Cornel1801.com  

True Lies (1994) script

by James Cameron, screenplay 'La Totale!' by Claude Zidi, Simon MichaŽl, Didier Kaminka
 
1	EXT. MOUNTAINS, NEAR GENEVA, SWITZERLAND - NIGHT

The snow covered Alps stand out clearly in the light of a full
moon.  A fortress-like CHATEAU is situated in a flat saddle of
forest partway up the mountain, next to a frozen lake.  The
property is surrounded by high stone walls, and the stately
grounds are bathed in floodlights and patrolled by armed guards
with dogs.


2	EXT. CHATEAU - NIGHT

The driveway and motorcourt are filled with cars.  A formal-
dress party is in progress... a private reception for a middle-
eastern dignitary.  Tuxedoes men escort their diamond-encrusted
ladies through the huge front doors, where they doff their
overcoats and are politely scanned with hand-held metal
detectors by white gloved security staffers.

The walled perimeter of the house runs along the lake, forming
a kind of rampart.  There is an opening, to a kind of waterway
or canal, which connects to the private docks inside the
grounds.  There is a steel grating across the opening.  The
bars disappear down into the thin ice of early winter.

With the house visible BG, we CRANE DOWN below the parapet wall
along which a guard is a white exposure-suit is walking... down
along the dark wall to the grating... TILTING DOWN to see a
glow pulsing under the ice.


3	EXT. BENEATH THE ICE, UNDERWATER - NIGHT	

Camera moving toward:  A FIGURE in diving gear working at the
metal bars with an oxygen arc cutting torch.  One bar has
already been cut out.  Two quick cuts and a second bar falls to
the muddy bottom.  Lit now only from the floodlights filtering
down through the ice, the figure slips through the bars and
swims powerfully along the stone canal wall.

Seem from below, the figure is a black shadow moving against
the rippled-glass of the ice above.


4	EXT. CANAL AND BOATHOUSE - NIGHT

A dock extends into the frozen canal, just behind a large
boathouse.  There is a faint chipping sound.  The ice breaks
quietly, and the pieces are slid back.  A head appears, in a
rubber drysuit hood.  The DIVER slips the regulator out of his
mouth and turns slowly, scanning...  revealing:

HARRY TASKER.  Our hero.  Harry floats with just his eyes above
the surface, silent as a water snake, as a guard passes on a
footpath nearby.

After a few beats Harry slips out of his tanks and fins,
letting them sink, and climbs the frozen ladder onto the dock.
He moves like a ninja into the shadows of the boathouse.
Opening a WATERPROOF BAG, he pulls out a walky talky.

			HARRY
	Honey, I'm home.


5	INT. / EXT. SURVEILLANCE VAN, MOUNTAIN ROAD - NIGHT

Meet Harry's partner, ALBERT "GIB" GIBSON, an overweight twenty-
year-man with a lived in looking face.  Gib answers Harry via
his headset.

			GIB
	Roger that. 
		(he covers the mike and
		turns)
	Hey, Fize!  Get your butt in
	here.  Harry's inside.

Outside, FAST FAISIL, an Iranian-American, finishes making
yellow snow and hurries back to the van.  They are parked on a
winding mountain road a half-mile from the chateau, whose
lights are visible through the trees.

Faisil jumps in and goes to the eyepiece of a huge telephoto
nightvision scope.  The eerie green image lurches as he sweeps
the grounds, locating the boathouse.


6	EXT. BOATHOUSE - NIGHT

Concealed in the shadows, Harry is shucking out of his drysuit.
Underneath is he is wearing black tux pants, suspenders,
cummerbund and a formal shirt.  He puts a tiny plug, like a
hearing aid, deep in his ear canal.  A SUB-VOCAL TRANSCEIVER.
Very advanced.

			HARRY
	Switching to sub-vocal.  Gib, you
	copy?

			GIB (OVER)
	It's Talkradio.  You're on the
	air.

Harry slips into his shoulder harness... holster on one side,
containing his .45 auto Glock-22, and the transmitter pack for
the ear-piece slung on the other.  He slips on a formal jacket,
concealing the rig.  Then a final touch.  A little aftershave
from a tiny plastic vial.

Harry adjusts his bow-tie and strides confidently out of the
shadows, crossing quickly to the main house.  He looks
ultrasharp in his black tux with the white silk cummerbund and
his hair slicked back.  He enters the main house through a back
service entrance.


7	INT. KITCHEN - NIGHT
			 
Harry strides through the huge kitchen like he owns the place.
The kitchen staff are scurrying around, too busy to really
notice.  He finger-tastes a dish as he passes.

			HARRY
		(French/ subtitled)
	This needs more garlic.

He breezes through unchallenged, exiting into the--


8	INT. MAIN HALL - NIGHT

Here the party is in full swing.  Harry blends smoothly into
the crowd of foreign dignitaries, businessman and minor mid-
east nobility.  They are a high-octane mixture of new oil money
and old European money, and run the spectrum from stodgy
bankers to playboy arms dealers.

Harry strolls amiably among the glittering woman, the cigar
smoking men, casually snagging a glass of champagne and a
canape from the passing waiters.  He nods to someone as if he
knows them.  Greets another is quite fluent Arabic.  People in
his wake look at each other like "Do you know him?"	They
shrug, go on with their conversation.  Harry moves through the
crowd.  Scanning.

			HARRY
	There's Daddy Petrobucks.

HARRY'S POV - Through the crowd is sees JAMAL KHALED, the host
of the party and owner of the chateau.  He is fat and animated,
greeting guests with a flourish.  As Harry watches he warmly	
greets a beautiful WOMAN.  They become absorbed in a		
conversation.

The woman glances up and sees Harry checking her out.  There is
a frank moment of returned interest.  Then the crowd shifts,
cutting off their view of each other.


9	INT. STAIRCASE AND SECOND FLOOR - NIGHT

Harry makes his way up the grand staircase to the second floor.  
He slips through doors into the private area of the mansion.	


10	INT. LIBRARY - NIGHT

The doors open and Harry slips into the darkened library.  He	
crosses quickly to a window and opens it onto a terrace.	


11	EXT. BALCONIES - NIGHT						

Harry goes onto the terrace, and in a display of acrobatic	 
prowess, he pulls himself up onto the third floor balcony	
directly above.  He lets himself into--			


12	INT. KHALED'S OFFICE - NIGHT					 

Khaled's office is ornately furnished.  Beautiful antiques
glint in the moonlight coming in the French-doors.  Harry
crosses to an immense desk and boots up the computer there.
Bathed in the glow from the screen, he pulls a FLAT BOX,  about
the size of a paperback,  from the back of his cummerbund.  He
connects it quickly to the modem port in the back of the
computer.

			HARRY
	Modem in place.  Transmitting...
	now.

He pushes a button and a green light comes on.


13	INT. VAN - NIGHT

Gib and Faisil watch as their monitor screen lights with DATA
from Khaled's private computer.

			FAISIL
	Affirmatory.  We are in.				

Fast Faisil is a computer ace.  His fingers fly on the keyboard
as he types rapid key commands.  We see familiar "windows
appear".  The words are all in Arabic characters.

			FAISIL
	These are encrypted files, guys.
	This is going to take me a few
	minutes.


14	OMITTED								


15	INT. 2ND FLOOR HALLWAY - NIGHT				

TIGHT ON LIBRARY DOOR.  It opens a crack and a dental mirror	
comes out, looking around like a U-boat periscope.  Seeing the
coast is clear Harry slips out.  But just as he is closing the
door, a GUARD rounds the corner ten feet away.  Harry turns
smoothly.  He smiles sheepishly and moves toward the guard.

			HARRY
		(In Arabic/ subtitled)
	Where's the john around here?  I
	have to take a major leak.

The guard points warily down the corridor.  Harry nods and
heads that way, back toward the party.


16	INT. MAIN HALL/ STAIRCASE - NIGHT

Harry comes down the staircase amid the glitter of the party.
He is sipping champagne and looking bored.  He sees two
security guys moving purposefully through the crowd toward the
stairs, walkies in their hands.  He turns away as they pass him
and pretends to study a large fragment of bas-relief... a
temple frieze depicting a war chariot drawn by four horses.

He senses someone next to him and turns.  It is the WOMAN.  She  
is captivatingly beautiful, and her gaze is piercing.

			HARRY
		(indicating the bas-
		relief)
	Magnificent, isn't it?

			WOMAN
	Yes.  Hi, I'm Juno Skinner.  I
	thought I knew most of Khaled's
	friends but I don't believe I
	know you.

Harry offers his hand to her.

			HARRY
	Renquist.  Harry Renquist.


17	INT. VAN - NIGHT

Gib whirls to the screen displaying the mission database.  He
scans rapidly for--

			GIB
	Skinner.  Skinner.  Come on...

Gib finds the entry he's looking for.  Juno's picture and data
appear on the screen.

			GIB
	Juno Skinner.  Art and
	antiquities dealer, specializing
	in ancient Persia.


18	INT. MAIN HALL - NIGHT

Harry turns back to the fragment of frieze.

			HARRY
	This is Persian, if I'm not
	mistaken.

			JUNO
	Very good.  It's sixth century
	B.C.  Do you like the period?

			HARRY
		(shameless)
	I adore it.


19	EXT. DOCK/ BOATHOUSE (NIGHTVISION POV) - NIGHT

Seen through the starlight scope, we see one of the guards
shining his light on the hole in the ice and then on Harry's
footprints leading to the boathouse.  He calls to one of the
other guards, who comes running over.


20	INT. MANSION - NIGHT

Harry, still with Juno, hears Gib in his ear:

			GIB (VO)
	Harry, we got a problem.  Guards
	are swarming all over the dock.

Harry glances up the stairs.  Khaled's SECURITY CHIEF is
gesturing to several of his men, and speaking quickly into a
walky.  Three SECURITY MEN come down the stairs, scanning the
crowd.  Harry turns smoothly away from them and takes Juno's
arm.

			HARRY
	Do you dance, Ms. Skinner?

He steers her toward the dance floor.


21	INT. VAN - NIGHT

Gib, listening, rolls his eyes.  He looks through the night-
vision scope.  Guards are running around outside the chateau.
Harry's stirred up the hornet's nest.  Faisil is still jamming
at the keyboard.

			FAISIL
	Okay, files are unlocked.  I'm
	in. I'm down, baby.  I got my
	hand up her dress and I'm going
	for the gold.  I'm--

			GIB
	Just copy the goddamn files!
		(into his headset)
	Harry, don't be stopping to smell
	the roses, now.  You hear me,
	Harry?


22	INT. MAIN HALL - NIGHT

Harry whirls Juno aggressively across the dancefloor.  She
responds deftly.  They are well matched.  She parries each of
his smooth moves with a flourish.  It is a contest of wills,
and a surprised appraisal for each that the other is worthy.
Juno is hot.  He bends her back at the waist, then snaps her
up.  She twirls into the crook of his arm.  Their faces are
inches apart.  Wow.  The music ends and she gives him a wry
grin.

			JUNO
	Well.  And I thought this was
	going to be just another bunch of
	boring bankers and oil
	billionaires.

			GIB (OVER)
	Harry, seconds count, buddy.
	Ditch the bitch, let's go.

			HARRY
	Unfortunately, Juno, I have a
	plane to catch.

She slips a card out of a pocket in her otherwise sheer dress.
She hands it to him, maintaining eye contact.  Serious sparks.

			JUNO
	Call me, if you'd like to see
	some of my other pieces.

			HARRY
	I'd like that.


23	INT. VAN - NIGHT

Gib can't believe this conversation.

			GIB
		(to Faisil)
	Son of a bitch is with her two
	minutes and she's ready to bear
	his children
		(to Harry)
	What's your exit strategy Twinkle
	Toes?


24	EXT. CHATEAU/ FRONT ENTRANCE - NIGHT

Harry nods to the security men at the door as he strides
confidently through.  He goes down the steps to the broad
terrace above the motor court.  Behind Harry, a GUARD lowers
his walky talky and starts after him.

			GUARD
	May I see your invitation, sir?

Without turning, Harry slips a small flat box out of his breast
pocket.  A REMOTE DETONATOR.

			HARRY					
	Here's my invitation.				

He pushes the button and--					

KABOOM!  The  second floor office windows blow out in a fiery
explosion.  Using the diversion, Harry leaps off the terrace
before the guard can open fire.


25	INT. / EXT. VAN - NIGHT

Gib sees the rising fireball a half-mile away.  He starts the
van.

			GIB
	Aw, shit.  Here we go--


26	EXT. CHATEAU AND GROUNDS - NIGHT

Harry sprints across the snow-covered lawn, through the trees.
Guards with automatic weapons run after him, firing.  The snow
explodes around him with bullet hits.

TWO DOBERMANS pelt toward Harry, leaping at him in perfect
unison.  He waits... and knocks their heads together in mid-
leap with a crack like a baseball bat.  The dogs drop to the
snow, wobbling around like they're drunk.

As Harry sprints on, ANOTHER DOBERMAN lunges out of the bushes
ahead, leaping directly for his throat.  Harry grabs the dog
and shot-puts him up into a tree without breaking stride.  Dog
Fu.  The dog yelps and scrambles to hold onto an icy branch,
looking down in amazement.


27	EXT. PERIMETER WALL/ MOUNTAIN SLOPE - NIGHT

Harry leaps down on the outside of the wall, hitting a snow
bank and sliding downhill.  He sprints down the gentle slope
toward the highway.

Harry looks back as TWO GUARDS ON SKIS come out of a guard
station beside the main entrance.

TRACKING WITH THE SKI-GUARDS, searching through the trees with
lights.  They have lost Harry.  They stop.  A snowbank behind
them EXPLODES as Harry leaps out.  He disables them both with
vicious street-fighter moves.  Harry looks upslope as--

A service gate opens in the perimeter wall and TEAMS OF
SECURITY MEN in white snow-suits pour out, some on skis, some
on SNOWMOBILES.  A HELICOPTER rises over the wall in a blast of
swirling snow.  Its xenon lights rake through the trees,
casting lurid wheeling shadows on the snow.

ON Harry, snapping closed the ski boots he has stolen from one
of the disabled guards.  He pops the boots quickly into the
bindings and takes off downhill with one of the guard's FN FAL
rifles slung across his back.

The helicopter swoops downhill, its searchlight blazing through
the forest.  Snowmobile headlights illuminate the ski-patrols
zig-zagging among the trees.

Harry slashes expertly downhill.  He cuts a distinguished
figure in his black tux.  Automatic weapons fire rips through
the trees from behind him.  Harry is going flat-out.  The xenon
light hits him.  A 7.62 mm machine gun in the chopper rips the	
slope into white clouds around him.  Harry slashes, turns,
weaving among the trees at breakneck speed.  A snowmobile is
closing in, outflanking him.  He turns toward it, suddenly.
Hits a mogul.  Uses the air to slash his skis right across the
rider's face.  The snowmobile crashes and tumbles into the
night.


28	INT. / EXT. VAN - MOUNTAIN ROAD - NIGHT

GIB'S VAN takes an icy turn in a hairy slide.

INSIDE Gib is peering upslope, trying to see what's going on.
All he can see are lights and gunfire.

			GIB
	Harry, what's your twenty?  I
	need a position, buddy--

Suddenly a skier in a black tux launches across the road from
the slope above, RIGHT OVER THE VAN, and lands deftly
downslope.

			GIB
	Uh... right!  I'll catch you on
	the next bend.

Behind the van, pursuing guards leap across the road.  Only
about half can make the jump.  The rest crash horribly.  The
helicopter thunders overhead.


29	EXT. MOUNTAIN SLOPE - NIGHT

Harry sees the chopper start an attack run.  He comes out into
the open, going straight downhill like a rocket.  The chopper
gets suckered in...  trying to hit him, getting right down
behind him... and suddenly-- Harry slides to a stop in an
explosion of powder and whips up the rifle.  P-P-P-POW!  He
rakes a burst across the windshield.  The startled pilot
swerves and-- Suddenly two tall pine trees are right in front
of him.

K-WHACK!  The main-rotor blade snaps clean off and the chopper
drops into the snow, plowing into a snowbank.  It slides right
to the edge of a steep ridge and stops, teetering.

Firing from a snowmobile, one of the guards puts a burst right
across Harry's path.  Harry's skis are hit and he tumbles,
comes out of it...  running down the hill like a juggernaut in
his heavy boots.  He has lost the rifle somewhere in the snow.

Harry takes cover behind the burning wreck of the downed
chopper, which still has its engine running.  The ski patrol
opens fire from upslope.  Rounds whacking against the disabled
helicopter.

Harry looks down the slope and gets an idea.  He jerks the
unconscious pilot out and pushes on the fuselage, rocking it.
It slips over the edge.  He leaps inside as it topples forward
and slides down the slope.


30	INT./ EXT. HELICOPTER - MOUNTAIN SLOPE - NIGHT

Harry adds throttle and works the footpedals, using the tail-
rotor to steer.  The chopper had snow-skids, and Harry is
skiing the damn thing down the mountain.

The copter is burning as it rockets down the slope on its	
skids.  Bullets are hitting the fuselage, and everything around
it.  Skiers are wiping out, hitting trees.  A snowmobile hits
a rock and flies spectacularly into a ravine.

			GIB (OVER)
	Harry!  Where are you!

			HARRY
	In the helicopter.


31	INT./ EXT. VAN - MOUNTAIN ROAD - NIGHT

Gib slides the van around a curve.

			GIB
		(deadpan, to Faisil)
	He's in the helicopter.

Big is scanning above for the chopper.  Then upslope he sees
the burning fuselage skiing expertly among the trees.

The chopper hits a jump and launches into the air-- It crashes
through trees, still soaring and-- Gib looks up, screaming as--
The chopper drops right toward him-- He hits the brakes and--
BLAMMO!  It drops onto the road ten feet in front of the
skidding van...  then slides over the edge and tumbles into a
rocky canyon where is BLOWS UP!  The fireball lights up the
night.

Gib and Faisil jump out of the van.  They look downslope at the
burning wreckage.

			GIB
	Harry?  HARRY?!

			HARRY
	What?

Gib and Faisil spin to look behind them.  Harry is lodged in
tree-branches hanging over the road.  Gib hands his MP-5K	
machine gun to Faisil and reaches up to Harry, who grabs his	
hand and pulls.  Harry tumbles down into the snowbank.  He
stands, brushing snow off his tux, and clomps toward the van in
his ski-boots.  He is completely unruffled.

			HARRY
	Let's go.  We can still make our
	flight.

As Faisil is getting into the van behind Harry, TWO GUARD TEAMS
ON SNOWMOBILES roar around the bend behind them, fish-tailing
on the ice.  Faisil OPENS FIRE.  One snowmobile swerves over
the embankment.  The other pulls up broadside, and the guards
duck behind it.  Gib floors it and the van roars down the
mountain.  Faisil is still Ramboing on full-auto.

			FAISIL
	This is GREAT!!  I never get to
	shoot!

						CUT TO:


32	EXT. DULLES AIRPORT - NIGHT

An American Airlines 747 touches down amid puffs of tire smoke.


33	EXT. SUBURBAN D.C. STREET - NIGHT

A NON-DESCRIPT SEDAN pulls to the curb in a neighborhood of
modest middle-income tract homes.  The street is deserted.  It
is 4 A.M.  Gib is at the wheel, dropping Harry off at his
house.


34	INT. SEDAN - NIGHT

Harry is emptying his pockets... passport, business cards etc.
All documents under his name "Renquist".  He double checks that
his pants and jacket pockets and empty.  Gib fastidiously puts
the items into a plastic zip-lock.

			HARRY
	Empty.  Go.

Gib starts handing him items from a briefcase.  This should all
feel like a tired ceremony between them.

			GIB
	Harry Tasker wallet.  Harry
	Tasker passport.  Plane ticket
	stub, hotel receipt, Tasker.  Two
	postcards of Lake Geneva.  House
	keys.  Souvenir snowing Swiss
	village.

Gib snows him how is snows when you shake it up and turn it
over.

			HARRY
	What's this for?

			GIB
	For Dana, schmuck.  Bring your
	kid something.  You know.  The
	dad thing.

			HARRY
	Got it.  Nice touch.  Okay, pick
	me up at eight.  The de-brief is
	at ten hundred.

Harry opens the car door.

			GIB
	Hey, hey, hey... what are we
	forgetting?

Gib holds up Harry's gold wedding band.  Harry puts it on.

			HARRY
	What a team.  See you at eight.

			GIB
	Yep.  Sleep fast.


35	INT. TASKER HOUSE - NIGHT

Harry slips inside.  He sets down his suitcase and walks
quietly down the hall.  He pauses at a door with lurid labels
and stickers plastered all over it (Toxic Waste,  STAY OUT!, IF
IT'S TOO LOUD YOU'RE TOO OLD, etc.)

Harry silently opens the door and looks in at his sleeping
daughter, DANA.  She looks like an angel in the moonlight
coming in the window.  In fact, she is a typical 14 year old
girl, and therefore hardly an angel.  But to Harry she is
unflawed.


36	INT. MASTER BEDROOM - NIGHT

Harry, undressed now, slips into bed next to... a lump in the
covers which we presume to be a human being.  This is HELEN
TASKER, Harry's wife of 15 years.  He kisses her on the cheek
and she stirs.  She rolls toward him, giving him a sleepy hug
and a kiss.

			HELEN
		(a drowsy murmur)
	Hi, honey.  How was the flight?

			HARRY
	Fine, honey.  Stay asleep.

			HELEN
	Okay.

As she drifts off, Harry puts his head on the pillow and stares
at the ceiling.

						DISSOLVE TO:


37	INT. TASKER HOUSE - DAY (MORNING)

TIGHT ON SWISS VILLAGE.  It is snowing.

ON DANA,  reaching to the present Harry just gave her.

			DANA
	Hey, thanks dad.  I never had one
	of these.

They are in her room, which is your basic room from Hell.
Pearl Jam posters, and an unbelievable clutter of junk,
magazines and cheap jewelry.  Harry kisses her on the cheek, to
which she submits dutifully.  He looks at his watch and heads
for the door.

			HARRY
	You better hurry.  You're going
	to be late for school.

Harry hurries out and Dana considers the Swiss village a
moment.

			DANA
	Really lame.

She plonks is straight in the wastebasket.


38	INT. HALLWAY/BEDROOM/ BATHROOM - DAY

Harry strides down the hall, avoiding their small but		 
incredibly ugly dog, GIZMO, who skitters past him going the	
other way.

			HARRY
	Dana, don't forget to feed Gizmo!			 

Harry crosses the bedroom, hurrying past Helen who is clearly
rushing to get ready herself.  We get our first good look at
Helen.  She is wearing a terrycloth robe as she picks out an
outfit.  Her hair is wrapped in a towel.  To call her plain
would be inaccurate.  She could be attractive if she put any
effort into it, which doesn't occur to her.

			HARRY
	I'm late.

			HELEN
	Me too.

They talk without looking at each other, the way people who
have been together a long time do.

			HELEN
	How'd it go at the trade show?
	You make all the other salesmen
	jealous?

			HARRY
	Yeah.  You should have seen it.
	We were the hit of the show with
	the new model ordering system,
	the one for the 680... how you
	can write up an order and the
	second the customer's name goes
	into the computer, it starts
	checking their credit, and if
	they've ordered anything in the
	past, and if they get a
	discount...

She is already tuning him out.  And it hits us:  SHE HAS NO
IDEA WHAT HARRY REALLY DOES.

			HELEN
		(barely listening)
	That's fabulous Harry.

			HARRY
	Yeah, it was wild.

Harry glances at her, oblivious to him and brushing her teeth.
He smiles.  The best lies are told with enthusiasm.


