVES F.G. FX:

L - EXITS.
KATE (O.S.) My God Carlos//

TO CARLOS: what, why'd ... 1/99 736.05 738.14 2.09
Thru Cut at 738.02)
54 THROUGH WINDSCREEN TO M. WAIST

Starts SHOT CARLOS L, KATE R - TRACK
738.02 BACK AS THEY DRIVE TOWARDS.
KATE TO ... what was that

CARLOS: for? 1/100 739.09 741.01 1.08
CARLOS TO This van was parked

KATE: outside the house
when we arrived. 1/101 742.01 745.10 3.09
KATE TO This van? 1/102 746.08 747.05 0.13

CARLOS:
CARLOS TO The same make. 1/103 747.14 749.01 1.03

KATE:
And then it's

conveniently around
and offering us a
lift. 1/104 750.07 753.12 3.05
"AMERICAN ROULETTE"
Scene No. Spot
Sc.54 CARLOS Too convenient. 1/105 756.05 757.07 1.02

Cont: (Cont):
KATE TO So then why didn't

CARLOS: we refuse? 1/106 757.09 759.12 2.03
CARLOS TO Look Kate ... 1/107 759.14 760.13 0.15

KATE:
... we're in danger

and I'm terrified. 1/108 761.04 763.06 2.02
Now we have to get

away, that's all
that matters. 1/109 764.14 767.08 2.10
KATE LOOKS INTO BACK OF VAN -

PICKS UP TEDDY BEAR.
KATE TO The same van, Senor

CARLOS: Presidente? 1/110 772.09 775.04 2.11
55 C.U. CARLOS - LOOKS TOWARDS.

Starts
784.00 CARLOS You see how crazy
(V.O.): it's getting. 1/111 785.05 787.01 1.12
HOLD. MUSIC: FADE IN 785.06
You see how in

trying to kill me
they are forcing us
together. 1/112 788.09 791.15 3.06
Doesn't she know

how I feel about
her? 1/113 793.01 795.09 2.08
HE GLANCES R AT O.S. KATE.
56 C.U. KATE - LOOKS TOWARDS.

Starts
795.11 CARLOS Maybe not, maybe
(V.O.): she can't see it. 1/114 799.09 801.14 2.05
Maybe ... 1/115 802.13 803.06 0.09

KATE TO Look, I think I

CARLOS: know how you feel
about me ... 1/116 803.03 805.08 2.05
"AMERICAN ROULETTE"
Scene No. Spot
Sc.56 KATE ... if that's going

Cont: (Cont): to be a problem
then I can ... 1/117 805.10 807.15 2.05
CARLOS Oh no, no, no ... 1/118 807.00 808.06 1.06

(O.S.) TO
KATE:
KATE TURNS, LOOKS L AT O.S.

CARLOS.
57 C.U. CARLOS - LOOKS R AT O.S.

Starts KATE.
808.12
CARLOS TO ... it's not a
KATE: problem. 1/119 809.02 810.06 1.04
You're right. 1/120 814.14 815.07 0.09
When there's so
much to do with so
few resources ... 1/121 818.11 822.01 3.06
... we must put

aside our personal
feelings ... 1/122 822.10 825.04 2.10
58 C.U. KATE.
Starts
825.07 CARLOS ... in a single
(O.S.) TO minded fight for
KATE: our country's
freedom. 1/123 825.07 828.06 2.15
KATE TO Yes. 1/124 830.03 830.13 0.10

CARLOS:
59 C.U. CARLOS LOOKS TOWARDS.

Starts
83.14 CARLOS TO Yet ... 1/125 831.13 832.07 0.10
KATE:
... at the same
time ... 1/126 833.05 834.10 1.05
... we must never

forget how crucial
love is//in our
lives. 1/127 836.07 840.05 3.14
Thru Cut at 838.15)
"AMERICAN ROULETTE"
REEL 1 (1A) Page: (19)*
Scene No. Spot
60 C.U. KATE - LOOKS L AT O.S.

Starts CARLOS.
838.15
CARLOS For without love
(O.S.) TO Kate ... 1/128 841.08 843.01 1.09
KATE:
61 C.U. CARLOS - LOOKS TOWARDS.

Starts
843.04 CARLOS TO ... what are we
KATE: fighting for? 1/129 843.08 844.15 1.07
62 C.U. KATE - LOOKS L AT O.S.

Starts CARLOS - TURNS, LOOKS TOWARDS.
845.04
63 C.U. CARLOS.
Starts
850.05 CARLOS TO Better make a phone
KATE: call. 1/130 854.01 855.14 1.13
857.15 LAST FRAME ACTION REEL 1 (1A)
FOOTAGE FROM SPOT NO: 1/130 TO LAST FRAME ACTION : 2.01
FOOTAGE FROM ZERO TO LAST FRAME ACTION : 857.15

FOOTAGE FROM 1st FRAME ACTION TO LAST FRAME ACTION: 845.15
REEL 2 (1B)
ZERO is First Frame Action

First HARD CUT at 99.04
Scene No. Spot


Starts
0.00 VAN ENTERS R IN M.C.U. - STOPS -
KATE AND CARLOS CAN BE SEEN
SEATED IN VAN - CARLOS GETS OUT,
CLOSES DOOR - PAN L AS CARLOS FX:
RUNS ACROSS B.G. ROAD TO
TELEPHONE BOX - POLICE CAR PULLS
UP - STOPS IN M.S. - POLICEMAN
GETS OUT, WALKS TOWARDS - TRACK FX: POLICE RADIO
L AND PAN R AS POLICEMAN PASSES
IN M. WAIST SHOT - HOLD M. WAIST
SHOT KATE SEATED IN VAN PAST
POLICEMAN R (BACK TO CAMERA) -
POLICEMAN KNOCKS ON WINDOW -
KATE WINDS DOWN WINDOW.
POLICEMAN Good morning,

TO KATE: madam. 2/1 50.05 51.07 1.02
Who is the owner of

this vehicle? 2/2 53.03 54.15 1.12
KATE TO I'm sorry. 2/3 55.15 56.10 0.11

POLICEMAN:
POLICEMAN Who's van is this? 2/4 58.00 59.04 1.04

TO KATE:
KATE TO The owner? 2/5 60.03 60.13 0.10

POLICEMAN:
POLICEMAN Yes. 2/6 61.05 61.11 0.06

TO KATE:
KATE TO Officer, I'm going

POLICEMAN: to be perfectly
honest with you, I
don't know. 2/7 65.09 69.14 4.05
POLICEMAN Then who is the

TO KATE: driver? 2/8 73.07 75.02 1.11
KATE TO I knew you'd

POLICEMAN: understand, I don't
know that either. 2/9 77.12 80.11 2.15
"AMERICAN ROULETTE"
REEL 2 (1B) Page: (2)
Scene No. Spot
Sc.1 POLICEMAN: (WHISPERS) You

Cont: don't know that
either. 2/10 81.02 82.10 1.08
POLICEMAN Madam, why are

TO KATE: sitting in it then? 2/11 83.15 87.09 3.10
KATE TO I'm going home. 2/12 89.09 90.13 1.04

POLICEMAN:
POLICEMAN Without a driver. 2/13 93.10 94.14 1.04

TO KATE:
KATE TO No, no he's just

POLICEMAN: gone to drop
something off. 2/14 96.00 98.11 2.11
2 INT. TELEPHONE BOX.

Starts
99.04 M.C.U. CARLOS.
CARLOS Yes, could you

(INTO please check the
PHONE): phone's not out of
order, it's very
important. 2/15 100.02 104.07 4.05
3 EXT - PAST POLICEMAN F.G. R

Starts (SIDE VIEW) TO M. WAIST SHOT
106.03 KATE SEATED IN VAN.
POLICEMAN Okay -- pass me

TO KATE: your bag. 2/16 106.08 108.13 2.05
KATE TO Why, er, there's

POLICEMAN: ... 2/17 109.00 110.03 1.03
POLICEMAN Your bag. 2/18 109.13 111.06 1.09

TO KATE:
KATE REACHES FOR HER BAG.

Starts
112.15 M.C.U. CARLOS - HOLDS TELEPHONE
TO HIS EAR.
"AMERICAN ROULETTE"
Scene No. Spot
5 EXT - PAST POLICEMAN F.G. R

Starts (SIDE VIEW) TO M. WAIST SHOT
118.14 KATE SEATED IN VAN - POLICEMAN
LOOKS INTO KATE'S BAG.
POLICEMAN You'll have to come

TO KATE: to the station with
us. 2/19 122.04 124.05 2.01
KATE TO Are you sure? 2/20 125.02 126.00 0.14

POLICEMAN:
POLICEMAN Absolutely. 2/21 127.10 128.10 1.00

TO KATE:
POLICEMAN OPENS VAN DOOR.
VOICE (THRU This is Delta Seven

POLICE Four to Trevis Road
RADIO): ... 2/22 132.03 134.15 2.12
... house on fire,

arson suspected,
status of residence
unknown. 2/23 135.07 140.02 4.11
POLICEMAN You're lucky. 2/24 142.05 143.02 0.13

TO KATE:
POLICEMAN HANDS KATE HER BAG.
Tell the driver not

to park on a zig
zag line ... 2/25 145.03 148.01 2.14
... even at night. 2/26 148.15 149.14 0.15
HE CLOSES VAN DOOR - PAN L AS HE FX:

PASSES L - HOLD AS HE GETS INTO
POLICE CAR - SHUTS DOOR - THEY FX:
DRIVE OFF.

Starts
CARLOS All right, thank

(INTO you very much for
PHONE): your help. 2/27 160.07 162.09 2.02
"AMERICAN ROULETTE"
Scene No. Spot
7 EXT - THROUGH WINDSCREEN TO M.

Starts WAIST SHOT KATE R - CARLOS
165.11 ENTERS L - OPENS DOOR, GETS IN -
CLOSES DOOR - THEY DRIVE OFF L - FX:
HOLD. MUSIC: IN 183.11

Starts SHOT CARLOS L, KATE R - TRACK
189.00 BACK AS THEY DRIVE TOWARDS.
CARLOS TO I can't understand

KATE: it, Kate. 2/28 192.05 194.07 2.02
There's no reply
from Raul. 2/29 194.13 196.08 1.11
At this time of the

morning, I don't
know what do you
think? 2/30 200.13 203.11 2.14
KATE TO Maybe it's out of

CARLOS: order. 2/31 205.09 206.14 1.05
CARLOS TO Well, I'll drop you

KATE: off and go round
and see him. 2/32 211.14 214.06 2.08
KATE TO Carlos, get rid of

CARLOS: the van and go to
the police. 2/33 215.01 218.02 3.01
You must protect

yourself from the
death squad. 2/34 218.05 220.09 2.04
CARLOS TO I can't possibly

KATE: involve the police
Kate. 2/35 220.11 224.05 3.10
I could be
deported. 2/36 225.00 226.06 1.06
KATE TO You'd be safer

CARLOS: abroad. 2/37 227.01 228.14 1.13
CARLOS TO Ah, safety ... 2/38 229.06 231.00 1.10

KATE:
... I have a
mission to
accomplish. 2/39 232.10 234.09 1.15
"AMERICAN ROULETTE"
Scene No. Spot
9 EXT. MANSION BLOCK. DAY.

Starts
240.00 THROUGH F.G. RAILINGS DOWN TO
L.S. CARLOS (BACK TO CAMERA) -
RUNS UP STEPS L, EXITS. MUSIC: FADE OUT 244.05
10 INT. MANSION BLOCK. DAY.

Starts
244.08 DOWN STAIRS TO M.S. HALL -
CARLOS ENTERS B.G. R IN M.S. -
TRACK BACK AS HE RUNS UP STAIRS
TOWARDS - PAN R AS HE REACHES R
- KNOCKS ON DOOR - HOLD M. WAIST FX:
SHOT CARLOS (BACK TO CAMERA) AS
HE BANGS ON DOOR. FX:
CARLOS: (SHOUTS) Raul. 2/40 266.01 266.13 0.12
A NEIGHBOUR ENTERS B.G. L

WALKING WITH STICK.
(SHOUTS) Raul. 2/41 271.14 272.09 0.11
NEIGHBOUR Can ... 2/42 274.05 274.13 0.08

TO CARLOS:
... can I help you? 2/43 276.07 278.04 1.13
CARLOS Just looking for

(BACK TO Raul. 2/44 278.15 280.06 1.07
CAMERA) TO
NEIGHBOUR:
11 (CARLOS' P.O.V.) M. WAIST SHOT

Starts NEIGHBOUR - LOOKS TOWARDS.
280.13
NEIGHBOUR You have not heard? 2/45 285.09 287.09 2.00
TO CARLOS:
CARLOS No. 2/46 288.08 289.01 0.09

(O.S.) TO
NEIGHBOUR:
SHE STEPS DOWN STAIRS TOWARDS.
I tried phoning. 2/47 291.01 292.06 1.05
NEIGHBOUR A friend? 2/48 295.14 297.03 1.05

TO CARLOS:
CARLOS We are close. 2/49 299.15 300.14 0.15

(O.S.) TO
NEIGHBOUR:
"AMERICAN ROULETTE"
Scene No. Spot
Sc.11 NEIGHBOUR Oh ... 2/50 302.05 302.14 0.09

Cont: TO CARLOS:
... oh I'm so
sorry. 2/51 305.00 306.14 1.14
Such a tragedy. 2/52 308.04 310.05 2.01
12 M. WAIST SHOT CARLOS LOOKS F.G.

Starts L AT O.S. NEIGHBOUR.
310.11
NEIGHBOUR He -- was killed. 2/53 312.02 315.00 2.14
(O.S.) TO
CARLOS:
An -- an accident. 2/54 316.01 319.04 3.03
CARLOS TO No, no, we ... he

NEIGHBOUR: can't, I saw him a
few days ago. 2/55 323.01 326.12 3.11
CARLOS BANGS ON DOOR. FX:
CARLOS: (SHOUTS) Raul. 2/56 327.15 328.10 0.11
NEIGHBOUR It was so silly. 2/57 329.01 330.10 1.09

(O.S.) TO
CARLOS:
Outside the flats
too, crossing the
road. 2/58 331.07 336.08 5.01
CARLOS TO Whose fault? 2/59 346.12 347.12 1.00

NEIGHBOUR:
NEIGHBOUR Who knows ... 2/60 349.03 350.04 1.01

(O.S.) TO
CARLOS:
13 M. WAIST SHOT NEIGHBOUR - LOOKS

Starts F.G. R AT O.S. CARLOS.
350.13
NEIGHBOUR ... the driver
TO CARLOS: didn't stop. 2/61 351.00 352.15 1.15
Night. 2/62 353.11 354.10 0.15
Nobody sees it. 2/63 355.10 357.07 1.13
14 M. WAIST SHOT CARLOS.

Starts
358.02 NEIGHBOUR Was ... 2/64 359.05 360.01 0.12
(O.S.) TO
CARLOS:
"AMERICAN ROULETTE"
Scene No. Spot
Sc.14 NEIGHBOUR ... such a nice

Cont: (Cont): man. 2/65 360.13 363.03 2.06
I would go to the
funeral but I have
to go to hospital. 2/66 365.04 371.12 6.08
CARLOS TO When is it? 2/67 371.15 372.14 0.15

NEIGHBOUR:
15 M. WAIST SHOT NEIGHBOUR LOOKS

372.15
NEIGHBOUR This morning ... 2/68 373.09 374.11 1.02
TO CARLOS:
... Saint Mark's

Cemetery. 2/69 375.08 377.04 1.12

Starts
377.08
17 PAST CARLOS F.G. R (BACK TO

Starts CAMERA) TO M.S. NEIGHBOUR -
382.13 TRACK IN AS CARLOS WALKS DOWN
B.G. STAIRS.
CARLOS Thank you. 2/70 385.05 386.00 0.11

(BACK TO
CAMERA) TO
MEIGHBOUR:
18 EXT. SAINT MARK'S CEMETERY.

Starts DAY.
389.10
(HIGH ANGLE) DOWN TO M.L.S.
MOURNERS STANDING WITH UMBRELLAS
UP - TRACK IN AND CRANE DOWN AS FX: RAIN
PRIEST SPEAKS.
PRIEST: (READS) Antes de

separarnos ...
(Before we depart
...) 2/71 404.15 406.12 1.13
... permitidnos
unas palabras ...
(... allow us some
words ...) 2/72 407.06 409.11 2.05
"AMERICAN ROULETTE"
Scene No. Spot
Sc.18 PRIEST ... de despedida y

Cont: (Cont): agradecimiento ...
(... of farewell
and thanks ...) 2/73 409.12 413.02 3.06
... en nombre de
todos los ...
(... in the name of
all ...) 2/74 413.11 415.05 1.10
... familiares y
amigos ...
(... relatives and
friends ...) 2/75 415.08 418.00 2.08
... de nuestro
querido ...
(... of our beloved
...) 2/76 418.02 419.05 1.03
... hermano, Raul.

(... brother, Raul) 2/77 419.06 420.04 0.14
TRACK IN AS PRIEST STEPS BACK -

CARLOS STEPS TOWARDS.
CARLOS: Yo si loconoci ... 2/78 439.00 440.09 1.09
... vivi los anos

con el. 2/79 441.06 443.11 2.05
SPANISH: CONTINUES UNDER V.O.
CARLOS (OVER) Oh yes I

(V.O.): knew him, I spent
years with him ... 2/80 445.01 449.03 4.02
CARLOS: Con su sustancia

... 2/81 446.04 448.02 1.14
CARLOS: ... de oro y

piedra. 2/82 447.13 449.09 1.12
CARLOS ... with his golden

(V.O.): and stony
substance. 2/83 449.05 452.14 3.09
HOLD CARLOS IN M. WAIST SHOT.
CARLOS: Era un hombre ...

cansado. 2/84 452.11 454.14 2.03
CARLOS He was a man who

(V.O.) was tired. 2/85 453.07 455.13 2.06
"AMERICAN ROULETTE"
Scene No. Spot
Sc.18 CARLOS: En Paraguay ...

Cont: dejo su padre y
madre. 2/86 457.13 462.02 4.05
CARLOS In Paraguay he left

(V.O.): his Father and
Mother ... 2/87 458.00 460.09 2.09
... his sons, his

nephews, his latest
in-laws ... 2/88 462.10 467.03 4.09
CARLOS: Sus hijos, sus

sobrinos ... sus
cunados, sus
puertas. 2/89 463.04 473.08 10.04
TRACK L OFF CARLOS ALONG LINE OF

MOURNERS.
CARLOS ... his house, his

(V.O.): chickens and some
half- opened books. 2/90 467.12 474.04 6.08
CARLOS Sus gallinas y unos

(O.S.): ... libros entre
abiertos. 2/91 473.10 477.09 3.15
CARLOS They called him to

(V.O.): the door. 2/92 476.14 478.12 1.14
CARLOS Llamaron a la
(O.S.): puerta ... cuando
abrio. 2/93 479.06 483.02 3.12
CARLOS When he opened it

(V.O.): the police took him
and they beat him
so much ... 2/94 481.01 485.01 4.00
CARLOS La policia lo saco

(O.S.): ... y lo apalearon
tanto ... 2/95 483.03 486.13 3.10
CARLOS ... that he spat

(V.O.): blood in France ... 2/96 485.03 487.09 2.06
CARLOS ... que escupio

(O.S.): sangre ... en
Francia, en
Dinamarca. 2/97 486.15 491.00 4.01
"AMERICAN ROULETTE"
Scene No. Spot
Sc.18 CARLOS ... in Denmark, in

Cont: (V.O.) Spain, in Italy ... 2/98 488.01 491.11 3.10
CARLOS ... en Espana, en

(O.S.): Italia ...
trajinando. 2/99 491.02 495.12 4.10
CARLOS ... moving about. 2/100 492.09 494.01 1.08

(V.O.):
CARLOS Y asi murio ... y

(O.S.): deje de ver su
cara ... deje de
oir su ondisimo
silencio. 2/101 496.05 503.02 6.13
Thru Cut at 502.12)
CARLOS And so he died and

(V.O.): I stopped seeing
his face ... 2/102 496.07 500.03 3.12
... stopped hearing

his profound
silence. 2/103 500.05 503.07 3.02
Thru Cut at 502.12)
19 THROUGH F.G. BUSHES TO M. WAIST MUSIC: IN 503.01

Starts SHOT MIGUEL L, RUBEN R - RUBEN MUSIC: FADE OUT 506.01 THRU
502.12 HOLDS CAMERA. DIALOGUE
CARLOS Cuando una vez ...

(O.S.): en noche con
chubasco. 2/104 504.00 509.04 5.04
Thru Cut at 507.10
CARLOS (OVER) Then once on

(V.O.): a night of storms
... 2/105 505.15 508.01 2.02
Thru Cut at 507.10)
20 STILL - TWO WOMEN.

Starts
507.10 CARLOS (OVER) ... I looked
(V.O.): and there was my
friend. 2/106 508.03 510.00 1.13
"AMERICAN ROULETTE"
Scene No. Spot
Sc.20 HOLD. FX: CAMERA SHUTTER

Cont:
CARLOS Mire y ahi estaba
(O.S.): ... mi amigo. 2/107 509.08 512.05 2.13
Thru Cut at 512.02)
21 STILL - CARLOS.
Starts
512.02 CARLOS: De piedra ... era
su rostro. 2/108 512.12 515.01 2.05
CARLOS (OVER) His face was

(V.O.): formed in stone ... 2/109 513.00 515.03 2.03
HOLD. FX: CAMERA SHUTTER
CARLOS: Su perfil ...

desafiaba la
intemperie. 2/110 515.13 521.07 5.10
(This Spot Runs Thru
Cuts at 516.10 & 521.02)
22 STILL - OLD WOMAN.

Starts
516.10 CARLOS (OVER) ... his
(V.O.): profile defied the
wild weather. 2/111 516.14 520.02 3.04
HOLD. FX: CAMERA SHUTTER
23 STILL - MAN.
Starts
521.02 CARLOS In his nose the
(O.S.): wind was muffling
the moaning of the
prosecuted. 2/112 521.02 526.04 5.02
Thru Cut at 525.09)
CARLOS En su nariz,
(O.S.): quebraba ... el
viento un largo
aullido ... del
hombre perseguido. 2/113 522.00 529.06 7.06
Thru Cut at 525.09)
24 STILL - MAN AND WOMAN. FX: CAMERA SHUTTER

Starts
525.09
"AMERICAN ROULETTE"
Scene No. Spot
Sc.24 CARLOS (OVER) There the

Cont: (V.O.): exile came to
ground ... 2/114 527.14 530.13 2.15
Thru Cut at 530.01)
25 STILL - CARLOS AND OTHER

Starts MOURNERS.
530.01
CARLOS: Ahi vino a parar
... el desterrado. 2/115 530.01 532.13 2.12
CARLOS (OVER) ... changed

(V.O.): into stone ... 2/116 531.15 533.11 1.12
CARLOS: Vive en su patria

... convertido en
piedra. 2/117 533.08 539.00 5.08
Thru Cut at 534.09)
CARLOS ... he lives ... 2/118 533.15 535.01 1.02

(V.O.): (This Spot Runs 8 Frames
26 STILL - WOMAN.
Starts
534.09 CARLOS (OVER) ... in his
(V.O.): own country. 2/119 535.06 536.11 1.05
27 INT. INEZ'S OFFICE. DAY.

Starts
539.01 M. WAIST SHOT THREE MOURNERS - MUSIC: FADE IN 539.07
PAN R ACROSS ROOM TO REVEAL MORE
MOURNERS.
CARLOS So much ... 2/120 543.08 544.11 1.03

(V.O.):
... depending on so
few. 2/121 545.11 547.07 1.12
28 M.C.U. CARLOS (SEATED) - LOOKS

Starts TOWARDS.
548.01
CARLOS Brought together
(V.O.): in death ... 2/122 549.09 551.03 1.10
... memories of the

past yet planning
the//future. 2/123 552.13 556.03 3.06
Thru Cut at 555.05)
"AMERICAN ROULETTE"
Scene No. Spot
29 M. WAIST SHOT THREE MOURNERS -

Starts PAN R.
555.05
CARLOS Somehow my life's
(V.O.): in the hands of
these people. 2/124 558.03 561.13 3.10
Ramon ... 2/125 563.10 564.06 0.12
... tremendous
charisma and style. 2/126 566.04 568.15 2.11
PAN L WITH RAMON IN M. WAIST

SHOT.
A natural man of
action. 2/127 569.09 571.13 2.04
A man who persuaded

the different
parties and groups
to act together.
2/128 572.08 576.09 4.01
30 M. WAIST SHOT PACO - HIS WIFE R

Starts HOLDING BABY - TRACK IN.
577.09
CARLOS Paco's a
(V.O.): cosmologist. 2/129 580.00 581.15 1.15
You know, the big

bang ... 2/130 582.15 584.04 1.05
... the beginnings

of the universe and
life as we know it. 2/131 584.06 587.06 3.00
31 PAST MOURNERS L AND R (BACK TO

Starts CAMERA) TO M. WAIST SHOT INEZ -
588.14 TRACK IN.
CARLOS Inez ... 2/132 590.00 591.01 1.01

(V.O.):
... is my friend. 2/133 592.07 593.08 1.01
Back home she's a

professor of
anthropology. 2/134 594.00 596.14 2.14
"AMERICAN ROULETTE"
Scene No. Spot
Sc.31 CARLOS She was here in

Cont: (V.O. - London when the
Cont): Generals carried
out there coup. 2/135 598.02 601.11 3.09
She now works in

this office and
it's through her
that we know Kate. 2/136 602.12 606.11 3.15
HOLD C.U. INEZ.
32 PAST CARLOS L (SEATED) TO M.

Starts WAIST SHOT RAMON - TILT DOWN AS
608.00 RAMON BENDS - POURS COFFEE.
CARLOS TO Sientate, Ramon.

RAMON: (Sit down, Ramon) 2/137 610.11 611.14 1.03
Quiero Hablar
contigo.
(I want to speak to
you) 2/138 614.05 615.12 1.07
RAMON SITS.
RAMON TO Si? Que Paso?

CARLOS: (Yes? What
happened?) 2/139 615.13 618.15 3.02
CARLOS TO Lo siento, hermano.

RAMON: (I'm sorry,
brother) 2/140 619.05 620.11 1.06
CARLOS PLACES PIECE OF PAPER IN

FRONT OF RAMON.
This is my
resignation. 2/141 622.06 624.03 1.13
RAMON LOOKS AT PAPER.
RAMON TO Inez. 2/142 629.05 629.15 0.10

INEZ:
33 PAST CARLOS AND RAMON L (BACKS

Starts TO CAMERA) AND ACROSS TABLE TO
630.13 L.S. INEZ. BABY: CRIES
RAMON TO Por favor. 2/143 631.10 632.07 0.13

INEZ:
Paco ... por favor. 2/144 634.07 637.08 3.01
"AMERICAN ROULETTE"
Scene No. Spot
Sc.33 INEZ WALKS TOWARDS FOLLOWED BY

Cont: PACO - THEY SIT BEHIND DESK.
RAMON Carlos ... 2/145 647.04 648.08 1.04

(Cont):
... his
resignation. 2/146 649.02 650.07 1.05
RAMON HANDS INEZ PAPER.
34 M.C.U. INEZ - TAKES PAPER.

Starts
653.01 INEZ TO But that's
CARLOS: impossible, you//
can't do it! 2/147 662.04 665.00 2.12
Thru Cut at 663.12)
35 M.C.U. CARLOS - LOOKS F.G. R AT

Starts O.S. INEZ.
663.12
INEZ (O.S.) It is essential//
TO CARLOS: you follow up this
Pickwick. 2/148 666.08 670.03 3.11
Thru Cut at 667.14)
36 M.C.U. INEZ.
Starts
667.14 CARLOS How do we know he
(O.S.) TO can be trusted? 2/149 671.00 672.07 1.07
INEZ:
Could be a trap. 2/150 673.12 674.11 0.15
INEZ TO We don't ... 2/151 675.10 676.14 1.04

CARLOS:
... but you are the

only one he'll meet
with. 2/152 678.06 681.05 2.15
37 M.C.U. CARLOS.
Starts
681.07 INEZ (O.S.) The only one he
TO CARLOS: trusts. 2/153 681.15 684.01 2.02
CARLOS TO That's how they'll

INEZ: kill me, they'll
make it look like
an accident. 2/154 685.11 688.08 2.13
"AMERICAN ROULETTE"
Scene No. Spot
Sc.37 PACO (O.S.) Carlos ... 2/155 689.02 690.01 0.15

Cont: TO CARLOS:
38 M.C.U. PACO - LOOKS F.G. L AT

Starts O.S. CARLOS.
690.02
PACO TO ... we will take
CARLOS: precautions. 2/156 690.06 692.04 1.14
39 M.C.U. RAMON.
Starts
692.05 RAMON: If these Pickwick
papers are
authentic it's
dynamite. 2/157 692.10 698.00 5.06
40 M. WAIST SHOT CARLOS LOOKS R.

Starts
698.02 CARLOS TO You really think
INEZ: it's that
important? 2/158 699.04 701.02 1.14
41 M. WAIST SHOT INEZ LOOKS F.G. L

Starts AT O.S. CARLOS.
701.06
INEZ TO It's our biggest
CARLOS: break yet. 2/159 701.12 704.01 2.05

Starts R AT O.S. INEZ.
704.08
43 M.C.U. PACO.
Starts
707.05 PACO TO Hay que seguir para
CARLOS: adelante, Carlos.
(We must continue
forward, Carlos) 2/160 708.01 710.10 2.09

Starts R AT O.S. PACO.
710.12
45 M.C.U. INEZ.
Starts
715.11
"AMERICAN ROULETTE"
REEL 2 (1B) Page: (17)*
Scene No. Spot

Starts
719.01
47 M.C.U. RAMON.
Starts
720.10 RAMON TO (SPANISH) 2/161 721.04 722.09 1.05
CARLOS:

Starts
723.06 CARLOS: All right, I'll do
what I can. 2/162 731.04 732.09 1.05
49 M.C.U. RAMON. RAMON: LAUGHS

Starts
732.11
50 M.C.U. INEZ.
Starts
733.15 RAMON Gracias, Carlos. 2/163 734.15 736.13 1.14
(O.S.) TO
CARLOS:
51 M.C.U. RAMON.
Starts
737.00 RAMON: Marvellous. 2/164 737.12 738.13 1.01
740.04 LAST FRAME ACTION REEL 2 (1B)

REEL 3 (2A)
ZERO is START MARK

Scene No. Spot

1 EXT. THE MALL/ICA. NIGHT.

Starts
12.00 M.S. BUILDING.
2 (HIGH ANGLE) DOWN TO M.L.S.

Starts CARLOS - TILT DOWN AS HE WALKS -
15.03 ENTERS BUILDING.
3 INT. ICA. NIGHT.

Starts
20.10 ACROSS FOYER TO M.L.S. PEOPLE
BROWSING AT B.G. BOOK STAND -
CARLOS ENTERS IN M.L.S. THROUGH
B.G. DOOR - TRACK BACK AS HE
WALKS F.G. R - CHRISTOPHER
ENTERS R IN M. WAIST SHOT (BACK
TO CAMERA) - WALKS TO CARLOS.
CHRISTOPHER Hello Carlos. 3/1 26.03 27.07 1.04

TO CARLOS:
CARLOS TO Hello Christopher,

CHRISTOPHER sorry I'm late. 3/2 27.09 29.06 1.13
TRACK BACK AS THEY TURN - WALK

F.G. R.
CHRISTOPHER Ah, you're a very

TO CARLOS: busy man these
days. 3/3 29.08 32.07 2.15
CARLOS TO Ah yes, all these

CHRISTOPHER matters of state. 3/4 32.08 35.03 2.11
HOLD AS THEY LOOK AT POSTERS ON

WALL R.
This is very nice,

thank you. 3/5 35.07 37.01 1.10
CARLOS POINTS AT POSTER -

REPORTER CAN BE SEEN WALKING
TOWARDS.
"AMERICAN ROULETTE"
Scene No. Spot
Sc.3 REPORTER TO President Quintas. 3/6 37.11 39.01 1.06

Cont: CARLOS:
REPORTER SWITCHES ON DICTAPHONE

- TRACK BACK AS THEY TURN, WALK
TOWARDS.
What er, protection

are you receiving
from the death
squad. 3/7 40.01 44.13 4.12
CARLOS TO Death squad? 3/8 46.01 46.14 0.13

REPORTER:
REPORTER TO Sent to assassinate

CARLOS: you. 3/9 47.03 49.02 1.15
CARLOS TO Is my poetry that

REPORTER: bad? 3/10 49.15 51.09 1.10
REPORTER TO No, no -- your

CARLOS: politics. 3/11 52.12 55.05 2.09
CARLOS TO A mistake. I am a
REPORTER: poet. 3/12 56.01 58.00 1.15
A figure head, not

a politician. 3/13 58.05 61.07 3.02
REPORTER TO The Junta doesn't

CARLOS: make that
distinction. 3/14 61.14 64.09 2.11
CARLOS TO Then I advise them

REPORTER: to read my poetry
with more care.
Thank you. 3/15 65.00 68.13 3.13
PAN L AS THEY WALK L.
4 INT. ICA THEATRE. NIGHT.

Starts
69.09 M.S. DOORS - OPEN TO REVEAL
CHRISTOPHER IN M. WAIST SHOT -
CARLOS ENTERS FROM BEHIND DOOR R
IN M. WAIST SHOT - STEPS TOWARDS
- CHRISTOPHER CLOSES DOOR - FX:
TRACK BACK AS THEY WALK TOWARDS
CHRISTOPHER L, CARLOS R - PAN R AUDIENCE: CLAP
OFF CHRISTOPHER AS CARLOS PASSES
IN FRONT OF AUDIENCE - EXITS R -
TRACK R ALONG AUDIENCE.
"AMERICAN ROULETTE"
Scene No. Spot
5 OVER F.G. TABLE TO M. WAIST SHOT

Starts CARLOS L, CHRISTOPHER R - CARLOS
96.01 SITS.
CHRISTOPHER Good evening. 3/16 103.04 104.02 0.14

TO
AUDIENCE:
As you may know ... 3/17 105.02 106.04 1.02
... Carlos Quintas

was invited to read
here this evening
... 3/18 107.01 111.10 4.09
... prior to his

becoming President. 3/19 112.00 114.12 2.12
We are delighted
that he as found
the time to be with
us tonight. 3/20 115.13 120.05 4.08
Ladies and
gentlemen, Carlos
Quintas. 3/21 121.04 124.10 3.06
Poet and President. 3/22 124.15 127.08 2.09
CARLOS STANDS, CHRISTOPHER SITS. AUDIENCE: CLAP
6 M. WAIST SHOT AUDIENCE - PAN L. AUDIENCE: CLAP

Starts
130.15
7 OVER F.G. TABLE TO M. WAIST SHOT

Starts CARLOS L, CHRISTOPHER R (SEATED)
135.11 - CARLOS STEPS TOWARDS.
CARLOS TO Thank you. 3/23 142.06 143.05 0.15

AUDIENCE:
Muchos gracias. 3/24 143.07 145.05 1.14
My English is not
perfect ... 3/25 148.07 150.14 2.07
... I wonder if
someone has a copy
of my selected
poems that I//could
borrow. 3/26 153.06 158.14 5.08
Thru Cut at 158.05)
"AMERICAN ROULETTE"
Scene No. Spot
8 M.S. AUDIENCE. AUDIENCE: LAUGH

Starts
158.05

Starts
161.02
10 M.S. AUDIENCE - WOMAN TAKES BOOK

Starts FROM HER BAG - HANDS TO WOMAN IN
163.06 FRONT ROW - WOMAN STANDS, WALKS
F.G. L.
11 M. WAIST SHOT CARLOS - WOMAN

Starts ENTERS F.G. R (BACK TO CAMERA)
171.10 IN M.C.U. - HANDS CARLOS BOOK,
TURNS, EXITS.
CARLOS TO Gracias. 3/27 173.07 174.03 0.12

WOMAN:
12 M.S. AUDIENCE - WOMAN ENTERS

Starts F.G. L (BACK TO CAMERA) IN M.
175.13 WAIST SHOT.
13 M. WAIST SHOT CARLOS - TRACK L

Starts AS HE WALKS L - PLACES BOOK ON
178.02 LECTERN.
CARLOS: (READS) Lone

gentlemen. 3/28 194.02 195.02 1.00
Young homosexuals
and girls in love
... 3/29 199.05 202.05 3.00
... and widows gone

to seed ... 3/30 204.02 206.06 2.04
14 M.S. AUDIENCE.
Starts
206.07 CARLOS (READS) ...
(O.S.): sleepless ... 3/31 208.12 210.01 1.05
Thru Cut at 209.12)
"AMERICAN ROULETTE"
Scene No. Spot
15 M. WAIST SHOT AUDIENCE.

