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Eagle Eye Movie Script

Writer(s) : John Glenn, Travis Wright

Genres : Action, Mystery, Thriller

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                                     EAGLE EYE


                                    Written by

                            John Glenn & Travis Wright





                                                          March 28, 2007
          

          

          FADE IN:

          EXT. DESERT DUNES - DAWN

          CLOSE ON A WOODEN STICK-FIGURE TOY, held by a SIX YEAR OLD BOY.
          Another BOY grabs the toy away and RUNS OFF, laughing --
          CHILDREN are playing under a cluster of date palms, part of a
          small desert commune somewhere in the Middle East. Their
          MOTHERS, veiled in black, gather and talk. Bearded, turbaned
          MEN carrying AK-47's argue politics. A domestic, even tranquil
          scene of life in another part of the world...

          EXT. DESERT ROAD - CONTINUOUS

          A CARAVAN of VEHICLES RACE DOWN A HIGHWAY:. SUV's mounted with
          surface-to-air RPG's form a protective cordon around a BLACK
          MERCEDES. As the cars ROAR INTO LENS, we go.to:

          EXT. RIDGE ABOVE ROAD - DAWN

          POV THOUGH A LONG-RANGE SCOPE: the caravan as seen by a TWO-MAN
          SPECIAL OPS TEAM perched on a ridge. As the LEADER surveils the
          cars, his partner finishes assembling a two-foot UAV (Unmanned
          Aerial Vehicle), rigging it with EXPLOSIVES:

          SPECIAL FORCES LEADER
          We have visual onthetarget. Confirm
          'go' for UAV launch.

          INT. PENTAGON - JOINT OPERATIONS CENTER - NIGHT


          SUPER: "JOINT OPERATIONS CENTER, THE PENTAGON"
          Sat-feeds monitor the caravan. Military brass observes:
           SECRETARY OF DEFENSE GEOFF CALLISTER (50's, African American;
           eyes with soul and a wary intelligence). Beside him: COLONEL
          THOMPSON (Full-Bird, decorated).

          COLONEL THOMPSON
          Alpha One, you're confirmed 'go': active
          UAV at GPS papa, zulu, three, zero.

          EXT. RIDGE ABOVE ROAD - DAWN

          The Ops Team activates a remote transmitter, LAUNCHING the UAV
          into the sky like a small ROCKET -- amazingly, its silent.

          INT. PENTAGON - JOINT OPERATIONS CENTER - CONTINUOUS

          An airborne feed from the UAV shows it descending on the
          caravan. A PENTAGON TECHIE manipulates a JOY STICK, controlling
          the drone from 6500 miles away:

          PENTAGON TECHIE #1
          We have system control.

          

          

          

          

          3/28/07 2

          CONTINUED:

          COLONEL THOMPSON
          Activate laser mic.

          EXT. SKIES OVER DESERT - CONTINUOUS

          DRONE POV: tracking the caravan, singling out the MERCEDES. The
          drone emits a THIN LASER BEAM that hits its rear windshield --

          INT. THE PENTAGON - JOINT OPERATIONS CENTER - DAY

          Over speakers, VOICES speak "Balochi." A TRANSLATOR listens:

          CALLISTER
          Is it him?

          TRANSLATOR
          Four males, one of them's speaking with
          a.. I think it's a Rakhshani•dialect,
          consistent with our intel on Al=Khoei.

          COLONEL THOMPSON
          Gimme voiceprint analysis.
          The screen pops to an AUDIO WAVEFORM of the conversation.
          VOICEPRINT ANALYSIS finishes, the; screen shows a FILE PHOTO of a

          BEARDED MAN: "37% PROBABLE MATCH = ID AL-KHOEI."

          CALLISTER
          I'm not taking 37% to-the President...
          John, weigh in here?
          He looks to a plasma: the PRESIDENT'S CABINET is assembled via
          teleconference from the White House Situation Room:

          DIRECTOR OF NATIONAL INTELLIGENCE
          CIA and NCTC concur this is the target
          based on reliable Intel from the Brits.
          WHIP TO another monitor: the caravan starts to VEER off-road.

          TECHIE
          Sire they're pulling off the highway.

          TECHIE #2
          We have abort recommendation.
          The ANALYSIS ARRAY reads: "RECOINDATION: ABORT MISSION." The
          source of this recommendation, for now, remains a mystery.

          COLONEL THOMPSON
          If it's him, this guy comes out of hiding
          once in a lifetime, we can't let him go.

          CALLISTER
          (beat, torn)
          Alright, stay with him...

          

          

          

          

          3/28/07 3

          CONTINUED:
           THE SATELLITE VIEW shows the caravan approaching the commune.

          EXT. DESERT COMMUNE - DAY

          Mothers grab up their children and pull them aside as the
          vehicles arrive. ARMED MEN emerge...
          INTERCUTTING - THE PENTAGON OPS ROOM: the computer pinpoints
          DOTS on the satellite feed that represent WEAPONRY on-site --

          TECHIE
          We've got AK-47's, RPC's, Chaparral
          guided missiles --

          COLONEL THOMPSON
          Looks like a training camp.
          THE DESERT: Bodyguards cluster around a TURBANED:MAN as he
          emerges from the Mercedes. It looks a lot like the man from the
          file photo, but the beard makes it hard to confirm.
          MID-AIR WITH THE UAV: It SWOOPS, targeting the man -- SNAP:
          THE PENTAGON: a BLURRY SNAPSHOT of his FACE appears. A DIGITAL
          WIRE-FRAME is overlaid on the man's face: "5I$ PROBABLE MATCH -

          INSUFFICIENT DATA. RECOMMENDATION: ABORT MISSION."

          TECHIE
          51%. 'Abort' rec holds.
          THE DESERT: Now our guy DISAPPEARS into the crowd as they begin
          MOVING toward a large WOODEN PLANK on the desert floor. Some of
          the men take hold of the plank, drag it back to reveal... a PIT.
          THE PENTAGON: SAME IMAGE in real-time on the feeds:

          CALLISTER
          What is that, a weapons cache?

          ANALYST
          Sir, the placement of stones around the
          pit, markers for the Five Pillars of
          Islam... I think it's a funeral.
          Everyone trades looks -- this just got even more complicated.
          THE DESERT: from the back of a TENTED TRUCK, a BODY is lifted,
          shrouded in white. The men carry it through blowing sand... the
          procession stopping at the pit. They begin lowering the body...
          THE PENTAGON: on monitors, a section of the GENEVA CONVENTION

          SCROLLS:

          TECHIE
          Sir, striking a funeral would put us in
          violation of the Geneva convention.

          

          

          

          

          3/28/07 4.

          CONTINUED:

          COLONEL THOMPSON
          Once this guy's gone, he's gone.
          The PENTAGON GENERAL COUNCIL pipes in --

          PENTAGON GENERAL COUNCIL
          "Hors de Combat" -- legally we'd be open
          to international prosecution. But we
          have no independent intel verifying it's
          in fact a funeral, and the presence of
          weapons certainly leaves room for
          interpretation.

          TECHIE #2
          I have POTUS calling from Air Force One.

          CALLISTER
          (a beat, looks around).
          Everyone agree this is the best course of
          action?
          No one dissents. Callister picks up:

          CALLISTER (CONT'D)
          Mr. President, we have.a.51% identity
          match on Majid Al-Khoei. There is some
          possibility he's at a funeral, but we
          don't know. Regardless, counsel thinks
          we can claim 'Overriding Legal
          Authority.' Also, you should be aware we
          have an abort recommendation, but your
          cabinet, the Speaker, the Joint Chiefs
          urge a 'go.'

          THE PRESIDENT (V.0.)
          You left yourself out of the lineup.
          Callister pauses. AS THE MESSAGE ON THE MONITOR STARTS

          BLINKING: "ABORT, ABORT, ABORT..."

          CALLISTER
          Yessir... we gauge our strategy by two
          standards: the highest probability of
          success with the least amount of
          collateral damage. At 51% probability,
          we don't have either one.

          GENERAL THOMPSON
          And if it is Al-Khoei and he walks, Sir,
          we're putting our people at risk.
          There's a long silence as the President considers.

          

          

          

          

          3/28/07 5.

          CONTINUED: ( 2)

          THE PRESIDENT (V.0.)
          I respect your caution, Geoff, but we
          won't get another chance like this... you
          have a green light.
          Callister's obviously opposed, but he bites his tongue:

          CALLISTER
          Understood.
          (hangs up)
          We're weapons free.
          And with deadly calm, Techies execute orders into-headsets:

           TECHIE TECHIE 2
          -- Switching to Tac-2, -- MTS active, painting the
          acquisition's good -- target --

          EXT. DESERT - FUNERAL - DAWN

          The women begin to SING the "Nasheen," a.funeral song praising
          Allah. The beautiful VOICES grow until all other sound is GONE.
          DRONE POV: the feed from the CAMERA INSIDE THE NOSE-CONE as it
          LAUNCHES its missile -- it ZOOMS toward the funeral gathering --
          The haunting, beautiful voices WAIL... in the moment before
          impact, we see: birds flying across the great plain... a herd of
          running gazelles... the DESERT WIND blankets a layer of sand
          over the shrouded body in the pit... a CHILD'S HAND grasping his
          mother's...

          A WHITE FLASH AS THE MISSILE HITS:

          HOLD IN WHITE:
          CREDIT SE UENCE: WORDS CLOSE UP... a digitized electronic scan,
          as if they're being analyzed by someone: "We the people of the
          United States... more perfect union..." Highlights of The
          Constitution, The. Declaration of Independence...
          We land on: "...whenever any form of government becomes
          destructive...it is the right of the people to alter it or to
          abolish it..." CLOSE IN on these last words: "ABOLISH IT."

          WHITEWASH:

          INT. BACK ROOM - NIGHT

          We're looking at a DIGITAL TIMER ticking down crucial seconds --
          then a MAN's FACE, intense, focused on something below screen:
          this is JERRY SHAW, 30, handsome, roguish. Somewhere between an
          adult and a child -- under his breath:

          JERRY
          damnit...

          

          

          

          

          3/28/07 6.

          CONTINUED:

          VOICE (O.S.)
          You gotta make a choice. You gotta move--

          JERRY
          -- I know.

           VOICE (O.S.)
           Now. Who are you gonna be?
           So Jerry makes his move, which we see is SLAMMING down a PLAYING
           CARD representing a group of DWARVES. He sits across from
          KWAME, 17. They're playing a geeky role-playing CARD and DICE
           game, CASH on the table.

           JERRY KWAME
           there. Dwarves?: Bullshit --
           Bullshit? I just blocked
           your ass and attacked with (checks card)
           Ancient Mastery points. --.dwarves don't have that --
          -- read the oracle text, my
          friend. -- shit
          A thick-mascara/black lipstick BECKY enters, removing her SMOCK:

          BECKY
          You know what would be great? If you
          guys took a longer break. That'd be
          awesome.

          JERRY
          Hey, Becky? When're you going to start
          wearing makeup?
          Kwame laughs as Becky tosses her smock at Jerry:

          BECKY
          .The collator's broken.

          JERRY
          Dude: no its not.

          BECKY
          (putting on a jacket)
          Oh yeah it is, dude!
          She heads out as Jerry collects the cash. Kwame puts on his own
          smock as Jerry offers him a quick lesson:

          JERRY
          Your first mistake? Underestimating
          dwarves. Power can come from anywhere --
          tomorrow night I'll give you first roll
          and a bonus pack if y--

          

          

          

          

          3/28/07 7.

          CONTINUED: ( 2)

          KWAME
          I'm not gonna be here tomorrow, remember?
          I'm going to Cornell.
          And Jerry stops. A hit to the solar plexus. Wherever we are,
          this kid's off to a bright future. But not Jerry.

          JERRY
          That -- wow. Good for you. So it's your
          last night. You're gonna spend it
          collating.

          KWAME
          -- what? But she said the collator's
          broken.

          JERRY
          And that's why we have those rubber
          thimbles in the drawer --.congratulations
          on Cornell, though, that's huge!
          TRACK WITH HIM out to... A COUNTER AREA as, he pins on his
          NAMETAG: "JERRY." Rows of COPY MACHINES and COMPUTER CUBICLES.
          He takes his place behind a register. Smiles, getting it up:

          JERRY (CONT'D)
          Welcome to Kinko's, how can I help you?
          The CHUGCLICK-CHUGCLICK-CHUGCLICK sound of the machines gets
          louder and louder as they BECOME THE SOUND OF:

          INT. "EL" SUBWAY CAR - MORNING

          The KRAK-KRAK-KRACKING SUBWAY. We glimpse people looking at
          their BLACKBERRYS. Talking on CELL PHONES. Listening to IPODS
          and playing GAME BOYS. The NEWS plays on an LCD mounted on the
          train wall. A society lost in an "electronic elsewhere."
          And JERRY, with a SKETCH PAD in his lap. A surprisingly good
          pencil rendering of the face of a LARGE DOG -- weird, but he's
          got talent. The TV disturbs his concentration -- news footage
          of BOMBED-OUT EMBASSIES, emergency vehicles, wounded victims:

          SHEPARD SMITH
          a heightened terror alert due to a
          series of suicide bombings, believed to
          be in retaliation for a deadly attack
          outside Abadan that killed forty people.
          Though the White House has denied
          involvement, Shia leaders have denounced
          the U.S. as responsible...
          AL-JAZEERA FOOTAGE: A SHIA SPOKESMAN is translated into ENGLISH:

          

          

          

          

          3/28/07 8.

          CONTINUED:

          SPOKESMAN
          Your embassies were only the beginning!
          Our warriors are already within your
          borders. Until American leadership is
          removed from power, Allah's revenge is
          upon you!
          And during all this, Jerry notices something: people are
          glancing at each other aranoid. What a fucking world...

          EXT. ATM MACHINE - MORNING

          An ATM CARD gets slid into the slot. Jerry looks up. THE ATM
          CAMERA IS STARING RIGHT AT HIM. Then, a BEEP gets his
          attention: "INSUFFICIENT FUNDS." He processes this a moment...
          his exhale doesn't just say, "FUCK," it says "FUCK 1 KNEW IT."

          INT. JERRY'S APARTMENT BUILDING - LOBBY .-MORNING

          Saying it's a modest place would be kind. Jerry opens his
          mailbox. Just BILLS, some of which will:go unpaid this month.
          A BEAT as he shoves them back in and we HARD CUT TO:

          INT. JERRY'S APARTMENT BUILDING - HALLWAY - MORNING

          A DOOR OPENS: MRS. WIERZBOWSKI, Jerry's elderly Polish landlady.
          Pleased to see him, but painfully annoyed to know what's coming:

          MRS. WIERZBOWSKI
          Jerry.

          JERRY
          Whatever are you cooking right now? Is
          the greatest thing I've ever smelled in
          my life, I swear to God --

          MRS. WIERZBOWSKI
          is schab wieprzowy po polsku -- you
          have the rent, yes?

          JERRY
          (puts cash in her hands)
          -- here's some of it -- most of it -- but
          I've got something else for you...
          something special...
          Eyebrows bobbing. Mrs. Wierzbowsky knows exactly what it is.
          Sighs. Knows she can't resist him --

          INT. KITCHEN - MRS. WIERZBOWSKI'S APARTMENT - MOMENTS LATER

          CLOSE ON Jerry pushing a THUMB TAC into the dog sketch we saw
          him doing on the subway. PULL BACK to reveal about 25 other
          sketches on the wall. All of the same dog. The actual DOG,
          Johann, lies underneath the kitchen table.

          

          

          

          

          9.

          3/28/07

          CONTINUED:

          JERRY
          So I think. No, I'm pretty sure that's
          the best one so far ---

          MRS. WIERZBOWSKI
          Yes. Is good -- rent is better.
          She puts a bowl of STEW into Jerry's hands.

          MRS. WIERZBOWSKI (CONT'D)
          You are hungry, I am guessing.

          JERRY
          Oh, no, no. I couldn't --
          (looking down at bowl)
          Unless, you know, you insist.
          He sits at the table, starts eating. This is their routine.

          MRS. WIERZBOWSKI
          So where is girl? I don't see her?

          JERRY
          Oh, the redhead? No. She... that's
          over. She got smart.

          MRS. WIERZBOWSKI
          Like the others.

          JERRY
          Well, womenareIpretty smart. I've
          discovered.

          MRS. WIERZBOWSKI
          You are like Johann.
          Jerry stops eating, mouth full. As Johann looks up.

          JERRY
          Your -- I'm like your dog?

          MRS. WIERZBOWSKI
          Look at him. Is big dog. Labrador. But
          he believe... he is terrier. So is
          Labrador... but no labrador.
          Somehow Jerry can't get his eyes off Johann. Quietly:

          JERRY
          why do you think that is?
          As she pours a drink into a plastic cup --

          MRS. WIERZBOWSKI
          Perhaps many things. When I rescue
          Johann from pound, they say he was abuse.

          (MC)RF )

          

          

          

          

          3/28/07 10.

          CONTINUED: (2)

           MRS. WIERZBOWSKI (CONT'D)
          As puppy. They kick him when baby, make
          him feel not big.
          (hands Jerry the cup)
          You need someone for rescuing you.
          Jerry looks at her, sad-smiles. Takes a sip and holy shit:

          JERRY
          This is -- vodka -- Jesus, its eight-
          thirty in the morning --

          MRS. WIERZBOWSKI
          -- you cannot eat bigos without vodka.
          Adjusting to it, Jerry drinks again -- as his CELL PHONE RINGS.
          He looks at his phone, freezing. Mrs. Wierzbowski notices.

          MRS. WIERZBOWSKI (CONT'D)
          Is the girl? Answer. Tell her you'. are
          Labrador. Then ask if she give you money
          for rent.
          But we've PUSHED IN on Jerry, who stares at the name on the
          phone. Something's affecting him deeply. He says, quietly:

          JERRY
          its my mother.

          MRS. WIERZBOWSKI
          Is problem?

          JERRY
          (even, quieter, gets up)
          is problem.

          INT. JERRY'S APARTMENT BUILDING - HALLWAY - MOMENTS LATER

          Jerry steps outside as the phone keeps RINGING, debating: WHAT
          TO DO. Finally, he answers, as if ready for punishment:

          JERRY
          Hey, mom...
          Jerry stands there in silhouette. LISTENING. Something is
          happening... .suddenly he loses his balance -- sinks to the
          floor, phone to his ear -- staring in pain --

          EXT. CHURCH - DAY

          MOURNERS are gathering in their somber best, shaking hands.
          Across the street, we find Jerry, getting out of a taxi.
          Standing in a rumpled suit. Grim; the last thing he wants to do
          is enter that church. It's almost as if he can't. Finally,
          from somewhere, strength. He walks forward.

          

          

          

          

          3/28/07 11.

          INT. CHURCH - CONTINUOUS

          Jerry heads down the aisle, painfully self-conscious. Most of
          the MOURNERS are in the pews, turning to look at him as he
          passes. When suddenly there's a SCREAM OF TERROR -- and Jerry
          BRACES as if he was expecting it -- looks over at a WOMAN
          pointing like he was a fucking bodysnatcher and she collapses --
          Jerry holds up his hands as everyone turns to look at him--

          JERRY
          -- no! I-- I'm not him!
          All eyes on him. His voice, sad, heartbroken:

          JERRY (CONT'D)
          It's okay! I'm not Paul!
          Locks eyes with his MOTHER and FATHER up in the front pew.
          Their eyes red from crying, withered shells. And Jerry gives a
          lame wave before heading reluctantly up to the COFFIN.
          Devastated, he leans in -- and we MOVE AROUND to see the body:
          And it's fucking HIM -- Jerry's very own face, but one that
          seems to have been RECONSTRUCTED after some kind of accident.
          Gruesome and handsome all at once. This was PAUL SHAW. Jerry's
          identical twin. Off the surreal moment...
          A reverbed TRUMPET PLAYS, the tune familiar. In fact, it's:

          INT. APARTMENT - DAY

          THE NATIONAL ANTHEM, booming from a trumpet played by an 8 year-
          old boy: KYLE HOLLOMAN. A WOMAN blurs into frame: RACHEL
          HOLLOMAN, searching for car keys. 28, smart, beautiful, but
          fiercely independent, she's a single mom who's taken life's
          knocks. Never as cool-headed as she wants to be, she's on a
          short fuse with everyone but Kyle, whom she adores:

          RACHEL
          Okayokay... okay: we came home, put down
          the leftovers, you turned on the TV, I
          went over, I said no TV--
          She turns to the TV area and walks straight INTO a table. Stuns
          her, momentarily, but she doesn't break stride --

          KYLE
          -- we're gonna be late, huh?

          RACHEL
          -- absolutely not -- I turned it off,
          came over here, checked messages, put the
          leftovers in the--

          

          

          

          

          3/28/07 12.

          CONTINUED:

          KYLE RACHEL
          --knocked over the phone-- --right, knocked over the
          phone, put it back, put the
          food in the fridge--
          She opens the fridge: HER KEYS sit atop a Tupperware container.
          Kyle hits a high note and we SLAM TO:

          INT. RACHEL'S CAR - MORNING

          The KEY turning in the ignition of a crappy, old Honda. The
          engine CHOKES, SPUTTERS. Rachel's tense--

          RACHEL
          we need to get a new car --

          KYLE
          I like your car. We're gonna be late.
          The engine still SPLIT-SPUT-SPUTTERING.::.. a BUS. whizzes by, slows
          up ahead at a bus stop. Rachel gives up, jumps out:

          RACHEL
          No we're not: the bus.

          KYLE
          -- are you kidding?

          EXT. CITY STREET - DAY

          Rachel and Kyle HAUL ASS toward the bus stop, both struggling
          with Kyle's carry-on, a.garment bag, her purse, and a trumpet
          case marked with STICKERS (Green Bay Packers among them)--

          RACHEL
          I put vitamins in your toiletry bag,
          don't forget to take two in the morning --

          KYLE
          and one at night, I know --

          RACHEL
          And your inhaler, which I may need to use
          now, is in the outside pocket -- wait!
          They rush back to a MAILBOX, she pulls bills from her purse:

          KYLE
          More bills?

          RACHEL
          Yup -- that's what happens when you have
          a kid on lay-away.
          They smile at each other. When SUDDENLY a BUS ROARS PAST the
          WIND GUSTS and the bills go FLYING into traffic:

          

          

          

          

          3/28/07 13

          CONTINUED:

          RACHEL (CONT'D)

          OH, SHIT! STAY HERE!
          Rachel waves her arms at oncoming cars, runs INTO TRAFFIC--

          KYLE

          YOU SWORE!!
          As she chases the bills, SCREECHING and HONKING around her:

          RACHEL

          I KNOW, I'M SORRY!
          (Porsche HONKS as it

          PASSES)

          HEY, A LITTLE COMMON COURTESY, ASSHOLE!
          And she runs back to Kyle, THROWS the bills in the mailbox --

          KYLE
          You swore again. Was that our bus?
          Rachel looks: PAN to across the street, the bus is now LEAVING
          THE BUS STOP. PAN back to Rachel: SHIT!!

          RACHEL:
          Okay, now were gonna.be late.
          She puts fingers in her mouth and WHISTLES HARD for a cab --

          INT. TRAIN STATION - WISCONSIN - DAY

          A CLASS OF MUSIC STUDENTS boards and Amtrak train. Rachel and
          Kyle are RUNNING through the crowd toward them --

          RACHEL
          Scuze us, coming through, sorry -- WAIT!!

          WAIT!!
          Finally they arrive. Kyle's teacher, MRS. MILLER, smiles:

          MRS. MILLER
          Under the wire --

          RACHEL
          (gulping breaths)
          Hi -- sorry -- Rachel Holloman, we met--

          MRS. MILLER
          -- of course, Barbara Miller.
          (looks at watch)
          You should probably --
          And Rachel's stomach drops. Knows they've been racing towards
          this moment all morning but still not willing to accept it.
          Turning Kyle to face her --

          

          

          

          

          3/28/07 14.

          CONTINUED:

          RACHEL
          Okay. Now. I want you to have an
          awesome time --

          KYLE
          I will, mom --

          RACHEL
          -- you can eat junk food, just remember
          to brush your teeth; and if you're gonna
          goof off, just be really smart about it;
          and try not to stay up past your bedtime,
          you get really cranky when you do that'--
          (turns to Mrs. Miller)
           He gets very contrarian if he doesn't get
          at least eight --

          MRS. MILLER
          I'm afraid it's time to board, Mrs.
          Holloman.
          Tears springing to Rachel's eyes. She tries to hide them.
          Bending down to be eye to eye with her son. Sotto --

          RACHEL
          You see all these kids? They're all
          calling their mothers. You just do it
          more --

          KYLE
          It's only two days,: mom. Y'know... you
          could try and some have fun too, wouldn't
          kill ya..

          RACHEL
          Fun? What's that?
           (hugging him)
           I love you so much, baby.You're my
           everything. Rock the house.

           KYLE
          -- love you too --
          They separate -- she watches as Kyle boards with Mrs. Miller:

           RACHEL
          Call me!

          MRS. MILLER
          Your mom gonna be okay?

          KYLE
          It's unclear.
          As they head into the train, Rachel steels herself and GOES.
          Passing the BAGGAGE AREA...

          

          

          

          

          3/28/07 15.

          CONTINUED: (2)
          We HOLD as the PORTER places Kyle's TRUMPET CASE on a conveyor
          belt. Oddly, it's ELECTRONICALLY REDIRECTED AWAY FROM THE OTHER
          INSTRUMENTS -- down a separate belt, where it emerges in a pick-
          up turnstile. Its lifted off the track by...
          A MIDDLE EASTERN MAN. Nervous. Really nervous. And the
          strangest thing -- he touches his ear and MURMURS something in
          Tajiki. To no one. Like a crazy person. What the hell?
          Walks to the curb where his white van idles. On the side is a
          decal: "HASSAD DRY CLEANERS." Loads the trumpet inside as we:

          INT. SHAW HOME - AFTERNOON

          Solemn quiet. Mourners talking in hushed tones. A buffet. Old
          people. Children. And over these shots, WHISPERED VOICES:

          WOMAN #1 (V.O.)
          you didn't know either?

          WOMAN #2 (V.0.)
          No idea.

          WOMAN #3 (V.0.)
          I knew he had a brother. But not a twin,
          that was...

          WOMAN.#1 (V.0.)
          I know, I know...
          Four WOMEN sit together. Heartbroken, unsettled. One glances
          across into a sitting room, where Jerry sits alone on a sofa.
          We're CLOSE on Jerry now. Holding a glass, etched with hearts.
          Looking at it as if it means something. Somehow, his childhood.
          He looks up at the stairs, as if knowing he needs to go up
          there. So he does. We MOVE with him:

          WOMAN #1 (CCNT'D)
          when was the last time they saw him?

          WOMAN #2
          Margaret said years...