39	INT. FRONT HALLWAY, LIVING ROOM - DAY

Gib opens the door, knocks a bit, then strolls in like he lives
there.  He is wearing dark Ray Bans, like he's doing a Roy
Orbison impression.  Gizmo runs toward him, yapping, but Gib
gives him the evil eye.

			GIB
	Come any closer I'll kill you.

The dog backs up, whining plaintively.  Gib throws his jacket
over the back of the couch and then, inexplicably, he takes out
a pack of CAMELS and sets it on the mantelpiece.  He adjusts
its position carefully.  Hmmmm.


40	INT. BATHROOM - DAY

Harry  and Helen maneuver around each other expertly.  She is
doing her make-up.

			HELEN
	The plumber came yesterday.  He
	said they have to dig under the
	slab or something and it's going
	to be six hundred dollars to fix.

Harry is not really paying attention as he ties his tie in
front of the mirror.  His mind is elsewhere.  He couldn't care
less about there domestic problems.

			HARRY
	Uh huh.  Okay.

			HELEN
	It's not okay.  It's extortion.

			HARRY
	What did you tell him?

			HELEN
	I slept with him and he knocked
	off a hundred bucks.

			HARRY
	Good thinking, honey.

Harry kisses her on the cheek and exits.


41	INT. KITCHEN - DAY

Gib enters and pours two cups of coffee.  Dana is drinking
orange juice from the bottle at the fridge.

			GIB
	Hi, kid.

			DANA
	Hey, Gib.  What up?

She EXITS, eating an uncooked pop-tart.  Harry comes in a
second later and Gib hands him his coffee.

			HARRY
	Thanks dear.

			GIB
	Here, check these out.

Gib hands Harry the glasses.  Harry studies them, seeing the
VIRTUAL VIDEO DISPLAY inside the left lens of the Ray Bans.
Harry glances down the hall, making sure no-one is looking,
then he puts them on.

HARRY'S POV - INSIDE THE GLASSES - A black and white video
image of his own living room.

			GIB
	The CCD camera and transmitter
	and inside a pack of smokes.
	Slick little unit, huh?

IN POV we see Dana enter the living room.  She looks around
carefuly, then quickly lifts Gib's jacket and slips out his
wallet.  She palms two twenties in the blink of an eye and puts
the wallet back.  Pro moves.

			HARRY
	Son of a bitch!

			GIB
	What?

Harry whips off the glasses and charges out of the kitchen.
Gib goes after him.


42	EXT. HOUSE - DAY

Dana comes out the front door, letting it slam behind her, and
runs to her boyfriend, TRENT, who is waiting for her in the
driveway on his idling YAMAHA.  Trent is 16, dressed in grunge-
rock style, trying to look tough.  Harry comes out the front
door as Trent revs the motor.

			HARRY
	Dana!!

She waves from the back of the bike as Trent pops the clutch
and they shoot down the driveway.

			DANA
		(yelling over the
		engine)
	Can't stop, I'm late.  Bye, Dad!


43	INT. / EXT. GIB'S CAR/ STREETS OF WASHINGTON - DAY

They are driving through D.C.  Harry is still shocked by his	
daughter's behavior.

			GIB
	Kids.  Ten seconds of joy.
	Thirty years of misery.

			HARRY
	She knows not to steal.  I've
	taught her better than that.

			GIB
	Yeah, but you're not her parents,
	anymore, you and Helen.  Her
	parents are Axl Rose and Madonna.
	The five minutes you spend a day
	with her can't compete with that
	kind of constant bombardment.
	You're outgunned, amigo.

Gib and Harry turn onto Pennsylvania Avenue, heading toward
Lafayette Square.  Capital Hill is behind them.


44	INT. TEKTEL OFFICES - DAY					

Harry and Gib come out of an elevator on the 12th floor.	
Behind the receptionist is a burnished metal sign which reads	
TEKTEL SYSTEMS.  They cross a open floor of cubicle spaces.	
There is the hum of activity everywhere.  A normal day at a	
normal business.						

			SECRETARY				
	Morning, Mr. Tasker.				

			HARRY					
	Morning, Charlene.

			GIB
	See, kids now are ten years ahead			 
	of where we were at the same age.
	You probably think she's still a
	virgin--

			HARRY
	Don't be ridiculous.  She's only --
	how old is she?

			GIB
	Fourteen, Harry.

			HARRY
	Right.  She's only fourteen.

They go into a corridor.					

			GIB
	Uh huh.  And her little hormones
	are going like a fire alarm.  I			
	say even money that physicist on			
	the bike is boinkin' her.				

			HARRY
	No way.  Not Dana.

They stop at a door, like any other along the corridor.  It is	
blank.								

			GIB
	Okay.  Okay.  De-nail ain't just
	a river in Egypt.  She's probably
	stealing the money to pay for an
	abortion.

			HARRY
	Will you just open the door!				 

Gib touches a plastic card to an unmarked spot just above the	
doorknob.  There is the CLUNK of a SOLENOID LOCK.		

			GIB
	Or drugs.


45	OMITTED								


46	INT. CORRIDOR - DAY

They enter a long corridor, which is featureless except for	
video surveillance cameras.  They walk along the silence for a	
moment, then .  .  .						

			GIB
	Twenty here, fifty there... I
	figured my wife's boyfriend was
	taking it.

			HARRY
	I thought you moved out.

			GIB
	Well .  .  .  I moved back in.
	My lawyer said it would give me
	a better claim on the house in
	the property settlement.  Don't
	change the subject... you owe me
	two hundred bucks.

They approach another door, with a (bulletproof) glass window	
in it.  Beyond is a brightly lit room, with a woman sitting at
a desk... and nothing else.  Gib presses a buzzer.


47	INT. OUTER SECURITY ROOM - DAY

JANICE sits at the non-descript desk like a receptionist... but
she is a highly trained security specialist.  She is also hefty
through the shoulders, aggressively unattractive and utterly
humorless.  She watches them on a monitor screen as they stand
outside the door.  Harry and Gib appear as living X-Ray images.
Their weapons are visible in their shoulder harnesses.  Janice
puts one hand automatically on the butt of a .45 tucked in a
holster riveted beneath her desk.  She buzzes Harry and Gib in
with the other.

			JANICE
	Gentlemen, please idenitify
	yourselves to the scanner.

Harry and Gib step up to the combination retinal-thumbprint-
voice scanners.  Harry presses his thumb against a black-glass
plate for laser scan, and looks into the eye-piece of the
retinal scanner.

			HARRY
	Harry Tasker.  One zero zero two
	four.

			GIB
	Albert Gibson.  Three four nine
	nine one.

Their clearance appears on a monitor on Janice's desk.

			JANICE
	Thank you.  You are cleared.

She stands to give them plastic I.D.  badges which they hang
around their necks.

			GIB
	Janice, how many years have you
	been buzzing us in?

			JANICE
	Ten, Mr. Gibson.

			GIB
	And you still reach for your
	piece every time.

			JANICE
	Yes sir.

			GIB
	God!  You have no idea how much
	that turns me on.  I've never had
	the courage to say this before
	but... I love you, Janice.

			JANICE
	Yes, sir.

He kisses her wetly on the cheek as he goes by.  She does not
react is any discernible way.

They pass through a heavy stainless steel door which opens
automatically.  Beyond is a kind of airlock... a SALLY PORT.
Behind a lexan shield are TWO GUARDS armed with MP5s.  They nod
but do not speak at Harry and Gib pass them.

			HARRY
	You better watch it.  She might
	file on you for sexual
	harassment.

			GIB
	In her dreams.


48	INT. OMEGA SECTOR INNER SANCTUM - DAY

Gib and Harry pass through the inner door of the sally port
into a large austere atrium.

ANGLE FROM ABOVE as they cross.  A huge graphic logo covers the
floor.  Across the center is says OMEGA SECTOR.  In smaller
print, around the perimeter, is the motto: "THE LAST LINE OF
DEFENSE".

They enter a high-tech office space.  It is a maze of glass
partitions surrounding a central floor-space of cubicles.
There is a hushed quality here.  People do not joke.  They do
not hurry.  There are a lot of computer screens displaying
information from around the world.  It looks like a combination
of NASA mission control and FBI headquarters.

Fast Faisil greets them, yawning, as they pass his partitioned
cubicle.

			HARRY
	Come on, Fize.  We're late for
	our butt-grinding.

Faisil gulps his coffee and hurries after them.


49	INT. CONFERENCE ROOM - DAY

A dark and severe conference room, with large-screen computer
displays at one end.  Glowering at one end of the long,
polished table, is SPENCER TRILBY, the chief of Omega Sector.
Visualize a cross between Colin Powel and J.  Edgar Hoover.

			TRILBY
	Jesus, Harry!  You guys really
	screwed the pooch last night.
	Please tell me how I can look at
	this, that it's not a total pooch-
	screw.

			HARRY
	Total is a strong word--

			GIB
	There are degrees of totality.

			FAISIL
	It's a scale really, with
	"perfect mission" on one end and
	"total pooch-screw" on the other
	and we're more about here--

			TRILBY
	Faisil.  You're new on Harry's
	team, aren't you?

			FAISIL
	Yes.

			TRILBY
	So what makes you think that the
	slack I cut him in any way
	translates to you?!

			FAISIL
	Sorry, sir.  Uh... here's what we
	got.

He hits a button and a photo of Khaled fills a wall-screen.

			FAISIL
	Jamal Khaled.  We think he's
	dirty so we raid his financial
	files...  Check it out...

Faisil hits some buttons and a second screen lights up with the
data for their raid.

			FAISIL
	One hundred million in wire
	transfers from the COMMERCE BANK			
	INTERNATIONAL--					

			GIB
	Which we all know is a front for
	certain nations to fund terrorist			 
	activities.  Something big is			
	going down --

			FAISIL					
	And we know that a week ago four			
	MIRV warheads were smuggled out			
	of the former Soviet Republic of			
	Kazakhstan .  .  .

			HARRY					
	We think Khaled's group has				
	bought the nukes and is bringing			
	them to U.S.  soil.				

			TRILBY					
	So far this is not blowing my
	skirt up, gentleman.  Do you have			 
	anything remotely substantial?			
	Don't be pumping beets up my ass			
	here.  Do you have hard data?			

			HARRY					
	Not what  you'd call rock hard.			

			GIB						 
	It's pretty limp, actually.				

			TRILBY					
	Then perhaps you better get some			
	... before somebody parks a car			
	in front of the White House with
	a nuclear weapon in the trunk!


50	INT. OFFICE BUILDING - DAY

It is the interior of a huge law office.  Helen works there as
a paralegal.  She is going to the break room for coffee with
her friend, ALLISON, a secretary.  Allison is black, younger
then Helen, and still single.

			HELEN
	I mean, it's not like he's saving
	the world or anything.  He's a
	sales rep for Chrissakes.
	Whenever I can't get to sleep I
	ask him to tell me about his day.
	Six seconds and I'm out.  But he
	acts like he's curing cancer or
	something.

			ALLISON
	So I guess you didn't get away			
	for the weekend after all?				

			HELEN
	Are you kidding?  Harry had to go
	out of town.

			ALLISON
	I'm shocked.

			HELEN
	Yeah.  You know Harry.

Helen's nerdy boss BRAD, comes up behind her, scowling.

			BRAD
	Helen, have you pulled those
	files yet?  I need them by lunch.

			HELEN
	I won't let you down, Brad.

Brad leaves.

			HELEN					
		(under her breath)				 
	You little pencil-neck.				 
		(to Allison)					
	So... yo... sista!  D'you do				 
	anything interesting?

			ALLISON					
	Oh... Eric and I drove up to this			 
	little romantic inn, and...				
	pretty much lapped champagne out
	of each other's navels for two
	days.

			HELEN
	You bitch.

			ALLISON
	Girlfriend, you got a man.  You			
	just have to take control .  .
	.  set up the right mood.				

			HELEN
	Harry only has two moods: busy...			 
	and asleep.

			ALLISON
	Then you better do something to			
	jumpstart that man's motor.  You
	know... wake up the sleeping
	giant of his passion.

They both crack up at that one.


51	INT. OMEGA SECTOR (DATA CENTER) - DAY				

Harry meets up with Gib and Faisil coming from the ANALYSIS	
Department.							

			HARRY
	What'ya got?

The following will play as they wind their way through the rows  
of data-analysis workstations.

			FAISIL
		(handing Harry a
		printout)
	Here, check this out--

			GIB
	It's a two million dollar
	disbursement from Khaled to...
	Juno Skinner.
		(Harry raises an
		eyebrow)
	Uh huh.  The babe at the party.			

			HARRY
	It doesn't mean anything.  She
	buys antiquities for Khaled.

			GIB
	Nope.  The art buys are in a
	separate ledger.

			FAISIL
	And this is a little above market-		
	rate for the horizontal bop, even			 
	for a total biscuit like her.

			HARRY
	Alright, I want a complete workup
	on her.  Do we know where she is?

			FAISIL
	Uh huh.  Right here in river
	city.

			HARRY
	You're kidding.

			FAISIL
	She lives in Rome, but she does
	stuff here the Smithsonian and
	has a lot of diplomatic
	connections, so she has offices			
	here.						

Gib starts tangoing with an imaginary partner.

			GIB
	Sounds like a job for a
	specialist.


52	INT. TASKER HOUSE/ KITCHEN - NIGHT (10PM)

DING!  Harry opens the microwave as his dinner finishes re-
heating.  He sits down alone at the kitchen table and pulls the
Saran-wrap off the plate.  Another solo supper two hours late.
His motions are so automatic we gather that this is the rule,
not the exception.  Helen comes in from the living room,
holding the suspense novel she is reading.

			HELEN
	I need you to talk to Dana.  The
	vice principle called and she cut
	class again this afternoon.

			HARRY
	I'll handle it.

Harry picks up his porkchop and goes out the back door.


53	EXT. DRIVEWAY - NIGHT

A basketball hoop is bolted to the garage and Dana is shooting
baskets in the driveway.  Moths orbit the outside floodlights.
She sinks one, dribbled back to the foul line.  Harry comes up
behind her and lifts the ball out of her hands as she stands
poised to shoot.  She turns.

			HARRY
	Dana, Mr. Hardy called.  Why
	weren't you in class today?

			DANA
	He lies!  I was there!  I was in
	the nurse's office, cause I had
	a headache.

			HARRY
	You seem fine now.

			DANA
	Great!  You're going to believe
	that fat dweeb Mr. Hardy over
	your own daughter.

			HARRY
	I'm not sure what to believe
	anymore, young lady.  You never
	used to lie to me.  But lately
	you don't seem to know the
	difference between right and
	wrong.

Dana studies something really fascinating at the end of a
fingernail.

			HARRY
	Dana, are you listening to me?

			DANA
	Yeah, Dad.

			HARRY
	You know you can always talk to
	me.  Right?  Whatever is going on
	in your life, your mom and I'll
	understand.

			DANA
	Okay, Dad.

			HARRY
	You'd tell me if there was
	something wrong, wouldn't you,
	pumpkin?

			DANA
	I'm not a pumpkin!  Okay?!!  Do
	I look even remotely like a
	pumpkin?! I'm not a muffin, or a
	cupcake or a honeybear either!
	And you don't understand anything
	Dad...

Dana runs into the house, agent.  Hold on Harry, superagent,	
unable to comprehend the mind of a 14-year-old.  He looks up to  
see Helen at the backdoor.					

			HELEN					
		(macho voice)
	"I'll handle it".

						CUT TO:


54	OMITTED								


55	INT. / EXT. LIMO - DAY (NEXT MORNING)

A BLACK LIMO cruises through a morning fill of bright promise.

INSIDE, Gib is at the wheel in a chauffeur's uniform.  He talks
to Harry, riding in the back, without turning.

			GIB
	It's all set up...  ghost phones
	and fax, all the usual stuff.
	You have a suite at the Marquis
	Hotel under Renquist.  Okay,
	reality check.  Go.

			HARRY
	Hi, I'm Harry Renquist.  I own a--


56	INT. JUNO'S OFFICES - DAY

			HARRY
	--corporate art consulting
	company in San Francisco.  I have
	an appointment with Ms. Skinner--

Harry is extending his business card to the receptionist as
Juno breezes into the lobby from a corridor.  She is dressed
sharply and looks as stunning as Harry remembers.

			JUNO
	Harry!  I thought I might see you
	again.  I just didn't  except you
	to call so soon.

Juno lingers a second or so long on the handshake.

			HARRY
	Well, what's the point of
	waiting?

			JUNO
	I agree.

There is definitely unholy magnetism here.  She indicates for
Harry to walk with her and leads him through the suite of
offices.  There are mounted fragments of ancient sculpture in
niches on either side, and beautifully restored mosaics and
tablets of hieroglyphics mounted on the walls.

			JUNO
	So your clients want something
	for the lobby of their new
	corporate headquarters?

			HARRY
	That's right.  They want
	something...  dramatic.  I spoke
	to a number of people who said
	you're the one to see.

Juno leads Harry through a door into a large warehouse area.
There is a bustle of activity as workmen unpack crates.  An
overhead crane is used to move huge stone pieces.  There are
massive columns, and statues two stories high.  Even the entire
facade of a tomb.

			JUNO
	So what did these... people...
	say about me exactly?

They stroll amongst the statues, as coveralled workmen move
around them with tools, scaffolding, pneumatic equipment.  Most
of the workers are middle-eastern.

			HARRY
	Let's see... that you can read
	ancient Sanskrit without having
	to sound out the words.  And that
	other dealers and archeologists
	don't like you much.

			JUNO
	Those wimps.  It's because I use			
	my diplomatic contacts to export
	cultural treasures from countries
	which tell them to take a hike.
		(yelling in Arabic to
		two workmen)
	I told you to move those crates
	an hour ago.  Come on guys, let's
	get going.

We realize that A WORKMAN is watching them intently from
nearby.  He is an intense looking MIDDLE-EASTERN MAN in his mid-
thirties.

			JUNO
	You see, a lot of these pieces
	are from ancient Persia.
	Unfortunately, ancient Persia is
	twenty feet under the sand of			
	Iran, Iraq and Syria.  Not the
	most popular places lately.  So
	I've had to become an expert in
	international diplomacy.

Juno stops and looks at Harry.  Her smile indicates the
possibility of more than just business.

			JUNO
	Well, do you see anything you
	like, Mr. Renquist?

						CUT TO:


57	INT. HOTEL SUITE - DAY

Harry, Gib and Fast Faisil are in a luxury suite at the MARQUIS
HOTEL.  It is a corner suite, with a spectacular view of the
city.  Faisil is routinely sweeping the room for bugs with an
electronic DETECTOR.

			HARRY
	She's importing stuff from all
	over the mid-east.

			GIB
	She could be moving money, guns.
	Anything.

			FAISIL
	And the second you left there, we
	started getting calls to the				 
	ghost numbers.  They were
	checking out the Renquist front.

			HARRY
	Okay.  Let's step up the
	surveillance on her.  Put on two
	more guys.


58	INT. JUNO'S WAREHOUSE - DAY

WE FOLLOW the WORKMAN we saw watching Harry earlier.  He
catches up with Juno, who is going through the doors to the
office area.  His name is MALIK.

			MALIK
	Ms. Skinner?  Can I speak to you
	for a moment please, in your
	office?

His manner is self-effacing.  Humble.  He doesn't meet her
gaze.  She nods and they go into the private office.


59	INT. JUNO'S OFFICE - DAY

MALIK comes in behind her and closes the door.  The moment they
are away from public observation, his manner changes.  His
humble posture straightens and his eyes flash intensely as he
approaches her.  Without warning he SLAPS HER HARD ACROSS THE
FACE.

			MALIK
	You stupid undisciplined bitch!

Her jaw clenches but her reaction is surprisingly submissive.

			JUNO
	It's a good thing you pay me
	well.

			MALIK
	Do you realize that there are
	surveillance teams watching this
	place right now?  Your phones are
	almost certainly tapped.  And you
	are busy laughing and flirting
	like a whore with this Renquist,
	who may be a--

			JUNO
	No.  He checked out okay--

Malik slaps her again.

			MALIK
	That is for interrupting.
		(He backhands her)
	And that is for being wrong.  We
	do not tolerate mistakes.

Juno bites her lip.

			JUNO
	What do you want me to do?

			MALIK
	Find out who this Renquist it.

			JUNO
	How?

			MALIK
	Use the gifts that Allah has
	given you.


60	INT. TEKTEL SYSTEMS OFFICES - DUSK				

The phone rings on the desk of CHARLENE, Harry's secretary at	
Tektel Systems, the permanent front-company for Omega Sector.	

			SECRETARY
	Hello, Tektel Systems.  Mr.				
	Tasker's office.


61	INT. TASKER HOUSE - DUSK

Helen is in the kitchen, showing Dana how to put icing on a
large birthday cake.

			HELEN
	Hi, Charlene?  It's Helen.  Is he
	there?


62	INT. TEKTEL OFFICES - DUSK

Charlene doesn't hesitate a microsecond.

			CHARLENE
	Harry's in a sales meeting, Mrs.
	Tasker.  Let me try him in there.
	Hold please.

She punches a key, engaging a digital scrambler and connecting
to--


63	INT. SUITE AT THE MARQUIS - DUSK

A PHONE RINGS.  Gib opens his briefcase and looks at the
console of the cellular scrambler-phone inside.  The display
reads TEKTEL/CALLER ID POS -- TASKER, HELEN.		

			GIB
	It's Helen.						

Harry picks up the phone.  INTERCUT THE FOLLOWING WITH HELEN.

			HARRY
	Hi honey.  What's going on?				

			HELEN
	Sorry to bother you in a meeting,
	but you have to promise me that			
	you'll be home at eight.  I don't			 
	want Dana and I sitting here by
	ourselves like we were last year.
	You promise?

			HARRY
		(laughing)
	Baby, I said I'd be there.
	Really.  Trust me.
		(the room phone RINGS)
	Gotta go, honey.  Bye bye.

RING.  Harry raises an eyebrow as he answers.

			HARRY
	Hello?  Oh, Juno, hi.
		(pause)
	Well sure.  I can be there in
	twenty minutes.

Harry hangs up.  Gib, checking his watch, has a look like he's
got a bad gas pain.

			HARRY
	What?  It's on the way.  She says
	she's got something for me.

			GIB
	Yeah, right.


64	INT. JUNO'S WORKSHOP - NIGHT

A WORKMAN guides Harry through the maze of statuary.  He points
toward the back of the warehouse and then leaves.  Harry is
left alone in the vast space.

Only a few lights are on, rendering the place somewhat Gothic.
Harry strolls in the direction the workman pointed.  Ahead of
him, is the huge facade of a royal tomb.  There is a flickering
light inside.  A shadow moves across the wall in the entryway.

			HARRY
	Hello?

He enters the stone doorway of the tomb.  FOLLOWING HARRY as he
steps into the inner chamber.  There is an oil-lamp burning on
a stone sarcophagus, the only light.  The room appears empty.

REVERSE ON HARRY.  Behind him a figure emerges from a shadowed
alcove.  It is Juno.  She looks ethereal in the strange light.

			JUNO
	Hello, Harry.

Harry whips around, startled.

			JUNO
	Do you like my tomb?  The museum			
	financing fell out, so I thought			
	your clients might be interested.

			HARRY
	It's certainly... dramatic.

			JUNO
	Especially in this light.  This
	is the only light they had then,			
	so I like to study it this way.
	I love this place.  I love all
	ruins.

			HARRY
	Is that why you got into this
	business?

Juno turns to him in the flickering half-light.  She moves
closer.  Her eyes seem to glitter.

			JUNO
	I've always been a collector at
	heart.  When I see something I
	want, I have to have it.

			HARRY
	And you have a reputation as
	someone who gets what she wants.

She is very close to him.  Her eyes seem to glitter in the
light from the oil lamp.  She is unbelievably beautiful.

