龙湖新壹街公寓怎么样:英文剧本：TRUE LIES 真实的谎言（全）

TRUE LIES

                               WRITTENBYJAMES CAMERON-----------------------TITLE SEQUENCE1   EXT. MOUNTAINS, NEAR GENEVA, SWITZERLAND - NIGHTThe snow covered Alps stand out clearly in the light of a fullmoon.  A fortress-like CHATEAU is situated in a flat saddle offorest partway up the mountain, next to a frozen lake.  Theproperty is surrounded by high stone walls, and the statelygrounds are bathed in floodlights and patrolled by armed guardswith dogs.2   EXT. CHATEAU - NIGHTThe 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-encrustedladies through the huge front doors, where they doff theirovercoats and are politely scanned with hand-held metaldetectors by white gloved security staffers.The walled perimeter of the house runs along the lake, forminga kind of rampart.  There is an opening, to a kind of waterwayor canal, which connects to the private docks inside thegrounds.  There is a steel grating across the opening.  Thebars disappear down into the thin ice of early winter.With the house visible BG, we CRANE DOWN below the parapet wallalong which a guard is a white exposure-suit is walking... downalong the dark wall to the grating... TILTING DOWN to see aglow pulsing under the ice.3   EXT. BENEATH THE ICE, UNDERWATER - NIGHTCamera moving toward:  A FIGURE in diving gear working at themetal bars with an oxygen arc cutting torch.  One bar hasalready been cut out.  Two quick cuts and a second bar falls tothe muddy bottom.  Lit now only from the floodlights filteringdown through the ice, the figure slips through the bars andswims powerfully along the stone canal wall.Seem from below, the figure is a black shadow moving againstthe rippled-glass of the ice above.4   EXT. CANAL AND BOATHOUSE - NIGHTA dock extends into the frozen canal, just behind a largeboathouse.  There is a faint chipping sound.  The ice breaksquietly, and the pieces are slid back.  A head appears, in arubber drysuit hood.  The DIVER slips the regulator out of hismouth and turns slowly, scanning...  revealing:HARRY TASKER.  Our hero.  Harry floats with just his eyes abovethe surface, silent as a water snake, as a guard passes on afootpath 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.HARRYHoney, I'm home.5   INT. / EXT. SURVEILLANCE VAN, MOUNTAIN ROAD - NIGHTMeet Harry's partner, ALBERT "GIB" GIBSON, an overweight twenty-year-man with a lived in looking face.  Gib answers Harry viahis headset.GIBRoger that.(he covers the mike andturns)Hey, Fize!  Get your butt inhere.  Harry's inside.Outside, FAST FAISIL, an Iranian-American, finishes makingyellow snow and hurries back to the van.  They are parked on awinding mountain road a half-mile from the chateau, whoselights are visible through the trees.Faisil jumps in and goes to the eyepiece of a huge telephotonightvision scope.  The eerie green image lurches as he sweepsthe grounds, locating the boathouse.6   EXT. BOATHOUSE - NIGHTConcealed 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 ahearing aid, deep in his ear canal.  A SUB-VOCAL TRANSCEIVER.Very advanced.HARRYSwitching to sub-vocal.  Gib, youcopy?GIB (OVER)It's Talkradio.  You're on theair.Harry slips into his shoulder harness... holster on one side,containing his .45 auto Glock-22, and the transmitter pack forthe ear-piece slung on the other.  He slips on a formal jacket,concealing the rig.  Then a final touch.  A little aftershavefrom a tiny plastic vial.Harry adjusts his bow-tie and strides confidently out of theshadows, crossing quickly to the main house.  He looksultrasharp in his black tux with the white silk cummerbund andhis hair slicked back.  He enters the main house through a backservice entrance.7   INT. KITCHEN - NIGHTHarry strides through the huge kitchen like he owns the place.The kitchen staff are scurrying around, too busy to reallynotice.  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 - NIGHTHere the party is in full swing.  Harry blends smoothly intothe crowd of foreign dignitaries, businessman and minor mid-east nobility.  They are a high-octane mixture of new oil moneyand old European money, and run the spectrum from stodgybankers to playboy arms dealers.Harry strolls amiably among the glittering woman, the cigarsmoking men, casually snagging a glass of champagne and acanape from the passing waiters.  He nods to someone as if heknows them.  Greets another is quite fluent Arabic.  People inhis wake look at each other like "Do you know him?"   Theyshrug, go on with their conversation.  Harry moves through thecrowd.  Scanning.HARRYThere's Daddy Petrobucks.HARRY'S POV - Through the crowd is sees JAMAL KHALED, the hostof 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 isa frank moment of returned interest.  Then the crowd shifts,cutting off their view of each other.9   INT. STAIRCASE AND SECOND FLOOR - NIGHTHarry 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 - NIGHTThe 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 antiquesglint in the moonlight coming in the French-doors.  Harrycrosses to an immense desk and boots up the computer there.Bathed in the glow from the screen, he pulls a FLAT BOX,  aboutthe size of a paperback,  from the back of his cummerbund.  Heconnects it quickly to the modem port in the back of thecomputer.HARRYModem in place.  Transmitting...now.He pushes a button and a green light comes on.13   INT. VAN - NIGHTGib and Faisil watch as their monitor screen lights with DATAfrom Khaled's private computer.FAISILAffirmatory.  We are in.                               *Fast Faisil is a computer ace.  His fingers fly on the keyboardas he types rapid key commands.  We see familiar "windowsappear".  The words are all in Arabic characters.FAISILThese are encrypted files, guys.This is going to take me a fewminutes.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 thecoast is clear Harry slips out.  But just as he is closing thedoor, a GUARD rounds the corner ten feet away.  Harry turnssmoothly.  He smiles sheepishly and moves toward the guard.HARRY(In Arabic/ subtitled)Where's the john around here?  Ihave to take a major leak.The guard points warily down the corridor.  Harry nods andheads that way, back toward the party.16   INT. MAIN HALL/ STAIRCASE - NIGHTHarry comes down the staircase amid the glitter of the party.He is sipping champagne and looking bored.  He sees twosecurity guys moving purposefully through the crowd toward thestairs, walkies in their hands.  He turns away as they pass himand pretends to study a large fragment of bas-relief... atemple 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?WOMANYes.  Hi, I'm Juno Skinner.  Ithought I knew most of Khaled'sfriends but I don't believe Iknow you.Harry offers his hand to her.HARRYRenquist.  Harry Renquist.17   INT. VAN - NIGHTGib whirls to the screen displaying the mission database.  Hescans rapidly for--GIBSkinner.  Skinner.  Come on...Gib finds the entry he's looking for.  Juno's picture and dataappear on the screen.GIBJuno Skinner.  Art andantiquities dealer, specializingin ancient Persia.18   INT. MAIN HALL - NIGHTHarry turns back to the fragment of frieze.HARRYThis is Persian, if I'm notmistaken.JUNOVery good.  It's sixth centuryB.C.  Do you like the period?HARRY(shameless)I adore it.19   EXT. DOCK/ BOATHOUSE (NIGHTVISION POV) - NIGHTSeen through the starlight scope, we see one of the guardsshining his light on the hole in the ice and then on Harry'sfootprints leading to the boathouse.  He calls to one of theother guards, who comes running over.20   INT. MANSION - NIGHTHarry, still with Juno, hears Gib in his ear:GIB (VO)Harry, we got a problem.  Guardsare swarming all over the dock.Harry glances up the stairs.  Khaled's SECURITY CHIEF isgesturing to several of his men, and speaking quickly into awalky.  Three SECURITY MEN come down the stairs, scanning thecrowd.  Harry turns smoothly away from them and takes Juno'sarm.HARRYDo you dance, Ms. Skinner?He steers her toward the dance floor.21   INT. VAN - NIGHTGib, 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 jammingat the keyboard.FAISILOkay, files are unlocked.  I'min. I'm down, baby.  I got myhand up her dress and I'm goingfor the gold.  I'm--GIBJust copy the goddamn files!(into his headset)Harry, don't be stopping to smellthe roses, now.  You hear me,Harry?22   INT. MAIN HALL - NIGHTHarry whirls Juno aggressively across the dancefloor.  Sheresponds deftly.  They are well matched.  She parries each ofhis 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 herup.  She twirls into the crook of his arm.  Their faces areinches apart.  Wow.  The music ends and she gives him a wrygrin.JUNOWell.  And I thought this wasgoing to be just another bunch ofboring bankers and oilbillionaires.GIB (OVER)Harry, seconds count, buddy.Ditch the bitch, let's go.HARRYUnfortunately, Juno, I have aplane 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.JUNOCall me, if you'd like to seesome of my other pieces.HARRYI'd like that.23   INT. VAN - NIGHTGib can't believe this conversation.GIB(to Faisil)Son of a bitch is with her twominutes and she's ready to bearhis children(to Harry)What's your exit strategy TwinkleToes?24   EXT. CHATEAU/ FRONT ENTRANCE - NIGHTHarry nods to the security men at the door as he stridesconfidently through.  He goes down the steps to the broadterrace above the motor court.  Behind Harry, a GUARD lowershis walky talky and starts after him.GUARDMay I see your invitation, sir?Without turning, Harry slips a small flat box out of his breastpocket.  A REMOTE DETONATOR.HARRY                                        *Here's my invitation.                                  *He pushes the button and--                                       *KABOOM!  The  second floor office windows blow out in a fieryexplosion.  Using the diversion, Harry leaps off the terracebefore the guard can open fire.25   INT. / EXT. VAN - NIGHTGib sees the rising fireball a half-mile away.  He starts thevan.GIBAw, shit.  Here we go--26   EXT. CHATEAU AND GROUNDS - NIGHTHarry sprints across the snow-covered lawn, through the trees.Guards with automatic weapons run after him, firing.  The snowexplodes around him with bullet hits.TWO DOBERMANS pelt toward Harry, leaping at him in perfectunison.  He waits... and knocks their heads together in mid-leap with a crack like a baseball bat.  The dogs drop to thesnow, wobbling around like they're drunk.As Harry sprints on, ANOTHER DOBERMAN lunges out of the bushesahead, leaping directly for his throat.  Harry grabs the dogand shot-puts him up into a tree without breaking stride.  DogFu.  The dog yelps and scrambles to hold onto an icy branch,looking down in amazement.27   EXT. PERIMETER WALL/ MOUNTAIN SLOPE - NIGHTHarry leaps down on the outside of the wall, hitting a snowbank and sliding downhill.  He sprints down the gentle slopetoward the highway.Harry looks back as TWO GUARDS ON SKIS come out of a guardstation beside the main entrance.TRACKING WITH THE SKI-GUARDS, searching through the trees withlights.  They have lost Harry.  They stop.  A snowbank behindthem EXPLODES as Harry leaps out.  He disables them both withvicious street-fighter moves.  Harry looks upslope as--A service gate opens in the perimeter wall and TEAMS OFSECURITY MEN in white snow-suits pour out, some on skis, someon SNOWMOBILES.  A HELICOPTER rises over the wall in a blast ofswirling 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 oneof the disabled guards.  He pops the boots quickly into thebindings and takes off downhill with one of the guard's FN FALrifles slung across his back.The helicopter swoops downhill, its searchlight blazing throughthe forest.  Snowmobile headlights illuminate the ski-patrolszig-zagging among the trees.Harry slashes expertly downhill.  He cuts a distinguishedfigure in his black tux.  Automatic weapons fire rips throughthe trees from behind him.  Harry is going flat-out.  The xenonlight 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 isclosing in, outflanking him.  He turns toward it, suddenly.Hits a mogul.  Uses the air to slash his skis right across therider's face.  The snowmobile crashes and tumbles into thenight.28   INT. / EXT. VAN - MOUNTAIN ROAD - NIGHTGIB'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.GIBHarry, what's your twenty?  Ineed a position, buddy--Suddenly a skier in a black tux launches across the road fromthe slope above, RIGHT OVER THE VAN, and lands deftlydownslope.GIBUh... right!  I'll catch you onthe next bend.Behind the van, pursuing guards leap across the road.  Onlyabout half can make the jump.  The rest crash horribly.  Thehelicopter thunders overhead.29   EXT. MOUNTAIN SLOPE - NIGHTHarry sees the chopper start an attack run.  He comes out intothe open, going straight downhill like a rocket.  The choppergets suckered in...  trying to hit him, getting right downbehind him... and suddenly-- Harry slides to a stop in anexplosion of powder and whips up the rifle.  P-P-P-POW!  Herakes a burst across the windshield.  The startled pilotswerves and-- Suddenly two tall pine trees are right in frontof him.K-WHACK!  The main-rotor blade snaps clean off and the chopperdrops into the snow, plowing into a snowbank.  It slides rightto the edge of a steep ridge and stops, teetering.Firing from a snowmobile, one of the guards puts a burst rightacross Harry's path.  Harry's skis are hit and he tumbles,comes out of it...  running down the hill like a juggernaut inhis heavy boots.  He has lost the rifle somewhere in the snow.Harry takes cover behind the burning wreck of the downedchopper, which still has its engine running.  The ski patrolopens fire from upslope.  Rounds whacking against the disabledhelicopter.Harry looks down the slope and gets an idea.  He jerks theunconscious pilot out and pushes on the fuselage, rocking it.It slips over the edge.  He leaps inside as it topples forwardand slides down the slope.30   INT./ EXT. HELICOPTER - MOUNTAIN SLOPE - NIGHTHarry adds throttle and works the footpedals, using the tail-rotor to steer.  The chopper had snow-skids, and Harry isskiing 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 aroundit.  Skiers are wiping out, hitting trees.  A snowmobile hitsa rock and flies spectacularly into a ravine.GIB (OVER)Harry!  Where are you!HARRYIn the helicopter.31   INT./ EXT. VAN - MOUNTAIN ROAD - NIGHTGib 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 seesthe burning fuselage skiing expertly among the trees.The chopper hits a jump and launches into the air-- It crashesthrough 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 theskidding van...  then slides over the edge and tumbles into arocky canyon where is BLOWS UP!  The fireball lights up thenight.Gib and Faisil jump out of the van.  They look downslope at theburning wreckage.GIBHarry?  HARRY?!HARRYWhat?Gib and Faisil spin to look behind them.  Harry is lodged intree-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.  Hestands, brushing snow off his tux, and clomps toward the van inhis ski-boots.  He is completely unruffled.HARRYLet's go.  We can still make ourflight.As Faisil is getting into the van behind Harry, TWO GUARD TEAMSON SNOWMOBILES roar around the bend behind them, fish-tailingon the ice.  Faisil OPENS FIRE.  One snowmobile swerves overthe embankment.  The other pulls up broadside, and the guardsduck behind it.  Gib floors it and the van roars down themountain.  Faisil is still Ramboing on full-auto.FAISILThis is GREAT!!  I never get toshoot!CUT TO:32   EXT. DULLES AIRPORT - NIGHTAn American Airlines 747 touches down amid puffs of tire smoke.33   EXT. SUBURBAN D.C. STREET - NIGHTA NON-DESCRIPT SEDAN pulls to the curb in a neighborhood ofmodest middle-income tract homes.  The street is deserted.  Itis 4 A.M.  Gib is at the wheel, dropping Harry off at hishouse.34   INT. SEDAN - NIGHTHarry is emptying his pockets... passport, business cards etc.All documents under his name "Renquist".  He double checks thathis pants and jacket pockets and empty.  Gib fastidiously putsthe items into a plastic zip-lock.HARRYEmpty.  Go.Gib starts handing him items from a briefcase.  This should allfeel like a tired ceremony between them.GIBHarry Tasker wallet.  HarryTasker passport.  Plane ticketstub, hotel receipt, Tasker.  Twopostcards of Lake Geneva.  Housekeys.  Souvenir snowing Swissvillage.Gib snows him how is snows when you shake it up and turn itover.HARRYWhat's this for?GIBFor Dana, schmuck.  Bring yourkid something.  You know.  Thedad thing.HARRYGot it.  Nice touch.  Okay, pickme up at eight.  The de-brief isat ten hundred.Harry opens the car door.GIBHey, hey, hey... what are weforgetting?Gib holds up Harry's gold wedding band.  Harry puts it on.HARRYWhat a team.  See you at eight.GIBYep.  Sleep fast.35   INT. TASKER HOUSE - NIGHTHarry slips inside.  He sets down his suitcase and walksquietly down the hall.  He pauses at a door with lurid labelsand stickers plastered all over it (Toxic Waste,  STAY OUT!, IFIT'S TOO LOUD YOU'RE TOO OLD, etc.)Harry silently opens the door and looks in at his sleepingdaughter, DANA.  She looks like an angel in the moonlightcoming in the window.  In fact, she is a typical 14 year oldgirl, and therefore hardly an angel.  But to Harry she isunflawed.36   INT. MASTER BEDROOM - NIGHTHarry, undressed now, slips into bed next to... a lump in thecovers which we presume to be a human being.  This is HELENTASKER, Harry's wife of 15 years.  He kisses her on the cheekand she stirs.  She rolls toward him, giving him a sleepy hugand a kiss.HELEN(a drowsy murmur)Hi, honey.  How was the flight?HARRYFine, honey.  Stay asleep.HELENOkay.As she drifts off, Harry puts his head on the pillow and staresat 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.DANAHey, thanks dad.  I never had oneof 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, towhich she submits dutifully.  He looks at his watch and headsfor the door.HARRYYou better hurry.  You're goingto be late for school.Harry hurries out and Dana considers the Swiss village amoment.DANAReally lame.She plonks is straight in the wastebasket.38   INT. HALLWAY/BEDROOM/ BATHROOM - DAYHarry strides down the hall, avoiding their small but            *incredibly ugly dog, GIZMO, who skitters past him going the      *other way.HARRYDana, don't forget to feed Gizmo!                      *Harry crosses the bedroom, hurrying past Helen who is clearlyrushing to get ready herself.  We get our first good look atHelen.  She is wearing a terrycloth robe as she picks out anoutfit.  Her hair is wrapped in a towel.  To call her plainwould be inaccurate.  She could be attractive if she put anyeffort into it, which doesn't occur to her.HARRYI'm late.HELENMe too.They talk without looking at each other, the way people whohave been together a long time do.HELENHow'd it go at the trade show?You make all the other salesmenjealous?HARRYYeah.  You should have seen it.We were the hit of the show withthe new model ordering system,the one for the 680... how youcan write up an order and thesecond the customer's name goesinto the computer, it startschecking their credit, and ifthey've ordered anything in thepast, and if they get adiscount...She is already tuning him out.  And it hits us:  SHE HAS NOIDEA WHAT HARRY REALLY DOES.HELEN(barely listening)That's fabulous Harry.HARRYYeah, 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 - DAYGib opens the door, knocks a bit, then strolls in like he livesthere.  