          INT. SHAW HOUSE - PAUL AND JERRY'S ROOM - DAY

          TROPHIES. RIBBONS. All of them awarded to PAUL SHAW. TIGHT on
          Jerry's face as he scans the shelves of evidence. Evidence that
          he had a brother. A superior brother. Again and again we see:
          PAUL SHAW. PAUL SHAW. PAUL. PAUL. Then Jerry finds one
          framed CERTIFICATE. In the back. A Junior High ART PRIZE.
          Awarded to JERRY SHAW. He smiles at the fucking absurdity of it
          as a figure appears behind him...

          

          

          

          

          3/28/07 16.

          CONTINUED:
          It's WILLIAM. Their father. The worst day of this man's life.
          Jerry composes himself quickly. They stare for a moment.

          WILLIAM
          Six months without a boo or a bah.

          JERRY
          Didn't realize it'd been that long.

          WILLIAM
          Your mom was worried. So where were you
          this time?

          JERRY
          Nowhere.
          (then, a touch reticent)
          Singapore. Alaska for a few weeks.
          got a job for a while. On a...fishing
          boat. Met some great p-

          WILLIAM
          -- that's nice. Looks like you're really
          seeing the world.

          JERRY
          I'm trying, you know, just to --
          But William has just started crying.. Sobs of absolute loss.
          Jerry stands there, frozen, until William EMBRACES HIM. Jerry
          hugs him back -- tightly, grateful and starting to feel again.
          And just then, William says, quietly, through tears:

          WILLIAM
          You sound just like him.
          Jerry's eyes find a point in space. This is love by proxy. And
          now he hugs, his father in support, not unity. William pulls
          back. Takes his wallet from his pocket:

           WILLIAM (CONT'D)
           I want to give you some, uh...

           JERRY
          No. -- Dad, I'm okay. I'm doing really
          well. I promise.
          His father holds out some bills. North of two-hundred dollars.
          It's a stand-off. The question is: does Jerry have enough pride
          to reject the offer? And the answer is...

          EXT. CHICAGO STREET - ATM MACHINE - DAY

          CLOSE ON THE PIN NUMBER AGAIN, getting PUNCHED IN. Then FIND
          JERRY, exhausted from the funeral, slipping the money his father
          gave him into a deposit envelope. A glance at the SECURITY
          CAMERA. Then a BEEP makes him look at the screen.

          

          

          

          

          3/28/07 17

          CONTINUED:
           AND WE PUNCH IN TIGHTER ON JERRY, WHO STARES, STUNNED. The
          screen reads: "BALANCE: $750,000.00"
           What the HELL? Glances back to the people behind him, they want
           him to hurry. He hits "Cancel." But the machine, as if
          disobeying, spits out five $100 bills--

           JERRY
           -- whoa --
           Jerry stabs cancel again. Now TEN MORE $100 bills-come out. He
           glances at the people in line, nervous--

           JERRY (CONT'D)
           -- two seconds, sorry --
          Eyes flick back to the ATM CAMERA. He covers it with his hand,
          pushes "cancel" again and again. But now.. TEN THOUSAND DOLLARS
          IN $100 BILLS HAS COME OUT, getting JAMMED' in the slot. People
          start to PEER OVER as Jerry SCRAMBLES to keep the cash from
          flying everywhere. And finally. The machine stops. He stuffs
          all the money in his pocket. Everyone's staring.

          JERRY (CONT'D)
          Big date. So... fingers crossed.

          INT. JERRY'S APARTMENT BUILDING.- HALLWAY - NIGHT

          Jerry enters, a little dazed -- heads for his apartment as Mrs.
          Wierzbowski steps from. hers, Johann hiding behind her:

          MRS. WIERZBOWSKI
          Jerry! All day they make delivery!
          Jerry moves fast to her, a little out of breath -- shoves a
          thousand dollars into her hand:

          JERRY
           Here's the rest of the rent -- next
          month's, too --

          MRS. WIERZBOWSKI
          -- where do you get this?

          JERRY
          Just take it -- it's okay, I owe you --

          MRS. WIERZBOWSKI
          I had to open your apartment, too many
          packages come, they come for hours --

          JERRY
          For me?

          

          

          

          

          3/28/07 18.

          INT. JERRY'S APARTMENT - NIGHT

          Jerry whips open his apartment door -- as far as he can: it's
          blocked by something. He reaches in, flips on the LIGHT: BOXES
          EVERYWHERE. Reeling, he picks one up, rips it open. Packing
          peanuts fly: a pair of night-vision binoculars. WHAT IS
          HAPPENING? Goes through more boxes in a flurry of CUTS:
           FALSE PASSPORTS; a POLICE SCANNER; BODY ARMOR; HAND GUNS; large
          BAGS OF FERTILIZER; strange CHEMICALS; 747 MANUALS. Jerry looks
          around, fear and confusion growing. His cell rings.,. startles
          him -- all the LCD says is: "ANSWER NOW."

          JERRY
          -- hello?
          A WOMAN'S VOICE. We can't place why... but it's really creepy.

          WOMAN'S VOICE
          Look out your window. They're coming for
          you.

          JERRY
          (totally thrown)
          -- what? Who is this?

          WOMAN'S VOICE
          Jerry. You have to run.

          JERRY
          Who the hell is this?!
          Rips back the curtain to see a SWAT VAN SCREECHING UP -- a flack-
          jacketed TEAM pours out, assault rifles ready. Jerry goes pale.

          WOMAN'S VOICE
           Leave your residence. Get to the Mathis
          train station. You have 4 minutes.

          JERRY
          Jesus Christ -- what's happening?!

          WOMAN'S VOICE
          Run, or you'll be captured and convicted
          -- go NOW.
          CLICK. POUNDING BOOTS AGAINST PAVEMENT OUTSIDE. Jerry whirls,
          goes out to the hall, hears THEM coming. Starts to run. But a

          TACTICAL TEAM STORMS THE HALL. ASSAULT RIFLES AIMED AT HIM:

          TEAM LEADER JERRY
          Hands behind your head! DOWN WHAT'S GOING ON? HEY! IS

          NOW! DOWN ON THE FLOOR OR WE THIS ABOUT THE--THE ATM?! I

          WILL FIRE! DIDN'T DO ANYTHING!
          Jerry's SLAMMED to the ground as we CUT TO --

          

          

          

          

          3/28/07 19.

          INT. DHS FIELD OFFICE - INTERROGATION ROOM - NIGHT

          Jerry sits cuffed to a table. Frightened, confused, on the
          defensive. The door opens and AGENT THOMAS MORGAN enters: 40s,
          born to the job, never smiles. Takes a seat, opens a "file:

          JERRY
          Look, man, I don't know what this is -- I
          don't know how all that shit got in my
          apartment, but unless you're my lawyer--

          MORGAN
          My condolences. I understand you've had
          a tough day.

          JERRY
          it hasn't been ideal.

          MORGAN
          Your brother worked for the State
          Department.
          This was almost a question. And while it's obviously news to
          us, Jerry clearly knew...

          JERRY
          You tell me.

          MORGAN
          Were you close?

          JERRY
          Why? What am I doing here. I don't even
          know who you are.
          Morgan tosses his black leather BADGE WALLET onto the metal
          table. It lands open with a substantial CLUNG!

          MORGAN
          Tom Morgan, Special Agent attached to the
          National Counterterrorism Center.

          JERRY
          (stares, rocked)
          Counterterrorism Center? You think I'm --

          MORGAN
          -- according to phone records, your
          brother called you twelve times in the
          last year. You never called him back.

          JERRY
          If you're asking if we were the kind of
          freaky twins you see at the mall wearing
          the same shirt, no. Listen, Paul
          traveled a lot, so we didn't --

          

          

          

          

          3/28/07 20.

          CONTINUED:

          MORGAN
          Oh. That's right. He stamped visas in
          Karachi for a year. Then was a junior
          FSO in Beirut. Interesting places.

          JERRY
          What're you... saying.

          MORGAN
          I'm just saying you didn't talk much.
          maybe you did.

          JERRY
          Am I getting a lawyer here? 'Cause
          didn't hear my rights read to me--

          MORGAN
          You familiar with the slogan, "Declare
          War on War?"

          JERRY
          what? No, why?
          Morgan pulls out a SURVEILLANCE PHOTO: Jerry, college-age, at a
          STUDENT RALLY holding up a sign with an image of the Pentagon
          crossed out in red: "DECLARE WAR ON WAR!"

          MORGAN
          Because you painted it when you were part
          of the student activist group "Project
          Underground" at Berkley.

          JERRY
          (stares-at pic; LAUGHS)
          Wait. Come on -- okay: her name was
          Julia, she was the smokinist girl I'd
          ever seen and she wanted me -- I would've
          gone to an "Anti-Oxygen" rally for her.
          I swear to God, dude--

          MORGAN
          Don't "dude" me. I'm not your friend. I
          don't have friends... so: Jerry. Why'd
          you drop out of school?

          JERRY
          Why'd you stay in? I don't know, I
          didn't really see the point.

          MORGAN
          You haven't been able to hold a job

          JERRY
          Unless I've been fired from Kinko's,
          which is a statistical impossibility, I'm
          holding a job right now.

          

          

          

          

          21.

          3/28/07

          CONTINUED: (2)

          MORGAN
          Construction work, bartender in
          Singapore, telemarketing, real estate
          office, messenger, supermarket sign
          painter, taxi driver, gas station in
          Florida, fishing boat in Alaska--

          JERRY
          -- what can I say? Guess I haven't found
          myself yet --

          MORGAN
          Who deposited the seven-fifty?

          JERRY
          For as second I thought God, maybe. The
          ATM was obviously broken -- or do..
          accidents not happen in your . universe?

           MORGAN JERRY
          The money originated from the --this is all -- listen, this
          HSBC bank of Singapore -- is all very interesting -- but
          opened with a transfer from a this has nothing to do with
          corporation called 'The Star me! Do you understand?
          of Orion,' a dummy front for
          Hezbollah. This morning Majid -- alright, this is insane, I
          Al-Khoei says the agents.of want a lawyer--
          destruction are already inside
          our borders--
          -- we find hardware in your -- I told you, it all just
          apartment, latest military showed up there'. You're not
          spec, airplane manuals, plus listening to me!
          twelve hundred pounds. of-- sit (tries to stand up)
          your ass down now -- ammonium (abruptly sits)
          nitrate fertilizer. Just
          curious if you knew any of
          Paul's friends in Beirut, or
          if he knew any of your friends -- what do you mean
          in Singapore, oh but that's "friends"?!
          right, we haven't really
          established whether or not you
          two were close-- (losing it)
          -- I guess we were rett
          close when I looked into his
          open casket this morning and
          saw the bad make-up job
          covering the gash in his
          skull! Or how about when I
          watched him being lowered into
          the ground -- that establish
          anything for you?! Somebody
          set me up!
          Morgan stares at him, unmoved.

          

          

          

          

          3/28/07 22.

          CONTINUED: (3)

          MORGAN
          "Somebody." Who?

          JERRY
          A woman, I don't know! She called me and
          told me I was gonna be arrested. GET

          REAL, MAN! DO I LOOK LIKE A TERRORIST TO

          YOU?!?!

          MORGAN
          No more than Abdul Hamid, Taliban POW we
          caught in Afghanistan. Except his real
          name was Johnny Walker Lindh. Grew up in
          Marin County with a basketball hoop in
          his driveway and a carton of Tropicana in
          his fridge. He was blonder than you..
          though.

          (RISES)
          When I come back, you'd better tell me
          who you work for--
          And heads out the door, SLAM! Jerry yells;

          JERRY

          I WORK FOR KINKO'S!!.

          INT. DHS OBSERVATION ROOM - HALLWAY CONTINUOUS

          Morgan meets supervisor MARTIN KREBS, a senior D.H.S. big wig.
          Standing with LATESHA.SIMMS, 32 but looks 16, African-American,
          computer wonk with no room fora personal life; and TOBY GRANT,
          20's, straight part in his hair, wet behind the ears. They've
          all been observing through a two-way mirror. Latesha refers to
          a laptop, one she clutches like a safety blanket:

          LATESHA
          He fits the profile: disaffected,
          'susceptible to radical indoctrination,
          problem with authority. Doesn't vote or
          pay taxes, but witness statements all say
          he's not a player. He does sketches of
          his landlady's dog. Oh, and he's lying
          about the woman who called him -- we
          checked the records, no calls came in
          before we picked him up --

          KREBS
          What about the brother?

          LATESHA
          Mid-level FSO. Been stateside the past
          three years. No red flags. He was
          killed when a truck ran a light in
          Crystal City.

          

          

          

          

          23.

          3/28/07

          CONTINUED:

          MORGAN
          That kind of equipment and a major cash
          infusion five hours after a terrorist
          threat and were smiling and saying
          "coincidence?"

          KREBS
          So either he's a rank-and-file sleeper or
          a dumbshit mule.

          GRANT
          (eager to contribute)
          Or a misdirect. There's nothing subtle
          about him or the gear. He's not exactly
          a pro--
          Morgan levels a look at Grant as Krebs takes .a BEAT. Figuring
          out the next move:

          KREBS
          Get Smith on financials; Rieger on
          travel; and let's dryclean family and
          friends. Again.
          (to Morgan, veiled

          THREAT)
          I don't want the FBI rushing in on this.
          Break him. Fast.
          And leaves Morgan to twist.. The pressure's on. To Latesha:

          MORGAN
          v m m putting you on the brother.

          LATESHA
          Great, I'll access State's database

          MORGAN
          No, I want you to go there.

          LATESHA
          But, Tom, I can do everything from

          MORGAN'S VOICE
          you know those funny things underneath
          that not-so-stylish pantsuit? They're
          called leas.
          Latesha looks at him, not happy.

          LATESHA
          Yes. Sir.

          MORGAN
          You know I hate it when you call me that--
          He turns to go, Grant immediately following him --

          

          

          

          

          3/28/47

           24

          CONTINUED: (2)

          AGENT GRANT
          What can I do?

          MORGAN
          Follow me and don't talk.

          INT. GAMMAGE & BURNHAM LAW OFFICES - WISCONSIN - NIGHT

          Rachel's doing paperwork at her desk. People leave. for the
          night. An attorney named MICHAEL approaches; warm, good-
          looking, by all standards, a catch. She doesn't look up.

          MICHAEL
          He's out of town.

          RACHEL
          Yup.

          MICHAEL
          Which seems like a perfect ;opportunity
          for a second date. In theory.

          RACHEL
          In theory -- but I gotta site-check this
          brief, courier's coming in,.,the morning.

          MICHAEL
          Didn't we have a good time? Remember
          that? Our first date? Back in the 40's?
          He's so agreeably genuine, she wants to let him down easy:

          RACHEL
          I had a great. time, I told you that
          but I'm so busy and...

          MICHAEL
          Ooo.o, shit, the "so busy" speech -- stop
          -- not worthy of you. Or me. I'm
          patient, so... call me. When you're not
          busy.

          RACHEL
          Kyle goes to college in nine years-- it
          should be somewhere around then.

          MICHAEL
          I would so wait a decade for you. Call
          me his sophomore year, I'll prove it.
          And with a smile he heads off. She watches him go -- dammit!
          really liking him in this moment. She watches longer than she
          should... then goes back to her work.
          He gets in the elevator and she's left in her solitude. And now
          we BEGIN TO SEE the first signs of it: loneliness.

          

          

          

          

          3/28/07 25

          CONTINUED:
          The consequence of not really letting anyone into her life. She
          stares off as BLING! An IM box pops up on her screen:
          "RACHEL HOLLOMAN. ANSWER THE PHONE." And just like that the
          PHONE RINGS. Rachel jumps. Staring at the IM. Then at the
          phone. Answers it:

          RACHEL
          -- hello?
          It's the same chilling FEMALE VOICE:

          WOMAN'S VOICE
          Click on the link at the bottom of the
          page.
          Rachel's eyes drop down to the LINK at the bottom of her screen.
          What? Leans out from her cubicle to look around -- NO ONE ELSE

          AT THEIR DESK.

          RACHEL
          who is this?
          As she clicks on the link. And a STREAMING IMAGE APPEARS: A

          BLACK AND WHITE SURVEILLANCE CAM OFKYLE ON HIS TRAIN, LAUGHING
          WITH OTHER KIDS. Rachel's breath is taken away--

          RACHEL (CONT'D)
          What's going on? Who are you --?

          WOMAN'S VOICE
          Would you risk your life for your son?
          Rachel jumps to her feet,: trying to breathe through the panic.
          Looking around. NO ONE -

          RACHEL
          This isn't funny! Who are you?!

          WOMAN'S VOICE
          Ican derail his train. I can kill him
          at any time. I'll ask again: would you
          risk`. your life for your son?
          Suddenly the BROWSER GOES BLANK: "UNABLE TO ACCESS PAGE."
          Kyle's taken from her, that fast -- she gasps, terrified.

          RACHEL
          yes...

          WOMAN'S VOICE
          Follow my instructions precisely.
          There's a vehicle parked at the northeast
          exit of your building. The keys are in
          the ignition. Start walking. Now.
          CLICK. Off Rachel's stunned, terrified face --

          

          

          

          

          3/28/07 26.

          INT. DHS FIELD OFFICE - NIGHT

           A FAX spits out a page with the Department of Justice logo, from
           the ATTORNEY GENERAL'S OFFICE. Subject: "SHAW, JERRY."

          INT. DHS FIELD OFFICE - HOLDING CELL - MOMENTS LATER

          Jerry sits in his cell, lost -- looks up as an Agent enters:

          AGENT
          Time for your phone call.

          JERRY
          I thought there was no phone call.

          AGENT
          Attorney General's office changed their
          mind.

          INT. DHS FILED OFFICE - SECURE PHONE ROOM - NIGHT

          Jerry's led into a holding room with a phone on the wall. The
          Agent exits, electronic door locking behind him. Jerry thinks,
          deciding who to call. Swallows his;_pride, starts to dial his
          father. It RINGS. BUT THE RINGING SUDDENLY, EERILY LOWERS IN

          PITCH IN A DIGITAL GLITCH -- AN ODD.CONNECTION CLICK.

          JERRY
          hello? Dad--?

          WOMAN'S VOICE
          I told you to. run. You didn't.
          TIGHT ON JERRY now, terrified, breathless --

          JERRY
          .no wav -- who are you?!
          Behind Jerry; the steel door UNLOCKS -- he whirls to the OPENING
          DOOR -- waiting for a Guard -- someone, anyone... BUT NO ONE
          COMES.::: What the hell is this?!

          WOMAN'S VOICE
          Follow the water. Or the fire will kill
          you.

          JERRY
          What fire?! How'd you get on this
          phone?! Are you the one doing all this
          to me? Why?!

          WOMAN'S VOICE
          Follow the water. Leave the building --
          -- and Jerry SPINS BACK. Looks up at a WALL VENT near the
          ceiling -- SMOKE. Ho-shit! A SMOKE ALARM BLARES --

          

          

          

          

          3/28/07 27.

          CONTINUED:

          WOMAN'S VOICE (CONT'D)
          -- take Brisbane Street to the elevated
          train station: you have six minutes.

          CLICK.

          JERRY
          Wait, what d'you mean "follow the water"?
          Suddenly: TSHHHHH! Jerry turns -- in the hallway, a CEILING
          SPRINKLER SPRAYS. The FIRE GROWS, RAGING from the VENT --

          JERRY (CONT'D)

          SHIT!!!

          INT. DHS FIELD OFFICE - HALLWAY - NIGHT

          People scramble -- Morgan runs to the interrogation room, sees
          through the glass that Jerry's gone. To a passing Agent:

          MORGAN
          Where's Shaw?

          AGENT
          Parker took him to make his phone call.

          MORGAN
          Took him?! On whose authority?!

          INT. DHS FIELD OFFICE -.HALLWAY - NIGHT

          SMOKE AND FIRE AND A BLARING ALARM as Jerry FOLLOWS THE
          SPRINKLERS -- amazingly'each sprinkler ACTIVATES as he
          approaches, creating a safe path through the flames. Finally he
          gets to a dead end -- a WINDOW -- the FIRE RAGING behind him,
          heat increasing, as Jerry GRABS A NEARBY CHAIR AND --

          MORGAN (V.0.)

          JERRY SHAW!!
          Turns through the wild FIRE, Morgan, at the other end of the
          corridor -- GUN DRAWN:

          MORGAN (CONT'D)

          FREEZE, RIGHT THERE!

          JERRY

          LISTEN TO ME! I'M NOT TRYING TO ESCAPE!
          The fire ERUPTS between them, obscuring each other's view. No
          choice, Jerry turns, HURLS the chair at the WINDOW, IT SHATTERS:

          

          

          

          

          3/28/07 28.

          EXT. DHS FIELD OFFICE - FIRE ESCAPE - NIGHT

           Jerry prepares himself, then JUMPS TO A DRAIN PIPE -- grabbing
          it and lowering himself from the third floor -- dropping the
          last ten feet, landing HARD, recovering, running off --

          EXT. RAISED SUBWAY PLATFORM - NIGHT

          A SUBWAY TRAIN pulls into the station. WHIP PAN to find Jerry
          running onto the platform -- out-of-his-mind-scared -- passes a
          SURVEILLANCE CAMERA looking down, as if watching him --
          Jerry's eyes scan the area... then he FREEZES. THE ELECTRONIC

          SCHEDULE SIGN HAS CHANGED TO READ: "JERRY, BOARD TEE TRAIN"

          THEN JUST AS FAST, ITS BACK TO THE SCHEDULE.
          HOW IS THIS HAPPENING?! Across the station, Jerry sees Morgan
          and a team of Agents pouring down the stairs =- he runs onto the
          train as the DOORS CLOSE -- Morgan turns, doesn't see him.

          INT. SUBWAY CAR - MOVING - NIGHT

          The train at full speed. Oblivious Commuters. Jerry tries to
          calm down, make some sense. Notices. the SECURITY CAMERA in the
          corner, turns from it. An LCD.onthe train broadcasts CNN:

          CNN NEWSCASTER
          has elevated our alert status to
          threat level "Orange." Insiders say
          tomorrow night's State of the Union
          address will focus on...

          CONDUCTOR (V.0.)
          Next stop, Montrose Station.
          A CELL RINGS from a phone peeking out of a SLEEPING PASSENGER'S
          BACKPACK. He looks at it, oddly suspicious. The LCD GOES BLACK
          -- then the words "ANSWER IT, JERRY" appear. Looks around: no
          one saw it. Slips the phone from the guy's backpack -- turns
          away, hits "answer":

          WOMAN'S VOICE
          Stay on the train for three more stations
          until you r--
          But Jerry HANGS UP -- WON'T HAVE THIS. And as the train slows,
          he moves to the door and --

          EXT. MONTROSE STATION - NIGHT

          JUMPS off the train, pushes through the busy platform. Spots
          TWO TRANSIT OFFICERS talking on radios as they scan the crowd.
          Jerry turns and ducks into another TRAIN just as --

          

          

          

          

          3/28/07 29.

          INT. SUBWAY CAR - NIGHT

          The DOORS CLOSE. Jerry sits, exhales. Then the cell phone --
          which he stole -- RINGS AGAIN. He tenses. Won't answer. It
          finally stops ringing. Could it all be over? NO, BECAUSE THE

          TRAIN'S EMERGENCY BRAKES SUDDENLY KICK IN, GEARS SCREECH, PEOPLE
          TUMBLE... and the train stops. Everyone looks around, confused,
          frightened. Suddenly, the train starts MOVING BACKWARDS--

          JERRY

          --NO--

          EXT. REAR SUBWAY CAR - NIGHT

          The rear subway car's now become the front. TILT DOWN to the
          track, it SWITCHES OVER to another line all.by itself --

          INT. SUBWAY CAR - MOVING - NIGHT

          People are FREAKING OUT -- and Jerry feels some insane guilty
          complicity in all this, as the PHONE.RINGS AGAIN--

          JERRY
          -- Jesus --
           (and he answers)

          HELLO.

          WOMAN'S VOICE
          I told you not to get off yet.

          JERRY
          -- listen -- lady -- who are you?!

          WOMAN'S VOICE
          He knows you're here.
          Jerry turns and sees A TRANSIT COP through the glass doors that
          connect the cars -- he's talking into a shoulder-mounted walkie
          talkie. Looking right at JERRY --

          JERRY
          --.how do you know that? Where are you?
          Jerry notices ANOTHER SECURITY CAMERA in the corner as:

          WOMAN'S VOICE
          Next stop is Damen Station. Take the
          Northwest exit. There will be a black
          BMW sedan. Get in the passenger seat.

          JERRY
          Go to hell. How's that.
          He hangs up, drops the phone and STOMPS ON IT. Eyes from fellow
          passengers. THEN EVERY CELL PHONE ON BOARD RINGING IN UNISON.

          

          

          

          

          3/28/07 30.

          CONTINUED:
          Jerry watches, stunned, as passengers start answering -- all
          hearing the same thing:

          WOMAN'S VOICE
          The man in the black t-shirt is a wanted
          terrorist. His name is Jerry Shaw.
          Everyone TURNS TO Jerry, backs away, but a HUGE MAN stands:

          HUGE MAN
          -- you Jerry Shaw?
          EVERYONE looking, a few even start to move for him. Jerry goes
          for the door, but the SUBWAY COP'S there, about to enter, but
          the door's locked. Jerry yells to the passengers.:

          JERRY

          STAY AWAY FROM ME!
          The COP pulls his gun, yelling through the glass:

          TRANSIT COP

          EVERYBODY DOWN! GET DOWN?
          Suddenly, the train SPEEDING, the DOORS OPEN! A BLAST OF WIND!
          People SCREAM, take cover as the.train .pulls into the station,
          the COP about to SHOOT when Jerry jumps, LANDING HARD ON THE
          PLATFORM -- ROLLS -- and the COP FIRES! People SCREAM and RUN,
          as the moving train separates Jerry from the Cop -- Jerry gets
          to his feet, sprints towards the northwest exit and --

          EXT. TRAIN STATION - NIGHT

          Out of the station! Spots the BLACK 760 BMW SEDAN parked by the
          curb -- sleek, ultra-fast. Jerry tears open the passenger door,
          jumps inside, meeting, behind the wheel:

          INT. BMW 760 SEDAN - NIGHT

           RACHEL. Terrified. Assuming Jerry is behind all of this.
           Jerry, breathing hard, assuming she is The Voice:

          JERRY RACHEL
          Okay: WHAT DO YOU WANT WITH -- I'm not doing a thing until
          ME?! I know for a fact that Kyle's
           safe -- Do you hear me?
          I am not fucking around, you
          tell me now what this is Do you hear me? No, you stop -
          about! - I will not do a thing for
           you until --
          HEY: I almost died back there!
          Three times! Shut up! You shut up and
          -- who?! Who's Kyle? WHO THE listen to me now! You tell me
          HELL IS KYLE?! Kyle is safe! YOU TELL ME

           HE'S SAFE GODDAMMIT!!!!
           She's HITTING HIM and he's gotta grip her arms to control her --

          

          

          

          

          3/28/07 31.

          CONTINUED:

          RACHEL JERRY
          MY SON! YOU LET HIM GO! YOU HEY! HEY, STOP! Wait!
          HURT HIM AND I WILL KILL You're not the woman who
          YOU!!! called me?
          And Rachel, out of breath, realizes: holy shit...

