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The Assignment Movie Script

Writer(s) : Dan Gordon, Sabi H. Shabtai

Genres : Thriller

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                                      THE ASSIGNMENT

  

                                        Written by

                                Dan Gordon & Sabi H. Shabtai



                                         7/2/1996

                                      SHOOTING DRAFT

                

               ESTABLISHING SHOT - EXTREME CLOSE - UP - COBBLESTONES - PARIS - 
               EARLY MORNING

               TITLE SEQUENCE BEGINS

               We OPEN with the screen filled with a dark gray, cut down 
               the middle by a black crevice. We should be unsure of what 
               we are looking at. Is it the surface of the moon or some 
               primeval canyon covered in volcanic ash? Just then a liquid 
               with a yellowish tinge finds its way down through the crevice 
               and further divides the screen in two, like a river border 
               dividing East from West perhaps.

               CAMERA PULLS BACK AND UP to reveal that the dark gray gulch 
               filled the screen was in fact two paving stones on a Parisian 
               street and the yellowish river that ran down the middle of 
               the stones comes in two tiny streams that lead to two little 
               boys, who are peeing on the pavement, laughing at their 
               mischief. The boys are twins. They wear backpacks and are 
               set to go off to school. Just then we HEAR the voice of a 
               WOMAN shouting in French (with English subtitles).

                                     FRENCH WOMAN (O.S.)
                         What do you think you're going?! You 
                         ought to be ashamed behaving like 
                         that!

               CAMERA PULLS BACK AND UP to reveal ever more scenes of life 
               on this particular street. The woman shouts at the children 
               from her window and the children run off. At the corner, 
               fresh bread is being delivered to a sidewalk cafe, as chairs 
               are set out at tables by white aproned waiters who are 
               preparing for their morning clientele.

               CAMERA PULLS BACK AND UP to reveal a taxi driver arguing 
               with a deliver man as a husband kisses his wife goodbye and 
               set off for work as we continue pulling back and across the 
               city over Montmartre, picking up an argument between two 
               drivers here, fresh bread being delivered to a cafe over 
               there. Chairs are being set up at sidewalk tables as the 
               city awakens and we float across Montmartre into a small 
               residential quarter. Husbands kiss wives who send school 
               children on their way as TITLES CONTINUE and the city comes 
               more and more to life and we hover across a small square 
               just up from the Place de la Opera, not far from the Boulevard 
               Saint Germain-des-Pres, with Montmartre in the b.g. The square 
               has a sidewalk cafe with tables extending out onto a peninsula 
               of pavement that stretches to the foot of a small hotel, 
               whose shuttered windows overlook the square. As we pull back 
               and back over the small square, we literally...

               SFX SHOT

               ...Pull backwards through the slats of the shutter, going 
               from an aerial shot, being sucked in through the semi-closed 
               shutters into a hotel room where we continue ever so slowly, 
               pulling back.

               INT. HOTEL ROOM - PARIS - EARLY MORNING

               The first thing we SEE in this shot which should appear 
               seamless in its one continuous motion transition from the 
               preceding scene, is a spider-web. We are TIGHT on the web in 
               which a still-living insect struggles against his silky bonds. 
               The web begins to tremble as from up above the spider drops, 
               spinning thread lowering itself down on this latest victim, 
               soon to be lunch. As the spider makes this journey we become 
               aware in the b.g. of the panting sounds of lovemaking. It is 
               a woman's breathless sighs and gasps we hear, but under that, 
               perhaps a man's voice, perhaps not. The sounds build to a 
               climax as the camera continues to pull back until it discovers 
               the glistening body of a beautiful young Parisian woman in 
               post-coital dewy Nirvana. Then, the figure of a nude man in 
               silhouette enters frame and crosses over to the shuttered 
               window. His face and body are half-lit by the slats of light 
               that penetrate from the world outside the hotel room. He 
               lights a cigarette.