			JUNO
	Yes, I do.


65	INT. GIB'S CAR - NIGHT

Gib is sitting in the car, in the shadows, up the street...
with his earphone in place.  Listening.

			GIB
	Harry, this is your conscience
	speaking...


66	INT. TOMB - NIGHT

Juno picks up the lamp and walks along the wall, holding it up
so that the flickering shadows seem to bring the bas-relief
figures to life.  Stone faces shift and change, stone eyes
move.

			JUNO
	Look at this.  People who dies
	twenty centuries ago.

Juno presses her cheek against the cold stone.  She runs her
fingers slowly across the figures.  It is strange and erotic.

			JUNO
	They breathed and loved and wept,
	just like us.  And now their
	ideals, their religions, their
	social orders... are gone like
	mist.  What did any of it matter?

She crosses to Harry.

			JUNO
	I only hope they lived well.
	That they got what they wanted.

She puts her hands on him and pulls herself close.  It is a
hypnotic moment.

			JUNO
	Getting what you want is the only
	important thing.

She kisses him, very lightly, with infinite sensuality.


67	INT. GIB'S CAR - NIGHT

			GIB
	Harry?  Listen to the following
	code word.  Helen.  H-E-L-E-N.
	Now, do you want me to I beep
	you?


68	INT. TOMB - NIGHT

Harry breaks the kiss... slowly pulling back.

			HARRY
	Yes.

			JUNO
	Yes what?

			HARRY
	Uh, yes, it is important.

Juno is moving in for a more passionate lip-lock when-- BEEP
BEEP BEEP!!  Harry pulls his beeper off his hip and looks at
it.  The moment is spoiled.

			HARRY
	Uh, it looks like I have to run.
	I'll call you tomorrow.  Your
	proposal is very interesting.


69	INT. GIB'S CAR - NIGHT

Gib lets out a big exhale of relief.  He looks at his watch.


70	INT. TASKER HOUSE - NIGHT

Helen and Dana are sitting expectantly at the dining room
table.  There is a big cake, and presents piled on the buffet.
The food is getting cold.  Helen looks at her watch.

			DANA
	See.


71	INT./EXT. GIB'S CAR - NIGHT

Harry is changing clothes, getting ready to be Harry Tasker	
again, as Gib drives through evening traffic.  Gib keeps
checking the rearview.

			GIB
	We have a friend.  Five cars
	back, inside lane.  They've been			
	on us since we left Juno's.				

Harry adjusts the passenger side mirror.

			HARRY
	Station wagon?

			GIB
	Uh huh.  Want me to lose them?

			HARRY					
	No.  We need this lead.				 
		(into his Rover)				
	Unit Seven.						

			UNIT SEVEN (FAISIL)			
	Seven here.

			HARRY
		(into Rover)					
	I need you at the Georgetown mall			 
	in three minutes.					

			SEVEN
	Copy that.  We're rolling.

			GIB
	Helen's going to be pissed.

			HARRY
	See, that's the problem with
	terrorists.  They're really
	inconsiderate when it comes to
	people's schedules.


72	INT.  STATION WAGON - NIGHT

There are three men in the car.  YUSIF and MAHMOUD are in the
front, with Mahmoud driving.  In the back, shadowed, we can
just make out ABU MALIK.  Yusif is massively built, with a body
like a beer-keg.  Mahmoud is skinny and intense.


73	OMITTED								


74	INT./EXT. GIB'S CAR - MALL - NIGHT

Harry puts his SUB-VOCAL TRANSCEIVER into his ear canal.

			HARRY
	Test two three.
		(Gib nods, receiving)
	Pull over here.

Gib pulls the car to the curb near the mall entrance.  Half a
block behind them the station wagon does the same.  Harry slips
on the virtual-image sunglasses and gets out of the car.


75	EXT. MALL - NIGHT

Harry pauses on the sidewalk a moment to light a cigarette.  He
coughs slightly.

			GIB
		(in his ear)
	You don't smoke, dickhead.

Harry lets his hand drop to his side, holding the pack of
cigarettes casually.  He turns his hand.  The tiny lens in the
cigarette pack glints.

POV VIDEO SCREEN --inside the left lens of the glasses.  The
camera in the cigarette pack reveals Yusif and Mahmoud getting
out of their cars, crossing the street half a block away.

HARRY strolls into the mall.  It is an open promenade design,
with a moderate crowd of shoppers and movie-goers.  Harry
watches in the glasses as Mahmoud and Yusif slip through the
crowd behind him.

			GIB (VO)
	What's the plan?

			HARRY
		(apparently mumbling to
		himself)
	Gonna try to get a closer shot of			 
	Beavis & Butthead.					 


76	INT. / EXT. GIB'S CAR - NIGHT

Gib looks in the rearview, studying the car behind him.

			GIB
	There's another guy, still in the
	car.

			HARRY
		(on radio)
	Stay on him.

All Gib can see is a silhouette in the car.  A soft cherry
glow, the tip of a cigarette in the dark.  No features.


77	EXT. MALL - NIGHT

Harry turns off the main concourse, into a narrower walkway
between shops.  In the video-glasses he watches Yusif and
Mahmoud, who have split up to look less conspicuous, as they
track him through the pedestrian traffic.


78	INT. / EXT. GIB'S CAR - NIGHT

Gib in on the cellular phone.

			GIB
	Helen?  Hi, it's Gib.  Harry
	remembered something he left at
	the office.  You know Harry.

As he is talking he sees that a bus has blocked his view of the
station wagon.


79	INT. HARRY'S HOUSE - NIGHT

She sighs fatalistically.

			HELEN
	Yeah, Gib.  I know Harry.

Helen hangs up the phone just as Dana strides through the room,
putting on a jacket and heading for the front door.

			HELEN
	Where are you going?

			DANA
	Out.  If Dad doesn't care enough
	about us to be here on his
	birthday, then why should I care?
	I'm going to a movie.

			HELEN
	No you're not.  You're going to
	stay here until your father gets
	home and have cake!

			DANA
	Mom, wake up!  Dad barely knows
	we exist.

We see the hurt in her eyes.  She doesn't hate her father.  She
just misses him.

			HELEN
	That's not true, honey--

			DANA
	It is true!  He doesn't know
	anything about me.  He still
	thinks I'm like ten years old or
	something.  As long as I just
	smile and say yes to whatever he
	says, like his good little
	fantasy daughter, he thinks
	everything's fine.  But it's not
	fine.  Nothing's fine.

Dana runs out the kitchen by the other door.  Helen runs
after her.

			HELEN
	Dana!  Come back here!

The slamming door is her answer.


80	EXT. MALL - MEN'S ROOM - NIGHT

Yusif sees Harry, up ahead, enter a public restroom.  He
signals Mahmoud with his eyes and the two of them close in on
the restroom.


81	INT. / EXT. GIB'S CAR - NIGHT

Gib hangs up the car-phone.  Ten the bus blocking his view
finally pulls away and Gib see that the station wagon is
empty.  No silhouette.

			GIB
	Oh shit.
		(into his headset)
	Harry, I lost the third guy.
	Harry?


82	INT. RESTROOM - NIGHT

Harry can't answer because Mahmoud just entered the room behind
him.  Harry is at one of the urinals, apparently taking a leak.
Mahmoud goes to the mirror.  Starts combing his hair.  He
doesn't much notice the pack of Camels sitting on the counter
nearby.  Harry is whistling.  Shaking himself.

HARRY'S POV - In the video glasses Harry sees himself and
Mahmoud.  Yusif comes into the restroom, seemingly ignoring
both Harry and Mahmoud, as if heading for the stalls.  As he
passes behind Harry he reaches into his coat--

Harry spins lightning fast.  He knocks away the SILENCED PISTOL
aimed at the back of his head with a sweeping block, capturing
Yusif's arm in an arm-lock.  The shot goes wide, shattering a
urinal.

Harry slams his palm into Yusif's face like a piledriver, and
spins him against the steel stalls.  The silenced pistol goes
skittering across the floor.

Mahmoud whips a pistol out of his waistband.  Still holding the
bear-like Yusif, Harry draws his Glock so fast we can barely
see him move.  BLAM!  BLAM!  BLAM!  Three .45 slugs  go through
Mahmoud's chest, shattering the mirror behind him.  He flops on
his butt, slumping against the wall.

Yusif, who is easily Harry's size, bellows and grabs his gun
arm.  They smash against the walls, struggling for the gun.
Yusif, locked to Harry, hurls him against the stalls.  They hit
a locked door, which pops open, banging inward.

Yusif drives Harry to the floor.  Harry's head is between the
shoes of an OLD GUY sitting on the can, who looks down
uncomprehendingly at him.

Yusif slams Harry's gun hand repeatedly against the doorframe
of the stall.  He twists Harry's wrist brutally.  He even
pounds against Harry's hand with his knee.  The old guy winces.
That's got to hurt.  Harry cries out in pain and the gun drops.
Yusif reaches for it, but Harry kicks it under the stalls.

He punches Yusif in the face, driving him back.  They grapple,
spinning.  Harry drives Yusif's head into the counter.  Then he
elbows him in the throat and they crash together on the filthy
floor.  Harry grabs Yusif's hair and pounds his face repeatedly
against the rim of a urinal.  In case you haven't noticed, this
is a messy, nasty fight.  Survival is like that.

Yusif sags into submission.  Harry pulls a nylon zip-strip out
of his pocket and uses it like hand-cuffs, securing Yusif's
wrists.


83	EXT. MALL - NIGHT

Gib is running full out, drawing his gun.  He has one finger
jammed in his ear.  His gut is doing the rumba as he runs.

			GIB
	Harry?  Harry, you copy?!  Shit!


84	INT. RESTROOM - NIGHT

Harry is pulling Yusif to his feet when the door bangs open
behind him.  He turns, thinking it is Gib.  It's not.  Malik
raises a FULL-AUTO BERETTA 92-F and opens fire.  Harry spins
Yusif between him and the machine pistol.  Yusif's beer-keg
body stops the spray of 9mm slugs form hitting Harry long
enough for him to dive into a stall.

Malik hoses the room with the Beretta.  The metal stalls are
riddled with hits.

HARRY is in the stall with the old guy, who's just sitting
there.  The walls of the stall are pimpling with the hits on
the far side.  Harry reaches under the stall, retrieving his
Glock.

MALIK goes empty.  Harry hears that and pops out, cranking off
rounds--

Malik is a blur going out the door, as Harry's shots shatter
tiles on the doorframe.  Then silence.

			HARRY
		(to the old guy)
	Sorry.


85	EXT. MALL - NIGHT

MOVING WITH MALIK, who backs rapidly away from the restroom,
reloading.

			GIB (OFF)
	FREEZE!!!

Malik spins to see Gib nearby, going into a firing stance
behind a light-standard.  The terrorist doesn't hesitate.  His
Beretta ROARS at 900 rounds per minute.

Gib tries to hide behind the light-standard, which is about
half as wide as he is.  Shots hit all around him, shattering
window glass behind him.  His stomach sticks out from behind
the pole.  He sucks it in. Now his butt is sticking out on the
other side.  Shots clang into the steel column, and riddle
everything behind him.

			GIB
	WRONG!  THIS IS NOT GOOD!

Just when it looks like Gib is going to get a 9mm tummy tuck,
Malik turns and sprints away, through shocked pedestrians.
Harry runs out of the restroom, trying for a shot, but there
are too many people in the line of fire and Malik knows it.

			HARRY
	Get back to the car!

Gib nods and heads the other way as Harry takes off after
Malik.  Malik is fast and vicious.  He hurls people out of the
way, sending shoppers sprawling.  Harry is ruthless in his
pursuit.  They pound through the mall and out onto the street--


86	EXT. STREET - NIGHT

Malik sprints straight into traffic.  A car screeches, not
stopping in time... Malik goes right over the hood.  Harry
leaps over the hoods of cars after him.  Malik sees Harry
coming after him like a juggernaut.

He turns and sees a MOTORCYCLIST coming down the street,
accelerating from a right-turn.  Malik runs at him, clothes-
lining him right off the bike.  The terrorist picks up the
nimble little Kawasaki 250, which is still running, and leaps
on.  He pops the clutch and takes off.  Harry pounds after him
like a locomotive.  He sees Malik turn, taking the bike path
into a large PARK.  Harry cuts into the park on a diagonal.


87	EXT. PARK - NIGHT

ON HARRY, running.  Ahead is a MOUNTED COP.  Harry doesn't
break stride, heading right for the cop on the horse.  The cop
turns, surprised, a split second before-- Harry pulls him off
the horse and slams him to the ground (he's wearing a helmet).

			HARRY
	Federal Officer in pursuit of
	suspect!  Sorry.

Harry is in the saddle and galloping after Malik before the cop
can get his gut out of the holster to stop him.

MALIK roars through the park on the Kawasaki.  He looks back,
amazed to see Harry charging after him on a horse.  They
scatter joggers and bicyclists, people walking their dogs.

TRACKING WITH THEM as they rocket through the park.  Malik
leaves the winding path and goes straight through the trees.
Harry charges through some rollerbladers who go sprawling.
Malik fires his Beretta straight back at Harry, emptying it.
He drops the pistol and crouches over the bike, twisting the
last bit of throttle out of it.  They are going flat out,
through the trees, in a kinetic blur.


88	EXT. STREET - NEAR MALL - NIGHT

Gib, panting and heaving, pulls his car into traffic.  The Unit
Seven car pulls out as well, up the block.

			GIB
	Harry, what's your twenty?


89	EXT. PARK/ STREETS - NIGHT

Harry is legging the police horse hard.  He has his reigns in
one hand, his Glock in the other.  It's the wild west.

			HARRY
	Westbound in the park... suspect
	is on a motorcycle... he's going
	to  come out on Franklin.  Hang
	on--

Harry leaps a park bench like he's in a steeple chase.

			HARRY (CONT'D)
	I want you on 14th in case he
	turns south.  And I need Seven on
	the north side to box him in.


90	INT. /EXT. GIB'S CAR - NIGHT

Gib is weaving furiously through traffic.  He slides into a
turn.

			GIB
	Copy that.

			HARRY
	And make it fast.  My horse is
	getting tired.

ON GIB, mouthing "Your horse?"


91	EXT. STREET - NEXT TO PARK - NIGHT

Malik explodes through the bushes and out onto the street.
Cars skid around him, out of control.  He turns south.  Weaving
through traffic.  Harry leaps the hedgerow behind Malik and
gallops among the spun-out cars.  He goes right over the hood
on one which is blocking his path.  The driver ducks as the
horse's hoof cracks the windshield.


92	EXT. STREET/ HYATT REGENCY HOTEL - NIGHT

Up ahead traffic is stopped, jammed tight at a light.  Malik
goes into the oncoming traffic lanes, which are empty.  Gib's
car slides around the corner in a blare of horns and comes
barrelling down the street toward him.  Gib cranks the wheel
the slides the car broadside, blocking both lanes.  Malik locks
up the brakes and the bike slides to a stop.  Then the
terrorist pops the clutch and wheels the bike around-- Jumping
the curb and going straight at the entrance of THE HYATT
REGENCY HOTEL.

Bellmen and guests scatter as the bike roars right at them.
The sliding doors and opening for a bellman coming out with
bags and Malik blasts past him into the lobby.

HARRY ducks, galloping through the doors after him.


93	INT. HOTEL - NIGHT

Acres of marble and red carpet.  Liveries porters.  Guests
dressed for evening, the men in suits, diamonds on the women.
And sudden pandemonium as Malik roars through the lobby, with
Harry charging along behind him.  Malik guns it across the
lounge, knocking over tables.  He gets air at the top of  the
steps going up to the RESTAURANT.

Harry swerves to avoid a panicking guest and finds himself
careening toward the JAZZ QUARTET at a full gallop.  He gathers
the animal and LEAPS (in glorious SLOW MOTION) over the
bassist, who is diving for the carpet.  Harry and horse land
deftly and then he urges his mount right up the steps after
Malik.


94	INT. HOTEL RESTAURANT - NIGHT

Malik roars between the tables, looking around wildly for a way
out.  Harry charges in, ducking to avoid the chandelier.
Waiters, trays, dinners, tables... everything seems to be
flying at once as people dive out of the way.


95	INT. HOTEL - MAIN HALL - NIGHT

MALIK skids out into the main hall by another door, and sees--
the ELEVATORS.  The door is just closing on one of them.  He
guns it and slides through the doors.

HARRY RIDES out of the restaurant in time to catch a glimpse of
Malik as the doors close.


96	INT. SCENIC ELEVATOR - NIGHT

Harry canters the horse into the next elevator, which has just
been boarded by an older couple.  He has to practically lie
down on the horse to fit through the door.  The animal barely
fits, nose to tail, in what turns out to be--

A GLASS ELEVATOR with a view of the whole atrium of the hotel
as it rises, right to the top of the building.  Harry looks
through the glass at the elevator car next to him, fifteen feet
away.  Malik is inside, punching a button.  He glances up and
sees Harry.  There eyes meet for a moment, just before Malik's
car ascends rapidly.  Malik's malevolent glare is etched on
Harry's retinas.

The older couple is jammed against the side-wall by Harry's
panting, snorting horse.  It clomps around the tight elevator.
The woman is trying to crawl between her husband and the wall.

			HARRY
	Can you just press the top floor,
	please.

The man nods mutely and complies.  Their elevator takes off,
rising after Malik's.


97	INT. HOTEL LOBBY - NIGHT

Gib runs in with Faisil and Keough.  They follow the path of
destruction, growing more and more amazed.  Gib yells to one of
the porters.

			GIB
	The guy on the horse?!

The porter points at the elevators.


98	INT. / EXT. SCENIC ELEVATORS - NIGHT

Harry has slid off the horse to get next to the control panel.
He can look up at an angle and see Malik in the car above him.
His thumb hovers over the emergency stop button.  If Malik gets
out at any floor, Harry will have a moment to react and stop.
Malik can look down and see this.  He knows Harry's got him.
He just keeps going, floor after floor, using the time to
think.

The older woman is still just staring, trying not to breathe.
The horse flicks her in the face with his tail.


99	INT. /EXT. ROOFTOP - NIGHT					

The rooftop has a spectacular view of the city.  TRACKING WITH	
Malik as he comes out of the elevator, rides to the far edge of  
the roof and slides to a stop.  He looks  down twenty stories.

THE SECOND ELEVATOR  arrives.  The doors part and Harry comes	
out, with his Glock poised and ready.  He sees Malik revving	
his bike.  The terrorist brodies the bike into a fast one-
eighty and speeds back toward the edge of the roof.  Amazingly,
he increases speed, ROARING RIGHT OFF THE EDGE,  ARCING THE
BIKE SUICIDALLY OUT INTO SPACE!

Harry rides to the edge in time to see Malik, on his bike,
CLEAR A 60 FOOT JUMP and SPLASH INTO THE ROOFTOP POOL of a	 
LOWER BUILDING next to the hotel!

Harry is out of control now, seeing the guy setting away.  He
wheels his mount and charges across the roof to get some
running space.  Then he turns again, back toward the edge Malik
jumped from.  He kicks the horse's flanks and yells HAAHH!!
The horse's hoofs thunder on the roof as they go full tilt
toward the edge.

But a horse is not a motorcycle.  It is slightly smarter.  It
slams its front hoofs down together, stopping suddenly.  Harry
goes right over its head.  He flies forward, almost going right
off the roof.  He slams to the edge, with his legs dangling
over, holding onto a piece of pipe with one hand.  His Glock
tumbles down into darkness.

Harry sees Malik far below, climb out of the pool, running to
the roof door of the other building.  Getting away.  Harry
clambers up onto his own roof, breathing hard.  He walks over
to the horse.

			HARRY
	What the hell were you thinking?
	We had the guy and you let him
	get away.

He looks into the horse's innocent brown eyes.  Pats its neck
fondly.

			HARRY
	What kind of  cop are you?


100	INT. TASKER HOUSE - NIGHT

Helen is asleep at the dining room table next to a half-eaten
cake and some melted ice cream.  His unopened presents are
piled at one end of the table.  She raises her head as Harry
enters sheepishly.

			HARRY
	Look, I know you're upset.  I'm
	really sorry, honey.  I raced
	home as quick--

			HELEN
	It's okay, don't bother, Harry.

He goes to her and puts his arms around her.  He is tender with
her.  He wishes he can tell her the truth.

			HARRY
	I'm sorry.  Thank you for the
	party.

			HELEN
	Yeah.  It was great.

Helen finds a smile for him somewhere.  She really does love
him, though more and more often lately she finds her heart in
pain.

			HELEN
	Let's go to bed, Harry.  There's
	only one present you have to open
	tonight.

She grins and arches one eyebrow meaningfully.


101	INT. BEDROOM / BATHROOM - NIGHT

Helen walks Harry to the edge of the bed and sits him down.
She puts her hand on his chest and pushes, causing him to lie
back.

			HELEN
	Don't move.  I'll be right back.

She turns on the stereo.  A Kenny G disc she put in there
earlier.  Soft tenor sax flows around the room.  Helen enters
the BATHROOM and shuts the door partway.  She opens a cupboard
and quickly pulls out some things she hid there earlier.  A
bottle of champagne on ice.  Two glasses.  Some trashy
lingerie.

			HARRY
	Come on to bed, you don't have to
	brush your teeth.

			HELEN
	I'll just be a second.  So what
	happened tonight at the office?

			HARRY
	I couldn't believe it.  I go back
	to get this report I need, right,
	and the phone is ringing, so like
	a bonehead I answer it--

Helen is hurrying to put on the unfamiliar lingerie.  G-string
panties and low-cut bra.  She holds up the garter belt, turning
it backward and forward, trying to figure out which way it
goes.

ON HARRY, yawning.  Lying with the ease of years of practice.

			HARRY
	It's the big client in Japan,
	and it's the middle of the
	morning there and their whole
	system is crashed... this guy's
	having a meltdown--

			HELEN
		(keeping him talking)
	What'd you do, honey?

			HARRY
	Well I pull out the manual on
	their setup, which is the new 680
	server...

Helen is pulling up the black stockings.  She fastens the
garters to the tops.  Her features are a scowl of
concentration.  She is very earnest in her preparations.

			HARRY (CONT'D)
	...and I'm troubleshooting it
	with them over the phone...
	talking to a translator, right,
	who's getting half of it wrong...
	it was unbelievable...  really
	wild.

			HELEN
		(putting on black
		pumps)
	It sounds wild.  So now you're a
	big hero, right?  For fixing
	their system.

			HARRY
		(faintly)
	Uh huh.

			HELEN
	My husband the hero.

Red lipstick.  Then she puts a little perfume on her wrists.

			HELEN
	I'll be right there, honey.  Just
	a minute.

Harry doesn't answer.  Helen puts a little perfume down the
front of her panties.

			HELEN
	Just a second.

Helen quickly pours two glasses of champagne.  Then she slinks
around the doorframe, making her entrance.  She looks like a
living 900 number.  Helen stands before the bed, looking down,
holding the champagne glasses.

ON HARRY: sprawled on the bed, fully clothed, snoring softly.
A little bit of drool is coming out the side of his mouth.

HOLD ON HELEN, all dressed up with no place to go.  She gazes
down at him, her shoulders slumping.

			HELEN
	Happy Birthday, Harry.

She sighs deeply and downs her champagne in one long gulp.

						CUT TO:


102	EXT. STREET/ NEAR HIGH-SCHOOL - DAY

It is the following morning.  Harry and Gib are staked out
watching the front of Dana's school.  Actually, Harry is staked
out, scanning the crowds of kids with binoculars.

Gib just keeps looking at his watch.  He picks up a cellular
phone and pretends to call the office.

			GIB
	Hey, did that guy Harry chased
	last night call in to give
	himself up yet?  Cause apparently
	that's the only way we're going
	to catch the son of a bitch --

			HARRY
		(not listening)
	Okay.  Here she comes.