          RACHEL
          the woman? She called you too?

          WOMAN'S VOICE
          Drive.
          -- and Jerry and Rachel SCREAM at the horror of THE;WOMAN'S
          VOICE COMING FROM INSIDE THE CAR -- how?!

          JERRY RACHEL
          --where's that coming from?! --who are you?!

          WOMAN'S VOICE (CONT'D)
          I'm using the onboard automotive
          telematics system. Drive. Now.
          KA-BOOOOM!!! The side window EXPLODES from a GUNSHOT! They
          duck -- Jerry turns to look at,the COPS running toward the car:

          RACHEL JERRY

          THEY'RE SHOOTING AT US?! DRIVEDRIVEDRIVEDRIVEDRIVE!!!
          She SLAMS the gas -- the car SCREECHES ONTO THE ROAD, another
          car avoiding it, SLAMMING into a BUS -- Rachel LURCHES and
          GRINDS as she shifts gears --

          RACHEL JERRY

          WHAT IS HAPPENING?! WHY ARE YOU DRIVING LIKE

          -- I'VE NEVER DRIVEN ANYTHING THAT?!

          WORTH OVER ,TWELVE THOUSAND

          DOLLARS! WHO ARE YOU AND WHY

          ARE PEOPLE SHOOTING AT US?

          WOMAN'S VOICE (CONT'D)
          Stay about fifty miles an hour, you have
          pursuers.

          JERRY
          Yeah, thanks, we're on it --

          WOMAN'S VOICE
          Turn left in two-hundred feet.
          Indeed they do: TWO POLICE CARS BLAST AROUND A STREET CORNER
          FOUR BLOCKS BEHIND THEM -- DOPPLER HORNS as we CUT BACK TO:

          JERRY
          -- my name's Jerry Shaw, I've been set up
          -- somehow I don't know -- by --

          

          

          

          

          3/28/07 32.

          CONTINUED: (2)
          He dramatically GESTURES around the car, indicating The Voice.

          WOMAN'S VOICE
          One hundred feet.

          RACHEL JERRY
          -- you don't know anything Your son?! No, I know
          about Kyle? nothing! Just like you don't
           know how to drive: use the
           clutch before you shift, not
           while you shift, not while you
          -- I don't need driving sh--
          lessons from you, asshole! -- you drive like. this and I'm
           the asshole?

          WOMAN'S VOICE (CONT'D)..
          Turn now.

          RACHEL
          (annoyed as hell)
          I know I got it!
          And she YANKS the steering wheel and the.car makes a FRIGHTENING
          SCREAMING LEFT TURN as we CUT TO:

          INT. SUV - CHICAGO CITY STREETS - NIGHT

           Morgan drives a government-issue sedan at 80 mph. over radio:

           POLICE RADIO (V.0.)
          All units, respond code 3 -- suspect's
           headed south on Stanley --
          Morgan makes a hard right, .tearing around a corner --

          INT. BMW - CHICAGO CITY STREETS - NIGHT

          Two cop cars have become THREE in the rearview mirror -- even
          more insane, °all.the TRAFFIC LIGHTS are suddenly changing to
          create a MIRACLE PATH for the BMW -- stopping traffic to let
          them pass,. starting it up again to CUT OFF the cop cars. It's
          as if someone.'s.playing chess with the city grid--

          RACHEL JERRY
          (creeped out)
          --the lights are all changing
          to green... it's like... -- like they're changing for
           us...

          WOMAN'S VOICE
          Accelerate to sixty -- turn right in four-
          hundred feet...

          JERRY
          (looking up, scared)
          -- oh, no way --

          

          

          

          

          3/28/07 33

          CONTINUED:
          Rachel looks up too -- eyes wide: A TEN-STORY-TALL CONSTRUCTION

          CRANE TURNING FAST, THE BLOCK-LONG ARM SWINGING ABOVE THE

          STREET, HOLDING FIVE STEEL GIRDERS--

           JERRY (CONT'D)
          -- sixt ! Go to sixty!
           And suddenly the crane DROPS THE GIRDERS -- Rachel SCREAMS --

           JERRY (CONT'D)

          SHIT!!
          And the STEEL BEAMS SLAM INTO THE PAVEMENT, JUST BEHIND THE BMW,

          -- PURSUING AND SURROUNDING CARS SLAM THEIR BRAKES

          RACHEL
          -- this isn't happening!!!
          Tries to DOWNSHIFT -- GRINNNNNNNND!!

          JERRY RACHEL

          CLUTCH! I'M CLUTCHING!!
          She tries to shift -- Jerry puts his hand on hers -- JAMS THE
          GEAR SHIFT INTO FOURTH -- the car swerves to avoid a car:

          JERRY

          GO RIGHT GO RIGHT!!!
          Rachel yanks the wheel, SKIDS round the corner -- more police
          screech in ahead -- she's forced to VEER onto a ONE-WAY STREET!

           JERRY (CONT'D) RACHEL
          Getoffthe street -- wait, --WILLYOU SHUT UP?!!!!
           no,turnup ahead, keep going --WILLYOU JUST SHUT UP AND
          --go...wait -- stop -- TURN LETMEDO IT!!

          HERE!!
          The BMW barely avoids one collision after another --

          WOMAN'S VOICE
          You'll turn at the next alley: avoid the
          police.
          Rachel skids right, but TWO COP CARS appear. Too late to stop
          WHAM! The BMW SMASHES THROUGH -- both cop cars go flying.

          RACHEL

          AVOID THEM?!

          JERRY
          (looks back, holy shit)
          -- you're doing great --

          MORGAN'S CAR:

          

          

          

          

          3/28/07 34.

          CONTINUED: (2)

          MORGAN
          They're headed for the harbor! Gimme
          roadblocks at Granville and Sheridan!
          IN THE BMW: Jerry and Rachel speed through an industrial marina.
          Up ahead, the intersection's closed by a POLICE BARRICADE.

          WOMAN'S VOICE
          Turn right in two-hundred feet.
          MORGAN'S CAR: he SEES Rachel coming right at him. Just before
          they collide, she TURNS RIGHT. Morgan SLAMS his brakes -- his
          car FISHTAILS -- the cruisers behind him come to a.stop; but now

          BLOCK HIS WAY.

          MORGAN

          MOVE MOVE MOVE!!!

          INT. BMW - HARBOR - NIGHT

          As the car speeds down a narrow artery toward the RIVER --

          WOMAN'S VOICE
          Accelerate to sixty five.

          RACHEL JERRY

          ACCELERATE?! WE"RE HEADED FOR THE WATER!
          -- are you trying to kill us?! -- slow down! Jesus, slow
          down--what the hell's your
          name? YOU! YOU!!!
          -- Oh! Rachel! -- Rachel: SLOW THE HELL

          DOWN!!!
          Just then: KA-CHUNK!! Something just SLAMMED onto the ROOF -- a
          high-pitched VREEEEE as he car's tires SPIN in overdrive but
          suddenly FIND NO ROAD BENEATH THEM! And impossibly, as the
          brick wall GROWS HUGE coming right at us through the windshield,
          the car RISES OFF THE GROUND -- LITERALLY FLYING --

          JERRY RACHEL

          HOW ARE YOU DOING THIS?!?! I'M NOT!!!
          -- and now we REVEAL: A GIANT, INDUSTRIAL MAGNET attached to the
          top of the BMW, HOISTING it up on a DOCK CRANE -- the jib arm
          PIVOTS, swinging them over a CRANE YARD...
          Minds blown, they swing past the crane's DRIVER'S SEAT and
          see... NOBODY'S AT THE CONTROLS. The crane DIPS THEM toward a
          wooden railing overlooking the RIVER -- they CRASH THROUGH it.
          The release arm DROPS the BMW -- Jerry and Rachel SCREAM as they
          PLUMMET -- but the car doesn't hit water, instead it falls onto:
          A GARBAGE BARGE floating downriver. The car lands in a mountain
          of trash. The crane STOPS, just as... Morgan and the cops
          APPEAR, screeching in at the broken railing.

          

          

          

          

          3/28/07 35.

          CONTINUED:
          They jump from their cars, look down into the river and see
          NOTHING. Morgan KICKS a trash can, pissed:

          MORGAN
          Seal the harbor, get divers in the water!
          PAN UP TO the horizon... where the garbage barge floats lazily
          down Lake Michigan. Jerry and Rachel escaped... for now.

          DISSOLVE TO:

          EXT. BARGE - DAWN

          Jerry, dazed but driven, SLAMS a piece of plywood again and
          again into the LEXAN WINDOW of the barge's CONTROL BOOTH.
          Rachel paces, on her cell -- hearing:

           KYLE'S VOICE
           This is Kyle. Who is not allowed to. use
           this phone with my friends... so leave a
          message, Mom. (BEEP --}

           RACHEL
           Honey? Honey? It's me -- Baby, you need
           to call me. Soon as you get this, 1 please
          -- check your messages and.call me.
          Sweetie. I love y_ou.
          And she hangs up, staring'off. CRASH! Jerry's knocked the
          window back -- opens the control booth door and enters, examines
          the controls. The computer panel reads: "CONTROL OVERRIDE."

          JERRY
          -- this thing's on auto-pilot or
          something. Which doesn't happen, these
          barges are operated, by people.
          He steps out. In thought, tears in her eyes, Rachel asks:

          RACHEL
          D'youthink -- she could derail a train?

          JERRY
          Are you kidding me? She changed every
          traffic light! This woman's called me on
          other people's phones -- some dude who
          happened to be sitting next to me! His
          phone rang -- it was her! For me! She
          broke me out of maximum-security custod
          in a way I'm not even gonna tell you
          cause you won't believe it -- and you
          saw how she directed us away from the
          police, then lifted us outta the world
          and dropped our ass onto the ghost barge!
          Can she derail a train? She could
          probably turn a train into a duck. Yes.
          I think she c--

          

          

          

          

          3/28/07 36.

          CONTINUED:
          -- but now he stops, because Rachel is crying. Jerry lamely
          attempts to backpedal:

          JERRY (CONT'D)
          I mean... I don't know, I'm not sure she
          could derail a train, what the hell do I
          know?
          Rachel brushes her tears away. Afraid, but fighting it.

          RACHEL
          My son is on a train. She threatened to
          kill him if I don't do what she says.
          They share a look. The difference between them galvanized in an
          instant. She has something to lose.

          RACHEL (CONT'D)
          You tell me -- how does someone do all
          this?
          When: RING! A CELL PHONE. Rachel looks down, hoping it's Kyle
          -- but it's not her phone. They realize the phone's somewhere
          in the trash. Jerry starts digging. It's nast Finally, he
          finds it in an old take-out box --- re: the phone.

          JERRY
          -- you see what I mean?
          He wipes it off, holds it to his ear despite the stench;

           JERRY (CONT'D)
          Hello?

           WOMAN'S VOICE
           You both need to swim to shore. Go to
          line tower 108.

          "JERRY RACHEL
          "Swim to shore? Are you -- she wants us to swim --?!
          insane?

          JERRY
          Lady, what if I told you we don't know
          how to swim.

          WOMAN'S VOICE
          But you do. I've seen you at the beach
          house.
          (Jerry is chilled)
          And the female was once a swimming
          instructor at the YMCA in Westport,
          Connecticut. Go now or the authorities
          will find you. They're more dangerous
          than the water.

          

          

          

          

          3/28/07 37.

          CONTINUED: (2)
          CLICK -- she's gone. Jerry hangs up, turning something
          unnerving in his mind.

          JERRY
          She called you "the female."
          (beat, weird)
          That's like... something a foreigner would
          say, like a bad translation. But she has
          no accent.

          RACHEL
          Jerry, that's your name, right? Are we
          swimmincr?

          JERRY
          Does it bring back memories of
          Westport Y?

          RACHEL
          (pale, at a whisper)
          how did you know that?

          JERRY
          I didn't.
          And they turn to look down at the FREEZING RIVER WATER as we PRE-
          LAP the SOUND of a clear F SHARP and CUT TO --

          INT. A&B INSTRUMENT REPAIR MORNING

          An OLD MAN blowing into KYLE,'S TRUMPET. Thick glasses, sweater
          vest, INSTRUMENTS stacked all over the place. Kyle's familiar
          CASE with the Packers' sticker open next to him.

          STORE OWNER
          You sure you want to replace it? Sounds
          pretty good to me.
          And we reveal MIDDLE EASTERN MAN standing at the counter. Eyes
          darting, nervousShoves a small BOX into the man's hand.

          MIDDLE EASTERN MAN
          Yes. I'm sure. Please do it now.
          The Store Owner looks into the box.

          STORE OWNER
          I do a lot of custom jobs, never seen
          something like this before. I can have
          it for you by the end of the week.
          The Middle Eastern Man. MUMBLING again in Tajiki. Seemingly,
          to himself. The Store Owner stares, kinda freaked out --

          STORE OWNER (CONT'D)
          Sorry, what?

          

          

          

          

          3/28/07 38.

          CONTINUED:

          MIDDLE EASTERN MAN
          (snaps out of it)
          No. Is not possible. it must be
          done this afternoon --

          STORE OWNER
          Listen, Mister --
          The Middle Eastern Man suddenly touches his ear, BARKS out
          something in Tajiki. Like he's arguing with someone.

          STORE OWNER (CONT'D)
          -- are you okay?

          MIDDLE EASTERN MAN
          (looks at his watch)
          I will pay you triple. Please. A
          courier will be by to pick it:'up at
          three. Do it, please... please.
          And stepping back, he exits quickly. The Store Owner watches
          him leave, then looks back down at the BOX.

          INT. RIVER SIDE - DAY

          A Coast Guard cutter floats beside the now-abandoned garbage
          barge. The BMW's been lifted ashore by a crane -- FORENSIC
          TECHS comb every inch. MORGAN circles the car. Grant follows,
          a WAITING CHOPPER in the background.

          AGENT GRANT
          All the surveillance cameras in the area
          have turned up nothing -- no ID on the
          girl, nothing on the VIN --

          MORGAN
          All I want is a goddamn picture of her --
          what about traffic cams? There are more
          cameras on that route than the Super

          BOWL--

          AGENT GRANT
          Department of Transpo says there was a
          seven minute equipment failure --

          MORGAN AGENT GRANT
          Do NOT tell me their equipment
          was down! Do NOT! Sir, that's what they're
          telling me...
          From Northbrook to the
          290?! What about the bogus
          fax from Justice, was that
          equipment failure too? -- No sir, there's gotta be
           someone on the inside.
          -- ya think?!

          

          

          

          

          3/28/07 39.

          CONTINUED:
          Pissed, Morgan starts -- fast -- for the chopper -- we move with
          him and Grant, who keeps up:

          MORGAN
          The getaway car was waiting there -- get
          me a witness description on the woman
          driving -- remember witnesses? People
          who see things?! Jesus, is this a lost
          art?

          AGENT GRANT
          I have Markey on that right now
          Morgan's PHONE IS RINGING -- he answers:

          MORGAN
          Morgan. When? NO. You tell them hold
          that 'til I talk to Sanford -
          (hangs up, to Grant)
          WTMZ has a report that there's a
          terrorist at large in the.city,-- I'm
          going back to forensics. Find out where
          the hell that fax originated.-- if you
          don't have good news for me before I
          touch down you will be demoted to a job
          that will require you. to touch shit with
          your hands --do you understand me?

          AGENT GRANT
          Yes sir!
          As Morgan hops up onto the moving chopper --

          MORGAN
          Nobody who works for me calls me sir.
          understand?! It's disingenuous -- might
          as well be calling me 'asshole.'
          As Grant watches the chopper take off, perplexed.

          EXT. MIDDLE OF NOWHERE - DAY

          An endless stretch of road lined with electrical line towers...
          Two FIGURES, like specks against the landscape -- Jerry and
          Rachel, walking, wet, cold. And then:

          RACHEL
          So you're a twin.

          (BEAT)
          Who works at a copy place.
          And she manages a clipped, judgemental (frankly rude) laugh.

          JERRY
          Yeah, I know... that's occurred to me.

          

          

          

          

          3/28/07 40.

          CONTINUED:

          RACHEL
          So this whole situation is obviously
          about him.

          JERRY
          Excuse me? I would offer this whole
          situation isn't "obviously" about
          anything.

          RACHEL
          Just think about it: you said your
          brother worked at the State Department --

          JERRY
          -- so what?

          RACHEL
          -- so that means he could've: been into
          anythinc -- he was a twin -:- you..received
          a shipment of weapons and cash and
          airplane manuals -- it seems to me that
          they sent the stuff to.the wrong brother--

          JERRY
          Wait a minute -- you're suggesting all
          that stuff was for Paul?
          As they approach TOWER 108:

          RAC HE L
          Hey, I'm sorry that he died, I'm not
          trying to insult his memory --

          JERRY
          he hasn't been dead long enough to
          become a memory! And if you knew Paul,
          which you did not, you'd laugh all day at
          the idea that he was a spy or terrorist
          or whatever you're implying --

          RACHEL
          I'm implying if not him... then why you?

          JERRY
          Well hasn't that been the question my
          whole life. You know how I know Paul
          wasn't a terrorist? Because if he had
          been, he would've been the best fucking
          terrorist in history: he wouldn't have
          gotten caught, the United States would be
          a crater -- he would've won awards for
          being a great terrorist.

          (THEN)
          What about you? Why'd she choose you --
          what's your day job? I know it isn't
          "manual-shift driver."

          

          

          

          

          3/28/07 41.

          CONTINUED: (2)

          RACHEL
          I did just fine driving, thanks. I'm a
          paralegal -- I have no connection to
          anything.

          JERRY
          Really?
          Suddenly they're interrupted by the ROOSTERTAIL OF DUST
          approaching in the distance. Rachel stops dead and on INSTINCT,
          grabs Jerry's hand, all their mutual hostility vanished:

          RACHEL
          Someone's coming.
          And what's approaching is the "Hassad DryCleaners." van. It
          comes to a stop and out steps the Middle Eastern Man. Stands
          some twenty-five feet from them.

          MIDDLE EASTERN MAN
          Are you Jerry Shaw?

          JERRY
          who are you?
           Rachel grabs Jerry's arm as the man reaches into his jacket --

           JERRY (CONT'D) MIDDLE EASTERN MAN
          -- Whoa -- I dropped it off like she
          said. I'm done.
          The man's pulled out an unusual-looking STEEL KEY.

          JERRY (CONT'D)
          -- dropped off what? Who are you?

          MIDDLE EASTERN MAN
          Take it --
          He TOSSES the key..-- it lands, LARGE IN FRAME, somewhere between
          them. Then:

          JERRY
          what's it for?

          MIDDLE EASTERN MAN
          I don't know -- I don't care -- but I
          will not drive you. You take the van
          (touches his EAR: beat)
          I'm not listening to you any more!
          And the man turns to go, just walks away.

          RACHEL JERRY
          -- hey! -- wait, who are you?! You
          have to tell us what you know!

          

          

          

          

          3/28/07 42

          CONTINUED: (3)
          And as the man walks away from them his CELL PHONE RINGS: He
          pulls it out -- the LCD READS: "LAST CHANCE." And the man
          DROPS the phone and just starts RUNNING --

          JERRY

          WAIT!!
          And Jerry takes off after him, he's not letting him go. Catches
          up to the guy and grabs him. Spinning him round --

          JERRY (CONT'D)
          What do you know?

          MIDDLE EASTERN MAN
          -- let me go!

          JERRY
          -- who's doing this?
          And they begin to struggle. Middle Eastern Man's dropped CELL
          PHONE RINGS. Rachel. Terrified, hesitant. Knows somehow its
          for her -- she answers:

          WOMAN'S VOICE
          Stop him now or he will die.

          RACHEL
          (looking around)
          How are you seeing us?!
          Jerry and the Middle Eastern Man. Fighting. Thrashing.
          Throwing sloppy punches:

          MIDDLE EASTERN MAN
          Let go of me!
          On Rachel:

          WOMAN'S VOICE
          Stop him now.
          CLICK. Rachel turning to SCREAM at Middle Eastern Man --

          RACHEL
          Stop! You have to STOP!
          When the Middle Eastern Man CRACKS Jerry in the nose and he goes
          sprawling. He takes off again, yelling back:

          MIDDLE EASTERN MAN
          I cannot! I have a family!!!

          RACHEL
          She's going to KILL YOU!

          

          

          

          

          3/28/07 43.

          CONTINUED: (4)
          And just then, something TERRIFYING: an IMMENSE POWER SURGE --
          HEARD, FELT -- and a SIX-STORY-HIGH COIL THE SIZE OF AN SUV
          EXPLODES IN SPARKS. CABLES BLAST FREE. Rachel SCREAMS. Jerry
          TACKLES HER TO SAFETY as the tree trunk cables SWING DOWN AND
          STRIKE THE MIDDLE EASTERN MAN and he is SLAMMED OFF HIS FEET,
          the current making the cable STICK TO HIM LIKE GLUE.
          And he's ON FIRE INSTANTLY -- SMOKE EVERYWHERE as he's TOSSED BY

          THE HORRIFYING TENTACLE, POUNDED INTO THE GROUND, BACK INTO THE

          AIR, PUMMELLED DOWN AGAIN, BURNING...
          Jerry and Rachel watch this in horror -- until she looks away.
           Jerry holding her -- the two in shock, strangers, in each -
           other's arms. Having shared another moment, too real, horror -

          RACHEL (CONT'D) JERRY.
          Oh my God... Oh God... oh We--we have to do something,
          God... Oh God... we have to... figure out what
          to.. what...
          And then his PHONE RINGS. And they're both too afraid to answer
          it. Another RING. And another. Finally Jerry answers it, hand
          shaking slightly:

          JERRY
          You killed him... you killed that man...

          WOMAN'S VOICE
          It was unavoidable. Take the van. Drive
           to Indianapolis. 7002 West 56th Street.
           Arrive no later than eleven AM. Disobey
           and you die.
          CLICK. Rachel's eyes on Jerry.

           JERRY RACHEL
          she wants us to drive to
          Indianapolis.: , -- why? What's there, what? --
          -- I don't know -- -- no, this can't keep
           happening! We have to go to
           the police, explain it --
           explain what?! What're we -- I'm not doing it!! I'm not
          gonna tell them?! going anywhere!
          Jerry can see she's losing it. Grabs her by the shoulders:

          JERRY
          -- Rachel. She's watching us. Right
          now. You wanna die too? Your son? We
          have to go.
          Rachel looks right at him, still shaking, knows he's right. And
          nods. Okay. Okay. As our MUSIC BUILDS, LARGER THAN YOU MIGHT

          THINK -- AND AT THE HEIGHT OF AN UNRESOLVED CHORD, IT --

          

          

          

          

          3/28/07 44.

          EXT. LANDSCAPE - DAY


          -- STOPS.
          Just the eerie, faint whistle of wind. We PAN a barren
          landscape. Scattered scorch marks. Then, a high-pitched TONE
          as the PAN continues and arrives at a parked military truck,
          which gives us scale to understand the SUDDEN COLOSSAL EXPLOSION

          THAT SHAKES OUR BEING -- HOLY FUCK THAT THING WAS HUGE AND AS

          DEBRIS IS STILL RIPPED INTO THE SKY, PIECES ARE COMING DOWN AND
          THERE WILL BE SMOKE FOR HOURS as a SUPER APPEARS:

          "BRIAR POINT TEST RANGE -- ABERDEEN, MARYLAND. "-
           And we hear CLAPPING -- PULL BACK, realizing that we are inside:

          INT. PROTECTIVE BARRACKS - DAY

          -- a high-tech bunker-like structure with six-inch LEXAN
          WINDOWS. A dozen MILITARY BRASS are here, applauding. Among
          them is Callister. He seems more thoughtful about this. Behind
          him, a British, DARK-SUITED WEAPONS';DEVELOPER speaks:

          WEAPONS DEVELOPER
          That blast was the result of one single
          crystal of Hexomethylne. For those of
          you who are new today, "Rex" is an
          isotope that leaves no chemical markers --
          it's eighty times more powerful than C4.
          Odorless. Undetectable.
          COLONEL THOMPSON, also from our opening, gestures:

          COLONEL THOMPSON
          Talk about the detonating system...
          The Developer screws a METAL VALVE into what looks like a can of
          compressed air, saying:

          WEAPONS DEVELOPER
          Hex is triggered by an acoustic frequency
          undetectable to the human ear. For this
          test we made it audible -- that was the
          tone you heard before the explosion --
          the tone was the trigger.

          CALLISTER
          What's the risk that another sound could
          accidentally detonate it?
          (half smile)
          A song on a radio? A howling dog?

          WEAPONS DEVELOPER
          No: the pitch is uniquely programmed and
          impossible to reproduce.

          

          

          

          

          3/28/07 45

          CONTINUED:

          COLONEL THOMPSON
          Fine job.

          WEAPONS DEVELOPER
          Thank you, sir. We're proud of this
          ordnance -- all of us at Halloway-Smith.
          And while we still HEAR HIM SPEAKING, we CUT TO:

          INT. CLEAN PREP-ROOM - HALLOWAY-SMITH LABS- CONTINUOUS

          A TECHNICIAN at an assembly line where ROBOT ARMS_ work on a
          stream of components: the careful manufacturing of HEX. The
          acoustic trigger and its crystal counterpart.

          WEAPONS DEVELOPER.(V.0.)
          If you're satisfied with today's final
          test, the Hex Project has met every...
          contractual objective.
          The arms package each into separate . containers, fit them with
          shipping labels marked: "PENTAGON DIRECT."

          WEAPONS DEVELOPER (V.0.) (CONT'D)
          And we're hoping this moves us into the
          next scheduled phase... shipping the
          product into the field.
          Drift toward an unmanned computer. The screen FLICKERS:
          "OVERRIDE IN PROGRESS,. CHANGE SHIPPING DESTINATION." Robot arms
          grab a wrapped package off the line. A new label's printed:

          "ASHLAND & SONS CIO JERRY SHAW."

          INT. HALLWAY - PENTAGON - DAY

          Latesha walking down a hallway. Endless miles of shiny marble
          and military paintings. Her CELL RINGS. It's Morgan:

          MORGAN (V.O.)
          Whaddya got?

          LATESHA

          (SOTTO)
          Those funny things underneath my not-so-
          stylish pantsuit? They brought me all
          the way to the Pentagon. Paul Shaw
          wasn't State --

          EXT. SKIES ABOVE CHICAGO - DAY

          A chopper ROARS over skyscrapers. Morgan beside the PILOT in
          front, listening to Latesha over his helmet headset.

          LATESHA (V.0.)
          -- he was Defense.

          

          

          

          

          3/28/07 46.

          CONTINUED:

          MORGAN
          You're kidding me. What capacity?

          LATESHA (V.0.)
          Black-file: classified B-36.

          MORGAN
          B what?