He is wearing dark Ray Bans, like he's doing a RoyOrbison impression.  Gizmo runs toward him, yapping, but Gibgives him the evil eye.GIBCome any closer I'll kill you.The dog backs up, whining plaintively.  Gib throws his jacketover the back of the couch and then, inexplicably, he takes outa pack of CAMELS and sets it on the mantelpiece.  He adjustsits position carefully.  Hmmmm.40   INT. BATHROOM - DAYHarry  and Helen maneuver around each other expertly.  She isdoing her make-up.HELENThe plumber came yesterday.  Hesaid they have to dig under theslab or something and it's goingto be six hundred dollars to fix.Harry is not really paying attention as he ties his tie infront of the mirror.  His mind is elsewhere.  He couldn't careless about there domestic problems.HARRYUh huh.  Okay.HELENIt's not okay.  It's extortion.HARRYWhat did you tell him?HELENI slept with him and he knockedoff a hundred bucks.HARRYGood thinking, honey.Harry kisses her on the cheek and exits.41   INT. KITCHEN - DAYGib enters and pours two cups of coffee.  Dana is drinkingorange juice from the bottle at the fridge.GIBHi, kid.DANAHey, Gib.  What up?She EXITS, eating an uncooked pop-tart.  Harry comes in asecond later and Gib hands him his coffee.HARRYThanks dear.GIBHere, check these out.Gib hands Harry the glasses.  Harry studies them, seeing theVIRTUAL 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 videoimage of his own living room.GIBThe CCD camera and transmitterand inside a pack of smokes.Slick little unit, huh?IN POV we see Dana enter the living room.  She looks aroundcarefuly, then quickly lifts Gib's jacket and slips out hiswallet.  She palms two twenties in the blink of an eye and putsthe wallet back.  Pro moves.HARRYSon of a bitch!GIBWhat?Harry whips off the glasses and charges out of the kitchen.Gib goes after him.42   EXT. HOUSE - DAYDana comes out the front door, letting it slam behind her, andruns to her boyfriend, TRENT, who is waiting for her in thedriveway on his idling YAMAHA.  Trent is 16, dressed in grunge-rock style, trying to look tough.  Harry comes out the frontdoor as Trent revs the motor.HARRYDana!!She waves from the back of the bike as Trent pops the clutchand they shoot down the driveway.DANA(yelling over theengine)Can't stop, I'm late.  Bye, Dad!43   INT. / EXT. GIB'S CAR/ STREETS OF WASHINGTON - DAYThey are driving through D.C.  Harry is still shocked by his     *daughter's behavior.GIBKids.  Ten seconds of joy.Thirty years of misery.HARRYShe knows not to steal.  I'vetaught her better than that.GIBYeah, but you're not her parents,anymore, you and Helen.  Herparents are Axl Rose and Madonna.The five minutes you spend a daywith her can't compete with thatkind of constant bombardment.You're outgunned, amigo.Gib and Harry turn onto Pennsylvania Avenue, heading towardLafayette 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.GIBSee, kids now are ten years ahead                      *of where we were at the same age.You probably think she's still avirgin--HARRYDon't be ridiculous.  She's only --how old is she?GIBFourteen, Harry.HARRYRight.  She's only fourteen.They go into a corridor.                                         *GIBUh huh.  And her little hormonesare going like a fire alarm.  I                        *say even money that physicist on                       *the bike is boinkin' her.                              *HARRYNo way.  Not Dana.They stop at a door, like any other along the corridor.  It is   *blank.                                                           *GIBOkay.  Okay.  De-nail ain't justa river in Egypt.  She's probablystealing the money to pay for anabortion.HARRYWill 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.                *GIBOr drugs.45   OMITTED                                                          *46   INT. CORRIDOR - DAYThey enter a long corridor, which is featureless except for      *video surveillance cameras.  They walk along the silence for a   *moment, then .  .  .                                             *GIBTwenty here, fifty there... Ifigured my wife's boyfriend wastaking it.HARRYI thought you moved out.GIBWell .  .  .  I moved back in.My lawyer said it would give mea better claim on the house inthe property settlement.  Don'tchange the subject... you owe metwo hundred bucks.They approach another door, with a (bulletproof) glass window    *in it.  Beyond is a brightly lit room, with a woman sitting ata desk... and nothing else.  Gib presses a buzzer.47   INT. OUTER SECURITY ROOM - DAYJANICE sits at the non-descript desk like a receptionist... butshe is a highly trained security specialist.  She is also heftythrough the shoulders, aggressively unattractive and utterlyhumorless.  She watches them on a monitor screen as they standoutside the door.  Harry and Gib appear as living X-Ray images.Their weapons are visible in their shoulder harnesses.  Janiceputs one hand automatically on the butt of a .45 tucked in aholster riveted beneath her desk.  She buzzes Harry and Gib inwith the other.JANICEGentlemen, please idenitifyyourselves to the scanner.Harry and Gib step up to the combination retinal-thumbprint-voice scanners.  Harry presses his thumb against a black-glassplate for laser scan, and looks into the eye-piece of theretinal scanner.HARRYHarry Tasker.  One zero zero twofour.GIBAlbert Gibson.  Three four ninenine one.Their clearance appears on a monitor on Janice's desk.JANICEThank you.  You are cleared.She stands to give them plastic I.D.  badges which they hangaround their necks.GIBJanice, how many years have youbeen buzzing us in?JANICETen, Mr. Gibson.GIBAnd you still reach for yourpiece every time.JANICEYes sir.GIBGod!  You have no idea how muchthat turns me on.  I've never hadthe courage to say this beforebut... I love you, Janice.JANICEYes, sir.He kisses her wetly on the cheek as he goes by.  She does notreact is any discernible way.They pass through a heavy stainless steel door which opensautomatically.  Beyond is a kind of airlock... a SALLY PORT.Behind a lexan shield are TWO GUARDS armed with MP5s.  They nodbut do not speak at Harry and Gib pass them.HARRYYou better watch it.  She mightfile on you for sexualharassment.GIBIn her dreams.48   INT. OMEGA SECTOR INNER SANCTUM - DAYGib and Harry pass through the inner door of the sally portinto a large austere atrium.ANGLE FROM ABOVE as they cross.  A huge graphic logo covers thefloor.  Across the center is says OMEGA SECTOR.  In smallerprint, around the perimeter, is the motto: "THE LAST LINE OFDEFENSE".They enter a high-tech office space.  It is a maze of glasspartitions surrounding a central floor-space of cubicles.There is a hushed quality here.  People do not joke.  They donot hurry.  There are a lot of computer screens displayinginformation from around the world.  It looks like a combinationof NASA mission control and FBI headquarters.Fast Faisil greets them, yawning, as they pass his partitionedcubicle.HARRYCome on, Fize.  We're late forour butt-grinding.Faisil gulps his coffee and hurries after them.49   INT. CONFERENCE ROOM - DAYA dark and severe conference room, with large-screen computerdisplays 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.TRILBYJesus, Harry!  You guys reallyscrewed the pooch last night.Please tell me how I can look atthis, that it's not a total pooch-screw.HARRYTotal is a strong word--GIBThere are degrees of totality.FAISILIt's a scale really, with"perfect mission" on one end and"total pooch-screw" on the otherand we're more about here--TRILBYFaisil.  You're new on Harry'steam, aren't you?FAISILYes.TRILBYSo what makes you think that theslack I cut him in any waytranslates to you?!FAISILSorry, sir.  Uh... here's what wegot.He hits a button and a photo of Khaled fills a wall-screen.FAISILJamal Khaled.  We think he'sdirty so we raid his financialfiles...  Check it out...Faisil hits some buttons and a second screen lights up with thedata for their raid.FAISILOne hundred million in wiretransfers from the COMMERCE BANK                       *INTERNATIONAL--                                        *GIBWhich we all know is a front forcertain 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 myskirt 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 witha nuclear weapon in the trunk!50   INT. OFFICE BUILDING - DAYIt is the interior of a huge law office.  Helen works there asa paralegal.  She is going to the break room for coffee withher friend, ALLISON, a secretary.  Allison is black, youngerthen Helen, and still single.HELENI mean, it's not like he's savingthe world or anything.  He's asales rep for Chrissakes.Whenever I can't get to sleep Iask him to tell me about his day.Six seconds and I'm out.  But heacts like he's curing cancer orsomething.ALLISONSo I guess you didn't get away                         *for the weekend after all?                             *HELENAre you kidding?  Harry had to goout of town.ALLISONI'm shocked.HELENYeah.  You know Harry.Helen's nerdy boss BRAD, comes up behind her, scowling.BRADHelen, have you pulled thosefiles yet?  I need them by lunch.HELENI 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 outof each other's navels for twodays.HELENYou bitch.ALLISONGirlfriend, you got a man.  You                        *just have to take control .  ..  set up the right mood.                              *HELENHarry only has two moods: busy...                      *and asleep.ALLISONThen you better do something to                        *jumpstart that man's motor.  Youknow... wake up the sleepinggiant 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.                                                      *HARRYWhat'ya got?The following will play as they wind their way through the rows  *of data-analysis workstations.FAISIL(handing Harry aprintout)Here, check this out--GIBIt's a two million dollardisbursement from Khaled to...Juno Skinner.(Harry raises aneyebrow)Uh huh.  The babe at the party.                        *HARRYIt doesn't mean anything.  Shebuys antiquities for Khaled.GIBNope.  The art buys are in aseparate ledger.FAISILAnd this is a little above market-                     *rate for the horizontal bop, even                      *for a total biscuit like her.HARRYAlright, I want a complete workupon her.  Do we know where she is?FAISILUh huh.  Right here in rivercity.HARRYYou're kidding.FAISILShe lives in Rome, but she doesstuff here the Smithsonian andhas a lot of diplomaticconnections, so she has offices                        *here.                                                  *Gib starts tangoing with an imaginary partner.GIBSounds like a job for aspecialist.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 theSaran-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.HELENI need you to talk to Dana.  Thevice principle called and she cutclass again this afternoon.HARRYI'll handle it.Harry picks up his porkchop and goes out the back door.53   EXT. DRIVEWAY - NIGHTA basketball hoop is bolted to the garage and Dana is shootingbaskets in the driveway.  Moths orbit the outside floodlights.She sinks one, dribbled back to the foul line.  Harry comes upbehind her and lifts the ball out of her hands as she standspoised to shoot.  She turns.HARRYDana, Mr. Hardy called.  Whyweren't you in class today?DANAHe lies!  I was there!  I was inthe nurse's office, cause I hada headache.HARRYYou seem fine now.DANAGreat!  You're going to believethat fat dweeb Mr. Hardy overyour own daughter.HARRYI'm not sure what to believeanymore, young lady.  You neverused to lie to me.  But latelyyou don't seem to know thedifference between right andwrong.Dana studies something really fascinating at the end of afingernail.HARRYDana, are you listening to me?DANAYeah, Dad.HARRYYou know you can always talk tome.  Right?  Whatever is going onin your life, your mom and I'llunderstand.DANAOkay, Dad.HARRYYou'd tell me if there wassomething wrong, wouldn't you,pumpkin?DANAI'm not a pumpkin!  Okay?!!  DoI look even remotely like apumpkin?! I'm not a muffin, or acupcake or a honeybear either!And you don't understand anythingDad...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 talksto Harry, riding in the back, without turning.GIBIt's all set up...  ghost phonesand fax, all the usual stuff.You have a suite at the MarquisHotel under Renquist.  Okay,reality check.  Go.HARRYHi, I'm Harry Renquist.  I own a--56   INT. JUNO'S OFFICES - DAYHARRY--corporate art consultingcompany in San Francisco.  I havean appointment with Ms. Skinner--Harry is extending his business card to the receptionist asJuno breezes into the lobby from a corridor.  She is dressedsharply and looks as stunning as Harry remembers.JUNOHarry!  I thought I might see youagain.  I just didn't  except youto call so soon.Juno lingers a second or so long on the handshake.HARRYWell, what's the point ofwaiting?JUNOI agree.There is definitely unholy magnetism here.  She indicates forHarry to walk with her and leads him through the suite ofoffices.  There are mounted fragments of ancient sculpture inniches on either side, and beautifully restored mosaics andtablets of hieroglyphics mounted on the walls.JUNOSo your clients want somethingfor the lobby of their newcorporate headquarters?HARRYThat's right.  They wantsomething...  dramatic.  I spoketo a number of people who saidyou'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.  Anoverhead crane is used to move huge stone pieces.  There aremassive columns, and statues two stories high.  Even the entirefacade of a tomb.JUNOSo what did these... people...say about me exactly?They stroll amongst the statues, as coveralled workmen movearound them with tools, scaffolding, pneumatic equipment.  Mostof the workers are middle-eastern.HARRYLet's see... that you can readancient Sanskrit without havingto sound out the words.  And thatother dealers and archeologistsdon't like you much.JUNOThose wimps.  It's because I use                       *my diplomatic contacts to exportcultural treasures from countrieswhich tell them to take a hike.(yelling in Arabic totwo workmen)I told you to move those cratesan hour ago.  Come on guys, let'sget going.We realize that A WORKMAN is watching them intently fromnearby.  He is an intense looking MIDDLE-EASTERN MAN in his mid-thirties.JUNOYou see, a lot of these piecesare from ancient Persia.Unfortunately, ancient Persia istwenty feet under the sand of                          *Iran, Iraq and Syria.  Not themost popular places lately.  SoI've had to become an expert ininternational diplomacy.Juno stops and looks at Harry.  Her smile indicates thepossibility of more than just business.JUNOWell, do you see anything youlike, Mr. Renquist?CUT TO:57   INT. HOTEL SUITE - DAYHarry, Gib and Fast Faisil are in a luxury suite at the MARQUISHOTEL.  It is a corner suite, with a spectacular view of thecity.  Faisil is routinely sweeping the room for bugs with anelectronic DETECTOR.HARRYShe's importing stuff from allover the mid-east.GIBShe could be moving money, guns.Anything.FAISILAnd the second you left there, westarted getting calls to the                           *ghost numbers.  They werechecking out the Renquist front.HARRYOkay.  Let's step up thesurveillance on her.  Put on twomore guys.58   INT. JUNO'S WAREHOUSE - DAYWE FOLLOW the WORKMAN we saw watching Harry earlier.  Hecatches up with Juno, who is going through the doors to theoffice area.  His name is MALIK.MALIKMs. Skinner?  Can I speak to youfor a moment please, in youroffice?His manner is self-effacing.  Humble.  He doesn't meet hergaze.  She nods and they go into the private office.59   INT. JUNO'S OFFICE - DAYMALIK comes in behind her and closes the door.  The moment theyare away from public observation, his manner changes.  Hishumble posture straightens and his eyes flash intensely as heapproaches her.  Without warning he SLAPS HER HARD ACROSS THEFACE.MALIKYou stupid undisciplined bitch!Her jaw clenches but her reaction is surprisingly submissive.JUNOIt's a good thing you pay mewell.MALIKDo you realize that there aresurveillance teams watching thisplace right now?  Your phones arealmost certainly tapped.  And youare busy laughing and flirtinglike a whore with this Renquist,who may be a--JUNONo.  He checked out okay--Malik slaps her again.MALIKThat is for interrupting.(He backhands her)And that is for being wrong.  Wedo not tolerate mistakes.Juno bites her lip.JUNOWhat do you want me to do?MALIKFind out who this Renquist it.JUNOHow?MALIKUse the gifts that Allah hasgiven 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.    *SECRETARYHello, Tektel Systems.  Mr.                            *Tasker's office.61   INT. TASKER HOUSE - DUSKHelen is in the kitchen, showing Dana how to put icing on alarge birthday cake.HELENHi, Charlene?  It's Helen.  Is hethere?62   INT. TEKTEL OFFICES - DUSKCharlene doesn't hesitate a microsecond.CHARLENEHarry's in a sales meeting, Mrs.Tasker.  Let me try him in there.Hold please.She punches a key, engaging a digital scrambler and connectingto--63   INT. SUITE AT THE MARQUIS - DUSKA PHONE RINGS.  Gib opens his briefcase and looks at theconsole of the cellular scrambler-phone inside.  The displayreads TEKTEL/CALLER ID POS -- TASKER, HELEN.                     *GIBIt's Helen.                                            *Harry picks up the phone.  INTERCUT THE FOLLOWING WITH HELEN.HARRYHi honey.  What's going on?                            *HELENSorry 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 byourselves 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.HARRYHello?  Oh, Juno, hi.(pause)Well sure.  I can be there intwenty minutes.Harry hangs up.  Gib, checking his watch, has a look like he'sgot a bad gas pain.HARRYWhat?  It's on the way.  She saysshe's got something for me.GIBYeah, right.64   INT. JUNO'S WORKSHOP - NIGHTA WORKMAN guides Harry through the maze of statuary.  He pointstoward the back of the warehouse and then leaves.  Harry isleft 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 ofhim, is the huge facade of a royal tomb.  There is a flickeringlight inside.  A shadow moves across the wall in the entryway.HARRYHello?He enters the stone doorway of the tomb.  FOLLOWING HARRY as hesteps into the inner chamber.  There is an oil-lamp burning ona stone sarcophagus, the only light.  The room appears empty.REVERSE ON HARRY.  Behind him a figure emerges from a shadowedalcove.  It is Juno.  She looks ethereal in the strange light.JUNOHello, Harry.Harry whips around, startled.JUNODo you like my tomb?  The museum                       *financing fell out, so I thought                       *your clients might be interested.HARRYIt's certainly... dramatic.JUNOEspecially in this light.  Thisis the only light they had then,                       *so I like to study it this way.I love this place.  I love allruins.HARRYIs that why you got into thisbusiness?Juno turns to him in the flickering half-light.  She movescloser.  Her eyes seem to glitter.JUNOI've always been a collector atheart.  When I see something Iwant, I have to have it.HARRYAnd you have a reputation assomeone who gets what she wants.She is very close to him.  Her eyes seem to glitter in thelight from the oil lamp.  She is unbelievably beautiful.JUNOYes, I do.65   INT. GIB'S CAR - NIGHTGib is sitting in the car, in the shadows, up the street...with his earphone in place.  