103	EXT. STREET - DAY

HARRY'S POV THROUGH BINOCULARS - We see Dana come out to the
curb and meet Trent, who pulls up on his bike.  She gets on
behind him, adjusts her walkman headphones over her ears and he
launches out into traffic.


104	INT. HARRY'S CAR - DAY

Harry, who is behind the wheel, pulls out after her.  Trent
weaves radically through the light traffic, going in between
the cars.

			HARRY
	Look at the way the little punk
	is driving.  He's all over the
	place.  Look-- he hasn't
	signalled once.

			GIB
	Goddammit!  That's outrageous.

Harry speeds up.  Somebody honks as he cuts them off to stay
with Trent.


105	EXT. MOTORCYCLE - DAY

ON DANA AND TRENT as she looks back and sees Harry following
her.  She is mortified that her father is actually tailing her

			DANA
	Oh my God!  I think that's my
	dad!

			TRENT
	Hang on!

Trent downshifts and punches it.  The nimble little bike
screams as it zips between cars.


106	INT. HARRY'S CAR - DAY

			HARRY
		(clenching his jaw)
	So, you wanna play huh?  You
	little--

			GIB
		(rolling his eyes)
	That's it.  Get 'im Harry
		(he draws a pistol)
	We'll teach that little puke not
	to signal.


107	EXT. MOTORCYCLE

BACK ON TRENT, who's actually a really good rider.  He zig-zags
through the cars, cutting between them at the next light where
Gib and Harry get blocked.  He cuts a sharp right turn and
disappears.


108	INT. HARRY'S CAR - DAY

Harry is stuck in stopped traffic.  He pounds the wheel in
frustration.

			GIB
		(exploding with
		laughter)
	Ha!  The little prick ditched
	you!  That is so goddamn funny.

			HARRY
	Son of a bitch!

			GIB
	Can we go to the office now, Mr.
	Superspy?

						CUT TO:


109	INT. OMEGA SECTOR / I.D. ANALYSIS ROOM - DAY

Harry is sitting at a computer workstation, lit by the monitor
screen.  Gib and Faisil look on as he clicks through HEADSHOTS
of known terrorists.  CLICK.  CLICK.  CLICK.  Harry is very
focussed.  He stops.  He goes back one.  Studies the face.


110	INT. ANALYSIS ROOM - TIGHT ON THE SCREEN - DAY

A defiant looking Syrian with a full beard.

HARRY holds up his hand, blocking out the beard, concentrating
on the eyes.

			HARRY
	That's him.


111	INT. CONFERENCE ROOM - DAY

Harry slaps photos down in front of Trilby.

			HARRY
	Abu Kaleem Malik.

			GIB
		(reading from a file)
	Hardcore, highly fanatical, ultra-		
	fundamentalist.  Linked to				
	numerous car-bombings, that cafe			
	bomb in Rome, and the 727 out of
	Lisbon last year.  Major player.			

			FAISIL					
	Now he's formed his own splinter
	faction called CRIMSON JIHAD.

			GIB						 
	Guess he thought the other
	terrorist groups were too warm
	and fuzzy for his taste.

			FAISIL
	They call him "The Sand Spider".			

			TRILBY
	Why?

			FAISIL
		(he shrugs)
	Probably because it sounds scary.			 

			TRILBY
	This is impressive, gentlemen.
	Of course, it would have been
	even more impressive if you
	actually knew where he was.

			HARRY
	We'll get him.

			TRILBY
	Yes.  You will.
		(meaning-- you damn
		well better)
	Harry, I still want you in
	charge, even though your cover is
	blown.  Just keep a low profile.
		(he slaps a newspaper
		on the table)
	I generally prefer it when my
	covert operations don't make the
	front page.

The agents look at the headlines:  WILD WEST CHASE.  Harry and
Gib wince.


112	EXT. HELEN'S OFFICE BUILDING - DAY

Harry and Gib pull to the curb in front of the building.

			GIB
	What's going on?

Harry gets out of the car and turns back, leaning in the door
to talk to Gib.

			HARRY
	Look, uh... I've got to talk to
	Helen about this thing with Dana.
	I'm just going to run in and see
	if she can get away for lunch.

			GIB
	You want me to just hang-- ?

			HARRY
	Just hang a minute.

			GIB
	I'll just hang then, shall I?


113	INT. OFFICE BUILDING - DAY

Harry enters the office of Helen's firm.  He stops at
reception.

			RECEPTIONIST
	Hello Mr. Tasker.  Just a second,
	I'll  buzz Helen.

			HARRY
	No.  No, I'd like to surprise
	her.  Thanks, I know where her
	desk is.

He smiles and breezes past her before she has a chance to
object.


114	INT. HELEN'S OFFICE - DAY

TRACKING WITH HARRY as he moves through the offices.  He passes
through a library-like maze of records stacks.  Through them he
can see Helen at her desk.  But as he approaches, still
concealed, ALLISON puts a call on hold and whips around to
Helen.

			ALLISON
	Helen!
		(grinning
		conspiratorially)
	It's your mystery man.

			HELEN
	Simon?  Ohmygod.

Helen, normally the image of composure, goes suddenly fluttery
and nervous as a high-school girl.  She takes the phone,
turning away from Allison.

			HELEN
	Hello, Simon?
		(pause)
	It's all right.  There's no one
	around.

Helen glimpses Allison with her ears cocked and gives her a
scowl and a shooing motion.  Allison turns away, grinning.


115	INT. OFFICE - STACKS OF RECORDS - DAY

ON HARRY, behind the stacks, reacting.  He silently mouths
"SIMON?!"


116	INT. HELEN'S OFFICE - DAY

			HELEN
	You mean right now?
		(she looks around
		guiltily)
	I guess so.  Okay.  I'll be right
	there.
		(pause)
	Yes.  I can't wait.  Bye.

She hangs up, a little flushed.  Then turns to Allison.

			HELEN
	Can you cover me for an hour?

			ALLISON
	Just an hour?  You should tell
	this stud to take more time.

			HELEN
	Will you shutup.  I should never
	have told you about him.

Helen grabs her purse and rushes out, going right past the
stack where Harry is standing, dumbfounded.  He looks like he
was slammed in the stomach with a lead pipe.  His whole like is
unravelling.


117	EXT. BUILDING - DAY

Gib sees Harry crossing the street, holding his stomach.  He
seems dazed.  He is not so much walking to the car as wandering
in its general direction.  He stops, in the street.  Gib gets
out of the car and rushes to him.  He pulls him out of the path
of a bus which is HONKING irritably.

			GIB
	You look like you got gut-kicked.
	What's the matter?  You sick?

Harry leans against the car for support.

			HARRY
		(barely audible)
	He-- Helen.  Helen-- it's Helen.
	It's Helen, Gib.

			GIB
	Something to do with Helen, is
	what I'm getting.

			HARRY
	She's having an affair.

Harry's best friend in the world brightens with the news.  He
slaps him on the back.

			GIB
	Congratulations.  Welcome to the
	club.

			HARRY
	It can't be.  Not Helen.

			GIB
	Nobody believes it can happen to
	them.

			HARRY
	It can't be.

			GIB
	Same thing happened to me with
	wife two.  I had no idea until I
	came home and the house was
	empty.  I mean empty.  She even
	took the ice-cube trays from the
	fridge.  What kind of person
	would think of that?

			HARRY
		(not listening)
	I still don't believe it.

			GIB
	Relax.  Helen still loves you.
	She just wants this guy to bang
	her.  It's nothing serious.
	You'll get used to it after a --

Harry wheels around on Gib, grabbing him by the lapels, and
slams him against the car.

			HARRY
	STOP.  CHEERING.  ME.  UP.

We see in Harry's rage, frustration, and hurt confusion a
vulnerability we never expected to see.

			GIB
	What'dya expect Harry?  She's a
	flesh and blood woman.  And
	you're never there.  It was only
	a matter of time.

Harry sags.  His friend is right.  Gib opens the car door and
helps him in like an invalid, talking soothingly the whole time--

			GIB
	I say we concentrate on work.
	That's how I always got through
	it whenever my life turned to
	dogshit.  Let's catch some
	terrorists and then you can beat
	the crap out of them.  You'll
	feel better.

Gib gets in and starts the car, full of stoic cheer for Harry.

			GIB
	Women.  Can't live with 'em.
	Can't kill 'em.


118	INT. OMEGA SECTOR / LISTENING ROOM - DAY

Harry and Gib are in the LISTENING ROOM.  Banks of tape-decks
recording calls, rows of technicians in cubicles processing and
collating transcripts.

			GIB
	He's giving us a blank check on			
	wiretaps.  So I've set 'em up on
	all of Juno's shipping agents,
	her clients, and Faisil made up			
	a list of possible contacts that
	Crimson Jihad might have in this
	country.  Now all we can do is			
	wait --						

He notices Harry is not listening.

			GIB
	Is this national security stuff
	boring you?

			HARRY
	Put a tap on her phone.

			GIB
	What're you talking about?  We
	have that.

			HARRY
	Helen's phone.  Her office line
	and the line at my house.

Gib gives Harry a stricken look, and glances around nervously.
He pulls him into an empty office.

			GIB						 
		(a whispered hiss)				 
	Okay .  .  .I have two words to			
	describe that idea.  In.  Sane.
	Unauthorized wiretap is a felony,
	pard.

Harry grabs him and rams him up against the wall, his teeth
clenched.

			HARRY
	Yeah, and we do it twenty times
	a day.  Don't give me that crap.
	Just put on the taps.  Now.

			GIB
	Sure, Harry.  I'm on it.

Harry releases him and turns away.  Gib straightens his jacket,
looking at his friend like he's completely losing it.


119	INT. TASKER HOUSE - NIGHT

That night Harry is actually there on time for dinner.  He
glances at Dana, who has been eyeing him warily.  She looks at
her peas.

			HARRY
	How was school today?

			DANA
	Fine.

Harry takes a bite of his food, watching her.  Silence.  Helen
glances at him.

			HELEN
	So.  You came by to see me today?

She is a too casual, masking her nervousness.

			HARRY
	I was in the area, and I thought
	you might like to have lunch.

			HELEN
	They must've just missed me.

			HARRY
	They said you had to run out.

			HELEN
	Yeah.  It was a rush thing.  They
	needed some documents down at the
	court house.  I barely made it.

Harry watches her lying to him with some amazement.  You can
see the jaw muscles clenching.

			HARRY
	So, a little excitement in an
	otherwise dull day.  Did is work
	out okay?

			HELEN
	Oh, sure.  Fine.
		(she gets up suddenly)
	I'll get some more gravy.

			DANA
	I'm done.

Dana bolts.  She has eaten about four bites.  Harry sits at the
table, alone.  He feels isolated, knowing that everybody is
lying to everybody else.  He is a man without a center, lost.

						CUT TO:


120	INT. OMEGA SECTOR/ LISTENING ROOM - DAY

TRACKING ALONG THE BANK OF RECORDERS.  Harry comes to a
particular set of machines.  He reaches past the technician and
picks up the hard-copy of the transcripts.

ON HARRY walking and leafing through the phone transcripts.
Gib watches him through a glass partition, shaking his head
slowly.  Harry freezes, staring at the page and WE HEAR THE
SOUND OF THE CONVERSATION OVERLAID:

			HELEN
	Hello?

			SIMON
	Helen?  It's Simon.  Is it safe
	to talk?

			HELEN
	Yes.  Go ahead.


121	INT. CAR - FLASHBACK SEQUENCE - DAY

A man in his mid-thirties, sitting in a car SOMEPLACE (DAY),
speaks into a cellular phone.  This is SIMON.  He is dark
haired, and fairly good-looking in an off-beat way.  He is
unshaven and his clothes look slept in.  He glances around in
a furtive manner.

			SIMON
	I can't talk long.  Can you meet
	me for lunch tomorrow?  I must
	see you.


122	INT. HELEN'S OFFICE - DAY

NOW WE SEE HELEN, at her office.

			HELEN
	Yes.  I suppose so.  Where?

			SIMON
	The same place.  One o'clock.  I
	have to go now.  See you
	tomorrow.  Remember, I need you.


123	INT. LISTENING ROOM - DAY

The last line is played ON HARRY, reading.  Now he is seeing
the proof in black and white.  He slowly crumples the paper in
one hand, his expression dark.


124	INT. TASKER HOUSE - NIGHT

Helen is reading in bed.  She glances up as Harry comes into
the room.  Gives  him a quick smile.  Too quick.

			HARRY
	I thought we might have lunch
	tomorrow.

			HELEN
	I can't, honey.  I promised
	Allison I'd go shopping with her.
	Sorry.

Harry watches her smoothly lying to him.  It's surreal to him.

			HARRY
	No problem.

He surreptitiously picks up Helen's purse from a dresser and	
goes into the hall.						

125	OMITTED								


126	EXT. TASKER HOUSE - NIGHT					

THE FRONT DOOR OPENS and Harry comes out, walking Gizmo on a	
leash.  Harry walks briskly along the sidewalk, jerking the
poor dog along twice as fast as his little legs will go.	


127	EXT. SIDEWALK, BY GIB'S CAR - NIGHT

He reaches Gib's car, half a block up, and hands him Helen's	
purse.  Gib eyes the dog warily.  He growls at it.  Gizmo hides  
behind Harry's legs.

			GIB
	Look, Harry.  I know this is
	rough.  I felt the same way the
	first time it happened to--

Harry holds up one finger.  His eyes and expression are so
intense, Gib just soft of trails off.

			GIB						 
	Right.						
		(hefting the purse)				
	So .  .  .  the usual, right?			
	GPS locator, telemetry burst				 
	transmitter, audio transmitter,			
	power supply.

			HARRY					
	Just have is back in two hours.			
128
thru	OMITTED								
129

130	INT. / EXT. HELEN'S CAR - DAY

TIGHT ON THE PURSE sitting on the seat next to her as Helen
drives through the city.


131	INT. / EXT. N.D. SEDAN - DAY

Harry drives while Gib watches--


132	INT. SEDAN, CLOSE UP ON MAP - DAY

A COMPUTERIZED MAP below the dash.  Helen's purse appears as a
moving blip on a street-map of the city.


133	INT. / EXT. SEDAN - DAY

			GIB
	Okay, she's turning on
	Seventeenth.  Make a left, you
	should see her.

Harry makes the turn.

			HARRY
	There she is.


134	EXT. PARKING LOT - DAY

Up ahead they see Helen's RED ACCORD pulling into a parking low
next to a CAFE.  Harry parks the car a block away and gets out
his binoculars.


135	EXT. HELEN'S CAR THROUGH BINOCULARS - DAY

HARRY'S POV through the scope.  Helen gets out of her car and
looks around as she walks to the cafe.  It is not a nervous
look, but it is clear she is making sure she is not followed.
She goes inside.


136	INT. SEDAN - DAY

			HARRY
	Give me audio.

Gib hits a switch and they hear the clamor of the cafe at lunch
rush come over a speaker.


137	INT. CAFE - DAY

The restaurant is nothing fancy.  A little dark.  Helen makes
her way to a booth in the back.  Sitting in the shadows, facing
the door, is SIMON.  She sits down opposite him.  He doesn't
smile or kiss her in greeting, but glances around the room like
he expects a threat to leap out at any moment.

			SIMON
	Are you sure you weren't
	followed?

			HELEN
	I kept looking back, like you
	taught me.  I didn't see anyone.

			SIMON
	Okay.  It's just, things are a
	bit hot for me right now.  If I
	get a signal...
		(holds up a cigarette
		lighter meaningfully)
	I may have to leave suddenly.

			HELEN
	I understand.

			SIMON
	It's my job to risk my life, but
	not yours.  I feel bad about
	bringing you into this, but
	you're the only one I can trust.

Simon creates an atmosphere of danger.  His haggardness give
him an air of mystery and desperation.

			HELEN
	Where were you?  On a... uh,				 
	mission?

			SIMON
	Ssshhh!  We say Op.  Covert				
	operation.  And this one got a
	little rough.

			HELEN
	Worse than Cairo?					

			SIMON
	Cairo was a day at the beach next			 
	to this.


138	INT. SEDAN - DAY

Harry and Gib turn to each other, shocked with the dawning
awareness.

			GIB
	Guy's a spook!

			HARRY
	Yeah, but for who?					 

			GIB
	He could be working her to get to
	you.

Harry waves his hand, silencing Gib.

INTERCUT FROM HERE ON BETWEEN HARRY/GIB AND HELEN/SIMON.


139	INT. CAFE - DAY

SIMON puts a newspaper on the table, sliding it over to Helen.

			SIMON
	Did you read the papers
	yesterday?

			HELEN
	Yes.

			SIMON
	Sometimes a story is a mask for
	a covert operation.  See-- two
	men killed in a restroom, and two
	unidentified men in a running			
	shootout, ending at the				 
	Marriot...


140	INT. SEDAN - DAY

HARRY AND GIB react, realizing that it is the story of their
operation gone awry.


141	INT. CAFE - DAY

			HELEN
	That was you?!

			SIMON
	You recognized my style.  See,
	you're very good.  You're a
	natural at this.


142	INT. SEDAN - DAY

Harry starts to get it.  Then is dawns on Gib.

			GIB
	The guy's a fake!  He's taking
	credit for our moves.


143	INT. CAFE - DAY

HELEN LEANS CLOSE TO SIMON.  She clearly is hanging on his
every word.

			HELEN
	Tell me what happened?

			SIMON
	I'm sorry, I can't.

			HELEN
	You can trust me completely.

			SIMON
	I know.  But it would compromise
	your safety too much to know
	certain things.

			HELEN
	Right, of course.  I was worried
	when I didn't hear from you that
	night.

			SIMON
	It's strange.  I knew I was in a
	woman's thoughts when I was
	shooting it out with those
	assassins.


144	INT. SEDAN - DAY

HARRY REACTS to the outrageous fabrication.

			GIB
	Unbelievable.


145	INT. CAFE - DAY

BUT HELEN is eating it up.

			HELEN
	Were they trying to kill you?			

			SIMON
	Three of them.  Hardly worth				 
	talking about.  Two won't bother			
	me again.

			HELEN
	And you chased one?

			SIMON
	Something came over me, I just
	had nail him, no matter what the			
	risk.  It was pretty hairy.  I
	thought he had me, a couple of			
	times.  But I really can't take
	credit .  .  .

			HELEN					
	You can't?						

			SIMON					
	No.  It's the training.  It				
	shapes you into a lethal				
	instrument.  You react without			
	thinking.						


146	INT. SEDAN - DAY

HARRY AND GIB guffaw.  This is too much.

			GIB						 
	I'm starting to like this guy.			

Harry shoot him a hard look.					 

			GIB						 
		(holding up his hand				
		defensively)					 
	We still have to kill him, that's			 
	a given.						 


147	INT. CAFE - DAY

BACK TO HELEN AND SIMON as she leans even closer.

			HELEN
	What is it you want me to do?

			SIMON
	Not here.  I'll call you and
	we'll rendezvous again.
		(he looks around)
	We have to leave separately, so
	we aren't seen together.  For
	your safety.

			HELEN
	You'll call me then?

			SIMON
	Yes.  Now go.

148
thru	OMITTED								
155

PAGES 66-67 OMITTED						

156	EXT. STREET/CAR LOT - DAY

Simon is cruising in the Corvette with the radio blasting.
Thinking he is supercool.


157	EXT. USED CAR LOT - DAY

Simon pulls into a used car lot, which is a run-down place.  A
hodge-podge of makes and models, a few that might aspire to be
classics.

Simon backs the Vette into an open space on the front line.  He
reaches into the back seat and pulls out a dayglo sign showing
the SALE PRICE of the car.  He sticks it back on the dash.  The
car doesn't even belong to him!


158	EXT. ACROSS THE STREET FROM CAR LOT - DAY

Harry and Gib pull up.  They watch as Simon jumps out of the
Vette and goes into the sales office.

			GIB
		(laughing)
	He's a goddamn used car salesman.
	This just gets better.
		(catching himself)
	Sorry Harry, I know this is
	painful.

Harry's eyes are slitted down lethally as he stares across the
street.


159	INT. CAR LOT SALES OFFICE - DAY (LATE AFTERNOON)		 

TIGHT ON A TAPE PLAYER, with Simon's hand adjusting the volume.
The sound of traffic noise and middle-eastern music blares from
the deck.

PULL BACK to see Simon on the phone, talking loud, as if over
the din of a real place.

			SIMON
	It's a great little bar, Amanda,
	you'd love it.  Beirut's a great
	place if you know the city.				
	Listen, this isn't a secure line.
	I'll tell you all about it when
	I get back tomorrow... if I live.
		(pause)
	Scared?  Never!  Except of you--

During this, the owner of the place, DOUG WURTZ, has come out
of the back room and looked out at the lot.  What Doug sees is--

HARRY, browsing among the cars.

DOUG turns from the window and bears down on Simon, who sees
him coming and speeds up his rap.

			SIMON
	--I have to go, baby.  A guy's
	coming toward me--

Doug grabs the phone out of his hand and slams it in the
cradle.

			DOUG					
	Simon, look out there.  You see
	that man?  Notice how he's
	looking at the cars.  He's called
	a customer.  I know it's been a
	while, but do you remember what
	you're supposed to do when we
	have a customer?


160	EXT. CAR LOT - DAY

Simon bounces jauntily up to Harry, talking before he's even
reached him.

			SIMON
	It wants you too.  Feel it
	vibrate?  How about a little
	spin?

Simon opens the passenger door and sits Harry inside, then runs
around the car.  He leaps over the closed door into the
driver's seat and starts the car.

			SIMON
	You gotta jump in.  That's rule
	number one.  It takes a little
	practice, but there's no way
	around it.


161	EXT. STREET - DAY

Simon swings the car out onto the boulevard, kicking back.

			SIMON
	See, it's not just the car, it's
	a total image.  An identity you
	have to go for.  This isn't some
	high-tech sports car...  it
	doesn't even handle that great.
	But that's not the idea, is it.

Simon gives Harry a big grin.  Harry returns a knowing chuckle.
Ha ha.

			SIMON
	What're we talking about here?
	Pussy, right?

			HARRY
	Absolutely.

Simon laughs.  Harry laughs.  A big lusty, male-bonding kind of
laugh.

			SIMON
	Well then this is a vital piece
	of equipment.  Used properly, it
	can change your life.  See, you
	cruise.  No racing.  This ain't
	a Ferrari.  You check out the
	scenery, let the scenery check
	you out.  You got to take it
	slow.  Old cars are like good
	women... they heat up fast.

How do you grin warmly while your eyes are so cold?  Ask Harry.

			HARRY
	Keep talking.

						CUT TO:


162	EXT. TACO STAND - DAY

Simon is holding court.  Over tacos, he waxes eloquent on his
greatest area of expertise.  We see Harry laughing, going along
with the guy.  Pretending to bond.

			SIMON
	Let's face it, Harry, the Vette
	gets 'em wet.  But it's not
	enough.  If you want to really
	close escrow, you gotta have an
	angle.

			HARRY
	And you've got one.

			SIMON
	It's killer.  Look at me-- I'm
	not that much to look at.  No
	really.  I can be honest.  But I
	got 'em lining up, and not just
	skanks, either.  Some are.

			HARRY
	So what's your angle?

			SIMON
	Sorry.  Trade secret.

			HARRY
		(grinning)
	Sure.  Set me up and then don't
	tell me.

Simon leans forward, conspiratorially.

			SIMON
	Okay, just ask yourself.  What do
	women really want?  You take
	these bored housewives, married
	to the same guy for years.  Stuck
	in a rut.  They need some
	release.  The promise of
	adventure.  A hint of danger.  I
	create that for them.