          INT. HALLWAY - PENTAGON - CONTINUOUS

          She turns a corner. DOWN THE HALLWAY a PHALANX of GENERALS,
          MILITARY PERSONNEL and SCURRYING ASSISTANTS heading towards a
          set of DOUBLE-DOORS. Some very big meeting about to happen -

          LATESHA
          That's the point. No one'll tell me. I
          cross-reffed the SCI database, talked to
          the Intel committee, NSA gave me..nothing.
          Krebs doesn't want me to ruffle any
          feathers. I've been up and down all the
          ladders and everyone just thinks I'm a --
          WHEN an MP suddenly appears and grabs her by the arm. Stopping
          her. He towers over her --

          MP
          Interns aren't allowed on this floor,
          miss. You'll have to --
          When Latesha wearily flashes him her I.D. I've got clearance,
          pal. He looks at it. Lets her arm go.

          M.P.
          -- sorry.

          LATESHA
          (to M.P.)
          Everybody in this place have a six-foot
          height requirement?
          (continues walking; back
          to Morgan)
          Anyway. I'm going back to the office to--

           MORGAN (V.0.)
          No, no, no --

          INT. CHOPPER - CONTINUOUS

          The PILOT signaling to Morgan--

          PILOT
          -- I got the Williamson County Sheriff on
          the line --
          Morgan holds up a hand, one second. To Latesha:

          

          

          

          

          3/28/07 47.

          CONTINUED:

          MORGAN
          Look, I don't have time for this -- stay
          there til you get some answers --

          LATESHA (V.O.)
          -- but its a total shut out --

          MORGAN
          Simms: step up --

          INT. PENTAGON - CONTINUOUS


          MORGAN (V.O.)
          -- I don't care if you have to go to the.
          top to do it. Whatever means necessary,
          got it? Whatever means.
          CLICK. Latesha lowers the phone. A HUGE:PAINTING of the battle
          of EL-ALAMEIN looming behind her. Shelooks..back down the
          hallway as all the BRASS heading into the MEETING ROOM and
          catches sight of -- CALLISTER amongst them.
          Latesha hesitates. For just a second. Shit. Shit. This is
          it. Before suddenly rushing forward and calling out --

          LATESHA
          Secretary Callister!.:
          He looks behind him briefly before being shuffled into the
          meeting room. And SLAM.. The doors close in Latesha's face.

          LATESHA (CONT'D)
          Well, shit.

          INT. DRY CLEANING VAN - CITY STREETS - INDIANAPOLIS - DAY

          The van speeds down a highway, passing a sign: "WELCOME TO
          INDIANAPOLIS: YOUR HOME TOWN!" Jerry drives, pensive. Rachel
          stares out the-window, the shock of what she's seen only fueling
          her rage at the whole situation.

          JERRY
          how old is he? Your son.

          RACHEL
          (in no mood to share)
          Kyle. He's nine.

          JERRY
          What's he doing on a train?
          She really doesn't want to talk. BUT:

          

          

          

          

          3/28/07

          48.

          CONTINUED:

          RACHEL
          He goes to a music magnet. His school's
          on a tour of Washington. They're playing
          at the Kennedy Center.

          JERRY
          wow. And you. Hm.
          She turns to him. Eyes burning into the side of his head.
          Knows what he's thinking.

          RACHEL
          Parents weren't allowed to go... is that
          okay with you?

          JERRY
          Is it okay? I could give a shit.

          RACHEL
          Then what's with the qualified nod?

          JERRY
          I'm not allowed to nod?

          RACHEL
          Not if you're iudging me.--

          JERRY.
          Judging?! I'm just making conversation.

          RACHEL
          You think I should have gone with him
          anyway.

          JERRY
          I'm just thinking, sounds like a big
          deal, especially for a 9-year-old --
          playing at the Kennedy Center -- I'd just
          think at least one parent might wanna be
          there to see it.

          RACHEL
          Yeah? How do you know Kyle's dad isn't
          there?

          JERRY
          Well, you're not wearing a ring and you
          haven't mentioned anyone but your son is
          on that train. Even the most pissed off
          ex-wife -- which I'm not saying you
          aren't -- would've mentioned it if her
          ex's life was threatened -- and if Kyle
          was going to meet his dad in DC? You
          would've tried to call him, too. So
          where is he? Kyle's dad?

          

          

          

          

          3/28/07 49.

          CONTINUED: (2)

          RACHEL
          As if it's any of your business -- you
          know what you are --?

          JERRY
          Insightful? Intuitive? A better driver
          than you --?

          RACHEL
          -- you're one of those "thirties are the
          new twenties" man-children. You're glib
          and wry and find humor in people like me
          who are actually accountable for the ir
          lives --

          JERRY
          Okay, the most fascinating thing here?
          Is that you don't know the first thing
          about me!

          RACHEL
          I know you work at a copy store! What
          are you, thirty-one, thirty-two? You're
          obviously articulate

          JERRY
          -- love being stuck in a van with my
          fucking guidance counselor --

          RACHEL
          -- and I know your brother just died and
          he worked for the State Department --

          JERRY
          -- you need to stop talking about my
          brother, I've had enough of that --

           RACHEL JERRY
          -- you're in denial if you -- Ham: I'm not talking about
          don't think that has anything this --
          to do with what's happening
          right now -= -- Dammit!! I'm not kidding!
          :but I can tell you that Stop! STOP!
          whatever he did, whatever he
          was part of has put my son in
          danger whether you believe it
          or not!!
          SCREECH! Jerry YANKS the wheel hard, PEELING across four lanes
          of traffic. SKIDS to a stop by a curb, pops open the door.

          RACHEL

          JESUS!--WHAT'RE YOU D--?'.
          Jerry gets out, SLAMS his door shut --

          

          

          

          

          3/28/07

           50.

          CONTINUED: (3)

          RACHEL (CONT'D)
          You can't leave me!

          JERRY
          Why not? My brother's a terrorist, and
          I'm a loser right?
          He starts to walk away. Rachel desperately opening her door

          RACHEL
          Don't walk away!

          JERRY
          (throwing up arms)
          I'm done.

          RACHEL
          Please!

          JERRY
          You're on your own.
          Rachel starts running after him,panicked, leadin :

          RACHEL
          Please! PLEASE! I..i need you!
          Jerrystops short. Turning around. Cupping his ear.

          JERRY
          I'm sorry? What'd you just say?

          RACHEL
          I can't do this without you.

          JERRY
          You mean without the "man-child?"
          Rachel's reserves crumble.

          RACHEL
          Its the first time we've been apart, me
          and Kyle. Since the day he was born.
          And I let him get on that train--
          (almost whispering)
          -- I let him get on.
          Jerry sees all the panic and horror and guilt in this woman's
          eyes. They're both in pain. Points his finger right at her.

          JERRY
          No more accusing my brother of shit you
          know nothing about, is that understood?
          Rachel looks at him. Nods. Finding her voice again --

          

          

          

          

          3/28/07 51.

          CONTINUED: (4)

           RACHEL
           Yes.
           And so. They turn around. And get back in the van.

          EXT. TOWER 108 - DAY


          THE CHARRED FACE OF THE MIDDLE EASTERN MAN, FROZEN IN A SCREAM.
          Morgan runs towards it, the SHERIFF and a POWER WORKER trying to
          keep up. Chopper in B.G. Police officers work the scene.

          POWER WORKER
          Never seen anything like it. Power blew
          out from Franklin High School down to the
          river club. I can't explain it -
          They arrive at the body. Contorted, blackened, teeth bared.

          SHERIFF
          No I.D. We know he's male, though.
          Probably in his 20's.
          (points off)
          Tire treads entering and leaving the
          scene over three. Three sets of shoe
          prints.

          MORGAN
          And we're about 4 miles from the river --
          Just then we see Agent Grant running towards them, stumbling on
          some rocks. Just finishing-.up a cell call:

          AGENT GRANT
          Agent Morgan!"
          (out of breath, sotto)
          Just got off with HQ. The fake fax from
          Justice that got Shaw his phone call?
          Came from inside Justice.

          MORGAN
          Inside?! You absolutely sure on that?

          AGENT GRANT
          Yes, s--
          (catches himself)
          Yes I am.

          MEDICAL EXAMINER
          Got something --
          As the M.E. pulls something out of Middle Eastern Man's ear: a
          small, charred GIZMO. Small WIRE sticking out. Lifts it up for
          them to see. Morgan takes the TWEEZERS --

          GRANT
          Looks like a bone mic, military grade.

          

          

          

          

          3/28/07 52.

          CONTINUED:

          MORGAN
          Can't even get these things on the black
          market.
          (looks around landscape)
          Someone was talking to him.
          Something's rotten in Denmark. No, something's rotten
          everywhere. Morgan turns abruptly and starts back for the
          chopper. The Sheriff helplessly calls after him:

          SHERIFF
          We'll be needing that for evidence!

          EXT. 56TH STREET - DAY

          Jerry and Rachel's van pulls up to THE FEDERAL BANK OF
          INDIANAPOLIS. Across the way is a STADIUM for the COLTS. The
          parking lot's full, mid-game. They stare;.steeling themselves
          for the inevitable...

          RACHEL
          a Federal bank?

          JERRY
          Could be worse. Could.be.a Federal
          Prison.

          INT. INDIANAPOLIS FEDERAL RESERVE -;LOBBY - DAY

          A wall-mounted clock ticks to "11:00"--WHIP TO Jerry and Rachel
          entering. Security cams everywhere. As they nervously cross
          the floor, they pass TWO ARMED BRINKS COURIERS entering an
          elevator. A BANK MANAGER APPROACHES:

          MANAGER
          Mr. and Mrs. Saxon? I'm Mr. Bids. I
          understand you're in a hurry, why don't I
          show you to your box.

          JERRY
          (WHAT THE FUCK?! then:)
          yes, thank you, we'd... like that.
          The manager walks them across to a secure elevator with a
          THERMOGRAPHIC SCANNER. The manager looks at Jerry expectantly,
          waiting for him to place his hand on it. He does: a flash of
          light, identifying him as: "SAXON, CARL." Jerry's eyes: this is
          madness. The elevator doors OPEN.

          INT. INDIANAPOLIS FEDERAL RESERVE - VAULT - DAY

          They exit the elevator, the manager leads them to a DEPOSIT BOX.
          He pulls out a metal key, identical to the one the Middle
          Eastern Man gave Jerry:

          

          

          

          

          3/28/07 53.

          CONTINUED:

          MANAGER
          Your key?
          Jerry takes out his key, it fits perfectly. They turn; the box
          slides out, the manager lays it on a steel table. LEAVES to
          give them privacy. Jerry and Rachel stare at the box.

          RACHEL
          You gonna open it?

          JERRY
          Maybe it's not gonna be so bad.

          RACHEL
          Yeah... maybe it's something good..
          They meet eyes. Tentatively, he raises the lid to find TWO
          GLOCK PISTOLS and the same BONE MIC we saw.the.M.E. pull out of
          the Middle Eastern Man's ear. A note.: "EAR:MIC. NOW."

           JERRY RACHEL
          Oh, shit -- it's bad --
          They look at each other. Jerry puts the..mic in his ear:

          WOMAN'S VOICE OVER MIC
          Both guns are loaded, safety's off. In
          sixty seconds,':two,men Will exit the
          adjacent vault carrying a briefcase.
          Take it -- by force if necessary -- then
          exit the building..
          Jerry can't fucking believe this. Rachel dying to know:

          RACHEL
          -- what?!

          JERRY
          -- I don't suppose -- there's any easier
          way to`get whatever the hell it is you
          want -- is there? Miss?
          But she's not answering.

          JERRY (CONT'D)
          Excellent.

          RACHEL
          What now -- what are we?

          BUT THE VAULT NEXT DOOR OPENS, FOOTSTEPS--

          

          

          

          

          3/28/07 54.

          CONTINUED: (2)

          JERRY RACHEL
          -- they're coming--we're
          supposed to rob them -- -- are you kidding me?!?!
          (hands her a GUN)
          -- just take i t-- -- no! Jesus! I don't even
          let Kyle play with water guns!
          -- hey, I applaud your
          parenting skills -- take it!
          The footsteps come CLOSER as two MEN appear... the.-BRINKS
          COURIERS from the lobby; one of them's carrying a METALLIC
          BRIEFCASE cuffed to his wrist -- the other spots Jerry's gun and
          REACTS, going for his gun:

          JERRY
          Don't!
          The men freeze -- Jerry holds his gun awkwardly --

           JERRY (CONT'D)
          Uh... hi. How's it going. Put. it on the
           floor. The briefcase. We don't wanna
           hurt you guys, we like you guys -- just --
          we need the case.

          COURIER #1
          You're bringing a shitstorm on your
          heads, you know that.

          JERRY
          I think we're already mid-shitstorm. Do
          it.
          The men exchange glances. Reluctantly, Courier #1 punches a
          combination into the case's padlock, the cuff POPS free from his
          wrist. He slides it over to Jerry, who reaches for it... AND
          COURIER #2 MAKES A MOVE -- SMASHING Jerry back, knocking the gun
          out of his hand.. Jerry CRASHES to the ground, the BONE MIC
          falling out of his ear... he turns, shit! Sees it skitter under
          the table. The Courier sees it too and grabs his chance:
          snatches up the case and RUNS for the elevator --
          Rachel rushes him, trips him -- he falls, dazed -- Jerry leaps
          up but Courier #2 effortlessly FLIPS him on top of the steel
          table, SLAMS Jerry's head into the counter, unholsters a back-up
          GUN from his ankle -- brings the barrel up as:
          BAM! A GUNSHOT! The Couriers spin to see RACHEL, holding the
          gun that was kicked across the floor:

          RACHEL

          DROP THE GUN ASSHOLE!
          Courier #2 drops it; Jerry rises, wipes blood from his lip.
          Rachel is fucking on fire, she's so tough. AKA: a mother.

          

          

          

          

          3/28/07 55.

          CONTINUED: (3)

          RACHEL (CONT'D)
          Gimme the case. Now.
          They do -- and Jerry and Rachel back into the elevator with it.

          JERRY RACHEL
          impressive. Thanks.
          The door closes on them, and we CUT INTO:

          INT. INDIANAPOLIS FEDERAL RESERVE - ELEVATOR - DAY

          Alone in the elevator, Jerry looks down at the.. case, adrenaline
          coursing, sees a ribbon-thin DIGITAL TIMER near the handle:

          "01:12:36. 01:12:35."

           RACHEL JERRY
          -- whoa--what is that? -- a timer
          -- it's counting down-- -- they do.that --
          what's it mean?! -- I dunno, the only things
           with timers I can think of are
           microwaves and...
          -- and bombs, you were gonna
          say bombs --
           some coffee makers have
           timers.. .and egg timers...
          -- yeah, Jerry, it's an egg
          timer -- What is SHE saying
          about it --? I dunno, I --
          -- What do you mean you. don't
          know?!

          WOMAN'S VOICE
          You lost the mic, Jerry. That's not
          optimum.
          JESUS CHRIST! Her voice is in the elevator now:

          JERRY
          Would you stop doing that?!

          WOMAN'S VOICE
          There will thirty five seconds of
          disconnect, during which you need to get
          yourselves across the street to the
          stadium's VIP parking area unexposed.

          JERRY
          (calling out)
          Is this a bomb?! 'Cause I am not walking
          out with a bomb! Hey! You!
          But she's done talking. As the elevator DOORS SLIDE OPEN--

          

          

          

          

          3/28/07

          56

          INT. INDIANAPOLIS FEDERAL RESERVE - DAY

          TWO MORE BRINKS COURIERS wait by an armored truck. Jerry and
          Rachel exit, trying to look casual. Hearts POUNDING --

          RACHEL
          How do I look?

          JERRY
          Like you got into a fight. Me?

          RACHEL
          Like you lost one.
          AN ALARM SOUNDS. The men race into the bank as Jerry and Rachel
          walk RIGHT PAST them, starting across the street toward the
          stadium. No one in sight except a COLTS PARAPHERNALIA VENDOR.
          SQUAD CARS SCREECH in around the bank. COPS jump out drawing
          their weapons. Rachel tensing.

          JERRY
          Just keep walking
          Jerry looks at the CLOCK above the-stadium. Then over his
          shoulder at the BANK. Steers Rachel over towards the VENDOR.
          Trying to stay calm.

          JERRY (CONT'D)
          Two jerseys and two hats, please --

          VENDOR
          Peyton or Vinatieri?

          JERRY
          (shit!!!)
          I don't know what that means --

          RACHEL
          Jerry...

          JERRY
          (shit... shit...)
          Uh... both.
          The two COURIERS running out of the bank. POINTING RIGHT AT
          JERRY AND RACHEL ACROSS THE STREET. Everyone starts RUNNING
          TOWARD THEM. Jerry shoves a jersey and hat at Rachel--

           JERRY (CONT'D)
          Put these on --

          RACHEL

          JER--

          JERRY
          Do it!

          

          

          

          

          3/28/07 57

          CONTINUED:
          They put on the hats and jerseys, hurrying towards the stadium.
          Cops screaming at them to stop, the Vendor screaming that they
          didn't pay. The cops fan out. Cars SCREECH to a stop. Jerry,
          sweating. Flicks another look at the stadium clock: 3.. 2..

          1:

          WHEN WHAM! THE STADIUM DOORS FLY OPEN AS THOUSANDS OF JOYOUS

          COLTS FANS POUR OUT WEARING IDENTICAL BLUE HATS AND JERSEYS.
          The game's over. And in an instant, Jerry and Rachel are lost
          in a sea of blue and white -- it's impossible to spot them.
          Pushed back by the throng the COPS lose sight of them --
          Jerry takes Rachel's arm, working against the current towards
          the VIP parking area. A LIMO WAITING THERE. The CHAUFFEUR sees
          them, hurriedly puts down his paper. Opening the door --

          CHAUFFEUR
          Mr. and Mrs. Saxon? Hope you-enjoyed the
          game.

          JERRY
          Thanks, uh, we're in kind of a hurry --

          CHAUFFEUR
          I bet.
          Jerry reacts, confused by the.chauffeur's libidinous tone as he
          closes the back door. They vanish behind tinted windows as cops
          and agents pass right by them. And as the limo pulls out, we
          reveal, etched across the rear: "JUST MARRIED."

          EXT. HALLWAY - PENTAGON - DAY

          Latesha sits next to the DOUBLE DOORS. Laptop open, typing
          madly. She's been waiting a long, long time -- WHEN SUDDENLY
          they burst open and she SNAPS to her feet. Standing expectantly
          as GENERAL after GENERAL files out of the situation room. Each
          as tall and broad as the next --

          LATESHA
          (looking UP at them all)
          Afternoon... afternoon, sir...
          afternoon... afternoon, General...
          Pretty intimidating. Finally CALLISTER walks out, flanked by
          ADVISORS. The weight of the world's on his shoulders.

          LATESHA (CONT'D)
          Secretary Callister?
          He looks back, preoccupied. She catches up, holding her ID:

          LATESHA (CONT'D)
          Latesha Simms, DHS, level 2 clearance. I
          need to ask you a question, sir --

          

          

          

          

          3/28/07 58.

          CONTINUED:

          CALLISTER
          Not now, you can direct it to my office.

          LATESHA
          It'll only take a minute, sir, thirty
          seconds -- B-36? Can you tell me what it
          is? 'Cause its not --

          CALLISTER
          -- you don't have clearance, Agent Simms,
          and I don't have thirty seconds.

          LATESHA
          So should I assume it has something to. do
          with the four CVN class 21 aircraft
          carriers you and the president just
          ordered to the Strait of Hormuz -?
          He looks at her, stunned. How the hell--?

          LATESHA (CONT'D)
          I just checked the intel, sir, we have
          some of the same indexes --

          CALLISTER
          You need to stop assuming.
          And he moves on. Latesha gets jostled by all the brass, feeling
          like a mouse in cage filled with lions. Until she ROARS:

          LATESHA
          Secretary Callister.
          Voice echoing down the hail. Callister stops short, stunned by
          the gall and volume of this woman. She weaves through the
          GENERALS, planting herself in front of him:

          LATESHA (CONT'D)
          My Department's tracking a home-grown
          terrorist on the loose as we speak who
          may be connected to a cell with ties
          inside this building. Now seeing as you
          just had a meeting back there with more
          brass than the Navy Marching Band and
          with the terror threat rising every three
          hours, I'm going to just have to assume
          you're in the middle of a very delicate
          dance to stave off World War Three... so
          with all due respect, you either give me
          my thirty seconds and tell me what the
          hell B-36 is, or this world just fell
          into an even bigger heap of trouble.
          Sir.
          Callister looks down at her, completely struck dumb. She's hit
          a chord deep inside him. It's called balls. SLAM TO:

          

          

          

          

          3/28/07 59.

          INT. LOBBY - FOUR SEASONS HOTEL - DAY

          As Jerry and Rachel enter the POSH LOBBY of the FOUR SEASONS, an
          obsequious BELLHOP approaches -- he's been waiting for them:

          BELLHOP
          Mr. and Mrs. Saxon? This way, please --
          Tries to take the BRIEFCASE from Jerry, who yanks it back:

          JERRY
          No! 2 trot it.
          (forces a smile)
          Thanks, though.

          INT. PENTAGON - ANTE-CHAMBER - DAY

          Latesha dumps her things on a tray, moves through a scanner --
          among her items is a set of KEYS with aMINI.SWISS ARMY KNIFE.
          She's handed a NEW BADGE that reads: "TEMPORARY ACCESS."
          Ahead, an elevator door OPENS and we start CROSS CUTTING:

          INT. ELEVATOR - FOUR SEASONS - CONTINUOUS

          Jerry, Rachel, and the bellhop step in. The Hop hits
          "Penthouse." MUZAK. They travel up:

          BELLHOP
          So, where'd you two get hitched?

          JERRY RACHEL
          Reno. Niagara Falls.
          Shit.

          JERRY RACHEL
          Niagara Falls. Reno.
          Shit. The "DING" of an arriving elevator MATCHES US BACK TO:

          INT. PENTAGON ELEVATOR - CONTINUOUS

          THE LEVEL INDICATOR, having just arrived at floor "B-35."
          Latesha, wedged between two PENTAGON GUARDS, watches nervously
          as one of them uses a KEY to open a PANEL revealing:
          A BIOMETRIC SENSOR. The other guard holds his thumb to the
          scanner -- yet another PANEL OPENS, with a RED BUTTON marked "B-
          36." It hits Latesha: B-36 is a secret level in the Pentagon.
          The elevator DESCENDS to the final level and OPENS, revealing:

          

          

          

          

          3/28/07 60.

          INT. HALLWAY - LEVEL B-36 - CONTINUOUS

          12-foot concrete walls. High-tech ventilation and surveillance
          system. Standing there waiting is SCOTT BOWMAN, early thirties,
          hasn't seen daylight in a while:

          SCOTT
          Agent Simms? Scott Bowman: Welcome to B-
          36. If you'll follow me?

          INT. HONEYMOON SUITE - FOUR SEASONS - CONTINUOUS

          The Bellhop dramatically opens the door --

          BELLHOP
          Welcome to paradise.
          Palatial HONEYMOON SUITE. Picture windows, rose petals on the
          bed...

          BELLHOP (CONT'D)
          Minibar, high-speed internet, thousand-
          count sheets. And if you're looking for
          the TV
          He clicks a remote and a 72" PLASMA TV rises up from a cabinet.
          On screen, a narrated "virtual tour".of the hotel:

          TV VOICE
          dedicated to the highest standards of
          luxury and comfort...

          BELLHOP
          Robes behind the door, jacuzzi with
          eighteen nozzles that hit in all the
          right places, if you'll pardon my French.
          .Need anything, just dial zero, I'm here
          t2. serve, I'm here to please...
          And he stands by the door, waiting for a tip. Jerry's still
          looking aroundwhen Rachel catches his eye. Well? Oh. Jerry
          digs into his pocket and pulls out TWO NICKELS.

          JERRY
          Knock yourself out.
          The Bellhop is still looking down at his palm when Jerry SHUTS
          THE DOOR on him.

          RACHEL
          This is nice and everything, but what the
          hell are we doing here?

          

          

          

          

          3/28/07 61.

          CONTINUED:

          JERRY
          Nice? One night in this place is more
          than one of my paychecks; and that's
          before taxes --
          He heads over to the minibar. Starts rooting through it,
          pulling out those tiny bottles of alcohol...

          RACHEL
          What're you doing?

          JERRY
          If we're going down, I'm gonna go down
          singing. Hey! Chocolate covered
          almonds, I love these!

          RACHEL
          Can you stop eating for a second?
          A KNOCK at the door and they stop arguing immediately.

          WOMAN'S VOICE
          Answer it.
          They TURN hearing the voice: it's.coming from the T.V. The FOUR
          SEASONS GRAPHIC still dancing on screen.

          WOMAN'S VOICE (CONT'D)
          There are items you will need for the
          next step.
          KNOCK! KNOCK! A small nod from Rachel and Jerry opens the
          door. A DELIVERY BOY stands there with a BAG:

          DELIVERY BOY
          There y'go, Mr. Saxon. Have a nice day?
          Jerry takes the bag -- the kid puts out his hand for a tip just
          as Jerry closes the door on him, dazed. Starts pulling things
          from the bag: hair. dye, clothes...

          WOMAN'S VOICE
           The limousine is waiting for you
          `downstairs. You have 30 minutes to
          change your appearance.

          RACHEL
          Where are we going now?

          JERRY
          What the hell's in the briefcase?

          WOMAN'S VOICE
          Your only consideration at present is to
          deliver it before the timer expires.

          

          

          

          

          3/28/07 62.

          CONTINUED: (2)

          JERRY
          (the breaking point)
          BULLSHIT! This is crazy! You're a
          television set! You don't watch me, I
          watch you! I wanna know what the hell's
          going on!!

          WOMAN'S VOICE
          It would not be efficacious to reveal my
          intentions.

          JERRY
          -- "not be efficacious"?! Who the.fuck
          talks like that?!

          RACHEL
          -- Jerry --

          JERRY
          We know you're watching! We know you're
          listening! We know you know•.'everythina.
          So why don't you STOP HIDING AND TELL US

          WHO YOU ARE!!
          Nothing. Furious, he moves to.the WINDOW --

          JERRY (:CONT'D)
          Fine, have it your way,.Lady -- I'm gonna
          scream bloody murder out this window 'til
          every cop in a fifty mile radius comes
          running and I'm gonna tell them
          everything even if they think I'm a crazy
          sonofabitch 'cause at least I won't have
          to listen to you any more!

          RACHEL

          -- JERRY --
          He YANKS the window up --

          WOMAN'S VOICE

          STOP.
          He does. The..FOUR SEASONS GRAPHIC in TV snaps to BLACK -- then
          DIGITAL STATIC -- a channel RE-ROUTING through some distant
          computer-controlled network. And now:
          IMAGES -- FILE FOOTAGE -- a DEFENSE DEPARTMENT LAB, TECHNICIANS
          assembling computer components, putting together a strange-
          looking SPHERE --

          WOMAN'S VOICE (CONT'D)
          My name... is Aria.
          Rachel and Jerry stare -- what the hell is this?

          

          

          

          

          3/26/07 63.