Listening.GIBHarry, this is your consciencespeaking...66   INT. TOMB - NIGHTJuno picks up the lamp and walks along the wall, holding it upso that the flickering shadows seem to bring the bas-relieffigures to life.  Stone faces shift and change, stone eyesmove.JUNOLook at this.  People who diestwenty centuries ago.Juno presses her cheek against the cold stone.  She runs herfingers slowly across the figures.  It is strange and erotic.JUNOThey breathed and loved and wept,just like us.  And now theirideals, their religions, theirsocial orders... are gone likemist.  What did any of it matter?She crosses to Harry.JUNOI only hope they lived well.That they got what they wanted.She puts her hands on him and pulls herself close.  It is ahypnotic moment.JUNOGetting what you want is the onlyimportant thing.She kisses him, very lightly, with infinite sensuality.67   INT. GIB'S CAR - NIGHTGIBHarry?  Listen to the followingcode word.  Helen.  H-E-L-E-N.Now, do you want me to I beepyou?68   INT. TOMB - NIGHTHarry breaks the kiss... slowly pulling back.HARRYYes.JUNOYes what?HARRYUh, yes, it is important.Juno is moving in for a more passionate lip-lock when-- BEEPBEEP BEEP!!  Harry pulls his beeper off his hip and looks atit.  The moment is spoiled.HARRYUh, it looks like I have to run.I'll call you tomorrow.  Yourproposal is very interesting.69   INT. GIB'S CAR - NIGHTGib lets out a big exhale of relief.  He looks at his watch.70   INT. TASKER HOUSE - NIGHTHelen and Dana are sitting expectantly at the dining roomtable.  There is a big cake, and presents piled on the buffet.The food is getting cold.  Helen looks at her watch.DANASee.71   INT./EXT. GIB'S CAR - NIGHTHarry is changing clothes, getting ready to be Harry Tasker      *again, as Gib drives through evening traffic.  Gib keepschecking the rearview.GIBWe have a friend.  Five carsback, inside lane.  They've been                       *on us since we left Juno's.                            *Harry adjusts the passenger side mirror.HARRYStation wagon?GIBUh 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.                                      *SEVENCopy that.  We're rolling.GIBHelen's going to be pissed.HARRYSee, that's the problem withterrorists.  They're reallyinconsiderate when it comes topeople's schedules.72   INT.  STATION WAGON - NIGHTThere are three men in the car.  YUSIF and MAHMOUD are in thefront, with Mahmoud driving.  In the back, shadowed, we canjust make out ABU MALIK.  Yusif is massively built, with a bodylike a beer-keg.  Mahmoud is skinny and intense.73   OMITTED                                                          *74   INT./EXT. GIB'S CAR - MALL - NIGHTHarry puts his SUB-VOCAL TRANSCEIVER into his ear canal.HARRYTest two three.(Gib nods, receiving)Pull over here.Gib pulls the car to the curb near the mall entrance.  Half ablock behind them the station wagon does the same.  Harry slipson the virtual-image sunglasses and gets out of the car.75   EXT. MALL - NIGHTHarry pauses on the sidewalk a moment to light a cigarette.  Hecoughs slightly.GIB(in his ear)You don't smoke, dickhead.Harry lets his hand drop to his side, holding the pack ofcigarettes casually.  He turns his hand.  The tiny lens in thecigarette pack glints.POV VIDEO SCREEN --inside the left lens of the glasses.  Thecamera in the cigarette pack reveals Yusif and Mahmoud gettingout 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.  Harrywatches in the glasses as Mahmoud and Yusif slip through thecrowd behind him.GIB (VO)What's the plan?HARRY(apparently mumbling tohimself)Gonna try to get a closer shot of                      *Beavis & Butthead.                                     *76   INT. / EXT. GIB'S CAR - NIGHTGib looks in the rearview, studying the car behind him.GIBThere's another guy, still in thecar.HARRY(on radio)Stay on him.All Gib can see is a silhouette in the car.  A soft cherryglow, the tip of a cigarette in the dark.  No features.77   EXT. MALL - NIGHTHarry turns off the main concourse, into a narrower walkwaybetween shops.  In the video-glasses he watches Yusif andMahmoud, who have split up to look less conspicuous, as theytrack him through the pedestrian traffic.78   INT. / EXT. GIB'S CAR - NIGHTGib in on the cellular phone.GIBHelen?  Hi, it's Gib.  Harryremembered something he left atthe office.  You know Harry.As he is talking he sees that a bus has blocked his view of thestation wagon.79   INT. HARRY'S HOUSE - NIGHTShe sighs fatalistically.HELENYeah, 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.HELENWhere are you going?DANAOut.  If Dad doesn't care enoughabout us to be here on hisbirthday, then why should I care?I'm going to a movie.HELENNo you're not.  You're going tostay here until your father getshome and have cake!DANAMom, wake up!  Dad barely knowswe exist.We see the hurt in her eyes.  She doesn't hate her father.  Shejust misses him.HELENThat's not true, honey--DANAIt is true!  He doesn't knowanything about me.  He stillthinks I'm like ten years old orsomething.  As long as I justsmile and say yes to whatever hesays, like his good littlefantasy daughter, he thinkseverything's fine.  But it's notfine.  Nothing's fine.Dana runs out the kitchen by the other door.  Helen runsafter her.HELENDana!  Come back here!The slamming door is her answer.80   EXT. MALL - MEN'S ROOM - NIGHTYusif sees Harry, up ahead, enter a public restroom.  Hesignals Mahmoud with his eyes and the two of them close in onthe restroom.81   INT. / EXT. GIB'S CAR - NIGHTGib hangs up the car-phone.  Ten the bus blocking his viewfinally pulls away and Gib see that the station wagon isempty.  No silhouette.GIBOh shit.(into his headset)Harry, I lost the third guy.Harry?82   INT. RESTROOM - NIGHTHarry can't answer because Mahmoud just entered the room behindhim.  Harry is at one of the urinals, apparently taking a leak.Mahmoud goes to the mirror.  Starts combing his hair.  Hedoesn't much notice the pack of Camels sitting on the counternearby.  Harry is whistling.  Shaking himself.HARRY'S POV - In the video glasses Harry sees himself andMahmoud.  Yusif comes into the restroom, seemingly ignoringboth Harry and Mahmoud, as if heading for the stalls.  As hepasses behind Harry he reaches into his coat--Harry spins lightning fast.  He knocks away the SILENCED PISTOLaimed at the back of his head with a sweeping block, capturingYusif's arm in an arm-lock.  The shot goes wide, shattering aurinal.Harry slams his palm into Yusif's face like a piledriver, andspins him against the steel stalls.  The silenced pistol goesskittering across the floor.Mahmoud whips a pistol out of his waistband.  Still holding thebear-like Yusif, Harry draws his Glock so fast we can barelysee him move.  BLAM!  BLAM!  BLAM!  Three .45 slugs  go throughMahmoud's chest, shattering the mirror behind him.  He flops onhis butt, slumping against the wall.Yusif, who is easily Harry's size, bellows and grabs his gunarm.  They smash against the walls, struggling for the gun.Yusif, locked to Harry, hurls him against the stalls.  They hita locked door, which pops open, banging inward.Yusif drives Harry to the floor.  Harry's head is between theshoes of an OLD GUY sitting on the can, who looks downuncomprehendingly at him.Yusif slams Harry's gun hand repeatedly against the doorframeof the stall.  He twists Harry's wrist brutally.  He evenpounds 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 heelbows him in the throat and they crash together on the filthyfloor.  Harry grabs Yusif's hair and pounds his face repeatedlyagainst the rim of a urinal.  In case you haven't noticed, thisis a messy, nasty fight.  Survival is like that.Yusif sags into submission.  Harry pulls a nylon zip-strip outof his pocket and uses it like hand-cuffs, securing Yusif'swrists.83   EXT. MALL - NIGHTGib is running full out, drawing his gun.  He has one fingerjammed in his ear.  His gut is doing the rumba as he runs.GIBHarry?  Harry, you copy?!  Shit!84   INT. RESTROOM - NIGHTHarry is pulling Yusif to his feet when the door bangs openbehind him.  He turns, thinking it is Gib.  It's not.  Malikraises a FULL-AUTO BERETTA 92-F and opens fire.  Harry spinsYusif between him and the machine pistol.  Yusif's beer-kegbody stops the spray of 9mm slugs form hitting Harry longenough for him to dive into a stall.Malik hoses the room with the Beretta.  The metal stalls areriddled with hits.HARRY is in the stall with the old guy, who's just sittingthere.  The walls of the stall are pimpling with the hits onthe far side.  Harry reaches under the stall, retrieving hisGlock.MALIK goes empty.  Harry hears that and pops out, cranking offrounds--Malik is a blur going out the door, as Harry's shots shattertiles on the doorframe.  Then silence.HARRY(to the old guy)Sorry.85   EXT. MALL - NIGHTMOVING WITH MALIK, who backs rapidly away from the restroom,reloading.GIB (OFF)FREEZE!!!Malik spins to see Gib nearby, going into a firing stancebehind a light-standard.  The terrorist doesn't hesitate.  HisBeretta ROARS at 900 rounds per minute.Gib tries to hide behind the light-standard, which is abouthalf as wide as he is.  Shots hit all around him, shatteringwindow glass behind him.  His stomach sticks out from behindthe pole.  He sucks it in. Now his butt is sticking out on theother side.  Shots clang into the steel column, and riddleeverything behind him.GIBWRONG!  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 thereare too many people in the line of fire and Malik knows it.HARRYGet back to the car!Gib nods and heads the other way as Harry takes off afterMalik.  Malik is fast and vicious.  He hurls people out of theway, sending shoppers sprawling.  Harry is ruthless in hispursuit.  They pound through the mall and out onto the street--86   EXT. STREET - NIGHTMalik sprints straight into traffic.  A car screeches, notstopping in time... Malik goes right over the hood.  Harryleaps over the hoods of cars after him.  Malik sees Harrycoming 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 thenimble little Kawasaki 250, which is still running, and leapson.  He pops the clutch and takes off.  Harry pounds after himlike a locomotive.  He sees Malik turn, taking the bike pathinto a large PARK.  Harry cuts into the park on a diagonal.87   EXT. PARK - NIGHTON HARRY, running.  Ahead is a MOUNTED COP.  Harry doesn'tbreak stride, heading right for the cop on the horse.  The copturns, surprised, a split second before-- Harry pulls him offthe horse and slams him to the ground (he's wearing a helmet).HARRYFederal Officer in pursuit ofsuspect!  Sorry.Harry is in the saddle and galloping after Malik before the copcan 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.  Theyscatter joggers and bicyclists, people walking their dogs.TRACKING WITH THEM as they rocket through the park.  Malikleaves 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 thelast bit of throttle out of it.  They are going flat out,through the trees, in a kinetic blur.88   EXT. STREET - NEAR MALL - NIGHTGib, panting and heaving, pulls his car into traffic.  The UnitSeven car pulls out as well, up the block.GIBHarry, what's your twenty?89   EXT. PARK/ STREETS - NIGHTHarry is legging the police horse hard.  He has his reigns inone hand, his Glock in the other.  It's the wild west.HARRYWestbound in the park... suspectis on a motorcycle... he's goingto  come out on Franklin.  Hangon--Harry leaps a park bench like he's in a steeple chase.HARRY (CONT'D)I want you on 14th in case heturns south.  And I need Seven onthe north side to box him in.90   INT. /EXT. GIB'S CAR - NIGHTGib is weaving furiously through traffic.  He slides into aturn.GIBCopy that.HARRYAnd make it fast.  My horse isgetting tired.ON GIB, mouthing "Your horse?"91   EXT. STREET - NEXT TO PARK - NIGHTMalik explodes through the bushes and out onto the street.Cars skid around him, out of control.  He turns south.  Weavingthrough traffic.  Harry leaps the hedgerow behind Malik andgallops among the spun-out cars.  He goes right over the hoodon one which is blocking his path.  The driver ducks as thehorse's hoof cracks the windshield.92   EXT. STREET/ HYATT REGENCY HOTEL - NIGHTUp ahead traffic is stopped, jammed tight at a light.  Malikgoes into the oncoming traffic lanes, which are empty.  Gib'scar slides around the corner in a blare of horns and comesbarrelling down the street toward him.  Gib cranks the wheelthe slides the car broadside, blocking both lanes.  Malik locksup the brakes and the bike slides to a stop.  Then theterrorist pops the clutch and wheels the bike around-- Jumpingthe curb and going straight at the entrance of THE HYATTREGENCY HOTEL.Bellmen and guests scatter as the bike roars right at them.The sliding doors and opening for a bellman coming out withbags and Malik blasts past him into the lobby.HARRY ducks, galloping through the doors after him.93   INT. HOTEL - NIGHTAcres of marble and red carpet.  Liveries porters.  Guestsdressed for evening, the men in suits, diamonds on the women.And sudden pandemonium as Malik roars through the lobby, withHarry charging along behind him.  Malik guns it across thelounge, knocking over tables.  He gets air at the top of  thesteps going up to the RESTAURANT.Harry swerves to avoid a panicking guest and finds himselfcareening toward the JAZZ QUARTET at a full gallop.  He gathersthe animal and LEAPS (in glorious SLOW MOTION) over thebassist, who is diving for the carpet.  Harry and horse landdeftly and then he urges his mount right up the steps afterMalik.94   INT. HOTEL RESTAURANT - NIGHTMalik roars between the tables, looking around wildly for a wayout.  Harry charges in, ducking to avoid the chandelier.Waiters, trays, dinners, tables... everything seems to beflying at once as people dive out of the way.95   INT. HOTEL - MAIN HALL - NIGHTMALIK skids out into the main hall by another door, and sees--the ELEVATORS.  The door is just closing on one of them.  Heguns it and slides through the doors.HARRY RIDES out of the restaurant in time to catch a glimpse ofMalik as the doors close.96   INT. SCENIC ELEVATOR - NIGHTHarry canters the horse into the next elevator, which has justbeen boarded by an older couple.  He has to practically liedown on the horse to fit through the door.  The animal barelyfits, nose to tail, in what turns out to be--A GLASS ELEVATOR with a view of the whole atrium of the hotelas it rises, right to the top of the building.  Harry looksthrough the glass at the elevator car next to him, fifteen feetaway.  Malik is inside, punching a button.  He glances up andsees Harry.  There eyes meet for a moment, just before Malik'scar ascends rapidly.  Malik's malevolent glare is etched onHarry's retinas.The older couple is jammed against the side-wall by Harry'spanting, snorting horse.  It clomps around the tight elevator.The woman is trying to crawl between her husband and the wall.HARRYCan 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 - NIGHTGib runs in with Faisil and Keough.  They follow the path ofdestruction, growing more and more amazed.  Gib yells to one ofthe porters.GIBThe guy on the horse?!The porter points at the elevators.98   INT. / EXT. SCENIC ELEVATORS - NIGHTHarry 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 getsout 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 tothink.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 THEBIKE 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.  Hewheels his mount and charges across the roof to get somerunning space.  Then he turns again, back toward the edge Malikjumped from.  He kicks the horse's flanks and yells HAAHH!!The horse's hoofs thunder on the roof as they go full tilttoward the edge.But a horse is not a motorcycle.  It is slightly smarter.  Itslams its front hoofs down together, stopping suddenly.  Harrygoes right over its head.  He flies forward, almost going rightoff the roof.  He slams to the edge, with his legs danglingover, holding onto a piece of pipe with one hand.  His Glocktumbles down into darkness.Harry sees Malik far below, climb out of the pool, running tothe roof door of the other building.  Getting away.  Harryclambers up onto his own roof, breathing hard.  He walks overto the horse.HARRYWhat the hell were you thinking?We had the guy and you let himget away.He looks into the horse's innocent brown eyes.  Pats its neckfondly.HARRYWhat kind of  cop are you?100   INT. TASKER HOUSE - NIGHTHelen is asleep at the dining room table next to a half-eatencake and some melted ice cream.  His unopened presents arepiled at one end of the table.  She raises her head as Harryenters sheepishly.HARRYLook, I know you're upset.  I'mreally sorry, honey.  I racedhome as quick--HELENIt's okay, don't bother, Harry.He goes to her and puts his arms around her.  He is tender withher.  He wishes he can tell her the truth.HARRYI'm sorry.  Thank you for theparty.HELENYeah.  It was great.Helen finds a smile for him somewhere.  She really does lovehim, though more and more often lately she finds her heart inpain.HELENLet's go to bed, Harry.  There'sonly one present you have to opentonight.She grins and arches one eyebrow meaningfully.101   INT. BEDROOM / BATHROOM - NIGHTHelen walks Harry to the edge of the bed and sits him down.She puts her hand on his chest and pushes, causing him to lieback.HELENDon't move.  I'll be right back.She turns on the stereo.  A Kenny G disc she put in thereearlier.  Soft tenor sax flows around the room.  Helen entersthe BATHROOM and shuts the door partway.  She opens a cupboardand quickly pulls out some things she hid there earlier.  Abottle of champagne on ice.  Two glasses.  Some trashylingerie.HARRYCome on to bed, you don't have tobrush your teeth.HELENI'll just be a second.  So whathappened tonight at the office?HARRYI couldn't believe it.  I go backto get this report I need, right,and the phone is ringing, so likea bonehead I answer it--Helen is hurrying to put on the unfamiliar lingerie.  G-stringpanties and low-cut bra.  She holds up the garter belt, turningit backward and forward, trying to figure out which way itgoes.ON HARRY, yawning.  Lying with the ease of years of practice.HARRYIt's the big client in Japan,and it's the middle of themorning there and their wholesystem is crashed... this guy'shaving a meltdown--HELEN(keeping him talking)What'd you do, honey?HARRYWell I pull out the manual ontheir setup, which is the new 680server...Helen is pulling up the black stockings.  She fastens thegarters to the tops.  Her features are a scowl ofconcentration.  She is very earnest in her preparations.HARRY (CONT'D)...and I'm troubleshooting itwith them over the phone...talking to a translator, right,who's getting half of it wrong...it was unbelievable...  reallywild.HELEN(putting on blackpumps)It sounds wild.  So now you're abig hero, right?  For fixingtheir system.HARRY(faintly)Uh huh.HELENMy husband the hero.Red lipstick.  Then she puts a little perfume on her wrists.HELENI'll be right there, honey.  Justa minute.Harry doesn't answer.  Helen puts a little perfume down thefront of her panties.HELENJust a second.Helen quickly pours two glasses of champagne.  Then she slinksaround the doorframe, making her entrance.  She looks like aliving 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 gazesdown at him, her shoulders slumping.HELENHappy Birthday, Harry.She sighs deeply and downs her champagne in one long gulp.CUT TO:102   EXT. STREET/ NEAR HIGH-SCHOOL - DAYIt is the following morning.  