                                                                    CUT TO:

               ANGLE ON - CLOSE ON THE MAN

               whom we will come to know as CARLOS. He lights the cigarette 
               and takes a thirsty drag sucking the smoke deep into his 
               lungs, glancing out at the street and alternately at the 
               spider who tiptoes down to her prey. He watches the spider 
               envelop the still-living victim with her spindly legs. Then 
               he takes another drag on the cigarette and the ash glows 
               bright, a burning ember which he touches ever so slowly to 
               the spider's body. It sizzles.

                                     CARLOS
                              (whispering to the 
                              burnt spider)
                         You lose...

               He looks out through the shutters at the digital clock across 
               the square. Then he glances back at the girl whom we will 
               call COLETTE. The conversation is in French with English 
               subtitles.

                                     COLETTE
                         What do you mean?

                                     CARLOS
                         I mean get out.

                                     COLETTE
                         You're a pig, you know that? How can 
                         you be like that?

               Carlos crosses to her slowly. He runs his hand across her 
               cheek, then down across her throat. Death is in his eyes.

                                     CARLOS
                              (barely above a whisper)
                         Leave without saying another word.

               INT. BATHROOM - HOTEL - DAY

               Carlos stands in front of the mirror. The mirror is cracked 
               and in it we see the fractured face of Carlos staring back 
               at us from opposite sides of the cracked glass. He wears 
               surgical gloves. From a make up kit by the side of the sink 
               he removes a piece of false hair and spirit gum as TITLES 
               CONTINUE.

               A. Carlos affixes a John Lennon mustache.

               B. Carlos puts on a brown wig of moderately longish hair 
               such as one might have seen on a student in Paris in the 
               early seventies.

               C. Carlos puts on a pair of John Lennon granny glasses and 
               the student look is complete.

               D. Carlos stands in front of a full length mirror in jeans 
               and a blue work shirt over which he puts a worn grey jacket. 
               He now looks every inch the young French student dressing 
               down to look like one of the proletariat.

               END OF TITLES

               E. Carlos takes an M26 hand grenade and puts it into an inside 
               pocket of his coat. He puts a machine pistol and snaps its 
               ammo clip into it and puts it in his student's shoulder bag 
               and then takes a Walther PPK and places it in his jeans at 
               the small of his back. All the while that he is doing these 
               things he sings: "ALL YOU NEED IS LOVE."

                                     CARLOS
                              (singing)
                         All you need is love... 
                         Rum da, da da da 
                         All you need is love 
                         Rum da da da da 
                         All you need is lo-ve 
                         Love is all you need. 
                         Love is all you need.

               SUPERIMPOSED: Paris, September 15, 1974.

               EXT. / INT. SIDEWALK CAFE - DAY

               It's a hot Sunday afternoon and the complex of shops and a 
               cafe in St. Germain-des-Pres is bustling with young clientele. 
               Inside the cafe, there is a second floor with a balustrade 
               overlooking the tables inside. Outside, there are tables set 
               up on the sidewalk.

               JACK SHAW, a tall, husky American in his late thirties, sits 
               at one of the front tables outside. He reads the International 
               Herald Tribune. The headline is, "Terrorists Seize Embassy, 
               Issue Demands And Threaten Attacks." Jack sips his espresso.

               ANGLE ON CARLOS

               dressed as in preceding scene. He enters. Just then Jack 
               looks up and sees him. For an instant, Carlos looks at Jack, 
               tenses just slightly. Jack looks back at his paper paying no 
               attention. Carlos pulls out a cigarette, pats his pockets 
               for a light. Then he crosses to Jack.

                                     CARLOS
                         Pardon monsieur...

               He mimes flicking a match and Jack looks for a match. He's 
               out. He offers the lit end of his cigarette. Carlos cups 
               Jack's hand.

                                     CARLOS
                         Merci.