Starts
(O.S.): delirious ... 3/32 211.11 212.15 1.04
16 C.U. CARLOS.
Starts
213.00 CARLOS: (READS) ... and
novice housewives
pregnant some
thirty hours ... 3/33 214.07 218.07 4.00
... the hoarse cats

cruising across my
gardens shadows ... 3/34 219.09 224.01 4.08
... like a
necklace//of
throbbing sexual
oysters ... 3/35 225.01 228.09 3.08
Thru Cut at 226.05)
17 M.S. AUDIENCE.
Starts
(O.S.): surround my
solitary home ... 3/36 228.11 231.09 2.14
... like enemies

entrenched against
my soul. 3/37 232.10 236.12 4.02
PAN L AROUND AUDIENCE.
Like conspirators
in pyjamas ... 3/38 239.10 242.06 2.12
... exchanging long

thick kisses on the
sly. 3/39 243.09 246.13 3.04
18 INT. UNDERGROUND TRAIN. NIGHT.

Starts
247.09 KATE ENTERS FROM BEHIND B.G.
CROWD IN M.S. - TILT DOWN AS SHE
SITS.
CARLOS If only you would

(V.O.): touch my heart ... 3/40 253.09 255.13 2.04
"AMERICAN ROULETTE"
Scene No. Spot
Sc.18 CARLOS ... if only you

Cont: (V.O. - would put your lips
Cont): ... 3/41 258.09 260.11 2.02
... to my heart,
your delicate
mouth, your teeth
... 3/42 261.01 265.01 4.00
... if you would

place your tongue
like a red arrow
where my crumbling
heart is beating. 3/43 267.03 272.15 5.12
19 INT. THEATRE.
Starts
CARLOS: (READS) If you

would blow over my
heart, near the
sea, crying it
would ring ... 3/44 275.11 280.15 5.04
... with an obscure

sound ... 3/45 282.02 283.14 1.12
20 M.S. AUDIENCE,.
Starts
284.10 CARLOS (READS) ... sound
(O.S.): of train wheels ... 3/46 286.15 288.15 2.00
21 M.C.U. CARLOS.
Starts
289.00 CARLOS: (READS) ... of
dreams ... 3/47 289.02 290.09 1.07
... like the to and

fro of waters ... 3/48 292.07 294.14 2.07

Starts
294.15 CARLOS (READS) ... like
(O.S.): autumn in leaf ... 3/49 295.00 296.14 1.14
... like//blood ... 3/50 297.00 298.04 1.04

Thru Cut at 297.09)
"AMERICAN ROULETTE"
Scene No. Spot
23 M.S. AUDIENCE.
Starts
297.09
24 M.C.U. CARLOS.
Starts
300.06 CARLOS: (READS) ... with
the noise of damp
flames burning the
sky, dreaming like
dreams ... 3/51 300.10 306.14 6.04
25 INT. TRAIN.
Starts
307.03 M. WAIST SHOT KATE (SEATED) -
READS MAGAZINE - SCREECH ENTERS
L IN M.S. (SHOULDERS DOWN).
SCREECH Hello Kate ... 3/52 312.13 313.12 0.15

(O.S.) TO
KATE:
SCREECH SITS INTO M. WAIST SHOT.
SCREECH TO ... er no you don't

KATE: know me, I'm
Screech ... 3/53 315.06 318.13 3.07
... I hear you had

quite a night with
your friend the
President ... 3/54 320.01 323.04 3.03
... no, no, no, we

had nothing to do
with it. 3/55 324.05 326.15 2.10
KATE PUTS DOWN MAGAZINE.
But your friend has

got to be a bit
more careful. 3/56 328.05 331.06 3.01
KATE TO Excuse me. 3/57 331.10 332.10 1.00

SCREECH:
KATE MOVES TO STAND, SCREECH

STOPS HER.
SCREECH TO No, no, don't be

KATE: nervous, we're only
trying to help. 3/58 333.04 336.13 3.09
"AMERICAN ROULETTE"
Scene No. Spot
Sc.25 KATE TO We? 3/59 338.00 338.07 0.07

Cont: SCREECH:
SCREECH TO Who are we? 3/60 338.12 339.08 0.12

KATE:
Who are we? 3/61 340.04 341.01 0.13
The usual meaning-

less collection of
names and numerals
... 3/62 343.04 348.07 5.03
... you know what

security's like. 3/63 349.08 352.02 2.10
KATE TO Yes, they're a

SCREECH: menace. 3/64 351.09 352.15 1.06
SCREECH TO Well, somebody's

KATE: got to it. 3/65 354.15 357.01 2.02
26 PAST KATE F.G. R (SIDE VIEW) TO

Starts M.C.U. SCREECH.
357.02
SCREECH TO And that's where we
KATE: come in and that's
why ... 3/66 357.07 360.14 3.07
... you and the

President have got
to be more careful. 3/67 361.09 365.15 4.06
Thru Cut at 365.13)
27 M. WAIST SHOT SCREECH L, KATE R.

Starts
365.13 SCREECH TO Keep out of
KATE: politics. 3/68 366.00 367.06 1.06
Change his plans. 3/69 368.04 369.12 1.08
TILT UP AS KATE MOVES TO STAND -

SCREECH PULLS HER BACK TO HER
SEAT.
Oh yes he can talk

about liberty,
equality,
fraternity and the
rights of man ... 3/70 371.13 378.15 7.02
"AMERICAN ROULETTE"
Scene No. Spot

379.01
SCREECH TO ... well that's
KATE: what they expect of
a President. 3/71 379.03 381.13 2.10
He can even try to

depose the military
dictatorship. 3/72 382.01 386.00 3.15
They expect that

too, but please ... 3/73 386.06 389.13 3.07
... please no more

than that, it could
be bloody dangerous
... 3/74 390.11 396.05 5.10
... and I'm not

sure we could do
anything about it
so ... 3/75 397.09 400.13 3.04
... see what you

can do. 3/76 401.10 403.02 1.08
29 M. WAIST SHOT SCREECH L, KATE R.

Starts
403.11 SCREECH TO Use your influence. 3/77 404.04 405.13 1.09
KATE:
Personally I'm on
your side. 3/78 408.05 410.13 2.08
I've always had a

soft spot for the
underdog. 3/79 412.14 416.07 3.09
KATE TO If you've something

SCREECH: to tell me, tell me
straight. I don't
understand you. 3/80 417.08 422.06 4.14
SCREECH TO I emphasize Kate

KATE: that I am on your
side ... 3/81 421.14 426.11 4.13

426.12
"AMERICAN ROULETTE"
Scene No. Spot
Sc.30 SCREECH TO ... and I'll do

Cont: KATE: what I can but you
must do your bit as
well. 3/82 426.13 431.04 4.07
Stop the President

trying to be a
hero. 3/83 434.11 439.06 4.11
31 INT. THEATRE.
Starts
441.12 C.U. MAN IN AUDIENCE - LOOKS
F.G. L AT O.S. CARLOS.
CARLOS (READS) If you

(O.S.): would blow on my
heart near the sea,
like a white ghost
would blow ... 3/84 442.10 448.01 5.07
MAN YAWNS - TRACK L TO NEXT MAN.
(READS) ... on the

lace of the spoon. 3/85 450.03 451.13 1.10
32 M. WAIST SHOT TWO MEN.

Starts
452.04 CARLOS (READS) And the cut
(O.S.): of the wind ... 3/86 453.05 455.07 2.02
TWO MEN LOOK AT EACH OTHER -

TILT UP AS THEY STAND.
(READS) ... like an

unchained ghost
crying at the seas
edge. 3/87 457.03 461.10 4.07
PAN L AS MEN WALK L.
33 INT. TRAIN.
Starts
462.03 PAST KATE F.G. R (SIDE VIEW) TO
M.C.U. SCREECH.
SCREECH TO Make him

KATE: concentrate on his
poetry. 3/88 463.07 465.15 2.08
Oh yes, I've read

it. 3/89 467.03 468.07 1.04
"AMERICAN ROULETTE"
Scene No. Spot
Sc.33 SCREECH It's wonderful. 3/90 468.07 470.09 2.02

Cont: (Cont):
It's a pity it
loses in the
translation. 3/91 472.09 476.06 3.13
34 INT. THEATRE.
Starts
478.15 M.S. AUDIENCE - TRACK R ALONG
AUDIENCE - HOLD. AUDIENCE: CLAP
35 OVER F.G. LECTERN TO M. WAIST

Starts SHOT CARLOS - CHRISTOPHER SEATED
485.10 B.G. R.
CARLOS TO Take pity on the

AUDIENCE: poet. 3/92 486.10 488.04 1.10
I was always quick

to forget ... 3/93 492.07 494.10 2.03
... and in these

hands of mine
grasped ... 3/94 496.15 499.09 2.10
... only the

intangible ... 3/95 500.04 502.00 1.12

Starts
502.02 CARLOS ... and unrelated
(O.S.) TO things ... 3/96 502.06 504.09 2.03
AUDIENCE:
37 M.C.U. MAN IN AUDIENCE.

Starts
505.02 CARLOS ... which could
(O.S.) TO only be compared by
AUDIENCE: being ... 3/97 505.08 508.06 2.14

Starts
508.09 THROUGH F.G. TREES AND ACROSS
ROAD TO M.L.S. CARLOS - PAN R AS
HE WALKS R.
CARLOS ... non-existent. 3/98 509.04 510.11 1.07

(V.O.):
"AMERICAN ROULETTE"
Scene No. Spot
Sc.38 CONTINUE PANNING R AS HE GLANCES

Cont: AROUND - TURNS, WALKS INTO BAR -
HOLD M.S. WINDOW.
39 INT. BAR. NIGHT.

Starts
532.08 M. WAIST SHOT KATE L, ZOE R
SEATED AT TABLE - CARLOS ENTERS
IN M.S. THROUGH DOORWAY B.G. L.
KATE TO Carlos. 3/99 535.07 536.05 0.14

CARLOS:
TRACK R AND PAN L AS THEY KISS. FX:
KATE: Carlos-Zoe, Zoe-

Carlos. 3/100 539.07 541.13 2.06
THEY SHAKE HANDS.
CARLOS TO How are you, sorry

ZOE: I'm late. 3/101 541.14 543.10 1.12
ZOE TO Hi. 3/102 543.08 544.00 0.08

CARLOS:
CARLOS SITS.
KATE TO How was the

CARLOS: reading? 3/103 545.04 546.05 1.01
CARLOS TO Oh, they were very

KATE: appreciative. 3/104 547.01 548.15 1.14
CARLOS TO You the journalist? 3/105 551.01 552.01 1.00

ZOE:
ZOE TO Yes ... 3/106 552.07 553.01 0.10

CARLOS:
KATE TO Zoe was asking how

CARLOS: things are going. 3/107 553.11 555.13 2.02
CARLOS TO Things are

ZOE: happening. 3/108 557.09 558.09 1.00
I'm hoping to
announce a major
development ... 3/109 559.00 562.03 3.03
... next week. 3/110 562.13 563.10 0.13

"AMERICAN ROULETTE"
Scene No. Spot
Sc.39 ZOE TO Me deja saber

Cont: CARLOS: enseguida.
(let me know
immediately) 3/111 565.05 567.04 1.15
CARLOS TO Como no.

ZOE: (Of course) 3/112 570.01 570.08 0.07
Esta bueno el
quezo?
(Is the cheese any
good?) 3/113 571.05 572.04 0.15
ZOE TO Si, esta bien.

CARLOS: (It is good) 3/114 572.11 573.15 1.04

ZOE:
WAITER ENTERS THROUGH B.G.

DOORWAY - HANDS CARLOS MENU.
CARLOS: Oh good, I'm

starving. 3/116 575.15 577.04 1.05
40 INT. BAYSWATER FLAT. NIGHT.

Starts
579.07 ALONG HALLWAY TO M.S. DOOR -
DOOR OPENS TO REVEAL KATE IN
M.S. - SHE TURNS ON LIGHT - FX:
WALKS TOWARDS FOLLOWED BY CARLOS
- SHE TAKES OFF COAT, EXITS
F.G. L - CARLOS CLOSES DOOR - FX:
TRACK L PAST F.G. WALL AS CARLOS
WALKS L - HOLD M.S. KATE (BACK
TO CAMERA) PAST CARLOS F.G. R
(BACK TO CAMERA) - CARLOS TURNS,
WALKS F.G. L - EXITS - HOLD.
CARLOS Whose is this? 3/117 607.02 608.07 1.05

(O.S.) TO
KATE:
KATE TURNS, WALKS TOWARDS.
KATE TO Friend of the

CARLOS: family. 3/118 610.03 611.09 1.06
They're away at the

moment. 3/119 612.04 613.10 1.06
TRACK BACK AND PAN L AS KATE

PASSES.
"AMERICAN ROULETTE"
Scene No. Spot
Sc.40 CARLOS Very nice. 3/120 616.02 617.05 1.03

Cont: (O.S.) TO
KATE:
CONTINUE PANNING L TO REVEAL

CARLOS IN M.S. - HOLD CARLOS L,
KATE R AS SHE TAKES SHIRT FROM
BAG.
KATE TO I got the shirt for

CARLOS: you. 3/121 620.03 621.10 1.07

KATE:
CARLOS TAKES SHIRT, STEPS

TOWARDS - TURNS, LOOKS L INTO
O.S. MIRROR.
At some point I
must get my
suitcase. 3/123 631.05 633.10 2.05
KATE TO Yeah. 3/124 633.14 634.07 0.09

CARLOS:
KATE SITS.
CARLOS TO How did your

KATE: interview go? 3/125 640.05 641.12 1.07
KATE TO Oh, they'll let me

CARLOS: know next month
some time. 3/126 642.01 644.11 2.10
CARLOS TO You all right for

KATE: money? 3/127 647.04 648.06 1.02
KATE TO Yeah -- I can

CARLOS: manage. 3/128 648.10 650.10 2.00
CARLOS PLACES SHIRT ON TABLE - FX:

UNBUTTONS HIS JACKET.
What was the major

development you
mentioned to Zoe? 3/129 658.05 661.06 3.01
CARLOS TO I'll think of

KATE: something. 3/130 664.06 665.10 1.04
CARLOS SITS.
"AMERICAN ROULETTE"
Scene No. Spot
Sc.40 KATE TO You mean there

Cont: CARLOS: isn't one? 3/131 667.10 669.00 1.06
CARLOS TO No. 3/132 669.02 669.06 0.04

KATE:
KATE TO So why on earth did

CARLOS: you say there was? 3/133 670.15 673.08 2.09
CARLOS TO (SPANISH) 3/134 677.05 678.09 1.04

KATE:
It's the kind of

thing a journalist
expects to hear
from a government
in exile. 3/135 681.03 685.13 4.10
KATE TO That's ridiculous. 3/136 687.03 688.15 1.12

CARLOS:
HOLD. DIALOGUE CONTINUES
CARLOS (OVER) Carlos ... 3/137 689.07 690.06 0.15

V.O.):
... listen to
yourself. 3/138 691.07 692.15 1.08
Why are you

beginning to argue
with her? 3/139 694.01 696.07 2.06
When all you have

to do is take her
in your arms and
tell her that you
love her. 3/140 697.07 702.05 4.14
41 INT. BATHROOM.
Starts
702.15 M. WAIST SHOT CARLOS BENDS OVER
B.G. SINK - SPLASHES HIS FACE. FX:
CARLOS Here's your problem

(V.O.): with women, Carlos. 3/141 704.13 707.04 2.07
They want you to be

a better poet and a
nicer guy ... 3/142 709.02 712.11 3.09
TILT UP AS CARLOS STANDS - LOOKS

IN B.G. MIRROR.
"AMERICAN ROULETTE"
Scene No. Spot
Sc.41 CARLOS ... than you can

Cont: (V.O. - ever be. 3/143 713.06 714.13 1.07
Cont):
Maybe you should
put her right. 3/144 717.14 719.10 1.12
CARLOS TURNS.
42 INT. LIVING ROOM.

Starts
721.01 M. WAIST SHOT KATE ON TELEPHONE.
KATE (INTO Yeah, it's the

PHONE): second road on the
right. 3/145 721.10 724.07 2.13
Hmm-mmm. 3/146 725.15 726.07 0.08
CARLOS ENTERS THROUGH DOORWAY

B.G. R - WALKS TOWARDS.
Twenty-seven ... 3/147 727.10 728.11 1.01
CARLOS TO (WHISPERS) Who is

KATE: it? 3/148 729.12 730.04 0.08
KATE (INTO Yeah, no, twenty-

PHONE): seven on the bell. 3/149 730.04 732.05 2.01
KATE HOLDS UP HER HAND.
Yeah, five minutes

will be great. 3/150 734.04 735.15 1.11
CARLOS TO (WHISPERS) Who is

KATE: it? 3/151 736.02 736.11 0.09
KATE (INTO Thank you. 3/152 737.09 738.04 0.11

PHONE):
KATE REPLACES RECEIVER. FX:
CARLOS TO Who is it? 3/153 742.12 743.03 0.07

KATE:
KATE TO It's my taxi. 3/154 743.06 744.07 1.01

CARLOS:
Be here in five
minutes. 3/155 744.12 746.04 1.08
CARLOS TO You're going? 3/156 748.09 749.03 0.10

KATE:
"AMERICAN ROULETTE"
Scene No. Spot
Sc.42 KATE TO Yeah ... 3/157 749.12 750.05 0.09

Cont: CARLOS:
... I have to see a

friend. 3/158 750.13 752.01 1.04
KATE TURNS, WALKS TO B.G. CHAIR

- CARLOS TURNS AS SHE WALKS -
HOLD M. WAIST SHOT KATE (BACK TO
CAMERA) PAST CARLOS F.G. R (BACK
TO CAMERA).
CARLOS A guy? 3/159 762.09 763.04 0.11

(BACK TO
CAMERA) TO
KATE:
KATE TO Yes. 3/160 764.12 765.06 0.10

CARLOS:
CARLOS What about

(BACK TO tomorrow? 3/161 774.07 775.06 0.15
CAMERA) TO
KATE:
KATE TO Well firstly I have

CARLOS: the Latin American
exhibition and then
you meet Pickwick. 3/162 776.10 781.12 5.02
KATE PUTS ON COAT - TURNS, LOOKS

TOWARDS - CARLOS TURNS, STEPS
F.G. R.
CARLOS TO Do you have to go? 3/163 794.06 795.07 1.01

KATE:
KATE TO Yeah, I'm sorry. 3/164 797.03 798.07 1.04

CARLOS:
CARLOS EXITS F.G. R.
CARLOS No, it's all right. 3/165 799.05 800.07 1.02

(O.S.) TO
KATE:
43 (KATE'S P.O.V.) THROUGH DOORWAY

Starts TO M.S. CARLOS (BACK TO CAMERA)
800.13 - TURNS, LOOKS TOWARDS.
CARLOS TO It's just that

KATE: times I get so
lonely. 3/166 805.06 807.11 2.05
"AMERICAN ROULETTE"
Scene No. Spot
Sc.43 KATE (O.S.) What are you

Cont: TO CARLOS: saying? 3/167 810.15 812.01 1.02
44 M. WAIST SHOT KATE - TRACK BACK

Starts AND PAN R AS SHE WALKS R - HOLD
812.08 M. WAIST SHOT KATE L, CARLOS R.
CARLOS TO There's a
KATE: compulsion to talk. 3/168 820.00 821.15 1.15
KATE TO No you're not. 3/169 822.01 822.15 0.14

CARLOS:
You want me to
stay. 3/170 823.06 824.10 1.04
Wouldn't be right,
Carlos ... 3/171 825.05 827.03 1.14
... we work
together, mine is a
principled
commitment not
personal. 3/172 827.10 831.13 4.03
CARLOS TO Now, wait a second,

KATE: that's not what I
meant. 3/173 831.04 834.01 2.13
KATE TO I just don't want

CARLOS: any misunder-
standings or
harassment. 3/174 833.15 838.00 4.01
CARLOS TO Harassment. 3/175 837.09 838.14 1.05

KATE:
That's crazy. 3/176 840.10 841.10 1.00
KATE TO Good. 3/177 841.13 842.05 0.08

CARLOS:
Then there's no
confusion? 3/178 843.07 844.14 1.07
CARLOS TO No. 3/179 845.01 845.08 0.07

KATE:
KATE TO My taxi will be

CARLOS: here, I'd better
go. 3/180 846.13 848.09 1.12
"AMERICAN ROULETTE"
REEL 3 (2A) Page: (19)*
Scene No. Spot
Sc.44 THEY KISS. FX:

Cont:
CARLOS TO (WHISPERS) All
KATE: right. 3/181 848.12 849.03 0.07
KATE TO Night Carlos. 3/182 850.05 851.04 0.15

CARLOS:
PAN L AS KATE TURNS - EXITS

THROUGH B.G. DOORWAY - HOLD M.
WAIST SHOT CARLOS.
CARLOS TO See you in the

KATE: morning. 3/183 858.11 860.00 1.05
DOOR SHUTS. FX:
CARLOS: Good night. 3/184 868.09 869.06 0.13

REEL 4 (2B)

Scene No. Spot

1 INT. QUEEN ELIZABETH HALL.

Starts DAY.
0.00
TRACKING R PAST PAINTINGS TO MUSIC: 0.00
REVEAL CARLOS IN M.S. TALKING TO
A MAN - CONTINUE TRACKING R AS
HE WALKS R - WOMAN ENTERS F.G.
R.
WOMAN TO Senor Presidente,

CARLOS: una foto, por
favor.
(Mr President, a
picture, please) 4/1 27.04 30.02 2.14
TAKES PICTURE OF CARLOS - TURNS,

WALKS F.G. R. FX:
Gracias. 4/2 31.09 32.09 1.00
2 M. WAIST SHOT MIGUEL L, ALFONSO

Starts R - ALFONSO TAKES PICTURES OF
35.14 O.S. CARLOS. FX:
3 ACROSS HALL TO M. WAIST SHOT

Starts KATE - PAN R AS SHE WALKS R -
40.05 EXITS BEHIND MURAL - CONTINUE
PANNING R TO REVEAL CARLOS IN
M.S. TALKING TO MISS VAN DOORN -
TRACK IN AS THEY TALK - HOLD IN
M. WAIST SHOT - KATE ENTERS L IN
M. WAIST SHOT.
KATE TO Excuse me ... 4/3 72.10 73.07 0.13

CARLOS:
... sorry, we're

running late, we
have to go. 4/4 73.10 76.02 2.08
CARLOS TO All right. 4/5 76.01 76.11 0.10

KATE:
"AMERICAN ROULETTE"
Scene No. Spot
Sc.3 CARLOS TO Well, Miss Van

Cont: VAN DOORN: Doorn if you'll
excuse me ... 4/6 76.15 79.07 2.08
... you call Inez

at the office I'm
sure she'll work
something out. 4/7 79.09 82.14 3.05
VAN DOORN Great. 4/8 83.00 83.06 0.06

TO CARLOS:
THEY SHAKE HANDS.
CARLOS TO Looking forward to

VAN DOORN: it. 4/9 84.00 85.07 1.07
KATE WALKS R FOLLOWED BY CARLOS

- THEY EXIT R - MISS VAN DOORN
EXITS F.G. L - HOLD.
4 ACROSS ROOM TO M.L.S. STAIRS -

Starts CARLOS AND KATE ENTER B.G. R -
96.14 WALK DOWN STAIRS TOWARDS.
KATE TO And er, who is Miss

CARLOS: Van Doorn? 4/10 100.03 102.15 2.12
TRACK BACK AS THEY WALK TOWARDS. MUSIC: FADE OUT 104.00
CARLOS TO She is a film

KATE: director. 4/11 107.04 108.13 1.09
And she wants us

... 4/12 108.15 110.10 1.11
... to join her

making a
documentary. 4/13 111.08 113.15 2.07
(Runs Over Spot No: 4/14)
TWO MEN RUN DOWN B.G. STAIRS

TOWARDS.
VLADIMIR TO Excuse me. 4/14 113.05 114.06 1.01

CARLOS:
Doctor Quintas --
excuse me. 4/15 115.00 118.01 3.01
CARLOS TURNS, LOOKS AT MEN -

CONTINUE TRACKING BACK WITH
CARLOS AND KATE AS THEY WALK
TOWARDS.
"AMERICAN ROULETTE"
Scene No. Spot
Sc.4 VLADIMIR President Quintas

Cont: (Cont): could you spare us
a moment please? 4/16 119.09 123.07 3.14
KATE TO I'm afraid we're

VLADIMIR: running late. 4/17 124.01 125.10 1.09
VLADIMIR TO Good, let us talk

CARLOS: while you walk. 4/18 125.15 128.14 2.15
TRACK BACK AS THEY WALK TOWARDS.
I'm Vladimir and my

colleague,
Nickolai. 4/19 130.01 134.08 4.07
You can tell we are

Russian ... 4/20 135.01 136.09 1.08
... good. 4/21 137.04 137.12 0.08
NICKOLAI TO London
CARLOS: representatives of
the all Russian
pineapple export
agency. 4/22 138.05 144.01 5.12
KATE TO Pineapples don't

NICKOLAI: grow in Russian
they're South
American. 4/23 144.12 147.14 3.02
VLADIMIR TO Dammit -- this

CARLOS: explains our lack
of success. 4/24 148.02 152.11 4.09
NICKOLAI: Of course not. 4/25 153.01 154.04 1.03

VLADIMIR TO A joke. 4/26 154.02 154.15 0.13

CARLOS:
We Russians have a
good sense of
humour. 4/27 155.07 158.05 2.14
We are with the

trade mission. 4/28 159.02 162.07 3.05
NICKOLAI: Very boring. 4/29 162.09 163.09 1.00
VLADIMIR TO Yes, import-export. 4/30 163.11 166.05 2.10

CARLOS:
"AMERICAN ROULETTE"
Scene No. Spot
Sc.4 NICKOLAI TO It's the Russian

Cont: CARLOS: version of your
independently
wealthy. 4/31 167.00 171.04 4.04
We wish to make a
... 4/32 172.07 174.10 2.03
... substantial
donation ... 4/33 175.03 177.03 2.00
... to the
government in
exile. Very
substantial. 4/34 177.09 182.02 4.09
THEY STOP - HOLD.
VLADIMIR TO What do you think? 4/35 183.03 184.03 1.00

CARLOS:
CARLOS TO Well, if you would

VLADIMIR: put the details in
writing I'm sure
the government in
exile would be ... 4/36 188.02 193.04 5.02
... pleased to
consider it. 4/37 193.07 194.13 1.06
VLADIMIR TO I knew it. 4/38 195.06 196.02 0.12

NICKOLAI:
They've already
accepted funding. 4/39 196.15 199.07 2.08
CARLOS TO Well as with the

VLADIMIR: pineapples you have
been misinformed. 4/40 200.06 203.11 3.05
NICKOLAI TO We are always being

VLADIMIR: misinformed, it
seems an
occupational
hazard. 4/41 204.00 208.15 4.15
Our offer is
genuine. 4/42 210.06 213.01 2.11
Substantial funding
to pursue your
activities on a
proper basis. 4/43 214.03 221.08 7.05
"AMERICAN ROULETTE"
Scene No. Spot
Sc.4 CARLOS TO I'm sure any offer

Cont: NICKOLAI: in writing will be
considered by the
government in
exile. 4/44 222.05 227.03 4.14
NICKOLAI TO Doctor Quintas ... 4/45 228.05 230.11 2.06

CARLOS:
... you are with

friends. 4/46 230.14 233.04 2.06
We know there is no
government in
exile. 4/47 233.14 238.07 4.09
VLADIMIR TO There is only you. 4/48 238.12 240.03 1.07

CARLOS:
KATE TO You are being very

VLADIMIR: presumptuous. 4/49 240.13 242.12 1.15
President Quintas
and the government
have received
worldwide
recognition. 4/50 243.02 247.10 4.08
NICKOLAI TO Miss Webber, I

KATE: think you are
misinformed. 4/51 247.13 252.05 4.08
Thru Cut at 252.02)
5 PAST MIGUEL R (SIDE VIEW) TO M.

Starts WAIST SHOT ALFONSO - HE POINTS
252.02 CAMERA TOWARDS - TAKES PICTURES. FX:
NICKOLAI There is no
(O.S.) TO government in
KATE: exile. 4/52 252.11 255.15 3.04
VLADIMIR Brilliant. 4/53 256.09 257.07 0.14

(O.S.) TO (This Spot Runs 3 Frames
CARLOS: Thru Cut at 257.04)
6 M. WAIST SHOT CARLOS L, KATE R -

Starts VLADIMIR AND NICKOLAI FAR L AND
257.04 R.
VLADIMIR TO So brilliant ... 4/54 259.01 260.11 1.10

CARLOS:
"AMERICAN ROULETTE"
Scene No. Spot
Sc.6 VLADIMIR ... Ramon and his

Cont: (Cont): friends chose
Doctor Quintas ... 4/55 262.07 266.03 3.12
... a non-political
internationally
famous poet as
President. 4/56 266.12 272.10 5.14
NICKOLAI TO Announce to the

CARLOS: world ... 4/57 272.08 274.04 1.12
... that he is
heading the all
party -- government
in exile. 4/58 274.11 279.01 4.06
VLADIMIR TO The press print

CARLOS: this as a fact, and
abracadabra. 4/59 279.05 284.10 5.05
It becomes reality. 4/60 285.10 287.11 2.01
CARLOS: Gentlemen, it's

been a pleasure,
but like I said ... 4/61 289.06 292.09 3.03
... if you put your

offer in writing
... 4/62 293.14 295.15 2.01
THEY SHAKE HANDS.
... be pleased to
consider it. 4/63 297.02 298.09 1.07
Thank you. 4/64 300.08 301.01 0.09
Excuse us. 4/65 301.08 302.08 1.00
CARLOS AND KATE STEP F.G. L.
7 PAST MIGUEL R (SIDE VIEW) TO M.

Starts WAIST SHOT ALFONSO - TILT DOWN
303.15 AND PAN L AS THEY STAND, WALK L.
8 TRACKING BACK WITH CARLOS L,

Starts KATE R IN M. WAIST SHOT.
312.00
KATE TO I should have been
CARLOS: told. 4/66 314.00 315.05 1.05
"AMERICAN ROULETTE"
Scene No. Spot
Sc.8 KATE You should have

Cont: (Cont): taken me into your
confidence Carlos. 4/67 315.07 318.03 2.12
CARLOS TO These are political

KATE: realities Kate. 4/68 320.05 323.00 2.11
We are small at the

moment, but
affective. 4/69 323.03 325.14 2.11
That's why they're

trying to kill me. 4/70 326.15 328.10 1.11
KATE TO I thought you were

CARLOS: committed not a
press ganged
President. 4/71 330.08 334.01 3.09
CARLOS TO We all resist ... 4/72 335.11 337.04 1.09

KATE:
... the best way we

can. 4/73 337.07 338.12 1.05
9 EXT. CAMDEN LOCK. DAY.

Starts
344.11 M.S. MURAL - TILT DOWN AND PAN L
TO REVEAL CARLOS IN M.S.
BROWSING THROUGH BOOK STALL IN
MARKET - WALKS TOWARDS - LOOKS
AT HIS WATCH - TURNS, WALKS L -
EXITS L INTO DOORWAY.
10 PAST TABLE L TO M.S. DOORWAY -

Starts CARLOS ENTERS IN M.L.S. THROUGH
369.02 DOORWAY - PAN L AS HE RUNS B.G.
L.
11 EXT. CANAL. DAY.

Starts
384.12 M.S. PATHWAY UP TO BRIDGE -
CARLOS ENTERS L IN M.L.S.
THROUGH ARCHWAY - PAN R AS HE
RUNS TO B.G. BRIDGE - CROSSES
BRIDGE.
"AMERICAN ROULETTE"
Scene No. Spot
12 OVER F.G. LOCK TO M.L.S. CARLOS

Starts - PAN R AS HE JUMPS WALL -
398.11 TURNS, RUNS TO B.G. BOAT - GETS
ON - BOAT PULLS AWAY. FX:
13 (HIGH ANGLE) DOWN TO M.S. BOAT -

Starts TILT UP AS IT MOVES OFF ALONG
418.09 CANAL - CARLOS OPENS DOOR ON
BOAT - STEPS OUT IN L.S.
14 EXT. BOAT.
Starts
451.02 DOWN TO M.S. DOOR - TILT UP AS
MISS PICKWICK CLIMBS OUT - HOLD
M. WAIST SHOT PICKWICK L, CARLOS
R.
PICKWICK TO Excuse me. 4/74 457.06 458.07 1.01

CARLOS:
CARLOS TURNS, LOOKS AT MISS

PICKWICK.
Have you a light? 4/75 459.15 460.14 0.15
PICKWICK TAKES OUT PACKET OF

CIGARETTES.
Thank you. 4/76 470.06 471.04 0.14
CARLOS STRIKES MATCH, LIGHTS FX:

CIGARETTE.
Quite a view, isn't

it? 4/77 484.07 485.15 1.08
CARLOS TURNS, LOOKS R.
CARLOS TO Yes, but I'm here

PICKWICK: for the exercise. 4/78 488.11 491.03 2.08
Physicians advice,
fill up with lots
of fresh air. 4/79 491.13 495.01 3.04
PICKWICK TO I suppose the

CARLOS: poet's is a
sedentary life. 4/80 496.05 499.08 3.03
CARLOS TO A President's is
PICKWICK: worse. 4/81 501.15 504.03 2.04
"AMERICAN ROULETTE"
Scene No. Spot
Sc.14 CARLOS You wanted to meet,

Cont: (Cont): Miss Pickwick. 4/82 511.01 513.06 2.05
CARLOS TURNS, LOOKS AT PICKWICK.
Or whatever your
name is. 4/83 515.14 517.13 1.15
PICKWICK TO Not very original

CARLOS: is it? 4/84 520.06 522.06 2.00
I have some papers,

they could be very
helpful. 4/85 524.08 527.04 2.12
CARLOS TO Foreign Office

PICKWICK: papers? 4/86 529.06 531.02 1.12
PICKWICK TO Yes. 4/87 530.15 531.10 0.11

CARLOS:
They're restricted. 4/88 532.03 533.06 1.03
PICKWICK TAKES PAPERS FROM BAG -

HANDS TO CARLOS.
Not for public

consumption. 4/89 535.04 537.05 2.01
CARLOS OPENS ENVELOPE. FX:
CARLOS TO How did you get

PICKWICK: them? 4/90 544.04 545.05 1.01
PICKWICK TO I'm a clerk. 4/91 545.08 546.11 1.03

CARLOS:
CARLOS UNFOLDS PAPERS.
CARLOS TO How do I know these

PICKWICK: are genuine? 4/92 557.10 559.11 2.01
PICKWICK TO You don't trust me? 4/93 560.07 562.07 2.00

CARLOS:
15 OVER F.G. BOAT TO M.L.S.

