If it Means Killing, You Kill
Scene 1:
Exterior of an apartment building, at night, lit only by street lights. Aaron Miston walks down the sidewalk and up the stone steps of the apartment building, unlocks the door and walks inside. He is in his late 50's, greying, and with a weathered look to him. He carries a few extra pounds, but it's obvious that there's a fair amount of muscle underneath. He's clearly tired from the day, but still walks with a confident, intimidating presence without trying. He wears a full suit and tie, which is meticulously clean despite being a little wrinkled from a day's worth of wear.
Interior of Aaron's apartment. Aaron enters, takes his tie off and puts it down on his kitchen counter along with a pair of dark sunglasses and his mail.
Exterior of the apartment building. Aaron comes out the front door carrying a tied up bag of garbage, he takes a quick left down the alley next to the building. Looking down the alley from the sidewalk, we see his silouette open the lid of a dumpster, throw the garbage bag inside, then close the lid and walk back down the alley toward our view point. Just has he steps into the light again, a man's right arm swings down into the frame with a knife. Aaron instantly throws an upper block with his right arm, catching his attacker just below the wrist. From this point on, the scene continues in very slow motion, showing every detail of the encounter. The attacker is young, long haired, and dirty.
Voice over, Aaron:
"Get every flashy move, complex attack, and tricky maneuver out of your mind right now. It might be fine for Hollywood, you might be able to do it seamlessly when you spar, but in the real world it WILL get you killed. We are fighting an enemy that could be literally anywhere, and for that reason the only thing that matters is how quickly you gain control."
Aaron reaches up with his left hand and grabs his attacker's wrist. His right hand comes underneath the wrist and secures it. He draws his attacker's hand down, towards Aaron's own right shoulder. Securing it against his torso, Aaron turns his attackers wrist over, counter-clockwise, snapping the bone and making the knife drop immediately.
Voice over, Aaron:
"And that's what it's about, gentlemen, control. You're not trying to wound, you're not trying to cripple, you're not trying to kill. You're trying to-gain-control. If gaining control means wounding, you wound, if it means crippling, you cripple, if it means killing, you kill, and you do it all with-out hesitation. That is the only way you win. It's the only way you stay alive."
Aaron raises his right foot into a tight kicking chamber and strikes down onto his attacker's right knee. His attacker falls.
Voice over, Aaron:
"We do not have time for sympathy. We do not have time for compassion. Your sympathy, your compassion, your hesistation, all of it puts your life at risk, it puts your fellow agent's lives at risk, and most importantly it puts the President's life at risk."
Aaron steps up with his left foot, still holding his attacker's wrist, and again chambers his right leg.
"This job is not about nobility. It is about a single ideal that we hold sacred: the office of the President must be protected. And notice, gentlemen, that I say the office, not the man. You might not belong to the same political party as the current president. You might not like a bill he just signed. Hell you might think he's a grade-A sonofabitch! It does not matter, you must protect him with you life for exactly one reason: because he got the right number of electoral votes. You must guard this man, guard him with all that you are."
Aaron lands a final kick to his attacker's temple, knocking him out cold. Returning to real time, Aaron looks down at his enemy, then unceremoniously releases his attacker's arm, which flops to the ground.
Scene 2:
Exterior of the apartment building about half an hour later, now also lit by the flashing lights of two police cars and an ambulence. The attacker is being loaded onto the ambulence, his leg and wrist in splints. A solid black car with tinted windows drives up. Arthur Banon gets out and walks quickly toward the stone steps where Aaron is sitting and talking to a police officer. Arthur is in his early forties, not a young man but clearly younger than Aaron. He's dressed in the same black suit and tie that Aaron was wearing. As he walks up, he becomes visibly relieved when he sees that Aaron is unhurt.
Aaron: Thank you officer.
Officer: Have a good night, Agent Miston.
Arthur: Aaron . . .
Aaron stands up and they shake hands.
Aaron: Evening Artie.
Arthur: You know, I went to a lot of trouble to make sure you didn't get yourself killed in the last six months before retirement, and now eightteen hours away from it you start getting into fights.
Aaron laughs.
Aaron: Hey, it's not my fault some junkie needed money. It was a nice refresher, I've spent most of the year running training drills for your newbies, almost forgot what it's like in the field.
Arthur: You've done well with those kids, though, I've seen for myself. They look good, they really do.
Aaron: They've got spirit. Not like you, of course, but still . . .
Arthur: Come on now, just cause I've made director doesn't mean you have to start sucking up . . .
Aaron: I'm not Artie. You were one of the best. And you came around just when we really needed some spirit. Back when we thought the whole damn thing was going to collapse. Hell, I remember halfway through your training telling you to go home, that we'd lost and it was over and you should start sending out resumè's. And you just kept showing up anyway. That meant a lot. And it didn't hurt that you reminded us of your dad, he was one of the best too.
(pause)
Arthur: Well, I just came to make sure you were ok. I guess I'd better let you get some sleep, you've got a big day of opening retirement presents and drinking tomorrow.
Aaron smiles, claps Arthur on the shoulder, and begins walking up the steps.
Arthur: Police didn't give you much trouble, I hope.
Aaron pauses at the top of the stairs.
Aaron: Nah, I had my badge, once they saw it they fell right in line.
Arthur: You had your badge but not your gun?
Aaron: Course I had my gun, my backup too.
Arthur: Well, hell, Aaron, why didn't you just shoot the punk?
Aaron: Shooting him would be too much paperwork. Goodnight Artie.