Harry and Gib are staked outwatching the front of Dana's school.  Actually, Harry is stakedout, scanning the crowds of kids with binoculars.Gib just keeps looking at his watch.  He picks up a cellularphone and pretends to call the office.GIBHey, did that guy Harry chasedlast night call in to givehimself up yet?  Cause apparentlythat's the only way we're goingto catch the son of a bitch --HARRY(not listening)Okay.  Here she comes.103   EXT. STREET - DAYHARRY'S POV THROUGH BINOCULARS - We see Dana come out to thecurb and meet Trent, who pulls up on his bike.  She gets onbehind him, adjusts her walkman headphones over her ears and helaunches out into traffic.104   INT. HARRY'S CAR - DAYHarry, who is behind the wheel, pulls out after her.  Trentweaves radically through the light traffic, going in betweenthe cars.HARRYLook at the way the little punkis driving.  He's all over theplace.  Look-- he hasn'tsignalled once.GIBGoddammit!  That's outrageous.Harry speeds up.  Somebody honks as he cuts them off to staywith Trent.105   EXT. MOTORCYCLE - DAYON DANA AND TRENT as she looks back and sees Harry followingher.  She is mortified that her father is actually tailing herDANAOh my God!  I think that's mydad!TRENTHang on!Trent downshifts and punches it.  The nimble little bikescreams as it zips between cars.106   INT. HARRY'S CAR - DAYHARRY(clenching his jaw)So, you wanna play huh?  Youlittle--GIB(rolling his eyes)That's it.  Get 'im Harry(he draws a pistol)We'll teach that little puke notto signal.107   EXT. MOTORCYCLEBACK ON TRENT, who's actually a really good rider.  He zig-zagsthrough the cars, cutting between them at the next light whereGib and Harry get blocked.  He cuts a sharp right turn anddisappears.108   INT. HARRY'S CAR - DAYHarry is stuck in stopped traffic.  He pounds the wheel infrustration.GIB(exploding withlaughter)Ha!  The little prick ditchedyou!  That is so goddamn funny.HARRYSon of a bitch!GIBCan we go to the office now, Mr.Superspy?CUT TO:109   INT. OMEGA SECTOR / I.D. ANALYSIS ROOM - DAYHarry is sitting at a computer workstation, lit by the monitorscreen.  Gib and Faisil look on as he clicks through HEADSHOTSof known terrorists.  CLICK.  CLICK.  CLICK.  Harry is veryfocussed.  He stops.  He goes back one.  Studies the face.110   INT. ANALYSIS ROOM - TIGHT ON THE SCREEN - DAYA defiant looking Syrian with a full beard.HARRY holds up his hand, blocking out the beard, concentratingon the eyes.HARRYThat's him.111   INT. CONFERENCE ROOM - DAYHarry slaps photos down in front of Trilby.HARRYAbu 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 ofLisbon last year.  Major player.                       *FAISIL                                       *Now he's formed his own splinterfaction called CRIMSON JIHAD.GIB                                          *Guess he thought the otherterrorist groups were too warmand fuzzy for his taste.FAISILThey call him "The Sand Spider".                       *TRILBYWhy?FAISIL(he shrugs)Probably because it sounds scary.                      *TRILBYThis is impressive, gentlemen.Of course, it would have beeneven more impressive if youactually knew where he was.HARRYWe'll get him.TRILBYYes.  You will.(meaning-- you damnwell better)Harry, I still want you incharge, even though your cover isblown.  Just keep a low profile.(he slaps a newspaperon the table)I generally prefer it when mycovert operations don't make thefront page.The agents look at the headlines:  WILD WEST CHASE.  Harry andGib wince.112   EXT. HELEN'S OFFICE BUILDING - DAYHarry and Gib pull to the curb in front of the building.GIBWhat's going on?Harry gets out of the car and turns back, leaning in the doorto talk to Gib.HARRYLook, uh... I've got to talk toHelen about this thing with Dana.I'm just going to run in and seeif she can get away for lunch.GIBYou want me to just hang-- ?HARRYJust hang a minute.GIBI'll just hang then, shall I?113   INT. OFFICE BUILDING - DAYHarry enters the office of Helen's firm.  He stops atreception.RECEPTIONISTHello Mr. Tasker.  Just a second,I'll  buzz Helen.HARRYNo.  No, I'd like to surpriseher.  Thanks, I know where herdesk is.He smiles and breezes past her before she has a chance toobject.114   INT. HELEN'S OFFICE - DAYTRACKING WITH HARRY as he moves through the offices.  He passesthrough a library-like maze of records stacks.  Through them hecan see Helen at her desk.  But as he approaches, stillconcealed, ALLISON puts a call on hold and whips around toHelen.ALLISONHelen!(grinningconspiratorially)It's your mystery man.HELENSimon?  Ohmygod.Helen, normally the image of composure, goes suddenly flutteryand nervous as a high-school girl.  She takes the phone,turning away from Allison.HELENHello, Simon?(pause)It's all right.  There's no onearound.Helen glimpses Allison with her ears cocked and gives her ascowl and a shooing motion.  Allison turns away, grinning.115   INT. OFFICE - STACKS OF RECORDS - DAYON HARRY, behind the stacks, reacting.  He silently mouths"SIMON?!"116   INT. HELEN'S OFFICE - DAYHELENYou mean right now?(she looks aroundguiltily)I guess so.  Okay.  I'll be rightthere.(pause)Yes.  I can't wait.  Bye.She hangs up, a little flushed.  Then turns to Allison.HELENCan you cover me for an hour?ALLISONJust an hour?  You should tellthis stud to take more time.HELENWill you shutup.  I should neverhave told you about him.Helen grabs her purse and rushes out, going right past thestack where Harry is standing, dumbfounded.  He looks like hewas slammed in the stomach with a lead pipe.  His whole like isunravelling.117   EXT. BUILDING - DAYGib sees Harry crossing the street, holding his stomach.  Heseems dazed.  He is not so much walking to the car as wanderingin its general direction.  He stops, in the street.  Gib getsout of the car and rushes to him.  He pulls him out of the pathof a bus which is HONKING irritably.GIBYou 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.GIBSomething to do with Helen, iswhat I'm getting.HARRYShe's having an affair.Harry's best friend in the world brightens with the news.  Heslaps him on the back.GIBCongratulations.  Welcome to theclub.HARRYIt can't be.  Not Helen.GIBNobody believes it can happen tothem.HARRYIt can't be.GIBSame thing happened to me withwife two.  I had no idea until Icame home and the house wasempty.  I mean empty.  She eventook the ice-cube trays from thefridge.  What kind of personwould think of that?HARRY(not listening)I still don't believe it.GIBRelax.  Helen still loves you.She just wants this guy to bangher.  It's nothing serious.You'll get used to it after a --Harry wheels around on Gib, grabbing him by the lapels, andslams him against the car.HARRYSTOP.  CHEERING.  ME.  UP.We see in Harry's rage, frustration, and hurt confusion avulnerability we never expected to see.GIBWhat'dya expect Harry?  She's aflesh and blood woman.  Andyou're never there.  It was onlya matter of time.Harry sags.  His friend is right.  Gib opens the car door andhelps him in like an invalid, talking soothingly the whole time--GIBI say we concentrate on work.That's how I always got throughit whenever my life turned todogshit.  Let's catch someterrorists and then you can beatthe crap out of them.  You'llfeel better.Gib gets in and starts the car, full of stoic cheer for Harry.GIBWomen.  Can't live with 'em.Can't kill 'em.118   INT. OMEGA SECTOR / LISTENING ROOM - DAYHarry and Gib are in the LISTENING ROOM.  Banks of tape-decksrecording calls, rows of technicians in cubicles processing andcollating transcripts.GIBHe's giving us a blank check on                        *wiretaps.  So I've set 'em up onall of Juno's shipping agents,her clients, and Faisil made up                        *a list of possible contacts thatCrimson Jihad might have in thiscountry.  Now all we can do is                         *wait --                                                *He notices Harry is not listening.GIBIs this national security stuffboring you?HARRYPut a tap on her phone.GIBWhat're you talking about?  Wehave that.HARRYHelen's phone.  Her office lineand 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 teethclenched.HARRYYeah, and we do it twenty timesa day.  Don't give me that crap.Just put on the taps.  Now.GIBSure, 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 - NIGHTThat night Harry is actually there on time for dinner.  Heglances at Dana, who has been eyeing him warily.  She looks ather peas.HARRYHow was school today?DANAFine.Harry takes a bite of his food, watching her.  Silence.  Helenglances at him.HELENSo.  You came by to see me today?She is a too casual, masking her nervousness.HARRYI was in the area, and I thoughtyou might like to have lunch.HELENThey must've just missed me.HARRYThey said you had to run out.HELENYeah.  It was a rush thing.  Theyneeded some documents down at thecourt house.  I barely made it.Harry watches her lying to him with some amazement.  You cansee the jaw muscles clenching.HARRYSo, a little excitement in anotherwise dull day.  Did is workout okay?HELENOh, sure.  Fine.(she gets up suddenly)I'll get some more gravy.DANAI'm done.Dana bolts.  She has eaten about four bites.  Harry sits at thetable, alone.  He feels isolated, knowing that everybody islying to everybody else.  He is a man without a center, lost.CUT TO:120   INT. OMEGA SECTOR/ LISTENING ROOM - DAYTRACKING ALONG THE BANK OF RECORDERS.  Harry comes to aparticular set of machines.  He reaches past the technician andpicks 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 headslowly.  Harry freezes, staring at the page and WE HEAR THESOUND OF THE CONVERSATION OVERLAID:HELENHello?SIMONHelen?  It's Simon.  Is it safeto talk?HELENYes.  Go ahead.121   INT. CAR - FLASHBACK SEQUENCE - DAYA man in his mid-thirties, sitting in a car SOMEPLACE (DAY),speaks into a cellular phone.  This is SIMON.  He is darkhaired, and fairly good-looking in an off-beat way.  He isunshaven and his clothes look slept in.  He glances around ina furtive manner.SIMONI can't talk long.  Can you meetme for lunch tomorrow?  I mustsee you.122   INT. HELEN'S OFFICE - DAYNOW WE SEE HELEN, at her office.HELENYes.  I suppose so.  Where?SIMONThe same place.  One o'clock.  Ihave to go now.  See youtomorrow.  Remember, I need you.123   INT. LISTENING ROOM - DAYThe last line is played ON HARRY, reading.  Now he is seeingthe proof in black and white.  He slowly crumples the paper inone hand, his  dark.124   INT. TASKER HOUSE - NIGHTHelen is reading in bed.  She glances up as Harry comes intothe room.  Gives  him a quick smile.  Too quick.HARRYI thought we might have lunchtomorrow.HELENI can't, honey.  I promisedAllison I'd go shopping with her.Sorry.Harry watches her smoothly lying to him.  It's surreal to him.HARRYNo 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 thepoor dog along twice as fast as his little legs will go.         *127   EXT. SIDEWALK, BY GIB'S CAR - NIGHTHe 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.GIBLook, Harry.  I know this isrough.  I felt the same way thefirst time it happened to--Harry holds up one finger.  His eyes and  are sointense, 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.                        *128thru   OMITTED                                                          *129130   INT. / EXT. HELEN'S CAR - DAYTIGHT ON THE PURSE sitting on the seat next to her as Helendrives through the city.131   INT. / EXT. N.D. SEDAN - DAYHarry drives while Gib watches--132   INT. SEDAN, CLOSE UP ON MAP - DAYA COMPUTERIZED MAP below the dash.  Helen's purse appears as amoving blip on a street-map of the city.133   INT. / EXT. SEDAN - DAYGIBOkay, she's turning onSeventeenth.  Make a left, youshould see her.Harry makes the turn.HARRYThere she is.134   EXT. PARKING LOT - DAYUp ahead they see Helen's RED ACCORD pulling into a parking lownext to a CAFE.  Harry parks the car a block away and gets outhis binoculars.135   EXT. HELEN'S CAR THROUGH BINOCULARS - DAYHARRY'S POV through the scope.  Helen gets out of her car andlooks around as she walks to the cafe.  It is not a nervouslook, but it is clear she is making sure she is not followed.She goes inside.136   INT. SEDAN - DAYHARRYGive me audio.Gib hits a switch and they hear the clamor of the cafe at lunchrush come over a speaker.137   INT. CAFE - DAYThe restaurant is nothing fancy.  A little dark.  Helen makesher way to a booth in the back.  Sitting in the shadows, facingthe door, is SIMON.  She sits down opposite him.  He doesn'tsmile or kiss her in greeting, but glances around the room likehe expects a threat to leap out at any moment.SIMONAre you sure you weren'tfollowed?HELENI kept looking back, like youtaught me.  I didn't see anyone.SIMONOkay.  It's just, things are abit hot for me right now.  If Iget a signal...(holds up a cigarettelighter meaningfully)I may have to leave suddenly.HELENI understand.SIMONIt's my job to risk my life, butnot yours.  I feel bad aboutbringing you into this, butyou're the only one I can trust.Simon creates an atmosphere of danger.  His haggardness givehim an air of mystery and desperation.HELENWhere were you?  On a... uh,                           *mission?SIMONSsshhh!  We say Op.  Covert                            *operation.  And this one got alittle rough.HELENWorse than Cairo?                                      *SIMONCairo was a day at the beach next                      *to this.138   INT. SEDAN - DAYHarry and Gib turn to each other, shocked with the dawningawareness.GIBGuy's a spook!HARRYYeah, but for who?                                     *GIBHe could be working her to get toyou.Harry waves his hand, silencing Gib.INTERCUT FROM HERE ON BETWEEN HARRY/GIB AND HELEN/SIMON.139   INT. CAFE - DAYSIMON puts a newspaper on the table, sliding it over to Helen.SIMONDid you read the papersyesterday?HELENYes.SIMONSometimes a story is a mask fora covert operation.  See-- twomen killed in a restroom, and twounidentified men in a running                          *shootout, ending at the                                *Marriot...140   INT. SEDAN - DAYHARRY AND GIB react, realizing that it is the story of theiroperation gone awry.141   INT. CAFE - DAYHELENThat was you?!SIMONYou recognized my style.  See,you're very good.  You're anatural at this.142   INT. SEDAN - DAYHarry starts to get it.  Then is dawns on Gib.GIBThe guy's a fake!  He's takingcredit for our moves.143   INT. CAFE - DAYHELEN LEANS CLOSE TO SIMON.  She clearly is hanging on hisevery word.HELENTell me what happened?SIMONI'm sorry, I can't.HELENYou can trust me completely.SIMONI know.  But it would compromiseyour safety too much to knowcertain things.HELENRight, of course.  I was worriedwhen I didn't hear from you thatnight.SIMONIt's strange.  I knew I was in awoman's thoughts when I wasshooting it out with thoseassassins.144   INT. SEDAN - DAYHARRY REACTS to the outrageous fabrication.GIBUnbelievable.145   INT. CAFE - DAYBUT HELEN is eating it up.HELENWere they trying to kill you?                          *SIMONThree of them.  Hardly worth                           *talking about.  Two won't bother                       *me again.HELENAnd you chased one?SIMONSomething came over me, I justhad nail him, no matter what the                       *risk.  It was pretty hairy.  Ithought he had me, a couple of                         *times.  But I really can't takecredit .  .  .HELEN                                        *You can't?                                             *SIMON                                        *No.  It's the training.  It                            *shapes you into a lethal                               *instrument.  You react without                         *thinking.                                              *146   INT. SEDAN - DAYHARRY 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 - DAYBACK TO HELEN AND SIMON as she leans even closer.HELENWhat is it you want me to do?SIMONNot here.  I'll call you andwe'll rendezvous again.(he looks around)We have to leave separately, sowe aren't seen together.  Foryour safety.HELENYou'll call me then?SIMONYes.  Now go.148thru   OMITTED                                                          *155PAGES 66-67 OMITTED                                              *156   EXT. STREET/CAR LOT - DAYSimon is cruising in the Corvette with the radio blasting.Thinking he is supercool.157   EXT. USED CAR LOT - DAYSimon pulls into a used car lot, which is a run-down place.  Ahodge-podge of makes and models, a few that might aspire to beclassics.Simon backs the Vette into an open space on the front line.  Hereaches into the back seat and pulls out a dayglo sign showingthe SALE PRICE of the car.  He sticks it back on the dash.  Thecar doesn't even belong to him!158   EXT. ACROSS THE STREET FROM CAR LOT - DAYHarry and Gib pull up.  They watch as Simon jumps out of theVette 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 ispainful.Harry's eyes are slitted down lethally as he stares across thestreet.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 fromthe deck.PULL BACK to see Simon on the phone, talking loud, as if overthe din of a real place.SIMONIt's a great little bar, Amanda,you'd love it.  Beirut's a greatplace if you know the city.                            *Listen, this isn't a secure line.I'll tell you all about it whenI get back tomorrow... if I live.(pause)Scared?  Never!  Except of you--During this, the owner of the place, DOUG WURTZ, has come outof 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 seeshim coming and speeds up his rap.SIMON--I have to go, baby.  A guy'scoming toward me--Doug grabs the phone out of his hand and slams it in thecradle.DOUG                                         *Simon, look out there.  You seethat man?  Notice how he'slooking at the cars.  He's calleda customer.  I know it's been awhile, but do you remember whatyou're supposed to do when wehave a customer?160   EXT. CAR LOT - DAYSimon bounces jauntily up to Harry, talking before he's evenreached him.SIMONIt wants you too.  Feel itvibrate?  How about a littlespin?Simon opens the passenger door and sits Harry inside, then runsaround the car.  He leaps over the closed door into thedriver's seat and starts the car.SIMONYou gotta jump in.  That's rulenumber one.  It takes a littlepractice, but there's no wayaround it.161   EXT. STREET - DAYSimon swings the car out onto the boulevard, kicking back.SIMONSee, it's not just the car, it'sa total image.  An identity youhave to go for.  This isn't somehigh-tech sports car...  itdoesn'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.SIMONWhat're we talking about here?Pussy, right?HARRYAbsolutely.Simon laughs.  Harry laughs.  A big lusty, male-bonding kind oflaugh.SIMONWell then this is a vital pieceof equipment.  Used properly, itcan change your life.  See, youcruise.  No racing.  This ain'ta Ferrari.  You check out thescenery, let the scenery checkyou out.  You got to take itslow.  Old cars are like goodwomen... they heat up fast.How do you grin warmly while your eyes are so cold?  Ask Harry.HARRYKeep talking.CUT TO:162   EXT. TACO STAND - DAYSimon is holding court.  Over tacos, he waxes eloquent on hisgreatest area of expertise.  We see Harry laughing, going alongwith the guy.  Pretending to bond.SIMONLet's face it, Harry, the Vettegets 'em wet.  But it's notenough.  If you want to reallyclose escrow, you gotta have anangle.HARRYAnd you've got one.SIMONIt's killer.  Look at me-- I'mnot that much to look at.  