			HARRY
	So you're basically lying your
	ass off the whole time?  I
	couldn't do it.

			SIMON
	Well, think of it as playing a
	role.  It's fantasy.  You have to
	work on their dreams.  Get them
	out of their daily suburban grind
	for a few hours.

			HARRY
	Isn't that hard to keep up, in
	the long run?

			SIMON
	Doesn't matter.  I like change.
	You know, constant turnover.  As
	soon as I close the deal, it's
	one of two more times, then
	adios.

			HARRY
	Use 'em and lose 'em.

			SIMON
	Exactly.  The trick is, you gotta
	pick your target.  They have to
	be nice little housewife types.
	School-teachers.  But, I'm
	telling you, you get their pilot
	lit, these babes, they can suck-
	start a leaf-blower.

			HARRY
	What about the husbands?

			SIMON
	Dickless.  If they took care of			
	business, I'd be out of business,
	know what I mean?

			HARRY
	Those idiots.


163	EXT. STREET/ VETTE - DAY

They are cruising along, with Harry driving this time.

			HARRY
	You working on someone right now?

			SIMON
	I always have a couple on the
	hook.  You know.  There's one
	right now, I've got her panting
	like a dog.  It's great.

Unconsciously, Harry's hands clench the wheel tighter.

			HARRY
	What does she do?

			SIMON
	Some kinda legal secretary of
	something.  Married to some
	boring jerk.

Harry takes a corner too fast.  The tires squealing.

			SIMON
	And she could be so hot, if she
	wanted to be.  She's like a dying
	plant that just needs a little
	water.

When Simon is looking, Harry is open and encouraging...  they
laugh together... then when he looks away Harry goes snake-
eyed.  He could kill Simon with one punch.  He's visualizing
his wife getting porked by this guy.

			HARRY
	But with you, she gets to be hot,
	right?

			SIMON
	Red hot.  Her thighs steam.

They laugh together.  Harry's laugh is getting a bit brittle.
He speeds up, his knuckles white on the wheel.  Now for the big
question: HAVE THEY OR HAVEN'T THEY?

			HARRY
	Sooooo... she's pretty good in
	bed, then?

			SIMON
		(yelling suddenly)
	Hey, slow down you're gonna miss
	the turn!


164	EXT. USED CAR LOT - DAY

Harry comes barrelling into the lot at forty.  He cranks the
wheel and hits the emergency brake, slewing the car into a
smoking bootlegger-180.  It screeches backward, sliding right
into its parking space perfectly.

Simon is bugeyed.  But he is non-plussed for only about two
seconds.  Then he's back to selling.  He scrambles out and goes
around to Harry, coughing in the cloud of tire smoke.

			SIMON
	See.  You and this car were meant
	for each other.  Why fight it?
	Sure, I have a couple other
	buyers lined up, but I like your
	style.  Whattya say?  Should we
	start on the paperwork?

			HARRY
	Let me think about it.  Hold it
	a day for me?

Simon grins and winks.

			SIMON
	Because it's you.


165	INT. TASKER HOUSE - NIGHT

Dana is in the living room, watching TV when she sees her
mother cross through, dressed to go out.

			HELEN
	Dinner's in the warmer.  Tell
	your father I may be late.

			DANA
	Where are you going?

			HELEN
	Out.

Dana is momentarily puzzled by the reversal of roles.


166	INT. ENTRY WAY - NIGHT

ON HELEN, checking herself in the hall mirror.  She looks at
her big dowdy purse.  Hating it suddenly.  She pulls her
pocketbook out and rummages on the top shelf of the hall closet
for a small handbag, then charges out.

167	OMITTED


168	INT. / EXT. SEDAN - NIGHT

Harry is driving.  Gib pulls a sheaf of pages out of his
briefcase and hands them to him.

			GIB
	Here's today's transcripts.
	There's nothing interesting.

			SIMON
	Nothing from Simon?

Keeping one eye on the road, Harry riffles through the sheets.
He glances at the top of the last couple of sheets.  He scowls.
Then SUDDENLY SLAMS ON THE BRAKES.  The car dives to the curb,
bumping one wheel.  Harry gets out and charges around to Gib's
side.  Gib gets out, his expression blank.

			HARRY
	Give me the page.

			GIB
	What are you talking about?

			HARRY
	It skips from page nine to
	eleven.  Where's page ten?

			GIB
	Aw, it's gotta be a typo--

			HARRY
	GIVE ME THE GODDAMN PAGE!!

Harry hammers his fist against the car-window right next to
Gib.  It explodes inward in a shower of glass.

			GIB
		(shrugging)
	Okay.  Here.

He fishes a crumples sheet of paper out of his pocket.  Harry
grabs it from him, straightening it.

			GIB
	Jeez, Harry.  Seek help.

As Harry begins to read, we go into FLASHBACK.


169	INT. USED CAR LOT OFFICE - DAY/FLASHBACK

ON SIMON - He is talking into the phone in hushed, urgent
tones.

			SIMON
	Helen.  I need your help.  Can
	you meet me tonight?

INTERCUT WITH HELEN at her office.


170	INT. HELEN'S OFFICE - DAY/FLASHBACK/INTERCUT

			HELEN
	What's happened?

			SIMON
	It's serious.  That's all I can			
	say.  Just meet on K Street under			 
	the Key Bridge.  At eight sharp.			


171	INT./ EXT. SEDAN - NIGHT

BACK TO THE PRESENT.  Harry checks his watch.		

			HARRY
	Shit!  It's almost eight.				

He jumps back in the car and activates the GPS locator.
Helen's purse-blip flashes on the grid map.

			HARRY
	She's still at my house.				

			GIB
	The purse is still at the house.


172	INT. SEDAN - NIGHT

Harry growls and slams the car into gear, roaring out into
traffic.  Horns honk as he cuts off people.  He is oblivious.
He grabs his rover.

			HARRY
	Unit Two?  Unit Seven?


172A	CUT TO -- FAISIL AND AGENT WEBSTER IN THE UNIT SEVEN VAN	

			FAISIL
	Seven here.


172B	CUT TO -- AGENT MORTON IN UNIT TWO CAR				 

			UNIT TWO
	This is Two.


172C	INT. SEDAN - NIGHT						 

			HARRY
	Immediate roll.  Acquire subject
	at K Street and Key Bridge.				
	Vehicle is red-and-white				
	convertible.  You have six
	minutes.

			FAISIL
	Roger, One.  Rolling.

			UNIT TWO
	Copy that.

			GIB
	Wait a minute!  Are you out of
	your mind?  You can't pull agents
	off a priority surveillance to
	follow  your wife!	It's gross
	misappropriation of Sector's
	resources, it's...  it's a breach
	of national security.

Harry drives on, ignoring him.  Gib grabs his shoulder, shaking
him.

			GIB						 
	You copy, Harry?  This is too
	far.  You're losing it big-time.
	I have to stop you.

			HARRY
	Whatya going to do?	Tell?

			GIB
	Goddamnit, Harry.  This is our
	butts.  So your life is in the
	toilet.  So your wife is banging
	a used car salesman.  Sure it's
	humiliating.  But be a man here--

			HARRY
	You tell on me, I tell on you.

			GIB
	Whatya talking?  I'm clean as a
	preacher's sheets, babe.  Clean
	as a --

			HARRY
	What about that time you trashed
	a six-week operation because you
	were busy getting a blow-job?

			GIB
		(instantly contrite)
	You know about that?

Harry turns to him.  His glare could melt metal.  Gib gives a
fatalistic shrug.

			GIB
	Take Franklin, it's quicker.

Harry makes the turn, squealing tires.

			GIB
	You don't have any pictures
	though, do ya.  Huh?				


173	EXT. BRIDGE - NIGHT

Helen pulls  her car under the bridge.  She checks her watch.
Helen notices that her hand is shaking.  She looks around and	
the place seems deserted.  She is about to leave when she sees
headlights flash briefly in the shadows.

A red-and-white Vette emerges from the darkness and pulls up
next to her.  Simon motions for her to get in quickly.


174	EXT. PARKING LOT - THROUGH BINOCULARS - NIGHT

LONGSHOT  on Simon and Helen in the Vette, coming out of the
parking low under the bridge.  We are watching them through a
sophisticated telephoto night-vision device.


175	INT. UNIT TWO SEDAN - NIGHT

Agent MORTON lowers the SCOPE and picks up his rover.  He puts	
the car in gear to follow.

			MORTON
	Two here.  Subject is southbound
	on Key Bridge.  A man and a woman			 
	in the vehicle.

			HARRY (RADIO)
	Roger's two.


175A	INT./EXT. SIMON'S CAR

Simon makes a show of checking the mirrors.

			SIMON
	Now don't be alarmed... but if
	I'm spotter, it would be best if
	they don't see you.  You should
	keep your head down until we're
	out of the city.

He pushes her head down onto his lap.  She crouches there, with
her cheek against his thigh.  He's cruising along, loving it.


176	INT. HARRY'S CAR - NIGHT

Gib is trying to watch the computerized city map on the screen,
but Harry keeps cornering so fast he loses his place.

			MORTON (RADIO)
	The woman has her head in the
	guy's lap.

Harry is doing a jaw-clenched slow burn.

			HARRY
	Roger, two.  One to Condor, do
	you have visual?

177
thru	OMITTED
183

184	EXT. HIGHWAY LEAVING CITY - NIGHT

It is a highway heading away from the city.  IN A LONG LENS
SHOT, the Vette appears over the brow of a hill.  A moment
later A HELICOPTER rises up behind them, A DRAMATIC REVEAL.  It
follows the Vette.

			CONDOR (VOICE OVER/RADIO)
	This is Condor.  We have the
	ball, repeat... we have a good
	lock-up on I.R.

CUT TO: INFRARED VIEW of the Vette, from the helicopter's FLIR
system.  The greenish, image-intensified view of the car is
like daylight.


185	OMITTED

 PAGES 79 - 80 OMITTED


 EXT. HELICOPTER - AERIAL SHOT - NIGHT				186

 Down past the helicopter, to the Vette on the highway below
 as they head out into the country.


 OMITTED (187)							187


 EXT. TRAILER PARK - NIGHT						188

 The headlights of the Vette light up a ratty single-wide
 mobile home, on the outskirts of a TRAILER PARK off the
 highway.  Simon and Helen get out of the car.

			SIMON
	 My place in the city is too
	 hot right now.  So is the
	 penthouse in New York.  But
	 this place is secure.

 He takes her inside.


 OMITTED (189)							189


 INT. SIMON'S TRAILER - NIGHT					190

 Helen feels awkward in the small, junky space.  A tape deck
 is playing cool jazz.  Simon hands her a glass of cheap wine.
 He clinks her glass with his.

		 SIMON
	 To our assignment.

		 HELEN
	 What is it you need me to do?

			SIMON
	Helen, I want you to be my wife.

			HELEN
	I'm married!

			SIMON
		(quickly)
	Just for the operation in Paris.
	I need to be married.  They'll be
	looking for a man traveling
	alone.

			HELEN
	We're going to Paris?

			SIMON
	Helen, there's a double agent in
	my outfit... I don't know who.
	There's no one I can trust.
	Except you.  Can you get away?
	Just for two days.

			HELEN
	I don't know.  I have to think...

			SIMON
	Here.  Sit down.  Be comfortable.

He clears a place for her on the bed, shoving clothes and
magazines out of the way.  She sits down and he tops off her
glass from the wine bottle.


191	EXT. BILLBOARD AND TRAILER PARK - NIGHT

The agents have gathered behind a billboard.  Harry, Gib and	
the other three agents have donned black jumpsuits.  They
finish fitting battle-harnesses, then they grab black ski-	 
masks.  They don them in perfect unison.  Commando precision.
Harry leads off and they quick-time from behind the billboard,
closing in on Simon's trailer.


192	INT. TRAILER - NIGHT

Helen looks up at Simon and nods slowly.

			HELEN
	Okay.  I'll do it.

Simon shoots over and sits next to her, taking her hand.

			SIMON
	You are incredibly brave.  I have
	to remind myself the fear you
	must be feeling.  I've lived like
	this for years, so I'm used to
	it.  Every day when I get up, I
	think it might be my last.  But
	it makes you appreciate life.
	And the moment.  Because that may
	be all you have.

He moves a little closer.  Casting his spell.

			SIMON
	To pull this cover story off, we
	have to look exactly like two
	people who are intimate with each
	other.  The enemy can spot a fake
	easily.

He puts his hand on her knee.  She tenses up instantly.

			SIMON
	You see what I mean?  That
	reaction would give us away in a
	second.  Try to relax.

			HELEN
	It's just that... it's been
	sixteen years since anyone but
	Harry did that, I--

			SIMON
	Relax.  There, that's better.
	Let yourself slip into the role.

He puts his other arm around her shoulders and pulls her slowly
into a kiss.  This doesn't seem real to Helen.  She finds
herself not pulling away.  He lowers her slowly until they are
lying together on the bed.

			SIMON
	There you go.  That's right...

He slides his hand up her thigh.  The fingers, stroking in
little circles, slips under her skirt.  And--

She suddenly EXPLODES, pushing on his chest, forcing him up off
her.

			HELEN
	NO!  Stop!
		(he keeps kissing her)
	Get off me RIGHT NOW!

Simon struggles with her.  She gets one knee up under him and
levers him up.  She pushes him to a standing position.  She
sits up on the bed, straightening her skirt.

He looks forlorn and pathetic.  Now he's going to try
pleading...

			SIMON
	If not for me, do it for
	democracy.


193	INT. / EXT. TRAILER - NIGHT

KABOOM!!  The back wall of the trailer is blown outward by tiny
shaped-charges.  The concussion throws Simon forward on top of
her.  Five BLACK-SUITED FIGURES swarm in, carrying machine
pistols and flashlights.


194	INT. TRAILER - HARRY'S POV - NIGHT

Lit by the beam of the flashlight, he sees Simon on top of
Helen, her knees up on either side of his hips.  It looks bad.
Simon and Helen sit up... stunned.  They look like two rabbits
in the headlights of a truck.  She screams.


195	INT. TRAILER - ON SIMON - NIGHT

Reacting as all his years of bullshit have suddenly
materialized as a nightmarish reality.  He is stunned.
Blinking, mouth hanging open.


196	INT. / EXT. TRAILER - SIMON'S POV - NIGHT

WHAT SIMON SEES -- Five demonic figures, backlit by the XENON
LIGHT from a helicopter.  Smoke and dust swirling in the rotor-
wash.  The figures lunge toward them, grabbing them both.
Helen struggles fiercely as Gib (disguised) pulls her up.
Harry yanks Simon to his feet.


197	EXT. TRAILER - NIGHT

Gib comes out first with Helen.  She struggles like a wildcat,
frankly surprising the hell out of Harry.  Simon is brought
out, dazed and compliant.  Helen whips around, KNEEING GIB
right in the balls.  Gib OOPHS and doubles over, and Helen runs
for it.

Harry leaves Simon with the other agents and runs after Helen.
She sprints through the trees, Harry pounding after her.  He
grabs her and gets her in a headlock.  She bites the hell out
of his arm.  Harry yells and lets her go, just as-- Keough runs
up and matter-of-factly clips her on the head with his weapon.
Standard operating procedure.  Which is why he can't understand
why Harry punches him, knocking him down.

Harry supports a sagging Helen, gesturing sharply to the other
agents and going RRRRR-RRRR to make his point (since he can't
talk without her recognizing his voice).  They head for the
cars.

						CUT TO:


198	INT. INTERROGATION ROOM/OBSERVATION CHAMBER - NIGHT

An empty room with a single stool under a light, and a large
two-way mirror.  The door opens and Helen is escorted in by
Keough, still wearing his jumpsuit.  Helen has a black hood
over her head.  Keough undoes a pair of handcuffs, freeing her,
then leaves quickly.

Helen whips the hood off and blinks in the light.  She wheels
at the sound of the door locking and runs to it.  Pulls twice
on the handle, without effect.  She crosses to the mirror and
peers at her reflection, trying to see if anyone is there on
the other side.


199	INT. OBSERVATION ROOM - NIGHT

ON THE OTHER SIDE OF THE GLASS is a dark chamber.  We see Helen
perfectly, peering in, though she sees nothing.  Harry and Gib,
in silhouette, sit at a console.  Harry speaks into a
microphone.

			HARRY
	Sit down.


200	INT. INTERROGATION ROOM - NIGHT

ON HELEN'S SIDE of the mirror we hear Harry's voice shifted by
a DIGITAL PROCESSOR.  It is a cold booming mechanical voice.
Harsh and inhuman.

			VOICE (HARRY)
	I said SIT DOWN.
		(she does)
	Who do you work for?

			HELEN
	Kettleman, Barnes and McGrath.
	I'm a legal secretary.

			VOICE (HARRY)
	Of course.  Mrs. Tasker.  And
	what were you going with the
	international terrorist, Carlos
	the Jackal?  Taking dictation?

			HELEN
	He said he was an American agent.


201	INT. OBSERVATION ROOM - NIGHT

INSIDE THE CONTROL room we can see Harry, Gib and, through the
glass, Helen.  Their voices sound normal on this side.

			HARRY
	How long have you been a member
	of his faction?

			HELEN
	I don't know anything about a
	faction.  I just met Simon...  or
	whatever his name is...  a couple
	of weeks ago.  I barely know him.

			GIB
	That's not what it looked like
	when we found you.

Harry scowls at Gib in the dark.  Helen flushes, remembering.

			HARRY
	How did you meet him?

FLASHBACK SEQUENCE:


202	INT. MALL - DAY/FLASHBACK

We see Helen sitting at table at a mall near where she works,
having a cappucino and a croissant.

			HELEN (V.O.)
	About two weeks ago I was at the
	mall, having coffee...

Simon appears behind her, sort of stalking up to her.  He
approaches quickly the last few steps and slips into the seat
next to her.  His manner is furtive.  He keeps looking around,
as if for hidden assasins.  He hands her a briefcase.

			SIMON
		(speaking very low)
	Keep this for me.  I can't afford
	to be taken with it.  National
	security is at stake.  I'll
	contact you if a can.  Okay?  Oh--

He seems to suddenly spot something OFF CAMERA and dashes off
the other way.


203	EXT. BUSINESS DISTRICT - DAY/FLASHBACK

Helen walks back to her office building, carrying the
briefcase.  She keeps looking over her shoulder.


204	INT. HELEN'S OFFICE - DAY/FLASHBACK

She has the briefcase on her desk while she works.  She keeps
glancing at it as she types.  Finally she hunches over it and
starts picking the locks with a paper clip.

TIGHT ON SECOND LOCK, popping open.

ON HELEN as she opens the case.  She gasps.

INSIDE THE CASE are the following items:  A tiny camera, some
loose tapes, some circuit diagrams, some transcripts that look
like gibberish which must be ENCRYPTED, some street maps of
Beirut, Rome and Berlin, and a Walther P.P.K.  PISTOL.  Helen,
eyes wide, closes the case.


205	INT. INTERROGATION ROOM - NIGHT / PRESENT

Helen shrugs, finishing up her story.

			HELEN
	I should have gone to the police,
	I suppose.

			GIB
	But you didn't.  Why not?

			HELEN
	I don't know.  I guess... I
	wanted to see what would happen.

			HARRY
	What did happen?

			HELEN
	Three days later, he called me.
	He told me to meet him at
	Overlook Park.


206	EXT. OVERLOOK PARK - SUNSET/FLASHBACK

Through the trees is a sweeping view across the Potomac to
Georgetown and Embassy Row.  Helen is sitting on a park bench
when Simon shows up, sitting beside her.  She hands him the
briefcase.

			SIMON
	Thank you.  You saved my life.
	What's your name?

			HELEN
	Helen.

			SIMON
	You can call me Simon.
		(he touches her hand)
	You're very brave to do this...
		(then notices the locks
		have been opened)
	You opened it.

			HELEN
	I just glances inside.


207	EXT. OVERLOOK PARK - CLOSE UP ON SIMON

CLOSE ON SIMON, looking right into her eyes.

			SIMON
		(solemn)
	Then you know.


208	INT. INTERROGATION ROOM - NIGHT / PRESENT

Harry shakes his head and rubs his eyes, picturing the whole
thing.

			HARRY
	Why did you continue to see him?

			HELEN
	He needed my help.

			HARRY
	Not because you were attracted to
	him?

			HELEN
	No.

			HARRY
	You weren't attracted to him at
	all?

			HELEN
	Well, maybe a little.

			GIB
	Is this a common thing for you?
	Cheating?

			HELEN
	No!  Never!

			GIB
	So, it was your first time.

			HELEN
	I wasn't cheating!

			HARRY
	Tell me about your husband, Mrs
	Tasker.

			HELEN
	Harry?  What can I say about
	Harry?  He's a sales rep for a
	computer company.

			HARRY
		(hard question for him)
	Would you say he was boring,
	then?

			HELEN
		(she sighs, nodding
		fatalistically)
	Yeah.  I suppose he is.

			GIB
	So sex with him isn't exactly
	making your flag wave anymore.

Harry cuffs him on the shoulder.  Signals with a scowl for him
to stay out of it.  Gib smirks.  Harry's put him through enough
shit the last couple of days, it's time for a couple digs.

			HELEN
	That's none of your goddamn
	business!  What kind of questions
	are these?

			HARRY
	You're in a lot of trouble, Mrs.
	Tasker, so I suggest you
	cooperate.  If we want to know
	the most intimate details of your
	life, you'd better tell us.

Helen glowers at the mirror.  Her hands are shaking and she
hates it that they can probably see she is afraid.

			HELEN
	My husband is a good man.

			GIB
	But he's not exactly ringing your
	bell lately, right?  I mean--

Harry covers the mike and whips around on Gib.

			HARRY
	Let me handle this part.  Do you
	mind?
		(to Helen)
	Why did you go to Carlos'
	hideout?

			HELEN
	He wanted me to go with him on a
	mission, to pose as him wife.

			HARRY
	And you agreed?

			HELEN
	Yes.

			HARRY
		(amazed)
	Why?

Helen searches herself for the explanation.

			HELEN
	I don't know.  I guess I needed
	something...

			HARRY
	What did you need?

			HELEN
	I needed to feel alive.  I wanted
	to do something...  outrageous.
	And... I don't know... it felt
	good to be needed.  To be
	trusted.  To be special.

In verbalizing it she just feels smaller, more pathetic that
she ever did.  She hates the unseen voices for making for try
to explain her deepest, unvoiced needs.

			HELEN
	There's so much I wanted to do in
	this life, and it's like I
	haven't done any of it.  And the
	sand's running out of the
	hourglass.  I want to be able to
	look back and say:  See!  I did
	that.  It was wild and it was
	reckless and outrageous and I
	fucking did it!
		(she glares at the
		mirror)
	And I frankly don't give a shit
	if you understand this or not.

Gib looks at Harry, eyebrows raised.  Whew!  Harry is studying
his wife like she's some fantastic new species.

			HARRY
	This Simon.  Did you sleep with
	him?

			HELEN
	No.

			GIB
		(covering the mike)
	She's lying.

			HARRY
	You didn't have sexual relations
	with him?

			HELEN
		(acidly)
	Look, if you ask me everything
	twice, this is going to take a
	really long time.  And I have to
	get home to my family.

			GIB
	You're not going anywhere.

Helen loses it.  It is fury and fear, tears and rage all at
once--

			HELEN
	Let me out of her!  Right now!

			HARRY
	Answer the question--

She picks up her stool and charges toward the mirror, swinging
it with all her might.  It bounces off harmlessly.

			HELEN
		(she swings again,
		yelling)
	I didn't sleep with him!
		(and again--WHAM!)
	You hear me, you chickenshit
	bastards--

WHAM!  She hits the mirror again.

			GIB (INHUMAN VOICE)
	Everyone tries.  It's
	unbreakable.