Starts PICKWICK L (BACK TO CAMERA),
562.10 CARLOS R - PAN L AS BOAT SAILS
PAST L.
CARLOS TO Why should I trust

PICKWICK: you? 4/94 565.10 567.03 1.09
"AMERICAN ROULETTE"
Scene No. Spot
Sc.15 PICKWICK TO I'm only here

Cont: CARLOS: because I believe
in what you're
doing, I could be
jailed for this. 4/95 567.07 572.01 4.10
CARLOS TO Ah, treason. 4/96 572.03 573.10 1.07

PICKWICK:
Imprisoned in the
tower. Off with
the head. 4/97 574.13 577.14 3.01
Like your people

did to Sir Walter
Raleigh ... 4/98 580.01 583.09 3.08
... a very good

poet, you know. 4/99 586.05 588.00 1.95
PICKWICK He had his fingers

(BACK TO in a lot of pies. 4/100 589.06 593.06 4.00
CAMERA) TO
CARLOS:
CARLOS TO You should take

PICKWICK: more care of your
poets. 4/101 594.10 597.06 2.12
PICKWICK It was three

(BACK TO hundred years ago. 4/102 597.03 599.11 2.08
CAMERA) TO
CARLOS:
CARLOS TO The poetry lasts

PICKWICK: ... 4/103 601.02 602.15 1.13
16 EXT. BOAT.
Starts
603.04 PAST PICKWICK F.G. R (SIDE VIEW)
TO M. WAIST SHOT CARLOS.
CARLOS TO ... "but could

PICKWICK: youth last and love
still breed ... 4/104 607.07 610.08 3.01
... had joys no

date, nor age or
need ... 4/105 610.13 613.11 2.14
... then these

delights my mind
might move ... 4/106 613.13 616.12 2.15
"AMERICAN ROULETTE"
Scene No. Spot
Sc.16 CARLOS ... to live with

Cont: (Cont): thee and be thy
love". 4/107 617.11 620.06 2.11
PICKWICK TO You're not taking

CARLOS: me seriously. 4/108 623.09 626.07 2.14
CARLOS TO It's Ramon you

PICKWICK: should be talking
to. 4/109 632.08 634.10 2.02
PICKWICK TO You're President. 4/110 636.06 637.09 1.03

CARLOS:
You decide. 4/111 638.13 639.14 1.01
CARLOS TO Is it dangerous? 4/112 643.10 644.15 1.05

PICKWICK:
PICKWICK TO When it gets out. 4/113 650.01 651.14 1.13

CARLOS:
Very dangerous. 4/114 653.01 654.15 1.14
PICKWICK TURNS, LOOKS R.
17 INT. BAR. DAY.

Starts
659.13 C.U. MORRISEY'S HANDS - STRIKE
MATCH - TILT UP TO REVEAL FX:
MORRISEY'S REFLECTION IN B.G.
MIRROR - LIGHTS CIGARETTE - PAN
L AND PULL FOCUS ON KATE IN C.U.
MORRISEY: I don't think so,

I don't er ... 4/115 668.15 671.06 2.07
CARLOS CAN BE SEEN IN B.G.

MIRROR IN SOFT FOCUS.
18 ACROSS BAR AND THROUGH DOORWAY

Starts TO L.S. KATE L, MORRISEY R
674.05 SEATED AT B.G. TABLE - CARLOS
ENTERS B.G. R IN M.S. (BACK TO
CAMERA).
MORRISEY Hello Doctor

(IN L.S.) Quintas. 4/116 675.03 677.06 2.03
TO CARLOS:
MORRISEY STANDS - THEY SHAKE

HANDS.
"AMERICAN ROULETTE"
Scene No. Spot
Sc.18 CARLOS Quintas. 4/117 677.11 678.11 1.00

Cont: (BACK TO
CAMERA) TO
MORISSEY:
Hello Mr Morrisey. 4/118 678.13 679.15 1.02
TRACK IN.
MORRISEY TO Just having a

CARLOS: drink. Won't you
have one? 4/119 681.01 683.12 2.11
CARLOS TO Ah, not for me

MORRISEY: thanks. 4/120 684.02 685.14 1.12
What did you have

in mind? 4/121 686.13 688.05 1.08
CARLOS SITS.
MORRISEY TO Straight to
CARLOS: business, I like
that. 4/122 690.00 692.02 2.02
I'm a publisher and

I have a proposal
I'd like to make on
behalf of my
company. 4/123 693.10 699.00 5.06
CARLOS TO Do I know it? 4/124 700.00 700.15 0.15

MORRISEY:
MORRISEY TO It's a new

CARLOS: publishing house. 4/125 703.02 705.01 1.15
We want to start
with a bang. 4/126 705.07 707.10 2.03
With you. 4/127 708.01 708.07 0.06
19 M.C.U. MORRISEY - LOOKS L.

Starts
710.14 MORRISEY TO I'd like to offer
CARLOS: you a contract for
a book. 4/128 711.11 714.02 2.07
20 M.C.U. CARLOS - LOOKS R.

Starts
714.10 CARLOS TO Books are very time
MORRISEY: consuming. 4/129 716.07 718.12 2.05
"AMERICAN ROULETTE"
Scene No. Spot
21 M. WAIST SHOT MORRISEY.

Starts
719.01 MORRISEY TO Well, the advance
CARLOS: we'd pay you Doctor
Quintas would be
... 4/130 720.14 724.09 3.11
... three hundred

thousand dollars. 4/131 726.01 727.14 1.13

Starts
728.02 CARLOS TO For a book of
MORRISEY: poems? 4/132 728.10 730.04 1.10
MORRISEY Whatever kind of

(O.S.) TO book you wanted. 4/133 731.01 732.11 1.10
CARLOS:

Starts
733.05 MORRISEY TO Verse ... 4/134 734.08 735.04 0.12
CARLOS:
... prose, essays
... 4/135 735.15 737.08 1.09
24 C.U. KATE.
Starts
739.00 MORRISEY ... love stories. 4/136 739.10 740.14 1.04
(O.S.) TO
CARLOS:

Starts
742.01 CARLOS TO Politics? 4/137 745.02 745.15 0.13
MORRISEY:

Starts
746.03 MORRISEY TO If you wanted. 4/138 747.15 748.12 0.13
CARLOS:
You have complete
freedom. 4/139 750.06 752.02 1.12
Three hundred
thousand dollars
and maybe five
hundred thousand in
time. 4/140 753.00 757.06 4.06
"AMERICAN ROULETTE"
Scene No. Spot

Starts
757.11 MORRISEY Paid to you
(O.S.) TO anywhere in the
CARLOS: world on your
instructions. 4/141 758.09 761.09 3.00
CARLOS TO Conditions? 4/142 765.09 766.13 1.04

MORRISEY:

Starts
767.01 MORRISEY TO None. 4/143 767.12 768.07 0.11
CARLOS:
Only think of the
writing. 4/144 770.00 771.06 1.06
But you're the

artist ... 4/145 771.09 773.07 1.14
... you're the one

the people want to
hear from. 4/146 774.04 776.02 1.14

Starts
777.11
30 C.U. KATE.
Starts
782.07

Starts
785.04 CARLOS TO Well, I have other
MORRISEY: responsibilities//
and commitments. 4/147 789.13 793.05 3.08
Thru Cut at 792.03)
32 C.U. MORRISEY (SIDE VIEW) -

Starts LOOKS L.
792.03
MORRISEY TO Well ... 4/148 795.00 796.04 1.04
CARLOS:
... if you decided
you'd have to
resign and give
them up. 4/149 796.14 801.08 4.10
"AMERICAN ROULETTE"
REEL 4 (2B) Page: (15)*
Scene No. Spot
Sc.32 PAN L AS MORRISEY LEANS L.

Cont:
MORRISEY Just think of it. 4/150 803.14 804.12 0.14
(Cont):
No pressure ... 4/151 807.00 808.00 1.00
... no
responsibilities
... 4/152 809.05 811.05 2.00
33 C.U. CARLOS.
Starts
811.08 MORRISEY ... freedom to
(O.S.) TO write without ... 4/153 812.11 814.11 2.00
CARLOS:
... financial
worries. 4/154 815.11 817.10 1.15

Starts LOOKS L - HOLD.
818.10
MORRISEY TO Three hundred
CARLOS: thousand dollars. 4/155 819.12 823.09 3.13
35 M.C.U. CARLOS - NODS.

Starts
824.13

Starts LOOKS L.
828.02

REEL 5 (3A)
ZERO is START MARK

Scene No. Spot

1 INT. CAFE. DAY.

Starts
12.00 M. WAIST SHOT RAMON SEATED AT
TABLE - LOOKS AT PAPERS - TRACK
BACK TO REVEAL KATE SEATED R.
RAMON TO They are fantastic. 5/1 17.08 19.00 1.08

CARLOS:
This is the break

I've been waiting
for. 5/2 19.02 21.08 2.06
CONTINUE TRACKING BACK TO REVEAL

CARLOS SEATED R (SIDE VIEW)
OPPOSITE RAMON.
CARLOS TO How are we going to

RAMON: handle it? 5/3 25.07 26.07 1.00
RAMON TO Well, we'll set up

CARLOS: an exclusive
interview ... 5/4 28.05 30.15 2.10
... then television

... 5/5 32.00 33.00 1.00
... and then we'll

... 5/6 34.11 35.07 0.12
THEY TURN, LOOK TOWARDS B.G. FX: BOMB EXPLODES

WINDOW.
RAMON: What the hell? 5/7 37.10 38.07 0.13
CRANE UP AS RAMON AND CARLOS

STAND.
Wait. 5/8 39.13 40.04 0.07
RAMON TURNS, RUSHES TO B.G. MUSIC: IN 47.00 UNDER FX:

WINDOW.
2 (HIGH ANGLE - RAMON'S P.O.V.)

Starts DOWN TO M.L.S. CAR - BLACK SMOKE
48.06 RISES FROM CAR. MUSIC: BUILDS
"AMERICAN ROULETTE"
Scene No. Spot
3 THROUGH OPEN WINDOW TO M. WAIST

Starts SHOT RAMON (BACK TO CAMERA) - HE
52.02 TURNS, WALKS TOWARDS.
CARLOS (SPANISH) 5/9 55.04 55.09 0.05

(O.S.) TO
RAMON:
TRACK BACK AND PAN R TO REVEAL

KATE AND CARLOS IN M. WAIST SHOT
- HOLD.
RAMON TO It's my car. 5/10 58.08 59.10 1.02

CARLOS:
The bastards have

blown it up. 5/11 60.05 62.03 1.14
PAN R AS RAMON WALKS R BEHIND

KATE AND CARLOS.
CARLOS TO I'll go with you. 5/12 63.13 64.13 1.00

RAMON:
RAMON TO No, you wait here

CARLOS: till I find out
what's happening. 5/13 64.14 67.14 3.00
It could be a
decoy. 5/14 68.11 69.15 1.04
PAN R OFF KATE AND CARLOS AS

RAMON WALKS TO B.G. TO REVEAL
SCREECH IN M. WAIST SHOT - RAMON
EXITS B.G. R - PAN L WITH
SCREECH AS HE WALKS L TO REVEAL
CARLOS AND KATE SEATED AT TABLE. MUSIC: FADE OUT 80.00
SCREECH TO Hello Kate. 5/15 80.10 81.11 1.01

KATE:
SCREECH TO We haven't met.

CARLOS: Screech is the
name. 5/16 82.00 84.08 2.08
THEY SHAKE HANDS - SCREECH SITS.
KATE TO He says he's

CARLOS: British
Intelligence. 5/17 86.08 88.13 2.05
SCREECH TO I never made any

CARLOS: such claim. 5/18 88.03 90.13 2.10
"AMERICAN ROULETTE"
Scene No. Spot
Sc.3 CARLOS TO Why didn't you tell

Cont: KATE: me about him? 5/19 92.10 94.06 1.12
KATE TO I think he's crazy. 5/20 94.01 95.09 1.08

CARLOS: (Runs Under Spot No: 5/21)
SCREECH TO It's true ... 5/21 95.04 95.11 0.07

KATE:
... it's true. 5/22 96.06 96.12 0.06

Starts L AT O.S. SCREECH.
97.02
SCRECH Everybody in the
(O.S.) TO department says so. 5/23 97.06 99.08 2.02
CARLOS:
5 ACROSS TABLE TO M. WAIST SHOT

Starts SCREECH L, KATE R.
99.13
SCREECH TO But about the car
CARLOS: bomb, I'm sorry it
was such a --
balls-up. 5/24 100.08 106.00 5.08
Ramon will need a

new car. 5/25 106.03 108.04 2.01

Starts
108.06 CARLOS TO You did it? 5/26 109.11 110.06 0.11
SCREECH:

110.11
SCREECH TO What do you think
CARLOS: we are, barbarians? 5/27 111.03 114.05 3.02
We're a civilised
country here, of
course we do have
our problems ... 5/28 114.07 119.07 5.00

Starts
119.13
"AMERICAN ROULETTE"
Scene No. Spot
Sc.8 SCREECH ... but the

Cont: (O.S.) TO department doesn't
CARLOS: plant bombs,
nothing like that. 5/29 120.03 125.05 5.02
9 M. WAIST SHOT KATE LOOKS F.G. L

Starts AT O.S. SCREECH.
125.09
KATE TO So then what was
SCREECH: the balls-up? 5/30 125.13 127.12 1.15
SCREECH We tried to diffuse

(O.S.) TO it ... 5/31 128.07 130.01 1.10
KATE:

130.02
SCREECH TO ... as I told you
KATE: we don't like
people who come and
try to eliminate
other people ... 5/32 130.03 135.11 5.08
... not on our

territory. 5/33 135.13 137.06 1.09
Our chap, he has

this new device ... 5/34 138.08 141.12 3.04
... this electronic

//gadget ... 5/35 141.14 144.10 2.12
Thru Cut at 143.09)

Starts
143.09 SCREECH ... tried to
(O.S.) TO imobilise the bomb
KATE: by remote control. 5/36 144.11 149.05 4.10
12 M. WAIST SHOT SCREECH LOOKS F.G.

Starts R AT O.S. CARLOS.
149.06
SCREECH TO Didn't come off. 5/37 149.12 150.14 1.02
CARLOS:
Car terminated. 5/38 151.13 152.15 1.02

"AMERICAN ROULETTE"
Scene No. Spot
13 M. WAIST SHOT KATE LOOKS F.G. L

Starts AT O.S. SCREECH.
153.04
CARLOS TO Was anyone hurt? 5/39 154.02 155.05 1.03
SCREECH:
SCREECH My dear Miss Webber

(O.S.) TO there is a
KATE: difference between
fallibility and
carelessness. 5/40 155.14 161.14 6.00
Thru Cut at 157.04)
14 M. WAIST SHOT SCREECH LOOKS R AT

Starts O.S. KATE.
157.04
SCREECH TO Is anyone eating
CARLOS: this cake? 5/41 163.07 165.00 1.09

Starts
165.10 CARLOS TO No. 5/42 166.06 166.11 0.05
SCREECH:
16 M. WAIST SHOT KATE.

Starts
167.07 KATE TO No. 5/43 167.13 168.06 0.09
SCREECH:
17 M. WAIST SHOT SCREECH.

Starts
169.00 SCREECH: Thank you. 5/44 170.00 170.05 0.05
TILT DOWN AS HE BENDS - BITES

INTO CAKE.

Starts
174.00

Starts
176.02 SCREECH Mmm ... 5/45 176.14 177.05 0.07
(O.S.):
... very tasty. 5/46 178.12 179.15 1.03

"AMERICAN ROULETTE"
Scene No. Spot

Starts
180.02 CARLOS TO Do you know who
SCREECH: planted it? 5/47 180.13 182.00 1.03
21 OVER CARLOS F.G. R (BACK TO

Starts CAMERA) AND ACROSS TABLE TO M.
182.07 WAIST SHOT SCREECH.
SCREECH TO I wondered if you'd

CARLOS: ask that. 5/48 183.00 185.07 2.07
SCREECH TO This is delicious. 5/49 187.06 188.09 1.03

KATE:
SCREECH TO Must've been the

CARLOS: death squad. 5/50 190.04 192.05 2.01
Thought we had a
sighting. 5/51 193.13 195.00 1.03
Lost 'em. 5/52 195.13 196.07 0.10
Pity about that. 5/53 198.02 198.15 0.13
SCREECH PICKS UP DRINK.
Picked up the bomb

though. 5/54 201.06 202.11 1.05
CARLOS Thank you. 5/55 204.10 205.06 0.12

(BACK TO
CAMERA) TO
SCREECH:
Can we go now? 5/56 208.00 208.15 0.15
SCREECH TO Yes of course, of

CARLOS: course. 5/57 209.01 210.10 1.09
CARLOS STANDS, EXITS R.
But try to keep//a

look out if you
can. 5/58 211.08 214.01 2.09
Thru Cut at 212.08)

Starts - LOOKS L AS KATE STANDS INTO M.
212.08 WAIST SHOT L - KATE WALKS, EXITS
R.
"AMERICAN ROULETTE"
Scene No. Spot
Sc.22 SCREECH Keep moving, that's

Cont: (O.S.) TO my advice. 5/59 215.05 218.06 3.01
CARLOS:
TILT DOWN AND PAN L AS THEY

SHAKE HANDS.
CARLOS Please. 5/60 222.15 223.10 0.11

(O.S.) TO
SCREECH:
CARLOS POINTS TO UNFINISHED CAKE

- EXITS R - TILT UP - HOLD
SCREECH IN M. WAIST SHOT.
23 INT. INEZ'S FLAT. BEDROOM.

Starts NIGHT.
230.03
M. WAIST SHOT CARLOS (BACK TO
CAMERA) TALKS INTO PHONE - TURNS
TOWARDS. MUSIC: OUT/IN 230.03
CARLOS No, we can't reveal

(INTO our source ... 5/61 231.03 233.12 2.09
PHONE):
CARLOS TURNS (BACK TO CAMERA).
CARLOS They're absolutely

(BACK TO genuine. 5/62 240.05 242.00 1.11
CAMERA -
INTO
PHONE):
CARLOS TURNS, LOOKS L.
CARLOS All right, you can

(INTO call them the
PHONE): Pickwick papers. 5/63 250.10 253.07 2.13
Well that's
wonderful, thank
you again. 5/64 256.12 258.15 2.03
Yes, goodnight. 5/65 260.15 262.00 1.01
CARLOS REPLACES RECEIVER - PAN L FX:

AS HE WALKS L INTO LOUNGE - INEZ
IS SEATED B.G. L.
INEZ TO You look pleased. 5/66 279.03 280.09 1.06

CARLOS:
"AMERICAN ROULETTE"
Scene No. Spot
Sc.23 CARLOS They'll be

Cont: (BACK TO published tomorrow. 5/67 281.14 283.07 1.09
CAMERA) TO
INEZ:
Kate will be
delighted. 5/68 284.14 286.03 1.05
INEZ TO Carlos ... 5/69 288.03 289.04 1.01

CARLOS:
... you want to be

careful. 5/70 291.04 292.10 1.06
CARLOS TURNS, LOOKS TOWARDS -

INEZ STANDS.
CARLOS TO What do you mean? 5/71 296.12 297.10 0.14

INEZ:
INEZ TO I know you Carlos.

CARLOS: I read the signals. 5/72 298.04 301.15 3.11
INEZ PICKS UP GLASS - PLACES ON

TRAY.
You can't keep your

eyes off her. 5/73 302.11 304.15 2.04
INEZ WALKS B.G. R - PICKS UP

MORE CUPS - PAN L OFF INEZ AS
CARLOS STEPS F.G. L.
CARLOS TO She's so beautiful,

INEZ: do you blame me? 5/74 308.10 310.13 2.03
INEZ (O.S.) No ... 5/75 311.04 311.12 0.08

TO CARLOS:
... not as long as

it doesn't
interfere with
work. 5/76 314.02 317.04 3.02
PAN R AS CARLOS TURNS, WALKS R.
CARLOS TO On the contrary ... 5/77 317.08 319.01 1.09

INEZ:
... she inspires

me. 5/78 320.01 321.15 1.14
HOLD M. WAIST SHOT CARLOS L,

INEZ R (SIDE VIEWS).
"AMERICAN ROULETTE"
Scene No. Spot
Sc.23 CARLOS She's my Muse. 5/79 322.14 324.07 1.09

Cont: (Cont):
INEZ TO Oh yeah. 5/80 324.15 326.05 1.06

CARLOS:
This loopy talk
worries me Carlos. 5/81 328.06 331.13 3.07
You've got to keep

your mind on the
case. 5/82 333.02 336.15 3.13
CARLOS TURNS (BACK TO CAMERA).
Behave like a
President. 5/83 337.06 340.01 2.11
CARLOS WALKS TO B.G.
Not lost in rhyming

... 5/84 340.08 342.05 1.13
... Luna con

espuma.
(Moon with foam) 5/85 342.07 344.00 1.09
CARLOS TURNS, LOOKS TOWARDS.
CARLOS TO Esta Bien. 5/86 348.07 349.05 0.14

INEZ: (Okay)
WALKS TOWARDS.
But maybe. 5/87 349.12 350.11 0.15
There'll be space
for both. 5/88 352.02 353.14 1.12
INEZ TO I don't want you

CARLOS: hurt. 5/89 353.14 355.12 1.14
Keep on the case. 5/90 358.12 360.07 1.11
That's the
priority. 5/91 361.09 363.03 1.10
HOLD. DOOR (O.S.): OPENS
24 M. WAIST SHOT KATE L - WALKS R

Starts DRYING HER HAIR.
367.14
CARLOS It'll be published
(O.S.) TO tomorrow. 5/92 369.07 371.02 1.11
KATE:
"AMERICAN ROULETTE"
Scene No. Spot
Sc.24 CARLOS What do you think? 5/93 371.11 372.10 0.15

Cont: (Cont):
KATE TURNS, LOOKS F.G. L AT O.S.

CARLOS.
KATE TO It's good. 5/94 372.12 373.07 0.11

CARLOS:
INEZ (O.S.) I'm turning in. 5/95 375.01 376.02 1.01

TO KATE:
INEZ ENTERS F.G. L (BACK TO

CAMERA) IN M. WAIST SHOT - WALKS
TO B.G. TABLE - PICKS UP GLASS,
TURNS TOWARDS.
INEZ TO You know where

KATE: everything is? 5/96 381.15 383.08 1.09
KATE TO Yes, and thanks

INEZ: again for supper it
was beautiful. 5/97 383.05 386.08 3.03
CARLOS ENTERS F.G. L (BACK TO

CAMERA) IN M. WAIST SHOT -
CARLOS AND INEZ KISS - INEZ FX:
EXITS L - CARLOS TURNS, WATCHES
HER GO - TURNS, LOOKS AT KATE.
CARLOS TO Like a drink? 5/98 400.07 401.07 1.00

KATE:
KATE TO No thanks. 5/99 402.14 403.14 1.00

CARLOS:
KATE TURNS, WALKS TO B.G. TABLE FX:

- SITS - HOLD AS CARLOS R POURS
HIMSELF A DRINK.
25 M.C.U. CARLOS - LOOKS F.G. L AT

Starts O.S. KATE.
423.01
KATE (O.S.) I'm seeing Morrisey
TO CARLOS: tomorrow. 5/100 424.06 426.02 1.12
Have you thought

about his offer? 5/101 426.08 428.02 1.10
26 M.C.U. KATE LOOKS F.G. R AT O.S.

Starts CARLOS.
428.04
"AMERICAN ROULETTE"
Scene No. Spot
Sc.26 CARLOS I'll discuss it

Cont: (O.S.) TO with Ramon. 5/102 428.14 430.07 1.09
KATE:
KATE TO He wants you to

CARLOS: continue. 5/103 432.00 433.13 1.13
27 PAST CARLOS R (SIDE VIEW) AND

Starts OVER F.G. TABLE TO M.S. KATE
434.01 (SEATED).
CARLOS TO Ah, Ramon's a

KATE: realist. 5/104 435.09 437.08 1.15
I'll offer to share

half the money with
him and we can fade
away and live
quietly. 5/105 439.06 444.11 5.05
CARLOS SITS.
KATE TO What about the

CARLOS: Resistance? 5/106 446.12 448.08 1.12
Doesn't that count

for anything? 5/107 448.14 450.11 1.13
What about all the

people who've been
looking to you for
leadership? 5/108 451.07 454.08 3.01

Starts F.G. L AT O.S. KATE.
454.09
CARLOS TO You were the one
KATE: who felt let down
by my usurping of
the//Presidency. 5/109 455.03 459.04 4.01
Thru Cut at 458.01)
29 M. WAIST SHOT KATE LOOKS F.G. R

Starts AT O.S. CARLOS.
458.01
KATE TO You have to be
CARLOS: realistic. 5/110 459.04 461.04 2.00
"AMERICAN ROULETTE"
Scene No. Spot

Starts
461.06 CARLOS TO What about the
KATE: death squad? 5/111 462.06 463.14 1.08
31 M. WAIST SHOT KATE - LEANS

Starts TOWARDS.
464.04
KATE TO It's a chance we
CARLOS: take. 5/112 467.01 468.12 1.11
You've got to
continue. 5/113 469.11 471.01 1.06
Too many people

need you//too much
is at stake. 5/114 471.02 474.08 3.06
Thru Cut at 472.12)

Starts
472.12 CARLOS TO Ah, see Kate how
KATE: you've changed? 5/115 474.11 477.06 2.11

Starts CARLOS.
477.14
CARLOS It's not simple is
(O.S.) TO it? 5/116 479.01 480.11 1.10
KATE:

Starts
481.00 CARLOS TO First lesson we
KATE: learn in active
politics, how far
to go. 5/117 481.13 485.08 3.11
Noble ends ... 5/118 487.07 488.11 1.04
35 M.C.U. KATE.
Starts
489.04 CARLOS ... dubious means. 5/119 490.07 491.14 1.07
(O.S.) TO
KATE:
It's tricky, isn't

it? 5/120 493.11 494.15 1.04
"AMERICAN ROULETTE"
Scene No. Spot
Sc.35 KATE TO So you're going to

Cont: CARLOS: accept Morrisey's
//offer? 5/121 498.07 500.14 2.07
Thru Cut at 500.03)

Starts
500.03 CARLOS TO I might. 5/122 503.11 504.07 0.12
KATE:
It's very tempting. 5/123 505.05 506.11 1.06
But at the moment

... 5/124 508.13 510.02 1.05
... I'm not sure,

okay. 5/125 513.10 514.13 1.03
37 M.C.U. KATE.
Starts
515.07
38 M.S. KATE L, CARLOS R (SIDE

Starts VIEW) SEATED AT TABLE.
521.08
KATE TO Night Carlos. 5/126 522.08 523.07 0.15
CARLOS:
KATE STANDS, EXITS L.
39 NEWSREEL - (LOW ANGLE) UP TO

Starts L.S. HELICOPTER - FLIES PAST. FX:
530.10
40 L.S. DEMONSTRATORS.
Starts
533.04
41 M.L.S. CHILDREN AND

Starts DEMONSTRATORS.
536.06
42 M.S. DEMONSTRATORS RUN PAST.

Starts
539.08
"AMERICAN ROULETTE"
Scene No. Spot
43 NEWSREEL - M.S. LORRY - DRIVES

Starts F.G. L - FIRES WATER CANNON
541.15 TOWARDS - WATER FILLS SCREEN.
TV REPORTER Six months ago ... 5/127 543.01 544.10 1.09

(V.O.): (This Spot Runs 4 Frames
Thru Cut at 544.06)
44 ACROSS ROAD TO M.L.S. FLAMES.

Starts
544.06 TV REPORTER ... a military coup
(V.O.): headed by General
Martinez overthrew
a democratic
government ... 5/128 544.12 552.08 7.12
PAN L AS CAR PASSES.
45 PANNING R WITH LORRY IN M.C.U.

Starts
553.00 TV REPORTER ... with a// (This Spot Starts 4 Frames
(V.O.): programme to clean Before Cut At 553.00)
the country ... 5/129 552.12 555.10 2.14
Thru Cut at 555.00)
46 M.S. POLICE WITH SHIELDS - BUS

Starts PASSES IN F.G.
555.00
TV REPORTER ... of sin and//
(V.O.): corruption. 5/130 555.12 558.00 2.04
Thru Cut at 557.05)
47 (HIGH ANGLE) DOWN TO L.S. POLICE

Starts FIGHTING WITH DEMONSTRATORS.
557.05
TV REPORTER But the junta's
(V.O.): policy of
repression and
torture remain
deeply//unpopular
... 5/131 559.06 566.01 6.11
Thru Cut at 564.13)
48 ANOTHER ANGLE.
Starts
564.13 TV REPORTER ... as these
(V.O.): demonstrations
show. 5/132 566.11 569.09 2.14
"AMERICAN ROULETTE"
Scene No. Spot
49 NEWSREEL - ANOTHER ANGLE.

Starts
569.14
50 M.C.U. POLICE.
Starts
573.09 TV REPORTER This morning "The
(V.O.): Independent"//in an
exclusive front
page article ... 5/133 573.10 579.05 5.11
Thru Cut at 575.15)
51 M.S. INDEPENDENT NEWSPAPER -

Starts HEADLINE READS:
575.15
Government chooses Trade
over Torture
ZOOM IN.
TV REPORTER ... revealed

(V.O.V): documented evidence
of collusion ... 5/134 579.07 583.06 3.15
52 M.S. LORRY - DRIVES TO B.G.

Starts
583.07 TV REPORTER Between the junta
(V.O.): and the//British
government ...
5/135 583.10 587.02 3.08
Thru Cut at 585.09)
53 M.S. MEN FIRING GUNS.

Starts
585.09 TV REPORTER ... in concealing
(V.O.): details//of the
imprisonment ... 5/136 587.11 591.07 3.12
Thru Cut at 589.05)
54 OVER F.G. CARS TO M.L.S. BURNING

Starts VAN.
589.05
55 NEWSREEL - (HIGH ANGLE) DOWN TO

Starts L.S. DEMONSTRATORS.
592.01
"AMERICAN ROULETTE"
Scene No. Spot
Sc.55 TV REPORTER ... and//

Cont: (V.O.): disappearance of
two British//nuns (This Spot Starts 5 Frames
working in the Before Cut At 592.01)
country ... 5/137 591.12 597.00 5.04
Thru Cut at 594.06)
56 M.L.S. POLICE AND DEMONSTRATORS.

Starts
594.06 TV REPORTER ... Sister Govern
(V.O.): and Sister
Lawrence. 5/138 597.07 600.10 3.03
57 FLARE CLEARS TO REVEAL

Starts REPORTERS.
599.11
58 M. WAIST SHOT PHOTOGRAPHERS

Starts (BACKS TO CAMERA).
600.11
59 M. WAIST SHOT POLICEMAN - PUT

Starts DEMONSTRATORS IN B.G. VAN.
601.12
60 ANOTHER ANGLE. NEWSREEL: ENDS

Starts
605.03
61 INT. TV STUDIO.
Starts
606.11 M. WAIST SHOT REPORTER - LOOKS
TOWARDS.
REPORTER Well, here to

(TO discuss the
CAMERA): background and
implications of the
revelation is ... 5/139 607.13 613.11 5.14
... Doctor Carlos

Quintas, President
in exile ... 5/140 613.13 617.12 3.15
REPORTER TURNS, LOOKS L AT O.S.

CARLOS.
"AMERICAN ROULETTE"
Scene No. Spot
Sc.61 REPORTER TO Doctor Quintas, how

Cont: CARLOS: much of these
revelations is
based on fact? ... 5/141 618.12 623.05 4.09
TRACK BACK AND PAN L TO REVEAL

CARLOS IN M. WAIST SHOT.
... and how much is

just pure
conjecture? 5/142 623.06 626.02 2.12
CONTINUE TRACKING BACK.
CARLOS TO I'm sorry to say

REPORTER: that all these
reports are
entirely accurate. 5/143 628.06 632.13 4.07
62 INT. TV CONTROL ROOM.

Starts
633.02 M.L.S. MONITORS - CARLOS CAN BE
SEEN ON MONITOR F.G. R.
CARLOS They are based upon

(THRU TV): government
communications
between the British
Embassy and the
Foreign Office. 5/144 634.01 640.00 5.15
63 INT. STUDIO.
Starts
640.04 M. WAIST SHOT REPORTER LOOKS
F.G. L AT O.S. CARLOS.
REPORTER TO So what do you hope

CARLOS: to achieve by
revealing this
information? 5/145 641.04 646.09 5.05
64 OVER REPORTER F.G. R (BACK TO

Starts CAMERA) TO M. WAIST SHOT CARLOS.
647.00
CARLOS TO The parties of the
REPORTER: popular unity are
... 5/146 647.08 649.15 2.07
... are calling for

an international
embargo ... 5/147 650.11 653.08 2.13
"AMERICAN ROULETTE"
Scene No. Spot
Sc.64 CAROLS ... on any launch

Cont: (Cont): of the junta. 5/148 654.03 656.02 1.15
65 INT. CONTROL ROOM.

Starts
656.09 C.U. TV SCREEN - SHOWS M.C.U.
CARLOS.
CARLOS Until it ends

(THRU TV): repression. 5/149 657.07 659.01 1.10
Respects human
rights ... 5/150 660.04 662.02 1.14
... and introduces

a//programme ... 5/151 663.07 665.11 2.04
Thru Cut at 664.14)
66 M.L.S. MONITORS - CARLOS CAN BE

Starts SEEN ON MONITOR F.G. R.
664.14
CARLOS ... for the return
(THRU TV): to democracy ... 5/152 665.13 668.01 2.04
... and free

elections. 5/153 669.04 670.14 1.10
REPORTER Doctor Quintas,

(O.S.) TO thank you very much
CARLOS: indeed. 5/154 672.03 674.13 2.10
CARLOS Thank you. 5/155 675.09 676.04 0.11

(THRU TV)
TO
REPORTER:
67 INT. BAR. DAY.

Starts
677.11 (HIGH ANGLE) DOWN TO M.S.
MORRISEY - SEATED AT TABLE
READING NEWSPAPER - KATE ENTERS
B.G. R IN M.S.
MORRISEY TO Good morning, Miss

KATE: Webber. 5/156 681.10 682.15 1.05
KATE TO Morning. 5/157 683.01 683.09 0.08

MORRISEY:
KATE SITS (BACK TO CAMERA).

"AMERICAN ROULETTE"
Scene No. Spot
Sc.67 KATE (BACK Doctor Quintas

Cont: TO CAMERA) apologises but he's
TO busy. 5/158 684.07 687.03 2.12
MORRISEY:
MORRISEY TO Yes, so I've been

KATE: reading. 5/159 688.06 690.06 2.00
KATE (BACK It's a hectic time. 5/160 690.11 692.03 1.08

TO CAMERA)
TO
MORRISEY:
He asked me to see
you on his behalf. 5/161 693.00 695.03 2.03
MORRISEY TO I understand. 5/162 696.07 697.09 1.02

KATE:
Has he made a
decision on my
offer? 5/163 699.14 702.07 2.09
68 M.C.U. KATE LOOKS F.G. L AT O.S.