Noreally.  I can be honest.  But Igot 'em lining up, and not justskanks, either.  Some are.HARRYSo what's your angle?SIMONSorry.  Trade secret.HARRY(grinning)Sure.  Set me up and then don'ttell me.Simon leans forward, conspiratorially.SIMONOkay, just ask yourself.  What dowomen really want?  You takethese bored housewives, marriedto the same guy for years.  Stuckin a rut.  They need somerelease.  The promise ofadventure.  A hint of danger.  Icreate that for them.HARRYSo you're basically lying yourass off the whole time?  Icouldn't do it.SIMONWell, think of it as playing arole.  It's fantasy.  You have towork on their dreams.  Get themout of their daily suburban grindfor a few hours.HARRYIsn't that hard to keep up, inthe long run?SIMONDoesn't matter.  I like change.You know, constant turnover.  Assoon as I close the deal, it'sone of two more times, thenadios.HARRYUse 'em and lose 'em.SIMONExactly.  The trick is, you gottapick your target.  They have tobe nice little housewife types.School-teachers.  But, I'mtelling you, you get their pilotlit, these babes, they can suck-start a leaf-blower.HARRYWhat about the husbands?SIMONDickless.  If they took care of                        *business, I'd be out of business,know what I mean?HARRYThose idiots.163   EXT. STREET/ VETTE - DAYThey are cruising along, with Harry driving this time.HARRYYou working on someone right now?SIMONI always have a couple on thehook.  You know.  There's oneright now, I've got her pantinglike a dog.  It's great.Unconsciously, Harry's hands clench the wheel tighter.HARRYWhat does she do?SIMONSome kinda legal secretary ofsomething.  Married to someboring jerk.Harry takes a corner too fast.  The tires squealing.SIMONAnd she could be so hot, if shewanted to be.  She's like a dyingplant that just needs a littlewater.When Simon is looking, Harry is open and encouraging...  theylaugh together... then when he looks away Harry goes snake-eyed.  He could kill Simon with one punch.  He's visualizinghis wife getting porked by this guy.HARRYBut with you, she gets to be hot,right?SIMONRed 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 bigquestion: HAVE THEY OR HAVEN'T THEY?HARRYSooooo... she's pretty good inbed, then?SIMON(yelling suddenly)Hey, slow down you're gonna missthe turn!164   EXT. USED CAR LOT - DAYHarry comes barrelling into the lot at forty.  He cranks thewheel and hits the emergency brake, slewing the car into asmoking bootlegger-180.  It screeches backward, sliding rightinto its parking space perfectly.Simon is bugeyed.  But he is non-plussed for only about twoseconds.  Then he's back to selling.  He scrambles out and goesaround to Harry, coughing in the cloud of tire smoke.SIMONSee.  You and this car were meantfor each other.  Why fight it?Sure, I have a couple otherbuyers lined up, but I like yourstyle.  Whattya say?  Should westart on the paperwork?HARRYLet me think about it.  Hold ita day for me?Simon grins and winks.SIMONBecause it's you.165   INT. TASKER HOUSE - NIGHTDana is in the living room, watching TV when she sees hermother cross through, dressed to go out.HELENDinner's in the warmer.  Tellyour father I may be late.DANAWhere are you going?HELENOut.Dana is momentarily puzzled by the reversal of roles.166   INT. ENTRY WAY - NIGHTON HELEN, checking herself in the hall mirror.  She looks ather big dowdy purse.  Hating it suddenly.  She pulls herpocketbook out and rummages on the top shelf of the hall closetfor a small handbag, then charges out.167   OMITTED168   INT. / EXT. SEDAN - NIGHTHarry is driving.  Gib pulls a sheaf of pages out of hisbriefcase and hands them to him.GIBHere's today's transcripts.There's nothing interesting.SIMONNothing 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'sside.  Gib gets out, his  blank.HARRYGive me the page.GIBWhat are you talking about?HARRYIt skips from page nine toeleven.  Where's page ten?GIBAw, it's gotta be a typo--HARRYGIVE ME THE GODDAMN PAGE!!Harry hammers his fist against the car-window right next toGib.  It explodes inward in a shower of glass.GIB(shrugging)Okay.  Here.He fishes a crumples sheet of paper out of his pocket.  Harrygrabs it from him, straightening it.GIBJeez, Harry.  Seek help.As Harry begins to read, we go into FLASHBACK.169   INT. USED CAR LOT OFFICE - DAY/FLASHBACKON SIMON - He is talking into the phone in hushed, urgenttones.SIMONHelen.  I need your help.  Canyou meet me tonight?INTERCUT WITH HELEN at her office.170   INT. HELEN'S OFFICE - DAY/FLASHBACK/INTERCUTHELENWhat's happened?SIMONIt's serious.  That's all I can                        *say.  Just meet on K Street under                      *the Key Bridge.  At eight sharp.                       *171   INT./ EXT. SEDAN - NIGHTBACK TO THE PRESENT.  Harry checks his watch.                    *HARRYShit!  It's almost eight.                              *He jumps back in the car and activates the GPS locator.Helen's purse-blip flashes on the grid map.HARRYShe's still at my house.                               *GIBThe purse is still at the house.172   INT. SEDAN - NIGHTHarry growls and slams the car into gear, roaring out intotraffic.  Horns honk as he cuts off people.  He is oblivious.He grabs his rover.HARRYUnit Two?  Unit Seven?172A   CUT TO -- FAISIL AND AGENT WEBSTER IN THE UNIT SEVEN VAN         *FAISILSeven here.172B   CUT TO -- AGENT MORTON IN UNIT TWO CAR                           *UNIT TWOThis is Two.172C   INT. SEDAN - NIGHT                                               *HARRYImmediate roll.  Acquire subjectat K Street and Key Bridge.                            *Vehicle is red-and-white                               *convertible.  You have sixminutes.FAISILRoger, One.  Rolling.UNIT TWOCopy that.GIBWait a minute!  Are you out ofyour mind?  You can't pull agentsoff a priority surveillance tofollow  your wife!    It's grossmisappropriation of Sector'sresources, it's...  it's a breachof national security.Harry drives on, ignoring him.  Gib grabs his shoulder, shakinghim.GIB                                          *You copy, Harry?  This is toofar.  You're losing it big-time.I have to stop you.HARRYWhatya going to do?   Tell?GIBGoddamnit, Harry.  This is ourbutts.  So your life is in thetoilet.  So your wife is banginga used car salesman.  Sure it'shumiliating.  But be a man here--HARRYYou tell on me, I tell on you.GIBWhatya talking?  I'm clean as apreacher's sheets, babe.  Cleanas a --HARRYWhat about that time you trasheda six-week operation because youwere busy getting a blow-job?GIB(instantly contrite)You know about that?Harry turns to him.  His glare could melt metal.  Gib gives afatalistic shrug.GIBTake Franklin, it's quicker.Harry makes the turn, squealing tires.GIBYou don't have any picturesthough, do ya.  Huh?                                   *173   EXT. BRIDGE - NIGHTHelen 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 seesheadlights flash briefly in the shadows.A red-and-white Vette emerges from the darkness and pulls upnext to her.  Simon motions for her to get in quickly.174   EXT. PARKING LOT - THROUGH BINOCULARS - NIGHTLONGSHOT  on Simon and Helen in the Vette, coming out of theparking low under the bridge.  We are watching them through asophisticated telephoto night-vision device.175   INT. UNIT TWO SEDAN - NIGHTAgent MORTON lowers the SCOPE and picks up his rover.  He puts   *the car in gear to follow.MORTONTwo here.  Subject is southboundon Key Bridge.  A man and a woman                      *in the vehicle.HARRY (RADIO)Roger's two.175A   INT./EXT. SIMON'S CARSimon makes a show of checking the mirrors.SIMONNow don't be alarmed... but ifI'm spotter, it would be best ifthey don't see you.  You shouldkeep your head down until we'reout of the city.He pushes her head down onto his lap.  She crouches there, withher cheek against his thigh.  He's cruising along, loving it.176   INT. HARRY'S CAR - NIGHTGib 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 theguy's lap.Harry is doing a jaw-clenched slow burn.HARRYRoger, two.  One to Condor, doyou have visual?177thru   OMITTED183184   EXT. HIGHWAY LEAVING CITY - NIGHTIt is a highway heading away from the city.  IN A LONG LENSSHOT, the Vette appears over the brow of a hill.  A momentlater A HELICOPTER rises up behind them, A DRAMATIC REVEAL.  Itfollows the Vette.CONDOR (VOICE OVER/RADIO)This is Condor.  We have theball, repeat... we have a goodlock-up on I.R.CUT TO: INFRARED VIEW of the Vette, from the helicopter's FLIRsystem.  The greenish, image-intensified view of the car islike daylight.185   OMITTEDPAGES 79 - 80 OMITTEDEXT. HELICOPTER - AERIAL SHOT - NIGHT                          186Down past the helicopter, to the Vette on the highway belowas they head out into the country.OMITTED (187)                                                  187EXT. TRAILER PARK - NIGHT                                      188The headlights of the Vette light up a ratty single-widemobile home, on the outskirts of a TRAILER PARK off thehighway.  Simon and Helen get out of the car.SIMONMy place in the city is toohot right now.  So is thepenthouse in New York.  Butthis place is secure.He takes her inside.OMITTED (189)                                                  189INT. SIMON'S TRAILER - NIGHT                                   190Helen feels awkward in the small, junky space.  A tape deckis playing cool jazz.  Simon hands her a glass of cheap wine.He clinks her glass with his.SIMONTo our assignment.HELENWhat is it you need me to do?SIMONHelen, I want you to be my wife.HELENI'm married!SIMON(quickly)Just for the operation in Paris.I need to be married.  They'll belooking for a man travelingalone.HELENWe're going to Paris?SIMONHelen, there's a double agent inmy outfit... I don't know who.There's no one I can trust.Except you.  Can you get away?Just for two days.HELENI don't know.  I have to think...SIMONHere.  Sit down.  Be comfortable.He clears a place for her on the bed, shoving clothes andmagazines out of the way.  She sits down and he tops off herglass from the wine bottle.191   EXT. BILLBOARD AND TRAILER PARK - NIGHTThe agents have gathered behind a billboard.  Harry, Gib and     *the other three agents have donned black jumpsuits.  Theyfinish 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 - NIGHTHelen looks up at Simon and nods slowly.HELENOkay.  I'll do it.Simon shoots over and sits next to her, taking her hand.SIMONYou are incredibly brave.  I haveto remind myself the fear youmust be feeling.  I've lived likethis for years, so I'm used toit.  Every day when I get up, Ithink it might be my last.  Butit makes you appreciate life.And the moment.  Because that maybe all you have.He moves a little closer.  Casting his spell.SIMONTo pull this cover story off, wehave to look exactly like twopeople who are intimate with eachother.  The enemy can spot a fakeeasily.He puts his hand on her knee.  She tenses up instantly.SIMONYou see what I mean?  Thatreaction would give us away in asecond.  Try to relax.HELENIt's just that... it's beensixteen years since anyone butHarry did that, I--SIMONRelax.  There, that's better.Let yourself slip into the role.He puts his other arm around her shoulders and pulls her slowlyinto a kiss.  This doesn't seem real to Helen.  She findsherself not pulling away.  He lowers her slowly until they arelying together on the bed.SIMONThere you go.  That's right...He slides his hand up her thigh.  The fingers, stroking inlittle circles, slips under her skirt.  And--She suddenly EXPLODES, pushing on his chest, forcing him up offher.HELENNO!  Stop!(he keeps kissing her)Get off me RIGHT NOW!Simon struggles with her.  She gets one knee up under him andlevers him up.  She pushes him to a standing position.  Shesits up on the bed, straightening her skirt.He looks forlorn and pathetic.  Now he's going to trypleading...SIMONIf not for me, do it fordemocracy.193   INT. / EXT. TRAILER - NIGHTKABOOM!!  The back wall of the trailer is blown outward by tinyshaped-charges.  The concussion throws Simon forward on top ofher.  Five BLACK-SUITED FIGURES swarm in, carrying machinepistols and flashlights.194   INT. TRAILER - HARRY'S POV - NIGHTLit by the beam of the flashlight, he sees Simon on top ofHelen, her knees up on either side of his hips.  It looks bad.Simon and Helen sit up... stunned.  They look like two rabbitsin the headlights of a truck.  She screams.195   INT. TRAILER - ON SIMON - NIGHTReacting as all his years of bullshit have suddenlymaterialized as a nightmarish reality.  He is stunned.Blinking, mouth hanging open.196   INT. / EXT. TRAILER - SIMON'S POV - NIGHTWHAT SIMON SEES -- Five demonic figures, backlit by the XENONLIGHT 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 - NIGHTGib comes out first with Helen.  She struggles like a wildcat,frankly surprising the hell out of Harry.  Simon is broughtout, dazed and compliant.  Helen whips around, KNEEING GIBright in the balls.  Gib OOPHS and doubles over, and Helen runsfor it.Harry leaves Simon with the other agents and runs after Helen.She sprints through the trees, Harry pounding after her.  Hegrabs her and gets her in a headlock.  She bites the hell outof his arm.  Harry yells and lets her go, just as-- Keough runsup and matter-of-factly clips her on the head with his weapon.Standard operating procedure.  Which is why he can't understandwhy Harry punches him, knocking him down.Harry supports a sagging Helen, gesturing sharply to the otheragents and going RRRRR-RRRR to make his point (since he can'ttalk without her recognizing his voice).  They head for thecars.CUT TO:198   INT. INTERROGATION ROOM/OBSERVATION CHAMBER - NIGHTAn empty room with a single stool under a light, and a largetwo-way mirror.  The door opens and Helen is escorted in byKeough, still wearing his jumpsuit.  Helen has a black hoodover her head.  Keough undoes a pair of handcuffs, freeing her,then leaves quickly.Helen whips the hood off and blinks in the light.  She wheelsat the sound of the door locking and runs to it.  Pulls twiceon the handle, without effect.  She crosses to the mirror andpeers at her reflection, trying to see if anyone is there onthe other side.199   INT. OBSERVATION ROOM - NIGHTON THE OTHER SIDE OF THE GLASS is a dark chamber.  We see Helenperfectly, peering in, though she sees nothing.  Harry and Gib,in silhouette, sit at a console.  Harry speaks into amicrophone.HARRYSit down.200   INT. INTERROGATION ROOM - NIGHTON HELEN'S SIDE of the mirror we hear Harry's voice shifted bya 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?HELENKettleman, Barnes and McGrath.I'm a legal secretary.VOICE (HARRY)Of course.  Mrs. Tasker.  Andwhat were you going with theinternational terrorist, Carlosthe Jackal?  Taking dictation?HELENHe said he was an American agent.201   INT. OBSERVATION ROOM - NIGHTINSIDE THE CONTROL room we can see Harry, Gib and, through theglass, Helen.  Their voices sound normal on this side.HARRYHow long have you been a memberof his faction?HELENI don't know anything about afaction.  I just met Simon...  orwhatever his name is...  a coupleof weeks ago.  I barely know him.GIBThat's not what it looked likewhen we found you.Harry scowls at Gib in the dark.  Helen flushes, remembering.HARRYHow did you meet him?FLASHBACK SEQUENCE:202   INT. MALL - DAY/FLASHBACKWe 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 themall, having coffee...Simon appears behind her, sort of stalking up to her.  Heapproaches quickly the last few steps and slips into the seatnext 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 affordto be taken with it.  Nationalsecurity is at stake.  I'llcontact you if a can.  Okay?  Oh--He seems to suddenly spot something OFF CAMERA and dashes offthe other way.203   EXT. BUSINESS DISTRICT - DAY/FLASHBACKHelen walks back to her office building, carrying thebriefcase.  She keeps looking over her shoulder.204   INT. HELEN'S OFFICE - DAY/FLASHBACKShe has the briefcase on her desk while she works.  She keepsglancing at it as she types.  Finally she hunches over it andstarts 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, someloose tapes, some circuit diagrams, some transcripts that looklike gibberish which must be ENCRYPTED, some street maps ofBeirut, Rome and Berlin, and a Walther P.P.K.  PISTOL.  Helen,eyes wide, closes the case.205   INT. INTERROGATION ROOM - NIGHT / PRESENTHelen shrugs, finishing up her story.HELENI should have gone to the police,I suppose.GIBBut you didn't.  Why not?HELENI don't know.  I guess... Iwanted to see what would happen.HARRYWhat did happen?HELENThree days later, he called me.He told me to meet him atOverlook Park.206   EXT. OVERLOOK PARK - SUNSET/FLASHBACKThrough the trees is a sweeping view across the Potomac toGeorgetown and Embassy Row.  Helen is sitting on a park benchwhen Simon shows up, sitting beside her.  She hands him thebriefcase.SIMONThank you.  You saved my life.What's your name?HELENHelen.SIMONYou can call me Simon.(he touches her hand)You're very brave to do this...(then notices the lockshave been opened)You opened it.HELENI just glances inside.207   EXT. OVERLOOK PARK - CLOSE UP ON SIMONCLOSE ON SIMON, looking right into her eyes.SIMON(solemn)Then you know.208   INT. INTERROGATION ROOM - NIGHT / PRESENTHarry shakes his head and rubs his eyes, picturing the wholething.HARRYWhy did you continue to see him?HELENHe needed my help.HARRYNot because you were attracted tohim?HELENNo.HARRYYou weren't attracted to him atall?HELENWell, maybe a little.GIBIs this a common thing for you?Cheating?HELENNo!  Never!GIBSo, it was your first time.HELENI wasn't cheating!HARRYTell me about your husband, MrsTasker.HELENHarry?  What can I say aboutHarry?  He's a sales rep for acomputer company.HARRY(hard question for him)Would you say he was boring,then?HELEN(she sighs, noddingfatalistically)Yeah.  I suppose he is.GIBSo sex with him isn't exactlymaking your flag wave anymore.Harry cuffs him on the shoulder.  Signals with a scowl for himto stay out of it.  Gib smirks.  Harry's put him through enoughshit the last couple of days, it's time for a couple digs.HELENThat's none of your goddamnbusiness!  What kind of questionsare these?HARRYYou're in a lot of trouble, Mrs.Tasker, so I suggest youcooperate.  If we want to knowthe most intimate details of yourlife, you'd better tell us.Helen glowers at the mirror.  Her hands are shaking and shehates it that they can probably see she is afraid.HELENMy husband is a good man.GIBBut he's not exactly ringing yourbell lately, right?  I mean--Harry covers the mike and whips around on Gib.HARRYLet me handle this part.  Do youmind?(to Helen)Why did you go to Carlos'hideout?HELENHe wanted me to go with him on amission, to pose as him wife.HARRYAnd you agreed?HELENYes.HARRY(amazed)Why?Helen searches herself for the explanation.HELENI don't know.  I guess I neededsomething...HARRYWhat did you need?HELENI needed to feel alive.  I wantedto do something...  outrageous.And... I don't know... it feltgood to be needed.  To betrusted.  To be special.In verbalizing it she just feels smaller, more pathetic thatshe ever did.  She hates the unseen voices for making for tryto explain her deepest, unvoiced needs.HELENThere's so much I wanted to do inthis life, and it's like Ihaven't done any of it.  And thesand's running out of thehourglass.  I want to be able tolook back and say:  See!  I didthat.  It was wild and it wasreckless and outrageous and Ifucking did it!