Five Screenplays

By Norman Stokle

These screenplays cover a wide range of topics: the struggle for cultural survival (The Siege of Saint Michel), the nature of our afterlife (Limited Options), the importance of friendship (Buskers), pursuing a passion that also pays the bills (The Starlet), the death of chivalry (The Battle of Crecy). The first is a full-feature movie; the others, shorter works for television. Their purpose is to entertain while encouraging the observer to reflect upon the broader issues of life. Always, the accent is on colorful characters grappling with highly-conflictual and, at times, hilarious situations within a tight dramatic framework and intelligent verbal exchange.

• Language: English
• Publisher: AuthorHouse
• Release date: Apr 7, 2015
• ISBN: 9781496954114

Norman Stokle

Born and raised in County Durham, England, Norman Stokle has spent most of his working life teaching French language, civilization and literature at universities across the United States, as well as in Rennes and Paris, France, and Zaria, Nigeria. He received his Ph.D from Syracuse University, studied acting at the Royal Academy of Dramatic Art in London and musical composition at the Schola Cantorum in Paris. He has appeared in many stage and television plays and feature films and was a long-time member of Dear Conjunction, the English theater group, based in Paris. He has written several books and numerous articles on French and francophone literature. His most recent publications include co-authorship of a satirical novel, Cheeseburgers in the Rose Room (Trafford, 2009), Plays for the Sinful (Authorhouse, 2009), a TV mini-series: The Florentines (Xlibris, 2010), Three French Comedies (Xlibris, 2011), a musical fantasy: Beauty, the Beast & Some Clowns (Xlibris, 2013). Currently, he spends most of his time in California, playing Pétanque and giving occasional lectures to friends at Fresno’s Alliance Française. He can be reached by email at: [e-mail]

Book preview

66808.png

AuthorHouse™

1663 Liberty Drive

Bloomington, IN 47403

www.authorhouse.com

Phone: [phone]

© 2015 Norman Stokle. All rights reserved.

No part of this book may be reproduced, stored in a retrieval system, or transmitted by any means without the written permission of the author.

Published by AuthorHouse 03/30/2015

ISBN: 978-1-4969-5410-7 (sc)

ISBN: 978-1-4969-5411-4 (e)

Any people depicted in stock imagery provided by Thinkstock are models,

and such images are being used for illustrative purposes only.

Certain stock imagery © Thinkstock.

Because of the dynamic nature of the Internet, any web addresses or links contained in this book may have changed since publication and may no longer be valid. The views expressed in this work are solely those of the author and do not necessarily reflect the views of the publisher, and the publisher hereby disclaims any responsibility for them.

For permission to perform, broadcast or exploit these plays in any form, please contact:

Cindy Brace Agency, c/o CMS Experts Associés, 149 Boulevard Malesherbes, 75017 Paris, France. Email: [e-mail]

Telephone: [phone] or (33) 2 32 67 19 81

The author may be reached at: [e-mail]

Contents

The Siegeofsaint Michel

Limited Options

Buskers

The Starlet

The Death Of Chivalry King John Of Bohemiaat The Battle Of Crecy1346

Some Biographical Musings

For all my friends in the business

THE SIEGE

OF

SAINT MICHEL

A FULL-FEATURE SCREENPLAY

SYNOPSIS

Fifty masterpieces of French art are hijacked from a truck on its way from Paris’s Louvre Museum to Roissy-Charles de Gaulle Airport by a group of Breton separatists. They take their precious cargo to Mont Saint Michel where they evacuate the residents - except for the local mayor, a municipal counsellor, and - as luck would have it - the U.S. ambassador on a private visit to the Abbey with the president of a major American foundation. These are taken hostage.

The separatists then barricade themselves inside their armed fortress and announce their demands: a basic right to self-determination for the Breton people as guaranteed by the United Nations Charter.

These actions send shock waves throughout the Celtic World. Recognizing the enormous dangers to France’s territorial integrity not to mention its relations with the United States, the French government plays for time.

Mont Saint Michel is sealed off from the outside world. However, given its importance as a World Heritage Site, the idea of launching a military assault against the separatists is out of the question.

Faced with French governmental inertia, the separatists carry out their threat to destroy the hijacked masterpieces. One by one, they are burned in full view of the world’s TV cameras. Explosive charges are wired into place throughout the Abbey itself.