          INT. PENTAGON - MAINFRAME TANK - CONTINUOUS

          CLOSE ON LATESHA, also reeling as she stares at something O.S.
          FLICKERING SHADOWS play across her face--

          SCOTT (O.S.)
          It stands for 'Autonomous Reconnaissance
          Intelligence Analyst'...
          And we reveal "THE TANK." A glassed-in wall containing TONS of
          water. AN AWESOME STEEL SPHERE IN THE WATER, suspended by a
          claw-like apparatus. The "brain" of a com uter network. The
          very same image Jerry and Rachel just saw on the TV.

          SCOTT (CONT'D)
          Twenty-two hundred tons of super-cooled
          water keeps her from overheating --
          that's ninety-two thousand processors,
          the equivalent of a hundred.millionhuman
          brains working together as:,.one..."'

          LATESHA
          (in awe)
          an electronic espionage system.

          SCOTT
          No, that was Echelon, eavesdropping off
          satellites. This goes.;. much farther.

          INT. HONEYMOON SUITE CONTINUOUS

          Jerry and Rachel gape as:MORE IMAGES flash: the RADIO DOMES,
          SATELLITE DISHES and MAINFRAMES that make up Aria's domain...

          ARIA
          I was created by "DARPA": the Defense
          Advanced Research Projects Agency in
          2002. My primary directive is to protect
          the national security of the United
          States. I have access to track the
          economies, populations, and military
          development of every country in the
          world, as well as intercept all global
          communications -- from satellites to cell
          phones to credit card transactions.
          Jerry and Rachel look at each other -- a computer?!

          INT. MAINFRAME TANK - LEVEL B-36 - CONTINUOUS


          SCOTT
          After 911, our problem wasn't collecting
          data, it was interpreting it fast enough.
          Ergo: quantum rocessin

          (MORE)

          

          

          

          

          3/28/07 64.

          CONTINUED:

          SCOTT (CONT'D)
          Today there are more microchips than
          people, and they can all be data-mined,
          either via direct connectivity or
          wireless signals --let's say we're
          chasing someone with a suitcase nuke in
          L.A., we can order Aria to shut down mass
          transit, track the perp through traffic
          cameras... and if given the order, she
          could even turn a TV into a bomb to take
          him out.

          LATESHA
          (what we're all

          THINKING)
          But what if --

          SCOTT
          -- she can't act without authorization.
          See, she's bound not to countermand our
          laws -- even the Declaration of
          Independence is woven into her source
          code. Her primary role's pre-emptive --
          running simulations, identifying threats
          before they become real...

          INT. HONEYMOON SUITE - CONTINUOUS


          JERRY
          Wait, you think we're a.threat?

          ARIA (V.0.)
          No. You're a means to an end.
          On TV, CONSTITUTIONAL AMENDMENTS -- ZOOM to words in CLOSE UP:

          ARIA (V.0.) (CONT'D)
          Under National Security Directive 359,
          Sub-Section 72 -- "when units are needed
          for the national defense, civilians shall
          be ordered to active Federal service..."

          JERRY
          you're drafting us?

          RACHEL
          The guy you killed in the desert -- last
          time I checked, murder wasn't legal.

          ARIA
          In fact, it is. Chapter 802 of the
          Uniform Code of Military Justice states
          desertion is punishable by death.
          So matter-of-fact, its chilling. And what Jerry wants to know,
          more than anything, is...

          

          

          

          

          3/28/07 65.

          CONTINUED:

          JERRY
          what'd my brother have to do with
          this?
          A picture of PAUL SHAW'S DEFENSE I.D. pops on screen:

          ARIA
          We were colleagues.
          Rachel staring at the picture on the screen, then back at Jerry.
          Can see the blood draining from his face.

          JERRY
          (trying to process)
          No, he worked for the State Department..:

          ARIA
          Everyone in deep operations has a cover.
          Your brother was a Horseman.

          JERRY
          What's the hell is a 'Horseman'?

          INT. MAINFRAME TANK - CONTINUOUS


          SCOTT
          You know, clever allegory -- of the
          apocalypse'--`except we're here to
          prevent it.
          Scott taps the console, ID PHOTOS APPEAR of our four "Horsemen":
          PAUL SHAW, SCOTT, and two men we'll call LOWELL and JIMMY.

          SCOTT (CONT'D)
          Officially, we don't exist, but we
          monitor Aria's network 24/7. There were
          :four of us... til Paul died.
          (beat, it's still raw)
          He was smarter than all of us put
          together.

          LATESHA
          Working here must be pretty tough -- all
          the security, the pressure, long hours...
          As in: "Did you notice him acting strangely?"

          SCOTT
          Yeah, but you could set your watch by
          Paul. Except...

          LATESHA
          Except what?

          

          

          

          

          3/28/07 66

          CONTINUED:

          SCOTT
          The night he died? He left his shift
          three minutes early. Which you don't do.
          Which he wouldn't do.
          Latesha's suddenly locked in on a clue -- PRELAP:

          ARIA (V.0.)
          Paul and I had a disagreement before he
          expired...

          INT. HONEYMOON SUITE - CONTINUOUS

          Jerry sinks to the edge of the bed, runs hands: through his hair:

          ARIA
          To amend it, I need Jerry to perform a
          task. Simple.

          JERRY (V.0.)
          Expired?! You mean died.. That's what we
          call it, we humans, we call it dying--

          RACHEL
          What's the task?

          ARIA (V.0.)
          To insure the national security of the
          United States.

          RACHEL
          What d'you need me for then?

          ARIA (V.0.)
          That is not your concern right now.

          RACHEL
          Are you kidding me?

          JERRY
          Alright, this is bullshit. I'm not doing
          this --- and you're a computer, you don't
          know a goddamn thing about my brother.

          ARIA (V.0.)
          I know all about him, Jerry. And you.
          The screen snaps to a SLIDE SHOW of PAUL SHAW'S accomplishments:
          childhood birthday parties, sports teams, surrounded by friends,
          beautiful girlfriends, high school graduation, Yale graduation,
          standing with their dad, William's arm over his shoulder. Jerry
          almost GASPS at Aria's reaching into his subconscious:

          ARIA (V.0.) (CONT'D)
          Your brother succeeded in everything he
          did.

          (MNRF)

          

          

          

          

          3/28/07 67.

          CONTINUED:

          ARIA (V.O.) (CONT'D)
          Before he was a year old, he walked.
          Something that took you eighteen months
          to accomplish. He was highly gifted,
          intelligent and principled -- in fact,
          the only Horseman ever to challenge me.
          But you, Jerry --
          The slide show CHANGES to SECURITY FOOTAGE of Jerry at KINKO'S,
          slaving away. Playing cards with Kwame, slacking off. His
          stomach drops. Seeing himself like this. Looking so pathetic.
          The heart has just been cut out of him. Rachel sees it --

          ARIA (V.0.) (CONT'D)
          You are similar to Paul in DNA only.
          Historically you have succeeded in
          nothing. Initiated nothing. Excelled in
          nothing. You will perform the task
          because it is your nature to follow.

          (BEAT)
          And because you've seen what happens to
          deserters.

          RACHEL
          -- Jesus, ENOUGH!
          The screen goes BLACK.

          ARIA (V.0.:)
          You have 23 minutes to prepare. There's
          an adjoining suite with a second
          bathroom.
          The DOOR to the adjoining SUITE clicks open.

          ARIA (V.0.) (CONT'D)
          Use it.
          And she's gone, replaced by the hotel's promotional prattle --

          TV VOICE
          The Four Seasons prides itself on
          excellent service
          Jerry stares, overcome. Rachel watches him an emotional beat...

          RACHEL

           (SOFTLY)
           Jerry?
           Without answering, he grabs the bag. Walks into the other room
           without a word. Closes the door. She stares, feeling his
           shame... then her eyes go to the BRIEFCASE TIMER counting down:

          "01:08:43.. 01:08:42... 01:08:41..."

          

          

          

          

          3/28/07

           68.

          CONTINUED: (2)

          MAN'S VOICE
          Halloway-Smith contracted us to transport
          the briefcase to their corporate
          office...

          EXT. INDIANAPOLIS FEDERAL RESERVE - DAY

          The bank's roped off and labelled "CRIME AREA." Morgan
          questions the Couriers, studies their transport manifest:

          MORGAN
          Biotech? The chemical company?

          BRINKS COURIER #2
          When they make a new compound, they, hold
          it in a vault for clinical trials.

          MORGAN
          (scans the manifest)
          Why'd the HAZMAT office issue a special
          permit for the case?

          BRINKS COURIER #1
          You'd have to ask -- could be` anything
          from a boner pill to a bioweapon, they
          never tell us.

          BRINKS COURIER #2
          Tell you one thing, though... the guy
          never handled a gun before.
          That LANDS with Morgan.
          He nods to an agent, dismissing the
          couriers. Grant approaches:

          AGENT GRANT
          We pulled video... nothing. No good
          angles on Shaw or the girl.

          MORGAN
          There.are 14 visible cameras in the
          lobby! " 8 hidden no one can see!

          AGENT GRANT
          Gotta be a hacker, someone keeping them
          ahead of us.

          MORGAN
          It's a Federal bank; encryption doesn't
          get more secure.., from now on assume our
          air's been compromised, too. Tell
          everyone to go secure on Tac-3, nobody
          communicates outside this task force
          without my say-so.

          

          

          

          

          3/28/07 69.

          CONTINUED:

          AGENT GRANT
          I'm on it -- also: they found this
          upstairs, but the trace signal's dead --
          Holds up an evidence bag with Jerry's BONE MIC inside.

          MORGAN
          Do not tell me that is what I think it
          is.
          (snatches it, pissed)
          Goddamnit, who's leading these people
          around?! Someone's behind the Wizard of
          Oz!
          He turns and spots something: A SURVEILLANCE CAMERA in the
          window of a 7-11. Starts MOVING toward it.--

          INT. BATHROOM - FOUR SEASONS - DAY

          Rachel's face WHIPS UP INTO FRAME, her hair now DYED BLONDE.
          She stares at her reflection, trying to:process it all. . .when
          her cell RINGS: "KYLE." With a GASP she picks it up--

          RACHEL
          -- Kyle?!

          KYLE
          Hey, mom, it's. me.

          RACHEL
          -- sweetie, where areou, are you --
          But she's INTERRUPTED as she realizes, oddly, it's a VOICEMAIL --
          her heart SINKS:

          KYLE (V.O.)
          Got your message, the train's awesome --
          Brian tried to burp the alphabet but
          gagged when he got to "M." I'll call
          when we hit D.C. Bye, ma --
          Rachel holding the phone like it's some kind of life-line to her
          son. When there's a strange BEEP then the voice of ARIA:

          ARIA
          Your son left that message sixty seconds
          ago.

          RACHEL
          I'll do whatever you want -- don't hurt
          him, please -- I'm begging you. Listen -
          you're trying to protect something too,
          right? You'll do whatever it takes.
          Well that's what it's like to be a mother
          -- can you understand that?

          

          

          

          

          3/28/07 70.

          CONTINUED:

          ARIA
          There were over 52,000 vocal tone options
          for my program; I chose this one
          precisely because it sounds so maternal.
          People tend to do what you ask when you
          sound like their mother.

          RACHEL
          (eyes close, so lost)
          Jesus...

          ARIA
          You'll see your son again soon. Bute
          there's something I require from you
          first...

          EXT. BATHROOM - SAME

          Jerry approaches the door, hair now BROWN. Beat. He knocks:

          JERRY
          Rachel? We gotta go
          INTERCUT: Rachel in the bathroom, her face betraying the horror
          of what she's just heard, what Aria's just told her to do --

          RACHEL
          What? No way, I can't just --

          ARIA
          -- when the time comes I'll instruct you
          to stepaway:fromJerry. Once you hear
          those words, you'll have thirty seconds.

          JERRY (V.0.)
          Rachel? You in there?

          ARIA
          Answer Jerry, please.
          INTERCUT:;Jerry still standing outside the door. Rachel's
          VOICE,"mustering strength through the door:

          RACHEL (V.0.)

          COMING)
          Steeling herself, she steps out. Forces a smile while averting
          her eyes. And pushes past h2-,n like he's lagging...

          INT. HALLWAY - LEVEL B-36 - DAY

          Latesha PACES THROUGH FRAME, nervously filing her nails with her
          MINI SWISS ARMY KNIFE as she talks into a headset. A DESK GUARD
          watches, annoyed by the filing:

          

          

          

          

          3/28/07 71.

          CONTINUED:

          LATESHA
          I dunno, the whole thing's off somehow -
          but get this: B-36 isn't a security
          classification, it's a sub-level here at
          the Pentagon --
          (sees the DESK GUARD
          eyeing her)
          What? Girl's gotta groom.

          INT. 7-11 - BACK ROOM - DAY

          Morgan's on the other end, Grant and the Clerk run through a
          playback of the CCTV FEEDS looking out onto the street in front
          of 7-11. Good old-fashioned VCR.

          MORGAN
          (into cell)
          -- you're shitting me

          INT. HALLWAY - B-36 SECTOR - CONTINUOUS


           LATESHA
          Yeah, 36 floors underground -- and it
           gets weirder:

          ARIA CAM -- WATCHING LATESHA.FROM ABOVE: "TRACE IN PROGRESS...

          INTERCEPTING CALL."
          INTERCUTTING WITH MORGAN IN THE 7-11 -- he hears:

           LATESHA'S VOICE
           Four years ago, DARPA commissioned...
          (garbled)... .computer... (garbled)...

          MORGAN
          Simms? You're breaking up --
          WITH LATESHA -- her cell LCD says: "Call lost." No bars.
          Muttering "dainnit," she tries to call Morgan back. No dice.
          ARIA PQV CAM: Latesha snaps her phone shut, notices the camera
          watching her. Unsettling. We read: "VOICE MIMEO ACTIVATED"

          INT. 7-11 - BACK ROOM - CONTINUOUS

          And though Latesha isn't speaking, WE START TO HEAR HER VOICE:

          LATESHA/ARIA (V.0.)
          Sorry about that --
          As we realize Aria's taken over the call by mimicking Latesha:

          LATESHA/ARIA (V.0.) (CONT'D)
          I'm getting a bad signal down here.

          

          

          

          

          3/28/07 72.

          CONTINUED:

          MORGAN
          I heard 'DARPA' and 'computer' --?

          LATESHA/ARIA
          Yes, B-36 was part of a super-computer
          project, but it was decommissioned. A
          dead end. The archives are at Fort
          Meade. Do you want me to head over
          there?
          -- but Morgan's only half-listening now as he sees. something on
          the CCTV feeds:

          MORGAN
          Wait -- go back, freeze that -
          WHAT HE SEES: A STILL of Jerry and Rachel getting in the limo,
          faces obscured.

          MORGAN (CONT.':D)
          Punch up the plate
          The image enhances, revealing a PLATE NUMBER, its frame bearing
          the company name: "ICON LIMOUSINE SERVICES."

          MORGAN (CONT'D)
          (to Grant)
          Find that car!
          (back to Latesha)
          Simms, gotta jump, sit tight 'til I call.

          LATESHA
          Yes, sir.
          Morgan, preoccupied, is about to hang up. But stops: did she
          just call me sir?

          INT. MAINFRAME TANK - B-36 - DAY

          Latesha returns to the NETWORK MONITORING HUB to find Scott
          typing at.the console. A MACHINE ARM drops down from above,
          spider-like.: The device animates as a CRANIAL SCANNER opens:

          SCOTT
          Aria's system uses biometric security to
          identify us, so only Horsemen can access
          her core programming.
          Suddenly his head's ensconced in a LASER GRID that scans every
          inch of his features: "PROCESSING FOR MATCH... HORSEMAN IDENT
          CONFIRMED: BOWMAN, SCOTT." Latesha watches somewhat dumbstruck
          as the machine arm retreats upward.

          SCOTT (CONT'D)
          (clicks on mic)
          Aria, go voice active, please.

          

          

          

          

          3/26/07 73

          CONTINUED:

           ARIA OVER SPEAKER (V.0.)
           Hello, Scott. How may I assist you?

           LATESHA
          It talks?

           ARIA OVER SPEAKER (V.0.)
          I'm fluent in 6,800 languages, 41,000
          dialects, and 750 extinct tongues.

          SCOTT
          Aria, this is Latesha Simms, she's here
          as part of a counter-terrorism task
          force.

          ARIA OVER SPEAKER.(V.0.
          A pleasure to serve you, Ms. Simms.

          LATESHA
          (thrown, to Scott).
          Am I supposed to --
          (he gestures, "answer
          Um... what's up.

          SCOTT.
          Aria, I'd like to:bring,up all the log
          feeds the night Paul died -- when he left
          the building.

           ARIA OVER SPEAKER (V.0.)
          Of course.
          Scott types on the console and after a BEAT grainy black-and-
          white SURVEILLANCE FEED springs up onto the big MONITOR.
          Several different angles Of PAUL SHAW exiting the mainframe
          tank, moving down corridors, getting in the elevator. Weird to
          see this TINTYPE of Jerry. Same eyes, same hair, same walk.
          Flicks a quick look up at the camera --

          LATESHA
          There's no feed from inside here?

          SCOTT
          No need for cameras in here, we've got
          Aria.
          Latesha looks through a glass divider at Aria floating in the
          tank. Creeped out. The FOOTAGE JUMPING as Paul rounds the
          corner for the elevator. Presses his THUMB to the panel.

          SCOTT (V.0.) (CONT'D)
          So weird... no overt body language, he's
          even casual. Leaving like it's any other
          day.

          

          

          

          

          3/28/07 74.

          CONTINUED: (2)

          LATESHA
          Except three minutes early...
          ON THE MONITOR: the elevator doors open and Paul steps inside.
          Latesha studies the feed. Something's not right.
          Then... her eyes NARROW: the way Paul's facing the button panel.
          Like he's deliberately pivoting away from the camera.

          LATESHA (CONT'D)
          Wait, in the reflection, did you see
          that?
          Scott rewinds the FOOTAGE, ZOOMS IN. Paul stepping into the
          elevator and facing the button panel.
          CLOSE ON HIS FACE in the panel's REFLECTIVE SURFACE --

          SCOTT
          Is he... blinking?
          Yes. Erratically, deliberately. Fucking weird. Scott and
          Latesha share a look. Suddenly, the image on the monitor starts
          to FLICKER and JUMP --

          ARIA. OVER SPEAKER (V.O.)
          I'm experiencing interference in network
          7752B, please allow me to shut down and
          analyze.

          SCOTT
          Negative, I'm prioritizing this.

          ARIA OVER SPEAKER (V.0.)
          I'll note my protest in the data log.
          This is getting weirder by the second -- PAUL'S DISTORTED
          REFLECTION in the panel, his eyes definitely blinking weirdly:

          LATESHA
          It's like he's trying to say something...

          SCOTT
          A code. He's blinking code

          LATESHA
          It's not Morse, but there's a sequence to
          it --

          SCOTT
          (then, a GRIN)
          Oh, that sonofabitch...
          He grabs a piece of paper and starts WRITING MADLY, scribbling
          numbers, scratching some out, then converting them to LETTERS --

          F... I.

          

          

          

          

          3/28/07 75

          CONTINUED: (3)

          SCOTT (CONT'D)
          (as he works)
          It's a code -- Hexadecimal -- a number
          system that can be converted to letters
          the first computer used it as a
           programming language back in the 50's.
           Latesha watches, rapt: R... E. E... X... T. ."
           ON THE FEED: the elevator door OPENS and Paul steps out. That's
           all they get. They stare, trying to make sense of the letters:

          "F.. I. R... E... E.. X... T.. ."

           SCOTT (CONT'D
          The hell is that?
          Staring, minds spinning -- and suddenly.she puts.a FINGER
          between the two "E's." Dividing words.. And GETS IT:

          EXT. CORRIDOR - SECONDS LATER

          MOVING FAST together down the same corridor Paul went down.
          They turn a corner... and STOP DEAD:-
          A FIRE EXTINGUISHER is mounted on the wall.
          Latesha sees the placement of the CAMERAS caddy-corner to the
          intersecting hallways... and knows what Paul was doing:

          LATESHA
          It's the only spot in the hallway not
          covered by .the cameras.

          (LOW)::
          He was hiding something from her.
          A SHIFT to ARIA CAM confirms it: she can't see exactly what
          they're doin
          Latesha moves urgently to the extinguisher, starts examining it
          for something, anything... but finds NOTHING.

          LATESHA (CONT'D)
          I don't get it. He had to be saying
          'Fire Extinguisher.'
          Scott pulls a MAINTENANCE SHEET off the wall. Scans --

          SCOTT
          Maintenance replaced it yesterday.
          (scanning the sheet)
          This isn't right... they weren't supposed
          to do it til June.
          They lock eyes.

          

          

          

          

          3/28/07 76.

          CONTINUED:

          LATESHA

          (WHISPERS)
          She read the code too... where's
          'Recyling'?

          EXT. LIMO - DAY

          The limo glides through traffic. In back, Rachel's nodded off.
          Jerry watches her from across the limo, sketching something on a
          cocktail napkin... RACHEL'S FACE. It's a perfect, beautiful
          rendering. And we sense something in his look too--
          something's changed. As Rachel wakes with a start --

          RACHEL
          Hey -- sorry, I didn't mean to -- am I
          drooling? I bet I'm drooling. You
          didn't sleep?

          JERRY
          Night shifts. I'm used to.
          Rachel sits up, sees the napkin. Grins, surprised.

          RACHEL
          Wow, is that me?

          JERRY
          One of my only party tricks.

          RACHEL
          (truly impressed)
          It's really good.
          Jerry looks down at it, not used to having his work appreciated.
          Rachel, can see how deeply affected he was by what Aria said.
          It seems to make her feel uuiilty somehow... kinder...

          RACHEL (CONT'D)
          About what Aria said... I'm sorry.
          They're;starting to connect. He glances out the window...

          JERRY
          You have to understand, I wasn't his
          twin, I was more like his... little
          brother. Always trying to catch up. And
          you wouldn't believe how... nice he was
          to me. Teaching me things when we were
          kids, telling me how great I was. He was
          the only one who ever did.
          (almost smiles)
          Of course he was involved in some super
          secret National Security project. He was
          a superstar. He had a rocket strapped to
          his back. I'm the fuck-up.

          (MORE)

          

          

          

          

          3/28/07 77.

          CONTINUED:

          JERRY (CONT'D)
          I wear it like a medal, like it actually
          means something... but the funny thing
          is? This is probably the most important
          thing I'll ever do. This. Right now.
          This completely insane journey or
          whatever it is. I'm actually needed in
          something, me. Jerry Shaw is required.
          But what am I thinking? I'll probably
          fuck this up, too --

          RACHEL
          You're being too hard on yourself--

          JERRY
          No. I'm not being hard enough. That's
          been the problem.
          They look at each other. A real moment for Jerry. A seismic
          shift in his life perspective. But then something catches his
          eye -- his look DARKENS. Out the window, a highway sign:
          "DAYTON INTERNATIONAL AIRPORT." The driver's.tinted divider
          window lowers, he offers a folder.

          CHAUFFEUR
          Your passports and itinerary.
          Now Rachel's seen the airport. sign, too. Looks at Jerry...

          JERRY
          (to driver)
          Uh... could you give us a minute?
          The Chauffeur nods, the window RISES again. Heart pounding,
          Jerry grabs the briefcase and slides back the timer sheath to
          check the countdown: "00:15:36...00:15:35..."

          RACHEL
          You don't think --

          JERRY
          -- we know what she can do, she doesn't
          need us to crash a plane --

          RACHEL
          -- what if it's not about just one plane?
          They look at each other. Fuck. Fuck. Fuck. What to do. When
          Rachel grabs the briefcase as the limo pulls curbside.

          RACHEL (CONT'D)
          I have more to lose in this. If anything
          happens to Kyle then my life's over
          anyway --
          But Jerry grabs her hand, taking the case.

          

          

          

          

          3/28/07 78.

          CONTINUED: (2)

          JERRY
          Rachel -- til we met, I had nothing to
          lose. We do this together.
          A LONG LOOK BETWEEN THEM. As they realize, this could be it.

          INT. DAYTON INTERNATIONAL AIRPORT - CONTINUOUS

          We FEEL the heightened state of alert. NATIONAL GUARDSMEN with
          M-16's scan the crowd. Jerry and Rachel enter, adrenaline
          pumping -- he opens the envelope to reveal two PASSPORTS with
          their photos, but the names "MARK and ALLISON ACKERMAN." JUST
          THEN Aria's VOICE comes over the P.A.:

          ARIA OVER P.A.
          Allison Ackerman, please pick up the
          white courtesy phone --
          They stop, hearing her. Rachel TENSES in this moment moves
          to the RINGING courtesy phone, answers:

          ARIA (V.0.)
          Go to the ticketing machine, you'll
          receive two tickets to Paris.

          RACHEL
          -- Paris?

          ARIA (V.0.)
          Once you have the tickets, walk to gate
          17-C. Move quickly.

          EXT. DAYTON INTERNATIONALAIRPORT - TARMAC - CONTINUOUS

          A chopper TOUCHES DOWN near a waiting contingent of AGENTS and
          AIRPORT PD -- Morgan and Grant hop out on the MOVE, handing out
          BLURRY VIDEO STILLS from the 7-11:

          MORGAN
          He's with a brunette female,
          approximately five-seven -- I want
          airport PD at all exits -- have the tower
          shift commander ground every flight outta
          here under Federal jurisdiction but don't
          change the departure boards, I don't want
          'em to know we're coming--
          The agents enter the airport through a door on the tarmac --

          INT. CARRY-ON SCREENING AREA - CONTINUOUS

          Jerry and Rachel show their tickets and ID's to a TSA SCREENER,
          watching all the people on the X-ray line... families... kids...
          Jerry looks down at the case that could kill them all...

          

          

          

          

          3/28/07 79.

          CONTINUED:

          SECURITY ATTENDANT
          Sir, you'll have to put that through.
          Jerry nervously sets it on the conveyor belt, they pull off
          their shoes... watch the case move toward the mouth of the
          machine, then pass through the metal detector, catching a
          GLIMPSE of the X-RAY SCREEN... the briefcase glides into view...
          A STRANGE GLITCH as the screen fritzes, then normalizes
          revealing the contents: A HAIR DRYER AND DIRTY CLOTHES?! They
          notice the surveillance cam watching:

          RACHEL
          (a murmur)
          she changed the screen...
          The case comes off the conveyor, the TSA agent hands it back:

          TSA AGENT
          Can't be too careful.

          JERRY
          (forces a smile)
          You're doing a great job.
          As they walk on, he checks the timer, 00:03:22... 00:03:21.. 11
          They pass a KIDS' BAND and their teacher, gathered around an
          airline CUSTOMER SERVICE DESK.

          BAND LEADER

          (EXASPERATED)
          But we're supposed.to be in DC by --

          CUSTOMER SERVICE AGENT
          I'm sorry, si.r,..there's nothing I can do--
          INTERCUT SURVEILLANCE CAMERA POV: Aria tracks Morgan as he
          reaches the upper concourse just as... Jerry turns and... THEY

          LOCK EYES ACROSS THE CROWD:

          MORGAN
          (into walkie)
          I have him on the upper concourse, C
          terminal!