(she glares at themirror)And I frankly don't give a shitif you understand this or not.Gib looks at Harry, eyebrows raised.  Whew!  Harry is studyinghis wife like she's some fantastic new species.HARRYThis Simon.  Did you sleep withhim?HELENNo.GIB(covering the mike)She's lying.HARRYYou didn't have sexual relationswith him?HELEN(acidly)Look, if you ask me everythingtwice, this is going to take areally long time.  And I have toget home to my family.GIBYou're not going anywhere.Helen loses it.  It is fury and fear, tears and rage all atonce--HELENLet me out of her!  Right now!HARRYAnswer the question--She picks up her stool and charges toward the mirror, swingingit 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 chickenshitbastards--WHAM!  She hits the mirror again.GIB (INHUMAN VOICE)Everyone tries.  It'sunbreakable.WHAM!  WHAM!  WHAM!  The mirror suddenly stars from side toside with huge cracks.  She's about to beat her way through it.209   INT. OBSERVATION ROOM - NIGHTINSIDE THE OBSERVATION ROOM Harry and Gib jump back.GIBShe 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 furyspent, she begins to cry.HELENWhat?HARRYDo you still love your husband?HELEN(softly)Yes.HARRYLouder please.HELENI love him.  I have always lovedhim and I will always love him.(she wipes at her eyes)Can I go home, please?210   INT. OBSERVATION ROOM - NIGHTINSIDE THE OBSERVATION ROOM Harry states at her.  He smiles.GIBNow what?HARRY(leaning forward to themike)There is only one solution toyour problem, Mrs. Tasker.  Youmust work for us.GIB(whispering to Harry)Oh shit.  Harry... what're youdoing?HARRY(like: isn't itobvious?)I'm giving her an assignment.(to Helen)I am offerring you a choice.  Ifyou work for us we will drop thecharges and you can go back toyour normal life.  If not, youwill go to federal prison, andyour husband and daughter will beleft humiliated and alone.  Yourlike will be destroyed.HELENOh, gee thanks.  Mmmm, let me see--HARRYYes or no.HELENWhat do you think?  Of courseyes!  What's involved?HARRYYou will be contacted with theassignment.HELENMy husband can't know about this.HARRYNo one must know!  Especiallyhim.  You must appear to liveyour life normally, conveyingnothing.  The security of thisnation depends on it.  Can you dothat?HELENI think so.HARRYThink carefully.  You will belying to the man you love.  Theperson who trusts you the most.HELEN(fearless)I can do it!HARRYThe code name of your contactwill be Boris.  Your code namewill be--HELEN(excited)Natasha?HARRYNo.  Doris.211   INT. INTERROGATION ROOM - NIGHTON HELEN, not liking her wimpy code-name.212   EXT. BRIDGE - NIGHTThe unit-seven van pulls up in the spooky shadows under thebridge, stopping next to Helen's red Accord.  The door slidesopen and Helen gets out, helped my black-garbed hands.  She iswearing her hood, which is whisked off by one of the hands.She whirls in time to see the door slide shut and the van speedoff.  She watches it drive off into the night.213   EXT. ROCK QUARRY - NIGHTThe van pulls up near the edge of a large quarry.  The dooropens and Simon is pushed out, followed by Harry, who is in hisblack jumpsuit and wearing a ski-mask.  Gib follows as Harryguides Simon to the edge of a sheer drop.  Harry whips off thehood and Simon takes in his surroundings.SIMONYeeaoowww!!HARRYYou son of a bitch.  Did youreally think you could elude usforever, Carlos?SIMONWait!  You got the wrong guy.  Myname's Simon.  Look, just let mego.  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 itdawns...  He looks up, brightening hopefully.SIMONIt's you!  Hey, you stillinterested in that Vette at all?GIBYou can drop it now, Carlos.  Thegame is over.  Your career as aninter-national terrorist is toowell documented.SIMONNo... I sell cars.  That's all!Not even foreign cars.  Nothinginternational, I swear.  I'm noterrorist.  Everything I said wasa 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 themuzzle right in front of Simon's eyes.SIMON-- faint.  Aahhh!  Don't kill me.I'm not a spy.  I'm nothing.  I'mnavel lint.  I have to lie towomen to get laid.  And I don'tscore much.  It's pathetic.(he looks down)See, look... would a spy peehimself?Harry is finally sickened by his grovelling.  He pulls Simonaway from the edge, then gestures with his gun.HARRYBeat it.SIMONNo.  Soon as I turn you'll shootme.Harry starts back to the truck.  Simon stays right with him,facing him, terrified to turn away.  Like a dog following him.SIMONPlease don't.  You can have thecar for free--GIBTake off, dipshit!Gib finally shoves Simon back and Harry contemptuously cranksTHREE ROUNDS into the ground by his feet, forcing him to dancebackward.  The two agents get into the van and tear off in acloud of dust.  Leaving Simon alone in the moonlight, milesfrom nowhere.CUT TO:214   INT./ EXT. SEDAN - DAYTIGHT ON LOCATOR SCREEN as a blip moves across the grid of citystreets.  Gib drives while Harry watches the screen.HARRYWe should pick up visual at thenext light.The scrambler phone in Harry's briefcase rings.  He picks itup.HARRYMorning, boss.215   INT. OMEGA SECTOR - DAYINTERCUT WITH SEDAN.  Spencer Trilby stands glowering as hetalks to Harry.TRILBYHarry, this report on lastnight's operation is the thinnestpiece of crap I've ever seen fromyou.  I'm sure you won't mindgiving me a little more detail onwhy all these assets weredeployed.216   INT./EXT. SEDAN - DAYHARRYAbsolutely.  But can it wait?I'm on a critical surveillanceright now.Harry spots something up ahead.  He snaps his fingers andpoints, then whips a pair of gyro-stabilized binoculars to hiseyes.HARRY'S POV THROUGH SCOPE:  Trent, on the Yamaha with Dana onthe back, rides through the intersection up ahead.  Dana bopsto the sound coming over her walkman headphones as Trent zipsbetween cars.  Gib makes the turn, pulling in behind them at adistance.TRILBYHarry.  Is there anything youwant to tell me?HARRY(innocently)No.  Not that I can think of.THE CAMERA PUSHES IN ominously on Spencer Trilby.TRILBYHarry?  You know we never fireanybody.Click.  Harry hangs up the phone slowly.GIBWe're dead, right?  So...where'd you put the transmitter?HARRYIn her Walkman.  It's the onething I knew she'd be taking.217   EXT. WAREHOUSE - DAYHarry walks toward the closed warehouse doors, past Trent'sparked Yamaha.  We hear MUSIC from inside.218   INT. WAREHOUSE - DAYINSIDE THE WAREHOUSE, we see what it is that Dana has beendoing when she skips school.  A garage band of teenagers,mostly older than her, are playing loudly.  Dana has themicrophone, 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 notfar from the stage.  Watching his daughter gyrating in thespotlight.  His reaction is hard to read.219   INT. WAREHOUSE - CLOSE UP OF CIRCUIT-BREAKER - DAYTIGHT ON THE MASTER CIRCUIT-BREAKER as Harry's hand throws theswitch.220   INT. WAREHOUSE - STAGE - DAYThe stage is plunged into darkness and the music stopsabruptly.  Before the band members can react, they hear the bigmetal doors rolling and sunlight blazes in.  Dana stares intothe glare, seeing an ominous silhouette standing there.  Theshadowy figure walks toward them.FIGUREYou! Come with me.The figure comes straight toward Dana.  To her horror is turnsout to be her dad.  Her heart stops.DANAOh my Gooooood.221   EXT. WAREHOUSE - DAYHarry appears through the doors, marching Dana by the arm.  Hewalks her over to some industrial junk nearby, overgrown withweeds, and sits her down for a talk.She is sullen, still mortified from getting dragged out infront of her friends.HARRYThere are going to be somechanges Dana.  You're going tostart following some rules.  AndI'm going to be there to see thatyou do.DANAYeah, right.HARRYYou're going to stay in school.Do you understand?DANAWhy?  So I can wind up like you?What's the point?You think Harry's going to really rain on her parade.  But hedoesn't.  He becomes very tender.  He pushes the hair back fromher face.HARRYDid I tell you about the time wefirst met?She looks up at him, puzzled?HARRYYou were quite young at the time.All wet and still attached toyour mom by a cord.  You openedyour eyes and looked right at me.And I knew then I would alwayslove you with all my heart.Dana stares at her father with a dawning awareness.  This isnot just some chump that she has to put up with.  This is herfather.  He is a part of her.  No matter what happens they arein this thing together.  Tears start to run down her cheeks.HARRYSomewhere along the way I gotlost, honey.  I forgot about whatwas really important.  I'm sorrypump-- I mean--She grabs his in a fierce hug.  Harry closes his eyes, lettingthe moment purify him.HARRYDana, regarding this singing--She pulls back, suddenly wary.  Oh shit.HARRY(grinning)You were pretty good.222   INT. / EXT. SEDAN - DAYDana sits wedged into the front seat between Gib and Harry.Father and daughter are singing raucously loud, with thewindows down.HARRY/ DANAI've been waiting so long To bewhere I'm going In the sunshineof your loooooveThey crack up after the long sustain.  They are both suffusedwith a glow of rediscovery.  Harry pulls the car to the curb infront of Dana's school.DANADad, how come you know the words?HARRYHoney that song came out in 1968,when I was exactly your age.DANAUnbelievable!  Trent told me hewrote it.  He's history.223   INT. TASKER HOUSE - NIGHTThe image of a family dinner.  Helen is avoiding Harry's eyes.Harry looks over at Dana and she gives him a tiny smile.  Thenshe rises from her half-finished dinner and heads out of thekitchen.DANAI'm done.HELENWhere are you off to young lady?DANA(pointing toward herroom)I have a book report.Helen watches her go.  That's strange.HARRYSo last night was prettyexciting, huh?HELEN(alarmed)What?(then smoothly--)Oh, the flat tire?  Yeah, Ithought the damn towtruck wasnever going to get there.Harry smiles, reaching for more chicken.  The phone RINGS.Helen controls the urge to run to it.HELENHello?METALLIC VOICEDoris?HELENOh.  Yes?224   INT. OMEGA SECTOR - NIGHTGIB, AT OMEGA SECTOR, uses the SPEECH SYNTHESIZER to disguisehis voice.GIBListen carefully.  Go to theHotel Marquis in one hour.  Pickup an envelope marked Doris atthe front desk.  And dress sexy.225   INT. TASKER HOUSE - NIGHTBACK ON HELEN as she reacts to that.HELENWhat?VOICEGet going!(CLICK)HELEN(thinking for a second,then--)Uh... well, okay then.  You soundterrible.  I'll run out rightnow.  Just call the prescriptionin to the pharmacy.  Sure, noproblem.  Bye.Harry smirks, listening to her lie.  She's good.  The smirkdrops as she turns.HELENAllison is sick in bed.  I haveto go over there, honey.HARRYSure, hon.She walks unhurriedly out of the room.  Behind her back, Harryis grinning.  The second Helen is out of his sight line, sheruns up the stairs.  Harry waits a moment then picks up thephone.226   INT. OMEGA SECTOR/ ELECTRONIC LAB -- NIGHTGib is in a corner of the electronics lab, in an area dedicatedto DIGITAL AUDIO PROCESSING.  The phone in his briefcase rings.Gib answers.GIBYou've reached a new low withthis one.  I can't believe you'recrazy enough to use the room atthe Marquis.HARRYWhy not?  You think I can afforda 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.GIBNot quite.227   INT. OMEGA SECTOR - INSIDE THE BOOTH - NIGHTWe 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.  Veryslowly.228   OMITTED                                                          *229   INT. HOTEL MARQUIS - NIGHTA big luxury hotel downtown, with an opulent lobby.  Helenenters, looking different than we have ever seen her.  She hasbeen commanded to be sexy, and she is.  Her black slinky dressis cut at mid-thigh, showing some good legs we haven't beenaware of.  She's pulled her hair back and added pearls.  Nowshe looks elegant and hot.  Playing the role.230   INT. HOTEL - FRONT DESK - NIGHTShe goes to the front desk and signals the ASSISTANT MANAGERwith her eyes.  He comes over to her.HELENDo you have an envelope forDoris?The man nods.  Saying nothing, he reaches under the counter andhands her the envelope.  She opens it as she walks across thelobby.  In contains a room key, a small bugging device, and aphone number.231   INT. HOTEL LOBBY - NIGHTTIGHT ON A PAY PHONE as Helen finishes dialing the number.  Shescans the lobby as the phone rings--METALLIC VOICEListen.  You are a prostitutenamed Michelle.  Go to the room.A man will be there.  He is asuspected arms dealer.HELENDo I have to... you know-- ?VOICENo.  He has particular tastes.He likes to watch.  You will sayhis regular girl, Carla, is sick.If he likes you, he will tell youwhat to do.  You must plant thebug near the telephone, by thebed, before you leave.  If you donot accomplish your mission, thedeal is off.232   INT. HOTEL/ TENTH FLOOR - NIGHTHelen exits an elevator and walks down the long hallway towardthe suite.  She stops by a mirror and checks her look.  Decidesshe is too uptown.  She pulls the neckline of her dress down soit shows more shoulder, then hitches up the hem.  Ditches thepearls.  Puts on some red lipstick.Now she doesn't look hot and elegant... just hot.  Shepractices a slinky walk, getting into the role.Suddenly she remembers her wedding ring.  She pulls on it.  Itprobably 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 andunlocks the door.233   INT. SUITE - NIGHTHelen comes in hesitantly.  The lights are off.  The suite islarge and richly furnished, with a breathtaking view of thecity.  It is the room Harry was using, posing as Renquist.  AFRENCH-ACCENTED VOICE comes from the next room.VOICEIn here.She goes into the bedroom.  There is a dark figure sitting ina chair, just a silhouette.MANStep 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 ina slash of moonlight.  She steps forward into it.TIGHT CLOSE UP on the figure.  We can just make out that it isHarry, though Helen cannot.  TILT DOWN to show his hand, out ofsight behind the chair-arm, as he manipulates the pause buttonon the DAT tape deck.HELENI'm Michelle.  Carla's sick.  Shethought you might like me, so --Harry goes SSSSHHHH.  Silencing her gently.  He silently clicksoff the PAUSE button.  The DAT recorder plays.  Charles Boyer,deep and hypnotic, speaks from Harry's outline.  Harrylipsynchs.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.  Veryslowly.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 byone.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 betastefully done).  She conceals the bugging device in her handas she sets her clothes on the bed near the phone.  Helen isstill concentrating on her mission.HARRY (TAPE)Now turn, cheri, in themoonlight.  Let your body flowlike 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 herraw vulnerability are a quiveringly powerful eroticcombination.HARRY (TAPE)Let your hands be a lover's handson your own skin as you move.Yes, that's it.TIGHT ON Harry's eyes as he studies her.  His game, meant togive her a dangerous fantasy, is actually turning him onmightily.  He is amazed to see her playing the role, gettinginto it.  This is not the Helen is thought he knew for sixteenyears.HARRY (TAPE)Now, lie on the bed and closeyour eyes.She does.  Harry rises and goes to her, bringing the tape deck.HARRY (TAPE)Keep them closed.  Do not openthem.He sits on the bed, next to her, but without touching her.  Hestrokes her hair, lovingly.  Then runs his fingertips over hereyes, down her cheeks.  To her it feels delicate and delicious.Part of her is enjoying this a lot.  But Helen is torn betweenwanting to flee and knowing that nothing the man has done sofar is enough to cause her to abort her mission.HELENI thought you only liked towatch.Harry goes SSSHHH.  It's all he can do.  He bends over her andbrings his lips slowly down to her.  He touches them to hers soslowly that she barely knows he is kissing her.  Then he takesher in a passionate kiss.And she grabs the lamp on the bedside table and SMASHES IT OVERHIS HEAD.  Harry flies off onto the floor, groaning andsemiconscious.Helen flips on the light and grabs her clothes, starting todress rapidly.  She still doesn't recognize Harry, who is facedown.  He groans and starts to rise.  She kicks him in the ribsand finishes putting her dress on.  She sticks the bug underthe 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 evenform the question.HELENHarry-- ?!234   INT. SUITE DOOR - NIGHTCRASH!!  The door lock is shattered by tremendous force andTHREE MEN burst into the room.  We may recognize them asworkers from Juno's shop.  They are wielding pistols and areclearly part of Malik's terrorist brigade.Harry is still groggy, and he doesn't want to start anythingwith Helen there, and risk her getting shot.  He acquiesces asthey pull him to his feet.HELENHe's got nothing to do with this.It's me you want, right?HARRY(to lead TERRORIST)Let the hooker go.  She's notimportant.HELENHarry, be quiet.  Let me handlethis.LEAD TERRORISTShutup, both of you.During this exchange, the thugs have handcuffed Harry's handsbehind his back.  The leader gestures to one of the men tobring Helen along.  Helen and Harry are dragged roughly out ofthe room with pistol-muzzles stuck in their ribs.235   INT. STAIRWELL - NIGHTThe door from the corridor bangs open and the thugs hustleHarry and Helen down the fire-escape stairs.HELENListen, you don't need him, he'snothing.  He's a sales rep for acomputer company, really--The thug leader cuffs her across the head to shut her up.HELENThat was unnecessary.236   INT. HOTEL BASEMENT - NIGHT                                      *A stairwell door opens and the terrorists rush Harry and Helen   *through the basement labyrinth.                                  *HELENWhat were you doing there?HARRYYou wouldn't believe me.A pistol muzzle is jammed hard behind Helen's ear.TERRORIST LEADERTalk 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 - NIGHTThe rental van pulls up to a G-3 JET warming up outside aprivate hanger.  The van doors open and the hostages arebrought out.  Harry sees a long black LIMO pulling up behindthe van.  The driver, an enormous man names AKBAR, hurries toopen the passenger door.  A slender pair of ankles emerge,followed by the rest of Juno Skinner, looking devastatinglybeautiful but now quite sinister.To Helen it is like a living James Bond film, with the jet, thelimo, the terrorists, and now an exotic femme fatale, dressedto kill, approaching them.JUNO(with a wry smile)Hello, Harry.HARRYJuno.  I wish I could say it's apleasure to see you again.HELENYou know her?Juno signals with her eyes and the terrorists march theprisoners toward the plane.JUNOWho's your little friend?HELENI'm Helen Tasker.  Harry's myhusband.  And you are?JUNO(to Harry)So now it's Tasker?  NotRenquist?239   INT. G-3 JET - NIGHTThey enter the luxurious passenger cabin of the plane.  Helenhas never seen anything like this.HELENLook, Harry's not part of this.He's just a sales rep.JUNONo, my dear, he is a federalagent.  He killed two of mycolleagues the other night.HELENNo, you don't understand, we'vebeen married for 15 years--HARRYLook, Juno, this is just somewhacko hooker I met in the bar.AKBAR and the other terrorists push Helen and Harry into seatsand strap them in.HELENHarry, what's the matter withyou?  Tell them the truth.  We'remarried, we have a daughter--HARRY(looking at Helencontemptuously)I don't know what this crazybitch is on.  You should just cuther loose, so we can get down tobusiness.HELENOh yeah?  Oh yeah?  Then wheredid 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 upcarrying a tray.  