Starts MORRISEY.
702.10
KATE TO Not yet. 5/164 703.07 704.05 0.14
MORRISEY:
He asked me to tell
you he's still
interested ... 5/165 705.00 707.03 2.03
Thru Cut at 707.01)
69 M.C.U. MORRISEY.
Starts
707.01 KATE (O.S.) ... but needs more
TO time. 5/166 707.05 708.06 1.01
MORRISEY:
MORRISEY TO I see ... 5/167 708.12 709.14 1.02

KATE:
... it's very

pressing. 5/168 711.10 712.15 1.05
You know ... 5/169 716.05 716.14 0.09
... he's getting

very involved. 5/170 718.02 720.06 2.04
"AMERICAN ROULETTE"
Scene No. Spot
Sc.69 MORRISEY I need an answer. 5/171 721.13 723.04 1.07

Cont: (Cont):
I need to know if
he's continuing as
an artist ... 5/172 725.05 728.10 3.05
Thru Cut at 728.05)
70 M.C.U. KATE LOOKS F.G. L AT O.S.

Starts MORRISEY.
728.05
MORRISEY ... or ... 5/173 728.12 729.04 0.08
(O.S.) TO
KATE:
... if he's
becoming a
politician. 5/174 729.12 732.01 2.05
Will you tell him

that? 5/175 733.01 734.03 1.02
Make sure he
understands. 5/176 735.01 737.04 2.03
71 M.C.U. MORRISEY LOOKS F.G. R AT

Starts O.S. KATE.
739.05
MORRISEY TO Tell him I can now
KATE: increase my offer
to ... 5/177 741.02 744.02 3.00
... five hundred

thousand dollars//
in advance. 5/178 744.10 747.08 2.14
Thru Cut at 746.06)
72 M.C.U. KATE.
Starts
746.06 KATE TO That's a lot of
MORRISEY: money for a book. 5/179 749.05 751.03 1.14
73 M.C.U. MORRISEY.
Starts
751.05 MORRISEY TO Well, other
KATE: publishers around
the world are
interested. 5/180 752.00 755.02 3.02
It all adds up. 5/181 755.07 756.09 1.02

"AMERICAN ROULETTE"
Scene No. Spot
74 M.C.U. KATE.
Starts
757.01 KATE TO We'll keep in
MORRISEY: touch. 5/182 760.00 761.01 1.01
75 (HIGH ANGLE) PAST KATE F.G.

Starts (BACK TO CAMERA) TO M.S.
761.02 MORRISEY - KATE STANDS.
KATE (BACK I have another

TO CAMERA) appointment. 5/183 763.01 764.09 1.08
TO
MORRISEY:
MORRISEY TO Of course, er ... 5/184 764.11 765.11 1.00

KATE:
... remember, five

hundred thousand
dollars. 5/185 766.00 769.10 3.10
THEY SHAKE HANDS.
Bye bye. 5/186 770.15 771.07 0.08
KATE TURNS, EXITS B.G. R - HOLD. FX: BELL
76 (HIGH ANGLE) THROUGH F.G.

Starts RAILINGS DOWN TO M.S. CARLOS -
782.00 PAN L AS HE RUNS UP STAIRS -
EXITS THROUGH B.G. DOOR.

Starts
788.09 PAST TYPIST F.G. R (SIDE VIEW)
TO M.S. DOOR - DOOR OPENS TO
REVEAL CARLOS IN M.S.
TYPIST TO Buenos dias.

CARLOS: (Good morning) 5/187 791.07 792.06 0.15
CARLOS TO Que tal.

TYPIST: (Hello) 5/188 793.00 793.09 0.09
TYPIST TO Le quedo muy bien.

CARLOS: (You were very
good) 5/189 793.11 795.06 1.11
CARLOS CLOSES DOOR. FX:
CARLOS TO Usted cree?

TYPIST: (Do you think so?) 5/190 795.11 796.06 0.11
"AMERICAN ROULETTE"
Scene No. Spot
Sc.77 TYPIST TO Perfecto. 5/191 796.11 797.00 0.05

Cont: CARLOS:

TYPIST:
PAN L AS CARLOS PASSES. FX: TELEPHONE
INEZ (O.S.) You were good. 5/193 803.01 804.04 1.03

TO CARLOS:
HOLD M. WAIST SHOT INEZ L,

CARLOS R.
CARLOS TO I think I got the

INEZ: points over. 5/194 805.15 807.14 1.15
THEY KISS - INEZ SITS BEHIND FX:

DESK.
INEZ TO I have a lot of

CARLOS: things for you. 5/195 812.06 814.06 2.00
CARLOS TO Si. 5/196 813.13 814.05 0.08

INEZ:
TYPIST Carlos. 5/197 814.08 815.06 0.14

(O.S.) TO
CARLOS:
It's Ramon for you. 5/198 815.14 817.06 1.08
PAN R AS CARLOS WALKS R - TAKES

RECEIVER.
CARLOS Dime.
(INTO (Tell me) 5/199 825.13 826.05 0.08
PHONE:
RAMON (THRU A bad morning, Mr

PHONE): President. 5/200 828.01 830.10 2.09
We have an
emergency. 5/201 830.14 832.07 1.09
Come immediately to
the coffee shop at
the Russell Square
Hotel. 5/202 832.09 838.00 5.07
Got that? 5/203 838.05 838.14 0.09
CARLOS What's going on? 5/204 839.13 840.13 1.00

(INTO
PHONE):
"AMERICAN ROULETTE"
REEL 5 (3A) Page: (23)*
Scene No. Spot
Sc.77 RAMON (THRU I'll tell you

Cont: PHONE): later. 5/205 841.10 842.13 1.03
You leave at once. 5/206 843.10 844.12 1.02
Bye. 5/207 845.05 845.11 0.06
CARLOS HANDS RECEIVER R TO O.S.

TYPIST - PAN L AS HE WALKS L.
CARLOS TO I've got to go,

INEZ: I'll call you
later. 5/208 852.03 854.04 2.01
HOLD M. WAIST SHOT INEZ L SEATED

BEHIND DESK, CARLOS R.
INEZ TO We have plenty to

CARLOS: do. 5/209 855.11 857.11 2.00
CARLOS TO Good. We'll attend

INEZ : to everything. 5/210 857.13 859.08 1.11
Hold the fort .. 5/211 859.14 860.14 1.00
THEY KISS. FX:
.. and repel the

greengo's. 5/212 861.10 863.01 1.07
PAN R AS CARLOS WALKS R.
CARLOS: Hasta lvego.

(See you) 5/213 868.12 869.07 0.11
TYPIST Adios. 5/214 869.12 870.08 0.12

(O.S.) TO
CARLOS:
HOLD AS CARLOS WALKS TO B.G.

DOOR.

REEL 6 (3B)

Scene No. Spot

1 INT. RESTAURANT. DAY.

Starts
0.00 OVER F.G. TABLE TO M.S. CARLOS
SEATED AT B.G. TABLE - READS
MENU - WAITRESS ENTERS L IN M.S.
WAITRESS TO Good morning sir. 6/1 5.14 6.13 0.15

CARLOS:
Are you ready to

order? 6/2 7.03 8.06 1.03
CARLOS TO Almost. 6/3 9.08 10.10 1.02

WAITRESS:
WAITRESS TO Excuse me sir. 6/4 14.07 15.14 1.07

CARLOS:
Aren't you Carlos

Quintas? 6/5 20.03 22.06 2.03
CARLOS TO No. 6/6 22.07 22.14 0.07

WAITRESS:
I'm sorry, yes. 6/7 26.02 27.13 1.11
WAITRESS TO Hay no me lo creo.

CARLOS: Presidente Quintas
aca en Londres.
(I don't believe
it. President
Quintas here in
London) 6/8 29.03 33.01 3.14
2 M. WAIST SHOT WAITRESS - LOOKS

35.03
WAITRESS TO Yo lo conocia
CARLOS: cuando era poeta.
(I knew you when
you were a poet) 6/9 36.01 38.00 1.15

Starts L AT O.S. WAITRESS.
38.06
"AMERICAN ROULETTE"
Scene No. Spot
Sc.3 WAITRESS Conozco todas sus

Cont: (O.S.) TO poesias, son
CARLOS: preciosas. (I know
all your poems,
they're beautiful) 6/10 38.11 42.14 4.03
CARLOS TO Gracias, pero

WAITRESS: todavia soy poeta.
(I am still a poet,
you know) 6/11 43.00 45.08 2.08
4 M. WAIST SHOT WAITRESS.

Starts
45.10 WAITRESS TO Hey no, ya ...
CARLOS: (Oh no, of course
...) 6/12 46.00 47.02 1.02
HOLD. WAITRESS: LAUGHS
... ya, no es lo
que queria decir.
(... I didn't mean
it that way) 6/13 47.12 49.10 1.14

Starts
52.02 WAITRESS Pero//su lucha
(O.S.) TO contra los
CARLOS: fascistas ...
(But your fight (This Spot Starts 19 Frames
against the Before Cut At 52.02)
fascists ...) 6/14 50.15 54.07 3.08

Starts
55.02 WAITRESS TO ... nos da
CARLOS: esperanza y valor.
(... gives us hope
and courage) 6/15 55.07 57.13 2.06
We are very proud

of you. 6/16 59.03 61.06 2.03

Starts
61.13 CARLOS TO Thank you. 6/17 62.05 63.01 0.12
WAITRESS:
You're in London
now. 6/18 63.03 64.05 1.02
"AMERICAN ROULETTE"
Scene No. Spot

Starts
64.10 WAITRESS TO Er yes, um ... 6/19 65.04 67.03 1.15
CARLOS:
... I was studying
English when the
coup happened. 6/20 67.08 70.08 3.00
My Father, er ... 6/21 71.01 72.09 1.08
... I think you

know him a little
... 6/22 73.02 75.00 1.14

Starts
75.01 WAITRESS ... Professor Rojas
(O.S.) TO -Cortez. 6/23 75.11 77.13 2.02
CARLOS:
CARLOS TO A si, como no. 6/24 78.06 79.07 1.01

WAITRESS:

Starts
80.03 WAITRESS TO He was er dismissed
CARLOS: from the university
... 6/25 82.02 85.05 3.03
... he hasn't been

arrested yet but er
... 6/26 86.08 88.15 2.07

Starts
89.05 WAITRESS ... we don't know
(O.S.) TO how long he'll be
CARLOS: free. 6/27 89.12 92.00 2.04

Starts
92.06 WAITRESS TO My er ... 6/28 94.06 95.00 0.10
CARLOS:
... my brother was
killed. 6/29 96.00 97.06 1.06
13 M. WAIST SHOT CARLOS - REACTS.

Starts
97.09
"AMERICAN ROULETTE"
Scene No. Spot

Starts
100.03 CARLOS I'm sorry. 6/30 101.07 102.11 1.04
(O.S.) TO
WAITRESS:
Everyone seems to
have lost somebody. 6/31 103.13 106.03 2.06
WOMAN (THRU Paging Doctor

P.A.): Quintas. 6/32 108.11 110.15 2.04
Telephone call. 6/33 111.02 112.09 1.07
WAITRESS TO The house phone is

CARLOS: there. 6/34 113.14 115.07 1.09
WAITRESS POINTS B.G. R.
15 M. WAIST SHOT CARLOS - NODS.

Starts
115.12 CARLOS TO Gracias. 6/35 117.07 118.07 1.00
WAITRESS:
CARLOS STANDS.
16 CARLOS STANDS INTO M. WAIST SHOT

Starts - HOLD M. WAIST SHOT CARLOS PAST
120.02 WAITRESS F.G. R.
CARLOS TO Could I order er,

WAITRESS: an English
breakfast? 6/36 121.09 124.06 2.13
WAITRESS TO Of course. 6/37 124.09 125.11 1.02

CARLOS:
PAN L AS CARLOS WALKS L - HOLD

M. WAIST SHOT CARLOS (BACK TO
CAMERA) AS HE PICKS UP PHONE.
CARLOS Doctor Quintas, you

(BACK TO have a telephone
CAMERA - call for me? 6/38 133.05 136.14 3.09
INTO
PHONE):
Thank you. 6/39 139.06 139.15 0.09
CARLOS TURNS, LOOKS F.G. R.
CARLOS Hello. 6/40 144.15 145.07 0.08

(INTO
PHONE):
"AMERICAN ROULETTE"
Scene No. Spot
Sc.16 RAMON (THRU Sorry, Mr

Cont: PHONE): President. 6/41 145.09 147.06 1.13
No time to enjoy
your breakfast. 6/42 148.00 150.02 2.02
You settle up and

you leave
immediately. 6/43 150.06 152.09 2.03
CARLOS I haven't even

(INTO started yet. 6/44 152.12 154.12 2.00
PHONE):
I've got to eat. 6/45 155.07 156.10 1.03
17 EXT. STREET.
Starts
156.14 THROUGH OPEN DRIVER'S WINDOW TO
M.C.U. RAMON (SIDE VIEW).
RAMON (INTO Leave at once it's

PHONE): an emergency. 6/46 157.06 159.09 2.03
CARLOS What emergency? 6/47 160.11 161.15 1.04

(THRU
PHONE):
RAMON (INTO Well, it's your

PHONE): life Carlos. 6/48 162.09 164.07 1.14
We're doing our

best. 6/49 164.14 166.05 1.07
18 INT. RESTAURANT.
Starts
166.09 PAST WAITRESS F.G. R TO M.S.
CARLOS (SIDE VIEW) ON PHONE. MUSIC: FADE IN 166.09
19 INT. TUBE STATION. DAY.

Starts
172.10 ACROSS STATION TO M.L.S. BOOKING
OFFICE - CARLOS STANDS IN M.L.S.
(BACK TO CAMERA) - TURNS, WALKS
QUICKLY TOWARDS - PAN L AS HE
PASSES L - STOPS, GLANCES AROUND
- PAN L AS HE WALKS L, PASSES -
WALKS DOWN B.G. STAIRS.
"AMERICAN ROULETTE"
Scene No. Spot
20 INT. PLATFORM.
Starts
191.08 PAST CARLOS F.G. L (BACK TO
CAMERA) TO L.S. APPROACHING
TRAIN - TRAIN STOPS - CARLOS
GETS ON - PAN L AS HE WALKS L
ALONG COMPARTMENT - EXITS AT
NEXT DOOR - STANDS ON PLATFORM
IN M.L.S. (BACK TO CAMERA).
21 INT. RAMON'S CAR. DAY.

Starts
243.12 M.C.U. RAMON (SIDE VIEW) LOOKS MUSIC: FADE OUT 246.03 UNDER
L. DIALOGUE
RAMON (INTO The situation is

PHONE): hotting up and
getting dangerous. 6/50 244.07 247.08 3.01
22 INT. PHONE BOX.

Starts
247.10 M. WAIST SHOT KATE.
RAMON (THRU Look I can't risk

PHONE): your life any
longer. 6/51 248.10 252.01 3.07
I'm getting someone

else to look after
Carlos. 6/52 253.06 256.04 2.14
KATE (INTO You're certainly

PHONE): not. 6/53 256.06 257.14 1.08
I can take care of

myself without the
help of your
patronising
chauvinism. 6/54 258.07 263.04 4.13
23 INT. RAMON'S CAR.

Starts
263.08 M.C.U. RAMON.
RAMON (INTO Hold on Kate. 6/55 264.01 265.07 1.06

PHONE):
You know, you're
misunderstanding
me. 6/56 266.15 268.15 2.00
"AMERICAN ROULETTE"
Scene No. Spot
Sc.23 RAMON We need you in the

Cont: (Cont): office to back Inez
up. 6/57 270.07 274.15 4.08
24 INT. PHONE BOX.

Starts
RAMON (THRU It's a high

PHONE): priority position. 6/58 276.02 277.14 1.12
KATE (INTO Who's going to work

PHONE): with Carlos? 6/59 278.05 280.03 1.14
RAMON (THRU I'm lining it up. 6/60 280.14 281.13 0.15

PHONE):
KATE (INTO Then meanwhile I'll

PHONE): work with Carlos
... 6/61 283.01 285.03 2.02
... and I think you

should ask his
opinion. 6/62 285.05 287.02 1.13
KATE HANGS UP. FX:
25 INT. PLATFORM.
Starts
289.11 PAST CARLOS R (BACK TO CAMERA) MUSIC: FADE IN 289.11
TO M.C.U. TRAIN - DRIVES F.G. L,
STOPS - PAN L AS CARLOS WALKS L.
26 INT. TRAIN.
Starts
301.02 THROUGH OPEN DOORS TO M.S.
CARLOS - WALKS TOWARDS, GETS ON
TRAIN - TRAIN DOOR CLOSES -
TRAIN MOVES OFF.
27 INT. HOTEL. DAY.

Starts
320.07 M.S. DOOR - OPENS TO REVEAL KATE
IN M. WAIST SHOT - KATE SHUTS MUSIC: FADE OUT 322.15
DOOR - TRACK L AND PAN L AS SHE FX:
WALKS L TO REVEAL VLADIMIR IN M.
WAIST SHOT - NICKOLAI STANDS IN
B.G.
KATE TO Hello. 6/63 326.07 327.04 0.13

VLADIMIR:
"AMERICAN ROULETTE"
Scene No. Spot
Sc.27 THEY SHAKE HANDS.

Cont:
KATE How are you? 6/64 327.11 328.11 1.00
(Cont):
VLADIMIR KISSES KATE'S HAND. FX:
VLADIMIR TO We are fine thank

KATE: you and you? 6/65 329.01 330.11 1.10
KATE SHAKES HANDS WITH NICKOLAI.
Could you sit? 6/66 332.09 333.09 1.00
KATE: Thank you. 6/67 333.12 334.10 0.14
THEY SIT.
VLADIMIR TO Stupendous. 6/68 338.03 339.11 1.08

KATE:
What a man, what a

-- President. 6/69 340.08 343.15 3.07
He's so important
for the friendship
and collaboration
with the Russian
people. 6/70 344.12 351.02 6.06
President Quintas
is joining us? 6/71 353.09 356.00 2.07
KATE TO No, he's had to do

VLADIMIR: TV and some other
interviews. 6/72 356.02 360.01 3.15
He apologises and
asks me to
represent the
government in
exile. 6/73 360.05 364.09 4.04
28 M. WAIST SHOT VLADIMIR L,

Starts NICKOLAI R - THEY LOOK F.G. R AT
364.15 O.S. KATE.
NICKOLAI TO You have the

KATE: authority? 6/74 365.13 368.06 2.09
VLADIMIR TO You -- you are

KATE: empowered? 6/75 369.01 372.10 3.09
"AMERICAN ROULETTE"
Scene No. Spot

Starts
372.13 KATE TO I am. 6/76 373.08 374.04 0.12
VLADIMIR:
The government is
interested in your
offer of financial
aid. 6/77 376.12 381.02 4.06
But they would like

it in writing. 6/78 382.11 384.10 1.15

Starts NICKOLAI R.
384.11
KATE (O.S.) Official. 6/79 385.02 385.14 0.12
TO
VLADIMIR:
NICKOLAI TO Miss Webber. 6/80 386.12 387.13 1.01

KATE:
NICKOLAI TO What are they doing

VLADIMIR: to us? 6/81 388.14 390.10 1.12
NICKOLAI TO They know these

KATE: things are never
put in writing. 6/82 391.03 394.10 3.07
It is an act of
trust ... 6/83 395.07 397.05 1.14

Starts
397.06 NICKOLAI ... in a totally
(O.S.) TO untrustworthy
KATE: world. 6/84 397.11 401.11 4.00

Starts NICKOLAI R.
402.00
NICKOLAI TO I am not a
KATE: capitalist. 6/85 402.09 404.06 1.13
VLADIMIR TO We are not

KATE: capitalists. 6/86 404.10 406.13 2.03
NICKOLAI TO We are not in

KATE: bondage to the
fetish of the
contract. 6/87 407.06 412.05 4.15
"AMERICAN ROULETTE"
Scene No. Spot
Sc.32 VLADIMIR TO I knew it. 6/88 414.00 415.02 1.02

Cont: NICKOLAI:
I told you. 6/89 416.09 417.11 1.02
(RUSSIAN) 6/90 419.10 422.06 2.12
They've already
been bought by the
Americans. 6/91 423.14 427.10 3.12
Catastrophic. 6/92 432.14 434.01 1.03
NICKOLAI TO We shall be sent to

VLADIMIR: the gulag. 6/93 435.02 437.03 2.01
VLADIMIR TO I need a drink. 6/94 437.06 438.09 1.03

NICKOLAI:
VLADIMIR TO Comrade waiter. 6/95 439.01 440.03 1.02

WAITER:
Three White
Russians, please. 6/96 441.01 442.14 1.13

Starts
442.15 VLADIMIR Thank you. 6/97 443.11 444.03 0.08
(O.S.):
KATE TO It's really not

VLADIMIR: like that. 6/98 445.10 447.06 1.12
They are interested

in your offer. 6/99 447.11 449.13 2.02
But the contract

must be negotiated
properly. 6/100 451.08 454.06 2.14

Starts NICKOLAI R.
454.12
VLADIMIR TO I know they need
KATE: the money. 6/101 461.13 464.15 3.02
Especially ... 6/102 466.03 467.09 1.06
... with this

Pickwick
development. 6/103 468.07 471.13 3.06
VLADIMIR TO They are not --

NICKOLAI: playing with us? 6/104 475.05 478.10 3.05
"AMERICAN ROULETTE"
Scene No. Spot

Starts
478.14 KATE TO No, they're
VLADIMIR: serious. 6/105 480.15 482.13 1.14

Starts NICKOLAI R.
483.01
NICKOLAI TO I hope so, Miss
KATE: Webber. 6/106 483.08 486.06 2.14
The facts of life

are ... 6/107 487.03 489.06 2.03
... in todays world

there is no room//
for non-alignment. 6/108 489.11 495.12 6.01
Thru Cut at 493.07)

Starts
493.07 VLADIMIR No neutrality. 6/109 495.15 498.04 2.05
(O.S.) TO
KATE:

Starts NICKOLAI R.
498.07
NICKOLAI TO There is a saying
KATE: amongst poor
countries in the
U.N. ... 6/110 499.01 504.04 5.03
... we are either

raped by the
American eagle ... 6/111 505.02 509.14 4.12
... or gang banged

by the Russian
bear. 6/112 510.13 515.07 4.10
39 M. WAIST SHOT KATE, SMILES. VLADIMIR: LAUGHS

Starts
515.13

Starts NICKOLAI R.
519.12
"AMERICAN ROULETTE"
Scene No. Spot
Sc.40 VLADIMIR TO (LAUGHS) Nickolai

Cont: KATE: puts it crudely so
there are not
misunderstandings. 6/113 520.07 527.12 7.05
You have to make a

choice. 6/114 533.00 535.01 2.01
41 M. WAIST SHOT KATE. MUSIC: IN 535.03

Starts
535.03
42 INT. STATION.
Starts
538.15 M.L.S. CARLOS - WALKS TOWARDS -
PAN L AS HE WALKS L INTO TUNNEL.
43 INT. PLATFORM.
Starts
546.10 M. WAIST SHOT CARLOS (SIDE VIEW)
- LOOKS L AT TRAIN - TRAIN STOPS
- TRACK IN AS CARLOS GETS ON
TRAIN.
44 INT. ESCALATOR.
Starts
568.09 (HIGH ANGLE) DOWN TO M.L.S.
CARLOS - TRACK BACK AS HE RUNS
UP STEPS TOWARDS - EXITS F.G. L.
45 EXT. WARREN STREET STATION.

Starts
573.13 ACROSS ROAD TO M.S. STATION -
CARLOS WALKS TOWARDS.
46 (LOW ANGLE) ALONG ALLEYWAY TO

Starts M.L.S. CARLOS - TRACK BACK AS HE
583.12 WALKS F.G. R.
47 THROUGH F.G. WIRE FENCE TO M.S.

Starts CARLOS - PAN R AS HE RUNS R -
593.09 STOPS, GETS IN RAMON'S CAR -
CLOSES DOOR. FX:
48 ALONG STREET TO M.L.S. RAMON'S

Starts CAR - TURNS CORNER, DRIVES
605.13 TOWARDS. MUSIC: FADE OUT 607.00
"AMERICAN ROULETTE"
Scene No. Spot
Sc.48 CARLOS What is the

Cont: (V.O.) TO emergency? 6/115 607.02 608.09 1.07
RAMON:
RAMON We needed to know

(V.O.) TO ... 6/116 609.01 610.11 1.10
CARLOS:
... if you'd been
picked up at Inez's
office and followed
... 6/117 611.02 614.04 3.02
... and you were. 6/118 614.09 615.07 0.14
PAN R AS CAR DRIVES PAST R.
CARLOS How did you know? 6/119 616.11 617.07 0.12

(V.O.) TO
RAMON:
RAMON A team of three. 6/120 617.11 618.15 1.04

(V.O.) TO
CARLOS:
The watchers were
watched ... 6/121 619.12 621.04 1.08
HOLD AS CAR DRIVES DOWN B.G.

ROAD.
... mind you ... 6/122 622.14 623.07 0.09
... our boys felt

that they also were
being watched. 6/123 624.12 627.08 2.12
Funny, eh ... 6/124 627.13 628.04 0.07
... you carrying

the gun? 6/125 629.11 630.12 1.01
CARLOS Yes, but I don't

(V.O.) TO know how to use it. 6/126 632.10 634.12 2.02
RAMON:
RAMON No problem. 6/127 635.07 636.04 0.13

(V.O.) TO
CARLOS:
It's like a nuclear
deterrent. 6/128 637.03 639.02 1.15
If you need to use

it it'll be//too
late. 6/129 640.01 642.09 2.08
Thru Cut at 641.15)
"AMERICAN ROULETTE"
Scene No. Spot
49 INT. CAR.
Starts
641.15 THROUGH WINDSCREEN TO M.L.S.
ROAD JUNCTION - GIRL WALKS L
ACROSS ROAD.
RAMON Just look at her. 6/130 643.11 646.10 2.15

(O.S.) TO
CARLOS:
PAN L AS GIRL WALKS L.
What a town. 6/131 648.14 650.02 1.04
What women. 6/132 652.00 652.14 0.14

Thru Cut at 652.12)
50 THROUGH WINDSCREEN TO M.C.U.

Starts CARLOS.
652.12
CARLOS TO Ramon, how did
RAMON: those guys
shadowing me get on
to me? 6/133 655.10 658.12 3.02
51 THROUGH WINDSCREEN TO C.U.

Starts RAMON.
659.00
RAMON TO Don't you worry
CARLOS: about it. 6/134 659.08 660.14 1.06
I'm getting you a

bodyguard. 6/135 661.06 662.15 1.09
52 M.C.U. CARLOS.
Starts
663.13 CARLOS TO What about Kate? 6/136 664.15 666.04 1.05
RAMON:
53 C.U. RAMON.
Starts
666.06 RAMON TO Ah-ah she's a
CARLOS: security risk. 6/137 666.15 668.14 1.15
54 M.C.U. CARLOS - LOOKS L AT O.S.

Starts RAMON.
668.15
"AMERICAN ROULETTE"
Scene No. Spot
Sc.54 RAMON We'll have to stop

Cont: (O.S.) TO working with her. 6/138 669.12 671.10 1.14
CARLOS:
CARLOS TO You're saying she's

RAMON: betraying us.
You're crazy. 6/139 672.13 675.05 2.08
55 C.U. RAMON.
Starts
675.06 RAMON TO Amigo, whenever
CARLOS: anything's happened
Kate's been there. 6/140 676.10 679.15 3.05
56 C.U. CARLOS - LOOKS L AT O.S.

Starts RAMON.
680.02
RAMON We can't take
(O.S.) TO chances. 6/141 680.11 682.06 1.11
CARLOS:
CARLOS TO Of course working

RAMON: with me she knows
exactly what I'm
doing. 6/142 683.10 687.01 3.07
I trust her
absolutely. 6/143 689.07 691.02 1.11
Thru Cut at 690.06)
57 C.U. RAMON.
Starts
690.06 RAMON TO Of course you trust
CARLOS: her, you're in love
with her. 6/144 691.03 693.09 2.06
58 C.U. CARLOS.
Starts
693.10 RAMON You are going to
(O.S.) TO have to give her
CARLOS: up. 6/145 694.09 696.11 2.02
CARLOS TO I refuse. 6/146 699.04 700.06 1.02

RAMON:
If she goes ... 6/147 701.13 702.14 1.01
... I go. 6/148 703.10 704.06 0.12
That's it. 6/149 705.15 706.12 0.13

"AMERICAN ROULETTE"
REEL 6 (3B) Page: (16)*
Scene No. Spot
59 C.U. RAMON.
Starts
706.13 RAMON TO It's your skin
CARLOS: Hombre ... 6/150 707.08 708.12 1.04
... yes, I don't

like. 6/151 709.07 710.13 1.06
60 C.U. CARLOS - LOOKS R - TURNS,

Starts LOOKS L.
710.14
RAMON Especially now
(O.S.) TO since we have to
CARLOS: wage this
propaganda war. 6/152 711.07 715.03 3.12
CARLOS TO Propaganda? 6/153 715.10 716.08 0.14

RAMON:
I'm a poet Ramon

not a politician. 6/154 721.05 723.11 2.06
61 C.U. RAMON.
Starts
723.15 RAMON TO No, don't be a
CARLOS: politician, be
yourself. 6/155 724.03 726.09 2.06
No, you speak from

the heart. 6/156 727.02 728.14 1.12

REEL 7 (4A)
ZERO is START MARK

Scene No. Spot

1 INT. BAR. DAY.

Starts
12.00 OVER CARLOS F.G. L (BACK TO
CAMERA) TO M.C.U. ZOE.
CARLOS Six months ago our

(BACK TO ... 7/1 12.15 14.10 1.11
CAMERA) TO
ZOE:
2 OVER ZOE F.G. R (BACK TO CAMERA)

Starts TO M.C.U. CARLOS.
14.11
CARLOS TO ... country was
ZOE: living in a
democracy. 7/2 14.11 16.15 2.04
Our government was

committed to social
change ... 7/3 18.10 21.11 3.01
... to improving
the lives of the
poor, their housing
... 7/4 21.13 24.04 2.07
... medical care

... 7/5 25.00 26.00 1.00
3 OVER CARLOS F.G. L (BACK TO

Starts CAMERA) TO M.C.U. ZOE.
26.01
CARLOS ... education. 7/6 26.03 27.03 1.00
(BACK TO
CAMERA) TO
ZOE:
ZOE TO Well that doesn't

CARLOS: sound very
controversial. 7/7 27.06 29.14 2.08
4 EXT. PARLIAMENT SQUARE. DAY.

Starts
30.05 OVER REPORTER F.G. R (BACK TO
CAMERA) TO M.C.U. CARLOS.
"AMERICAN ROULETTE"
Scene No. Spot
Sc.4 CARLOS TO What happened was

Cont: REPORTER: ... 7/8 31.01 32.08 1.07
... the military

took fright ... 7/9 33.04 35.01 1.13
... a junta seized

power, murdered the
President ... 7/10 37.10 40.14 3.04
... imprisoned
political leaders
... 7/11 41.05 43.01 1.12
... banned trade

unions, censored
the press, in a
brutal repression
of all human rights
... 7/12 43.03 48.04 5.01
5 PAST CAMERAMAN L AND REPORTER R

Starts (BACKS TO CAMERA) TO M. WAIST
48.10 SHOT CARLOS.
REPORTER TO So you're now

CARLOS: calling for a
complete ban on all
loans and aid to
the junta? 7/13 48.15 54.01 5.02
6 OVER REPORTER F.G. R (BACK TO

Starts CAMERA) TO M.C.U. CARLOS.
54.06
CARLOS TO The most effective
REPORTER: means of isolation
is economic
isolation. 7/14 54.15 60.07 5.08
So we are calling
upon Britain ... 7/15 61.07 63.11 2.04
... and its

European partners
to support our
campaign. 7/16 64.07 67.09 3.02
PAN L OFF CARLOS TO REVEAL RAMON

IN M. WAIST SHOT.
REPORTER Doctor Quintas,

(O.S.) TO thank you. 7/17 69.08 71.05 1.13
CARLOS:
"AMERICAN ROULETTE"
Scene No. Spot
7 INT. COLLEGE. DAY.

Starts
74.02 (LOW ANGLE) M.L.S. FLOOR - TILT
UP TO REVEAL CARLOS IN M. WAIST
SHOT - WALKS TOWARDS FOLLOWED BY
OTHERS. MUSIC: FADE IN 74.02
8 INT. ANOTHER PART OF COLLEGE.

Starts DAY.
88.09
ACROSS ROOM TO M.S. SCREECH
(SEATED) R - B.G. DOOR OPENS TO MUSIC: FADES
REVEAL M.S. ATTENDANT - HOLDS
DOOR OPEN AS KATE WALKS TOWARDS
- SCREECH STANDS.
SCREECH TO Ah Kate ... 7/18 91.07 92.10 1.03

KATE:
ATTENDANT EXITS THROUGH B.G.

DOORWAY.
... there's a bit

of a problem. 7/19 93.13 96.00 2.03
KATE TO What? 7/20 96.06 97.01 0.11

SCREECH:
THEY TURN, EXIT THROUGH B.G.