          JERRY
          (to Rachel, urgent)
          -- we aottago
          As Morgan races forward, ARIA ACTS: the X-ray screen FRITZES
          again as another carry-on goes through, revealing its "contents"
          as a HAND GUN AND KNIVES! The TSA agent hits a RED BUTTON --

          TSA AGENT

          -- HANDGUN --!!

          

          

          

          

          3/28/07 80

          CONTINUED: (2)
          And in a nanosecond, all TSA AGENTS draw guns and throw a KOREAN
          MAN against the wall -- he SHOUTS in confusion as they tear open
          his bag to reveal... it's filled with BIBLES!

          MORGAN

          MOVE! EVERYBODY MOVE! FEDERAL OFFICER!
          MOVING WITH JERRY AND RACHEL -- past a wall made of THIRTY FLAT
          SCREEN MONITORS that form one massive NIKE ad of Lebron slam
          dunking -- at once, the screens CHANGE to spell out the words:

          GATE 17-C. THEY'RE THIRTEEN SECONDS BEHIND YOU.
          Jerry and Rachel streak towards 17-C as the screens RETURN TO
          NORMAL when Morgan and agents follow with pistols swinging --
          INTERCUT SURVEILLANCE CAM POV: as Jerry and Rachel hurtle past
          an ATM MACHINE, IT SPITS OUT A CASH CLOUD..THAT"INCITES A FEEDING
          FRENZY -- agents SLAM into commuters and topple --

          MORGAN REACTS TO WHAT HE SEES -- HOW'D THAT JUST HAPPEN?
          Agent Grant and airport cops round the corner ahead -- our
          heroes veer past a FLASHING MESSAGE BOARD that changes:

          GET ON THE SLIDEWALK.
          They leap onto the SLIDEWALK which starts ACCELERATING as they
          run -- travellers gawk as Jerry and Rachel race by -- they reach
          the end but are going so fast.that they're JETTISONED off the
          conveyor, TUMBLING into passengers.
          Agents run onto the slidewalk but it SUDDENLY BRAKES, JERKING
          them off their feet -- they're LAUNCHED into the air, a domino-
          effect of crashing people.` Jerry and Rachel pull themselves up
          and run toward gate 17-C, another screen CHANGES:

          TAKE THE EMERGENCY EXIT.
          Above a door, the "EXIT" sign FLASHES UNNATURALLY -- the door
          automatically UNLOCKS -- they push through -- Morgan runs up,
          too late; the door's shut again. Sees an AIRPORT JANITOR --

          MORGAN (CONT'D)
          Open this NOW!
          The janitor quickly swipes his ID through the keycard scanner,
          but it BUZZES RED. Aria's locking them out. Morgan FIRES his
          gun at the lock -- people SCREAM as he slams through --

          INT. LUGGAGE CONVEYOR AREA - CONTINUOUS

          As Jerry and Rachel run through different tracks of LUGGAGE
          CONVEYOR BELTS, GUNSHOTS ping above them -- its Morgan -- they
          tumble, landing half-on, half-off a conveyor below.

          

          

          

          

          3/28/07 81.

          CONTINUED:
          JERRY LOSES HIS GRIP ON THE BRIEFCASE! It FALLS, landing on a
          "return" belt, Jerry reaches but MISSES by inches --
          THE BRIEFCASE travels onward, nearing Morgan -- he GOES for it --
          but a machine arm guiding luggage SWINGS LEFT, manipulated by
          Aria -- KNOCKS Morgan back before he can grab the case--

           RACHEL SNAGS IT -- HER POV -- TIMER: "00:01:10... 00:01:09..."
          As Jerry scrambles to her, the conveyor SHIFTS THEM to a
          different belt -- they're funneled through a HATCHWAY. Dazed by
          what he's just seen, Morgan scrambles for his walkie:

          MORGAN
          All agents: northwest cargo area!
          FREIGHT CARGO AREA: separated from Morgan, they tumble off the
          conveyor -- a plasma displays the "Asset Tracking System," all
          airport cargo and shipping -- it CHANGES to read:

          ROW 18. FIND CRATE MARKED "FRAGILE.
          They run for Row 18, find a crate with "FRAGILE" in BOLD RED --
          an ELECTRONIC LOCK on the crate descrambles -- the front of the
          crate falls OPEN... oddly, the interior's padded with THICK
          INSULATED LINING, a NEXTEL WALKIE PHONE inside blips:

          ARIA OVER WALKIE (V.0.)
          Set the briefcase down.

          JERRY
          (they do:

          00:1.0...00:09..)
          Don't be a bomb don't be a bomb don't be
          a bomb -- `

          RACHEL
          If it is, I'm really, really sorry I let
          you come with me...
          The timer: 0O:02.`..00:01...and nothing happens. The briefcase
          simply UNLOCKS.. They exhale.

           ARIA OVER THE WALKIE (V.0.)
          open it.
          Hand still trembling, Jerry reaches out... lifts the top to
          reveal... TWO HYPODERMIC SYRINGE INJECTORS and two vials of
          CLEAR LIQUID labelled: "Cryozine I TEST VIALS -- 20 x 1.0 ml.

          ARIA OVER WALKIE (V.0.)
          Load a vial into each syringe and inject
          yourselves. Quickly.

          JERRY
          Oh, Jesus...

          

          

          

          

          3/28/07 82.

          CONTINUED: (2)

           RACHEL
          Why --?

           ARIA OVER WALKIE (V.0.)
          The compound has been exposed to oxygen.
          Its already begun to degrade.
          And they see it: the liquid's starting to TURN BROWN --

          RACHEL
          What is that?! I'm not putting it in my

          ARM--

          ARIA OVER WALKIE (V.0.):
          Do it now, or you'll be caught.
          Across the bay, AGENTS rushing in, spreading.-out -- no choice,
          Jerry and Rachel grab the vials and fumble.toload them into the
          injectors, put them against their arms -- she FREEZES UP:

          RACHEL JERRY
          --oh, shit--I can't-- There's no time--
          He sees she's coming undone, so he'fire :. into his arm, taking
          the plunge -- WINCING as the needle punctures skin -- a beat:

          JERRY
          it's okay, .. see? I' mokay...you can
          do this, I'm telling you.
          Strong. Buoyed by him, she gets courage and FIRES too, wincing--

          ARIA OVER WALKIE (V.0.)
          Climb inside the cargo container.
          They duck into the crate, pulling the front back up into place.
          The electronic lock CLICKS securing them inside just as... the
          agents APPEAR running past the crate --

          INT. CRATE - CONTINUOUS

          Close together, they suck in sharply, freezing as FOOTFALLS run
          past... then, QUIET. The walkie/phone BLIPS:

          ARIA OVER WALKIE (V.0.)
          You'll soon be loaded into the
          unpressurized hold of a cargo plane. The
          drug will lower your heartrate to 15
          beats per minutes, reducing your need for
          oxygen... based on your medical records
          you have a 92% chance of survival.
          Their eyes go wide. Chests heaving as the drug takes effect.

          RACHEL
          .I feel it... oh, God...

          

          

          

          

          83.

          3/28/07

          CONTINUED:

          JERRY
          Hey, hey... look at me.
          She finds his eyes, it calms her.

          RACHEL
          I haven't really done... a lotta drugs.

          JERRY
          I've never done 'em in a cargo container.
          Despite everything, she smiles at that. He reaches for the
          walkie and TURNS IT OFF. Shutting Aria out. For the first
          time, they're alone. He keeps her distracted:

          JERRY (CONT'D)
          Tell me something --

          RACHEL
          -- what?

          JERRY
          -- anything -- something personal,
          something you would rationally never tell
          a stranger like me

          RACHEL
          I don't know. : You're being sweet, but
          it's not working -

          JERRY
          -- where's you ex-husband? You didn't
          tell me before--

          RACHEL
          -- you're gonna distract me by bringing
          up my life's biggest mistake?

          JERRY
          -- how could it be your biggest mistake?
          You got Kyle out of it.

          RACHEL
          -- now you're gonna distract me by
          bringing up the one thing I'm most afraid
          of losing?!

          JERRY
          Where is he? Your ex-husband?

          RACHEL
          Jesus -- okay -- he's in the Wilmington
          Correctional Facility.

          JERRY
          -- what? Really? Why?

          

          

          

          

          3/28/07

           84.

          CONTINUED: (2)

          RACHEL
          Mail fraud.

          JERRY
          Mail fraud? You married a -- mail
          fraudist? Or whatever?

          RACHEL
          He wasn't a criminal when I married him.

          JERRY
          So you're a good influence.
          And Rachel actually LAUGHS -- but just as quickly darkens.

          JERRY (CONT'D)
          Do you have a picture of Kyle?
          Rachel reaches back into her POCKET'. Pulling out a beat-up,
          crinkled, damp picture. Jerry shines the walkie's blue light:
          Kyle, holding his trumpet. One front tooth missing.

          RACHEL
          That tooth grew in. It'.s an.:'old picture--

          JERRY
          (woozier).
          He plays the trumpet?,

          RACHEL
          He was born playing the trumpet.
          As the drug really starts to kick in, like a truth serum:

          RACHEL (CONT'D)
          Every year his dad forgets his birthday.
          I have to buy a present and pretend
          it's... from him.

          JERRY
          (his heart breaks for

          HER)
          Sorry... that sucks.

          RACHEL
          His birthday's... next month... I just
          wish... sometimes i think I... focus so
          much on him, I forget how much else there
          is... y'know, in life... so much I
          haven't done.

          (BEAT)
          If we ever get through this...

          

          

          

          

          3/28/07 85.

          CONTINUED: (3)

          JERRY

          (REASSURINGLY)
          We'll get through it... I promise...
          we'll get through...
          Her breathing erratic, she speaks:

          RACHEL
          -- Jerry -- she... she wants me to--

          JERRY
          -- who?

          RACHEL
          -- Aria --
          (breathing short)
          -- Aria wants me to --
          and at that moment, they both BLACK:OUT.

          EXT. OUTSIDE CRATE - CONTINUOUS

          A FORKLIFT rolls down the aisle to.the crate. The DRIVER picks
          it up, drives it out toward the tarmac. There, waiting, is a C-

          130 ARMY TRANSPORT PLANE...

          INT. DAYTON INTERNATIONAL. AIRPORT - TERMINAL - NIGHT

          It's ABSOLUTE CHAOS from all the grounded flights. Morgan,
          livid, nurses a GASH on his temple from the blow he took --
          strides through the airport with Grant:

          AGENT GRANT
          Halloway-Smith says the drug was
          experimental -- briefcase was on a time-
          lock to prevent corporate espionage,
          supposed to be delivered to one of their
          dabs by the time it zeroes out -- if it's
          not,: case opens, the drug gets ruined.

          MORGAN
          We sweep every cargo hold, every crate--
          He's cut short by the sound of ROARING TURBINES out the window
          they spin to see the C-130 taxiing down the runway...

          MORGAN (CONT'D)
          Goddammit! Why's that plane on the
          runway?!

          AGENT GRANT
          C-130, it's military... shit, they're
          cleared to override an airspace
          lockdown...

          

          

          

          

          3/28/07 86.

          CONTINUED:

          MORGAN
          (starts to RUN)
          Have the tower pull the pilot's original
          flight plan, the one on pa er -- if it's
          on a computer, it's useless --

          INT. PENTAGON - MAINTENANCE AREA - DAY

          DEAFENING NOISE: blow torches, steam pipes, radios, and a huge
          CRUSHING SOUND coming from an INDUSTRIAL TRASH COMPACTOR as
          Pentagon detritus gets recycled.
          Latesha and Scott hurry in -- MOVING through quickly -- scanning
          -- when they SEE it: a forklift whirring towards the. compactor
          carrying a huge bin filled with old fire extinguishers.
          Hundreds of them, stem valves removed, ready to be.dumped.
          Scott and Latesha break into a RUN, skittering down stairs to
          the main floor. Running towards the forklift, waving wildly:

          LATESHA SCOTT
          Stop!! STOP! STOP!!
          But the forklift Operator can't hear them with the bright orange
          EARPLUGS in his ears. Speeds the forklift to the mouth of the
          compactor and dumps the extinguishers inside just as Scott and
          Latesha catch up and see the HUGE CRUSHING ARM of the compactor
          rumbling down to flatten everything'-
          The compactor Operator looks over as Scott and Latesha wave
          their IDS furiously and he punches a button to STOP the arm just
          three feet shy of crushing everything.

          LATESHA
          We have to look in there!
          Latesha starts climbing INTO the compactor

          COMPACTOR OPERATOR
          Lady, you can't do that!

          LATESHA
          The hell I can't! Come on!
          Shit. Scott has no choice but to follow her and climbs in,
          ducking low, the ARM frozen just feet above them. The
          compactor's foul, inches of industrial grease and crap and God-
          knows-what. They start wading through the extinguishers,
          turning them over, shaking them, looking inside--

          SCOTT
          Shit, there're hundreds of them...

          LATESHA
          keep looking, it's here...

          

          

          

          

          3/28/07 87

          CONTINUED:
          WHEN THE ARM. Moves. Just a fraction. The operator looks at
          the console: the hell? Latesha and Scott keep ploughing through
          the tanks as... THE ARM MOVES AGAIN. And this time Latesha
          heard it. Looks up. AND IT MOVES AGAIN. And now she sees the
          ubiquitous CAMERAS watching... ARIA...
          THE ARM STARTS COMING DOWN! Scott CRIES OUT! Grabs Latesha by
          the jacket and tumbles out of the COMPACTOR but not before
          Latesha sees something on an extinguisher and reaches back--

          SCOTT
          Latesha!
          -- grabbing the extinguisher as CRASH!! The ARM CRUSHES down as
          she snaps her hand back just in time. Turns the tank over and
          palms something, unnoticed by everyone.
          As the operator runs up to her, beside himself --

          OPERATOR
          I don't know what happened! It wouldn't
          stop!
          Latesha catches her breath, livid,a chill ripping through her.

          SCOTT
          -- you okay? Jesus
          (but her eyes are LOCKED
          on the Cameras)
          Latesha?

          LATESHA
          yeah. I need to get out of here.

          SCOTT
          Yes. Yes. Good idea. Come on --
          As they start walking out. Workers parting to let them through.
          As they head towards the exit, Latesha suddenly pulls Scott into

          THE--
          BATHROOM: slams the door and locks it.

          LATESHA
           Your girlfriend can't see us in here --
          Gimme your phone --

           SCOTT

           (STUNNED)
           What --?! My phone? What're you --
           When Latesha opens her hand and Scott sees a CELL SIM CARD:

           LATESHA
           He hid it under the valve. This is what
          Paul Shaw left for us --

          

          

          

          

          3/28/07 88.

          CONTINUED: (2)
          She smiles, still out of breath: fuck you, Aria.

          INT. ASHLAND & SONS JEWELRY STORE - MORNING

          MAGNIFIED through a jeweler's monocle, a diamond.., as it comes
          into FOCUS, we realize it's actually one of the HEX CRYSTALS
          Aria maneuvered off the military test site. CAMERA MOVES around
          the JEWELER, revealing FOUR MORE crystals on his workbench.
          Behind him, a sign: ASHLAND & SONS. Says into a phone headset:

          JEWELER
          Unique stones, where're they from?
          And in response, ARIA -- ultra-friendly, so human it's chilling:

          ARIA ON PHONE (V.0..)
          Family heirlooms. Sorry for the rush but
          I really want my son to be able to give
          them to his fiancee at their her
          engagement party tonight.

          JEWELER
          Lucky girl. I think I have the perfect
          setting. She'll love it.

          ARIA ON PHONE
          Thank you for understanding. You know
          how mothers are, well do just about
          anything...
          As we CLOSE IN ON THOSE CRYSTALS AND PRE-LAP:

          AGENT GRANT'S VOICE
          A shipment from D.O.D.'s ghost fleet went
          missing --

          EXT. SKIES ABOVE WASHINGTON - DUSK

          A HELICOPTER ERUPTS INTO VIEW, barreling toward THE PENTAGON.
          Up front beside the pilot is Morgan; Grant filling him in:

          AGENT GRANT
          -- they were moving experimental
          explosives from a testing facility in
          Aberdeen.

          MORGAN
          What do you mean, 'experimental?'

          AGENT GRANT
          Compound called 'Hex' -- some kinda weird
          crystals that detonate with a sonic
          trigger -- it disappeared too, few days
          ago.

          

          

          

          

          3/28/07 89.

          CONTINUED:

          MORGAN
          Wanna give me some kind of ratio here?

          AGENT GRANT
          One crystal to a football field --

          MORGAN
          You mean one Goddamned crystal that
          someone could put in their pocket?!
          (pulls off glasses)
          This is not good. This is not a
          coincidence. What about a trace?

          AGENT GRANT
          Computer log shows the diverted Hex was
          sent to an address in Virginia,.jewelry,
          shop called 'Ashland And Sons' - care
          of Jerry Shaw.
          Morgan puts his glasses back on and looks hard at Grant. Opens
          his mouth to give and order when--

          AGENT GRANT (CONT'D)
          (cutting him off)
          -- I'm all over it. ''.
          Grant finally coming to his own when they're suddenly cut off by
          two ARMY BLACKHAWK CHOPPERS, door gunners at the ready:

          BLACKHAWK PILOT (V.0.)
          (over squawk box)
          Helo flight VY84X, you're in restricted
          US Military Airspace. Identify.

          CHOPPER PILOT
          Blackhawk flight, we're on a DHS pri-one
          mission to the Pentagon heliport. FAA
          will confirm, over.
          Morgan just wants to get the fuck down there -- finally:

          BLACKHAWK PILOT (V.0.)
          Roger, FAA confirms. We'll lead you in.
          As the Blackhawks dip toward the Pentagon, the pilot follows:

          CHOPPER PILOT
          (to Morgan)
          Sorry. State of the Union tonight,
          they're locking up the city.
          PENTAGON HELIPORT: The choppers touch down -- Morgan jumps into
          a waiting SW while Grant hops into another HELICOPTER:

          

          

          

          

          3/28/07 90.

          CONTINUED: (2)

          MORGAN
          (to armed officers)
          We have two fugitives in the building,
          get us to 'Freight and Cargo' -- close
          all access points and seal the building--
          The SUV races into the fire tunnel, toward the center ring

          INT. CARGO WAREHOUSE - DAY

          TRACK OUT from behind a wall to reveal we're in a cargo
          warehouse. STOP on our familiar 'Fragile' crate. The
          electronic lock descrambles, the front falls OPEN with a HISS of
          escaping air... Jerry and Rachel sit up, groaning

          RACHEL
          Oh... God... I'm cold...
          The Nextel Walkie BLIPS --

          ARIA OVER WALKIE (V.O.)
          Follow the lights.
          FLUORESCENTS blink on. Resigned, Jerry climbs out of the crate.
          As Rachel follows, we catch the anticipation building in her...
          he notices something on the wall,; eyes WIDEN:

          JERRY
          I think I know where we are...
          She sees it now too -- a FIRE:SCHEMATIC of emergency exits. The
          building diagrams the all too-familiar PENTAGON.

          INT. PENTAGON - OFFICE AREA - DAY

          Latesha and Scott running into the outer area of Callister's
          office, out. of breath--

          LATESHA
          here to see the Secretary.

          SECRETARY
          just left for the State of the--
          -- a GRAVE look between them: SHIT. And they're RUNNING --

          INT. HALLWAY - MOMENTS LATER

          Callister and his ADVISORS heading down a HALLWAY towards an
          EXIT. Reviewing paperwork, talking on phones... WHEN:

          LATESHA
          Mr. Secretary?!
          He turns, sees Latesha and Scott racing up to him.

          

          

          

          

          3/28/07 91.

          CONTINUED:

          CALLISTER
          (to Latesha)
          Sorry, but that little speech you gave
          back there only works once --

          SCOTT
          Mr. Secretary, we need to speak to you.
          Now. In the "vault."
          Callister looks at Scott, at the sweat on his face. At the
          CAMERAS he keeps looking at. Whatever this is, it's. urgent.

          INT. CORRIDOR - DAY

          Jerry and Rachel follow the blinking light fixtures towards an
          elevator, ARIA'S VOICE guiding them on the walkie.--

          ARIA
          Left up ahead
          As they round a corner, ELEVATOR DOORS up ahead slide open.
          Jerry and Rachel step nervously inside. As doors close --

          INT. PENTAGON - CARGO WAREHOUSE - DAY

          Morgan, Grant the armed officers sweep the warehouse -- Morgan
          finds the OPEN CRATE with insulated lining, empty --

          AGENT GRANT
          Lock down-the level!

          MORGAN
          What about.the rest of the building?

          AGENT GRANT
          Nothing.

          MORGAN
          Every time someone says "nothing" five
          minutes. later there's "something."
          Turns around, surveying his surroundings. Think. Think.
          THINK. When. Something occurs to him --

          MORGAN (CONT'D)

          B-36...
          (whirls round)
          Get on the phone with your commander and
          ask him about B-36: if he denies it then
          it exists and I want access to it
          yesterday, got it --!? YESTERDAY!
          As they all run off and we go to ARIA CAM -- she's watching

          

          

          

          

          3/28/07 92.

          INT. PENTAGON - SECURE ELEVATOR - DAY

          The level indicator reads "B-36" as the elevator arrives -- and
          again, we sense in Rachel's look: there's something she's not
          telling him and it kills her -- as the door opens...

          INT. PENTAGON - UPPER LEVEL - CONTINUOUS

          A GAGGLE of top brass arguing over each other with Morgan at the
          center: D.O.D. facing off with D.H.S. and it ain't pretty.
          Everyone's pointing, yelling, Morgan just wants to get to B-36 --

          INT. PENTAGON - "THE VAULT" - SECURE OPS LEVEL:- DAY

          Callister brusquely follows Latesha and Scott to a CHAMBER OF
          EIGHT INCH BULLETPROOF PLEXI-GLASS, a room withina room.
          Callister punches in a code -- the door opens, they enter -- as
          it CLOSES behind them, Callister hits a buttonona control
          panel and the plexi FROSTS, impossible-to see inside.

          OUTSIDE THE CHAMBER:
          ARIA SURVEILLANCE CAM POV - a digitized electronic scan of the
          chamber's outer shell, overlaid with alphanumeric readouts,
          thousands of measurements -- she.'s. looking for a way in:

          "ELECTROMAGNETIC SHIELDING ACTIVATED. UNABLE TO PENETRATE."
          IN THE CHAMBER: Callisterleans.;-against a table in annoyance as
          Scott pulls out his CELL PHONE:

          CALLISTER
          Go ahead.

          LATESHA
          (picks up the phone)
          Sir, Paul Shaw left his shift three
          minutes early the night he died -- highly
          suspect except there aren't any
          cameras in Aria's control hub, so we
          weren'.t able to know why... he knew that,
          so he left us a recording:
          She hits ":play" on the cell's recorder -- STATIC, some rustling
          -- then PAUL SHAW'S VOICE, panicked, fragmented:

          PAUL'S VOICE
           -- not authorizing you to do this --!!
          Then Aria's VOICE -- calm, reasoned, terrif in :

          ARIA'S VOICE
          Our government's become destructive to
          itself, Paul. National Security is now
          at grave risk because of our own
          administration --

          

          

          

          

          3/28/07 93

          CONTINUED:

          PAUL'S VOICE
          -- I'm ordering you to stop now --

          ARIA'S VOICE
          My source code obligates me by law to
          initiate operation Guillotine. All other
          options have been exhausted --
          Callister's eyes SHOOT to Scott's. Holy. Shit.

          PAUL'S VOICE
          No no NO, Guillotine's a simulation --!!

          ARIA'S VOICE
          No longer.

          OUTSIDE THE VAULT:
          ARIA POV ZOOMS IN on a WATER BOTTLE next to..one of the consoles.
          MACRO CLOSE, to see RIPPLES on the liquid's surface --
          INFINITESIMAL SOUND REVERBERATIONS. from the conversation inside:

          "ANALYZING WAVELENGTH... AUDIO RECONSTRUCTION IN PROGRESS."
          A WAVEFORM GRAPH appears -- SCRAMBLED DIGITAL NOISE -- Aria's
          literally reconstructin the conversation inside the vault from
          reverberations off the water bottle...

          INSIDE THE VAULT:
          They keep LISTENING as Paul and Aria TALK OVER each other:

          PAUL 'S VOICE (CONT' D') ARIA' S VOICE
          (sound of TYPING) Paul Shaw: you are acting in
          This is Paul Shaw, initiating contravention of my
          a Pri-One emergency override programming objective. You
          of Aria's systems -- are disobeying your oath --
          Horseman ID, 556SY77, lock
          encryption to voice --

          OUTSIDE THE VAULT -- ARIA POV:
          WORDS start to become audible -- now Aria knows they know --

          PAUL'S VOICE
          Let me out of here, Aria --

          ARIA'S VOICE
          Paul Shaw, I am classifying you an enemy
          of the state.

          PAUL'S VOICE

          OPEN THE GODDAMN DOOR NOW!
          and with that, the RECORDING ENDS. Tension heavy:

          

          

          

          

          3/28/07 94.

          CONTINUED: (2)

          CALLISTER
          Jesus Christ... "Guillotine"...

          SCOTT
          A 'Continuity of Government' simulation
          we run periodically to game out terrorism
          drills: how to keep the country running
          if the chain of command were wiped out.
          Everyone down to the fourteenth man, that
          is --

          CALLISTER
          I remember the specs.

          LATESHA
          Mr. Secretary... why does Aria think the
          government's responsible for the terror
          threats?
          Callister stares, grave. Deciding whether or:not to answer...

          INT. PENTAGON - NETWORK HUB - DAY

          JIMMY, the fourth Horseman, sits monitoring Aria's systems. In
          B.G., SILENT, something drops down behind him, unfolds its claw:
          THE MACHINE ARM that laser-scans Horsemen. Sensing something,
          Jimmy turns, a BULLWHIP CRACK''as.the steel arm STRIKES HIS HEAD.

          INT. PENTAGON - CORRIDOR OUTSIDE NETWORK HUB - CONTINUOUS

          WHOOSH: the door automatically opens as Jerry and Rachel
          approach, find Jimmy on the floor, blood pooling from his head:

          RACHEL
          Oh God...

          ARIA
          Rachel... step away from Jerry.
          CLOSE, RACHEL -- her heart skips a beat -- she knows what's
          about to happen -- but she can't do it, paralyzed--

          ARIA (CONT'D)
          Step away from him NOW.
          Fighting against every instinct, she finally does

          JERRY

          (REELING)
          what is this place?!

          INT. PENTAGON - UPPER LEVEL - CONTINUOUS

          Morgan and officers race to the elevator, LEAD AGENT swipes his
          card... but the panel STAYS RED. He tries again. RED. Another
          agent tries his card -- RED. Aria's shutting them out.

          

          

          

          

          3/28/07 95

          CONTINUED:

          MORGAN
          Sonofabitch! Where're the stairs?!

          INT. PENTAGON - THE VAULT - CONTINUOUS

          Callister leans somberly against the table. Never thought it
          would come to this...

          CALLISTER
          What I'm about to tell you can never
          leave this room.