Scene 1:
Exterior of an apartment building, at night, lit only by street lights. Aaron Miston walks down the sidewalk and up the stone steps of the apartment building, unlocks the door and walks inside. He is in his late 50's, greying, and with a weathered look to him. He carries a few extra pounds, but it's obvious that there's a fair amount of muscle underneath. He's clearly tired from the day, but still walks with a confident, intimidating presence without trying. He wears a full suit and tie, which is meticulously clean despite being a little wrinkled from a day's worth of wear.
Interior of Aaron's apartment. Aaron enters, takes his tie off and puts it down on his kitchen counter along with a pair of dark sunglasses and his mail.
Exterior of the apartment building. Aaron comes out the front door carrying a tied up bag of garbage, he takes a quick left down the alley next to the building. Looking down the alley from the sidewalk, we see his silouette open the lid of a dumpster, throw the garbage bag inside, then close the lid and walk back down the alley toward our view point. Just has he steps into the light again, a man's right arm swings down into the frame with a knife. Aaron instantly throws an upper block with his right arm, catching his attacker just below the wrist. From this point on, the scene continues in very slow motion, showing every detail of the encounter. The attacker is young, long haired, and dirty.
Voice over, Aaron:
"Get every flashy move, complex attack, and tricky maneuver out of your mind right now. It might be fine for Hollywood, you might be able to do it seamlessly when you spar, but in the real world it WILL get you killed. We are fighting an enemy that could be literally anywhere, and for that reason the only thing that matters is how quickly you gain control."
Aaron reaches up with his left hand and grabs his attacker's wrist. His right hand comes underneath the wrist and secures it. He draws his attacker's hand down, towards Aaron's own right shoulder. Securing it against his torso, Aaron turns his attackers wrist over, counter-clockwise, snapping the bone and making the knife drop immediately.
Voice over, Aaron:
"And that's what it's about, gentlemen, control. You're not trying to wound, you're not trying to cripple, you're not trying to kill. You're trying to-gain-control. If gaining control means wounding, you wound, if it means crippling, you cripple, if it means killing, you kill, and you do it all with-out hesitation. That is the only way you win. It's the only way you stay alive."
Aaron raises his right foot into a tight kicking chamber and strikes down onto his attacker's right knee. His attacker falls.
Voice over, Aaron:
"We do not have time for sympathy. We do not have time for compassion. Your sympathy, your compassion, your hesistation, all of it puts your life at risk, it puts your fellow agent's lives at risk, and most importantly it puts the President's life at risk."
Aaron steps up with his left foot, still holding his attacker's wrist, and again chambers his right leg.
"This job is not about nobility. It is about a single ideal that we hold sacred: the office of the President must be protected. And notice, gentlemen, that I say the office, not the man. You might not belong to the same political party as the current president. You might not like a bill he just signed. Hell you might think he's a grade-A sonofabitch! It does not matter, you must protect him with you life for exactly one reason: because he got the right number of electoral votes. You must guard this man, guard him with all that you are."
Aaron lands a final kick to his attacker's temple, knocking him out cold. Returning to real time, Aaron looks down at his enemy, then unceremoniously releases his attacker's arm, which flops to the ground.
Scene 2:
Exterior of the apartment building about half an hour later, now also lit by the flashing lights of two police cars and an ambulence. The attacker is being loaded onto the ambulence, his leg and wrist in splints. A solid black car with tinted windows drives up. Arthur Banon gets out and walks quickly toward the stone steps where Aaron is sitting and talking to a police officer. Arthur is in his early forties, not a young man but clearly younger than Aaron. He's dressed in the same black suit and tie that Aaron was wearing. As he walks up, he becomes visibly relieved when he sees that Aaron is unhurt.
Aaron: Thank you officer.
Officer: Have a good night, Agent Miston.
Arthur: Aaron . . .
Aaron stands up and they shake hands.
Aaron: Evening Artie.
Arthur: You know, I went to a lot of trouble to make sure you didn't get yourself killed in the last six months before retirement, and now eightteen hours away from it you start getting into fights.
Aaron laughs.
Aaron: Hey, it's not my fault some junkie needed money. It was a nice refresher, I've spent most of the year running training drills for your newbies, almost forgot what it's like in the field.
Arthur: You've done well with those kids, though, I've seen for myself. They look good, they really do.
Aaron: They've got spirit. Not like you, of course, but still . . .
Arthur: Come on now, just cause I've made director doesn't mean you have to start sucking up . . .
Aaron: I'm not Artie. You were one of the best. And you came around just when we really needed some spirit. Back when we thought the whole damn thing was going to collapse. Hell, I remember halfway through your training telling you to go home, that we'd lost and it was over and you should start sending out resumè's. And you just kept showing up anyway. That meant a lot. And it didn't hurt that you reminded us of your dad, he was one of the best too.
(pause)
Arthur: Well, I just came to make sure you were ok. I guess I'd better let you get some sleep, you've got a big day of opening retirement presents and drinking tomorrow.
Aaron smiles, claps Arthur on the shoulder, and begins walking up the steps.
Arthur: Police didn't give you much trouble, I hope.
Aaron pauses at the top of the stairs.
Aaron: Nah, I had my badge, once they saw it they fell right in line.
Arthur: You had your badge but not your gun?
Aaron: Course I had my gun, my backup too.
Arthur: Well, hell, Aaron, why didn't you just shoot the punk?
Aaron: Shooting him would be too much paperwork. Goodnight Artie.
posted by Unknown at 7:52 AM
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