DOORWAY.
9 EXT - C.U. HAND SCREWS SILENCER

Starts ONTO GUN BARREL - TILT DOWN. MUSIC: BUILDS
98.10
10 INT - PAST WOMAN F.G. L (BACK TO

Starts CAMERA) TO M. WAIST SHOT SECOND
105.07 WOMAN. MUSIC: FADES
11 M.S. AUDIENCE. AUDIENCE: CLAP

Starts
111.09
12 PAST WOMAN F.G. L AND OVER TABLE

Starts TO M.S. SECOND WOMAN L, MAN R
115.02 (SEATED).
"AMERICAN ROULETTE"
Scene No. Spot
13 EXT - (LOW ANGLE) UP THROUGH

Starts WINDOW TO M. WAIST SHOT ALFONSO. MUSIC: BUILDS
117.06
14 PAST ALFONSO'S ARM F.G. AND

Starts THROUGH BARRED WINDOW TO M.L.S.
122.10 COLLEGE - HAND PUSHES NETTING
ASIDE.
15 INT - M. WAIST SHOT CARLOS - PAN

Starts R AS HE WALKS R - HOLD M. WAIST
126.00 SHOT SECOND WOMAN OVER CARLOS
F.G. L (BACK TO CAMERA).
WOMAN TO (INDISTINGUISHABLE) 7/21 132.01 133.05 1.04

CARLOS:
CARLOS TURNS, LOOKS L.
16 OVER F.G. AUDIENCE TO M. WAIST

Starts SHOT INEZ (SEATED) - SHE LOOKS
142.04 TOWARDS. AUDIENCE: CLAP

Starts
146.05
18 INT. CORRIDOR.
Starts
150.03 ALONG CORRIDOR TO M.L.S. SCREECH
L, KATE R - THEY RUN TOWARDS.
SCREECH TO This job is playing

KATE: havoc with my blood
pressure. 7/22 150.13 154.14 4.01
My doctor says I
should avoid
stress. 7/23 155.07 158.07 3.00
Can you imagine, in

a job like this. 7/24 159.05 162.06 3.01
19 INT. HALL.
Starts
163.09 M. WAIST SHOT SHEIK (BACK TO
CAMERA) - TURNS, LOOKS TOWARDS.
"AMERICAN ROULETTE"
Scene No. Spot
20 INT. FOYER.
Starts
169.06 ACROSS FOYER TO L.S. SCREECH L,
KATE R - RUN TOWARDS - EXIT F.G.
L.
21 C.U. STONE PLAQUE ON WALL -

Starts CRANE UP TO REVEAL SHEIK L,
178.06 CARLOS R OVER F.G. STEPS - WALK
TOWARDS.
22 UP F.G. STEPS TO L.S. CARLOS -

Starts PAN L AS HE WALKS DOWN L
191.12 FOLLOWED BY OTHERS.
23 M.S. SHEIK L, CARLOS R - TILT

Starts DOWN AND PAN L AS THEY WALK L.
198.07
24 OVER F.G. CROWD TO M.S. INEZ -

Starts PAN L AS THEY WALK L.
205.15
25 (HIGH ANGLE) DOWN TO M.L.S

Starts CARLOS - TRACK L AND TILT DOWN
210.12 AS THEY WALK DOWN STEPS.
26 OVER F.G. CROWD TO M.L.S. KATE -

Starts WALKS DOWN STEPS, MAKES HER WAY
220.00 THROUGH CROWD TOWARDS.
27 (HIGH ANGLE) OVER F.G. CROWD

Starts DOWN TO M.L.S. CARLOS (BACK TO
225.15 CAMERA) - CRANE DOWN AS THEY
WALK TO B.G. MARQUEE.
28 (LOW ANGLE) UP TO L.S. BUILDING

Starts - ZOOM IN TO REVEAL ALFONSO IN
235.06 M.L.S.
29 M. WAIST SHOT KATE (SIDE VIEW) -

Starts CRANE DOWN AND TRACK L AS SHE
240.12 WALKS F.G. L, EXITS.
"AMERICAN ROULETTE"
Scene No. Spot
30 PAST F.G. CROWD TO M.S. SCREECH

Starts - WALKS DOWN STEPS TOWARDS.
248.13
31 OVER ALFONSO F.G. R (BACK TO

Starts CAMERA) AND THROUGH BARS DOWN TO
263.08 L.S. CROWD - AIMS RIFLE AT B.G.
CROWD.
32 M. WAIST SHOT SCREECH (SIDE

Starts VIEW) - PAN L AS HE WALKS DOWN
268.02 STAIRS L WITH CROWD.
33 C.U. WAITER'S HANDS POUR

Starts CHAMPAGNE INTO GLASS. FX:
275.01
34 OVER F.G. CROWD TO M. WAIST SHOT

Starts CARLOS (SIDE VIEW) - LOOKS L -
283.03 TURNS, WALKS TOWARDS.
35 M. WAIST SHOT WOMAN L PAST MAN

Starts F.G. R (BACK TO CAMERA) -
294.14 SCREECH ENTERS R IN M. WAIST
SHOT, WALKS L - LOOKS UP B.G. L.
36 (SCREECH'S P.O.V.) UP TO M.L.S.

Starts WINDOW.
297.01
37 M. WAIST SHOT SCREECH (SIDE

Starts VIEW) LOOKS UP B.G. L - LOOKS
298.09 AROUND.

Starts BUILDINGS.
300.00
39 M. WAIST SHOT SCREECH (BACK TO

Starts CAMERA) - TURNS, LOOKS TOWARDS -
301.08 PAN L AS HE WALKS L.
40 THROUGH F.G. CROWD TO M. WAIST

Starts SHOT CARLOS - TALKS TO MEMBERS
306.05 OF CROWD.
"AMERICAN ROULETTE"
Scene No. Spot
41 OVER ALFONSO F.G. R (BACK TO

Starts CAMERA) AND ALONG BARREL OF GUN
316.14 TO L.S. B.G. CROWD (SOFT FOCUS).
42 (ALFONSO'S P.O.V.) THROUGH

Starts TELESCOPIC SIGHT TO M.S. CROWD -
319.10 PAN R TO REVEAL CARLOS IN M.S.
43 OVER F.G. CROWD TO M.S. KATE -

Starts PAN L AS SHE WALKS L THROUGH
323.10 CROWD - TURNS, WALKS TOWARDS
F.G. CARLOS - KATE TALKS TO
CARLOS.
44 ALONG BARREL OF GUN DOWN TO L.S.

Starts CROWD.
340.13
45 (ALFONSO'S P.O.V.) THROUGH

Starts TELESCOPIC SIGHT DOWN TO M.S.
344.02 KATE L, CARLOS R.
46 M. WAIST SHOT MAN F.G. R -

Starts SCREECH ENTERS B.G. R IN M.
348.06 WAIST SHOT, LOOKS AROUND -
REACTS.

Starts ALFONSO - POINTS GUN TOWARDS.
355.01
48 M. WAIST SHOT SCREECH L, MAN R.

Starts
356.11 SCREECH: (SHOUTS) Hey you. 7/25 357.01 358.02 1.01
49 M.C.U. GUN - TRIGGER IS PULLED. FX:

Starts
358.09
50 M.S. CROWD. CROWD: SCREAM

Starts MUSIC: FADE OUT 361.00 UNDER FX:
360.10
"AMERICAN ROULETTE"
Scene No. Spot
51 M.C.U. CHAMPAGNE GLASSES ON

Starts TABLE - TABLE FALLS TOWARDS.
361.12
52 C.U. TRIGGER - TRIGGER IS

Starts PULLED. FX:
363.02
53 M.C.U. SCREECH - RUNS F.G. R. MUSIC: FADE IN 365.01

Starts
364.08
54 DOWN TO M.C.U. WOMAN (WAIST

Starts DOWN) RUNS TO EXIT B.G. R AS
365.15 PEOPLE RUN F.G. R TO L.
55 THROUGH F.G. CROWD TO M.L.S.

Starts CARLOS LYING ON GROUND - KATE
367.07 KNEELS BEHIND HIM - TRACK IN AND
TILT DOWN - HOLD C.U. CARLOS'
RED CLOAK.
DISSOLVE
TO
56 C.U. RED STRETCHER BLANKET - PAN
Starts L AS THEY WALK L TO REVEAL
375.01 CARLOS IN M. WAIST SHOT LYING ON
STRETCHER - TILT UP AS STRETCHER
IS LOADED INTO B.G. AMBULANCE -
HOLD M. WAIST SHOT KATE R -
LOOKS INTO B.G. AMBULANCE - GETS
IN - AMBULANCE DOORS CLOSE. FX:
57 INT. AMBULANCE.
Starts
403.13 PAST KATE L (SIDE VIEW) TO
M.C.U. CARLOS.
KATE TO Carlos ... 7/26 405.01 405.12 0.11

CARLOS:
... darling. 7/27 410.06 411.02 0.12
58 C.U. KATE'S HAND HOLDS CARLOS'

Starts HAND.
415.00
KATE (O.S.) Talk to me, it's
TO CARLOS: Kate. 7/28 416.01 418.00 1.15
"AMERICAN ROULETTE"
Scene No. Spot
Sc.58 TILT UP AND PAN L TO REVEAL KATE

Cont: IN M.C.U. - RESTS CHIN ON
CARLOS' FOREHEAD. CARLOS: MURMURS

Starts
432.14 C.U. VDU - READS:
The word
was born in blood,
grew in the dark body, beating,
and flew through the lips and the
mouth.
RAMON (O.S. A spokesman said

- INTO President Quintas
PHONE): is fighting for his
life ... 7/29 434.10 439.15 5.05
... colleagues in
the government are
confident ... 7/30 441.11 444.00 2.05
... that his

resilience and
tenacity//will
prevail ... 7/31 444.04 447.09 3.05
Thru Cut at 446.11)
60 M. WAIST SHOT INEZ (BACK TO

Starts CAMERA) SEATED AT B.G. COMPUTER.
446.11
RAMON (O.S. ... no make that
- INTO succeed ... 7/32 448.00 449.10 1.10
PHONE):
INEZ TURNS, LOOKS TOWARDS.
... in his fight

for life and
victory ... 7/33 450.04 452.15 2.11
61 OVER F.G. DESK TO M. WAIST SHOT

Starts RAMON.
453.03
RAMON (INTO ... over the
PHONE): brutality of a
dictatorship that
failed ... 7/34 453.11 457.07 3.12
"AMERICAN ROULETTE"
Scene No. Spot
Sc.61 RAMON ... to silence his

Cont: (Cont): uniquely beautiful
voice. 7/35 457.09 460.09 3.00
Got it. 7/36 461.07 461.14 0.07
Yes, it is a bit
flowery. 7/37 464.07 466.08 2.01
We are a poetic
bunch here. 7/38 469.04 470.13 1.09
62 M. WAIST SHOT INEZ (SEATED) -

Starts LOOKS TOWARDS.
472.04
RAMON (O.S. Bye. 7/39 472.15 473.06 0.07
- INTO
PHONE):
INEZ ANSWERS PHONE.
INEZ (INTO Hello. 7/40 476.01 476.12 0.11

PHONE):
Yes. 7/41 478.14 479.12 0.14
I, I can. 7/42 482.04 483.06 1.02
Say, a colleague in
the government. 7/43 488.06 491.09 3.03

Starts RAMON (SEATED).
493.02
INEZ (O.S. No, no comment on
- INTO that. 7/44 494.02 496.05 2.03
PHONE):
64 M. WAIST SHOT INEZ.

Starts
496.07 INEZ (INTO We do not know if
PHONE): President Quintas
was the intended
victim. 7/45 496.15 501.15 5.00
65 INT. HOSPITAL ROOM.

Starts
505.04 M.S. NEWSPAPER - HEADLINE READS:
LONDON
SHOOTING
Sheik Assassinated
"AMERICAN ROULETTE"
Scene No. Spot
Sc.65 HOLD. FX: KNOCK AT DOOR

Cont:
CARLOS Come in. 7/46 509.04 509.15 0.11
(HIDDEN):
LOWERS PAPER TO REVEAL CARLOS IN

M. WAIST SHOT SITTING UP IN BED.
66 M.S. DOOR - OPENS TO REVEAL

Starts MORRISEY IN M. WAIST SHOT -
512.14 LOOKS R AT O.S. CARLOS.
MORRISEY TO Doctor Quintas ... 7/47 515.03 516.11 1.08

CARLOS:
MORRISEY CLOSES DOOR. FX:
... how relieved I

am to see you've
survived. 7/48 517.12 521.00 3.04
PAN R AS HE WALKS R.
You know ... 7/49 522.08 522.15 0.07
... for a while

there I was
worried. 7/50 523.06 525.01 1.11
How are you? 7/51 525.10 526.09 0.15
HOLD M. WAIST SHOT CARLOS PAST

MORRISEY L (BACK TO CAMERA) -
MORRISEY PLACES BUNCH OF FLOWERS
ON BED.
CARLOS TO It's nothing Mr

MORRISEY: Morrisey ... 7/52 531.08 533.01 1.09
... just a flesh

wound. 7/53 535.00 536.11 1.11
MORRISEY TO How fortunate. 7/54 536.13 537.14 1.01

CARLOS:
MORRISEY SITS F.G. L (BACK TO

CAMERA).
MORRISEY You know ... 7/55 538.14 539.08 0.10

(BACK TO
CAMERA) TO
CARLOS:
"AMERICAN ROULETTE"
Scene No. Spot
Sc.66 MORRISEY ... I hadn't

Cont: (Cont): realised how
dangerous your
position is. 7/56 542.05 546.13 4.08
It makes my offer
more urgent. 7/57 548.04 550.07 2.03
Have you made a

decision? 7/58 552.07 553.13 1.06

Starts
554.07 CARLOS TO What can I say Mr
MORRISEY: Morrisey, it's
difficult. 7/59 556.05 559.02 2.13
It's my Latin
American
temperament, my
machismo. 7/60 561.12 565.05 3.09
CARLOS DRINKS.
See if I accepted
... 7/61 569.09 570.14 1.05
... people would

think I was a
coward. 7/62 573.06 575.05 1.15
Slight scratch on
the head and er ... 7/63 575.14 578.01 2.03
... became
frightened, took
your money and
fled. 7/64 578.09 581.06 2.13
And I could live

with being thought
a traitor ... 7/65 584.11 587.01 2.06
... never a coward. 7/66 590.08 591.09 1.01
68 M.C.U. MORRISEY LOOKS F.G. R AT

Starts O.S. CARLOS.
591.15
CARLOS Machismo. 7/67 595.12 596.08 0.12
(O.S.) TO
MORRISEY:
"AMERICAN ROULETTE"
Scene No. Spot

Starts
597.10
70 PAST MORRISEY L (BACK TO CAMERA)

Starts AND ALONG BED TO M.S. CARLOS -
600.11 THROWS BACK BED SHEETS - PAN L
AS CARLOS STEPS OUT OF BED.
MORRISEY What are you doing,

(BACK TO Doctor Quintas? 7/68 602.05 604.01 1.12
CAMERA) TO
CARLOS:
Hey, you're a sick

man. 7/69 604.03 606.00 1.13
CARLOS TO I'm an angry one Mr

MORRISEY: Morrisey. 7/70 607.04 609.10 2.06
HE TURNS (BACK TO CAMERA) OPENS

B.G. CUPBOARD - TAKES OUT
TROUSERS.
CARLOS Tell me ... 7/71 613.06 614.02 0.12

(BACK TO
CAMERA) TO
MORRISEY:
CARLOS TURNS, LOOKS TOWARDS.
CARLOS TO ... what are you

MORRISEY: playing at? 7/72 615.04 616.09 1.05
Half a million
dollars. 7/73 617.07 619.00 1.09
MORRISEY As an advance. 7/74 619.01 620.13 1.12

(BACK TO
CAMERA) TO
CARLOS:
With royalties and

residual rights it
could eventually be
a million dollars. 7/75 621.02 625.15 4.13
CARLOS PUTS ON TROUSERS.
CARLOS TO A million dollars. 7/76 628.07 629.14 1.07

MORRISEY:
What was this for? 7/77 631.13 633.00 1.03

"AMERICAN ROULETTE"
Scene No. Spot
Sc.70 CARLOS INDICATES BANDAGE ON HIS

Cont: HEAD.
CARLOS Soften me up? 7/78 633.07 634.10 1.03

(Cont):
Or couldn't you
wait for an answer
Mr Morrisey? 7/79 636.15 639.11 2.12
Remove me and save

your little money? 7/80 641.12 644.04 2.08
MORRISEY We had nothing to

(BACK TO do with that! 7/81 644.06 647.02 2.12
CAMERA) TO
CARLOS:
CARLOS TO Nothing? 7/82 651.03 651.13 0.10

MORRISEY:
What is the
rationale of the
dictatorship, Mr
Morrisey? 7/83 655.09 659.01 3.08
How does it fit

into the CIA//
scheme of things? 7/84 662.08 665.11 3.03
Thru Cut at 664.05)
71 M. WAIST SHOT MORRISEY - LOOKS

Starts UP R AT O.S. CARLOS.
664.05
MORRISEY TO It's quite simple. 7/85 668.12 670.01 1.05
CARLOS:
Generals are
excellent managers
... 7/86 672.13 675.04 2.07
... ambitious,
unscrupulous ... 7/87 676.11 679.04 2.09
... and prepared to

-- clear the decks
and//create
favourable trading
conditions. 7/88 679.09 686.07 6.14
Thru Cut at 683.05)
"AMERICAN ROULETTE"
Scene No. Spot
72 OVER F.G. MORRISEY (BACK TO

Starts CAMERA) TO M. WAIST SHOT CARLOS
683.05 (BACK TO CAMERA) - TURNS, LOOKS
TOWARDS - PICKS UP BOUQUET OF
FLOWERS - THROWS ONTO BED - SITS
IN B.G. CHAIR - PUTS ON SHOES
AND SOCKS.
CARLOS TO I don't understand

MORRISEY: about your
Americans,
Mr Morrisey. 7/89 690.09 694.05 3.12
You always want to

make it safe for
business ... 7/90 697.02 699.13 2.11

Starts
699.14 CARLOS ... yet it always
(O.S.) TO seems to go wrong. 7/91 700.03 702.02 1.15
MORRISEY:
Why is that? 7/92 702.15 704.02 1.03

Starts
704.14 CARLOS TO You are intelligent
MORRISEY: people ... 7/93 706.01 707.11 1.10
... yet it always

seems to end in
disaster. 7/94 708.05 710.11 2.06
Always a fuck up,

Mr Morrisey. 7/95 713.11 716.03 2.08
Always the innocent

-- who suffer. 7/96 718.15 722.00 3.01

Starts
722.07 CARLOS Why is that? 7/97 724.08 725.09 1.01
(O.S.) TO
MORRISEY:
MORRISEY TO Machismo, Doctor

CARLOS: Quintas ... 7/98 727.14 730.07 2.09
... people don't

want to stick to
the corporate plan. 7/99 733.07 736.14 3.07
"AMERICAN ROULETTE"
Scene No. Spot
Sc.75 MORRISEY Like you, they get

Cont: (Cont): carried away ... 7/100 738.03 740.12 2.09

Starts F.G. L AT O.S. MORRISEY.
741.01
MORRISEY You've changed. 7/101 741.11 743.05 1.10
(O.S.) TO
CARLOS:
You're beginning to
act like a
President. 7/102 744.06 747.14 3.08
77 C.U. MORRISEY.
Starts
748.02 MORRISEY TO Very dangerous. 7/103 749.05 751.03 1.14

CARLOS:
78 M. WAIST SHOT CARLOS - TAKES FX:

Starts THINGS FROM B.G. CUPBOARD.
751.13
CARLOS TO I hope so, Mr
CARLOS WALKS F.G. L.

Starts HE WALKS L - TURNS, WALKS
761.05 TOWARDS - PAN R AS HE PASSES R.

Starts - LOOKS L - TURNS, LOOKS F.G. L
767.04 AT O.S. MORRISEY.
CARLOS TO Because the new

MORRISEY: economic order loan
might be stopped. 7/105 769.07 772.15 3.08
There are reports

of a growing
resistance within
the country. 7/106 776.05 780.01 3.12
81 M.C.U. MORRISEY - LOOKS TOWARDS.

Starts
780.04 CARLOS You have problems,
(O.S.) TO haven't you? 7/107 781.01 782.10 1.09
MORRISEY:
"AMERICAN ROULETTE"
Scene No. Spot
Sc.81 MORRISEY TO Hmm-mm. 7/108 783.02 783.12 0.10

Cont: CARLOS:

Starts HE WALKS L - TILT DOWN TO REVEAL
784.05 MORRISEY IN M. WAIST SHOT (BACK
TO CAMERA).
MORRISEY You know Doctor

(BACK TO Quintas, I'm
CAMERA) TO developing a
CARLOS: certain ... 7/109 785.06 788.15 3.09
HOLD M. WAIST SHOT MORRISEY

(SEATED) PAST CARLOS F.G. R.
MORRISEY TO ... admiration for 7/110 790.11 792.10 1.15

CARLOS: you.
I like the way you

fight fire with
fire. 7/111 794.01 797.08 3.07
83 M.C.U. CARLOS.
Starts
797.11 MORRISEY If only we were on
(O.S.) TO the same side. 7/112 798.02 800.15 2.13
CARLOS:

Starts CAMERA) DOWN TO M. WAIST SHOT
801.02 MORRISEY - MORRISEY LOOKS UP R
AT O.S. CARLOS.
MORRISEY If only you would

TO CARLOS: be ... 7/113 803.06 805.02 1.12
... reasonable. 7/114 806.06 807.10 1.04
85 M.C.U. CARLOS - TURNS, LOOKS L -

Starts PICKS UP O.S. FLOWERS.
808.02
CARLOS TO Machismo, Mr

Starts CAMERA) DOWN TO M. WAIST SHOT
817.15 MORRISEY - CARLOS THROWS FLOWERS
INTO MORRISEY'S LAP - WALKS L.
"AMERICAN ROULETTE"
REEL 7 (4A) Page: (18)*
Scene No. Spot
Sc.86 CARLOS Machismo. 7/116 821.12 822.11 0.15

Cont: (O.S.) TO
MORRISEY:
EXITS L - HOLD.

REEL 8 (4B)

Scene No. Spot

1 EXT. BAYSWATER FLAT. NIGHT.

Starts
0.00 M. WAIST SHOT CARLOS (BACK TO MUSIC: IN 0.00
CAMERA) PRESSES BELL ON
INTERCOM. FX:
KATE (THRU Hello. 8/1 3.10 4.05 0.11

INTERCOM):
CARLOS Carlos. 8/2 4.14 5.13 0.15

(INTO
INTERCOM):
KATE (THRU Carlos! 8/3 6.07 7.04 0.13

INTERCOM):
What the hell are

you doing? 8/4 7.13 9.06 1.09
CARLOS OPENS DOOR. FX: BUZZER
2 INT. BAYSWATER FLAT.

Starts
13.01 ACROSS LANDING TO M. WAIST SHOT
KATE (SIDE VIEW) - LOOKS L DOWN
STAIRS.
KATE TO Carlos, what are

CARLOS: you doing out of
hospital? 8/5 13.12 16.00 2.04
CARLOS ENTERS L IN M. WAIST SHOT

(SIDE VIEW).
CARLOS TO I'm fine. 8/6 19.14 20.09 0.11

KATE:
THEY TURN, WALK INTO B.G. FLAT.
3 PAST KATE F.G. TO M. WAIST SHOT

Starts CARLOS - SHUTS B.G. DOOR - THEY FX:
22.15 TURN, WALK TOWARDS.
CARLOS TO There's work to be

KATE: done. 8/7 26.13 27.14 1.01
"AMERICAN ROULETTE"
Scene No. Spot
Sc.3 CARLOS EXITS F.G. L - PAN L AS

Cont: KATE TURNS, WALKS L BEHIND F.G.
WALL - CONTINUE PANNING L TO
REVEAL CARLOS IN M. WAIST SHOT
(BACK TO CAMERA).
CARLOS They shouldn't have

TO KATE: shot at me Kate. 8/8 32.08 34.08 2.00
KATE ENTERS R IN M. WAIST SHOT

(SIDE VIEW).
And they shouldn't

have endangered ... 8/9 35.07 37.03 1.12
... my girl. 8/10 38.09 39.10 1.01
Now we're going on

the offensive and
we're fighting
back. 8/11 40.03 43.01 2.14
KATE (BACK Darling hold on

TO CAMERA) you're still in
TO CARLOS: shock. 8/12 43.08 46.13 3.05
CARLOS TO Darling? 8/13 48.15 49.08 0.09

KATE:
You called me
darling. 8/14 53.08 54.15 1.07
KATE (BACK Of course, I'm fond

TO CAMERA) of you, I worry
TO CARLOS: about you. 8/15 55.08 59.02 3.10
CARLOS TO You've never called

KATE: me darling before
... 8/16 59.11 61.14 2.03
... why now, what

happened? 8/17 62.00 63.05 1.05
KATE (BACK I've always cared

TO CAMERA) about you. 8/18 64.05 66.01 1.12
TO CARLOS:
TRACK IN.
CARLOS TO What about the

KATE: other guy, the guy
you disappear to at
night? 8/19 68.07 71.08 3.01
"AMERICAN ROULETTE"
Scene No. Spot
Sc.3 KATE (BACK That's hopeless. 8/20 71.13 73.04 1.07

Cont: TO CAMERA)
TO CARLOS:
KATE TURNS, WALKS L.
KATE TO Why are you

CARLOS: grilling me? 8/21 76.05 78.00 1.11
KATE EXITS L - PAN L AS CARLOS

TURNS, WALKS L.
CARLOS TO Because I'm in love

KATE: with you ... 8/22 82.09 84.01 1.08
... and I'm not

going to hide it
any longer. 8/23 84.14 86.15 2.01
HOLD M. WAIST SHOT CARLOS L,

KATE R (SIDE VIEW).
Until you called me

darling I didn't
think you cared at
all. 8/24 89.01 91.15 2.14
KATE TO Carlos Quintas, for

CARLOS: a man who is
supposedly
perceptive ... 8/25 93.08 97.07 3.15
... you are

incredibly slow. 8/26 97.09 99.05 1.12
4 OVER CARLOS F.G. L (BACK TO

Starts CAMERA) TO M.C.U. KATE.
99.12
KATE TO Can't you tell how
CARLOS: I feel about you? 8/27 100.10 102.12 2.02
5 (REVERSE) OVER KATE F.G. R (BACK

Starts TO CAMERA) TO M.C.U. CARLOS.
103.02
CARLOS TO And the other guy? 8/28 105.04 106.07 1.03
KATE:
6 (REVERSE) M.C.U. KATE.

Starts
106.13 KATE TO That's still a
CARLOS: problem. 8/29 108.09 109.15 1.06
"AMERICAN ROULETTE"
Scene No. Spot
7 (REVERSE) M.C.U. CARLOS.

Starts
110.03 CARLOS TO Do I stand a 8/30 110.11 112.02 1.07
KATE: chance?
KATE (BACK Not a chance. 8/31 113.06 114.15 1.09

TO CAMERA)
TO CARLOS:
I may love you but
I'm not getting
involved with you. 8/32 115.01 118.11 3.10
CARLOS TO That makes no sense

KATE: at all Kate. 8/33 123.04 126.00 2.12

Starts
126.04 KATE TO Of course it does
CARLOS: you just can't see
it. 8/34 126.14 130.03 3.05
I couldn't have a
romance with you, I
just couldn't. 8/35 131.06 134.10 3.04

Starts
134.13 KATE (BACK My friends,
TO CAMERA) everyone will say
TO CARLOS: I'm only with you
because you're
President. 8/36 134.15 139.08 4.09
CARLOS TO Well that's not a

KATE: problem ... 8/37 139.01 140.09 1.08
... I'll resign. 8/38 142.12 143.14 1.02

Starts
144.04 KATE TO No. 8/39 144.08 145.00 0.08
CARLOS:
It's out of the
question, nothing's
going to happen. 8/40 146.07 149.14 3.07

Starts
150.10
"AMERICAN ROULETTE"
Scene No. Spot
12 M. WAIST SHOT CARLOS L, KATE R

Starts (SIDE VIEWS) - KATE TURNS, WALKS TELEPHONE: RINGS
153.00 F.G. R.
13 M. WAIST SHOT KATE (BACK TO

Starts CAMERA) WALKS TO B.G. PHONE -
157.04 LIFTS RECEIVER. FX:
KATE (INTO Yeah, hello. 8/41 161.06 162.02 0.12

PHONE):
Yes he's here, I
know. 8/42 163.14 165.06 1.08
I agree, hang on. 8/43 166.09 167.11 1.02
KATE TO It's Ramon ... 8/44 168.06 169.04 0.14

CARLOS:

Starts
169.06 KATE (O.S.) ... he's furious
TO CARLOS: with you for
discharging
yourself. 8/45 169.13 172.09 2.12
PAN R AS CARLOS WALKS R - HOLD

M. WAIST SHOT CARLOS L, KATE R -
KATE HANDS CARLOS PHONE.
CARLOS Dime.
(INTO (Tell me) 8/46 183.02 183.10 0.08
PHONE):
Yeah, you should
see me with this
bandage Ramon, I
look like a real
hero. 8/47 187.09 191.10 4.01
HOLD. MUSIC: FADE OUT 190.05 UNDER

PREVIOUS DIALOGUE
A little light
headed but we'll
meet in the morning
and we'll get back
on schedule. 8/48 196.07 200.06 3.15
Todo bien.
(Everything, it's
all right) 8/49 205.02 205.15 0.13
Bye. 8/50 206.15 207.05 0.06

"AMERICAN ROULETTE"
Scene No. Spot
Sc.14 HE REPLACES RECEIVER. FX:

Cont:
CARLOS TO Hey, it's great to
KATE: be alive. 8/51 221.10 223.10 2.00
15 EXT - M. WAIST SHOT PHOTOGRAPHER MUSIC: IN 226.08

Starts - LOOKS F.G. R, TAKES PICTURES.
226.08
16 PAST WOMAN R (SIDE VIEW) TO M.

Starts WAIST SHOT CARLOS.
230.10
17 M.S. PHOTOGRAPHER L - TAKES

Starts PICTURES OF CARLOS AND WOMAN R.
240.03
18 INT. OFFICE.
Starts
246.01 M. WAIST SHOT CARLOS L, REPORTER
R.
19 PAST LIGHTING MAN L, CAMERAMAN R

Starts (BACKS TO CAMERA) TO M.L.S.
251.10 CARLOS L, REPORTER R (SEATED).
20 INT. QUEEN ELIZABETH HALL.

Starts DAY.
259.13
ALONG CORRIDOR TO M.L.S. KATE L,
CARLOS R - THEY WALK UP STAIRS
TOWARDS.
VLADIMIR Doctor Quintas ... 8/52 262.06 263.12 1.06

(O.S.) TO
CARLOS:
... Doctor, Doctor
Quintas. 8/53 264.06 266.07 2.01
VLADIMIR ENTERS THROUGH B.G. MUSIC: FADE OUT 266.00 UNDER

DOORWAY IN L.S. - RUNS TOWARDS - PREVIOUS DIALOGUE
KATE AND CARLOS STOP - TURN,
LOOK AT VLADIMIR.
VLADIMIR TO Doctor Quintas. 8/54 267.14 269.06 1.08

CARLOS:
It is imperative we
meet. 8/55 270.03 271.14 1.11
"AMERICAN ROULETTE"
Scene No. Spot
Sc.20 VLADIMIR I implore you. 8/56 272.11 274.07 1.12

Cont: (Cont):
There must be a --
rapprochement. 8/57 275.05 278.07 3.02
CARLOS TO Your offer is being

VLADIMIR: considered. 8/58 279.05 281.00 1.11
THEY WALK TOWARDS.
VLADIMIR TO It is too late for

CARLOS: that. 8/59 281.02 282.10 1.08
I have received
orders -- direct
from Moscow. 8/60 283.13 288.12 4.15
You must be
assassinated! 8/61 291.00 293.01 2.01
We have to talk. 8/62 295.05 296.04 0.15
CARLOS TO I thought you only

VLADIMIR: imprisoned poets. 8/63 297.07 299.12 2.05
Is it now back to
the good old days
when you liquidated
your best poets? 8/64 300.08 304.11 4.03
VLADIMIR TO No a regrettable
CARLOS: period ... 8/65 304.13 307.02 2.05
... but President

Quintas ... 8/66 307.13 310.00 2.03
... if you were

aligned with us ... 8/67 311.06 313.10 2.04
... you could

influence policy. 8/68 314.05 316.08 2.03
They would listen

to you. 8/69 317.02 318.14 1.12
You could persuade

them to release the
imprisoned poets. 8/70 319.10 324.07 4.13
KATE TO That would be

CARLOS: wonderful. 8/71 325.01 326.08 1.07
"AMERICAN ROULETTE"
Scene No. Spot
Sc.20 KATE TO You can put this in

Cont: VLADIMIR: writing of course? 8/72 327.06 329.08 2.02
VLADIMIR TO Excuse me. 8/73 332.15 334.00 1.01

KATE:
VLADIMIR TO President Quintas

CARLOS: ... 8/74 335.00 337.00 2.00
... you must take

this approach
seriously. 8/75 337.10 341.03 3.09
Otherwise it's out

of my hands ... 8/76 341.14 344.15 3.01
... and I couldn't

be responsible for
the consequences. 8/77 345.11 350.02 4.07
KATE TO Why don't you make

VLADIMIR: an appointment with
Inez? 8/78 353.15 356.04 2.05
Excuse us. 8/79 356.14 357.15 1.01
KATE AND CARLOS TURN, EXIT F.G.

L - HOLD M. WAIST SHOT VLADIMIR.
VLADIMIR: Inez? 8/80 362.01 363.02 1.01
21 INT. EXHIBITION HALL. DAY.

Starts
366.07 ACROSS HALL TO M.L.S. PAINTINGS
- CARLOS ENTERS F.G. R (BACK TO
CAMERA) IN M. WAIST SHOT - TRACK
IN AS HE WALKS TO B.G. TABLE
FOLLOWED BY KATE.
AUCTIONEER Thank you. 8/81 366.07 367.04 0.13

(O.S.):
CARLOS Buenos. 8/82 367.13 368.07 0.10

(BACK TO (Hello)
CAMERA):
AUCTIONEER Fifty pounds. 8/83 369.00 370.04 1.04

(O.S.): (Runs Over Spot No: 8/84)
WOMAN AT B.G. DESK STANDS.

"AMERICAN ROULETTE"
Scene No. Spot
Sc.21 WOMAN TO Buenos dias Doctor

Cont: CARLOS: Quintas, Como esta?
(Good morning
Doctor Quintas, how
are you?) 8/84 369.03 371.02 1.15
CARLOS Muy bien, y usted?

(BACK TO (Very well, and
CAMERA) TO you?) 8/85 371.08 372.07 0.15
WOMAN:
WOMAN TO Bien gracias. 8/86 372.09 373.04 0.11

CARLOS: (Runs Under Spot No: 8/87)
AUCTIONEER Seventy-five
(O.S.): pounds. 8/87 372.11 374.03 1.08
WOMAN TO Le tengo un
CARLOS: mensaje.
(I have a message
for you) 8/88 373.10 374.12 1.02
CARLOS: CONTINUES TO CHATTER
AUCTIONEER A hundred. 8/89 376.03 376.14 0.11

(O.S.)
PAN L AS CARLOS WALKS L.
Hundred and twenty-

five. 8/90 378.14 380.04 1.06
A hundred and
fifty. 8/91 383.00 384.03 1.03
CARLOS OPENS ENVELOPE - READS

PAPER.
22 C.U. TELEGRAM - READS:

Starts
384.10 YOU CAN'T STAY ... THE POLICE ARE COMING TO ARREST YOU.
LEAVE IMMEDIATELY. MEET OUTSIDE THE QUEEN ELIZABETH HALL.
LOOK OUT FOR GREENSLEEVES. HURRY!
AUCTIONEER Two hundred. 8/92 386.12 387.09 0.13

(O.S.):
Two hundred and

fifty pounds. 8/93 390.02 392.02 2.00
"AMERICAN ROULETTE"
Scene No. Spot
23 M. WAIST SHOT CARLOS (BACK TO

Starts CAMERA) READS TELEGRAM.
392.15
AUCTIONEER Three hundred. 8/94 394.09 395.12 1.03
(O.S.):
KATE ENTERS R IN M. WAIST SHOT -

TAKES TELEGRAM FROM CARLOS.
Three hundred and

fifty pounds. 8/95 398.01 400.07 2.06
KATE TO It's nothing. 8/96 403.14 404.13 0.15

CARLOS:
AUCTIONEER Any increase on

(O.S.): three hundred and
fifty? 8/97 404.14 407.01 2.03
CARLOS EXITS L FOLLOWED BY WOMAN

- HOLD M. WAIST SHOT KATE.
No. 8/98 411.02 411.08 0.06
Right. 8/99 413.01 413.08 0.07
Sold to the
gentleman. 8/100 414.08 416.02 1.10
KATE TURNS, WALKS R.
24 PAST AUCTIONEER R TO M.L.S.

Starts PAINTINGS.
416.06
AUCTIONEER: May I have your
name sir? 8/101 416.06 417.10 1.04
MAN (O.S.) Fernandez. 8/102 417.14 418.12 0.14

TO
AUCTIONEER:
CARLOS ENTERS L IN M.S. - SITS

AT B.G. TABLE.
AUCTIONEER: Lot thirty-one. 8/103 423.03 424.12 1.09
AUCTIONEER TURNS, LOOKS AT B.G.