The plight of the hostages becomes precarious as tensions mount on all sides. The French government reluctantly accepts the Pentagon’s offer of help.

For a brief moment, the separatists are afforded a respite, thanks to a group of supporters from Ireland and Scotland who succeed in breaking through the blockade. They dream of creating an Inter-Celtic Confederation, yet the vital support of the Breton people at large is not forthcoming.

As conditions continue to deteriorate inside Mont Saint Michel, longstanding tensions resurface within the separatist movement itself. Yannick, the leader of the moderate wing, is killed by Loic, the leader of the extremists, who now assumes full control.

The hostages, hitherto housed comfortably under guard in various local hotels, are herded inside the Abbey. Loic issues an ultimatum to the French authorities. The Abbey will be destroyed and the hostages along with it if his demands are not met.

As the deadline hour approaches, Loic discovers Gael’s betrayal. She has burned only duplicates of the paintings, not the originals.

The Franco-American anti-terrorist squad makes its assault. Loic is on the point of detonating the explosive charges to blow up the Abbey and the hostages when he is shot dead by Gael. She, however, is killed, in turn, by a U.S. squad member who has misinterpreted her intentions.

The Breton separatist revolt is quelled, their bid for an independent Breton nation shattered. Brittany will remain an integral part of France…..But for how long? The lone, mysterious rider who crosses the sands in the final seconds of the movie (King Arthur? Merlin?) would suggest that the Celtic spirit endures and that, one day, it will rise again.

FADE IN:

1 - EXT. LOUVRE MUSEUM, PARIS - NIGHT - ESTABLISHING

1

BEGIN TITLES OVER

A PANORAMIC AERIAL VIEW of Paris in the light of a pale full moon.

CAMERA sweeps over the city revealing major landmarks: Eiffel Tower, River Seine, Champs Elysées, Place de la Concorde, etc., all beautifully illuminated.

Still from an aerial perspective, CAMERA slowly approaches the Louvre Museum from the west, hovers momentarily over the Pyramid entrance before sweeping over the roof of the Denon wing and descending into the Cour Visconti.

2 - EXT. COUR VISCONTI, LOUVRE MUSEUM - NIGHT

2

Several Victorian-style lamps stud the courtyard. Two small sphinxes stand on both sides of a door bearing the words Ecole du Louvre. On another side of the courtyard, some building materials and equipment are stacked untidily under a metal awning.

WORKERS are loading a large Saviem Truck with crates. They all wear overalls bearing the logo of the Musée du Louvre.

On the side of each crate, a label indicates its contents and destination: Le Nain - Peasant Family in an Interior; Delacroix - Liberty leading the People, Delacroix - Women of Algiers, Ingres - The Turkish Bath, etc. The names of other great French painters flash by: Jean Clouet, Rigaud, Watteau, Quentin de la Tour… Their ultimate destination: Musée de l’Hermitage, Saint Petersbourg, Russie.

END TITLES OVER

The WORKERS move purposefully back and forth between the truck and the entrance doors of the loading dock into the museum. As each crate is stacked, the WORKER concerned announces the title. GAEL ESTOURBEILLON, an attractive, dark-haired, dark-eyed woman in her late twenties, checks the artwork on her list.

WORKER #1

Jean Fouquet. Charles VII.

He returns inside museum.

WORKER #2

Watteau. Embarcation for Cythera.

GAEL

036 David’s Madame Récamier?

WORKER #2

Coming right up, Isabel. Gabriel’s

fixing the labels.

GAEL

(checking her clipboard)

And the three Poussins. We still

need them.

WORKER #2 returns inside.

A CRS OFFICER approaches.

CRS OFFICER

How many more?

GAEL

Just five. Then we go.

The CRS OFFICER checks his watch.

INSERT - WATCH FACE

which reads 9 p.m.

BACK TO SCENE

CRS OFFICER

Flight leaves at midnight?

GAEL

Eleven fifty. Charles de Gaulle.

The CRS OFFICER pulls out his inter-com and relays a message as he rejoins a couple of his COLLEAGUES across the courtyard.

The last CRATES are loaded.

We observe GAEL from a distance checking them on her clipboard. She exchanges a brief comment with the WORKERS as they close the truck doors.

GAEL

(into her inter-com)

Crates loaded. Ready to go.

VOICE

(through inter-com)

Have a safe trip.