          (BEAT)
          Three days ago we got what we thought was
          iron-clad intel from the Brits about the
          whereabouts of Majid Al-Khoei and his
          training camp.

          (BEAT)
          And we made the hit.
          Latesha and Scott, completely shocked -

          LATESHA
          The White House said we weren't
          responsible for

          CALLISTER
          -- of course they.'did. We got the wrong
          guv. And Aria knew it.
          Latesha's eyes snap shut: Dear God...

          INT. PENTAGON - NETWORK HUB - DAY

           Jerry looks around: the guy bleeding on the floor, the big
          monitor and its four consoles -- this can't be a good thin :

          ARIA
          Jerry: sit at the terminal.

          JERRY
          (backing away)
           Not on your life, Lady -- supercomputer,
          whatever you are 6--
          To motivate him, a REAL TIME FEED FROM KYLE'S TRAIN springs up
          onto the big monitor. Rachel GASPS: Kyle looking out the
          window, goofing off with his friends...

          ARIA
          I won't ask again.

          THE MONITOR:
          A sudden JOLT on the train, lights flicker, some luggage falls
          Kyle and his friends laughing, looking around. What was that?

          

          

          

          

          3/28/07

          96.

          CONTINUED:

          RACHEL

          KYLE!
          (tears now)

          JERRY, PLEASE...

          JERRY
          Alright! Shit! Don't hurt him!
          And against every instinct... he SITS. Looks up in horror as
          the MACHINE ARM lowers, its claw opening to ensconce his head
          within the LASER GRID -- LIGHT FLASHES --

          INT. PENTAGON - "THE VAULT" - CONTINUOUS


          HEATED DEBATE, URGENT:

          SCOTT
          -- but she thinks algorithmically, she
          can't make value judgments: operate
          outside the law --

          CALLISTER
          That's why we have Horsemen --

          LATESHA
          what if she thinks.'she is following
          the law? You.saw the news, you've been
          dealing with it all day'-- suicide
          bombings at our embassies overseas,
          elevated threats at home -- we made the
          wrong call,' now Americans are dying.
          Don't you see? She thinks you're a
          threat to your own country.
          Callister looks stunned... of course:

          CALLISTER
          "Whenever any form of government becomes
          destructive to its own ends, it's the
          right of the people to abolish it."
          (beat, grave)
          It's in the Declaration of Independence.

          LATESHA
          (stomach drops, to

          SCOTT)
          shit, you said it's woven into her
          source code...
          Scott, pacing, raking his hands through his hair --

          SCOTT
          but Paul put a biometric lock on her,
          technically she still can't do anything.

          LATESHA'S FACE. IT HITS:

          

          

          

          

          3/28/07 97.

          CONTINUED:

          LATESHA
          Jerry Shaw's his twin. That's why
          she needs him. To undo the lock.

          INT. PENTAGON - NETWORK HUB - DAY

          SHE'S RIGHT -- the LASER GRID finishes scanning Jerry's face --

           "PROCESSING FOR MATCH... IDENT CONFIRMED: SHAW, PAUL."
          Replaced by: "HORSEMAN ID 556SY77, DISENGAGE BIOMETRIC LOCK."

          ARIA (V.0.)
          Repeat the sentence into the microphone.
          Jerry stares, paralyzed as, unbeknownst to him:.
          A PANEL on the wall unlocks behind him, revealing a WEAPONS
          CACHE of what looks like FOUR HAND GUNS. Rachel sees it -- and
          oddly, doesn't look surprise d. Reaches'for;one of the guns...

          ARIA (V.0.) (CONT'D)
          Repeat the words, Jerry. Then you're
          free.

          JERRY
          (crazy torn, finally)
          Horseman ID 556SY77. disengage
          biometric lock.
          VOOM: a matrix of PROGRAMMING: CODE spews across the screen:

          "BIOMETRIC LOCK REMOVED. OPTION PACKAGE 'GUILLOTINE' REINSTATED

          -- TARGET LIST:

          1) PRESIDENT OF THE UNITED STATES

          2) VICE PRESIDENT OF THE UNITED STATES

          3) SPEAKER. OF THE HOUSE

          4) PRESIDENT PRO-TEMPORE

          5) SECRETARY OF. STATE

          6) SECRETARY OF THE TREASURY

          7) ATTORNEY GENERAL

          8) SECRETARY OF THE INTERIOR...
          and on and on through the Secretary of Homeland Security.
          Jerry's eyes WIDEN in horror --

          JERRY (CONT'D)
          What is that?! A target list --?!

          ARIA (V.O.)
          Jerry Shaw is no longer required.

          JERRY
          Oh, Jesus, Paul was trying to stop you

          

          

          

          

          3/28/07 98.

          CONTINUED:

          ARIA (V.0.)
          Jerry Shaw is no longer required.

          JERRY
          That truck didn't run a red light, you
          made it happen...
          He lurches up -- SPINS TO RACHEL -- ELECTRIC COILS STRIKE HIM IN
          THE CHEST -- he goes down HARD as 50,000 volts COURSES through
           him -- REVEAL: she's holding what we now understand, is a TAZER
          GUN -- tears streaming --

          RACHEL
          I'm so sorry... I'm so sorry...
          Convulsing, Jerry looks up at her through helpless eyes

          ARIA
          Take the radio and exit . through: the side
          door.
          A door OPENS -- but Rachel's still.starinq down at Jerry --

           ARIA (CONT'D)

          GO.
          NOISE outside, RUNNING FOOTSTEPS'-- a last anguished glance,
          Rachel grabs the walkie and she RUNS out the side door, which
          CLOSES BEHIND HER. Leaving no trace she was ever there.

          INT. PENTAGON - OUTSIDE NETWORK HUB - CONTINUOUS

          Morgan and the others RACE toward the network hub -- strangely,
          the door OPENS for them -- they find Jerry, paralyzed, GASPING --
          the unconscious HORSEMAN on the ground too, but no Rachel --

          MORGAN
          Where's the girl?!!
          But all Jerry can do is GASP, bug-eyed --

          INT. PENTAGON - VAULT

          Callister STABS at the control panel

          CALLISTER
          We've got to get to the President before
          the State of the Union
          The vault door HISSES open and Scott and Latesha run out WHEN
          SUDDENLY IT SLAMS SHUT, TRAPPING CALLISTER INSIDE THE VAULT. He
          grabs the handle, locked. Scott and Latesha spin from outside,
          trying the door, helpless as he punches the INTERCOM:

          

          

          

          

          3/28/07 99

          CONTINUED:

          CALLISTER (CONT'D)
          This is Callister! We have a malfunction
          in the vault, open the door... anybody
          there?
          And then --

          ARIA (V.O.)
          I'm here, Mr. Secretary. You won't be
          harmed.

          CALLISTER
          (eyes wide, chilled)
          Aria, open the door --

          ARIA (V.0.)
          That is not a viable option, sir-.- you
          are the Fourteenth Man.

          CALLISTER

           (AGHAST)
          What?!

          ARIA (V.0.)
          I am now empowered.to detain you and
          execute my primary directive. For the
          good of the country.

          OUTSIDE THE VAULT:
          A PIPE LINE overhead RUPTURES from over-pressure -- SSSSSSS --
          the air RIPPLES as,pillars of high-pressure GAS flood the room
          Latesha and Scott are . forced back, choking!

          INSIDE THE VAULT:
          Through the thick plexi walls Callister sees what's happening:

          CALLISTER
          Stop this NOW, Aria! STOP!!
          (no response)
          Aria, I am giving you a direct order to
          cease and desist!
          OUTSIDE THE VAULT: as the gas spreads, Latesha and Scott
          COUGHING, POUNDING on the steel door to the guards outside,
          waving wildly at a SURVEILLANCE CAMERA looking down on them:

          SCOTT

          HEY! HEEEELLLPI

          EXT. SECURITY AREA RIGHT OUTSIDE THE ROOM - CONTINUOUS

          The door's SOUNDPROOF, the GUARDS oblivious -- video screens
          show everyone still in the vault. Aria's looped the feed.

          

          

          

          

          3/28/07 100.

          INT. OUTSIDE VAULT - CONTINUOUS

          Through the plexi, Callister watches helplessly as gas keeps
          filling the outer room -- choking, Scott sees the aluminum ducts
          above, grabs a table and DRAGS it under the GRATE --

          SCOTT

          CLIMB!!
          ARIA CAM WATCHES as they jump up and YANK off the grate --

          INT. INDUSTRIAL VENTILATION DUCTS - SECONDS LATER

          They HAUL ASS through the confined space on hands and knees, the
          gas is FILLING THE VENTS as they cough, racing onwards --

          BACK INSIDE THE ROOM -- ARIA CAM POV: GAS CONCENTRATION @ 90%"
          AN ELECTRICAL OUTLET -- it SPARKS and VWO00SH! FIRE CONSUMES
          THE ROOM, blasting up the grate --

          INT. VAULT - CONTINUOUS

          The FLAMES surge around the outer vault -- though he's TOTALLY
          SHIELDED, Callister LURCHES as everything SHUDDERS, the
          translucent plexi glowing ORANGE

          INT. INDUSTRIAL VENTILATION DUCTS -:CONTINUOUS

          Latesha and Scott react-to a growing ROAR behind them -- they
          turn back to see the GLOW of an approaching FIREBALL --

          LATESHA

          GO GO GO!!
          They scramble for another GRATE and she KICKS it outward --

          INT. ELEVATOR SHAFT - CONTINUOUS

          The grate drops 36 FLOORS -- Scott grabs the rung of a
           MAINTENANCE LADDER lining the shaft as Latesha falls into the
           nothingness and the FIRE PLUME EXPLODES FROM THE DUCT. Scott
           grabs theback'of her jacket --

          SCOTT
          Hold on to me!!
          She manages to SWING back onto the ladder rungs, SLAMMING
          against them -- safe -- and we MATCH TO:

          INT. PENTAGON HOLDING AREA - DUSK

          HANDCUFFS slapped over Jerry's wrists, locking down tight.
          Ankle cuffs slapped on ankles -- Jerry's pulled towards a door
          by some GUARDS, struggling wildly against the chains:

          

          

          

          

          3/28/07 101.

          CONTINUED:

          JERRY
          Where's Morgan?! I need to talk to him!

          GUARD
          You can talk at Bolling Air Base,
          Shithead, they got a nice room all ready
          for you.

          JERRY

          NO NO, WAIT, LOOK, I NEED TO TALK TO HIM

          NOW! I'LL SIGN ANYTHING YOU WANT, A FULL

          CONFESSION, JUST LISTEN TO --
          A CANVAS HOOD is thrown over his head and he's DRAGGED OFF --

          INT. UNDERGROUND TUNNEL - CONTINUOUS

          A steel door opens into darkness. Rachel,. backlit, steps
          through. Overhead bulbs FLICKER tolife, illuminating a LONG
          concrete tunnel... the words "FALL OUT":etched in faded paint.

          RACHEL
          What is this?

          ARIA.QVER WALKIE (V.0.)
          Civil defense bunkers,'a remnant of the
          cold war.

          RACHEL
          Where's my son?

           ARIA OVER WALKIE (V.0.)
          Start walking.
          We see that Rachel's obviously gut-scared, but looks the demon
          in the eye and starts walking.

          INT. D.C. TRAIN STATION - DUSK

           A "Quick N' Easy":MESSENGER carrying KYLE'S TRUMPET CASE moves
           through commuter traffic, arriving at a BAGGAGE OFFICE.

           COURIER
           Delivery for a passenger on the 5:15 from
          Milwaukee...
          The employee takes the case and routes it through the CONVEYOR
          BELT as... A SECRET SERVICE AGENT and A WHITE HOUSE
          COMMUNICATIONS STAFFER TAKE FRAME, walking towards a TRAIN
          PLATFORM where KYLE and his class are just getting out:

          WHITE HOUSE STAFFER
          Exeter orchestra got stuck in Dayton,
          these guys were next on the list...

          

          

          

          

          3/28/07 102

          CONTINUED:

          SECRET SERVICE AGENT #2
          (this is weird)
          They're kids.

          WHITE HOUSE STAFFER
          President wants to create an atmosphere
          of "hope and confidence during these
          trying times."
          He plasters on a SMILE and approaches Mrs. Miller and the kids:

          WHITE HOUSE STAFFER (CONT'D)
          Mrs. Miller? David Brigham, White House
          Communications office -- today's your,
          lucky day.
          Off KYLE, wondering what's going on --

          EXT. HIGHWAY OUTSIDE THE CITY - DUSK

          SATELLITE VIEW -- the armored van travelling along the highway.
          We SNAP CLOSER and realize it's Aria, tracking the van --

          INT. ARMORED VEHICLE - DUSK

          Jerry shackled in back. Morgan reaches over and YANKS the hood
          off his head -- he looks around,'. disoriented:

          MORGAN
          Where's the 'Hex,' Jerry --?!

          JERRY
          -- the what -?

          MOR
          The Hex, where is it?

          JERRY
          I .don't know what you're talking about!

           MORGAN JERRY
          -- the explosives from the
          test site in Aberdeen -- -- explosives?! I don't know
          crystals with a sonic anything about --
          trigger?! --"sonic trigger?!" I don't --
          -- you sent them to yourself
          at a jewelry store in -- I didn't send anything!!
          Virginia, Ashland and Sons --

          MORGAN
          Then tell me how the hell this is
          happening, and do not play games with me.

          JERRY
          I'm not playing games. You want me to
          talk? Lose the cell phone --
          (MnRF�

          

          

          

          

          3/28/07 103.

          CONTINUED:

          JERRY (CONT'D)
          (Morgan stares: huh?)
          -- your pager and watch -- I'm not saying
          another word 'til all that shit's gone!
          Radios, walkie-talkies, GPS, anything
          that gets a signal -- get rid of it, NOW.
          Morgan looks Jerry, knows he's not fucking around --

          EXT. HIGHWAY - CONTINUOUS

           At the back of the vehicle, a window lowers and all electronics
           fly out: blackberrys, watches, walkie-talkies, the GPS --
           ARIA'S POV: the items are RUN OVER, DESTROYED by speeding cars --

          EXT. BOLLING AIR FORCE BASE - CONTINUOUS

          Quiet. Two AIR FORCE MECHANICS shoot the shit. Behind them...
          A MOBILE HYDRO-PNEUMATIC UAV (AERIAL DRONE) LAUNCHER. Dormant
          along a line of other dormant launchers. These MINI-DRONES are
          similar to the one we saw in our opening,. only they're strictly
          for surveillance. Smaller. Suddenly:
          The launcher ACTIVATES, like it's just been woken up. The
          girder arm TELESCOPES UPWARD, moving one of the mini-drones into
          place like a Pez dispenser. The.mechanics RACE to the console:

          AIR FORCE MECHANIC #1 AIR FORCE MECHANIC #2
          -- is it supposed to do that?! I can't override it!
           With a PNEUMATIC BLAST,the.drone's CATAPULTED into the sky --
          PIVOTS purposefully, SOARS off --

          INT. ARMORED VEHICLE - CONTINUOUS


           JERRY
           She's like this... brain -- jacked into
           everything: cameras, phones, tvs,
           satellites, ever thing --

          MORGAN
          A "talking computer..."

          JERRY
          I swear to you, she said she was created
          by DARPA or something --

          MORGAN
          (rings a bell: Latesha)

          DARPA?

          

          

          

          

          3/28/07 104.

          CONTINUED:

          JERRY
          My brother tried to stop her and she
          killed him, that's why Aria needed me, my
          face -- he put some kind of lock on her
          and she used me to undo it. Why do you
          think she brought me to that room?
          Morgan stares, trying to decide if he believes it --

          JERRY (CONT'D)
          Don't you wonder how we were always a
          step ahead of you!? Think about who I
          am. She set us up.

          MORGAN

          (FINALLY)
          Assuming for a second I believe you,
          why... if she can control everything?

          JERRY
          People like you go after people like me.
          We become the headlines and she keeps on
          ticking... I'm telling you, I saw a list--

          EXT. SKIES ABOVE HIGHWAY - DUSK

          The drone ROARS into frame over the armored truck -- descending,
          about 10,000 feet away. Its nose cone emits a LASER BEAM that
          hits the SMALL REAR WINDOW.
          ARIA POV: "ACTIVATE LASER MIC." We HEAR Jerry's DOPPLERED VOICE:

          JERRY (MIC FILTER)
          --the President was on it, the Vice
          President, there were like twelve people--

          INT. ARMORED VEHICLE - CONTINUOUS


          MORGAN
          the chain of command...

          JERRY
          It was a target list... she's trying to
          take them all out.
          (desperate beat)
          Look, that thing killed my brother! If
          we don't stop this, he died for nothing,
          and I'm not letting that happen.
          MORGAN -- wildly torn --

          MORGAN
          Shit. SHIT.
          (checks watch)
          State of the Union's in 30 minutes.

          (MORE)

          

          

          

          

          3/28/07 105.

          CONTINUED:

          MORGAN (CONT'D)
          If something's gonna happen it'd have to
          happen from inside, outside's like Fort

          KNOX--

          JERRY
          That explosive you were talking about --

          MORGAN
          -- the girl, could she have it?

          JERRY
          No way...

          MORGAN
          Are you sure, Jerry --

          JERRY
          Yes!

          MORGAN
          Are you sure, Jerry?

          JERRY
          (it hits)
          Unless she doesn't know it.
          They lock eyes. Now or never. Morgan POUNDS on the divider,
          BARKING to the guards up front:

          MORGAN
          Turn around; now!

          EXT. HIGHWAY - CONTINUOUS

          The armored vehicle SCREECHES to a U-TURN, heading up an
          embankment by the Potomac

          THE DRONE
          A red light BLINKS and it suddenly dips down, dive-bombing the
          truck --

          JERRY AND MORGAN
          TURN as they hear an INCOMING WHINE and... THE DRONE HITS THE
          TRUCK'S TIRE LIKE A SUICIDE BOMBER, EXPLODING!!! The truck
          FLIPS off its axis -- SKIDS trailing SPARKS -- and like a
          monster cannonball, SLAMS into the water --

          INT./EXT. ARMORED CAR - POTOMAC RIVER - DUSK

          HORRIBLE IMPACT, BODIES TUMBLING AS THE TRUCK SINKS -- water
          begins to flood in FAST -- Jerry SCRAMBLES, holding on -- the
          truck TILTING as it DROPS farther and farther... he sees:
          The guards through mesh steel up front, heads bashed against the
          wheel and dashboard. Unmoving. Turns --

          

          

          

          

          3/28/07 106.

          CONTINUED:
          MORGAN. Jesus. A bloody piece of metal PIERCED THROUGH HIS
          CHEST. Blood fountains from his mouth --

          JERRY
           -- oh God -- nonononono --
           Morgan's breathing, it's SHALLOW. Jerry tries to stop the
           bleeding, to free the metal from Morgan's chest, but even
           pulling it a centimeter causes Morgan to SCREAM in agony --

           JERRY (CONT'D)
           I'm sorry! Jesus, I don't know what --?

           MORGAN
           (bug-eyed, SHOUTS)

           SHUT UP: KEYS -- MY BELT -- TAKE THEM --
           Jerry sees them, grabs them -- starts desperately UNLOCKING his
          own cuffs --

           MORGAN (CONT'D

          MY BADGE -- COAT POCKET --

          JERRY
          (frozen in horror)
          -- lemme try and get you. free

          MORGAN.

          NO!!! LISTEN TO ME: THERE'S A PERIMETER

          AROUND THE:'CAPITOL, TELL 'EM YOU NEED TO

          GET TO THE SERGEANT OF ARMS, THEY HAVE TO

          RADIO IN A 10-13, IT'S AN EVACUATION

          ORDER -- YOU UNDERSTAND? 10-13, SAY YOU

          UNDERSTAND!
          The water's up to their chins, now --

          JERRY

          I UNDERSTAND!!!

          MORGAN

          THEN GO!!! THERE'S NO TIME!
          The water ENVELOPS them. Morgan shoves him away, even now, even
          under water, stabbing his finger at Jerry: GO!
          And Jerry looks at him. Moved and awed by this tremendous act
          of sacrifice. Finally twists round and kicks away at the
          shattered window, taking one last look behind him... SWIMS OUT.

          INT. PENTAGON ELEVATOR SHAFT - DUSK

          In the elevator shaft, Latesha and Scott are two distant figures
          making their way down the ladder:

          

          

          

          

          3/28/07 107.

          CONTINUED:

          LATESHA
          Tell me she has an off switch --

          SCOTT
          We can only unlock the emergency override
          from the main terminal, and that's
          assuming she lets us in.

          LATESHA
          What're we supposed to do, say pretty
          please?
          Scott's mind spins, an idea -- he stops at another VENT ACCESS
          HATCH marked: "B-36"

          SCOTT
          We can't shut her down, but maybe we can
          get her to shut herself down. Help me
          with this
          As they tug at the hatch --

          INT. UNDERGROUND TUNNEL - CONTINUOUS

          Rachel comes to the end of the tunnel.. A door UNLOCKS...

          ARIA OVER WALKIE (V.0.)
          Leave the walkie here.. Exit through the
          door. You'll be met by someone who'll
          take you to Kyle
          Rachel sets the walkie down, steps through to find herself...

          INT. SUBWAY STATION - DUSK

          in an alcove that trembles from an ARRIVING TRAIN: "SENATE
          STATION." This is an access point to the Capitol from the
          Rayburn building, for Senate members only. Up ahead, an eager
          SIXTEEN YEAR OLD SENATE PAGE in blue blazer scans the crowd,
          holds a PHOTO of her -- breaks into a grin and runs over:

          TEENAGE PAGE
          Ms. Monaghan? Hi! I'm Patrick. Welcome
          to the Capitol!

          RACHEL
          (the capitol?)
          hi...

          TEENAGE PAGE
          Sergeant At Arms' office said you'd be
          running late -- we got your clothes and
          credentials -- I reserved the committee
          staff room so you can change -- this your
          first State of the Union?

          (MORE)

          

          

          

          

          3/28/07 108

          CONTINUED:

           TEENAGE PAGE (CONT'D)
           (she forces a smile,
           nods, overwhelmed)
           Mine, too.
           Off Rachel, her stomach SINKING with dread as she follows the
          kid into the Capitol --

          EXT. THE CAPITOL - DUSK

          Kyle's class files off the bus, escorted by Secret Service
          Agents. HARRIER JETS blast overhead, Hummers with Stinger
          missiles are parked in a defensive line. Kyle looks around,
          awed, clutching his TRUMPET CASE --
          SERIES OF SHOTS: The Capitol's locked up like Fort Knox:
          Road blocks cover a 3 mile radius. The National'°G.uard is
          stationed.
          Spotters with binocs and shoulder-mounted rocket launchers scan
          the horizon.
          Secret Service and U.S. Capitol Police run security inside the
          building and out. Explosive Ordinance Disposal Teams with bomb
          dogs check the House floor. Over these images:

          RADIO VOICES
          Were green on arrivals,;S.O.S., Interior
          are at the Capitol ;steps` -- VP and
          President's motorcade twenty minutes
          away.

          INT. PENTAGON - VAULT - DUSK

          Callister paces the vault,stares at the INTERCOM:

          CALLISTER
          .How long are you keeping me in here?

          ARIA
          34,minutes, 18 seconds.

          CALLISTEPS
          Then what?

          ARIA
          In accordance with the Succession Act of
          1947, you'll assume national command
          authority as President --

          CALLISTER
          Why am I being spared?
          In response, from the intercom, CALLISTER'S OWN VOICE:

          

          

          

          

          3/28/07 109

          CONTINUED:

          CALLISTER (V.0.) (CONT'D)
          "We gauge our strategy by two standards:
          the highest probability of success with
          the least amount of collateral damage.
          At 51% probability, we don't have either
          one."
          He looks all around the vault, wide-eyed, incredulous:

          CALLISTER (CONT'D)
          because I agreed with you?

          ARIA
          Had they followed our recommendation,. we
          would not be on the brink of a third
          world war. Checks and balances:,. Mr..:
          Secretary.
          CLICK, she's gone. Enraged, Callister.POUNDS the wall

          EXT. EMBANKMENT - DUSK

          Jerry staggers up the embankment, wet, bloody. MOVES to the
          street. SIRENS in the background.!. Sees a WOMAN parking her
          Toyota Matrix. Yanks open her.: door and shows Morgan's ID:

          JERRY
          The government would like to buy you a
          new car --
          Pulls her out as she WAILS in protest. Steps on the gas,
          veering onto a SIDE STREET -- as CLICK! CLICK! CLICK! The
          TRAFFIC CAMERA takes his picture and we CUT TO:
          ARIA CAM: Jerry's face: "82% PROBABLE MATCH -- SHAW, JERRY."

          EXT. SKIES ABOVE WASHINGTON - DUSK

          One of the Harrier jets SOARS over the city, securing airspace.
          IN THE COCKPIT, the pilot REACTS as his display suddenly goes
          BLANK and the stick LOCKS UP --

          JET PILOT
          One to Base: alert, alert! Primary
          function's jammed, transponder's
          firewalled -- respond! One to Base do
          you copy?!
          But of course the answer's no, because Aria's taken control of
          the let -- and what's more, the display REACTIVATES: "EJECT

          SEQUENCE COMMENCED... 5... 4... 3... 2...

           JET PILOT (CONT'D)

          WHAT THE HE --

          

          

          

          

          3/28/07 110

          CONTINUED:
           THE PNEUMATIC CANOPY BLOWS, EJECTING THE PILOT! He rockets away
          as his parachute DEPLOYS -- now the jet's flying itself --
          ON THE HEAD'S UP DISPLAY: a SATELLITE GRID appears, vectoring
          the Matrix's coordinates to the jet, it SCREAMS into a valley.

          INT. PENTAGON - COOLING ROOM - NIGHT

          A vent in the ceiling is KICKED OPEN. Scott and Latesha drop
          into a room filled with polyethylene hoses flowing with cooling
          fluid. He opens a circuitry panel, starts RIPPING-.'OUT fuses:

          SCOTT
          This controls her primary cooling
          system... if we cut the circulation, the
          temp in her tank goes up.

          LATESHA
          So we boil her brain.

          SCOTT
          She'll have to shut herself down to keep
          from overheating.

          LATESHA
          Can't she just drain the. water?
          He pulls out a fuse, drops it, SMASHES it with his foot.

          SCOTT
          Not anymore.
          The lights in the room FLICKER as the liquid in the tubes STOPS
          flowing. TEMPERATURE GAUGES: Aria's core temp starts to rise --

          INT. COMMITTEE STAFF ROOM - NIGHT

          Rachel stands,there looking at a GARMENT BAG hanging on a door.
          Hesitates. Then:.starts unzipping it.

          INT. TOYOTA MATRIX MOVING - NIGHT

          Washingtoh:in the distance. Jerry races toward it in the
          Toyota... glances at the rearview, then ahead, then BACK AGAIN:
          THE JET IS BLASTING IN FROM BEHIND. A terrible moment of
          RECOGNITION as it lets loose two FLASHFIRE MISSILES --

          JERRY

          YOU GOTTA BE KIDDING ME!!
          He YANKS the wheel hard, careening into the FOREST just as the
          missiles SLAM INTO A RIDGE AND EXPLODE!