Juno smiles graciously at Helen.JUNOSomething before take-off?The hostess whips a PNEUMATIC INJECTOR off the tray and zapsHelen in the shoulder.HELENOooowww!!  That hurt.  You biii--She slumps.  Juno looks at Harry.JUNOShe was telling the truth, wasn'tshe Harry?  She really doesn'tknow.  Interesting.Juno nods and the hostess zaps Harry.  He slides intounconsciousness as the plane engines begin to SCREAM.240   EXT. AIRPORT - NIGHTThe G-3 lifts into the night sky, turning south.241   EXT. PIER - NIGHTA small FREIGHTER is tied up to a half-crumbling pier.  Next tothe pier is a dilapidated corrugated-metal warehouse building,two stories high.  There are floodlights on the dock but beyondis black night, with the ghostly shapes of mangroves and palms.It is an abandoned facility on what appears to be a tiny islandin the Caribbean.There is a lot of activity.  Three U-RENT TRUCKS are parked bythe warehouse, as well as some other vehicles.  About thirtymen, clearly CRIMSON JIHAD TERRORISTS are busy at variousactivities.  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 rustinggantry crane trundles it into the warehouse.  Malik looks up asan AEROSPATIALE HELICOPTER thunders toward them over the blackCaribbean water.The helicopter lands and Juno steps down from the front door.The sliding door is opened and Akbar and the others pull agroggy Harry and Helen out of the aircraft.  They are coveredby hoods.Malik walks up to them and pulls their hoods off.  Harry takesin his surroundings and looks back into the eyes of Malik.Lethal energy flows between them.MALIKWho is this woman?JUNOHis wife.MALIK(seeing thepossibilities)His wife?  Good.  Bring them.242   INT. WAREHOUSE - NIGHTMalik leads the entourage into the warehouse, where brilliantfloodlights 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 andobscured by centuries, but they are unmistakably warriorsmounted on horseback.  The legs and arms are missing on some,but the massive heads and necks remain.JUNOIncredible, aren't they?  Warriorfigures from the Persian Empireof Darius the First, around 500BC.  I call them "The FourHorsemen".She approaches the nearest figure, caressing its flank.  A manwith a jackhammer steps up to her.JUNOThey're absolutely priceless.She shrugs and nods to the man with the jackhammer.  He blastsright into the body of one of the Horseman, destroying it.Stone fragments fall away, revealing a cavity cut with greatprecision inside the figure.Inside is a BRIGHT METAL CONTAINER.  Four terrorists pull itout and set it on the ground.  It is six feet long and coffin-like.  Malik steps up to it, his eyes glistening.  A hush hasfallen over the group.MALIKOpen it.The latches are released and the lid lifted.  Inside ismachined metal object, roughly conical, about five feet long.Malik signals to Harry to step closer and look.MALIKDo you know what this is?HARRYCan you give me a clue?  It couldbe a water heater for all I know.Malik grabs Helen, jerking her roughly forward.  He whips outa knife and inserts the point under Helen's jaw, forcing herhead back and drawing blood.MALIKDo you know why you have beenbrought here?HELENN-no.MALIKSo that this man can verify tothe world that Crimson Jihad isnow a nuclear power.HELENHow can Harry do that?  He's asalesman for chrissakes.MALIKIf we were wrong about him...then the last thing you see willbe your blood spraying in hisface.Harry steps forward, his face grim.HARRYThis is a Soviet MIRV-Six, froman SS-22N launch vehicle.  Thewarhead contains 14.5 kilos ofenriched uranium, with aplutonium trigger.  The nominalyield is 10 kilotons.(in Arabic, subtitled)                            *Release her and I'll cooperate.Malik lowers the knife from her jaw.  He turns away from herlike she has ceased to exist and yells at the terrorists toremove the other weapons.  Jackhammers tear into the stonefigures.Helen is just staring at Harry, her mouth open.  He turns toher, not knowing what to say.  He shrugs sheepishly.HARRYWhat 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 offand slugs him right in the jaw so hard is almost knocks himdown.HELENYou bastard!!  You lying son ofa bitch!!Terrorists grabs her and restrain her.  She starts to cry.HARRYI'm sorry, honey.HELENDon't call me honey!  You don'tever get to call me honey again.You understand?!  You pig!Juno looks at them both and laughs.  She offers Helen a tissue.JUNOHere you go, dear.NEARBY, Akbar is going through the contents of Helen's handbagand Harry's wallet.  He rips open the bottom stitching andpulls out the geo-positioning transmitter.AKBARAbu!  Look at this!                                    *Malik looks at the tracker and then smashes it to the floor.Helen looks at the crushed transmitter.  She stares at Harrywith dawning realization.HELENYou bugged me?!!Juno cracks up at this.243   INT. CITATION JET - NIGHTThe 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.        *GIBSon 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 thelights of Miami fill the front window.PILOTMiami TCA, we are on final.GIBCall our DEA contact, tell him Iwant those choppers flight-readythe second we land.244   INT. WAREHOUSE - NO NAME KEY - NIGHTTIGHT 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 theyhave the arming box and all                            *equipment necessary to detonatethe four warheads.  This isabsolutely the real thing,gentlemen.The camera swings off Harry to Malik, standing before the restof the Jihad warriors, who are assembled behind the four bombs.MALIKYou have killed our women and                          *children, bombed our cities fromafar like cowards, and dare tocall 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 byone of his men.  The CAMERAMAN is sweating, wondering if heshould 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 militaryforces out of the Persian Gulfarea, immediately and forever,Crimson Jihad will rain fire onone major US city each week untilthese demands are met...BACK TO VIEWFINDER IMAGE.  BATTERY warning flashing faster.MALIK... First one weapon will bedetonated on this uninhabitedisland as a demonstration ofCrimson Jihad's power and ourwillingness 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.CAMERAMANBattery, Abu.MALIKGet another one, you moron!245   INT. BUILDING - NIGHTA filthy, crumbling cinderblock building (near the warehouse).A few bare light bulbs with bugs zipping around then, and noglass in the windows.  Harry and Helen are brought in by twoTERRORIST 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 viewof the contents:  medical instruments, needle-probes, drills,Dremel tools with saw blades.JUNOThis is Samir.  See if you canguess his specialty.HARRYOral hygiene?JUNONot exactly.HELEN(scared)What's going on, Harry?JUNOSamir is just going to ask Harrya few questions.  See, we're noteven sure which agency Harryworks for.  Now, Samir isabsolutely first class, but onthe other hand we have Harry,here, who has managed to lieconvincingly to the woman heloves for 15 years.  So it willbe interesting to see how long hecan resist.SAMIR(holding up a syringe)This will help.Samir injects Harry in the arm with the syringe.HARRYYou know, you should swab thatwith alcohol.  I might get aninfection.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 ravingpsychotics.JUNOBecause they're very well-fundedraving psychotics, and I'mgetting a lot of money.She kneels down in front of Harry, stroking his leg.JUNOYou 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.  Onenation succeeding over another.What does it mean in the longrun?  The only important thing isto live well.  And...  living                          *well takes money.                                      *HARRYYou're damaged goods, lady.Harry's words are beginning to be slightly slurred.  The drugsare taking effect.JUNO(indicating Helen)Did you tell her about us, Harry?HARRYThere is no us, you psychoticbitch.JUNOSure.  Say that now.Juno puts her arms around him and kisses him passionately.  Shebreaks, looking at Helen to savor the effect.  Helen istrembling with rage.JUNOThanks for everything, Harry.  Itwas good while it lasted.Juno crosses to the guard and takes a hand-grenade off hisbelt.  Then she goes to Helen and places it between her knees.She pushes Helen's knees together to hold the spoon against thegrenade then pulls the pin.JUNONow just keep your kneestogether, and you'll be fine.HELENSomething you obviously have ahard time doing!JUNOHold that thought.Juno leaves.  Harry looks dopily at Helen.HARRYThere 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 hasslumped forward.HELENWhat did he give you?HARRY(groggy)Sodium amytal, maybe some othertruth agent.HELENIt makes you tell the truth?HARRYYes.HELENIs it working yet?HARRYAsk me a question I wouldnormally lie to.HELENAre we going to die?HARRYYup.                                                   *HELEN                                        *I'd say it's working.HARRY                                        *They'll either torture us todeath, shoot us in the head, orleave us until the bomb goes off.HELEN                                        *Okay, okay.  I get it.  How long                       *have you been a spy, Harry?HARRY17 years.HELENMy God.  Have you had to...  havesex with other women in the lineof duty?HARRYI don't take those assignments.HELENWhat about Juno?HARRYShe's really a fox, isn't she?HELENDid you pork her Harry?HARRYNo.(pause)But I wanted to.HELEN(crying)Are you a total lying,scumsucking pig Harry?HARRYLooks that way.246   INT. WAREHOUSE - NIGHTON MALIK as he pokes through Harry and Helen's stuff on thetable.  He picks up Helen's wallet and opens it.  ECU WALLET -a picture of Harry, Helen and Dana.  Malik stares at it amoment.  Then motions to one of his men.267   INT. TORTURE ROOM - NIGHTSamir lifts Harry's head and sees that he is pretty shitfaced.SAMIRIs there anything you would liketo tell me before we start?HARRYYes.  I'm going to kill youpretty soon.SAMIR(calmly preparing hisinstruments)I see.  How exactly?SAMIRWell, I thought I'd break yourneck, then use you as a humanshield, then kill the guard withthat knife there on your tableand take his gun.Samir approaches Harry with a long steel needle probe.SAMIR(humoring Harry)And what makes you think you cando all that?HARRYBecause I picked the lock onthese handcuffs...He holds them up to show Samir.  Then he explodes out of thechair-- Breaks the torturer's neck-- Spins him between himselfand the guard-- Who then hesitates to fire-- Giving Harry thesplit second he needs to grab the knife from the table andthrow it into the guard's eye, killing him instantly.Helen is flat blown away.  Wow.  It only took a few seconds forHarry to reverse the situation.  Her Harry!  He picks up theguard's 9mm pistol and staggers over to her.HARRYDon't move.He kneels down in front of her.  Gently he slips his handsbetween her thighs, getting a grip on the grenade, then slidinghis fingers slowly over the spoon to hold it securely.He stops moving, suddenly.  She realizes with a sudden jolt ofterror that he has frozen.HELENWhat is it?HARRY(staring transfixed)God, you have great legs.HELENHarry... snap out of it!She sees how shitfaced he is.  He holds the grenade up, grippedsafely so the spoon can't fly off.HARRYGo it, baby.248   EXT. BUILDING - NIGHTHarry and Helen emerge from the building, creeping through theshadows.  She stops him for a second.  Gets very close to him,whispering, crouched in the shadows.HELENTell me something before thisstuff wears off and you startlying again.HARRYWhat?HELENDo you still love me?HARRYYes.HELENAs much as you used to?HARRYNo.(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-blockbuilding.HARRYThey found the bodies.  Come on--249   EXT. SWAMP - NIGHTHarry takes her hand and they sprint for cover at the edge ofthe mangrove swamp.  A LIGHT HITS THEM.  TWO TERRORISTS,running around the corner, open fire with AK47s just as Harryand 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 Harrygrabs 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 isripped, he is scratched and bleeding, holding an assault rifle   *expertly and scanning the brush like a feral animal.             *HELENI married Rambo.                                       *He grabs her and kisses her passionately.HARRYLet's go.250thru   OMITTED                                                          *253254   INT. WAREHOUSE - NIGHTLOOKING DOWN FROM A CATWALK on the activity below the fourhorsemen statues and several utility trucks almost fill thefloorspace.  A rental truck is being loaded with conventionalweapons, including machine guns and several HAND-LAUNCHEDSTINGER MISSILES.  One of the nukes has been lowered into a pitcut in the concrete floor.  Malik and most of the terroristsare gathered around it.A GUARD, F.G.  on the catwalk, watches intently from therailing.  So intently that he doesn't head Harry sneak up onhim.  SNAP.  Harry catches the guard's MAC-10 machine pistolbefore it can hit the floor.  He and Helen crouch behind asteel pillar, watching the proceedings below.  Helen keepsglancing at the dead guard, killed so effortlessly a momentbefore by her husband.  It is all surreal.BELOW, MALIK is shouting in his native language.  He pulls achain from around his neck and holds up a METAL ARMING KEY.Then jumps down into the pit and inserts it into the warhead'sarming computer.  Harry is listening intently, translating forHelen.HARRYIn ninety minutes a pillar of                          *holy fire will rise at this place                      *as a sign to out enemies.                              *(Malik theatricallyturns the arming key)It is done...Malik jumps out of the pit.  He signals and terrorists pourconcrete into the pit, covering the bomb.  He begins rantingagain.HARRYNow no man can stop us.  We areset on our course.  No force canstop us...(as libbing)... we're cool, we're badass,blah blah.255   INT. WAREHOUSE - DOWN BELOW - NIGHTMalik raises his fist and chants some Crimson Jihad slogans.The terrorists echo and chant and then cheer, firing their gunsin the air.  Harry pulls Helen back as ricochets clatter allover the inside of the metal building.Malik shouts something and all the terrorists go back to workat double time.  They are loading warheads Two and Three ontotrucks (one per truck) and the last, number Four, is beingwheeled out on a cart to the Aerospatiale outside.256   INT. WAREHOUSE - ON CATWALK - NIGHTHELENIf we're on an island, why arethey using trucks?HARRYWe must be in the Florida Keys .                       *.  .  the Overseas Highway                             *connects the islands to themainland.HELEN                                        *So there's no border, no customs.                      *They can just drive anywhere they                      *want .  .  .  there's nothing to                       *stop them .  .  .HARRYJust us.HELENWhat are you going to do?HARRY(shrugs, like: what doyou think?)Go down there and kill everybody,I guess.He hands her the MAC-10.  She holds it clumsily.HELENOh shit.HARRYWait here.  If you have to usethis, use it.  Don't choke.Okay?She nods gamely and Harry starts down the steel stairs to thefloor below.257   INT. WAREHOUSE - MAIN FLOOR - NIGHTON HARRY, reaching the floor.  He slips behind some packingcrates.  Then swings into action-- He hurls the grenade as hardas he can, down to the other end of the building.  KABOOM!!  Heuses the distraction to move forward.  But it goes wrong almostright away...  A TERRORIST comes around a corner behind him,shouts-- Harry dives for cover as the guy fires, but-- He tripson a pipe and goes sprawling-- Losing the AK47, which slidesunder some equipment and-- Seven terrorists run toward him,with guns raised.HARRY(to Helen)SHOOT!!258   INT. WAREHOUSE - CATWALK - NIGHTHELEN fires a burst at the terrorists, actually hitting one!But-- The recoil knocks her back, into a metal column, and thegunFLIES 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-10cartwheels and hits further down.  ANOTHER BURST.  Anotherterrorist is splattered.It spins and hits another step-- ANOTHER RANDOM BURSTMIRACULOUSLY KILLS THE LAST TWO TERRORISTS!!She has inadvertently saved her husband.  Harry looks up frombehind cover-- to see all seven dead.  Now it's his turn to beamazed.  He signals to her to run... get off the exposedcatwalk.  She makes it through the door to the outside stairsas bullets start hitting the steel walls behind her.259   INT. WAREHOUSE - MAIN FLOOR - NIGHTA TERRORIST with a knife runs at the unarmed Harry.  Harrysnatches up a jack-hammer and BRAT-TAT-TAT-- Drives it into theguy's chest.  Then he-- Grabs an AK from one of the fallenterrorists and opens fire.  Malik shouts to the drivers of thetrucks to get going.  The other terrorists return fire at Harry--Who sprints from cover to cover, reaching a side door-- Wherehe rakes one of the passing trucks with a burst-- Butterrorists behind him in the building have a clear shot androunds hit the wall next to him as he-- Dives through the door--260   EXT. WAREHOUSE - NIGHT--landing outside.  He takes cover behind an aircraft REFUELINGTRUCK.  Not a good place.  He is pinned down by automaticweapons fire.  He looks around for Helen, who is--261   EXT. WAREHOUSE - BEHIND A FORKLIFT - NIGHT50 yards away.  She is unarmed and unable to help.262   EXT. WAREHOUSE - BEHIND A REFUELING TRUCK - NIGHTHARRY cranks up the pump on the refueling truck and grabs thenozzle of the hose.  He opens the flow and-- A stream of JET-FUEL blasts out of the nozzle and-- Harry fires his AK rightacross the nozzle-- The muzzle-blast ignites the av-gas and hehas 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 - NIGHTThrough the flames and smoke he sees one of the men hand Malika LAW rocket.  Malik snaps it to his shoulder, preparing tofire.264   EXT. DOCK - NIGHTHarry runs toward the edge of the dock thirty feet away as--MALIK fires.  The rocket shoots toward the truck and-- Harryleaps toward the dark water as-- KABOOOM!  Behind him the gastruck EXPLODES IN A HUGE FIREBALL.265   EXT. UNDERWATER - OFF THE DOCK - NIGHTANGLE LOOKING UP, UNDERWATER, AS HARRY HITS THE WATER ANDdives down.  An instant later a sheet of fire sweeps across thesurface above him.  Harry kicks hard, trying to swim beyond theinferno above him so he can surface.266   EXT. WAREHOUSE - NIGHTCLOSE ON HELEN, watching the burning wreckage of the gas truck.HELENOh 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.JUNOMy 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.                                                     *JUNOLet's go, Suzy Homemaker.267   EXT. UNDERWATER - NIGHTHarry is still swimming.  He reaches the edge of the fire andsurfaces, gasping for breath.  Treading water he scans thedock.268   EXT. WATER OF THE DOCK - HARRY'S POV - NIGHTAmid the fire and smoke, he sees Juno walking Helen at gunpoint toward a LIMO.269   EXT. WAREHOUSE - NIGHTTRACKING 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 thefront seat and starts the car.270   EXT. RAMP TO HIGHWAY - PREDAWNThere is just enough light to see some geography.  The islandis very tiny.  Running right over it and to the horizon in bothdirections is the OVERSEAS HIGHWAY.  The terrorists' trucksrumble up an on-ramp past a sign that says MIAMI - 110.  Thelimo is the last member of the convoy.  