WHAM!  WHAM!  WHAM!  The mirror suddenly stars from side to
side with huge cracks.  She's about to beat her way through it.


209	INT. OBSERVATION ROOM - NIGHT

INSIDE THE OBSERVATION ROOM Harry and Gib jump back.

			GIB
	She could be telling the truth.

			HARRY
		(to Helen)
	Wait!  Calm down, Mrs. Tasker.
	There is only one more question.

Helen drops the stool.  She stands there panting.  Her fury
spent, she begins to cry.

			HELEN
	What?

			HARRY
	Do you still love your husband?

			HELEN
		(softly)
	Yes.

			HARRY
	Louder please.

			HELEN
	I love him.  I have always loved
	him and I will always love him.
		(she wipes at her eyes)
	Can I go home, please?


210	INT. OBSERVATION ROOM - NIGHT

INSIDE THE OBSERVATION ROOM Harry states at her.  He smiles.

			GIB
	Now what?

			HARRY
		(leaning forward to the
		mike)
	There is only one solution to
	your problem, Mrs. Tasker.  You
	must work for us.

			GIB
		(whispering to Harry)
	Oh shit.  Harry... what're you
	doing?

			HARRY
		(like: isn't it
		obvious?)
	I'm giving her an assignment.
		(to Helen)
	I am offerring you a choice.  If
	you work for us we will drop the
	charges and you can go back to
	your normal life.  If not, you
	will go to federal prison, and
	your husband and daughter will be
	left humiliated and alone.  Your
	like will be destroyed.

			HELEN
	Oh, gee thanks.  Mmmm, let me see--

			HARRY
	Yes or no.

			HELEN
	What do you think?  Of course
	yes!  What's involved?

			HARRY
	You will be contacted with the
	assignment.

			HELEN
	My husband can't know about this.

			HARRY
	No one must know!  Especially
	him.  You must appear to live
	your life normally, conveying
	nothing.  The security of this
	nation depends on it.  Can you do
	that?

			HELEN
	I think so.

			HARRY
	Think carefully.  You will be
	lying to the man you love.  The
	person who trusts you the most.

			HELEN
		(fearless)
	I can do it!

			HARRY
	The code name of your contact
	will be Boris.  Your code name
	will be--

			HELEN
		(excited)
	Natasha?

			HARRY
	No.  Doris.


211	INT. INTERROGATION ROOM - NIGHT

ON HELEN, not liking her wimpy code-name.


212	EXT. BRIDGE - NIGHT

The unit-seven van pulls up in the spooky shadows under the
bridge, stopping next to Helen's red Accord.  The door slides
open and Helen gets out, helped my black-garbed hands.  She is
wearing her hood, which is whisked off by one of the hands.
She whirls in time to see the door slide shut and the van speed
off.  She watches it drive off into the night.


213	EXT. ROCK QUARRY - NIGHT

The van pulls up near the edge of a large quarry.  The door
opens and Simon is pushed out, followed by Harry, who is in his
black jumpsuit and wearing a ski-mask.  Gib follows as Harry
guides Simon to the edge of a sheer drop.  Harry whips off the
hood and Simon takes in his surroundings.

			SIMON
	Yeeaoowww!!

			HARRY
	You son of a bitch.  Did you
	really think you could elude us
	forever, Carlos?

			SIMON
	Wait!  You got the wrong guy.  My
	name's Simon.  Look, just let me
	go.  There's no need to kill me.
	I haven't seen your--

Harry whips off his ski-mask.

			SIMON
	-- face.  Shit!  Shit!!

Simon has ducked his head and won't look at Harry.  Then it
dawns...  He looks up, brightening hopefully.

			SIMON
	It's you!  Hey, you still
	interested in that Vette at all?

			GIB
	You can drop it now, Carlos.  The
	game is over.  Your career as an
	inter-national terrorist is too
	well documented.

			SIMON
	No... I sell cars.  That's all!
	Not even foreign cars.  Nothing
	international, I swear.  I'm no
	terrorist.  Everything I said was
	a lie... you have to believe me.
	I'm actually a complete coward.
	If I ever even saw a gun I'd--

Harry whips his pistol out in one liquid motion and snaps the
muzzle right in front of Simon's eyes.

			SIMON
	-- faint.  Aahhh!  Don't kill me.
	I'm not a spy.  I'm nothing.  I'm
	navel lint.  I have to lie to
	women to get laid.  And I don't
	score much.  It's pathetic.
		(he looks down)
	See, look... would a spy pee
	himself?

Harry is finally sickened by his grovelling.  He pulls Simon
away from the edge, then gestures with his gun.

			HARRY
	Beat it.

			SIMON
	No.  Soon as I turn you'll shoot
	me.

Harry starts back to the truck.  Simon stays right with him,
facing him, terrified to turn away.  Like a dog following him.

			SIMON
	Please don't.  You can have the
	car for free--

			GIB
	Take off, dipshit!

Gib finally shoves Simon back and Harry contemptuously cranks
THREE ROUNDS into the ground by his feet, forcing him to dance
backward.  The two agents get into the van and tear off in a
cloud of dust.  Leaving Simon alone in the moonlight, miles
from nowhere.

						CUT TO:


214	INT./ EXT. SEDAN - DAY

TIGHT ON LOCATOR SCREEN as a blip moves across the grid of city
streets.  Gib drives while Harry watches the screen.

			HARRY
	We should pick up visual at the
	next light.

The scrambler phone in Harry's briefcase rings.  He picks it
up.

			HARRY
	Morning, boss.


215	INT. OMEGA SECTOR - DAY

INTERCUT WITH SEDAN.  Spencer Trilby stands glowering as he
talks to Harry.

			TRILBY
	Harry, this report on last
	night's operation is the thinnest
	piece of crap I've ever seen from
	you.  I'm sure you won't mind
	giving me a little more detail on
	why all these assets were
	deployed.


216	INT./EXT. SEDAN - DAY

			HARRY
	Absolutely.  But can it wait?
	I'm on a critical surveillance
	right now.

Harry spots something up ahead.  He snaps his fingers and
points, then whips a pair of gyro-stabilized binoculars to his
eyes.

HARRY'S POV THROUGH SCOPE:  Trent, on the Yamaha with Dana on
the back, rides through the intersection up ahead.  Dana bops
to the sound coming over her walkman headphones as Trent zips
between cars.  Gib makes the turn, pulling in behind them at a
distance.

			TRILBY
	Harry.  Is there anything you
	want to tell me?

			HARRY
		(innocently)
	No.  Not that I can think of.

THE CAMERA PUSHES IN ominously on Spencer Trilby.

			TRILBY
	Harry?  You know we never fire
	anybody.

Click.  Harry hangs up the phone slowly.

			GIB
	We're dead, right?  So...
	where'd you put the transmitter?

			HARRY
	In her Walkman.  It's the one
	thing I knew she'd be taking.


217	EXT. WAREHOUSE - DAY

Harry walks toward the closed warehouse doors, past Trent's
parked Yamaha.  We hear MUSIC from inside.


218	INT. WAREHOUSE - DAY

INSIDE THE WAREHOUSE, we see what it is that Dana has been
doing when she skips school.  A garage band of teenagers,
mostly older than her, are playing loudly.  Dana has the
microphone, belting out a punchy cover of the old Cream classic
"Sunshine of Your Love".  The guitar parts have been industrial-
ized, and it actually sounds pretty hip.

Harry watches from the shadows, standing behind a pillar not
far from the stage.  Watching his daughter gyrating in the
spotlight.  His reaction is hard to read.


219	INT. WAREHOUSE - CLOSE UP OF CIRCUIT-BREAKER - DAY

TIGHT ON THE MASTER CIRCUIT-BREAKER as Harry's hand throws the
switch.


220	INT. WAREHOUSE - STAGE - DAY

The stage is plunged into darkness and the music stops
abruptly.  Before the band members can react, they hear the big
metal doors rolling and sunlight blazes in.  Dana stares into
the glare, seeing an ominous silhouette standing there.  The
shadowy figure walks toward them.

			FIGURE
	You! Come with me.

The figure comes straight toward Dana.  To her horror is turns
out to be her dad.  Her heart stops.

			DANA
	Oh my Gooooood.


221	EXT. WAREHOUSE - DAY

Harry appears through the doors, marching Dana by the arm.  He
walks her over to some industrial junk nearby, overgrown with
weeds, and sits her down for a talk.

She is sullen, still mortified from getting dragged out in
front of her friends.

			HARRY
	There are going to be some
	changes Dana.  You're going to
	start following some rules.  And
	I'm going to be there to see that
	you do.

			DANA
	Yeah, right.

			HARRY
	You're going to stay in school.
	Do you understand?

			DANA
	Why?  So I can wind up like you?
	What's the point?

You think Harry's going to really rain on her parade.  But he
doesn't.  He becomes very tender.  He pushes the hair back from
her face.

			HARRY
	Did I tell you about the time we
	first met?

She looks up at him, puzzled?

			HARRY
	You were quite young at the time.
	All wet and still attached to
	your mom by a cord.  You opened
	your eyes and looked right at me.
	And I knew then I would always
	love you with all my heart.

Dana stares at her father with a dawning awareness.  This is
not just some chump that she has to put up with.  This is her
father.  He is a part of her.  No matter what happens they are
in this thing together.  Tears start to run down her cheeks.

			HARRY
	Somewhere along the way I got
	lost, honey.  I forgot about what
	was really important.  I'm sorry
	pump-- I mean--

She grabs his in a fierce hug.  Harry closes his eyes, letting
the moment purify him.

			HARRY
	Dana, regarding this singing--

She pulls back, suddenly wary.  Oh shit.

			HARRY
		(grinning)
	You were pretty good.


222	INT. / EXT. SEDAN - DAY

Dana sits wedged into the front seat between Gib and Harry.
Father and daughter are singing raucously loud, with the
windows down.

			HARRY/ DANA
	I've been waiting so long To be
	where I'm going In the sunshine
	of your looooove

They crack up after the long sustain.  They are both suffused
with a glow of rediscovery.  Harry pulls the car to the curb in
front of Dana's school.

			DANA
	Dad, how come you know the words?

			HARRY
	Honey that song came out in 1968,
	when I was exactly your age.

			DANA
	Unbelievable!  Trent told me he
	wrote it.  He's history.


223	INT. TASKER HOUSE - NIGHT

The image of a family dinner.  Helen is avoiding Harry's eyes.
Harry looks over at Dana and she gives him a tiny smile.  Then
she rises from her half-finished dinner and heads out of the
kitchen.

			DANA
	I'm done.

			HELEN
	Where are you off to young lady?

			DANA
		(pointing toward her
		room)
	I have a book report.

Helen watches her go.  That's strange.

			HARRY
	So last night was pretty
	exciting, huh?

			HELEN
		(alarmed)
	What?
		(then smoothly--)
	Oh, the flat tire?  Yeah, I
	thought the damn towtruck was
	never going to get there.

Harry smiles, reaching for more chicken.  The phone RINGS.
Helen controls the urge to run to it.

			HELEN
	Hello?

			METALLIC VOICE
	Doris?

			HELEN
	Oh.  Yes?


224	INT. OMEGA SECTOR - NIGHT

GIB, AT OMEGA SECTOR, uses the SPEECH SYNTHESIZER to disguise
his voice.

			GIB
	Listen carefully.  Go to the
	Hotel Marquis in one hour.  Pick
	up an envelope marked Doris at
	the front desk.  And dress sexy.


225	INT. TASKER HOUSE - NIGHT

BACK ON HELEN as she reacts to that.

			HELEN
	What?

			VOICE
	Get going!
		(CLICK)

			HELEN
		(thinking for a second,
		then--)
	Uh... well, okay then.  You sound
	terrible.  I'll run out right
	now.  Just call the prescription
	in to the pharmacy.  Sure, no
	problem.  Bye.

Harry smirks, listening to her lie.  She's good.  The smirk
drops as she turns.

			HELEN
	Allison is sick in bed.  I have
	to go over there, honey.

			HARRY
	Sure, hon.

She walks unhurriedly out of the room.  Behind her back, Harry
is grinning.  The second Helen is out of his sight line, she
runs up the stairs.  Harry waits a moment then picks up the
phone.


226	INT. OMEGA SECTOR/ ELECTRONIC LAB -- NIGHT

Gib is in a corner of the electronics lab, in an area dedicated
to DIGITAL AUDIO PROCESSING.  The phone in his briefcase rings.
Gib answers.

			GIB
	You've reached a new low with
	this one.  I can't believe you're
	crazy enough to use the room at
	the Marquis.

			HARRY
	Why not?  You think I can afford
	a suite like that on my salary?
	Is Jean-Claude done yet?				

Gib looks over at a SOUND RECORDING BOOTH nearby.  In it a FAT	
FRENCH AGENT, JEAN-CLAUDE is doing voice recording from a hand-  
written page.

			GIB
	Not quite.


227	INT. OMEGA SECTOR - INSIDE THE BOOTH - NIGHT

We hear Jean-Claude record a line on a tiny DAT tape recorder.	
He speaks with a cosmopolitan French accent.  Close your eyes	
and he's Charles Boyer.

			JEAN-CLAUDE				
	No no.  Do it slowly.  Very
	slowly.


228	OMITTED								


229	INT. HOTEL MARQUIS - NIGHT

A big luxury hotel downtown, with an opulent lobby.  Helen
enters, looking different than we have ever seen her.  She has
been commanded to be sexy, and she is.  Her black slinky dress
is cut at mid-thigh, showing some good legs we haven't been
aware of.  She's pulled her hair back and added pearls.  Now
she looks elegant and hot.  Playing the role.


230	INT. HOTEL - FRONT DESK - NIGHT

She goes to the front desk and signals the ASSISTANT MANAGER
with her eyes.  He comes over to her.

			HELEN
	Do you have an envelope for
	Doris?

The man nods.  Saying nothing, he reaches under the counter and
hands her the envelope.  She opens it as she walks across the
lobby.  In contains a room key, a small bugging device, and a
phone number.


231	INT. HOTEL LOBBY - NIGHT

TIGHT ON A PAY PHONE as Helen finishes dialing the number.  She
scans the lobby as the phone rings--

			METALLIC VOICE
	Listen.  You are a prostitute
	named Michelle.  Go to the room.
	A man will be there.  He is a
	suspected arms dealer.

			HELEN
	Do I have to... you know-- ?

			VOICE
	No.  He has particular tastes.
	He likes to watch.  You will say
	his regular girl, Carla, is sick.
	If he likes you, he will tell you
	what to do.  You must plant the
	bug near the telephone, by the
	bed, before you leave.  If you do
	not accomplish your mission, the
	deal is off.


232	INT. HOTEL/ TENTH FLOOR - NIGHT

Helen exits an elevator and walks down the long hallway toward
the suite.  She stops by a mirror and checks her look.  Decides
she is too uptown.  She pulls the neckline of her dress down so
it shows more shoulder, then hitches up the hem.  Ditches the
pearls.  Puts on some red lipstick.

Now she doesn't look hot and elegant... just hot.  She
practices a slinky walk, getting into the role.

Suddenly she remembers her wedding ring.  She pulls on it.  It
probably hasn't been off in years.  She licks her finger and	
twists it off.  Yoww!  She puts it on her right hand and turns	
the modest diamond palm-side in .  .  .  Out of site.  Then,	
reading the number off the key, she goes to the room and
unlocks the door.


233	INT. SUITE - NIGHT

Helen comes in hesitantly.  The lights are off.  The suite is
large and richly furnished, with a breathtaking view of the
city.  It is the room Harry was using, posing as Renquist.  A
FRENCH-ACCENTED VOICE comes from the next room.

			VOICE
	In here.

She goes into the bedroom.  There is a dark figure sitting in
a chair, just a silhouette.

			MAN
	Step into the light.

It is a corner room.  The drapes on one side are closed,
shadowing the man, but open on the other just enough to let in
a slash of moonlight.  She steps forward into it.

TIGHT CLOSE UP on the figure.  We can just make out that it is
Harry, though Helen cannot.  TILT DOWN to show his hand, out of
sight behind the chair-arm, as he manipulates the pause button
on the DAT tape deck.

			HELEN
	I'm Michelle.  Carla's sick.  She
	thought you might like me, so --

Harry goes SSSSHHHH.  Silencing her gently.  He silently clicks
off the PAUSE button.  The DAT recorder plays.  Charles Boyer,
deep and hypnotic, speaks from Harry's outline.  Harry
lipsynchs.

			HARRY (TAPE)
	Let me do the talking.  You are			
	very pretty.  You may start by			
	unzipping your dress.

PAUSE button.  She starts to yank the zipper down.		

			HARRY (TAPE)
	No no.  Do it slowly.  Very
	slowly.

Helen turns her back to him, and draws the zipper down	
languorously, revealing her creamy back.  She is not wearing a	
bra.								

			HARRY (TAPE)
	Now slip the dress down...				
	slowly.

Helen is starting to get into the ritual.  She lets the dress	
slip off her shoulders.  It slides down her body to the floor.	
She steps out of it, still in high heels.			

			HARRY (TAPE)
	Now slide the nylons off one by
	one.

			HELEN
		(puzzled)
	I'm not wearing any.

Harry winces.  He starts the next line immediately.

			HARRY (TAPE)
	That's good.  Now the panties.			

The ritual continues as she strips slowly (this will be
tastefully done).  She conceals the bugging device in her hand
as she sets her clothes on the bed near the phone.  Helen is
still concentrating on her mission.

			HARRY (TAPE)
	Now turn, cheri, in the
	moonlight.  Let your body flow
	like water.

She turns.  Her skin is beautiful in the silvery light.

			HARRY (TAPE)
	Now dance for me.  Go on.

Helen has no idea what to do, but she improvises quite well.
The scrutiny of the shadowed man, who is fully clothed, and her
raw vulnerability are a quiveringly powerful erotic
combination.

			HARRY (TAPE)
	Let your hands be a lover's hands
	on your own skin as you move.
	Yes, that's it.

TIGHT ON Harry's eyes as he studies her.  His game, meant to
give her a dangerous fantasy, is actually turning him on
mightily.  He is amazed to see her playing the role, getting
into it.  This is not the Helen is thought he knew for sixteen
years.

			HARRY (TAPE)
	Now, lie on the bed and close
	your eyes.

She does.  Harry rises and goes to her, bringing the tape deck.

			HARRY (TAPE)
	Keep them closed.  Do not open
	them.

He sits on the bed, next to her, but without touching her.  He
strokes her hair, lovingly.  Then runs his fingertips over her
eyes, down her cheeks.  To her it feels delicate and delicious.
Part of her is enjoying this a lot.  But Helen is torn between
wanting to flee and knowing that nothing the man has done so
far is enough to cause her to abort her mission.

			HELEN
	I thought you only liked to
	watch.

Harry goes SSSHHH.  It's all he can do.  He bends over her and
brings his lips slowly down to her.  He touches them to hers so
slowly that she barely knows he is kissing her.  Then he takes
her in a passionate kiss.

And she grabs the lamp on the bedside table and SMASHES IT OVER
HIS HEAD.  Harry flies off onto the floor, groaning and
semiconscious.

Helen flips on the light and grabs her clothes, starting to
dress rapidly.  She still doesn't recognize Harry, who is face
down.  He groans and starts to rise.  She kicks him in the ribs
and finishes putting her dress on.  She sticks the bug under
the night table and grabs her shoes.  Mission accomplished,
motherfuckers.

Harry grabs her ankle.  She raises one shoe to kosh him again,
and sees who it is.  Freezeframe.  Total shock.  She can't even
form the question.

			HELEN
	Harry-- ?!


234	INT. SUITE DOOR - NIGHT

CRASH!!  The door lock is shattered by tremendous force and
THREE MEN burst into the room.  We may recognize them as
workers from Juno's shop.  They are wielding pistols and are
clearly part of Malik's terrorist brigade.

Harry is still groggy, and he doesn't want to start anything
with Helen there, and risk her getting shot.  He acquiesces as
they pull him to his feet.

			HELEN
	He's got nothing to do with this.
	It's me you want, right?

			HARRY
		(to lead TERRORIST)
	Let the hooker go.  She's not
	important.

			HELEN
	Harry, be quiet.  Let me handle
	this.

			LEAD TERRORIST
	Shutup, both of you.

During this exchange, the thugs have handcuffed Harry's hands
behind his back.  The leader gestures to one of the men to
bring Helen along.  Helen and Harry are dragged roughly out of
the room with pistol-muzzles stuck in their ribs.


235	INT. STAIRWELL - NIGHT

The door from the corridor bangs open and the thugs hustle
Harry and Helen down the fire-escape stairs.

			HELEN
	Listen, you don't need him, he's
	nothing.  He's a sales rep for a
	computer company, really--

The thug leader cuffs her across the head to shut her up.

			HELEN
	That was unnecessary.


236	INT. HOTEL BASEMENT - NIGHT					

A stairwell door opens and the terrorists rush Harry and Helen	
through the basement labyrinth.				

			HELEN
	What were you doing there?

			HARRY
	You wouldn't believe me.

A pistol muzzle is jammed hard behind Helen's ear.

			TERRORIST LEADER
	Talk again, I kill you.

They are hustled across a loading dock to a RENTAL VAN waiting	
with the door open.  A fourth terrorist slides the van door	
shut after they get in and gets in behind the wheel.  The van	
takes off.

						CUT TO:		

237	OMITTED								


238	EXT. AIRPORT - NIGHT

The rental van pulls up to a G-3 JET warming up outside a
private hanger.  The van doors open and the hostages are
brought out.  Harry sees a long black LIMO pulling up behind
the van.  The driver, an enormous man names AKBAR, hurries to
open the passenger door.  A slender pair of ankles emerge,
followed by the rest of Juno Skinner, looking devastatingly
beautiful but now quite sinister.

To Helen it is like a living James Bond film, with the jet, the
limo, the terrorists, and now an exotic femme fatale, dressed
to kill, approaching them.

			JUNO
		(with a wry smile)
	Hello, Harry.

			HARRY
	Juno.  I wish I could say it's a
	pleasure to see you again.

			HELEN
	You know her?

Juno signals with her eyes and the terrorists march the
prisoners toward the plane.

			JUNO
	Who's your little friend?

			HELEN
	I'm Helen Tasker.  Harry's my
	husband.  And you are?

			JUNO
		(to Harry)
	So now it's Tasker?  Not
	Renquist?


239	INT. G-3 JET - NIGHT

They enter the luxurious passenger cabin of the plane.  Helen
has never seen anything like this.

			HELEN
	Look, Harry's not part of this.
	He's just a sales rep.

			JUNO
	No, my dear, he is a federal
	agent.  He killed two of my
	colleagues the other night.

			HELEN
	No, you don't understand, we've
	been married for 15 years--

			HARRY
	Look, Juno, this is just some
	whacko hooker I met in the bar.

AKBAR and the other terrorists push Helen and Harry into seats
and strap them in.

			HELEN
	Harry, what's the matter with
	you?  Tell them the truth.  We're
	married, we have a daughter--

			HARRY
		(looking at Helen
		contemptuously)
	I don't know what this crazy
	bitch is on.  You should just cut
	her loose, so we can get down to
	business.

			HELEN
	Oh yeah?  Oh yeah?  Then where
	did I get this?

Helen grabs the locket, dangling on a chain around her neck,
and opens it to show Juno.

THE PICTURE IN THE LOCKET -- Harry and Helen together, smiling.

Harry roles his eyes.  Great, Helen.  A FLIGHT HOSTESS walks up
carrying a tray.  Juno smiles graciously at Helen.

			JUNO
	Something before take-off?

The hostess whips a PNEUMATIC INJECTOR off the tray and zaps
Helen in the shoulder.

			HELEN
	Oooowww!!  That hurt.  You biii--

She slumps.  Juno looks at Harry.