PAINTING.
Despair ... 8/104 426.08 427.08 1.00
... by Ricardo Van

Bwaina. 8/105 428.08 430.07 1.15
"AMERICAN ROULETTE"
Scene No. Spot
Sc.24 AUCTIONEER A young Columbian

Cont: (Cont): artist ... 8/106 431.00 432.13 1.13
25 M.S. AUDIENCE.
Starts
432.14 AUCTIONEER ... living and
(O.S.): working in London. 8/107 432.15 435.06 2.07
26 M. WAIST SHOT AUCTIONEER.

Starts
435.08 AUCTIONEER: He has already
exhibited in Cork
Street. 8/108 436.00 439.01 3.01
Who's going to
start the bidding
at a hundred and
fifty? 8/109 440.10 443.01 2.07
27 M. WAIST SHOT AUDIENCE - MAN

Starts HOLDS UP HIS HAND.
443.05

Starts
445.00 AUCTIONEER: Yes sir, thank you. 8/110 445.13 447.01 1.04
Two hundred? 8/111 447.09 448.06 0.13
29 M. WAIST SHOT AUDIENCE - MAN

Starts HOLDS UP HIS HAND.
448.09

Starts
449.09 AUCTIONEER: Three hundred? 8/112 451.00 452.00 1.00
31 M.S. AUDIENCE - MAN HOLDS UP HIS

Starts HAND.
452.05

Starts
453.11 AUCTIONEER: Four hundred? 8/113 455.12 456.09 0.13
"AMERICAN ROULETTE"
Scene No. Spot
33 M. WAIST SHOT AUDIENCE - GIRL

Starts HOLDS UP HER HAND.
457.02
34 M.S. BANNER HUNG FROM CEILING -

Starts READS:
459.04
REPRESSION ART FREEDOM
TILT DOWN.
AUCTIONEER I see that the

(O.S.) TO suggested asking
AUDIENCE: price is five
hundred. 8/114 460.10 465.10 5.00

Starts
465.12 AUCTIONEER: Is anybody going to
pay this very, very
reasonable price? 8/115 466.06 470.05 3.15
36 M.S. AUDIENCE - MAN HOLDS UP HIS

Starts HAND.
470.14
37 ACROSS TABLE TO M.S. CARLOS L,

Starts AUCTIONEER R.
473.08
AUCTIONEER: Sold to that
gentleman for five
hundred pounds. 8/116 474.04 477.09 3.05
AUCTIONEER BANGS GAVEL ON DESK. FX:
Thank you sir. 8/117 478.11 479.08 0.13
May I have your

name? 8/118 480.15 481.12 0.13
MAN (O.S.): (INDISTINGUISHABLE) 8/119 482.03 483.00 0.13
AUCTIONEER: Now, ladies and

gentlemen ... 8/120 487.04 489.03 1.15
... it is my
pleasure to
introduce our next
guest auctioneer. 8/121 489.04 493.08 4.04
"AMERICAN ROULETTE"
Scene No. Spot
Sc.37 AUCTIONEER Who informs me that

Cont: (Cont): reports of his
recent death ... 8/122 495.01 498.14 3.13
... are somewhat

exaggerated. 8/123 499.09 501.14 2.05
Ladies and
gentlemen ... 8/124 503.05 504.07 1.02
... Doctor Carlos

-- Quintas. 8/125 505.04 507.15 2.11
Poet, President and

defender of
liberty. 8/126 508.15 513.03 4.04
CARLOS STANDS - THEY SHAKE AUDIENCE: CLAP

HANDS, KISS.

AUCTIONEER:
AUCTIONEER EXITS L - CARLOS

STANDS BEHIND DESK R.
CARLOS: Thank you. 8/128 527.12 528.08 0.12
38 M.S. AUDIENCE. AUDIENCE: CLAP

Starts
528.12

Starts
531.11 CARLOS TO The next item is
AUDIENCE: lot thirty-two. 8/129 532.05 534.11 2.06
An original cartoon
donated by Mel
Calman. 8/130 536.02 539.12 3.10
PAN L OFF CARLOS TO REVEAL MAN

HOLDING UP CARTOON.
CARLOS It's very good. 8/131 542.07 543.05 0.14

(O.S.):
40 M.S. AUDIENCE.
Starts
545.08 CARLOS Who will start the
(O.S.) TO bidding at fifty
AUDIENCE: pounds? 8/132 546.04 548.10 2.06
"AMERICAN ROULETTE"
Scene No. Spot
Sc.40 PAN R ACROSS AUDIENCE.

Cont:
CARLO An original cartoon
(Cont): as published in the
Times ... 8/133 555.05 558.06 3.01
... it must be
worth at least
twenty-five pounds. 8/134 558.08 561.11 3.03
MAN B.G. R HOLDS UP HIS HAND.
CARLOS Thank you. 8/135 563.09 564.03 0.10

(O.S.) TO
MAN:

Starts
565.13 CARLOS TO Thirty pounds? 8/136 566.02 567.06 1.04
AUDIENCE:
Thank you. 8/137 568.07 569.00 0.09
Thirty-five pounds? 8/138 569.06 571.01 1.11
Thank you. 8/139 571.12 572.07 0.11
Forty pounds? 8/140 573.00 574.06 1.06
42 M.S. AUDIENCE - WOMAN HOLDS UP

Starts HER HAND.
574.07
CARLOS Lady on the right. 8/141 575.06 576.09 1.03
(O.S.):

Starts
576.10 CARLOS TO Fifty pounds? 8/142 576.13 578.03 1.06
AUDIENCE:
44 M.S. AUDIENCE - MAN B.G. L HOLDS

Starts UP HIS HAND.
578.06
CARLOS Thank you, sir. 8/143 579.09 580.08 0.15
(O.S.) TO
MAN:
Sixty pounds? 8/144 581.13 583.03 1.06
MAN HOLDS UP HIS HAND.

"AMERICAN ROULETTE"
Scene No. Spot

Starts
588.05 CARLOS TO Thank you, sir. 8/145 588.11 589.12 1.01
MAN:
Seventy pounds? 8/146 590.00 591.11 1.11
46 M.S. AUDIENCE.
Starts
591.12 CARLOS Any increase on
(O.S.) TO sixty pounds? 8/147 593.01 595.12 2.11
AUDIENCE:

Starts
597.02 CARLOS TO An original Calman
AUDIENCE: ... 8/148 598.04 599.14 1.10
48 M.S. AUDIENCE.
Starts
599.15 CARLOS ... sold for sixty
(O.S.) TO pounds. 8/149 600.00 602.10 2.10
AUDIENCE:
CARLOS BANGS GAVEL. FX:
CARLOS To the bearded

(O.S.) TO gentleman. Name
MAN: sir? 8/150 603.05 605.07 2.02
MAN TO Calman. 8/151 605.15 606.12 0.13

CARLOS:
HOLD. AUDIENCE: LAUGH

Starts
609.05 CARLOS: The next item is
lot thirty-three. 8/152 616.12 619.13 3.01
50 POLICEMAN ENTERS R IN M. WAIST

Starts SHOT - PAN L AS POLICEMAN WALKS MUSIC: FADE IN 620.04
619.15 L - STOPS AS SECOND POLICEMAN
ENTERS R.
CARLOS Very original ... 8/153 621.11 622.15 1.04

(O.S.) TO
AUDIENCE:
... very valuable
... 8/154 623.10 624.14 1.04
"AMERICAN ROULETTE"
Scene No. Spot
Sc.50 CARLOS ... original

Cont: (Cont): manuscript ... 8/155 625.11 627.09 1.14
THIRD POLICEMAN ENTERS R - THEY

LOOK TOWARDS.
51 M. WAIST SHOT CARLOS - HOLDS UP

Starts PAPERS.
627.13
CARLOS TO ... of the poem
AUDIENCE: "Cabellero" solo
...
(Gentlemen lone) 8/156 627.15 630.03 2.04
... by ... 8/157 631.04 631.14 0.10
... Carlos Quintas. 8/158 633.03 634.09 1.06
HOLD. AUDIENCE: LAUGH
52 M. WAIST SHOT TWO POLICEMAN LOOK

Starts TOWARDS.
636.09
CARLOS Am I bid? 8/159 638.14 640.02 1.04
(O.S.) TO
AUDIENCE:
53 M.S. AUDIENCE - KATE ENTERS B.G.

Starts L FROM BEHIND PAINTING IN M.L.S.
641.15 - WALKS THROUGH AUDIENCE
TOWARDS.
CARLOS One hundred pounds? 8/160 642.12 644.05 1.09

(O.S.) TO
AUDIENCE:
Thank you, sir. 8/161 646.01 646.14 0.13
Am I bid two
hundred pounds? 8/162 647.13 649.12 1.15
CARLOS Thank you again. 8/163 653.08 654.07 0.15

(O.S.) TO
MAN:
KATE BECKONS CARLOS TOWARDS HER.
CARLOS Two hundred and

(O.S.): fifty pounds? 8/164 656.01 658.00 1.15
"AMERICAN ROULETTE"
Scene No. Spot

Starts
658.04
55 OVER F.G. AUDIENCE TO M.L.S.

Starts KATE - PAN R AS SHE STEPS R -
660.03 INDICATES CARLOS TO LEAVE.
CARLOS Thank you. 8/165 660.15 661.10 0.11

(O.S.):
Will anyone bid
three hundred and
fifty pounds ... 8/166 663.00 666.00 3.00

Starts
666.01 CARLOS: ... for this
Quintas poem being
auctioned for this
most worthy cause? 8/167 666.02 670.10 4.08

Starts KATE - SHE STANDS BY B.G.
670.15 POLICEMAN.
CARLOS Thank you. 8/168 671.15 672.08 0.09

(O.S.):
The lady who bid
two hundred and
fifty pounds has
bid against herself
at three hundred
and fifty pounds. 8/169 672.13 679.03 6.06

Starts
679.04 CARLOS TO Before she changes
AUDIENCE: her mind ... 8/170 679.12 681.10 1.14
CARLOS BANGS GAVEL. FX:
... sold for three

hundred and fifty
pounds. 8/171 681.12 684.06 2.10

Starts KATE (BACK TO CAMERA).
684.07
"AMERICAN ROULETTE"
Scene No. Spot
Sc.59 KATE (BACK This is a peaceful

Cont: TO CAMERA) meeting, you are (This Spot Starts 5 Frames
TO disturbing these Before Cut At 684.07)
POLICEMAN: people. 8/172 684.02 688.06 4.04
KATE TURNS, LOOKS TOWARDS.
KATE TO Will somebody

AUDIENCE: please help me
we're being
harassed by the
police. 8/173 689.12 693.05 3.09
60 M. WAIST SHOT CARLOS - CARLOS

Starts BANGS GAVEL ON DESK. FX:
693.06
CARLOS TO Would someone
AUDIENCE: please restrain the
police? 8/174 695.00 697.02 2.02
We have been warned

there would be a
provocative
incident. 8/175 697.04 700.08 3.04

Starts KATE (BACK TO CAMERA) - AUDIENCE
700.09 TURN, WALK TOWARDS B.G. POLICE.
62 M. WAIST SHOT CARLOS - WALKS L.

Starts
704.05
63 THROUGH F.G. CROWD TO M. WAIST

Starts SHOT KATE (BACK TO CAMERA) -
705.13 TRACK IN AS POLICE STRUGGLE -
KATE RUNS, EXITS R - HOLD AS
AUDIENCE STRUGGLE WITH POLICE.
64 EXT. QUEEN ELIZABETH HALL.

Starts
719.11 THROUGH GLASS DOORS TO M.L.S.
CARLOS L, KATE R - THEY WALK
TOWARDS - TRACK BACK AS THEY
WALK.
65 ACROSS ROAD TO M.L.S. ICE-CREAM

Starts VAN.
730.05
"AMERICAN ROULETTE"
Scene No. Spot
66 (LOW ANGLE) UP TO M. WAIST SHOT

Starts CARLOS L, KATE R - THEY STEP
733.09 F.G. L.
67 ACROSS ROAD TO M.L.S. CARLOS L,

Starts KATE R - TRACK BACK AS THEY RUN
736.14 TOWARDS - TRACK R AS THEY WALK
R.
SCREECH Glad you made it,

(O.S.) TO get in the back. 8/176 753.01 755.05 2.04
KATE/
CARLOS:
HOLD AS KATE CLIMBS INTO B.G.

ICE-CREAM VAN - SCREECH R (BACK
TO CAMERA) HOLDS OPEN DOOR -
TRACK IN - HOLD M. WAIST SHOT
CARLOS L, SCREECH R.
SCREECH TO Er, Doctor Quintas

CARLOS: would you mind
driving I'm afraid
I er ... 8/177 755.11 759.11 4.00
SCREECH INDICATES DRINKING.
... lost my
licence. 8/178 760.08 761.14 1.06
CARLOS TO All right. 8/179 761.08 762.01 0.09

SCREECH:
SCREECH TURNS, CLIMBS IN B.G.

VAN FOLLOWED BY CARLOS - CLOSES
DOOR. FX:
SCREECH TO Sorry about this

(HIDDEN) ... 8/180 771.06 773.02 1.12
CARLOS:
... all they had
left in the motor
pool. 8/181 773.05 775.04 1.15
Using it for
surveillance. 8/182 776.04 778.07 2.03
KATE (INDISTINGUISHABLE) 8/183 778.13 779.07 0.10

(HIDDEN) TO
SCREECH:
"AMERICAN ROULETTE"
Scene No. Spot

Starts SHOT CARLOS.
779.10
69 INT. ICE-CREAM VAN.

Starts
781.05 PAST SCREECH R TO M. WAIST SHOT
KATE.
KATE TO Why were the police

SCREECH: trying to arrest
us? 8/184 781.12 784.05 2.09
SCREECH TO Not arrest, just

KATE: helping with
enquiries. 8/185 783.14 788.02 4.04
Top secret
documents. 8/186 789.04 791.06 2.02
Twist your arm ... 8/187 792.04 793.08 1.04
... track down the

culprit ... 8/188 794.02 796.00 1.14
... Doctor Quintas

to be deported. 8/189 797.06 799.07 2.01

Starts SHOT CARLOS.
799.10
SCREECH Activities
(O.S.) TO prejudicial to the
KATE: security of the
state. 8/190 800.02 805.00 4.14
71 M. WAIST SHOT KATE L, SCREECH R.

Starts
805.01 KATE TO Then why are you
SCREECH: helping? 8/191 805.06 807.07 2.01
SCREECH TO I told you because

KATE: I'm on the side of
the underdog. 8/192 807.01 811.03 4.02
The idea of it is
wonderful. 8/193 812.14 815.15 3.01
You few taking on

governments ... 8/194 817.01 820.03 3.02
"AMERICAN ROULETTE"
REEL 8 (4B) Page: (21)*
Scene No. Spot
Sc.71 SCREECH ... the IMF ... 8/195 821.00 822.04 1.04
Cont: (Cont):

Starts SHOT CARLOS.
822.07
SCREECH ... the death
(O.S.) TO squad. 8/196 823.03 824.14 1.11
KATE:

Starts
825.14 SCREECH TO It's remarkable. 8/197 826.06 827.08 1.02
KATE:
SCREECH LEANS F.G. L.
SCREECH TO You might even

CARLOS: succeed. 8/198 830.01 832.15 2.14

Starts SHOT CARLOS.
833.13
CARLOS TO With every
SCREECH: policeman after me
it's impossible. 8/199 834.12 837.15 3.03
Thru Cut at 837.06)

Starts
837.06 SCREECH TO Er, difficult
CARLOS: Doctor Quintas ... 8/200 838.00 841.01 3.01
... but not

impossible. 8/201 841.13 844.00 2.03

REEL 9 (5A)
ZERO is START MARK

Scene No. Spot

1 EXT. CAR. NIGHT.

Starts
12.00 THROUGH WINDSCREEN TO M. WAIST
SHOT CARLOS L, KATE R - KATE
SLEEPS - TRACK BACK AS THEY
DRIVE TOWARDS.
CARLOS Is it right Kate

(V.O.): risking your life
in somebody else's
cause? 9/1 18.02 22.06 4.04
Maybe we've shaken

off the death
squad. 9/2 25.05 27.08 2.03
Maybe ... 9/3 29.07 30.00 0.09
... maybe they have

us in their sights. 9/4 31.13 33.13 2.00
I suppose it's safe

as long as we keep
on the move ... 9/5 37.10 40.15 3.05
... and they can't

pin us down. 9/6 41.12 43.04 1.08
KATE WAKES.
KATE TO God what a dream. 9/7 53.01 54.12 1.11

CARLOS:
CARLOS TO Erotic? 9/8 60.01 60.14 0.13

KATE:
KATE TO Very. 9/9 62.04 62.14 0.10

CARLOS:
CARLOS TO What about? 9/10 68.07 69.03 0.12

KATE:
KATE TO You. 9/11 71.12 72.07 0.11

CARLOS:
"AMERICAN ROULETTE"
Scene No. Spot
Sc.1 CARLOS TO Good. 9/12 80.03 80.11 0.08

Cont: KATE:
2 INT. KINGS CROSS STATION. DAY.

Starts
86.00 CARLOS ENTERS FROM BEHIND B.G.
WALL IN M.L.S. - TRACK BACK AS
HE WALKS F.G. R - PAN R AS HE
PASSES - HANDS TICKET TO
INSPECTOR. FX: WHISTLE
3 PAST OPEN TRAIN DOOR R AND ALONG

Starts PLATFORM TO M.L.S. CARLOS (BACK
101.12 TO CAMERA) - TURNS, RUNS TOWARDS
- STEPS ONTO TRAIN R - CLOSES
DOOR. FX:
4 EXT. PLAYGROUND. DAY.

Starts
114.03 ACROSS GRASS TO L.S. KATE -
TRACK L AS SHE WALKS ALONG PATH
F.G. L - TURNS, WALKS INTO B.G.
PLAYGROUND - TRACK IN AND CRANE
UP OVER F.G. SWINGS AS KATE
WALKS TO B.G. - MEETS RAMON -
THEY EMBRACE.
5 M.C.U. MIGUEL - LOOKS AT RAMON

Starts AND KATE B.G. R IN SOFT FOCUS -
147.12 TURNS, LOOKS TOWARDS.
MIGUEL Jesus Christ man

(INTO ... 9/13 150.07 152.05 1.14
RADIO):
... Madre de Dios.

(Mother of God) 9/14 152.07 153.14 1.07
6 EXT. ALFONSO'S CAR.

Starts
SHOT ALFONSO.
ALFONSO What is it? 9/15 154.14 155.15 1.01

(INTO
RADIO):
"AMERICAN ROULETTE"
Scene No. Spot
7 EXT - M.C.U. MIGUEL L - RAMON

Starts AND KATE CAN BE SEEN B.G. R IN
156.04 SOFT FOCUS.
MIGUEL Jesus Christ it's

(INTO incredible. 9/16 156.12 159.10 2.14
RADIO):
8 M. WAIST SHOT RAMON L, KATE R -

Starts THEY KISS.
160.01
RAMON TO Aren't kids
KATE: fantastic? 9/17 171.03 172.13 1.10
I was thinking how

simple life is for
them. 9/18 175.02 178.04 3.02
Wouldn't you like

some? 9/19 181.01 182.00 0.15
KATE TO No. 9/20 182.08 183.05 0.13

RAMON:
RAMON TO What is it, eh? 9/21 187.01 187.14 0.13

KATE:
What's the matter? 9/22 189.03 190.02 0.15
KATE TO I can't carry on. 9/23 192.04 193.11 1.07

RAMON:
It's impossible. 9/24 194.10 195.10 1.00
RAMON TO Is the secrecy

KATE: getting you down? 9/25 198.08 200.15 2.07
RAMON KISSES KATE'S HAND - TRACK FX:

R AS THEY TURN, WALK R.
KATE TO I didn't expect to

RAMON: fall in love with
him ... 9/26 212.03 214.12 2.09
... you know, I

just didn't feel
that way about him. 9/27 214.14 217.07 2.09
RAMON TO Does he know? 9/28 223.14 225.01 1.03

KATE:
KATE TO He's no idea. 9/29 226.02 227.04 1.02

RAMON:
"AMERICAN ROULETTE"
Scene No. Spot
Sc.8 KATE About me, us, about

Cont: (Cont): anything. 9/30 228.02 231.07 3.05
RAMON TO So you have fallen

KATE: for old Carlos the
poet? 9/31 236.15 240.15 4.00
THEY STOP - HOLD M.C.U. RAMON L,

KATE R (SIDE VIEWS).
KATE TO Artists aren't my

RAMON: type. 9/32 241.09 243.04 1.11
I like men of
action not the
cerebral. 9/33 243.05 245.15 2.10
RAMON TO Thanks. 9/34 248.15 249.08 0.09

KATE:
KATE TO Ramon I, I didn't

RAMON: mean it that way. 9/35 252.11 255.15 3.04
I still like you

very much ... 9/36 257.05 259.14 2.09
... it's just that

I love Carlos. 9/37 261.06 263.03 1.13
It's such a mess. 9/38 266.05 267.11 1.06
THEY KISS. FX:
RAMON TO It's all right. 9/39 273.01 273.08 0.07

KATE:
9 C.U. MIGUEL.
Starts
273.12 MIGUEL This looks like a
(INTO lovers bust up to
RADIO): me. 9/40 274.05 276.12 2.07
I'm leaving now. 9/41 277.14 279.00 1.02
Now everybody, get

ready and in
position. 9/42 280.04 283.08 3.04
10 THROUGH OPEN CAR WINDOW TO

Starts M.C.U. RUBEN. MUSIC: IN 286.02
286.02
RUBEN (INTO Alfonso ... 9/43 286.11 287.06 0.11
RADIO):
"AMERICAN ROULETTE"
Scene No. Spot
Sc.10 RUBEN ... estas listo?

Cont: (Cont): (... are you
ready?) 9/44 287.08 288.05 0.13
ALFONSO Ready to go. 9/45 290.02 291.04 1.02

(THRU
RADIO):
RUBEN (INTO I go first then

RADIO): Miguel you follow. 9/46 292.10 296.01 3.07
11 THROUGH WINDSCREEN TO M.C.U.

Starts ALFONSO.
296.06
ALFONSO Okay, here we go. 9/47 297.07 299.01 1.10
(INTO
RADIO):
12 OVER F.G. PARKED CARS TO M.L.S.

Starts KATE'S CAR - PAN R AS IT DRIVES
300.00 PAST R - HOLD M. WAIST SHOT
RUBEN SEATED IN CAR - PAN R AS
HE PULLS OFF - EXITS R - HOLD AS
MIGUEL'S TRANSIT VAN DRIVES OFF
R.
13 INT. CHURCH.
Starts
320.00 UP F.G. STAIRS TO M.L.S. PRIEST
STANDING IN FRONT OF ALTAR -
CARLOS STANDS L WITH MOTHER AND
BABY - CONGREGATION STANDS L AND
R.
PRIEST: (READS) Carlos

Francisco la
communidad
Cristiana te recibe
con gran a legria.
(Carlos Francisco
the Christian
community greets
you with joy) 9/48 321.03 328.02 6.15
Yo en su nombre te
signo con la sena
de Cristo Salvador.
(I, in its name
mark you with the
sign of Christ the
saviour) 9/49 329.07 335.13 6.06
"AMERICAN ROULETTE"
Scene No. Spot
14 M. WAIST SHOT PRIEST - PAN L AS

Starts PRIEST STEPS L TO REVEAL MOTHER
336.02 IN M. WAIST SHOT HOLDING BABY -
PRIEST HOLDS BABY'S HEAD - TRACK
BACK TO REVEAL CARLOS STANDING MUSIC: FADE OUT 338.04
NEXT TO MOTHER L.
PRIEST: (READS) Y vosotros

padres haced
tambien sobre el la
sena de la cruz.
(And you parents
make also upon him
the sign of the
cross) 9/50 342.01 348.13 6.12
CONTINUE TRACKING BACK AND

CRANING UP.
Y ahora vosotros
los padrinos haced
sobre el la senal
de la santa cruz.
(And now, you the
godparents make
upon him the sign
of the cross. 9/51 358.08 365.13 7.05
15 EXT. ROAD. DAY.

Starts
366.14 (HIGH ANGLE) DOWN TO M.L.S. CARS
- DRIVE TOWARDS - TILT DOWN AS MUSIC: IN 366.14
KATE'S CAR L, MIGUEL'S VAN R
DRIVE TOWARDS.

Starts MIGUEL'S VAN L, KATE'S CAR R -
372.09 TILT UP AS THEY DRIVE TO B.G.
17 INT. MIGUEL'S VAN. DAY.

Starts
379.02 M.C.U. MIGUEL (SIDE VIEW).
MIGUEL Okay Ruben ... 9/52 380.08 381.15 1.07

(INTO
RADIO):
... burn up some
boulevard, amigo. 9/53 382.13 385.13 3.00
RUBEN (THRU (SPANISH) 9/54 386.12 388.14 2.02

RADIO):
"AMERICAN ROULETTE"
Scene No. Spot
18 EXT - (HIGH ANGLE) DOWN TO

Starts M.L.S. RUBEN'S CAR - TILT DOWN
389.06 AS IT DRIVES TOWARDS.

Starts RUBEN'S CAR - TILT UP AS IT
393.14 DRIVES TO B.G. MUSIC: FADE OUT 397.12
20 INT. CHURCH.
Starts
397.13 M. WAIST SHOT CONGREGATION.
PRIEST Ejercita su poder

(O.S.): salvador en el
bautismo.
(Exercise his power
of salvation in
baptism) 9/55 398.07 402.00 3.09
TRACK R TO REVEAL CARLOS IN M.

WAIST SHOT.
Vamos a escuchar la
lectura del Santo
Evangelio segun San
Mateo.
(Let's hear a
reading of the Holy
Gospel according to
Saint Matthew) 9/56 403.01 409.03 6.02
HOLD. PRIEST: CONTINUES IN B.G.
CARLOS (OVER) So my little

(V.O.): God son ... 9/57 405.14 407.08 1.10
... are you

thinking what a
hero old Carlos is? 9/58 409.14 413.07 3.09
CARLOS: En aquel tiempo

acercandose Jesus a
los ...
(At that time
coming up to
(Jesus) the ...) 9/59 410.13 414.13 4.00
CARLOS Are you swooning at

(V.O.): the risks I've
taken to be here? 9/60 414.04 417.03 2.15
"AMERICAN ROULETTE"
Scene No. Spot
Sc.20 CARLOS: ... once dicipulos

Cont: les dijo ...
(... eleven
disciples he said
...) 9/61 415.05 418.00 2.11
SLOWLY TRACK R TO REVEAL MOTHER

STANDING WITH BABY.
CARLOS: Well don't. 9/62 419.01 419.14 0.13

(V.O.):
CARLOS: ... se me ha dado

pleno poder en el
cielo y enla
tierra.
(... mighty power
has been given to
me in heaven and
earth) 9/63 419.02 424.00 4.14
HOLD M. WAIST SHOT MOTHER

HOLDING BABY.
Because even
cowards have to
keep their
promises. 9/64 421.03 423.14 2.11
21 INT. MIGUEL'S VAN.

Starts
426.12 M. WAIST SHOT MIGUEL (BACK TO
CAMERA) - KATE'S CAR PASSES IN MUSIC: IN 426.12
OUTSIDE LANE - MIGUEL PULLS ONTO
OUTSIDE LANE - CONTINUES TO
FOLLOW KATE IN M.L.S. - MIGUEL
PICKS UP RADIO.
22 INT. CHURCH.
Starts
464.06 M.C.U. PRIEST'S HANDS - SCOOP UP
HOLY WATER - MOTHER LOWERS BABY
IN L.
PRIEST Carlos Francisco yo

(O.S.): te bautizo ...
(I baptize you ...) 9/65 464.09 468.15 4.06
HOLD - PRIEST POURS WATER ONTO

BABY'S HEAD. MUSIC: FADE OUT 469.00
"AMERICAN ROULETTE"
Scene No. Spot
Sc.22 PRIEST ... en el nobre del

Cont: (Cont): Padre y del Hijo y
del Espiritu Santo
Amen.
(... in the name of
the Father and of
the Son and of the
Holy Ghost) 9/66 469.10 477.02 7.08
Dios, Padre de
Nuestro Senor Jesus
Cristo que te has
recreado.
(God, Father of our
Lord Jesus Christ
who has come
together) 9/67 477.15 481.11 3.12
Con el Hijo y el
Espiritu Santo te
unja con este
crisma de la
salvacion ...
(With the Son and
the Holy Ghost
anoint you with
this chrism of
salvation ...) 9/68 477.15 483.09 5.10
... para que entres

a formar parte de
la iglesia ...
(... so that you
come to be part of
the church ...) 9/69 484.07 487.09 3.02
23 M. WAIST SHOT PRIEST - MOTHER,

Starts FATHER AND BABY STAND L - CARLOS
492.08 AND WOMAN STAND R.
PRIEST: (READS) ... y seas

para siempre
miembro de Cristo.
(... and be
forever) 9/70 492.08 496.07 3.15
ALL: Amen. 9/71 497.01 497.14 0.13
24 EXT. ALFONSO'S CAR.

Starts
SHOT ALFONSO - TRACK BACK AS HE
DRIVES TOWARDS. MUSIC: IN 498.09
"AMERICAN ROULETTE"
Scene No. Spot
Sc.24 ALFONSO She's taken the

Cont: (INTO Cambridge turn off. 9/72 500.15 503.12 2.13
RADIO):
Everybody with me? 9/73 504.01 505.06 1.05
25 ALONG ROAD TO M.L.S. KATE'S CAR

Starts - PAN R AS IT DRIVES TOWARDS -
505.11 TURNS R, EXITS - MIGUEL'S VAN
FOLLOWS.
26 EXT. CHURCH. DAY.

Starts
518.12 ACROSS ROAD TO M.L.S. PRIEST -
PACO STANDS L, CARLOS R - CARLOS
EMBRACES PRIEST - PACO AND
CARLOS TURN, WALK R - EXIT.
27 EXT. KATE'S CAR. DAY.

Starts
SHOT KATE - TRACK BACK AS SHE
DRIVES TOWARDS - LOOKS AT MAP.
28 ALONG ROAD TO M.L.S. KATE'S CAR

Starts - PAN R AS IT PASSES R.
543.06
29 INT. MIGUEL'S VAN.

Starts
550.12 C.U. MIGUEL (SIDE VIEW) - LOOKS
R.
30 EXT - MIGUEL'S VAN ENTERS L IN

Starts M.S. - DRIVES INTO B.G.
553.08
31 INT. CARLOS' CAR.

Starts
559.01 (CARLOS' P.O.V.) M.L.S. RADIO MUSIC: FADE OUT 563.00
RECEIVER DISH - TRACK IN.
32 EXT - ALONG ROAD TO M.L.S.

Starts CARLOS' CAR - DRIVES TOWARDS -
566.01 PAN L AS IT TURNS, DRIVES L -
PARKS.
"AMERICAN ROULETTE"
Scene No. Spot
33 ALONG ROAD TO M.L.S. CAR - PAN R

Starts AS IT PASSES R.
582.15
34 CAR PULLS UP INTO M.C.U. - STOPS MUSIC: FADE IN 604.00

Starts - A UNIFORMED CAPTAIN STEPS OUT
596.08 INTO M.S. - CLOSES DOOR - WALKS FX:
TOWARDS - PACO ENTERS R IN M.
WAIST SHOT.
PACO TO Capitan Gonzalez

CAPTAIN: mucho gusto.
(How nice) 9/74 619.00 623.13 4.13
CARLOS ENTERS R IN M. WAIST

SHOT.
Quiero presentarle
al Doctor Carlos
Quintas.
(I'd like to
introduce you) 9/75 624.09 627.09 3.00
CARLOS TO Un placer.
CAPTAIN: (It's a pleasure) 9/76 628.04 629.01 0.13
CAPTAIN TO Encantado.
CARLOS: (Enchanted) 9/77 629.07 630.01 0.10
CARLOS AND CAPTAIN TURN, WALK

TO B.G.
35 M.L.S. KATE'S CAR - PAN R AS IT

Starts DRIVES R - STOPS IN FRONT OF
643.10 BUILDING - KATE GETS OUT.
36 M.S. CARLOS L, CAPTAIN R (BACKS

Starts TO CAMERA) - TILT UP AS THEY
661.04 WALK INTO B.G. - CONTINUE
TILTING UP OFF THEM TO HOLD
RADIO RECEIVER DISH IN M.S.
37 (LOW ANGLE) ACROSS ROAD AND OVER

Starts F.G. FENCE TO L.S. KATE'S CAR -
677.08 CARLOS' CAR ENTERS F.G. R IN
C.U. - DRIVES TO B.G. BUILDING -
TURNS, PARKS BEHIND KATE'S CAR.
"AMERICAN ROULETTE"
Scene No. Spot
38 INT. OFFICE. DAY.

Starts
692.08 PAST WORKER F.G. L (SEATED -
BACK TO CAMERA) TO M.S. KATE
(SIDE VIEW) - LOOKS R - ALFONSO MUSIC: OUT/IN 699.01
STANDS B.G. R (BACK TO DOOR) -
OUTER OFFICE CAN BE SEEN THROUGH
PICTURE WINDOW R - OUTER OFFICE
DOOR OPENS TO REVEAL PACO IN
M.L.S. - WALKS TOWARDS FOLLOWED
BY CARLOS - ALFONSO MOVES,
STANDS BEHIND KATE - POINTS GUN
AT HER HEAD - RUBEN ENTERS B.G.
R - TAKES CARLOS BY THE
SHOULDERS.
39 M. WAIST SHOT CARLOS L, PACO R -

Starts RUBEN STANDS BEHIND CARLOS -
705.12 SEARCHES HIM - MIGUEL STANDS IN
B.G. HOLDING GUN.
40 M.C.U. KATE - GUN R POINTS AT

Starts HER HEAD.
708.13
41 M. WAIST SHOT CARLOS L, PACO R -

Starts RUBEN STANDS BEHIND PACO -
712.04 SEARCHES HIM - MIGUEL WALKS
TOWARDS.

Starts CARLOS.
721.09
43 C.U. CARLOS - GUN L POINTS AT

Starts HIS HEAD - RUBEN STANDS BEHIND
724.14 HIM R - LOOKS TOWARDS.
RUBEN TO What do you suggest

CARLOS: we do, Doctor
Quintas? 9/78 725.15 729.03 3.04
CARLOS TO Me for Kate. 9/79 733.09 734.06 0.13

RUBEN:
RUBEN TO And no trouble? 9/80 737.10 738.13 1.03

CARLOS:
CARLOS TO There's no point. 9/81 741.01 742.04 1.03

RUBEN:
"AMERICAN ROULETTE"
Scene No. Spot
Sc.43 RUBEN TO Good. 9/82 743.07 744.07 1.00

Cont: CARLOS:
44 M.C.U. KATE.
Starts
745.03
45 C.U. CARLOS - TURNS, LOOKS R AT

Starts O.S. RUBEN.
748.02
46 M. WAIST SHOT RUBEN - CARLOS

Starts STANDS L, PACO R - THEY TURN,
752.12 STEP L.
47 M.C.U. KATE.
Starts
761.09
48 INT. BACK OF MIGUEL'S VAN.

