YVR - ACT I - Por A Mesa

black screen

Pink Floyd's "Time" begins to play....intro is a clock ticking, followed by percussive tones, dynamically increasing

We see a plane approaching, head on...it is landing...the sun setting over the Pacific Ocean and Gulf Islands in the background as it approaches one of the runways at Vancouver International Airport (YVR)

The music continues to crescendo as we see the plane touch down and land.

CTC

Exterior - YVR International Arrivals Terminal Main Entrance/Exit

The doors open and we see a man in his late 30s, early 40s - dark hair, beard, sunglasses >>Americo Cabral<<.  He exits the airport.

Pink Floyd's "Time" continues to play and we hear the 'alarm' go off at the 0:08 of the song's intro as we pan to a close-up shot of the man's face, then slowly pan out to a wide-angle shot.

We see the man look left and right, then proceed to walk toward a waiting car - black sedan, and he gets in

He is carrying a small wheeled carry-on.

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We have a rear shot of the black sedan as it drives away from the airport. Camera is that of a following car.

Pink Floyd's "Time" continues to play - percussive, dynamically increasing tones.  We continue following the car through Richmond, over the Arthur Laing Bridge, into Vancouver proper.  Camera catches a road sign "Welcome to Vancouver: A Nuclear Weapons Free Zone", we proceed down Cambie Street, and we cross Broadway and commence going downhill towards the Cambie St. Bridge and a full view of downtown Vancouver.  Music hits the 2:18 mark as the drums kick in and the vocals start - "Ticking away the moments that make up a dull day, fritter and waste the hours in an off-hand way....

The camera angle takes off and lifts up away from the sedan, as it crosses the Cambie St. Bridge, and elevates upwards and begins a wider shot, and the entire downtown Vancouver peninsula comes into view.  We see the title credit - "YVR" splashed across the screen, and the opening credit sequence begins.

The camera takes a panoramic tour of downtown Vancouver in a circular, aerial pan.  "Time" continues to play, as the camera circles Vancouver.

Towards the end of the song, as pace slows, - "Home, home again.  I like to be here when I can"...the camera again finds the black sedan driving down Robson street, towards Burrard, and eventually the Hyatt Regency hotel and stops at the front entrance "Far away, across the fields, the tolling of the iron bell, calls the faithful to their knees, to hear the softly spoken magic spell"...as the song winds down and ends.

We see a bell hop/valet, open the door of the black sedan, and the man gets out of the car and heads into the hotel, bellhop following him with his luggage.

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SAMBA MUSIC

Dancing in the streets

It is Carnaval in Rio de Janeiro, Brazil.  We see revelers celebrating O Carnaval.  Dancers, parades, floats,etc.  We see various groups in matching costumes representing various Samba schools.

We see a group of revellers dressed in skeleton costumes, dancing.  However one of them, towards, the back of the group is not dancing, only walking with the group.  

Camera zooms in on skeleton character, male.  he continues to walk with the group, then suddenly walks through the crowd into an alley.  He peaks around the corner, more than once, as if checking to see if someone is following him.  He starts to hastily proceed down the alley, as he turns away from the corner towards the alley, he almost collides with a group of drunk revellers exiting the alley towards the street, and the parade.  They are joyous and festive.  Losing his balnce he stumbles, and they laugh at him.  He gets up and bumps into an older couple, in costume, also heading towards the street.  He becomes more flustered and quickens his pace down the alley, frequently looking back towards the street.  Again, not watching where he is going, he loses his balance and falls.  He gets up and realizes he almost stumbled into a couple having sex up against the wall in the alley.  They pay him no mind.  One of the lovers looks at him, and gives him a partial smile, mixed with an ecstatic moan.

He is visibly becoming more and more anxious and hasty.  His face clearly shows fear,  He is now into a full sprint, up the dark secluded streets.

He runs into an older building with a crucifix on the top, and opens the door to an empty church.  Lit, dimly, by several candles.

He finds a pew and collapses into it.  Sweating and breathing heavily.

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Interior.  Hotel Room - Hyatt Regency Vancouver

Americo Cabral is sitting in a chair looking out the window, apparently deep in thought.  he gets up and goes over to the desk, and opens a brief case, takes out some papers and begins reviewing them.

External view through hotel room window.  No sound.

He makes a phone call, speaking in a foreign language.  He begins speaking in a calm tone, then listens for some time.  His tone becomes more stern, and he begins using emphatic hand gestures, then ends the call.

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We see AC leaving the hotel and walking down Burrard Street.  Sunglasses.  Brisk but not hurried pace.  Doesn't look around, keeps walking down the street.  Turns a corner, the camera catches up to him, just to see him turn another corner.  Camera catches up to the corner.  No sign of AC.  Instead, we see a woman, late 20s, early 30s, walking towards a police patrolman, and stops him, asking for directions.  She is touching his arm and standing rather close to him.  She asks him to repeat it a couple of times, speaking with an accent, but doesn't really seem to be paying attention to him, rather scanning her surroundings over the top of her sunglasses.  Her eyes rest on something off camera, and the expression on her face changes.  She ends the convo with the policeman, by thanking him several times, hurriedly, in English and in a foreign language, then walking off in the opposite direction.  Pan to the policeman's facial expression and reaction as she walks away.  He is puzzled, and has a suspicious look on his face.

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We see at the end of a (nearby) street, walking away from the camera.  The camera follows and sees him going descending exterioir front stairs of an older building, and open the door.

Interior - an older pub.  Not modernized, but clean, well lit, and well attended.  Several patrons, mostly older gentleman, some tourists, mostly drinking pints, some playing darts, some shooting pool. 3 or 4 TVs showing various sporting events.

AC sits at a table near the back of the pub.  Male, 50s >>deVries<<  is sitting at the table.  Has a blank expression as AC sits across from him.

AC - "Make this fast" English with an accent - south American, perhaps

deVries - "of course" English, Netherlands accent "this will be brief, but I couldn't risk this on a phone"

AC - "right.  is he here?"

deVries - "yes, we still have tabs on him, though he moves often.  we think he has connections here and this is where he was intending to go all along.  the other locations were diversions, I suspect.  He knows he's being followed.  His travel patterns make no sense otherwise."

AC - "you suspect he knows he's being followed. Could he just be taking general precautions as routine?"

deVries - "No.  I don't think so.  I lost him once in Montreal, and almost a second time as he crossed back to Canada from Vermont.  I was lucky to pick him up again"

AC - "But you're SURE he's still here?"

deVries - "Yes.  Confirmed.  Mila has eyes on him currently.  She will alert me if he gets out of sight"

AC - "Good.  Let's keep it that way.  What else do we know?  Who is he with?"

deVries - "He's in what looks like a safe house.  A small apartment building on the East side of town.  looks like he knows the whole neighbourhood.  Lots of friendlies.  There's at least 4 of them in the apartement with him at all times.  Looks like they're holing up there.  Not a lot of activity in or out."

AC - "OK.  Give me the address and I'll check it out.  Where is Mila now?  How firm is her position?"

deVries - "She's mostly loitering at a cafe across the street and milling about in various shops with line of sight.  She can't keep that up much longer without drawing suspicion.  She's gonna start getting eyeballs on her."

AC - "Right.  I'll get there now, assess the situation, and get her out of there when I can"