			JUNO
	She was telling the truth, wasn't
	she Harry?  She really doesn't
	know.  Interesting.

Juno nods and the hostess zaps Harry.  He slides into
unconsciousness as the plane engines begin to SCREAM.


240	EXT. AIRPORT - NIGHT

The G-3 lifts into the night sky, turning south.


241	EXT. PIER - NIGHT

A small FREIGHTER is tied up to a half-crumbling pier.  Next to
the pier is a dilapidated corrugated-metal warehouse building,
two stories high.  There are floodlights on the dock but beyond
is black night, with the ghostly shapes of mangroves and palms.
It is an abandoned facility on what appears to be a tiny island
in the Caribbean.

There is a lot of activity.  Three U-RENT TRUCKS are parked by
the warehouse, as well as some other vehicles.  About thirty
men, clearly CRIMSON JIHAD TERRORISTS are busy at various
activities.  Many of them carry AK47 assault rifles.

MALIK is supervizing them as they finish unloading a tarp-
covered object about 15 feet high from the ship.  A rusting
gantry crane trundles it into the warehouse.  Malik looks up as
an AEROSPATIALE HELICOPTER thunders toward them over the black
Caribbean water.

The helicopter lands and Juno steps down from the front door.
The sliding door is opened and Akbar and the others pull a
groggy Harry and Helen out of the aircraft.  They are covered
by hoods.

Malik walks up to them and pulls their hoods off.  Harry takes
in his surroundings and looks back into the eyes of Malik.
Lethal energy flows between them.

			MALIK
	Who is this woman?

			JUNO
	His wife.

			MALIK
		(seeing the
		possibilities)
	His wife?  Good.  Bring them.


242	INT. WAREHOUSE - NIGHT

Malik leads the entourage into the warehouse, where brilliant
floodlights illuminate--

THREE HUGE STONE FIGURES, lined up in the middle of the space.
The tarp is removes from the object they just unloaded,
revealing a FOURTH STATUE.  The figures are cracked and
obscured by centuries, but they are unmistakably warriors
mounted on horseback.  The legs and arms are missing on some,
but the massive heads and necks remain.

			JUNO
	Incredible, aren't they?  Warrior
	figures from the Persian Empire
	of Darius the First, around 500
	BC.  I call them "The Four
	Horsemen".

She approaches the nearest figure, caressing its flank.  A man
with a jackhammer steps up to her.

			JUNO
	They're absolutely priceless.

She shrugs and nods to the man with the jackhammer.  He blasts
right into the body of one of the Horseman, destroying it.
Stone fragments fall away, revealing a cavity cut with great
precision inside the figure.

Inside is a BRIGHT METAL CONTAINER.  Four terrorists pull it
out and set it on the ground.  It is six feet long and coffin-
like.  Malik steps up to it, his eyes glistening.  A hush has
fallen over the group.

			MALIK
	Open it.

The latches are released and the lid lifted.  Inside is
machined metal object, roughly conical, about five feet long.
Malik signals to Harry to step closer and look.

			MALIK
	Do you know what this is?

			HARRY
	Can you give me a clue?  It could
	be a water heater for all I know.

Malik grabs Helen, jerking her roughly forward.  He whips out
a knife and inserts the point under Helen's jaw, forcing her
head back and drawing blood.

			MALIK
	Do you know why you have been
	brought here?

			HELEN
	N-no.

			MALIK
	So that this man can verify to
	the world that Crimson Jihad is
	now a nuclear power.

			HELEN
	How can Harry do that?  He's a
	salesman for chrissakes.

			MALIK
	If we were wrong about him...
	then the last thing you see will
	be your blood spraying in his
	face.

Harry steps forward, his face grim.

			HARRY
	This is a Soviet MIRV-Six, from
	an SS-22N launch vehicle.  The
	warhead contains 14.5 kilos of
	enriched uranium, with a
	plutonium trigger.  The nominal
	yield is 10 kilotons.
		(in Arabic, subtitled)				
	Release her and I'll cooperate.

Malik lowers the knife from her jaw.  He turns away from her
like she has ceased to exist and yells at the terrorists to
remove the other weapons.  Jackhammers tear into the stone
figures.

Helen is just staring at Harry, her mouth open.  He turns to
her, not knowing what to say.  He shrugs sheepishly.

			HARRY
	What can I say?  I'm a spy.

She just looks at him for a long time.  She moves closer,
staring and staring, letting it sink in.  Then she hauls off
and slugs him right in the jaw so hard is almost knocks him
down.

			HELEN
	You bastard!!  You lying son of
	a bitch!!

Terrorists grabs her and restrain her.  She starts to cry.

			HARRY
	I'm sorry, honey.

			HELEN
	Don't call me honey!  You don't
	ever get to call me honey again.
	You understand?!  You pig!

Juno looks at them both and laughs.  She offers Helen a tissue.

			JUNO
	Here you go, dear.

NEARBY, Akbar is going through the contents of Helen's handbag
and Harry's wallet.  He rips open the bottom stitching and
pulls out the geo-positioning transmitter.

			AKBAR
	Abu!  Look at this!				

Malik looks at the tracker and then smashes it to the floor.
Helen looks at the crushed transmitter.  She stares at Harry
with dawning realization.

			HELEN
	You bugged me?!!

Juno cracks up at this.


243	INT. CITATION JET - NIGHT

The jet has become a mobile tactical-command center, with Gib,	
Faisil, and several other agents working out of portable	
equipment cases.  Faisil looks up from a computer screen	
suddenly.

			FAISIL					
	We've lost the signal.

Gib, who has been pacing the aisile whirls to the screen.	

			GIB
	Son of a bitch!  Where?

			FAISIL					
	It's an island in the Keys, out			
	past Marathon.					

Gib goes up to the cockpit.  They are on approach and the
lights of Miami fill the front window.

			PILOT
	Miami TCA, we are on final.

			GIB
	Call our DEA contact, tell him I
	want those choppers flight-ready
	the second we land.


244	INT. WAREHOUSE - NO NAME KEY - NIGHT

TIGHT ON BLACK AND WHITE VIEWFINDER IMAGE of the terrorists'
handycam.  Harry is speaking directly into the camera,
finishing up his message.

			HARRY
	...and I can verify that they
	have the arming box and all				
	equipment necessary to detonate
	the four warheads.  This is
	absolutely the real thing,
	gentlemen.

The camera swings off Harry to Malik, standing before the rest
of the Jihad warriors, who are assembled behind the four bombs.

			MALIK
	You have killed our women and			
	children, bombed our cities from
	afar like cowards, and dare to
	call us terrorists--

Over the image of Malik, a LOW-BATTERY warning begins to flash.

CUT TO SCENE, as Malik speaks into the camera, which is head by
one of his men.  The CAMERAMAN is sweating, wondering if he
should interrupt.  He gulps nervously as Malik drones on.

			MALIK
	-- But now the Oppressed have			
	been given a mighty sword, to			
	strike back at their enemies.			
	Unless the US pulls all military
	forces out of the Persian Gulf
	area, immediately and forever,
	Crimson Jihad will rain fire on
	one major US city each week until
	these demands are met...

BACK TO VIEWFINDER IMAGE.  BATTERY warning flashing faster.

			MALIK
	... First one weapon will be
	detonated on this uninhabited
	island as a demonstration of
	Crimson Jihad's power and our
	willingness to be humanitarian.
	However, if there demands are not--

In a burst of static the image GOES BLACK.

The cameraman nervously lowers the camera, ashen faced.
Malik's eyes are black with murder.

			CAMERAMAN
	Battery, Abu.

			MALIK
	Get another one, you moron!


245	INT. BUILDING - NIGHT

A filthy, crumbling cinderblock building (near the warehouse).
A few bare light bulbs with bugs zipping around then, and no
glass in the windows.  Harry and Helen are brought in by two
TERRORIST GUARDS.  Juno follows then into the bleak room.
Guards shackle them to steel chairs with handcuffs.

A MAN enters the room carrying a small suitcase.  He has skull-
like features.  He opens the suitcase and Harry has a good view
of the contents:  medical instruments, needle-probes, drills,
Dremel tools with saw blades.

			JUNO
	This is Samir.  See if you can
	guess his specialty.

			HARRY
	Oral hygiene?

			JUNO
	Not exactly.

			HELEN
		(scared)
	What's going on, Harry?

			JUNO
	Samir is just going to ask Harry
	a few questions.  See, we're not
	even sure which agency Harry
	works for.  Now, Samir is
	absolutely first class, but on
	the other hand we have Harry,
	here, who has managed to lie
	convincingly to the woman he
	loves for 15 years.  So it will
	be interesting to see how long he
	can resist.

			SAMIR
		(holding up a syringe)
	This will help.

Samir injects Harry in the arm with the syringe.

			HARRY
	You know, you should swab that
	with alcohol.  I might get an
	infection.

			SAMIR					
	I'll return when this has taken			
	effect.  Then we'll talk.				

			HARRY					
	I'm looking forward to it.				

Samir exits.							

			HARRY					
	Why are you helping these raving
	psychotics.

			JUNO
	Because they're very well-funded
	raving psychotics, and I'm
	getting a lot of money.

She kneels down in front of Harry, stroking his leg.

			JUNO
	You think I care about their				 
	cause?  Or yours?  Not at all.			
	See, America is on top now .  .			
	.  but so was Rome, once.  All			
	civilizations crumble.  One
	nation succeeding over another.
	What does it mean in the long
	run?  The only important thing is
	to live well.  And...  living			
	well takes money.					

			HARRY
	You're damaged goods, lady.

Harry's words are beginning to be slightly slurred.  The drugs
are taking effect.

			JUNO
		(indicating Helen)
	Did you tell her about us, Harry?

			HARRY
	There is no us, you psychotic
	bitch.

			JUNO
	Sure.  Say that now.

Juno puts her arms around him and kisses him passionately.  She
breaks, looking at Helen to savor the effect.  Helen is
trembling with rage.

			JUNO
	Thanks for everything, Harry.  It
	was good while it lasted.

Juno crosses to the guard and takes a hand-grenade off his
belt.  Then she goes to Helen and places it between her knees.
She pushes Helen's knees together to hold the spoon against the
grenade then pulls the pin.

			JUNO
	Now just keep your knees
	together, and you'll be fine.

			HELEN
	Something you obviously have a
	hard time doing!

			JUNO
	Hold that thought.

Juno leaves.  Harry looks dopily at Helen.

			HARRY
	There was nothing.  I swear.

Helen doesn't believe him, and why should she.  She looks up	
from staring at the grenade, to see that Harry's head has
slumped forward.

			HELEN
	What did he give you?

			HARRY
		(groggy)
	Sodium amytal, maybe some other
	truth agent.

			HELEN
	It makes you tell the truth?

			HARRY
	Yes.

			HELEN
	Is it working yet?

			HARRY
	Ask me a question I would
	normally lie to.

			HELEN
	Are we going to die?

			HARRY
	Yup.						

			HELEN					
	I'd say it's working.

			HARRY					
	They'll either torture us to
	death, shoot us in the head, or
	leave us until the bomb goes off.

			HELEN					
	Okay, okay.  I get it.  How long			
	have you been a spy, Harry?

			HARRY
	17 years.

			HELEN
	My God.  Have you had to...  have
	sex with other women in the line
	of duty?

			HARRY
	I don't take those assignments.

			HELEN
	What about Juno?

			HARRY
	She's really a fox, isn't she?

			HELEN
	Did you pork her Harry?

			HARRY
	No.
		(pause)
	But I wanted to.

			HELEN
		(crying)
	Are you a total lying,
	scumsucking pig Harry?

			HARRY
	Looks that way.


246	INT. WAREHOUSE - NIGHT

ON MALIK as he pokes through Harry and Helen's stuff on the
table.  He picks up Helen's wallet and opens it.  ECU WALLET -
a picture of Harry, Helen and Dana.  Malik stares at it a
moment.  Then motions to one of his men.


267	INT. TORTURE ROOM - NIGHT

Samir lifts Harry's head and sees that he is pretty shitfaced.

			SAMIR
	Is there anything you would like
	to tell me before we start?

			HARRY
	Yes.  I'm going to kill you
	pretty soon.

			SAMIR
		(calmly preparing his
		instruments)
	I see.  How exactly?

			SAMIR
	Well, I thought I'd break your
	neck, then use you as a human
	shield, then kill the guard with
	that knife there on your table
	and take his gun.

Samir approaches Harry with a long steel needle probe.

			SAMIR
		(humoring Harry)
	And what makes you think you can
	do all that?

			HARRY
	Because I picked the lock on
	these handcuffs...

He holds them up to show Samir.  Then he explodes out of the
chair-- Breaks the torturer's neck-- Spins him between himself
and the guard-- Who then hesitates to fire-- Giving Harry the
split second he needs to grab the knife from the table and
throw it into the guard's eye, killing him instantly.

Helen is flat blown away.  Wow.  It only took a few seconds for
Harry to reverse the situation.  Her Harry!  He picks up the
guard's 9mm pistol and staggers over to her.

			HARRY
	Don't move.

He kneels down in front of her.  Gently he slips his hands
between her thighs, getting a grip on the grenade, then sliding
his fingers slowly over the spoon to hold it securely.

He stops moving, suddenly.  She realizes with a sudden jolt of
terror that he has frozen.

			HELEN
	What is it?

			HARRY
		(staring transfixed)
	God, you have great legs.

			HELEN
	Harry... snap out of it!

She sees how shitfaced he is.  He holds the grenade up, gripped
safely so the spoon can't fly off.

			HARRY
	Go it, baby.


248	EXT. BUILDING - NIGHT

Harry and Helen emerge from the building, creeping through the
shadows.  She stops him for a second.  Gets very close to him,
whispering, crouched in the shadows.

			HELEN
	Tell me something before this
	stuff wears off and you start
	lying again.

			HARRY
	What?

			HELEN
	Do you still love me?

			HARRY
	Yes.

			HELEN
	As much as you used to?

			HARRY
	No.
		(she deflates)
	Much more.

She looks into his eyes, and knows he is telling the truth.

			HELEN					
		(grinning)					
	It wore off.

At that moment, they hear yelling from the cinder-block
building.

			HARRY
	They found the bodies.  Come on--


249	EXT. SWAMP - NIGHT

Harry takes her hand and they sprint for cover at the edge of
the mangrove swamp.  A LIGHT HITS THEM.  TWO TERRORISTS,
running around the corner, open fire with AK47s just as Harry
and Helen reach a cluster of palm trees.  The trunks explode	
with bullet hits as they run through the darkness.		

As the two terrorists move through the trees, Harry lunges from  
the shadows and grabs one from behind.  He wrests his rifle	
away and swings it at the other, knocking his AK down.  The	
first terrorist draws a knife and slashes at him, but Harry
grabs his knife arm and swings the blade into his partner.
Then he elbow smashes the first guy and seizes him in a two-
hand neck-breaker-- SNAP.

Two more run around the corner of a building.  Harry stomps his  
foot down on one of the AKs, which is lying across a log.  It	
flips into the air and he catches it in firing position .  .	
.  and takes them out with two well-aimed bursts.  Helen comes	
out of the shadows staring at Harry in amazement.  His shirt is
ripped, he is scratched and bleeding, holding an assault rifle	
expertly and scanning the brush like a feral animal.		

			HELEN
	I married Rambo.					

He grabs her and kisses her passionately.

			HARRY
	Let's go.
250
thru	OMITTED								
253

254	INT. WAREHOUSE - NIGHT

LOOKING DOWN FROM A CATWALK on the activity below the four
horsemen statues and several utility trucks almost fill the
floorspace.  A rental truck is being loaded with conventional
weapons, including machine guns and several HAND-LAUNCHED
STINGER MISSILES.  One of the nukes has been lowered into a pit
cut in the concrete floor.  Malik and most of the terrorists
are gathered around it.

A GUARD, F.G.  on the catwalk, watches intently from the
railing.  So intently that he doesn't head Harry sneak up on
him.  SNAP.  Harry catches the guard's MAC-10 machine pistol
before it can hit the floor.  He and Helen crouch behind a
steel pillar, watching the proceedings below.  Helen keeps
glancing at the dead guard, killed so effortlessly a moment
before by her husband.  It is all surreal.

BELOW, MALIK is shouting in his native language.  He pulls a
chain from around his neck and holds up a METAL ARMING KEY.
Then jumps down into the pit and inserts it into the warhead's
arming computer.  Harry is listening intently, translating for
Helen.

			HARRY
	In ninety minutes a pillar of			
	holy fire will rise at this place			 
	as a sign to out enemies.				
		(Malik theatrically
		turns the arming key)
	It is done...

Malik jumps out of the pit.  He signals and terrorists pour
concrete into the pit, covering the bomb.  He begins ranting
again.

			HARRY
	Now no man can stop us.  We are
	set on our course.  No force can
	stop us...
		(as libbing)
	... we're cool, we're badass,
	blah blah.


255	INT. WAREHOUSE - DOWN BELOW - NIGHT

Malik raises his fist and chants some Crimson Jihad slogans.
The terrorists echo and chant and then cheer, firing their guns
in the air.  Harry pulls Helen back as ricochets clatter all
over the inside of the metal building.

Malik shouts something and all the terrorists go back to work
at double time.  They are loading warheads Two and Three onto
trucks (one per truck) and the last, number Four, is being
wheeled out on a cart to the Aerospatiale outside.


256	INT. WAREHOUSE - ON CATWALK - NIGHT

			HELEN
	If we're on an island, why are
	they using trucks?

			HARRY
	We must be in the Florida Keys .			
	.  .  the Overseas Highway				
	connects the islands to the
	mainland.

			HELEN					
	So there's no border, no customs.			 
	They can just drive anywhere they			 
	want .  .  .  there's nothing to			
	stop them .  .  .

			HARRY
	Just us.

			HELEN
	What are you going to do?

			HARRY
		(shrugs, like: what do
		you think?)
	Go down there and kill everybody,
	I guess.

He hands her the MAC-10.  She holds it clumsily.

			HELEN
	Oh shit.

			HARRY
	Wait here.  If you have to use
	this, use it.  Don't choke.
	Okay?

She nods gamely and Harry starts down the steel stairs to the
floor below.


257	INT. WAREHOUSE - MAIN FLOOR - NIGHT

ON HARRY, reaching the floor.  He slips behind some packing
crates.  Then swings into action-- He hurls the grenade as hard
as he can, down to the other end of the building.  KABOOM!!  He
uses the distraction to move forward.  But it goes wrong almost
right away...  A TERRORIST comes around a corner behind him,
shouts-- Harry dives for cover as the guy fires, but-- He trips
on a pipe and goes sprawling-- Losing the AK47, which slides
under some equipment and-- Seven terrorists run toward him,
with guns raised.

			HARRY
		(to Helen)
	SHOOT!!


258	INT. WAREHOUSE - CATWALK - NIGHT

HELEN fires a burst at the terrorists, actually hitting one!
But-- The recoil knocks her back, into a metal column, and the
gun

FLIES OUT OF HER HANDS.
It falls to the metal steps and hits-- Going off.  B-B-BLAM!
The burst kills two more terrorists, and-- The Mac-10
cartwheels and hits further down.  ANOTHER BURST.  Another
terrorist is splattered.

It spins and hits another step-- ANOTHER RANDOM BURST
MIRACULOUSLY KILLS THE LAST TWO TERRORISTS!!

She has inadvertently saved her husband.  Harry looks up from
behind cover-- to see all seven dead.  Now it's his turn to be
amazed.  He signals to her to run... get off the exposed
catwalk.  She makes it through the door to the outside stairs
as bullets start hitting the steel walls behind her.


259	INT. WAREHOUSE - MAIN FLOOR - NIGHT

A TERRORIST with a knife runs at the unarmed Harry.  Harry
snatches up a jack-hammer and BRAT-TAT-TAT-- Drives it into the
guy's chest.  Then he-- Grabs an AK from one of the fallen
terrorists and opens fire.  Malik shouts to the drivers of the
trucks to get going.  The other terrorists return fire at Harry--
Who sprints from cover to cover, reaching a side door-- Where
he rakes one of the passing trucks with a burst-- But
terrorists behind him in the building have a clear shot and
rounds hit the wall next to him as he-- Dives through the door--


260	EXT. WAREHOUSE - NIGHT

--landing outside.  He takes cover behind an aircraft REFUELING
TRUCK.  Not a good place.  He is pinned down by automatic
weapons fire.  He looks around for Helen, who is--


261	EXT. WAREHOUSE - BEHIND A FORKLIFT - NIGHT

50 yards away.  She is unarmed and unable to help.


262	EXT. WAREHOUSE - BEHIND A REFUELING TRUCK - NIGHT

HARRY cranks up the pump on the refueling truck and grabs the
nozzle of the hose.  He opens the flow and-- A stream of JET-
FUEL blasts out of the nozzle and-- Harry fires his AK right
across the nozzle-- The muzzle-blast ignites the av-gas and he
has a flame thrower with a 70 foot reach.

Harry, lit demonically by the inferno, paints the whole area,
setting vehicles afire, and scattering the terrorists.


263	EXT. WAREHOUSE - NIGHT

Through the flames and smoke he sees one of the men hand Malik
a LAW rocket.  Malik snaps it to his shoulder, preparing to
fire.


264	EXT. DOCK - NIGHT

Harry runs toward the edge of the dock thirty feet away as--
MALIK fires.  The rocket shoots toward the truck and-- Harry
leaps toward the dark water as-- KABOOOM!  Behind him the gas
truck EXPLODES IN A HUGE FIREBALL.


265	EXT. UNDERWATER - OFF THE DOCK - NIGHT

ANGLE LOOKING UP, UNDERWATER, AS HARRY HITS THE WATER AND
dives down.  An instant later a sheet of fire sweeps across the
surface above him.  Harry kicks hard, trying to swim beyond the
inferno above him so he can surface.


266	EXT. WAREHOUSE - NIGHT

CLOSE ON HELEN, watching the burning wreckage of the gas truck.

			HELEN
	Oh my God.  Harry.

A PISTOL ENTERS FRAME.  Its muzzle taps the back of her head.
She gasps and turns to see-- JUNO, holding the weapon expertly.

			JUNO
	My condolences to the window.			

Juno grabs her and yanks her to her feet.  Helen SLAPS JUNO	
HARD.  Juno has a slash across her cheek.  Blood trickles down.  
She grabs Helen's hand and viciously turns it, seeing the	
wedding ring turned inward, the diamond on the palm-side.  Her	
face darkens with fury and she points the gun at Helen's face,	
preparing to kill her .  .  .				

And Malik's hand grabs her wrist, stopping her.		

			MALIK					
	Not now.  We may need a hostage.			

Juno grabs her and twists her around, pushing her toward the	
limo nearby.							

			JUNO
	Let's go, Suzy Homemaker.


267	EXT. UNDERWATER - NIGHT

Harry is still swimming.  He reaches the edge of the fire and
surfaces, gasping for breath.  Treading water he scans the
dock.


268	EXT. WATER OF THE DOCK - HARRY'S POV - NIGHT

Amid the fire and smoke, he sees Juno walking Helen at gun
point toward a LIMO.


269	EXT. WAREHOUSE - NIGHT

TRACKING WITH JUNO, approaching the car.  Malik passes, jumping  
into the Aerospatiale with his few remaining men.  The fourth	
bomb is clearly visible as the sliding door is closed.  The	
copter pulls pitch, fanning the flames of the inferno below as	
it arcs away.

AKBAR, the 300 pound terrorist/chauffeur opens the door and	
Juno gets into the limo with Helen.  Akbar scrunches into the
front seat and starts the car.