GAEL signals to the CRS OFFICERS, then climbs into the cabin of the truck beside the DRIVER and shuts the door.

Three C.R.S. OFFICERS climb onto their motorbikes.

ENGINES start up. The TRUCK moves slowly to the exit gate flanked by the CRS motorbike escort.

From her seat inside the cabin of the truck, GAEL rolls down her window and hands a sheet of paper to the GUARD at the gate.

The barrier is raised and the convoy moves out onto the street.

3 - EXT. THE QUAIS ALONG THE RIVER SEINE - NIGHT – TRAVELING

3

The Saviem truck moves slowly along the quayside toward the Châtelet, with the C.R.S. OUTRIDERS.

CAMERA takes in the Pont des Arts, the Pont Neuf and other renowned Paris monuments - the Conciergerie, the towers of Notre Dame Cathedral, etc.- all illuminated against the night sky.

Along the quayside and on the nearby bridges, we notice a few C.R.S. OFFICERS positioned at appropriate intervals. They monitor the convoy as it passes and relay messages through their intercoms.

4 - INT. INSIDE CABIN OF TRUCK - NIGHT

4

-The street lights illuminate the faces of GAEL and the DRIVER as the truck moves along the Boulevard Sébastopol toward the airport.

GAEL rests her head against the back of her seat in an attempt to relax.

Her intercom buzzes. She clicks it on.

GAEL

Isabel.

VOICE

(through intercom)

All clear at Roissy. Cargo terminal

- bay twenty-three.

GAEL

Bay twenty-three. Thanks.

She clicks off intercom, nods to DRIVER who acknowledges the information.

5 - EXT. THE PARIS STREETS - NIGHT - TRAVELING

5

The convoy reaches a detour manned by other CRS OFFICERS.

The truck and its escort are directed to veer right, off the Boulevard Barbès into a side street. (La Rue Marcadet, perhaps.) Some of these CRS OFFICERS join those already escorting the truck.

6 - INT. INSIDE CABIN OF TRUCK - NIGHT

6

The DRIVER shakes his head in frustration.

GAEL eyes him anxiously.

7 - EXT. THE STREETS OF PARIS - NIGHT - TRAVELING

7

The TRUCK advances slowly along the Rue Marcadet behind the CRS motorcycle escort led by the new group of CRS OFFICERS, then turns left along a narrow street. After a few yards, the CONVOY comes to a halt behind a VAN which blocks the center of the road.

Suddenly, the back doors of the VAN in front of them swing open and disgorge several more CRS OFFICERS who make a beeline for the Saviem truck. At the same time, the CRS OFFICERS from the detour pounce on the three authentic CRS OFFICERS and quickly overpower them before they realize what is happening.

8 - INT. INSIDE CABIN OF TRUCK - NIGHT

8

DRIVER

Jesus!

The DRIVER grabs his intercom.

GAEL quickly pulls out a REVOLVER and points it at the Driver’s head.

GAEL

(cold, ruthless)

Drop it! Drop it!! Cut the engine.

Open the door.

DRIVER

What is this?!… For God’s sakes!

The driver’s door is thrust open. Immediately, LOIC LEBROCH, dressed as a CRS OFFICER, grabs the DRIVER and pulls him violently outside onto the ground. LOIC is in his thirties, with short mousy hair, deep-set eyes and an intense, angular face.

9 - EXT. BESIDE THE SAVIEM TRUCK - NIGHT

9

DRIVER

Okay, okay!

LOIC

Keys.

LOIC snatches the keys from the DRIVER’s hand.

Assisted by FRANK L’HENORET, dressed in a CRS uniform, LOIC handcuffs the DRIVER and hands him over to ANDRE LAENNEC and his COMPANIONS, all likewise in CRS uniforms, who bundle him, together with the other overpowered CRS victims, inside the VAN blocking the road. They, themselves then climb into the VAN which disengages and moves down the street.

LOIC returns to the Saviem truck, climbs into the driver’s seat. He follows after the van, escorted by CRS OUTRIDERS on both sides. All of the above action is executed at high speed and with great precision.

10 - EXT. THE PARIS STREET - NIGHT - TRAVELING

10

The truck reaches the end of the street. It has been cordoned off at its further end by other CRS OFFICERS. The latter wave at LOIC. He replies with the thumbs-up sign.

They allow the TRUCK to pass, then quickly climb into a CRS car.