The Aerospatiale passesoverhead, hugging the deck, headed for Miami at 150 knots.271   EXT. DOCK/ WAREHOUSE - DAWNIt looks like the aftermath of a battle... burning wreckage,black smoke, bodies.  Not a living soul around.  The smokeswirls as two big BELL 206 HELICOPTERS settle on the middle ofthe dock.  GIB jumps out of the nearest with an AR-15, scanningthe 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.GIBI thought this look like yourwork.HARRYLet's go.  I'll brief you in theair.GIBYou're welcome.272   INT. BELL 206 - DAYGib and Harry are working out of brief-case mobile com-units.Several Omega agents with headsets are reading maps, givingcommands, coordinating the evacuation, mobilizing their ownforces.  The energy is controlled but very high, everybodytalking at once.  This is the day they all have trained for.It is impressive to watch.GIB--you tell the son of bitch thisis  Bright Boy Alert.  Repeat,a Bright Boy Alert.  And I needa patch of the White House ASAP.That's right--HARRY(overlapping)... the Coast Guard has to clearthem back to a twenty mileradius.  Anybody that can't makethe minimum safe distance we needan airlift on, immediately--Gib whips around to Harry, lowering his headset mike.GIBI can get 3 Marine Corps Harriershere in about 12 minutes.They're on maneuvers out of BocaChica.HARRY(checking his watch)Get 'em.  I'll brief them on theway in.273   EXT. OVERSEAS HIGHWAY - DAYTRAFFIC on the two causeways is almost non-existent this earlyin the morning.  The three rental trucks, followed by the limoabout a mile back, are almost the only vehicles.274   INT. LIMO - DAYJuno has a 9mm pistol aimed at Helen.  She opens the sunroof,letting in the morning air and light.  Then pours herself aScotch from the bar.JUNOLike one?HELEN(eyes like steel)Fuck you.275   INT. BELL 206 COPTER - DAYHARRY AND GIB are both talking a mile a minute, coordinatingthe evacuation of the highway and the surrounding area.GIB... well get the Highway Patrolto go through the streets andtell everybody on their damnloudspeakers.  Just the basics...get away from windows, don't lookat it... yeah--HARRYHere they come.Gib looks out the window in time to see--THREE hunch-winged P.S.T.O.L.  HARRIER jets pass them at 600knots.HARRY(to the pilots)Roger, Mike Three Five, you arecleared to engage.  Be advised,your targets have Stingers andlight machine guns.276   INT. COCKPIT OF LEAD HARRIER - DAYThe pilot, like all jet pilots, seems icy calm.PILOTCopy that, Bright Boy command.(to his wingman)Tally ho.277   EXT. OVERSEAS HIGHWAY - DAYThe terrorists see the Harriers approaching on a low attackrun, and scramble to get out their Stingers.The Harriers open fire with cannons and rocket pods on thetrucks below.  The 20mm cannons rip the ocean on either side ofthe causeway into plumes of spray.278   EXT. HIGHWAY - ON TRUCK - DAYOne of the Bomb trucks is hit.  It explodes and flies off the    *bridge into the water.  The terrorists on one of the othertrucks fire a Stinger missile.279   EXT. ABOVE HIGHWAY - ON HARRIER - DAYIt arrows up, blowing one wing off the lead Harrier.  The pilotejects as the plane cartwheels into the sea and explodes.280   INT. BELL 206 COPTER - DAYHarry 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 nukeswill they?HARRYNegative, Mike Three Five.That's a negative.(low, to Gib)Probably not.281   EXT. HIGHWAY/ OCEAN - DAYThe two remaining Harriers make an attack run, launching four    *Maverick missiles at the bridge.                                 *282   EXT. HIGHWAY - DAYThe 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 - DAYThe first truck is consumed in the blast.  The last truck        *slides to the edge of the gap and stops.                         *284   INT. / EXT. LIMO - DAYJuno is trying to see what's going on ahead.  All they can seeis smoke and explosions.  Akbar is speaking heatedly (inArabic) 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 forcontrol of the weapon.  The sound is deafening in the tinyspace.  The second shot catches Akbar behind the ear, and heslumps forward.  His foot mashes down on the accelerator pedaland the car surges faster.285   EXT. HIGHWAY/ BATTLE SITE - DAYThe third Harrier fires its 2.75 Rockets and blows the           *remaining truck into tinfoil.  Battle over.  Two bombs down.286   INT. BELL 206 COPTER - DAYThe columns of smoke from the battle are still a couple milesahead of the copter.HARRYGood 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 oneguardrail to the other, throwing sheets of sparks where ithits.  In is funneling along the causeway, unslowed, like an out-of-control-train.288   INT. LIMO - DAYINSIDE, Helen knocks Juno's hands against the edge of the opensunroof and the pistol goes flying out.HELENYou... bitch!!Helen is raging, grabbing Juno's head and pounding it againstanything hard she can find inside the car.  Suddenly she stops,looking out the front window.  Juno turns too, off her look, tosee-- ANGLE THROUGH THE WINDSHIELD.  The causeway is blown awayabout a quarter mile ahead.JUNOShit!Juno climbs through the window into the front seat, tugging onthe dead driver.  The heavyset Akbar is like a bag of cement.Helen look up through the sunroof and sees--289   EXT. ABOVE LIMO - DAYTHE BELL 206 COPTER, descending rapidly.  Harry is climbing outonto the skids.  He hooks on arm and leg over the skid andhangs down as low as he can.  HELEN stands up in the openingand waves her arms.290   INT. / EXT. BELL COPTER/ LIMO - DAYGib is yelling at the DEA pilot, who's not thrilled with thisidea.GIBGet lower, goddamnit!  Right now!Harry strains downward with one hand.  Helen reaches up towardhim.  The car screeches along the guard-rail, slamming againstit, throwing her from side to side in the sunroof.  Theirfingers touch, then separate.  She looks-- the limo is almoston the precipice.291   INT. LIMO - DAYINSIDE THE CAR, Juno is desperately pulling on the inertdriver.  He slumps over on her, pinning her.  She looks overthe dash as the shattered edge of the causeway rushes towardthem--292   EXT. LIMO - DAYHARRY'S HAND grabs Helen's.  He pulls her out of the car justas the limo clears the edge.  She is jerked through thesunroof, screaming.  The car falls away, arcing gracefully tothe ocean below.  It hits with an enormous explosion of water.293   INT. / EXT. BELL 206 COPTER - DAYHARRY PULLS HELEN up onto the skid with him, getting herstable.  She is gasping, holding on for dear life.  She looksdown at the ocean, the burning wreckage on the bridge, thewhole unbelievable panorama.Then she looks at Harry and-- Grins.  She's alive!  And so ishe.  And not only that, this is the biggest rush of her life.Harry grins back.  Surprised and pleased that she is more of asoul-mate than he ever knew.CUT TO:294   EXT. HIGHWAY - DAYANGLE ON A HARRIER, landing in full-hover on the causeway.  Theshriek of the jet engine is enormous.  It bounces down onto itswheels like a big inscect.  The other remaining Harrier isalready down, behind it.295   EXT. BELL 206 - DAYTRACKING past burning wreckage to Harry's Bell 206 justsettling on the highway.  B.G.  the other DEA Bell 206 islanding 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.                                        *HARRYAny minute now.GIB(with a megaphone/ toeverybody)It's show time.  Don't look at                         *the flash.  Do not look at theflash.HARRY                                        *(to Helen)                                        *We're safe here.                                       *296   EXT. CAUSEWAY - DAYHelen and Harry move away from the agents.  They are safe andtogether.  They look at each other, and there is nothing tosay.  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 - DAYAnd they are locked together in that position when the skylights 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 themushroom disperse.  Gib is with the other Omega agents, hisfinger pressed in his ear, listening to his headset.  He wavesto Harry to come to him.Harry detaches from Helen and walks over to him.  Helen watcheshim go... back to work.  She glances over at the two Harrierpilots.HELEN(to the pilots)That's my husband.HARRY goes into the huddle with Gib and the others.GIBMalik's copter landed twentyminutes ago in Miami.  He's onthe top of a high-rise downtown.SWAT's on the scene, and I gotthe 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!?GIBThey must have grabbed her duringthe night... we didn't know.Sorry, Harry, I--298   EXT. HARRIER - DAYBut Harry is already moving.  He sprints toward the nearestHarrier, witch is idling nearby.  Gib runs after him.GIBHarry!  We'll get her out!  We                         *have a man inside already .  .                         *.  Harry!!  Aw, shit... here wego.Harry walks up to the young pilot...HARRYI need to borrow this thing fora few minutes.He pushes past the pilot before the guy can react.PILOTExcuse 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.                  *GIBI'd like to remind you that ithas been ten years since you wereactually in one of these.HARRYIf I break it they can take itout of my pay.299   INT. HARRIER - DAYHarry doesn't have a G-suit or a helmet of anything.  He justhas his walky on his belt.INSIDE THE CRAMPED COCKPIT, Harry looks around for the leverwhich vectors the thrust.  Finds it, and sets it to 90 degrees(vertical).  He bangs the canopy closed and brings the throttleup to FULL.GIB(to pilot)It'll be fine.  He's got hundredsof hours in Harriers.  Joint-ops,cross-training and all that.AGENTHarry can fly anything.The big plane wobbles off the ground like a drunken bumble-bee.GIBHe's a little rusty.  It's likeriding a bicycle .  .  .  younever forget.  Uh .  .  .  I'dseek shelter!It drifts sideways and everybody runs to get out of the way.At about six feet above the ground it slides sideways, clipsthe top of a cop car and knocks off the light bar.  It liftsunsteadily straight into the sky.  It turns around 180.GIBHe's got it.HARRYSorry.Harry pushes the vector lever forward and the thrust-nozzlesturn, accelerating the plane forward.300   EXT. CAUSEWAY - DAYGib is standing, watching Harry go.  He never believes thisguy.  Harry's voice comes over the walky...HARRYTell Helen what's going on.  Tellher I love her.  And ask thepilot where the button for the20mm cannon is-- never mind.  Ifound it.The plane disappears toward Miami.301   EXT. HIGH RISE - MIAMI - DAYAN AERIAL SHOT, circling the building.  It is an unfinishedbuilding in the high rise district.  The Aerospatiale sits onthe roof, its rotor turning slowly.  The street below is jammedwith cars.  Honking horns echo up the glass canyons.302   EXT. STREET - DAYANGLE AT STREETLEVEL as cops use bullhorns and bad attitudes toclear the street around the building, setting up a perimetertwo blocks away.303   INT. HIGH RISE - DAYINSIDE THE HIGH RISE the terrorists have barricaded themselveson the twentieth floor.  There are 12 TERRORISTS, all withautomatic weapons.  Occasionally one of them will fire a burstdown a stairwell with an AK-47.  Miami-Dade SWAT team membersare deployed in the stairwell but are keeping their distance.304   INT. HIGH RISE - ON THE 21ST FLOOR - DAYMalik is sequestered with the bomb.  It sits on the floor,still in its shipping case.  Dana stands nearby, lookingscares.  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 thescreen, verifying the the nuclear weapons as a real threat.  Heis identified at the bottom of the screen as HARRY TASKER,ATOMIC ENERGY COMMISSION.  Dana stares at her father's face onthe national news.  It's like a bad dream.  She has been cryingbut she is fairly composed now.DANAI have to go to the bathroom.The terrorists ignore her.  A terrified ACTION NEWS REPORTERand his CAMERAMAN, under guard by TWO TERRORISTS, are hastilysetting up to shoot Malik.CAMERAMANTape is rolling.MALIKThis is a communique from CrimsonJihad.  You have heard from yourown expert.  You have seen theHoly fire with your own eyes.  Donot force us to destroy thiscity.  And do not try to useforce against us.  I can triggerthis bomb instantly.  All I haveto do is turn that key...(he points fiercely atthe bomb)... and five million of yourpeople will die.The reporter glances down, nervously.REPORTERWhat key?MALIK(pointing like theguy'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 runningfor the stairwell to the roof.  He pulls a pistol and shoots ather, but hits the wall as she bangs through the door.  He runsafter her.305   EXT. BUILDING / ROOF - DAYON THE ROOF, Malik bursts through the stairwell door.  His TWOMEN have followed him.  Malik stops suddenly when he sees--Dana standing at the edge of the roof.  She is holding theARMING KEY by its chain.  Dangling it over the edge.  Hesignals to his men not to fire.DANA(terrified, butthinking)You shoot me, this'll fall.Malik advances slowly, his eyes glistening ferally.  She backsup a step with each of his, moving along the edge of the roof.Malik keeps his pistol aimed at her chest.DANADon't come any closer.  I'll dropit!  I swear to God.MALIKIf you drop it, I will have noreason not to kill you.He advances, calling her bluff.  She backs away from him alongthe edge.MALIKCome on, child.  Give me the key.(smiling)Don't you want to live?  I giveyou my word.DANANo way you whacko.She reaches the corner of the building.  Her back touchessomething.  it is the boom of a small crane, used for liftingbuilding supplies.  Careful to keep the key dangling over openspace, Dana climbs up on the lattice-work boom and moves outbeyond the edge of the building, never taking her eyes offMalik.  She is hyperventilating, terrified, but thinkingclearly.Malik steps up on the crane, crawling out after her.  He knowsshe will not drop the key as long as he has the gun.  It is agame which will end when she reaches the end of the boom.  Danaputs the key between her teeth so she can hang on better.  Itis windy and the boom is swinging.306   INT. 20TH FLOOR - DAYThe Crimson Jihad warriors hear a thunderous, shrieking roarand look toward the window.307   EXT. HIGH RISE - DAYRISING INTO VIEW, LIKE A GARGOYLE FROM HELL, IS THE HARRIER.It fills the windows completely, hovering only a few feetoutside.  The terrorists raise their AK-47s to fire just asHarry hits the 20mm nose-cannon.308   INT. / EXT. HIGH RISE - 20TH FLOOR - DAYGlass explodes into glittering mist, and terrorists explodesinto bloody spray as Harry pivots the plane and the cannonsweeps the floor clear from side to side.  The Crimson Jihad isvaporized.309   EXT. ROOF - CRANE BOOM - DAYMalik hears the thunder of the jet and the firing, but fromwhere he is he can't see what's going on.  He focuses on thekey.  He must have that key.310   EXT. ROOF - NEAR HELICOPTER - DAYMalik's TWO REMAINING MEN run to the helicopter, gesticulatingto the pilot to get ready to take off.  The pilot revs theturbine and the rotor whirls faster.  The two men jump in,picking up M-60 machine guns.311   EXT. ROOF - CRANE BOOM - DAYMALIK IS STILL ADVANCING out the crane boom.  Dana slips as shebacks up, toppling off the boom.  She is hanging now by herhands over a 20 story drop.Malik is almost to her.  He needs a hand free to grab her.  Hesets his gun down on the girder.  He grabs for her wrist.312   EXT. ROOF - OVERLOOKING EDGE - DAYANGLE LOOKING DOWN.  Malik, Dana, the street far below.  Withan unbelievable roar the Harrier sweeps in beneath Dana,FILLING FRAME.313   EXT. CRANE BOOM / OVER EDGE - DAYHarry has the canopy up.  Malik sees Harry, ten feet below.His eyes narrow with an all-consuming rage.  He glances at thepistol 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 - DAYMalik lunges for her wrist.  She screams and lets go-- Danadrops and hits the windshield of the hovering jet-- Harry grabsher with his left hand, right hand still on the stick-- Heholds her until she can get a grip.  She is lying across thenose of the plane.  Harry starts to bank away and--315   EXT. CRANE BOOM - DAYMalik shrieks in rage.  He grabs his 9mm pistol and leaps offthe crane--316   EXT. HARRIER - DAYOnto the back of the plane.  He starts crawling toward thecockpit.  Dana screams and Harry looks back, but just then--317   EXT. BUILDING - DAYThe Aerospatiale swings around the building right in front ofthem-- The door-gunner OPENS FIRE.318   EXT. HARRIER - DAYHarry banks hard, taking the hits under the wing.  He pivotsand slides sideways around the building, playing tag with thecopter.He can't do anything radical enough to dislodge Malik withouttossing off his own daughter.319   EXT. BUILDING - DAYThe helicopter appears around the corner, guns blazing in thedoors.  Harry pivots the plane and FIRES THE NOSE CANNON.  Thehelicopter is riddled.  It tilts and plummets, auto-rotatingout of control.320   EXT. BUILDING - ANGLE AT STREETLEVEL - DAYAs the copter hits the ground and explodes.  Fortunately thepolice had created a cleared perimeter.321   EXT. HARRIER - DAYTHE HARRIER dips and slews, half out of control.  Malik istaking aim with the pistol, right at Harry's head.  Harry grabshis daughter with his left hand, holding her with all hisstrength and he-- Jinks the stick hard, just as-- Malik opensfire, 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-- Thelast Sidewinder missile.322   EXT. HARRIER / SIDEWINDER - DAYHarry and Malik lock eyes for one long second.  Then Harry hitsthe FIRING STUD.  The Sidewinder drops away and ignites.Carrying Malik out over Miami Beach.  It explodes a mile out tosea.323   INT. HARRIER - COCKPIT - DAYHARRY PULLS DANA into the cockpit, settling her on his lap.HARRYDon't touch the stick, baby.She stares at her father in amazement.  He banks away from thebuilding, accelerating the jet.  He grins at her.  Raises oneeyebrow.  Woggles the plane's wings.HARRYHi, pumpkin.ONE YEAR LATER324   INT. TASKER HOUSE - NIGHTDinner at home, and everybody's there.  We come in on the endof some story that everybody thinks is hysterical.HELEN... you should have seen yourfather, standing there allcovered with spaghetti sauce.  Helooked like such a dope.HARRYI told the guy---(snorts, it's toofunny)I told the guy, this isn't evenmy order.Dana is laughing too, a part of it.  They are happy.  They area family.  Dana gets up, her meal half-eaten as usual.DANAI'm done.She heads for the front door.HARRYI seem to remember somethingabout a history project that'sdue tomorrow.DANA( busted)Dad.  You just think you knoweverything, don't you?Dana trudges off to her room to do her homework.  The phonerings.  Helen answers.VOICEBoris and Doris?HELEN(calmly, signallingHarry with her eyes)Go ahead.325   INT. EMBASSY PARTY - NIGHTIt is a black tie affair.  Very glitzy.  CAMERA SWOOPS over theguests, sipping champagne and dancing.  It is an embassy crowd,very international.  HARRY AND HELEN work their way through thecrowd.  He is in tux, hair slicked back, looking rakish.  Sheis elegant in a low-cut gown and diamond choker.Harry scoops two glasses of champagne off a passing tray andhands her one.326   INT. VAN - NIGHTVERY CLOSE ON GIB, hunches in a dark van someplace nearby.  Hespeaks into his headset mike.GIBSo, what's the scoop, team?  Yousee your contact yet?327   INT. PARTY - NIGHTHELEN AND HARRY smile and nod as if they know people.  Speakingvery low, Helen answer Gib via SUB-VOCAL transceiver.HELENNot yet.  But we'll find him.HARRYDance?He whirls her across the floor and the CAMERA PULLS BACK AND UPas they dance.FADE OUTThe END