               He crosses away from Jack, smiling and goes inside the cafe. 
               Jack follows him absentmindedly, tracking his progress through 
               the windows, though his view is obscured somewhat by 
               reflections of the street. Carlos steps casually to the 
               railing overlooking the tables inside as Jack sees the double 
               image of Carlos and the reflected street scene. Carlos leans 
               over, pulls the pin from an M26 grenade, and lets the "spoon" 
               come off in his hand. We HEAR the timing fuse hiss as Carlos 
               nonchalantly counts to himself.

                                     CARLOS
                              (counting)
                         One thousand one... one thousand 
                         two... one thousand three...

               ANGLE ON - JACK

               He looks up just in time to see Carlos drop the grenade 
               casually into the crowd below. Their eyes lock for a beat; 
               then Carlos smiles, turns and bounds away. Jack's eyes widen 
               in horror. He gets up, about to cry out a warning.

                                                                    CUT TO:

               ANGLE ON

               the crowd below as the grenade EXPLODES, filling the air 
               with smoke and flying glass, its metal ripping through flesh 
               and bone. People are wounded, bloody and writhing in pain 
               and screaming in panic.

               ANGLE ON JACK

               disheveled, covered with the shattered glass of the window, 
               but not but not seriously hurt, he struggles to his feet. He 
               looks around for Carlos who has vanished, now realizing who 
               he was. As he looks around, he sees a SMALL BOY staring at 
               his left arm with heart-rending disbelief.

               The boy has no hand.

                                                                    CUT TO:

               EXT. SIDEWALK CAFE - PARIS - DAY

               There are throngs of ambulances, police and military 
               personnel, wounded survivors are being tended to. All is 
               confusion and off in a corner we SEE Jack, standing with a 
               man in a suit. The man's name is DU FOLTIERE. He shows Jack 
               an I.D.

                                     DU FOLTIERE
                         Du Foltiere, Monsieur, intelligence 
                         liaison officer. DST. My understanding 
                         is that you are the Deputy Chief of 
                         Station, CIA, Paris, and that you 
                         witnessed by coincidence this attack.

                                     JACK
                         That's right.

                                     DU FOLTIERE
                         And you have told my subordinate 
                         that you recognized the terrorist as 
                         Carlos?

               Du Foltiere pulls out a small notebook to take notes.

                                     JACK
                         That's not what I told him. I said 
                         he recognized me. Afterwards I 
                         realized who he was. By then it was 
                         too late.

                                     DU FOLTIERE
                              (writing in his 
                              notebook)
                         Ah yes... The deputy chief of station 
                         did not recognize him... But he 
                         recognized you.

                                     JACK
                         I wasn't the one wearing the disguise.

                                     DU FOLTIERE
                         Yes of course... But then how are 
                         you sure it was him?

                                     JACK
                         How often do you see someone holding 
                         a live grenade listening to the fuse? 
                         Besides, the arrogant son of a bitch 
                         bastard smiled at me.

               EXT. INT. OPEC HQ - DAY

               SUPERIMPOSED: Vienna, December 21, 1975

               It's a cold Sunday morning with a light snow just beginning 
               to fall when SIX YOUNG MEN and ONE WOMAN enter the 
               headquarters of the Organization of Petroleum Exporting 
               Countries -- a modern, seven-story block of concrete and 
               glass. They all carry Adidas sport bags over their shoulders. 
               Their leader, Carlos, with dark beret and sunglasses, sports 
               a long white raincoat -- the kind that was very much in 
               fashion that winter. Next to him is KOJ, a Japanese terrorist 
               and his most trusted Lieutenant.

                                     CARLOS
                              (singing)
                         I shot the sheriff... 
                         But I did not shoot the deputy...

                                                                    CUT TO:

               INT. CONFERENCE ROOM - THIRD FLOOR

               At a long oval table TWELVE OIL MINISTERS. Miniature national 
               flags in chromium holders in front of them. Behind, sitting 
               or standing, the SECRETARIES, ADVISERS, INTERPRETERS AND 
               BODYGUARDS.