The VAN moves off in another direction as the Saviem TRUCK continues along the street followed by the CRS CAR.

11 - INT. INSIDE CABIN OF TRUCK - NIGHT

11

LOIC glances at clock on dashboard.

INSERT OF CLOCK FACE

which reads 21:22

BACK TO SCENE

LOIC

Fifteen minutes before they blow the whistle.

GAEL

Twenty, with any luck.

12 - EXT. THE FREEWAY HEADING WEST (AUTOROUTE DE L’OUEST) - NIGHT – TRAVELING

12

A SERIES OF SHOTS of the convoy as it moves along the highway:

A) The TRUCK and CRS CAR pass a signpost indicating Versailles and Chartres.

B) The TWO VEHICLES cross the River Seine and enter the Tunnel of Saint Cloud.

C) A FRONT VIEW of the VEHICLES with the City of Paris and Eiffel Tower in the distant background.

13 - INT. INSIDE CABIN OF LOIC’S TRUCK - NIGHT

13

LOIC glances at clock on dashboard, checks the road, speaks into his intercom.

LOIC

Three minutes.

VOICE

(in intercom)

We’re ready.

14 - INT. INSIDE CRS CAR BEHIND TRUCK - NIGHT

14

SOUND of a police SIREN which gradually increases in volume.

The FOUR CRS OFFICERS exchange tense glances but say nothing.

They check their weapons.

LOIC

(through intercom)

Stay cool.

The DRIVER of the vehicle activates the gyro light.

15 - INT. INSIDE CABIN OF TRUCK - NIGHT

15

LOIC eyes the rear-view mirror.

Beads of sweat appear on his forehead.

GAEL looks at the rear-view mirror on her side.

GAEL

Ambulance.

LOIC

Police car right behind it.

LOIC slows down and pulls over to right side of the road.

The CRS CAR, its gyro flashing, pulls behind the truck.

The SIREN reaches maximum intensity.

As LOIC looks out of the side window, an AMBULANCE with flashing GYRO and SIREN passes the truck, followed by a POLICE CAR. They speed ahead and out of sight.

LOIC and GAEL breathe a sigh of relief.

16 - EXT. THE FREEWAY HEADING WEST - NIGHT - TRAVELING

16

The Saviem TRUCK and CRS CAR exit at Versailles-North, and, after a few moments, turn onto a dirt track leading to a wooded area.

17 - EXT. CARGO BAY 23 - ROISSY-CDG AIRPORT - NIGHT 17

An Air France CARGO PLANE stands on the tarmac.

Several CRS OFFICERS and Air France PERSONNEL are waiting anxiously.

One of the CRS officers is attempting to make contact through his intercom.

CRS OFFICER

No response, sir. Line’s dead.

CRS CAPTAIN

(into his intercom)

All stations, red alert. Saviem truck with

Louvre art works, license plate 377 VR 75,

last sighted Boulevard Barbès at 21H20

heading for Roissy Airport. Intercept and

hold occupants. I repeat: this is a red alert.

18 - EXT. DIRT TRACK AND TREE-LINED ROAD – NIGHT

18

A large RED TRUCK displaying U.K. license plates emerges from the dirt track onto the road. On each of its sides, it bears the inscription: International Meat Products, Inc., Edinburgh, Scotland. Tel. (44) 0131 - 226 4225

Inside the cabin, we see the DRIVER (PAUL) and his MATE (MARCEL).

19 - INT. INSIDE THE TRAILER OF THE RED TRUCK - NIGHT

19

Wrapped in anoraks and blankets, LOIC and GAEL are huddled together on the floor beside the Louvre crates. Between them and the exit doors, carcasses of BEEF and other MEAT PRODUCTS are suspended from the ceiling. The area is dimly lit by a battery-powered light.

LOIC

Whose idea was this?

GAEL

Mine. People don’t hide in refrigerators.

LOIC

Five hours! We could die of frost-bite.

20 - INT. CRS HEADQUARTERS, PARIS - NIGHT

20

Several CRS OFFICERS are responding to telephone calls.

OTHERS are focused on a detailed map of the Ile de France.

CRS COLONEL

(referring to map)

I want road blocks on all freeways and

major arterials within a one-hour radius

of Paris. All directions. We check all

trucks, vans, all wooded areas, all isolated

dwellings, farm buildings, the lot. Every

nook and cranny.