Starts
765.05 DOORS OPEN TO REVEAL MIGUEL IN
M.L.S. - CARLOS AND RUBEN ENTER
B.G. L IN M.L.S. - WALK TOWARDS
- CARLOS GETS IN, SITS.
RUBEN TO Vamanos.
MIGUEL: (Let's go) 9/83 788.09 789.07 0.14
MIGUEL SHUTS DOORS. MUSIC: FADE OUT 794.00 UNDER FX:

Starts
798.13 M. WAIST SHOT RAMON - TRACK BACK
AND PAN R AS HE WALKS R.
RAMON TO You mustn't er take

KATE: it so badly. 9/84 806.00 809.10 3.10
TILT DOWN AS RAMON SITS TO

REVEAL KATE SEATED AT B.G. DESK
- HOLD M. WAIST SHOT KATE PAST
RAMON F.G. R.
This could have

happened to anyone. 9/85 811.15 813.13 1.14
KATE TO I can live with

RAMON: that. 9/86 814.02 815.15 1.13
"AMERICAN ROULETTE"
Scene No. Spot
Sc.49 KATE What I can't live

Cont: (Cont): with is doing
nothing. 9/87 816.05 818.12 2.07
At least publicise
what's happened. 9/88 819.15 822.06 2.07
RAMON TO That will only make

KATE: us appear helpless. 9/89 822.11 825.01 2.06
When we know what

they intend doing
then we act. 9/90 825.15 829.13 3.14
KATE TO Then it'll be too

RAMON: late. 9/91 829.14 831.06 1.08
It's already been

twenty-four hours. 9/92 832.00 834.02 2.02
RAMON TO The sad truth is

KATE: Carlos could die. 9/93 834.08 837.05 2.13
But he is a
realist, he knows
that. 9/94 838.12 840.11 1.15
KATE TO That doesn't

RAMON: absolve us of our
responsibility. 9/95 841.03 844.13 3.10
RAMON TO At the moment the

KATE: situation is very
fluid. 9/96 846.08 850.05 3.13
Now we could
jeopardise
everything. 9/97 851.07 854.00 2.09
KATE TO Hmm-mmm. 9/98 854.08 855.03 0.11

RAMON:
What is it that I
don't know? 9/99 856.06 858.00 1.10
RAMON TO I don't want to go

KATE: into any details. 9/100 859.15 862.05 2.06
You have to accept

that. 9/101 863.11 865.05 1.10
KATE TO No I won't. 9/102 864.13 866.02 1.05

RAMON:
"AMERICAN ROULETTE"
REEL 9 (5A) Page: (15)*
Scene No. Spot
Sc.49 KATE I must do

Cont: (Cont): something. 9/103 867.03 868.13 1.10
RAMON TO Kate, please. 9/104 869.04 871.03 1.15

KATE:
You have been very

helpful. 9/105 871.12 873.13 2.01
Now it's for the

professionals. 9/106 874.01 876.05 2.04
Hey ... 9/107 877.02 877.08 0.06
... let's go and

eat. 9/108 878.11 879.10 0.15
Kate. 9/109 882.07 883.06 0.15
KATE TO Yeah. 9/110 883.07 883.13 0.06

RAMON:
RAMON STANDS, WALKS TOWARDS.

REEL 10 (5B)

Scene No. Spot

1 INT. BAYSWATER FLAT. DAY.

Starts
0.00 M.S. BOX OF CAKES.
SCREECH Some of patisserie

(O.S.) TO Valerie's finest
KATE: ... 10/1 0.06 4.12 4.06
SCREECH'S HANDS OPEN BOX TO

REVEAL CAKES.
... whoops. 10/2 5.06 6.00 0.10
2 PAST SCREECH L (SEATED - BACK TO

Starts CAMERA) TO M.S. KATE (BACK TO
6.03 CAMERA).
SCREECH Ooh, what a treat. 10/3 6.12 8.06 1.10

(BACK TO
CAMERA) TO
KATE:
KATE (BACK I don't feel like

TO CAMERA) treats, I'm worried
TO SCREECH: sick. 10/4 9.13 12.14 3.01
SCREECH That's quite

(BACK TO understandable I've
CAMERA) TO passed the word
KATE: around and my boys
are ... 10/5 14.02 19.05 5.03
... doing what they

can. 10/6 20.01 21.03 1.02
KATE TURNS, WALKS TABLE.
KATE TO Why don't you pull

SCREECH: in the death squad? 10/7 22.12 24.12 2.00
KATE PLACES TEAPOT ON TABLE. FX:
You know who they

are ... 10/8 25.04 26.07 1.03
... or Morrisey? 10/9 27.06 28.09 1.03

"AMERICAN ROULETTE"
Scene No. Spot
Sc.2 KATE PLACES PLATES ON TABLE. FX:

Cont:
KATE I'd make that
(Cont): bastard talk. 10/10 29.08 31.11 2.03
KATE TURNS, WALKS TO B.G.
SCREECH TO Round up the usual

KATE: suspects? 10/11 32.01 34.08 2.07
No Kate it's not as

easy as that. 10/12 34.09 38.00 3.07
KATE TURNS - PLACES CUPS ON FX:

TABLE.
Besides, look what

a good run you've
had for your money. 10/13 39.02 41.14 2.12
KATE TO We did. 10/14 42.00 42.12 0.12

SCREECH:
And then I screwed
it up. 10/15 43.13 45.14 2.01
Damn. 10/16 46.03 47.00 0.13
There must be
something, what
about Vlad and the
KGB. 10/17 48.02 51.08 3.06
He was blabbering
on about
assassination. 10/18 51.12 54.01 2.05
SCREECH TO Good heavens. 10/19 54.14 56.02 1.04

KATE:
Vladimir and
Nickolai are not
KGB they're
absolute frauds. 10/20 57.03 63.02 5.15
It's rather amusing

actually. 10/21 64.08 66.11 2.03
They're a pair of
emigres with
fantasies, they're
a KGB team. 10/22 67.07 74.02 6.11
KATE TO On the other hand

SCREECH: they could be KGB. 10/23 75.06 78.02 2.12
"AMERICAN ROULETTE"
Scene No. Spot
Sc.2 SCREECH TO Out of the

Cont: KATE: question. 10/24 79.00 80.03 1.03
TILT DOWN IN AS KATE SITS.
KATE TO Emigres who no-one

SCREECH: takes seriously
seems a perfect KGB
cover-up. 10/25 82.03 87.12 5.09
SCREECH TO Good heavens. 10/26 87.15 88.15 1.00

KATE:
Who'd have thought
of that? 10/27 89.13 91.01 1.04
KATE POURS TEA - KATE ANSWERS FX: TELEPHONE

PHONE.
KATE (INTO Hello. 10/28 101.07 102.00 0.09

PHONE):
Yeah he's here,
hold on. 10/29 103.03 104.12 1.09
KATE TO Its for you. 10/30 105.03 105.13 0.10

SCREECH:
KATE HANDS SCREECH PHONE.
SCREECH TO Ah, thank you. 10/31 105.14 106.07 0.09

KATE:
3 M. WAIST SHOT SCREECH - TAKES

Starts PHONE.
107.05
SCREECH Hello. 10/32 109.11 110.02 0.07
(INTO
PHONE):
Yes. 10/33 111.08 111.15 0.07
I see. 10/34 118.05 119.08 1.03
4 M. WAIST SHOT KATE (SIDE VIEW) -

Starts LOOKS L.
119.15
SCREECH Very well. 10/35 122.05 122.15 0.10
(O.S. -
INTO
PHONE):
KATE TURNS, LOOKS F.G. L AT O.S.

SCREECH.
"AMERICAN ROULETTE"
Scene No. Spot

Starts
123.04 SCREECH Goodbye. 10/36 124.13 125.05 0.08
(INTO
PHONE):
SCREECH REACHES TOWARDS - PLACES

PHONE ON TABLE - SCREECH STARES FX:
AT CAKES ON PLATE.
SCREECH TO Oh Kate doesn't it

KATE: make you feel
better just looking
at these ... 10/37 127.15 134.04 6.05
... oh yee little

Gods of corruption. 10/38 134.06 139.03 4.13
6 M. WAIST SHOT KATE - DRINKS TEA.

Starts
139.15 KATE TO What do you suppose
SCREECH: is happening to
Carlos? 10/39 142.11 144.14 2.03

Starts
145.00 SCREECH TO He's being
KATE: interrogated but
nothing physical. 10/40 145.15 149.09 3.10
Thru Cut at 148.15)

Starts
148.15 KATE TO You know? 10/41 150.04 151.04 1.00
SCREECH:
SCREECH The phone call. 10/42 152.00 152.12 0.12

(O.S.) TO
KATE:
KATE TO Screech, and we're

SCREECH: just having tea. 10/43 154.12 157.15 3.03

Starts
158.02 SCREECH TO Hold on, hold on
KATE: Kate ... 10/44 158.05 160.13 2.08
... I know exactly

where he is ... 10/45 160.15 163.04 2.05
"AMERICAN ROULETTE"
Scene No. Spot
Sc.9 SCREECH ... and there's

Cont: (Cont): absolutely nothing
//anybody can do
about it. 10/46 163.06 168.09 5.03
Thru Cut at 165.14)

Starts
165.14 KATE TO Of course there is. 10/47 168.10 169.15 1.05
SCREECH:
SCREECH They've got him in

(O.S.) TO the Embassy ... 10/48 170.03 172.05 2.02
KATE:

Starts
172.06 SCREECH TO ... and because
KATE: they have
diplomatic
immunity ... 10/49 172.07 175.09 3.02
... neither my
bunch nor the
police can touch
them. 10/50 175.11 179.15 4.04

Starts
180.03 KATE TO They could be
SCREECH: torturing him or
preparing to move
him out of the
country ... 10/51 181.07 185.01 3.10
... there must be

something we can
do. 10/52 185.03 187.01 1.14
Thru Cut at 186.12)

Starts
186.12 SCREECH TO There is no way we
KATE: can officially go
in. 10/53 187.02 191.11 4.09
That's the problem. 10/54 193.00 194.03 1.03

"AMERICAN ROULETTE"
Scene No. Spot
14 M. WAIST SHOT KATE - DRINKS TEA.

Starts
194.09 KATE TO I could do it. 10/55 196.13 197.11 0.14
SCREECH:
15 M. WAIST SHOT SCREECH - REACTS.

Starts
198.02
16 INT. EMBASSY. DAY.

Starts
201.02 M.C.U. CARLOS (BACK TO CAMERA)
SEATED IN SWIVEL CHAIR - TURNS
CHAIR ROUND, FACES TOWARDS.
CARLOS It's interesting

(V.O.): how life is at its
simplest when it is
at its most
dangerous. 10/56 206.07 211.04 4.13
All you want to do

is save your neck
and survive another
day. 10/57 214.07 218.07 4.00
Otherwise life
isn't simple. 10/58 221.07 223.06 1.15
Love isn't simple. 10/59 225.03 226.07 1.04
PAN L OFF CARLOS AS B.G. DOOR

OPENS TO REVEAL ALFONSO IN M.S.
- WALKS TOWARDS FOLLOWED BY
MIGUEL.
ALFONSO TO Hello hombre ... 10/60 235.05 236.04 0.15

CARLOS:
... I bet you're

crapping yourself. 10/61 237.03 239.09 2.06
Don't be
embarrassed. 10/62 240.04 242.05 2.01
It's only human. 10/63 242.10 244.02 1.08
HOLD M. WAIST SHOT ALFONSO L,

CARLOS R - MIGUEL SITS B.G. R.
"AMERICAN ROULETTE"
Scene No. Spot
Sc.16 ALFONSO What's in store? 10/64 245.07 247.01 1.10

Cont: (Cont):
That's what you're
wondering. 10/65 247.14 249.15 2.01
CARLOS TO You're just waiting

ALFONSO: for orders. 10/66 252.09 254.08 1.15
You've got me now

but you don't know
what to do with me. 10/67 255.15 258.08 2.09
MIGUEL STANDS, WALKS TOWARDS.
MIGUEL TO Hey Carlos, you

CARLOS: know you're a
pretty bright guy. 10/68 261.11 264.06 2.11
Cos that's exactly

it man. 10/69 265.09 267.09 2.00
We're waiting for

orders. 10/70 268.10 270.02 1.08
MIGUEL KNEELS IN FRONT OF

CARLOS.
Hey but tell me. 10/71 271.06 272.06 1.00
What was it like

being a big shot? 10/72 273.10 276.03 2.09
The President? 10/73 277.11 278.15 1.04
HOLD. ALFONSO/MIGUEL: LAUGH
ALFONSO TO You got a lot of

CARLOS: exposure. 10/74 280.15 283.06 2.07
MIGUEL TO And the babes ... 10/75 284.08 286.01 1.09

CARLOS:
... and Kate. 10/76 286.07 287.07 1.00
Isn't she
something? 10/77 288.06 289.08 1.02
She's got a great

arse. 10/78 290.14 292.10 1.12
CARLOS LIFTS UP HIS FEET, KICKS

MIGUEL IN CHEST - MIGUEL STANDS,
LOOKS AT CARLOS.
"AMERICAN ROULETTE"
Scene No. Spot
Sc.16 MIGUEL It's such a pity

Cont: (Cont): about her. 10/79 298.01 299.13 1.12
CARLOS TO It's a great pity

MIGUEL: about her. 10/80 301.02 302.14 1.12
Ramon warned me
off. 10/81 305.12 307.09 1.13
ALFONSO TO Ramon warned you? 10/82 308.00 309.14 1.14

CARLOS:
HOLD. ALFONSO: LAUGHS
MIGUEL TO Ramon warned you? 10/83 314.05 316.00 1.11

CARLOS:
HOLD. MIGUEL: LAUGHS
17 INT. BAR. DAY.

Starts
322.10 C.U. MORRISEY (BACK TO CAMERA) -
WALKS TO B.G. TABLE TO REVEAL
KATE IN M. WAIST SHOT SEATED AT
B.G. TABLE R - MORRISEY SITS L.
MORRISEY TO You're right. 10/84 325.03 326.02 0.15

KATE:
Those goons are
completely out of
line. 10/85 326.12 329.13 3.01
They're crazy. 10/86 330.00 331.06 1.06
Kidnapping him at a
time like this. 10/87 331.07 334.03 2.12
KATE TO Wouldn't Carlos be

MORRISEY: better dead? 10/88 335.01 336.12 1.11
No longer a threat
to your Generals. 10/89 337.02 339.05 2.03
MORRISEY TO We want him alive. 10/90 340.01 342.04 2.03

KATE:
Sure, you don't
believe that, hmm
...? 10/91 344.02 346.07 2.05
... but policy has

to be flexible,
sensitive to the
situation. 10/92 348.02 353.00 4.14
"AMERICAN ROULETTE"
Scene No. Spot
Sc.17 MORRISEY Okay? 10/93 353.06 354.00 0.10

Cont: (Cont):
There's a problem. 10/94 355.00 356.01 1.01
What have you got

in mind? 10/95 362.02 363.12 1.10
KATE DRINKS TEA.
KATE TO In the States you

MORRISEY: call it a career
move. 10/96 366.09 369.02 2.09
MORRISEY TO That's always an

KATE: interesting
possibility. 10/97 369.10 372.02 2.08
KATE TO Good ... 10/98 372.09 373.05 0.12

MORRISEY:
... then I'd like
you to make a call. 10/99 374.03 376.00 1.13
MORRISEY TO Could do. 10/100 377.10 378.06 0.12

KATE:
But would it
impress my
superiors? 10/101 380.00 382.04 2.04
KATE TO It's a chance to

MORRISEY: sign up a valuable
author. 10/102 383.11 386.04 2.09
Very famous. 10/103 387.13 388.15 1.02
Very popular. 10/104 389.01 389.15 0.14
18 INT. EMBASSY.
Starts
392.07 M.S. NOTICE BOARD - HANDS HOLD
UP PICTURES OF CARLOS - STAPLE
TO BOARD. FX:
19 ANOTHER ANGLE - HAND STAPLES

Starts PICTURE TO BOARD. FX:
401.15

408.14
"AMERICAN ROULETTE"
REEL 10 (5B) Page: (10)
Scene No. Spot

415.01
22 M.S. PICTURES OF CARLOS STAPLED

Starts ON TEA CHESTS - CARLOS ENTERS
419.08 F.G. R IN M. WAIST SHOT (SEATED)
- BANGS AGAINST B.G. TEA CHESTS
- STOPS.
23 PAST MIGUEL F.G. R (BACK TO

Starts CAMERA) TO M.S. CARLOS SEATED IN
421.12 CHAIR - TILT UP AS MIGUEL
STANDS.
MIGUEL TO I'll say this for

CARLOS: you Carlos ... 10/105 422.09 424.08 1.15
MIGUEL TURNS, WALKS F.G. R.
... you take damn

good pictures. 10/106 425.02 427.08 2.06
24 M. WAIST SHOT ALFONSO - MIGUEL

Starts ENTERS F.G. L (BACK TO CAMERA)
428.01 IN M. WAIST SHOT - WALKS B.G. R.
ALFONSO TO Carlos ... 10/107 428.14 429.14 1.00

CARLOS:
... we're going to

play ... 10/108 430.03 431.12 1.09
ALFONSO SCREWS SILENCER ONTO

BARREL OF GUN. FX:
... American --
roulette. 10/109 432.03 434.05 2.02
MIGUEL TURNS, LOOKS TOWARDS -

ALFONSO HANDS GUN TO MIGUEL -
COCKS SHUTTER - POINTS F.G. L AT FX:
O.S. CARLOS.
MIGUEL TO The rules are

CARLOS: simple. 10/110 440.15 442.06 1.07
MIGUEL FIRES. FX:

"AMERICAN ROULETTE"
REEL 10 (5B) Page: (11)
Scene No. Spot
25 INT. BAR/TELEPHONE KIOSK. DAY.

Starts
446.14 M. WAIST SHOT MORRISEY.
MORRISEY Yeah, would you

(INTO tell the Ambassador
PHONE): to call Morrisey
... 10/111 447.06 450.08 3.02
... the publisher. 10/112 451.02 451.14 0.12
Yeah, I'd like to

talk to him about
one of my authors. 10/113 453.09 456.08 2.15
26 INT. EMBASSY.
Starts
457.14 C.U. PICTURE OF CARLOS - BULLET FX:
LANDS ABOVE R EYE.
ALFONSO Simple isn't it? 10/114 459.08 460.13 1.05

(O.S.) TO
CARLOS:
27 M. WAIST SHOT ALFONSO L, MIGUEL

Starts R - THEY LOOK TOWARDS
461.00
ALFONSO TO The first one to
CARLOS: miss the picture
... 10/115 461.07 463.10 2.03
MIGUEL TO And hit you ... 10/116 463.11 465.00 1.05

CARLOS:
ALFONSO/ (TOGETHER) Loses. 10/117 465.11 466.12 1.01

MIGUEL:
28 C.U. CARLOS LOOKS F.G. R. ALFONSO: LAUGHS

Starts
467.02 MIGUEL Okay. 10/118 467.15 468.11 0.12
(O.S.) TO
CARLOS:

Starts R - MIGUEL HOLDS UP MONEY.
470.05
MIGUEL TO Ten dollars. 10/119 470.11 471.15 1.04
ALFONSO:
PLACES MONEY ON TABLE - ALFONSO

GETS OUT HIS MONEY.
"AMERICAN ROULETTE"
REEL 10 (5B) Page: (12)
Scene No. Spot
Sc.29 MIGUEL Third on the left. 10/120 473.05 474.13 1.08

Cont: (Cont):
On the nose. 10/121 478.00 479.00 1.00
ALFONSO PICKS UP GUN - AIMS,

FIRES F.G. L. FX:
30 M. WAIST SHOT PICTURE OF CARLOS

Starts - BULLET HITS NEXT TO HIS NOSE -
482.01 PULL BACK AND PAN R TO REVEAL
CARLOS IN C.U. - HOLD. MIGUEL/ALFONSO: LAUGH

Starts R.
486.06
ALFONSO TO Twenty dollars --
MIGUEL: says ... 10/122 488.01 490.08 2.07
... top right ... 10/123 492.03 493.10 1.07
... on the dimple. 10/124 494.13 495.13 1.00
MIGUEL PICKS UP GUN - AIMS F.G.

L.
32 C.U. CARLOS - HIS EYES ARE

Starts CLOSED - HE OPENS, LOOKS F.G. R.
503.01

Starts MIGUEL - POINTS GUN TOWARDS -
507.00 FIRES. FX:
34 PHOTOGRAPH - BULLET HITS DIMPLE

Starts - PULL BACK AND TILT DOWN TO
508.06 REVEAL CARLOS IN M. WAIST SHOT -
HOLD.
ALFONSO Shit. 10/125 510.00 510.13 0.13
(O.S.) TO
CARLOS:
You all right

Carlos? 10/126 511.08 514.00 2.08

Starts MIGUEL.
514.03
MIGUEL TO You're good. 10/127 514.10 515.12 1.02
CARLOS:
"AMERICAN ROULETTE"
REEL 10 (5B) Page: (13)
Scene No. Spot
Sc.35 MIGUEL You're good. 10/128 516.09 517.12 1.03

Cont: (Cont):
You're not jerking
your head about//
like a chicken. 10/129 518.15 521.10 2.11
Thru Cut at 520.13)

Starts CARLOS.
520.13
MIGUEL Keep it up hombre
(O.S.) TO ... 10/130 522.12 524.03 1.07
CARLOS:

Starts MIGUEL.
524.04
MIGUEL TO ... cos we're
CARLOS: taking the bulls
close this year. 10/131 524.09 527.09 3.00
38 M. WAIST SHOT ALFONSO - LOOKS R

Starts AT O.S. MIGUEL. ALFONSO: LAUGHS
527.13
ALFONSO TO Fifty dollars says
MIGUEL: ... 10/132 531.10 534.10 3.00
... bottom left ... 10/133 535.14 538.04 2.06
39 C.U. CARLOS - LOOKS F.G. R.

Starts
538.06 ALFONSO ... on the left
(O.S.) TO ear. 10/134 539.02 540.04 1.02
MIGUEL:

Starts MIGUEL - POINTS GUN F.G. L -
540.11 FIRES. FX:
ALFONSO: LAUGHS (CONTINUES THRU
CUT)
41 INT. BAYSWATER FLAT.

Starts
"AMERICAN ROULETTE"
REEL 10 (5B) Page: (14)
Scene No. Spot
Sc.41 KATE (INTO Morrisey's making

Cont: PHONE): his arrangements
and I'm meeting
him at the Embassy. 10/135 547.09 551.10 4.01
Yeah. 10/136 552.12 553.01 0.05
No, he's not going

to double cross us,
it's the Embassy
he's double
crossing. 10/137 556.06 561.00 4.10
Well he likes to be
in control. 10/138 564.01 566.02 2.01
Yeah, I'll see you

later. 10/139 568.04 569.08 1.04
Bye. 10/140 570.07 570.14 0.07
PAN L AS KATE TURNS - REPLACES

RECEIVER - CONTINUE PANNING L AS
KATE STEPS L TO REVEAL SCREECH
IN M. WAIST SHOT - HOLD M. WAIST
SHOT SCREECH PAST KATE (BACK TO
CAMERA).
SCREECH TO Is everything
KATE: arranged? 10/141 574.14 577.01 2.03
KATE (BACK Inez is on her way. 10/142 576.12 578.12 2.00

TO CAMERA)
TO SCREECH:
SCREECH TO Excellent. 10/143 580.08 581.08 1.00

KATE:
SCREECH HANDS KATE HER BAG -

KATE WALKS THROUGH B.G. DOORWAY.
Let's go and meet

Mr Morrisey. 10/144 582.08 584.14 2.06
SCREECH TURNS, FOLLOWS KATE.
42 INT. EMBASSY.
Starts
587.10 C.U. CARLOS.
MIGUEL I think you'll

(O.S.) TO appreciate our next
CARLOS: round. 10/145 588.05 591.00 2.11
"AMERICAN ROULETTE"
REEL 10 (5B) Page: (15)
Scene No. Spot
Sc.42 MIGUEL Bigger stakes. 10/146 591.13 592.15 1.02

Cont: (Cont):
43 M. WAIST SHOT ALFONSO L (SEATED)

Starts MIGUEL R - MIGUEL HOLDS UP
593.06 MONEY.
MIGUEL TO One hundred

ALFONSO: dollars. 10/147 594.07 596.03 1.12
ALFONSO TO Hundred dollars! 10/148 596.07 598.08 2.01

MIGUEL:
ALFONSO STANDS, TAKES OUT MONEY

- MIGUEL HANDS ALFONSO GUN.
MIGUEL TO Top of the tree. 10/149 605.15 607.01 1.02

ALFONSO:
Kate. 10/150 607.14 608.07 0.09
Go. 10/151 609.09 610.00 0.07
ALFONSO AIMS F.G. L - FIRES. FX:
44 PHOTOGRAPH - BULLET HITS KATE -

Starts PULL BACK AND CRANE DOWN TO
611.00 REVEAL CARLOS IN M.C.U.
45 M. WAIST SHOT ALFONSO.

Starts
613.13 ALFONSO TO Right ear. 10/152 615.02 616.06 1.04
MIGUEL:
46 M. WAIST SHOT MIGUEL.

Starts
616.10 ALFONSO Fire! 10/153 616.11 617.06 0.11
(O.S.) TO
MIGUEL:
MIGUEL AIMS F.G. L - FIRES. FX:
47 PHOTOGRAPH - BULLET HITS CARLOS'

Starts EAR.
618.09
48 EXT. EMBASSY. DAY.

Starts
620.08 (HIGH ANGLE) PAST F.G. FLAG DOWN FX: NATURAL
TO M.L.S. ROAD -
"AMERICAN ROULETTE"
REEL 10 (5B) Page: (16)
Scene No. Spot
Sc.48 - TILT DOWN TO REVEAL M.L.S.

Cont: POLICEMAN PATROLLING OUTSIDE
EMBASSY.
49 (LOW ANGLE) UP TO M.L.S. PLAQUE

Starts ABOVE EMBASSY DOORWAY - TILT
629.03 DOWN AS KATE ENTERS L IN M.S. FX: NATURAL
(BACK TO CAMERA) FOLLOWED BY
MORRISEY - THEY WALK R UP STAIRS
TO DOOR.
MORRISEY It's Carl Morrisey. 10/154 637.15 639.07 1.08

(INTO
INTERCOM):
Yeah, the military

attache is
expecting us, thank
you. 10/155 640.10 643.15 3.05
50 M. WAIST SHOT MORRISEY L, KATE R

Starts (BACKS TO CAMERA) - B.G. DOOR
646.04 OPENS - KATE STEPS INTO B.G. FX:
DOORWAY FOLLOWED BY MORRISEY.
MORRISEY: Buenas tardes.

(Good afternoon) 10/156 651.03 652.07 1.04
Como esta?
(How are you?) 10/157 654.04 655.03 0.15
MAN (O.S.) Bien.

TO (Fine) 10/158 655.10 656.01 0.07
MORRISEY:
51 INT. EMBASSY.
Starts
656.08 (HIGH ANGLE) DOWN TO M.L.S.
MIGUEL L, ALFONSO R (BACKS TO
CAMERA) - CARLOS SITS IN B.G. -
ALFONSO SPINS MIGUEL AROUND IN
CIRCLES - STOPS.
ALFONSO TO No peeping. 10/159 663.10 664.10 1.00

MIGUEL:
Fire. 10/160 665.02 665.13 0.11
MIGUEL FIRES. FX:

"AMERICAN ROULETTE"
REEL 10 (5B) Page: (17)
Scene No. Spot
52 INT. OFFICE IN THE EMBASSY.

Starts
667.13 OVER F.G. DESK TO M. WAIST SHOT
RUBEN DRESSED IN A COLONELS
UNIFORM.
RUBEN: I can assure you

that you terrorists
are living in a
fantasy world. 10/161 668.08 673.06 4.14
The Generals have

never been more
popular. 10/162 674.01 676.09 2.08
53 EXT. EMBASSY.
Starts
677.10 THROUGH F.G. IRON FENCE TO M.
WAIST SHOT SCREECH - LOOKS
TOWARDS - TILT UP AS HE STEPS FX: NATURAL
TOWARDS.
54 ALONG PAVEMENT TO M.L.S. GROUP

Starts OF GIRLS - THEY WALK TOWARDS LED
685.02 BY INEZ - TRACK R AS THEY WALK
TOWARDS TO REVEAL POLICEMAN F.G.
R (SIDE VIEW).
POLICEMAN Yes Miss, can I

TO INEZ: help you? 10/163 692.10 694.05 1.11
INEZ TO Er, yes please, we

POLICEMAN: would like to hand
a petition the
Ambassador please. 10/164 694.09 699.14 5.05
POLICEMAN Okay just two of

TO INEZ: you ... 10/165 699.14 701.10 1.12
... the rest of you

stay where you are. 10/166 702.01 703.08 1.07
PAN R AS INEZ WALKS R FOLLOWED

BY WOMAN - POLICEMAN ENTERS L IN
M. WAIST SHOT (BACK TO CAMERA).

Starts SCREECH - TILT DOWN AS HE TURNS,
711.07 WALKS TO B.G. CAR.
"AMERICAN ROULETTE"
REEL 10 (5B) Page: (18)
Scene No. Spot
56 OVER F.G. POLICEMAN AND INEZ TO

Starts M. WAIST SHOT MAN STANDING IN
714.10 DOORWAY.
MAN TO Buenos dias.

INEZ: (Good morning) 10/167 715.14 717.00 1.02
INEZ TO Buenos dias,

MAN: quisieramos
entregar, por favor
esta peticion al
embagador.
(Good morning, we'd
like to hand in
please this
petition to the
ambassador) 10/168 717.10 721.14 4.04
MAN TO Me la muestra por

INEZ: favor.
(Can you show it to
me, please) 10/169 722.03 723.04 1.01
INEZ HANDS PETITION TO MAN.
57 INT - OVER F.G. DESK TO M.S.

Starts RUBEN (SIDE VIEW) - LOOKS R AT
724.11 O.S. KATE AND MORRISEY.
RUBEN TO But what have you

MORRISEY: got to negotiate
with? 10/170 725.02 727.14 2.12
TRACK R BEHIND MORRISEY - HOLD

M.L.S. RUBEN SEATED BEHIND DESK
PAST MORRISEY L, KATE R (BACKS
TO CAMERA).
KATE (BACK In return for

TO CAMERA) President Quintas'
TO RUBEN: liberty ... 10/171 728.06 731.04 2.14
... you will

receive a free
pardon. 10/172 731.05 733.04 1.15
Will then be able

to serve under the
President's
democratic
government. 10/173 733.11 737.14 4.03
HOLD. RUBEN: LAUGHS

"AMERICAN ROULETTE"
REEL 10 (5B) Page: (19)
Scene No. Spot
Sc.57 RUBEN TO I can't believe

Cont: KATE: this. 10/174 738.09 739.15 1.06
Why should I
negotiate? 10/175 740.06 742.02 1.12
KATE TURNS, LOOKS AT MORRISEY.
We are in power. 10/176 743.04 744.15 1.11
58 EXT - PAST INEZ F.G. (BACK TO

Starts CAMERA) TO M. WAIST SHOT MAN -
745.05 INEZ AND WOMAN RUN INTO B.G.
DOORWAY.
OFFICIAL: Hey que pasa?

(What's the
matter?) 10/177 746.00 747.09 1.09
59 INT - ALONG HALL TO M.L.S. MAN

Starts (BACK TO CAMERA) - GIRLS RUN
747.10 TOWARDS LED BY INEZ.
OFFICIAL: No pueden entrar

...
(You can't come in
...) 10/178 747.13 748.11 0.14
60 EXT - M. WAIST SHOT GIRLS (BACKS

Starts TO CAMERA) RUN INTO B.G.
749.12 DOORWAY.
OFFICIAL: ... no esta el

ambajador.
(... the ambassador
isn't here) 10/179 750.12 751.12 1.00
61 INT - M.L.S. GIRLS RUN F.G. R. FX: SHOUTS

Starts
751.13
62 (HIGH ANGLE) DOWN STAIRS AND

Starts PAST GUNMAN R (BACK TO CAMERA)
756.07 TO M.L.S. INEZ - THEY TURN, RUN
UP STAIRS TOWARDS.
OFFICIAL: Quietos ahi por

favor.
(Freeze there) 10/180 758.06 759.03 0.13
"AMERICAN ROULETTE"
REEL 10 (5B) Page: (20)
Scene No. Spot
63 EXT - THROUGH F.G. FENCE TO M.

Starts WAIST SHOT SCREECH.
759.04
SCREECH Screech here. 10/181 759.11 760.12 1.01
(INTO
RADIO):
Things seem to be
going frightfully
well. 10/182 763.02 766.03 3.01
64 INT - PAST MIGUEL R TO M. WAIST

Starts SHOT ALFONSO - ALFONSO PICKS UP TELEPHONE: RINGS
766.12 PHONE.
ALFONSO Alfonso ... 10/183 767.13 768.12 0.15

(INTO
PHONE):
Alfonso no nada.
(... no, nothing) 10/184 770.04 771.14 1.10
65 C.U. CARLOS.
Starts
772.00 ALFONSO Que ... 10/185 773.07 774.07 1.00
(O.S. -
INTO
PHONE):
I don't believe it. 10/186 775.01 776.12 1.11
66 PAST MIGUEL R TO M. WAIST SHOT

Starts ALFONSO.
776.15
ALFONSO ... inmediatamente.
(INTO (Immediately) 10/187 777.04 778.11 1.07
PHONE):
ALFONSO REPLACES RECEIVER.
ALFONSO TO Let's go. 10/188 778.13 779.08 0.11

MIGUEL:
MIGUEL TO Trouble? 10/189 779.09 780.05 0.12

ALFONSO:
ALFONSO TO Abajo en la
MIGUEL: recepcion.
(Downstairs in the
reception) 10/190 780.10 782.05 1.11
ALFONSO PICKS UP MONEY - STANDS,

WALKS TO B.G. DOOR.
"AMERICAN ROULETTE"
REEL 10 (5B) Page: (21)
Scene No. Spot
Sc.66 ALFONSO Vamonos.

Cont: (Cont): (Let's go) 10/191 785.03 786.07 1.04
MIGUEL TO Let's finish this

ALFONSO: first. 10/192 787.03 788.15 1.12
MIGUEL AIMS GUN L AT O.S.

CARLOS.
67 M.S. MAN SEATED ON FLOOR - PAN L

Starts AS OFFICIALS PASS IN M. WAIST
792.04 SHOT (BACKS TO CAMERA) - PICK UP DEMONSTRATORS: CHANT "FACISTA,
DEMONSTRATOR. ASESINO"
68 M. WAIST SHOT DEMONSTRATOR -

Starts TILT UP AS SHE IS PICKED UP BY CHANT: CONTINUES
802.00 TWO OFFICIALS.
69 PAST OFFICIAL F.G. L (BACK TO

Starts CAMERA) TO M. WAIST SHOT
814.06 DEMONSTRATOR - TILT UP AS
DEMONSTRATOR IS PICKED UP -
CARRIED INTO B.G.
70 PAST MIGUEL L, ALFONSO R (BACKS

Starts TO CAMERA) TO M. WAIST SHOT
820.03 DEMONSTRATOR - TILT UP AS THEY CHANT: CONTINUES
PICK UP DEMONSTRATOR - TRACK
BACK AS THEY CARRY HER TOWARDS,
EXIT L.

Starts RUBEN - RUBEN PICKS UP RECEIVER. TELEPHONE: RINGS
828.11
RUBEN (INTO Diga ...
PHONE): (Yes ...) 10/193 830.09 831.01 0.08
... cuando ...