270	EXT. RAMP TO HIGHWAY - PREDAWN

There is just enough light to see some geography.  The island
is very tiny.  Running right over it and to the horizon in both
directions is the OVERSEAS HIGHWAY.  The terrorists' trucks
rumble up an on-ramp past a sign that says MIAMI - 110.  The
limo is the last member of the convoy.  The Aerospatiale passes
overhead, hugging the deck, headed for Miami at 150 knots.


271	EXT. DOCK/ WAREHOUSE - DAWN

It looks like the aftermath of a battle... burning wreckage,
black smoke, bodies.  Not a living soul around.  The smoke
swirls as two big BELL 206 HELICOPTERS settle on the middle of
the dock.  GIB jumps out of the nearest with an AR-15, scanning
the wreckage.  Several of his men, and a couple of DEA agents,
spread out.  Gib breaks into a grin as he sees--

HARRY, materializing out of the swirling smoke.  Dripping wet,
clothes ripped and bloody.  But okay.

			GIB
	I thought this look like your
	work.

			HARRY
	Let's go.  I'll brief you in the
	air.

			GIB
	You're welcome.


272	INT. BELL 206 - DAY

Gib and Harry are working out of brief-case mobile com-units.
Several Omega agents with headsets are reading maps, giving
commands, coordinating the evacuation, mobilizing their own
forces.  The energy is controlled but very high, everybody
talking at once.  This is the day they all have trained for.
It is impressive to watch.

			GIB
	--you tell the son of bitch this
	is  Bright Boy Alert.  Repeat,
	a Bright Boy Alert.  And I need
	a patch of the White House ASAP.
	That's right--

			HARRY
		(overlapping)
	... the Coast Guard has to clear
	them back to a twenty mile
	radius.  Anybody that can't make
	the minimum safe distance we need
	an airlift on, immediately--

Gib whips around to Harry, lowering his headset mike.

			GIB
	I can get 3 Marine Corps Harriers
	here in about 12 minutes.
	They're on maneuvers out of Boca
	Chica.

			HARRY
		(checking his watch)
	Get 'em.  I'll brief them on the
	way in.


273	EXT. OVERSEAS HIGHWAY - DAY

TRAFFIC on the two causeways is almost non-existent this early
in the morning.  The three rental trucks, followed by the limo
about a mile back, are almost the only vehicles.


274	INT. LIMO - DAY

Juno has a 9mm pistol aimed at Helen.  She opens the sunroof,
letting in the morning air and light.  Then pours herself a
Scotch from the bar.

			JUNO
	Like one?

			HELEN
		(eyes like steel)
	Fuck you.


275	INT. BELL 206 COPTER - DAY

HARRY AND GIB are both talking a mile a minute, coordinating
the evacuation of the highway and the surrounding area.

			GIB
	... well get the Highway Patrol
	to go through the streets and
	tell everybody on their damn
	loudspeakers.  Just the basics...
	get away from windows, don't look
	at it... yeah--

			HARRY
	Here they come.

Gib looks out the window in time to see--

THREE hunch-winged P.S.T.O.L.  HARRIER jets pass them at 600
knots.

			HARRY
		(to the pilots)
	Roger, Mike Three Five, you are
	cleared to engage.  Be advised,
	your targets have Stingers and
	light machine guns.


276	INT. COCKPIT OF LEAD HARRIER - DAY

The pilot, like all jet pilots, seems icy calm.

			PILOT
	Copy that, Bright Boy command.
		(to his wingman)
	Tally ho.


277	EXT. OVERSEAS HIGHWAY - DAY

The terrorists see the Harriers approaching on a low attack
run, and scramble to get out their Stingers.

The Harriers open fire with cannons and rocket pods on the
trucks below.  The 20mm cannons rip the ocean on either side of
the causeway into plumes of spray.


278	EXT. HIGHWAY - ON TRUCK - DAY

One of the Bomb trucks is hit.  It explodes and flies off the	
bridge into the water.  The terrorists on one of the other
trucks fire a Stinger missile.


279	EXT. ABOVE HIGHWAY - ON HARRIER - DAY

It arrows up, blowing one wing off the lead Harrier.  The pilot
ejects as the plane cartwheels into the sea and explodes.


280	INT. BELL 206 COPTER - DAY

Harry sees the battle far ahead... the exploding jet.

			HARRY
		(to the pilots)
	Recommend you use your Mavericks			
	to take out the bridge.				 

			PILOT (OVER)
	They won't set off those nukes
	will they?

			HARRY
	Negative, Mike Three Five.
	That's a negative.
		(low, to Gib)
	Probably not.


281	EXT. HIGHWAY/ OCEAN - DAY

The two remaining Harriers make an attack run, launching four	
Maverick missiles at the bridge.				


282	EXT. HIGHWAY - DAY

The missiles hit the support trestles ahead of the trucks and	
.  .  .  K-BOOOOM!!  A whole section of the concrete span	
collapses into the water.


283	EXT. HIGHWAY - TRUCKS - DAY

The first truck is consumed in the blast.  The last truck	
slides to the edge of the gap and stops.			


284	INT. / EXT. LIMO - DAY

Juno is trying to see what's going on ahead.  All they can see
is smoke and explosions.  Akbar is speaking heatedly (in
Arabic) into a walky talky and getting no answer.

Helen uses this moment of distraction to lunge forward,
grabbing the gun.  Juno fires wildly as they struggle for
control of the weapon.  The sound is deafening in the tiny
space.  The second shot catches Akbar behind the ear, and he
slumps forward.  His foot mashes down on the accelerator pedal
and the car surges faster.


285	EXT. HIGHWAY/ BATTLE SITE - DAY

The third Harrier fires its 2.75 Rockets and blows the	
remaining truck into tinfoil.  Battle over.  Two bombs down.


286	INT. BELL 206 COPTER - DAY

The columns of smoke from the battle are still a couple miles
ahead of the copter.

			HARRY
	Good shooting, Mike Three Five.
	I need you to stay on station.
		(to the copter pilot)				
	Okay.  You see that limo?


287	INT./ EXT. LIMO - HIGHWAY - DAY				

THE LIMO tracks lazily back and forth across the lanes from one
guardrail to the other, throwing sheets of sparks where it
hits.  In is funneling along the causeway, unslowed, like an out-
of-control-train.


288	INT. LIMO - DAY

INSIDE, Helen knocks Juno's hands against the edge of the open
sunroof and the pistol goes flying out.

			HELEN
	You... bitch!!

Helen is raging, grabbing Juno's head and pounding it against
anything hard she can find inside the car.  Suddenly she stops,
looking out the front window.  Juno turns too, off her look, to
see-- ANGLE THROUGH THE WINDSHIELD.  The causeway is blown away
about a quarter mile ahead.

			JUNO
	Shit!

Juno climbs through the window into the front seat, tugging on
the dead driver.  The heavyset Akbar is like a bag of cement.
Helen look up through the sunroof and sees--


289	EXT. ABOVE LIMO - DAY

THE BELL 206 COPTER, descending rapidly.  Harry is climbing out
onto the skids.  He hooks on arm and leg over the skid and
hangs down as low as he can.  HELEN stands up in the opening
and waves her arms.


290	INT. / EXT. BELL COPTER/ LIMO - DAY

Gib is yelling at the DEA pilot, who's not thrilled with this
idea.

			GIB
	Get lower, goddamnit!  Right now!

Harry strains downward with one hand.  Helen reaches up toward
him.  The car screeches along the guard-rail, slamming against
it, throwing her from side to side in the sunroof.  Their
fingers touch, then separate.  She looks-- the limo is almost
on the precipice.


291	INT. LIMO - DAY

INSIDE THE CAR, Juno is desperately pulling on the inert
driver.  He slumps over on her, pinning her.  She looks over
the dash as the shattered edge of the causeway rushes toward
them--


292	EXT. LIMO - DAY

HARRY'S HAND grabs Helen's.  He pulls her out of the car just
as the limo clears the edge.  She is jerked through the
sunroof, screaming.  The car falls away, arcing gracefully to
the ocean below.  It hits with an enormous explosion of water.


293	INT. / EXT. BELL 206 COPTER - DAY

HARRY PULLS HELEN up onto the skid with him, getting her
stable.  She is gasping, holding on for dear life.  She looks
down at the ocean, the burning wreckage on the bridge, the
whole unbelievable panorama.

Then she looks at Harry and-- Grins.  She's alive!  And so is
he.  And not only that, this is the biggest rush of her life.
Harry grins back.  Surprised and pleased that she is more of a
soul-mate than he ever knew.

						CUT TO:


294	EXT. HIGHWAY - DAY

ANGLE ON A HARRIER, landing in full-hover on the causeway.  The
shriek of the jet engine is enormous.  It bounces down onto its
wheels like a big inscect.  The other remaining Harrier is
already down, behind it.


295	EXT. BELL 206 - DAY

TRACKING past burning wreckage to Harry's Bell 206 just
settling on the highway.  B.G.  the other DEA Bell 206 is
landing with the Harrier pilot who ejected hanging in a sling.
Harry jumps out of the open door, followed by Helen and Gib.	
Harry looks at his watch.					

			HARRY
	Any minute now.

			GIB
		(with a megaphone/ to
		everybody)
	It's show time.  Don't look at			
	the flash.  Do not look at the
	flash.

			HARRY					
		(to Helen)					
	We're safe here.					


296	EXT. CAUSEWAY - DAY

Helen and Harry move away from the agents.  They are safe and
together.  They look at each other, and there is nothing to
say.  Harry removes her wedding band from the wrong hand and	
slips it back onto its rightful finger.			

He leans forward to kiss her.  She reaches for him.  Their lips  
meet.


297	EXT. CAUSEWAY - HARRIERS IN BACKGROUND - DAY

And they are locked together in that position when the sky
lights up behind them.  Talk about fireworks.  Harry covers her  
eyes and they stay in the kiss.				

They are in no danger, but the effect is stunning.  The classic  
mushroom cloud appears at the horizon.  Helen watches, awed,
the most glorious and terrifying sight of our age.

			HELEN					
	That was some kiss.				

The two young Harrier pilots stand nearby, watching the
mushroom disperse.  Gib is with the other Omega agents, his
finger pressed in his ear, listening to his headset.  He waves
to Harry to come to him.

Harry detaches from Helen and walks over to him.  Helen watches
him go... back to work.  She glances over at the two Harrier
pilots.

			HELEN
		(to the pilots)
	That's my husband.

HARRY goes into the huddle with Gib and the others.

			GIB
	Malik's copter landed twenty
	minutes ago in Miami.  He's on
	the top of a high-rise downtown.
	SWAT's on the scene, and I got
	the cops sealing off the area.			
	He renezvous'd there with about			
	a dozen more faction members.			
	They're barricaded on the				
	twentieth floor.
		(he gets very serious)				
	Harry, they have a hostage.  It's			 
	Dana.						

			HARRY					
	My Dana!?

			GIB
	They must have grabbed her during
	the night... we didn't know.
	Sorry, Harry, I--


298	EXT. HARRIER - DAY

But Harry is already moving.  He sprints toward the nearest
Harrier, witch is idling nearby.  Gib runs after him.

			GIB
	Harry!  We'll get her out!  We			
	have a man inside already .  .			
	.  Harry!!  Aw, shit... here we
	go.

Harry walks up to the young pilot...

			HARRY
	I need to borrow this thing for
	a few minutes.

He pushes past the pilot before the guy can react.

			PILOT
	Excuse me .  .  .  sir?!				

			GIB						 
	Force Comm cleared you to give us			 
	total cooperation, right?				

			PILOT					
	Yessir, but .  .  .				

			GIB						 
	That's coming right from the				 
	President, Captain.				

			PILOT					
	Yessir.  Uh .  .  .  sir?  You're			 
	going to have to sign for the			
	aircraft.						

			GIB						 
	I'll sign for it.  You got a pen?			 
		(one of the agents				 
		pulls out a pen)				
	Here, he'll sign for it.				

Harry is in the cockpit by now.  Gib climbs up.		

			GIB
	I'd like to remind you that it
	has been ten years since you were
	actually in one of these.

			HARRY
	If I break it they can take it
	out of my pay.


299	INT. HARRIER - DAY

Harry doesn't have a G-suit or a helmet of anything.  He just
has his walky on his belt.

INSIDE THE CRAMPED COCKPIT, Harry looks around for the lever
which vectors the thrust.  Finds it, and sets it to 90 degrees
(vertical).  He bangs the canopy closed and brings the throttle
up to FULL.

			GIB
		(to pilot)
	It'll be fine.  He's got hundreds
	of hours in Harriers.  Joint-ops,
	cross-training and all that.

			AGENT
	Harry can fly anything.

The big plane wobbles off the ground like a drunken bumble-bee.

			GIB
	He's a little rusty.  It's like
	riding a bicycle .  .  .  you
	never forget.  Uh .  .  .  I'd
	seek shelter!

It drifts sideways and everybody runs to get out of the way.
At about six feet above the ground it slides sideways, clips
the top of a cop car and knocks off the light bar.  It lifts
unsteadily straight into the sky.  It turns around 180.

			GIB
	He's got it.

			HARRY
	Sorry.

Harry pushes the vector lever forward and the thrust-nozzles
turn, accelerating the plane forward.


300	EXT. CAUSEWAY - DAY

Gib is standing, watching Harry go.  He never believes this
guy.  Harry's voice comes over the walky...

			HARRY
	Tell Helen what's going on.  Tell
	her I love her.  And ask the
	pilot where the button for the
	20mm cannon is-- never mind.  I
	found it.

The plane disappears toward Miami.


301	EXT. HIGH RISE - MIAMI - DAY

AN AERIAL SHOT, circling the building.  It is an unfinished
building in the high rise district.  The Aerospatiale sits on
the roof, its rotor turning slowly.  The street below is jammed
with cars.  Honking horns echo up the glass canyons.


302	EXT. STREET - DAY

ANGLE AT STREETLEVEL as cops use bullhorns and bad attitudes to
clear the street around the building, setting up a perimeter
two blocks away.


303	INT. HIGH RISE - DAY

INSIDE THE HIGH RISE the terrorists have barricaded themselves
on the twentieth floor.  There are 12 TERRORISTS, all with
automatic weapons.  Occasionally one of them will fire a burst
down a stairwell with an AK-47.  Miami-Dade SWAT team members
are deployed in the stairwell but are keeping their distance.


304	INT. HIGH RISE - ON THE 21ST FLOOR - DAY

Malik is sequestered with the bomb.  It sits on the floor,
still in its shipping case.  Dana stands nearby, looking
scares.  She is not ties up.  Where can she go?

She watches Malik go to the warhead and insert his arming key.
He has a TV set up on some crates, and we see that his video-
tapes demands are running on CNN.  Harry's face fills the
screen, verifying the the nuclear weapons as a real threat.  He
is identified at the bottom of the screen as HARRY TASKER,
ATOMIC ENERGY COMMISSION.  Dana stares at her father's face on
the national news.  It's like a bad dream.  She has been crying
but she is fairly composed now.

			DANA
	I have to go to the bathroom.

The terrorists ignore her.  A terrified ACTION NEWS REPORTER
and his CAMERAMAN, under guard by TWO TERRORISTS, are hastily
setting up to shoot Malik.
			CAMERAMAN
	Tape is rolling.

			MALIK
	This is a communique from Crimson
	Jihad.  You have heard from your
	own expert.  You have seen the
	Holy fire with your own eyes.  Do
	not force us to destroy this
	city.  And do not try to use
	force against us.  I can trigger
	this bomb instantly.  All I have
	to do is turn that key...
		(he points fiercely at
		the bomb)
	... and five million of your
	people will die.

The reporter glances down, nervously.

			REPORTER
	What key?

			MALIK
		(pointing like the
		guy's blind)
	That key right there!

Malik looks down.  The key is gone.

			MALIK
		(to his men)
	Someone has stolen the key!

He turns, looking around wildly.  Malik then sees Dana running
for the stairwell to the roof.  He pulls a pistol and shoots at
her, but hits the wall as she bangs through the door.  He runs
after her.


305	EXT. BUILDING / ROOF - DAY

ON THE ROOF, Malik bursts through the stairwell door.  His TWO
MEN have followed him.  Malik stops suddenly when he sees--
Dana standing at the edge of the roof.  She is holding the
ARMING KEY by its chain.  Dangling it over the edge.  He
signals to his men not to fire.

			DANA
		(terrified, but
		thinking)
	You shoot me, this'll fall.

Malik advances slowly, his eyes glistening ferally.  She backs
up a step with each of his, moving along the edge of the roof.
Malik keeps his pistol aimed at her chest.

			DANA
	Don't come any closer.  I'll drop
	it!  I swear to God.

			MALIK
	If you drop it, I will have no
	reason not to kill you.

He advances, calling her bluff.  She backs away from him along
the edge.

			MALIK
	Come on, child.  Give me the key.
		(smiling)
	Don't you want to live?  I give
	you my word.

			DANA
	No way you whacko.

She reaches the corner of the building.  Her back touches
something.  it is the boom of a small crane, used for lifting
building supplies.  Careful to keep the key dangling over open
space, Dana climbs up on the lattice-work boom and moves out
beyond the edge of the building, never taking her eyes off
Malik.  She is hyperventilating, terrified, but thinking
clearly.

Malik steps up on the crane, crawling out after her.  He knows
she will not drop the key as long as he has the gun.  It is a
game which will end when she reaches the end of the boom.  Dana
puts the key between her teeth so she can hang on better.  It
is windy and the boom is swinging.


306	INT. 20TH FLOOR - DAY

The Crimson Jihad warriors hear a thunderous, shrieking roar
and look toward the window.


307	EXT. HIGH RISE - DAY

RISING INTO VIEW, LIKE A GARGOYLE FROM HELL, IS THE HARRIER.
It fills the windows completely, hovering only a few feet
outside.  The terrorists raise their AK-47s to fire just as
Harry hits the 20mm nose-cannon.


308	INT. / EXT. HIGH RISE - 20TH FLOOR - DAY

Glass explodes into glittering mist, and terrorists explodes
into bloody spray as Harry pivots the plane and the cannon
sweeps the floor clear from side to side.  The Crimson Jihad is
vaporized.


309	EXT. ROOF - CRANE BOOM - DAY

Malik hears the thunder of the jet and the firing, but from
where he is he can't see what's going on.  He focuses on the
key.  He must have that key.


310	EXT. ROOF - NEAR HELICOPTER - DAY

Malik's TWO REMAINING MEN run to the helicopter, gesticulating
to the pilot to get ready to take off.  The pilot revs the
turbine and the rotor whirls faster.  The two men jump in,
picking up M-60 machine guns.


311	EXT. ROOF - CRANE BOOM - DAY

MALIK IS STILL ADVANCING out the crane boom.  Dana slips as she
backs up, toppling off the boom.  She is hanging now by her
hands over a 20 story drop.

Malik is almost to her.  He needs a hand free to grab her.  He
sets his gun down on the girder.  He grabs for her wrist.


312	EXT. ROOF - OVERLOOKING EDGE - DAY

ANGLE LOOKING DOWN.  Malik, Dana, the street far below.  With
an unbelievable roar the Harrier sweeps in beneath Dana,
FILLING FRAME.


313	EXT. CRANE BOOM / OVER EDGE - DAY

Harry has the canopy up.  Malik sees Harry, ten feet below.
His eyes narrow with an all-consuming rage.  He glances at the
pistol on the beam.  Back at the girl, the key in her teeth--
So close.

Harry maneuvers the cockpit directly under Dana.

			HARRY
		(shouting)
	Let go baby!  I've got you!
	Daddy's got you!


314	EXT. ROOF / HARRIER - DAY

Malik lunges for her wrist.  She screams and lets go-- Dana
drops and hits the windshield of the hovering jet-- Harry grabs
her with his left hand, right hand still on the stick-- He
holds her until she can get a grip.  She is lying across the
nose of the plane.  Harry starts to bank away and--


315	EXT. CRANE BOOM - DAY

Malik shrieks in rage.  He grabs his 9mm pistol and leaps off
the crane--


316	EXT. HARRIER - DAY

Onto the back of the plane.  He starts crawling toward the
cockpit.  Dana screams and Harry looks back, but just then--


317	EXT. BUILDING - DAY

The Aerospatiale swings around the building right in front of
them-- The door-gunner OPENS FIRE.


318	EXT. HARRIER - DAY

Harry banks hard, taking the hits under the wing.  He pivots
and slides sideways around the building, playing tag with the
copter.

He can't do anything radical enough to dislodge Malik without
tossing off his own daughter.


319	EXT. BUILDING - DAY

The helicopter appears around the corner, guns blazing in the
doors.  Harry pivots the plane and FIRES THE NOSE CANNON.  The
helicopter is riddled.  It tilts and plummets, auto-rotating
out of control.


320	EXT. BUILDING - ANGLE AT STREETLEVEL - DAY

As the copter hits the ground and explodes.  Fortunately the
police had created a cleared perimeter.


321	EXT. HARRIER - DAY

THE HARRIER dips and slews, half out of control.  Malik is
taking aim with the pistol, right at Harry's head.  Harry grabs
his daughter with his left hand, holding her with all his
strength and he-- Jinks the stick hard, just as-- Malik opens
fire, but-- The plane tilts wildly and Malik topples, screaming--
He slides along the wing, and falls over the leading edge--
Only to catch himself on the only available hand-hold-- The
last Sidewinder missile.


322	EXT. HARRIER / SIDEWINDER - DAY

Harry and Malik lock eyes for one long second.  Then Harry hits
the FIRING STUD.  The Sidewinder drops away and ignites.
Carrying Malik out over Miami Beach.  It explodes a mile out to
sea.


323	INT. HARRIER - COCKPIT - DAY

HARRY PULLS DANA into the cockpit, settling her on his lap.

			HARRY
	Don't touch the stick, baby.

She stares at her father in amazement.  He banks away from the
building, accelerating the jet.  He grins at her.  Raises one
eyebrow.  Woggles the plane's wings.

			HARRY
	Hi, pumpkin.


ONE YEAR LATER


324	INT. TASKER HOUSE - NIGHT

Dinner at home, and everybody's there.  We come in on the end
of some story that everybody thinks is hysterical.

			HELEN
	... you should have seen your
	father, standing there all
	covered with spaghetti sauce.  He
	looked like such a dope.

			HARRY
	I told the guy---
		(snorts, it's too
		funny)
	I told the guy, this isn't even
	my order.

Dana is laughing too, a part of it.  They are happy.  They are
a family.  Dana gets up, her meal half-eaten as usual.

			DANA
	I'm done.

She heads for the front door.

			HARRY
	I seem to remember something
	about a history project that's
	due tomorrow.

			DANA
		( busted)
	Dad.  You just think you know
	everything, don't you?

Dana trudges off to her room to do her homework.  The phone
rings.  Helen answers.

			VOICE
	Boris and Doris?

			HELEN
		(calmly, signalling
		Harry with her eyes)
	Go ahead.


325	INT. EMBASSY PARTY - NIGHT

It is a black tie affair.  Very glitzy.  CAMERA SWOOPS over the
guests, sipping champagne and dancing.  It is an embassy crowd,
very international.  HARRY AND HELEN work their way through the
crowd.  He is in tux, hair slicked back, looking rakish.  She
is elegant in a low-cut gown and diamond choker.

Harry scoops two glasses of champagne off a passing tray and
hands her one.


326	INT. VAN - NIGHT

VERY CLOSE ON GIB, hunches in a dark van someplace nearby.  He
speaks into his headset mike.

			GIB
	So, what's the scoop, team?  You
	see your contact yet?


327	INT. PARTY - NIGHT

HELEN AND HARRY smile and nod as if they know people.  Speaking
very low, Helen answer Gib via SUB-VOCAL transceiver.

			HELEN
	Not yet.  But we'll find him.

			HARRY
	Dance?

He whirls her across the floor and the CAMERA PULLS BACK AND UP
as they dance.

						FADE OUT
The END

 
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