The CRS OFFICERS head for various communication systems.

The CRS COLONEL calls back a CRS CAPTAIN.

CRS COLONEL

Captain, get me the Special Forces Unit.

The CAPTAIN registers surprise.

CRS COLONEL

This is a big one. I mean huge. Guinness

Book of Records.

21 - EXT. COURTYARD OF A FARMHOUSE - NIGHT

21

The VAN (from sequence 8) comes to a halt beside a large piece of farm equipment. The farmhouse seems uninhabited. The van driver, ANDRE LAENNEC, jumps out of his cabin, unlocks the back doors.

LAENNEC

Rest stop. Everyone out.

The CRS OFFICERS and the SAVIEM TRUCK DRIVER, taken prisoner earlier, emerge from the VAN, escorted by FRANK L’HENORET and TWO OTHER ARMED GUARDS. The PRISONERS are handcuffed to each other and have been stripped of their weapons and intercoms.

CRS OFFICER #1

How d’you take a pee when your hands

are tied?

LAENNEC

Close in together. You’ll figure it out.

The PRISONERS, supervised by ARMED GUARDS, group into a straight line along the courtyard wall and relieve themselves.

Meanwhile, LAENNEC signals to FRANK to bring the refreshments. FRANK returns inside the van, re-emerges with hot coffee in thermos bottles, cardboard cups and sandwiches.

LAENNEC opens the padlock on the farmhouse, opens the door.

FRANK enters the farmhouse with his provisions.

The PRISONERS finish relieving themselves.

LAENNEC

All right. We’ve got coffee and sandwiches

for all you fellas inside the house. Let’s go.

The PRISONERS start trooping inside the farmhouse.

22 - THE FARMHOUSE KITCHEN - NIGHT

22

A couple of OIL LAMPS provide illumination.

The PRISONERS, still handcuffed, help themselves to the sandwiches and coffee which FRANK has poured into foam cups. CRS OFFICER #1 takes a sandwich but no coffee.

FRANK

Coffee. Here.

He hands him a cup.

CRS OFFICER #1

No, thanks.

FRANK

Drink.

CRS OFFICER #1

Coffee keeps me awake.

FRANK

Not this coffee.

(commanding voice)

Drink.

The OTHER GUARDS point their weapons threateningly.

All the PRISONERS drink, or at least pretend to.

LAENNEC

Right. You’ve had a full day. Even put

in a little unscheduled overtime. You all

deserve a well-earned rest… out in the country.

LAENNEC and FRANK attach the handcuffs on both ends of the human chain to sturdy wall hooks.

CRS OFFICER #2

You can’t leave us here.

LAENNEC

Sit down. All of you.

TWO GUARDS point threatening guns.

The PRISONERS sit on the floor.

LAENNEC

If you’re good, when we get to where we’re going,

we’ll tell your friends where to find you.

LAENNEC and his GUARDS leave the farmhouse.

23 - EXT. NATIONAL HIGHWAY LEADING WEST – NIGHT

23

A LONG VIEW of the RED TRUCK as it lumbers along the road in light traffic. One of its side lights does not work.

24 - INT. INSIDE RED TRUCK TRAILER - NIGHT

24

LOIC and GAEL are still huddled under blankets. Beside them are the Louvre crates.

LOIC

That portrait you did of my father… it’s

still on the wall in the bedroom. A

great portrait…

GAEL

…of a great man.

LOIC

A broken man. The day they let him

out, he was only forty-five. But he

looked old, gutted, beyond repair. He

put his arms around my neck and

hugged me. He’d never done that before.

I wanted to tell him that… that he wasn’t

alone… but…. I couldn’t find the words.

PAUL

(V.O. through intercom, thick

Scottish accent)

Roadblock ahead. Have to pull over.

LOIC and GAEL exchange urgent glances.

LOIC grabs his gun, gestures for GAEL to switch off the light.

LOIC

(through intercom)

Play cool. Shoot if you have to.

The TRUCK lurches, comes to a halt.

GAEL extinguishes the battery-powered light.

25 - EXT. NATIONAL HIGHWAY LEADING WEST - NIGHT 25

CRS OFFICERS are already checking several vehicles.

A CRS OFFICER approaches the cabin of the RED TRUCK.

PAUL winds down his window.

CRS OFFICER

(saluting)

Bonsoir, monsieur. Vehicle documents, please.