(... when ...) 10/194 832.06 833.01 0.11
... si ...
(... yes ...) 10/195 833.07 833.14 0.07
... vengo
enseguida.
(... I'll come down
immediately) 10/196 834.05 835.04 0.15
HE REPLACES RECEIVER. FX:

"AMERICAN ROULETTE"
REEL 10 (5B) Page: (22)*
Scene No. Spot
72 PAST MORRISEY L, KATE R (BACKS

Starts TO CAMERA) AND OVER DESK TO
836.05 M.L.S. RUBEN - STANDS.
RUBEN TO Please excuse me

MORRISEY/ for a moment. 10/197 837.08 839.03 1.11
KATE:
A little matter to
attend to. 10/198 840.05 842.01 1.12

REEL 11 (6A)
ZERO is START MARK

Scene No. Spot

1 INT. EMBASSY. DAY.

Starts
12.00 (HIGH ANGLE) DOWN TO M. WAIST
SHOT PROTESTERS - OFFICIALS PROTESTERS: CHANT "ASESINO,
ENTER FROM B.G. - PICK UP FACISTA"
PROTESTER.
2 PAST ALFONSO R (BACK TO CAMERA)

Starts AND MIGUEL L TO M. WAIST SHOT
19.14 PROTESTER (SEATED) - THEY LIFT
UP PROTESTER.
3 M. WAIST SHOT OFFICIAL - POINTS

Starts GUN DOWN L.
23.05
RUBEN Julio que pasa ahi?
(O.S.) TO (What's going on
OFFICIAL: there?) 11/1 23.08 24.13 1.05
PAN R OFF OFFICIAL.
OFFICIAL TO Todo esta bien.

RUBEN: (Everything all
right) 11/2 24.15 25.15 1.00
CONTINUE PANNING R TO REVEAL

RUBEN IN M. WAIST SHOT.
RUBEN TO Pero me cago hay

OFFICIAL: que sacar esta
gente.
(What the fuck, we
have to get these
people out) 11/3 26.07 28.02 1.11
Para ahi, vamos,

vamos ...
(Stop there, come
on, come on ...) 11/4 28.04 30.00 1.12
PAN L AS RUBEN RUNS DOWN STAIRS

L - PUSHES PAST DEMONSTRATOR.
"AMERICAN ROULETTE"
Scene No. Spot
Sc.3 RUBEN ... cabron, sali de

Cont: (Cont): la ambajada.
(... mother fucker,
get out of the
embassy) 11/5 30.02 32.07 2.05
4 (HIGH ANGLE) DOWN TO M.L.S. KATE

Starts - WALKS UP STAIRS TOWARDS
32.15 FOLLOWED BY MORRISEY - KATE MUSIC: FADE IN 35.00
STOPS IN M. WAIST SHOT - TURNS,
WALKS L - EXITS FOLLOWED BY
MORRISEY.
5 INT. THE ROOM.

Starts
42.04 M.C.U. CARLOS (SEATED) - HIS
HEAD LIES BACK.
6 M.S. DOOR - KATE ENTERS F.G. L

Starts IN M. WAIST SHOT (BACK TO
45.02 CAMERA) - GRABS DOOR HANDLE -
TURNS, LOOKS F.G. L - MORRISEY
ENTERS F.G. L (BACK TO CAMERA)
IN M. WAIST SHOT.
KATE TO According to my
MORRISEY: fairy Godmother
this is it. 11/6 46.10 49.11 3.01
MORRISEY TO I'm with you. 11/7 49.06 50.07 1.01

KATE:
KATE OPENS DOOR - WALKS IN.
7 (HIGH ANGLE) DOWN PAST DOOR R TO

Starts M.L.S. BOXES - DOOR SWINGS OPEN
51.03 TO REVEAL M.L.S. KATE.
KATE TO Carlos. 11/8 51.05 52.02 0.13

CARLOS:
PAN L AS KATE RUNS L FOLLOWED BY

MORRISEY - HOLD M.L.S. CARLOS -
KATE L, MORRISEY R.
(INDISTINGUISHABLE) 11/9 57.00 57.13 0.13
Don't yell. 11/10 58.05 59.06 1.01

"AMERICAN ROULETTE"
Scene No. Spot
Sc.7 KATE Don't protest.

Cont: (Cont): Don't say anything. 11/11 59.12 62.00 2.04
Just watch. 11/12 62.09 63.09 1.00
8 M.S. CARLOS (SEATED) - KATE SITS

Starts L, MORRISEY STANDS R - KATE
63.10 HANDS MORRISEY WIRE CUTTERS.
MORRISEY TO She thinks of

CARLOS: everything. 11/13 65.12 68.03 2.07
KATE STANDS - HOLDS CARLOS'

WRIST AS MORRISEY CUTS CHAINS.
9 M.C.U. CARLOS' HAND - WIRE

Starts CUTTERS CUT CHAIN. FX:
69.09
CARLOS What is this, what
(O.S.) TO does it all mean? 11/14 70.03 72.03 2.00
KATE:
PAN R AS MORRISEY CUTS SECOND

CHAIN.
MORRISEY Cut at the end ... 11/15 73.15 74.12 0.13

(O.S.) TO
CARLOS:
TILT UP - HOLD M. WAIST SHOT

CARLOS.
KATE TO Timing's tight we

CARLOS: have to move. 11/16 78.00 80.06 2.06
CARLOS STANDS.

Starts CARLOS - KATE STANDS L, MORRISEY
80.08 R - PAN R AS THEY WALK R.
11 M.S. CARLOS - WALKS TOWARDS

Starts FOLLOWED BY KATE AND MORRISEY.
85.08
MORRISEY TO Come on people move
CARLOS: it. 11/17 86.09 88.15 2.06
CARLOS EXITS F.G. R FOLLOWED BY

KATE.
"AMERICAN ROULETTE"
Scene No. Spot
12 (LOW ANGLE) UP STAIRS TO M.

Starts WAIST SHOT KATE - WALKS DOWN
90.07 STAIRS TOWARDS FOLLOWED BY
CARLOS AND MORRISEY - PAN R AS
THEY WALK R TO FLIGHT OF STAIRS
- KATE AND CARLOS EXIT R.

Starts (BACKS TO CAMERA) - TRACK IN AND CHANTS: CONTINUE UNDER MUSIC:
100.06 TILT DOWN AS THEY RUN DOWN
STAIRS - STOP, LOOK DOWN AT O.S.
PROTESTERS.
14 (MORRISEY'S P.O.V. - HIGH ANGLE)

Starts DOWN STAIRWELL TO L.S. OFFICIALS
108.09 AND PROTESTERS.
15 OVER F.G. BANNISTERS TO M.S.

Starts KATE, CARLOS AND MORRISEY - THEY
115.03 LOOK DOWN.
MORRISEY: Damn. 11/18 115.14 116.11 0.13
This way, come on. 11/19 117.10 118.12 1.02
THEY TURN, RUN UP STAIRS R -

EXIT.
16 PAST WOMEN L AND R (BACKS TO

Starts CAMERA) TO M.L.S. PROTESTER -
121.10 TRACK IN AS WOMEN WALK TOWARDS.
WOMAN: Facistas no
sultenme sueltenme,
dejenme en paz.
(Fascists, no let
me go, let me go,
leave me in peace) 11/20 123.00 127.13 4.13
PROTESTER THROWS BOOKS TOWARDS.
WOMAN (BACK No, sueltenme, no

TO CAMERA): sueltenme.
(Let me go) 11/21 130.03 133.07 3.04
PAN R AS THEY LEAD PROTESTER OUT

DOOR R.
"AMERICAN ROULETTE"
Scene No. Spot
17 M. WAIST SHOT MORRISEY (BACK TO

Starts CAMERA) - RUNS TO DOOR B.G. L
134.00 FOLLOWED BY KATE AND CARLOS -
HOLD M.L.S. MORRISEY AS HE LOOKS
THROUGH DOOR PAST KATE AND
CARLOS F.G. R.
KATE TO It's not what you

CARLOS: think. 11/22 138.14 140.09 1.11
CARLOS TO It's never what I

KATE: think. 11/23 141.08 143.02 1.10
MORRISEY SIGNALS KATE AND CARLOS

TO FOLLOW - THEY EXIT THROUGH
DOOR B.G. L.
18 OVER F.G. DESK TO M.L.S. KATE L,

Starts CARLOS R - MORRISEY STANDS IN
149.02 B.G. - CLOSES DOOR - PAN L AS
THEY WALK F.G. L - HOLD AS KATE
OPENS WINDOW - THEY WALK L ONTO
BALCONY.
19 EXT. BALCONY. DAY.

Starts
157.10 M. WAIST SHOT KATE WALKS F.G. R
- EXITS - CARLOS STANDS BLINDED
BY THE SUNLIGHT - MORRISEY GRABS
CARLOS - TURNS HIM AROUND.
MORRISEY TO Left, left. 11/24 160.09 162.06 1.13

CARLOS:
THEY WALK F.G. R.
20 M.L.S. KATE (BACK TO CAMERA)

Starts CLIMBS OVER BALCONY ONTO STAIRS
164.03 - CLIMBS DOWN - CARLOS LOOKS
OVER EDGE OF BALCONY.

Starts
167.11 MORRISEY TO Machismo, Doctor
CARLOS: Quintas. 11/25 168.02 170.02 2.00
22 PAST KATE F.G. (BACK TO CAMERA)

Starts TO M.L.S. CARLOS - MORRISEY
170.03 STANDS IN B.G.
"AMERICAN ROULETTE"
Scene No. Spot
Sc.22 MORRISEY TO Machismo. 11/26 170.04 171.02 0.14

Cont: CARLOS:
KATE TO Come on, it's

CARLOS: easier than it
looks. 11/27 171.13 173.15 2.02
CARLOS CLIMBS ONTO RAILINGS -

MORRISEY EXITS THROUGH DOOR B.G.
R.
23 (LOW ANGLE) UP TO L.S. KATE AND

Starts CARLOS - THEY CLIMB DOWN STAIRS.
175.02
24 DOWN STAIRS TO M.S. SCREECH -

Starts RUNS UP STAIRS TOWARDS - LOOKS
183.06 UP L AT O.S. KATE AND CARLOS.
25 (SCREECH'S P.O.V.) M.L.S. KATE

Starts AND CARLOS CLIMB DOWN LADDER. MUSIC: FADE OUT 190.00 UNDER FX:
187.15
26 M. WAIST SHOT SCREECH - STEPS SCREECH: LAUGHS

Starts F.G. L.
191.09
27 M.L.S. KATE L (BACK TO CAMERA),

Starts CARLOS R - SCREECH ENTERS F.G. R
194.11 (BACK TO CAMERA) IN M. WAIST
SHOT.
SCREECH TO Well done Kate. 11/28 195.04 196.10 1.06

KATE:
KATE AND CARLOS WALK TOWARDS. MUSIC: IN 195.08 UNDER FX:
SCREECH TO President Quintas

CARLOS: ... 11/29 197.08 198.14 1.06
THEY TURN, STEP F.G. R.
28 (HIGH ANGLE) DOWN TO L.S. STEPS

Starts - SCREECH ENTERS L IN M.L.S. MUSIC: BUILDS
201.03 RUNS B.G. R FOLLOWED BY KATE AND
CARLOS - THEY TURN, RUN DOWN
STEPS L.
"AMERICAN ROULETTE"
Scene No. Spot
29 EXT. STREET. DAY.

Starts
211.07 PAST SCREECH F.G. TO M.L.S. KATE
L, CARLOS R - THEY WALK F.G. L.
CARLOS TO Where are you

SCREECH: taking me? 11/30 213.01 214.05 1.04
SCREECH TO There are some new

CARLOS: developements. 11/31 214.07 216.10 2.03
PAN L AS THEY PASS L - TRACK IN

AS THEY WALK TO B.G. POLICE CAR.
KATE (BACK What the hell is

TO CAMERA) happening? 11/32 220.05 222.03 1.14
TO SCREECH:
SCREECH TURNS, LOOKS AT KATE.
SCREECH TO Will you please

KATE: trust me, go back
to the flat. 11/33 222.11 228.03 5.08
CARLOS TO Its okay. 11/34 228.04 229.06 1.02

KATE:
SCREECH TO My man Dixon will

KATE: look after you. 11/35 229.07 231.15 2.08
CARLOS TO Please. 11/36 231.07 232.05 0.14

DIXON:
SCREECH TO I'll explain. 11/37 232.12 233.12 1.00

KATE:
CARLOS TO I'll talk to you. 11/38 233.13 235.02 1.05

KATE: (Runs Under Spot No: 11/38)
SCREECH TO In the car. 11/39 234.02 235.02 1.00

CARLOS:
CARLOS GETS INTO POLICE CAR

FOLLOWED BY SCREECH - KATE AND
DIXON WALK AROUND FRONT OF CAR - MUSIC: FADE OUT 243.04 UNDER FX:
HOLD M.L.S. DIXON'S CAR AS F.G.
POLICE CAR DRIVES OFF R - KATE
GETS INTO CAR.
"AMERICAN ROULETTE"
Scene No. Spot
30 INT. BAYSWATER FLAT. EVENING.

Starts
250.12 PAST KATE F.G. R (SIDE VIEW) TO
M.L.S. DIXON (SEATED) - KATE
READS BOOK.
31 M. WAIST SHOT KATE - LOOKS F.G.

Starts L AT O.S. DIXON.
254.11
32 M. WAIST SHOT DIXON - LOOKS

Starts TOWARDS.
257.06

Starts L AT O.S. DIXON.
261.03
34 M. WAIST SHOT DIXON.

Starts
263.15

Starts
266.11

Starts M.L.S. DIXON. TELEPHONE: RINGS
269.07
37 M. WAIST SHOT KATE - LEANS

Starts TOWARDS.
276.00
38 M. WAIST SHOT DIXON - LEANS

Starts TOWARDS, HOLDS UP HAND.
278.06

Starts
280.00
"AMERICAN ROULETTE"
Scene No. Spot

Starts M.L.S. DIXON - ANSWERS PHONE.
282.09
41 EXT. HELIPORT. NIGHT.

Starts
285.10 THROUGH F.G. GATES TO L.S. MUSIC: IN 285.10
HELICOPTER - TRACK IN AS DIXON'S
CAR DRIVES.
42 M.L.S. DIXON'S CAR - PAN L -

Starts HOLD AS CAR STOPS IN M.S. - KATE
292.14 STEPS OUT INTO M.S. - THEY
CLOSES DOORS - TRACK BACK AND R FX:
AS THEY WALK R - PAN L OFF THEM
AS POLICE CAR PULLS UP IN M.C.U.
- SCREECH STEPS OUT INTO M.S.
SCREECH: I'll take this one. 11/40 316.10 317.11 1.01
PAN R AS SCREECH WALKS R.
SCREECH TO No time for last

KATE: farewells. 11/41 318.07 320.12 2.05
We've got to get

him to the airport. 11/42 320.14 322.11 1.13
SCREECH OPENS BOOT OF POLICE CAR

- TAKES OUT BAG - RAMON ENTERS L
IN M. WAIST SHOT (SIDE VIEW).
KATE: Will one of you

explain what's
going on? 11/43 323.01 325.06 2.05
SCREECH EXITS F.G. R - RAMON

WALKS ROUND BACK OF POLICE CAR.
RAMON (BACK We're going home. 11/44 326.03 327.03 1.00

TO CAMERA)
TO KATE:
KATE TO You can't. 11/45 328.04 329.12 1.08

RAMON:
KATE TO Why are you letting

CARLOS: him do this? 11/46 330.15 332.09 1.10
HOLD M. WAIST SHOT KATE - CARLOS

STANDS L, RAMON R - TRACK BACK
AS THEY WALK TOWARDS.
"AMERICAN ROULETTE"
REEL 11 (6A) Page: (10)
Scene No. Spot
Sc.42 RAMON TO That's right, you

Cont: KATE: tell him Kate. 11/47 332.11 334.07 1.12
He wants to give up
and stay. 11/48 335.01 336.13 1.12
KATE TO Stay where? 11/49 338.10 339.10 1.00

RAMON:
RAMON TO Well didn't you

KATE: know? 11/50 340.01 341.02 1.01
There's been a
bloodless coup. 11/51 342.00 343.15 1.15
43 M.S. HELICOPTER.
Starts
344.03 RAMON The dictatorships
(O.S.) TO been overthrown. 11/52 344.03 346.14 2.11
KATE:
44 M. WAIST SHOT KATE - CARLOS

Starts STANDS L, RAMON R - TRACK BACK
349.06 AS THEY WALK TOWARDS.
KATE TO By who? 11/53 350.08 351.06 0.14

RAMON:
RAMON TO Some younger

KATE: officers. 11/54 351.08 353.01 1.09
They want Carlos

back as President
until the
elections. 11/55 354.02 358.10 4.08
THEY STOP IN M. WAIST SHOT.
CARLOS TO I'm not going. 11/56 369.15 371.01 1.02

KATE:
RAMON TO He has to see it

KATE: through. 11/57 373.00 374.13 1.13
THEY CONTINUE TO WALK.
CARLOS TO I can't do it Kate. 11/58 381.14 383.06 1.08

KATE:
RAMON TO Of course you can. 11/59 383.11 384.11 1.00

CARLOS:
"AMERICAN ROULETTE"
REEL 11 (6A) Page: (11)
Scene No. Spot
45 M.S. HELICOPTER - DIXON RUNS

Starts F.G. R.
385.09
46 PAST RAMON F.G. R TO M. WAIST

Starts SHOT KATE - RAMON TURNS, LOOKS
392.14 AT KATE.
RAMON (BACK Well I'm off, Kate. 11/60 394.05 395.06 1.01
TO CAMERA) (I'M OFF: LEAVING)
TO KATE:
Thanks for
everything. 11/61 397.06 398.08 1.02
THEY KISS. FX:
Yes I'll always

remember it. 11/62 402.10 404.04 1.10
PAN L AS RAMON STEPS L.
RAMON TO Bueno, Carlos ... 11/63 407.08 408.11 1.03

CARLOS:
... nos fulmos.
(Let's go) 11/64 409.08 410.06 0.14
HOLD M. WAIST SHOT CARLOS OVER

RAMON F.G. R (BACK TO CAMERA).
CARLOS TO Esta bien, dile que

RAMON: espere ...
(Very well, tell
him to wait ...) 11/65 414.12 415.14 1.02
... o te vas solo.

(... or you'll
leave on your own) 11/66 417.10 418.11 1.01
HOLD. MUSIC: OUT 420.00 UNDER RAMON:

LAUGHS
RAMON (BACK At once, Senor

TO CAMERA) Presidente. 11/67 421.05 423.15 2.10
TO CARLOS:
RAMON STEPS L - TURNS, LOOKS R

AT O.S. KATE.
RAMON TO See he's on it,

KATE: Kate. 11/68 427.09 429.02 1.09
(ON HELICOPTER)
"AMERICAN ROULETTE"
REEL 11 (6A) Page: (12)
Scene No. Spot
Sc.47 RAMON TURNS, EXITS L - HOLD M.

Cont: WAIST SHOT CARLOS.

Starts L AT O.S. CARLOS. MUSIC: FADE IN 434.08
434.06
48 M. WAIST SHOT CARLOS - LOOKS R

Starts AT O.S. KATE - STEPS R.
436.14
49 M. WAIST SHOT KATE - CARLOS

Starts ENTERS F.G. L (BACK TO CAMERA)
440.09 IN M. WAIST SHOT.
KATE TO You've succeeded. 11/69 443.02 444.06 1.04

CARLOS:
CARLOS Be realistic Kate

(BACK TO ... 11/70 445.09 447.03 1.10
CAMERA) TO
KATE: ... when it's
revealed that I was
supported by the
CIA ... 11/71 447.08 450.09 3.01
... what
credibility would I
have? 11/72 451.04 453.05 2.01
KATE TO Isn't it obvious

CARLOS: Carlos ... 11/73 454.04 456.08 2.04
... Morrisey's
seeking influence
with the
government. 11/74 457.07 460.13 3.06
THEY TURN, WALK TOWARDS - TRACK

BACK AS THEY WALK.
CARLOS TO And you approve of

KATE: that? 11/75 463.11 465.03 1.08
KATE TO It was you who

CARLOS: argued that noble
ends may involve
messy means. 11/76 466.09 470.12 4.03
"AMERICAN ROULETTE"
REEL 11 (6A) Page: (13)
Scene No. Spot
Sc.49 KATE Working with

Cont: (Cont): Morrisey was the
only way of getting
you out alive. 11/77 471.11 475.10 3.15
CARLOS TO Well it's not that

KATE: I'm not grateful. 11/78 480.05 482.05 2.00
KATE TO Good. 11/79 482.14 483.06 0.08

CARLOS:
Then give the

future a chance. 11/80 484.08 486.14 2.06
THEY STOP IN M. WAIST SHOT -

TURN TO EACH OTHER.
CARLOS TO What about our

KATE: future? 11/81 491.06 492.13 1.07
Where do we stand? 11/82 495.10 496.15 1.05
KATE TO Nothing's going to

CARLOS: happen unless you
see it through. 11/83 498.14 502.04 3.06
CARLOS TO You said you'd

KATE: never go with the
President. 11/84 505.12 508.01 2.05
KATE TO Maybe I can't, and

CARLOS: maybe I can change
my mind. 11/85 510.09 513.15 3.06
THEY TURN, WALK TOWARDS - TRACK

BACK AS THEY WALK.
A girl can do that

you know, Senor
Presidente. 11/86 515.02 518.03 3.01
CARLOS TO You don't give a

KATE: girl much choice. 11/87 522.05 524.06 2.01
KATE TO It's a choice. 11/88 525.12 526.15 1.03

CARLOS:
CARLOS TO If I go, you'll

KATE: come see Ramon and
me? 11/89 529.09 531.15 2.06
KATE TO Ramon and you, what

CARLOS: about Inez doesn't
she count? 11/90 532.12 535.15 3.03
"AMERICAN ROULETTE"
REEL 11 (6A) Page: (14)
Scene No. Spot
Sc.49 CARLOS TO Now, you see how I

Cont: KATE: need you? 11/91 536.04 538.00 1.12
THEY STOP - TURN TO EACH OTHER.
Keep me up on the
mark. 11/92 540.08 542.03 1.11
Inez is now the new

Ambassador to
London. 11/93 545.02 547.15 2.13
50 M.S. HELICOPTER - SCREECH STANDS

Starts BY DOOR - LOOKS TOWARDS.
550.13
SCREECH: (SHOUTS) President
Quintas ... 11/94 551.07 553.03 1.12

Starts (SIDE VIEWS).
553.06
SCREECH (SHOUTS) ... they
(O.S.): won't wait any
longer. 11/95 553.10 555.14 2.04
KATE TURNS, LOOKS TOWARDS.

Starts
556.12 SCREECH TO Turn it over now. 11/96 558.06 559.10 1.04
PILOT: (START UP)
PILOT STARTS HELICOPTER. FX:
53 M.S. HELICOPTER - ROTOR BLADES

Starts SPIN.
562.00

Starts (SIDE VIEWS).
568.02
KATE TO Go on President
CARLOS: Quintas. 11/97 572.03 574.00 1.13
Call me from the

Palace, I'd like
that. 11/98 575.07 577.11 2.04
"AMERICAN ROULETTE"
REEL 11 (6A) Page: (15)
Scene No. Spot
Sc.54 CARLOS TO I'm going but I'll

Cont: KATE: be sending you a
ticket. 11/99 580.05 582.13 2.08
KATE TO I'll be sending it

CARLOS: back I pay my own
way, remember. 11/100 583.09 586.11 3.02
CARLOS TO Yes. 11/101 591.15 592.14 0.15

KATE:
THEY EMBRACE. MUSIC: BUILDS
55 M. WAIST SHOT SCREECH LOOKS

Starts TOWARDS - SHAKES HIS HEAD.
613.10
56 M.C.U. CARLOS L, KATE R - THEY

Starts KISS.
618.05
CARLOS TO Goodbye Miss
KATE: Webber. 11/102 622.04 623.09 1.05
KATE TO Bye Carlos. 11/103 626.03 627.04 1.01

CARLOS:
THEY EMBRACE.
57 C.U. HELICOPTER ROTOR BLADES. FX:

Starts
646.00
58 M.C.U. CARLOS L, KATE R - THEY

Starts EMBRACE - CARLOS TURNS, EXITS
649.03 F.G. R - KATE TURNS, WATCHES HIM
GO.
59 M.S. HELICOPTER - SCREECH HOLDS

Starts OPEN DOOR - CARLOS ENTERS F.G. L
659.00 (BACK TO CAMERA) IN M.S. - WALKS
TO B.G. HELICOPTER.
60 M. WAIST SHOT CARLOS L, SCREECH

Starts R (BACK TO CAMERA) - CARLOS GETS
662.14 INTO HELICOPTER - SCREECH CLOSES
DOOR - TURNS, EXITS F.G. L - FX:
CARLOS LOOKS THROUGH WINDOW
TOWARDS.
"AMERICAN ROULETTE"
REEL 11 (6A) Page: (16)
Scene No. Spot
61 M.C.U. KATE - LOOKS F.G. R AT

Starts O.S. CARLOS.
678.10
62 THROUGH WINDOW TO M. WAIST SHOT

Starts CARLOS - LOOKS TOWARDS.
681.14
63 M. WAIST SHOT MORRISEY - LIGHTS

Starts CIGARETTE. FX:
685.03
64 M. WAIST SHOT KATE - LOOKS

Starts TOWARDS - SCREECH ENTERS F.G. L
693.01 IN M. WAIST SHOT - TURNS TO
KATE.
SCREECH TO So you'll be seeing

KATE: the President
again? 11/104 694.06 698.07 4.01
65 PAST SCREECH F.G. L (SIDE VIEW)

Starts TO M. WAIST SHOT KATE - THEY
698.08 LOOK R AT O.S. CARLOS.
KATE TO I just might. 11/105 698.11 700.01 1.06

SCREECH:
SCREECH TO By jove that'll be

KATE: a night to
remember. 11/106 700.02 703.14 3.12
KATE TO What a rogue you

SCREECH: are Screech. 11/107 704.12 707.01 2.05
The rescue was

quite unnecessary. 11/108 707.03 709.08 2.05
SCREECH TO You don't

KATE: appreciate the
danger he was in
... 11/109 709.10 713.10 4.00
... besides I had

to find someway of
getting you
together again. 11/110 713.12 718.09 4.13
KATE TO Screech, you are an

SCREECH: incorrigible
romantic. 11/111 719.01 722.08 3.07
"AMERICAN ROULETTE"
REEL 11 (6A) Page: (17)
Scene No. Spot
Sc.65 SCREECH TO Won't you call me

Cont: KATE: Gerald?!? 11/112 724.10 726.15 2.05
HOLD. KATE: LAUGHS
66 C.U. HELICOPTER ROTOR BLADES -

Starts CRANE DOWN TO REVEAL M.C.U. FX:
730.06 CARLOS LOOKING THROUGH WINDOW
TOWARDS. MUSIC: FADES
67 (CARLOS' P.O.V.) M.L.S. KATE L,

Starts SCREECH R - THEY LOOK TOWARDS -
737.09 THEY WAVE.
CARLOS Kate ... 11/113 738.06 739.00 0.10

(V.O.):
... I will you

bring you happy
flowers from the
mountains. 11/114 740.03 743.06 3.03
CRANE UP AS HELICOPTER TAKES

OFF.
Bluebells, dark
hazels ... 11/115 745.00 748.03 3.03
68 M.C.U. HELICOPTER - CARLOS LOOKS

Starts THROUGH WINDOW TOWARDS.
748.11
CARLOS ... and rustic
(V.O.): baskets of kisses. 11/116 749.07 751.13 2.06
69 (CARLOS' P.O.V. - HIGH ANGLE)

Starts DOWN TO L.S. KATE L, SCREECH R -
752.11 THEY WAVE.
CARLOS I want ... 11/117 752.15 754.01 1.02

(V.O.):
... to do with you

what spring does
with the cherry
trees. 11/118 754.09 758.07 3.14
WE CLIMB TO HOLD L.S. KATE AND MUSIC: BUILDS

SCREECH ON 'WESTLAND' HELIPAD.
"AMERICAN ROULETTE"
REEL 11 (6A) Page: (18)
70 BLACK SCREEN. MUSIC: FADE OUT 789.10

Starts MUSIC: FADE IN 789.13
789.09
ET 1 ROLLER TITLES: BEGIN

Starts
790.00 Carlos' poetry from:
SELECTED POEMS by Pablo Neruda:
Jonathan Cape/Penguin Books
Production Manager LAURA JULIAN
Costume Designer LOUISE STJERNSWARD
Casting Director SHEILA TREZISE
Art Director PETA BUTTON
CAST:
(In order of appearance)
Carlos Quintas ANDY GARCIA

Kate Webber KITTY ALDRIDGE
Ruben GUY BERTRAND
Miguel RICARDO SIBELO
Alfonso LINO OMOBONI
Hi-jacked Van Driver BEN ONWUKWE
Policeman PETER GUINNESS
Raul's Neighbour SHEILA BURRELL
Ramon ALFREDO MITCHELSEN
Inez CAROLA PALACIOS
Paco ADOLPHO COZZI
Raul's Widow GLORIA ROMO
Reporter at ICA YVES AUBERT
Screech ROBERT STEPHENS
Zoe JUANITA WATERMAN
Ms Van Doorn KATE McKENZIE
Vladimir CHRISTOPHER ROZYCKI
Nickolai BORIS ISAROV
Pickwick ROSALIND BENNETT
Morrisey AL MATTHEWS
TV Interviewer JAYNE IRVING
Isabella YOLANDA VASQUEZ
Japanese Reporter SAYO INABA
American TV Reporter DARCY FLYNN
Ricks STEVE WESTON
Embassy Policeman MIKE MUNGARVAN
Embassy Official FRANCISCO MORALES
and as themselves:
MEL CALMAN
CHRISTOPHER LOGUE
and
SUSANNAH YORK
Continued:
"AMERICAN ROULETTE"
REEL 11 (6A) Page: (19)
ROLLER TITLES: CONTINUED
Location Manager Production Accountant

HOWARD GIBBINS DUNCAN STEWART
Hairdresser Make-Up
JANE HOPE-KAVANAGH MAGDALEN GAFFNEY
Sound Recordists Boom Operators

DAVID CROZIER IAN MUNRO
JOHN MIDGELY CLIVE OSBORNE
First Assistant Director Second Assistant Director

GINO MAROTTA POUL LOWIN
Script Supervisor Dialogue Coach

ANDREA FONTAINE JOAN WASHINGTON
Production Co-ordinator Property Buyer

CATE ARBEID DAVID FYSON
Camera Operator Focus Puller

JOHN CAMPBELL MIKE TOMLIN
Camera Grip Special Effects

JOHN ETHERINGTON TERRY GLASS
Electrical Supervisor Best Boy

REG PARSONS BRIAN SULLIVAN
Property Master Standby Propman

ARTHUR WICKS GRAHAM STICKLEY
Wardrobe Supervisor Wardrobe Assistant

BRIAN COX CYNTHEA DOWLING
Standby Carpenter Standby Painter

STEVE CHALLONER BILL BROWN
Standby Stagehand Standby Rigger

STUART WILLIS BILL POYNTER
Assistant Accountant Sound Editor

PATRICIA POOLE GRAHAM HARRIS
Assistant Film Editor Assistant Sound Editor

HELEN ELEY JEREMY CHILD
Supervising Re-Recording Mixer Re-Recording Mixer

BILL ROWE RAY MERRIN
Cutting Room Assistant Music Recording Engineer

JAIME ESTRADA ALAN SNELLING
Continued:
"AMERICAN ROULETTE"
REEL 11 (6A) Page: (20)
ROLLER TITLES: CONTINUED
Stills Photographer Unit Publicist

FRANK CONNOR ANN TASKER
Assistant to Producer Assistant to Director

JOANNA BURN ROBERT CAMPBELL
Location and Facility Vehicles D & D INTERNATIONAL

LOCATION FACILITIES
WILLIE'S WHEELS
Catering SET MEALS
Titles by General Screen Enterprises Ltd
Colour by Fuji
Processing by Technicolour (R)
Lenses & Panaflex (R) Camera by Panavision (R)

Supplied by Samuelson Film Service, London
Lighting Equipment: Lee Electric (Lighting) Ltd
Sound Re-Recorded at Cannon Elstree Studios
Music Recorded at Snake Ranch Studio
Musicians Contracted by Session Services of London
The Producers wish to thank:

SHARON BLOOM HERMAN MILLER LTD RICHARD MOXON
CHRIS SMITH TIM PITT MILLER
(c) ROULETTE PRODUCTIONS LIMITED MCMLXXXVIII

All rights reserved
Made by Roulette Productions Limited,

23 Harcourt Street, London W1
on location in England.
"AMERICAN ROULETTE"
918.00 HOLD CENTRE SCREEN. MUSIC: FADE OUT 922.11

"AMERICAN ROULETTE"
REEL 11 (6A) Page: (21)*
ET 2 TITLE: FADE IN
Starts
927.14 Produced by Roulette Productions Limited
For
Mandemar Group
British Screen Finance Limited
and
Channel Four Television Company Limited

Prepared, Word Processed

Printed in England by:
SAPEX SCRIPTS
Millennium Studios
Elstree Way
Boreham Wood
Hertfordshire
ENGLAND
Tel: +44(0)20-8236 1600
Fax: +44(0)20-8236 1591
Email:scripts@sapex.co.uk
http://www.sapex.co.uk/

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"AMERICAN ROULETTE"

Combined Dialogue and Continuity

REEL 1 (1A) ZERO AT START MARK ........................ 857.15

Running time at 24 fps: 1 Hour 42 Mins 00 Secs

ZERO is START MARK

Scene No. Spot

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2 EXT. UNDERGROUND. NIGHT.

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MT 7 MAIN TITLE: FADE IN

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3 M. WAIST SHOT CARLOS - TRACK

Maybe it's too

First I'm obsessed

And there are these

... maybe you think

... why should

4 ALONG PLATFORM TO M.L.S. STAIRS

CARLOS ... I'm the

I know ... 1/11 159.03 159.13 0.10

... now you're

CARLOS STOPS, TURNS - WALKS F.G.

TRACK BACK AS HE WALKS TOWARDS.

Well, I'm that

5 (CARLOS' P.O.V.) ALONG PLATFORM

CARLOS ... and if I'm not

... then why are

I told you it was a

6 INT. TRAIN. NIGHT.

Sc.6 KATE (BACK Good evening Senor

CARLOS TURNS (BACK TO CAMERA) -

CARLOS Good evening Miss

7 M. WAIST SHOT KATE L, CARLOS R -

CARLOS TO Carlos. 1/21 214.04 215.01 0.13

KATE TO Carlos. 1/22 216.04 217.01 0.13

CARLOS TO Let me carry your

KATE TO It's not heavy. 1/24 222.15 223.14 0.15

CARLOS TO It's not heavy. 1/25 224.03 225.04 1.01

Kate ... 1/26 226.11 227.04 0.09

... gracias. 1/27 229.05 230.05 1.00

KATE HANDS HER BAG TO CARLOS -

CARLOS How was Paris? 1/28 237.11 238.14 1.03

CONTINUE PANNING L AS CARLOS

KATE TO Beautiful. 1/29 239.09 240.06 0.13

Sc.7 CARLOS What time is your

KATE (BACK Seven o'clock. 1/31 248.06 249.07 1.01

8 (LOW ANGLE) UP STAIRS TO M.S.

CARLOS TO So early. 1/32 250.14 251.12 0.14