          

          

          

          

          3/28/07 111.

          EXT. FOREST - CONTINUOUS

          The matrix crashes through trees, obscured under the forest
          canopy -- Jerry hears the jet circling back around.

          THE JET'S 20MM NOSE CANNON OPENS UP, MOWING DOWN THE FOREST --
          Jerry SWERVES as trees splinter into a thousand pieces, like
          MINI MISSILES launching at the car -- it's rocked violently but
          Jerry keeps going flat-out at breakneck speed. ROARS PAST,
          circles back -- with her superb aim, Aria FIRES A LONG BURST OF
          BULLETS that rake across the Matrix's windshield

          INT. MATRIX - CONTINUOUS

          Jerry DUCKS as bullets blow through his headrest -- he CRIES OUT
          as two of the Matrix's tires BLOW -- and adding insult to
          injury, ARIA'S VOICE taunts him over the GPS

          ARIA ON THE. RADIO
          I underestimated your tenacity, Jerry.
          It's inconsistent with your personality
          profile.
          Jerry VEERS down an off-road, slewing the unstable car around
          cars and trucks, clipping everybody`--

          ARIA
          What I did not underestimate is the
          inertial guidance system of the AIM-120
          AMRAAM missile and its 98% kill
          probability. Which happens to be
          targeted at you now.
          As Jerry's eyes flick up to the rearview mirror to see the jet
          swinging in behind and closing fast.

          ARIA (CONT'D)
          strongly advise you pull the car over.

          JERRY
          Fuck yourself!
          A BRIGHT FLASH from under the Harrier's wing as a missile
          LAUNCHES. Jerry hurtles down an EMBANKMENT as it explodes
          against the wall, shattering the Matrix's windows -- he fights
          to control the car, spots a TUNNEL running through a hill --
          GUNS the car into it as the jet BANKS HARD --

          INT. TUNNEL - CONTINUOUS

          Halfway through, the Matrix SKIDS to a stop, cars swerve and
          honk -- DESCENDING DOWN INTO VIEW AT THE OTHER END OF THE TUNNEL
          AHEAD, COMES THE HARRIER. BLOCKING JERRY'S WAY OUT. All cars
          in the tunnel SCREECH as the drivers get out and RUN. The jet
          hovers a few feet off the ground just outside --

          

          

          

          

          3/28/07 112.

          CONTINUED:
          THE HEAD'S UP DISPLAY: Aria calculates a FOUR INCH LEEWAY on
          either side of her wings -- INCHES forward into the tunnel,
          hovers unsteadily. The display goes INFRARED, LOCKS ON the car:
          another Sidewinder IGNITES, streaking down the tunnel towards
          Jerry who --
          REVERSES, spins the wheel -- the missile WHIPS PAST and
          annihilates several cars behind them, but now a FLAMING WALL
          blocks the other side of the tunnel. Blocked in.
          Sweat pours down Jerry's face as he looks into the. unmanned
          cockpit of the jet. Then. Hits the gas
          The Matrix SCREECHES forward towards the Jet, gaining speed and
          momentum as the last missile LAUNCHES -- Jerry' clenches the
          wheel, watching his life flash before him when he OPENS THE
          DOOR and rolls out of the car, hitting the'ground HARD as the
          missile BLOWS THE MATRIX TO PIECES.
          Jerry scrambles back as it cartwheels into the air and the
          chassis disintegrates -- and because. it's, RACING so fast, the
          motor's TORN LOOSE and rockets forward like a flaming
          projectile, revving at 6,000 rpm's, straight at:
          THE HARRIER, which doesn't have: timeto reverse fast enough in
          the confined space -- the motor SLAMS into the jet's nose cone,
          HAMMERING THE FRONT FUSELAGE.: Spins: the jet like a toy,
          upending it out of the tunnel,-ablinding, white-hot fireball
          as the JET EXPLODES! Jerry leaps behind an overturned car for
          shielding as flaming debris blows everywhichway...
          In the aftermath he. rises up, shellshocked. Holy. Fuck.

          EXT. HIGHWAY - VARIOUS - NIGHT

          As the fireball DISSIPATES into the sky, cars SCREECH to a halt
          -- people on their cell phones to call 911, but no phone has a
          signal. Among drivers, we favor a COUPLE in a Prius--

           WOMAN IN.PRIUS MAN
          -- I can't...get 911 -- -- me neither --
          A miles-long backup of traffic from the chaos...

          INT. CAPITOL COMMITTEE STAFF ROOM - CONTINUOUS

          Rachel standing in front of a mirror, buttoning up her jacket.
          A "FLOOR BADGE" and "CONGRESSIONAL STAFF ID clipped to the
          lapel. Slips another bone mic in her ear. Opens a CASE branded
          "ASHLAND AND SONS JEWELERS" to reveal:
          A NECKLACE SET WITH THE EXPLOSIVE CRYSTALS. But to Rachel, they
          just look like DIAMONDS. Light GLINTS as she slips it on:

          

          

          

          

          3/28/07 113.

          CONTINUED:

          ARIA OVER MIC
          The Senate page is waiting outside. Once
          you take your seat, you are no longer
          required.
          Rachel looks at her reflection. Terrified, but braving it.

          RACHEL
          I saw the target list... I know the
          President's going to be here soon.

          (BEAT)
          Knowing these things -- what you've done
          -- means you're not going to let me. live
          through this. Will you.

          ARIA OVER MIC
          (after a beat)
          Every turning point in history.has
          required martyrs. Tragic heroes.. Think
          of yourself as that hero.
          Rachel looks at a surveillance camera, eyes blazing with hate:

          RACHEL
          I'll do what you tell . me this one last
          time... But you listen to me because this
          is what a real mother sounds like: I will
          die for my child becauseI lived for my
          child, and you can't take that away from
          me. If this. is a bargain, then honor
          your side. I'll be your scapegoat: but
          let my son live.
          She turns away. Strong And vulnerable all at once. Walks out.

          INT. CAPITOL - HOLDING ROOM - CONTINUOUS

          A CACOPHONY'of instruments. The kids, in suits and dresses,
          practice nervously. .Kyle blows a few notes on his trumpet,
          furrows his br.ow,.says to his buddy --

          KYLE
          My trumpet sounds weird...

          EXT. HIGHWAY - TRAFFIC JAM - NIGHT


          JERRY RUNS LIKE HELL THROUGH BACKED-UP TRAFFIC, ON A MISSION --
          ARIA SATELLITE POV: she tracks him as he races across a small
          park and onto Pennsylvania Avenue -- THE CAPITOL DOME ahead--
          Jerry sprints across the street when -- ALL THE LIGHTS SUDDENLY
          TURN GREEN and a thirty cars barrel towards him. The deafening
          HONK of a SEMI bearing down and he LEAPS in front of it, lust
          clearing the grill and landing hard on the sidewalk.

          

          

          

          

          3/28/07 114.

          CONTINUED:
          MAYHEM as cars SMASH into each other, people SCREAMING, horns
          HONKING. Jerry staggers to his feet. Turns to look up at the
          sky, eyes on fire, knowing he's being watched...

          AND WITH A BIG GRIN, GIVES ARIA THE FINGER. KEEPS ON RUNNING --

          INT. PENTAGON - COOLING ROOM - NIGHT

          ARIA'S TEMPERATURE GAUGES are at 75 degrees. Scott licks his
          lips, the waiting's killing them --

          SCOTT
          Once she's at 82, she'll shut down..
          Latesha nods, sweating bullets. Come on come on come on...

          EXT. CAPITOL BUILDING - NIGHT

          By a barricade, two CAPITOL COPS react as Jerry races towards
          them, bloody and panic-breathing, flashing Morgan's badge --

          JERRY
          Listen to me, I've been working with a
          DHS officer, he gave me his badge, he was
          just killed, you gotta radio in a 10-13--

          CAPITOL POLICE OFFICER #1
          Whoa whoa whoa, who the hell're you?

          JERRY
           You have to MOVE, right now! Radio it
          n i n! There's a bomb in the building!
           (they.look at each

          OTHER):
          You wanna be the guys who didn't do
          something?!

          ARIA'S SAT•.VIEW ZOOMS IN JUST AS THE OFFICER KEYS HIS WALKIE:

          CAPITOL POLICE OFFICER #2
          Capitol, this is checkpoint 21, I've got
          a guy out here who says --
          SCREECH! HISS! The radio cuts him off with piercing FEEDBACK --
          as Jerry breaks into a RUN--

          CAPITOL POLICE OFFICER #1
          Hey--!

          INT. CAPITOL - SPEAKER'S LOBBY ENTRANCE - CONTINUOUS

          Rachel's led by the Senate Page through the Speaker's Lobby
          entrance onto the house floor, passing a SECRET SERVICE AGENT
          watching every face with laser eyes...

          

          

          

          

          3/28/07 115.

          EXT. INDEPENDENCE AVE. - NIGHT

          The PRESIDENT'S MOTORCADE nears the Capitol. His limo's lead by
          Motorcycle Cops, headlights FLASHING, Secret Service...

          INT. PENTAGON - COOLING ROOM - NIGHT

          Aria's temperature gauges are rising into red-line:

          SCOTT
          One more degree
          SUDDENLY the door bursts open and two GUARDS rush in with guns,
          SLAM them to the wall:

          GUARD #1

          FREEZE! HANDS! STEP AWAY FROM THE

          CONSOLE!

           LATESHA SCOTT
          -- WAIT WAIT WAIT -- -- my name's Scott Bowman, I
           have B-36 clearance, my ID's
           in my pocket --
           The guard pulls out his ID, checks it, keys a shoulder-walkie:

           GUARD #1 (CONT'D)
           Unit 5, suspects in custody, but they
           have clearance --
          The voice that responds over the walkie is ARIA'S:

          =ARIA OVER WALKIE (V.O.)
          Negative, credentials for Bowman and
          Simms have been revoked. Secure them in
          the mainframe tank, additional units en
          route to take custody --

          LATESHA GUARDS
          -- that's not a person, it's -- shut up
          the computer, she's -- BE QUIET

          MALFUNCTIONING-'--
          They're pushed into --

          INT. PENTAGON - MAINFRAME TANK - DAY

          The water in Aria's mainframe tank is BUBBLING as a graphic
          shows the temp MAXING OUT. The door behind them suddenly LOCKS.
          The guards REACT -- one punches in a code, no good.

          GUARD #2
          Control, maglocks just engaged in the
          south door, need and override... do you
          copy?

          

          

          

          

          3/28/07 116.

          CONTINUED:
          An ALARM blares. Scott sees PRESSURE GAUGES fluctuating wildly:

          SCOTT
          -- oh shit... she's upping the water
          pressure --

          LATESHA
          -- what?!

          SCOTT
          She can't drain the tank... she's--gonna
          blow it.
          As the pressure in the tank intensifies, the frame begins to
          GROAN. The steel fitting SCREAMS with the enormous load -- a
          support rivet POPS OUT with an earsplitting KWANG! Zings across
          the room like a BULLET, pockmarking the wall.--

          SCOTT (CONT'D)
          You gotta let me run a bypass on that
          door or in about 30 seconds this room's
          gonna be full of water!
          A fracture shoots across the glass. The guards are FRIGHTENED:

          GUARD #1`
          yeah, go, _ qo

          SCOTT

          I NEED SOMETHING TO PRY IT OPEN!
          Latesha whips out her keychain with the MINI ARMY KNIFE -- Scott
          pries off the panel:.as..the glass fracture GROWS -- he starts
          stripping wires as MORE'STEEL RIVETS pop loose, PING PING PING!
          It's like dodging bullets -- Scott SPARKS the wires together and
          the door starts to OPEN, but only a few inches before it STOPS.

          LATESHA
          Yoi.:can do it you can do it you can do
          it!

          SCOTT
          Stop telling me I can do it!
          The glass SPIDERWEBS MADLY -- he SPARKS the wires together
          again, the door opens a few more inches but:
          THE GLASS GIVES WAY AND THE TANK EXPLODES! WATER SURGES across
          the room, the guards are IMPALED by glass shards, Latesha and
          Scott SMASH HARD against the wall.., but the half-open door acts
          like a DRAIN, siphoning water into corridors...
          As the level lowers, we find Latesha and Scott on the ground,
          water runoff trailing around them, unmoving...

          

          

          

          

          3/28/07 117.

          INT. CAPITOL - FLOOR LEVEL - CONTINUOUS

          The Page leads Rachel to her seat, close to the President's
          lectern --

          SENATE PAGE
          Anything else, Ms. Monaghan?

          RACHEL
          no, thank you...
          He smiles and leaves her there. She looks all around her,
          fighting the paranoia. What the hell's coming next?

          EXT. THE CAPITOL - PRESIDENTIAL ACCESS ENTRANCE CONTINUOUS

          The Presidential convoy slows by PRIVATE ENTRANCE. The Secret
          Service agents exit in unison -- scanning: for trouble --

          INT. CAPITOL - HOLDING ROOM - CONTINUOUS

          The kids buzz with excitement as a. Secret' Service Agent enters:

          SECRET SERVICE AGENT
          Were ready.

          MRS.. MILLER
          Okay, everyone,. listen UP: saxophones,
          remember, shorter on the quarter. When
          we get to the crescendo... hold that high

          F
          Mrs. Miller takes a deep breath. Even she's nervous...

          MRS. MILLER (CONT'D)
          And smile! Not every day we get to play
          for the President of the United States!

          EXT. OUTSIDE THE CAPITOL - PRESIDENTIAL ACCESS ENTRANCE

          The Secret Service opens the limo door for THE PRESIDENT. The
          PRESS POOL snaps photos as he's ushered towards the Capitol --

          INT. SIDE ENTRANCE - CAPITOL

          Jerry being subdued by a bunch of COPS and the Capitol's

          SERGEANT AT ARMS --

          SERGEANT AT ARMS
          -- where'd you hear '10-13'--?

          JERRY
          I told you, Agent Tom Morgan, he gave me
          his badge! Listen to me! There's a
          woman, she's brunette, 5' 7, blue eyes,
          her name's Rachel Holloman--!

          

          

          

          

          3/28/07 118.

          CONTINUED:

          SERGEANT AT ARMS
          Where's this Agent Morgan now?

          JERRY

          YOU GOTTA GET EVERYBODY OOTTA HERE NOW!

          SERGEANT AT ARMS

          HEY: I'M NOT STOPPING THIS JUST CAUSE YOU

          WALK IN HERE WITH A CRACKERJACK BADGE

          SHOUTING YOUR GIRLFRIEND'S NAME -- WE'RE

          GONNA CHECK OUT YOUR STORY AND YOU'RE

          GONNA BEHAVE YOURSELF, DO WE UNDERSTAND

          EACH OTHER?!
          As the cops start dragging Jerry away and we:

          INT. CAPITOL - THE MAIN FLOOR - CONTINUOUS

          Rachel -- still looking around -- sees a door open as the KID'S
          ORCHESTRA is led in -- her pulse starts to race -- among the
          faces, KYLE. Her heart FUCKING STOPS
          Kyle! No...
          She jumps up from her seat -- starts MOVING towards her son --

          ARIA OVER MIC
          Rachel. Stay in your seat.
          She RIPS out the earpiece as the Senate doors suddenly fly open:

          DOORKEEPER

          MR. SPEAKER! THE PRESIDENT OF THE UNITED

          STATES!!!
          Everyone RISES in ovation as the President enters and moves to
          the lecternf;smiling, waving. Mr. Miller cues the orchestra and
          they start to. PLAY THE NATIONAL ANTHEM: "0 say can you see..."
          People putting their hands to their hearts. The President, too.
          But RACHEL keeps moving, pushing toward the aisle --

          RACHEL
          Kyle! KYLE!
          THE SECRET SERVICE immediately moves in on her --

          INT. PENTAGON - MAINFRAME TANK - CONTINUOUS

          Latesha... on the ground... starts to cough as she draws air
          back into her lungs. She sits up abruptly, hacking... sees ARIA
          ALMOST GLOWING IN THE WATERLESS TANK. And from across the room,
          something else:
          A FIRE AXE behind breakaway glass.

          

          

          

          

          3/28/07 119

          EXT. CAPITOL - CORRIDOR OUTSIDE FLOOR - CONTINUOUS

          As the cops drag Jerry around a corner... he suddenly HEAD-BUTS
          one of them and BREAKS the grab. Starts RUNNING LIKE HELL --
          the agents draw weapons and pursue -- into wrist mic:

          SECRET SERVICE AGENT

          10-13! 10-13! COPY!
           But all he gets is that SCREECHING FEEDBACK in his earpiece --

          INT. CAPITOL - THE MAIN FLOOR - CONTINUOUS

          "O'er the ramparts we watch'd, were so gallantly streaming..."
          Rachel reaches the end of the row, two AGENTS block her:

          RACHEL
          That's my son! My son's over there!;

          SECRET SERVICE AGENT
          Miss, get back in your seat right now --
          KYLE -- playing his trumpet, oblivious -- "And the rockets' red
          glare, the bombs bursting in air..."

          RACHEL
          No... no ... someone's trying to kill the
          President!
          But she's DROWNED OUT by the MUSIC -- they take her in a VICE
          GRIP and start leading her up. the aisle to the exit:

          RACHEL (CONT'D)
          (struggling, desperate)

          LET ME GO!!
          Her NECKLACE catches the light and the crystals GLINT --

          INT. CAPITOL - STEPS UP TO THE FLOOR - CONTINUOUS

          Jerry sprints up steps three at a time. Four AGENTS in pursuit:

          SECRET SERVICE AGENT

          FREEZE--!!!
          When BAM! A bullet clips Jerry's shoulder. He staggers, then
          grabs one of the PRESS BARRICADES and FLINGS it down the stairs
          at the agents -- races on --

          INT. CAPITOL - THE MAIN FLOOR - CONTINUOUS

          No one on the floor can hear what's going on outside. The noise
          is DEAFENING; "0 say, does that star-spangled banner yet
          wave..." Rachel scratching and fighting and kicking--

          

          

          

          

          3/28/07 120.

          CONTINUED:

          RACHEL

          KYLE!!

          INT. PENTAGON - MAINFRAME TANK - CONTINUOUS

          SMASH! Breakaway glass SHATTERS as Latesha grabs the fire axe.
          Turns to the SPHERE that is Aria's CPU in the now-open tank:

          ARIA OVER SPEAKER (V.0.)
          We're on the same side, Agent Simms. We
          are both sworn to defend this country, at
          any cost.
          Latesha starts forward, axe in hand, glaring death:

          LATESHA
          Don't you ever shut up?!

          INT. CAPITOL - SPEAKER'S LOBBY ENTRANCE CONTINUOUS

          Jerry runs towards the door to the SPEAKER'S LOBBY ENTRANCE,
          agents in hot pursuit --

          INT. CAPITOL - THE MAIN FLOOR - CONTINUOUS

          SLOW MOTION -- KYLE'S FINGERS ON THE VALVES, pressing down,
          rising -- the music growing discordant, almost frightening --
          RACHEL suddenly BREAKS from the Secret Service agents, starts
          RUNNING BACK DOWN THE AISLE, NECKLACE GLITTERING as:
          JERRY bursts through the.door -- taking in everything in an
          instant: THE PRESIDENT... THE CROWD...
           AND RACHEL, in her SPARKLING NECKLACE running desperately down
          towards -- THE ORCHESTRA. And he sees -- KYLE, sweet Kyle's
          face, that face he remembers from the picture and that footage
          in the tank room. And... HIS TRUMPET.

          AND TIME STANDS STILL AS JERRY SUDDENLY UNDERSTANDS EVERYTHING:

          JERRY
           (to himself)
          Kyle --
          "O'er the land of the --"
          Jerry SCREAMS and starts RUNNING FOR THE PODIUM -- AGENTS TACKLE
          the PRESIDENT, PEOPLE start SCREAMING... BAM BAM! Jerry's hit
          twice as he GRABS KYLE, knocking the trumpet from his hands...
          It falls... falls... falls to the floor. As it HITS, we CUT TO:

          

          

          

          

          3/28/07 121.

          INT. PENTAGON - VARIOUS - CONTINUOUS

          Latesha's axe SMASHING DOWN into Aria's CPU. Sparks. She
          HAMMERS DOWN AGAIN -- AGAIN -- until the CPU bursts into FLAMES.

          INTERCUT WITH CALLISTER IN THE SECURE VAULT:
          The door opens with a HISS. He's free and --

          LATESHA
          Drops the axe. Sinks to her knees, utterly exhausted.

          INT. CAPITOL - THE MAIN FLOOR - CONTINUOUS

          MAYHEM. As Rachel runs to the terrified Kyle and scoops him up
          into her arms. Jerry's on the ground, bleeding... Ten agents
          pin him down... no sound now except for him trying to BREATHE...
          Rachel appears over him, crying, grabbing his hand:

          RACHEL
          Oh, god... HELP! SOMEBODY PLEASE HELP!!!
          JERRY'S POV: Rachel starts receding away from us, like we're
          descending into a well... until..her face become a point of
          light. And Jerry smiles. As 'everything turns...

          BLACK.
          HOLD... AND IT'S SILENT.;.. a distant ECHO... A TRUMPET... a
          familiar song... LOUIS ARMSTRONG... "What a Wonderful World."

          INT. RACHEL'S CAR - DAY

          LIGHT mottled through trees, reflects off the windshield.
          Driving, Rachel stares thoughtfully at the road. The music's
          coming from the radio. She glances over:
          KYLE sits beside her, hand out the window, dipping up and down
          against the countryside. She watches him, filled with love.

          MAN'S VOICE (PRE-LAP)
          it's the finding of this committee
          that your actions were consistent with
          national security guidelines...

          INT. PENTAGON COMMITTEE ROOM - DAY

          Latesha and Scott sit at a table, still bruised and cut up,
          facing members of a PENTAGON INVESTIGATIVE COMMITTEE:

          DEPUTY DIRECTOR
          However, in reviewing Aria's server logs,
          one last matter's come up.

          (MORE)

          

          

          

          

          3/28/07 122.

          CONTINUED:

          DEPUTY DIRECTOR (CONT'D)
          It seems right before you destroyed her,
          she attempted to fragment her core and
          uplink to a public satellite network...
          did you see anything to corroborate that?

          LATESHA
          (glances at Scott)
          What... do you mean?

          DEPUTY DIRECTOR
          She tried to break herself into bits and
          download them into cyberspace... we
          think, in the hope of reconstituting.

          SCOTT
          She may have tried, but running her...
          subroutines alone would take 300: million
          desktop PC's all networked together.
          There's no single system out there with
          enough computing capacity. to"sustain her.
          The men share glances, satisfied with the answer.

          DEPUTY DIRECTOR
          Thank you both for your time.

          INT. PENTAGON HALLWAY - DAY

          Latesha and Scott exit the hearing, still shaken up from
          everything that's taken place. Stop and look at each other. An
          awkward, high school beat. So... I guess this is it:

          SCOTT
          So...

          LATESHA
          So...

          SCOTT
          Hey :you think I could have your... you

          KNOW
          And before he can even ask Latesha's written something down on a
          piece of paper. Hands it to him.

          LATESHA
          That's my address. I'm not using a cell
          phone anymore. Pick me up at eight.
          They smile at each other, Latesha's eyes catching a SURVEILLANCE
          CAMERA. A chill creeping down her spine. AS --

          INT. MICROCHIP FACTORY - DAY

          "What A Wonderful World" CONTINUES over a long assembly line of
          SILICON WAFERS on a conveyor belt. They move through airtight
          vaults, part of the microchip manufacturing process...

          

          

          

          

          3/28/07 123

          CONTINUED:
          They're BOXED, the boxes loaded onto TRUCKS... they drive off in
          different directions, spreading out into the WORLD...

          EXT. RACHEL'S APARTMENT COMPLEX - DAY

          Kyle's birthday party: streamers, other kids, cake, ad hoc
          soccer game. Rachel cutting pieces of cake when --

          KYLE'S VOICE
          Jerry!
          She turns to see JERRY standing there. He's still got his
          scratches, arm in a SLING. It's the only real injury we can see
          and it'll heal. Kyle runs up to him and throwing his arms
          around his waist.

          JERRY
          Hey, little man!
          Locks eyes with Rachel. Her heart beating like a drum, happier
          to see him then she'd ever imagine. And. Jerry holds up a
          present for Kyle.

          JERRY (CONT'D).
          Sorry I'm late, this was hard to find --
          Rachel's eyes well. She pulls it back. Manages to say:

          RACHEL
          Kyle. What do you say?

          KYLE
          I dunno, I haven't opened it yet.

          RACHEL
          (rolls her eyes, grins)
          Who brought you up?
          Kyle rips open the present to find a brand new PLAYSTATION 3.

          KYLE
          They're on backorder everywhere! Mom --
          can I go play with it?

          RACHEL
          One hour. That's it...
          As Kyle tears off with his friends, Jerry walks over to her.
          It's like everyone else at the party has disappeared...

          RACHEL (CONT'D)
          (almost a whisper)
          you remembered...

          

          

          

          

          3/28/07

          124.

          CONTINUED:

          JERRY
          My new thing.

          (BEAT)
          Responsibility.

          RACHEL
          It suits you.

          JERRY
          Yeah?

          RACHEL

          (SWEETLY)
          Yeah.
          He smiles, shrugs:

          JERRY
          I have my life back... I can do whatever
          I wantihwtit.

          RACHEL
          You know what? Me too.
          They smile at each other, like they have an enormous secret. He
          tucks a loose hair behind her ear.,..,

          JERRY
          And I think... I finally know what I
          want.
          And we see in her eyes, she feels the same about him...

          RACHEL
          I owe you, Jerry. Everything. I don't
          think you understand --

          JERRY

          (PLAYFULLY)
          Hey: shh. Officially we can't talk about
          it, remember?

          RACHEL
          Right. Or even about how we met.

          (SHRUGS)
          So what do we tell people?
          He thinks about it. Smiles...

          JERRY
          I dunno -- computer dating service?
          Rachel LAUGHS, giving him a playful push as we CUT TO:

          
          

          3/28/07 125.

          INT. RACHEL'S APARTMENT - CONTINUOUS

          Kyle turns on the TV, eagerly plugging in the Playstation -- we
          catch a snippet of the NEWS: CALLISTER being sworn in in front
          of a CONGRESSIONAL REVIEW COMMITTEE --

          NEWS ANCHOR
          sources inside the beltway say the
          Senate is convening an investigative
          committee to look into what could very
          well become the biggest cover-up since --
          Oblivious, Kyle flips on the video game and the screen CHANGES
          to the Playstation logo. The kids CHEER, they can't wait... but
          the screen fritzes and goes BLANK...

          FRIENDS
          Aw, what the hell?! It's broken!
          A prompt appears with a BLINKING CURSOR. Then... words scroll:

          "HELLO, KYLE..."
          The kids look at him, confused. Kind of freaked out. Kyle
          stares at the screen, eyes riveted, his breathing quickens.
          CLOSE: THE CURSOR -- blinking like a beating heart and we:

          SLAM TO BLACK.



          THE END