PAUL hands him the truck’s identification documents.

The CRS OFFICER checks them.

CRS OFFICER

Driver’s license.

PAUL

Oh, right. My license. There you go.

He hands his license to the CRS OFFICER who examines it.

CRS OFFICER

England, eh?

PAUL

Och, no. We’re from Edinburgh. That’s Scotland.

CRS OFFICER

Scotland. Sorry. Where you headed?

PAUL

Roscoff. Nine o’ clock ferry….. if we can

make it in time.

CRS OFFICER

What’s your load?

PAUL

Beef, pork, rillettes, pâté…. meat products…

PAUL hands him a bill of loading.

CRS OFFICER

Let’s have a look.

PAUL climbs out of the cabin and walks around to the back of the truck with the CRS OFFICER. He opens the back doors.

The CRS OFFICER faces an array of carcasses.

He gingerly prods a few of the suspended beasts.

ANOTHER LARGE ARTICULATED TRUCK approaches.

All the OTHER CRS OFFICERS are engaged with other vehicles.

The CRS OFFICER signals for the approaching truck to pull over.

He gestures to PAUL that the inspection is completed, salutes.

PAUL closes the doors.

The CRS OFFICER moves toward the newly-arrived LARGE ARTICULATED TRUCK, stops, turns back to PAUL who is on the point of climbing back into his cabin.

CRS OFFICER

Your side light…

PAUL

Aye, the light. I’ll fix it

He climbs into the cabin.

The RED TRUCK slowly moves off.

26 - EXT. THE CLEARING IN THE WOODS AT VAUCRESSON - NIGHT

26

Several CRS OFFICERS are at the site and, with their flashlights, are checking the abandoned SAVIEM TRUCK and the CRS CAR. The ground around the vehicles is littered with the carcasses of slaughtered cows and pigs and a variety of charcuterie products.

The CRS OFFICERS are taking finger print samples from the steering wheels and dashboards of the vehicles and looking for any useful pieces of evidence. They are also examining the ground and nearby trees. A CRS CAPTAIN stands beside his CRS CAR conducting operations. His intercom system emits periodic messages.

CRS OFFICER #1

Looks like a red truck, sir. It scraped

against this tree.

CRS CAPTAIN

Good. What about the tires?

CRS OFFICER #2

Dunlop radials. New.

CRS CAPTAIN

Dunlop? English?

CRS OFFICER #2

Could be, sir.

CRS CAPTAIN

Any butchers reporting stolen vehicles?

CRS OFFICER #3

(checking list)

None listed, sir.

The CRS CAPTAIN picks up the car intercom.

CRS CAPTAIN

(into intercom)

All points alert. Red truck, dunlop radials,

designed to transport meat products,

proceeding west. Occupants armed and

dangerous. They’ve hijacked priceless

artworks from the Louvre and taken

hostage several CRS officers. Arrest all

occupants. Avoid any action which might

endanger our men or damage artworks.

27 - EXT. A CROSSROADS AT PONTORSON - DAWN

27

The RED TRUCK reaches the crossroads, comes to a halt.

A SIGNPOST indicates: Mont Saint Michel - 9 kilometers

PAUL and MARCEL emerge from the front cabin.

PAUL opens the back doors.

LOIC and GAEL climb out.

PAUL

It’s all yours from here. Best of luck.

LOIC

Tell your employers….

PAUL

We fought bravely… and lost.

Suddenly, a G.I.G.N. (Special Forces) HELICOPTER swoops in front of the TRUCK.

GAEL

Loic!

GAEL gestures for LOIC to get into the driver’s cab.

PAUL grabs LOIC.

PAUL

Knock me down. Pretend we’re arguing

…for the audience upstairs.

LOIC obliges, throws a punch at PAUL who falls to the ground.

MARCEL advances threateningly.

LOIC pulls out his gun.

PAUL and MARCEL raise their hands.

LOIC and GAEL climb quickly into the cabin.

The RED TRUCK speeds forward at full throttle as the HELICOPTER continues to hover overhead in front of them.

PAUL runs after the departing truck as MARCEL looks on helplessly.

28 - EXT. MAIN STREET, VILLAGE OF BEAUVOIR – DAWN – TRAVELING

28

LOIC’S TRUCK hurtles speedily through the village of Beauvoir. HELICOPTER continues to track the TRUCK, making several passes as the TRUCK heads