                                     VENEZUELAN OIL MINISTER
                         ...Obviously some of the members are 
                         exploiting the oil price differentials 
                         as a loophole... This body has been 
                         very precise in its policy.

                                                                    CUT TO:

               INT. ENTRANCE HALL - GROUND FLOOR

               The group with the Adidas sport bags approaches the reception 
               desk. Carlos -- moustache, sideburns, and wispy beard in 
               reddish brown -- smiles politely at the female RECEPTIONIST. 
               Behind the reception desk are two circular staircases which 
               wind their way up to an elevator that is visible behind the 
               railing at the top of the landing. There is what appears to 
               be a security man standing at that elevator with an earpiece 
               and tell-tale bulge under his jacket.

                                     CARLOS
                              (in German)
                         Pardon me. Is the conference still 
                         in progress?

               Smiling back, the ash-blonde receptionist nods.

                                     RECEPTIONIST
                              (in German)
                         Yes, but sir...

                                     CARLOS
                              (in German)
                         I have an urdent delivery for the 
                         ministers.

               As if on urgent business, Carlos quickly heads up the flight 
               of stairs before the security man who stands next to the 
               receptionist can react. The security man speaks quickly into 
               his walkie talkie.

               ANGLE ON - THE LANDING

               by the elevator at the top of the stairs. Carlos bounds up 
               the stairs and pushes the elevator button. The Security Man 
               near the elevator listens intently to what is being said in 
               his earpiece and he steps forward to challenge Carlos. Carlos 
               smiles at him and whips out a 9mm. silenced Beretta and fires 
               two shots right between the Security Man's eyes. He falls 
               over the railing and lands face up on the console in front 
               of the terrified receptionist. Carlos leans over the rail in 
               one move and fires two shots into the upturned face of the 
               Security Man who stands next to the shocked receptionist. 
               The receptionist screams.

                                                                    CUT TO:

               INT. CONFERENCE ROOM

                                     NIGERIAN OIL MINISTER
                              (angry)
                         I protest the unfound charges of the 
                         oil minister from Venezuela. We do 
                         not use, nor intend to use, the lower 
                         gradings to capture more of the market --

               His words are cut short when the door is kicked open, and 
               Carlos strides in.

                                     CARLOS
                              (brandishing his 
                              automatic)
                         EVERYONE FREEZE!

               Everyone frantically hits the floor. That is, with the 
               exception of TWO BODYGUARDS. They try for their weapons. A 
               short burst from Carlos' Beretta machine pistol which is 
               pulled from the inside of his trenchcoat brings them to the 
               floor. This weapon is not silenced, but deafening. Just then 
               Koj enters the room from the corridor.

                                     KOJ
                         We've got company.

               Suddenly, there's the sound of INTENSE GUNFIRE coming from 
               the corridor.

               ANGLE ON - CARLOS

               He reaches into his trenchcoat and pulls out a pocket-sized 
               Chinese RGD5 grenade. He yanks the pin, lets the spoon fly, 
               listens to the fuse hiss, counts quite calmly and then tosses 
               the live grenade to Koj who catches it and in one movement 
               tosses it out the door. A loud sound of GRENADE EXPLOSION, 
               and plaster powders those glued to the floor. GASPS OF TERROR. 
               But the gunfire outside ceases.

                                     CARLOS
                         My name is Carlos. You'll do as I 
                         say.

               His smile is cunning, mocking, and... familiar.

               EXT. VIENNA AIRPORT - SNOWSTORM - MAGIC HOUR

               We SEE an Air France jet liner touch down on the runway.

               EXT. VIENNA AIRPORT - SNOWSTORM - MAGIC HOUR

               Jack comes down the steps of the just-landed jet. The blizzard 
               whips around his face as he walks down the stair unit and 
               onto the tarmac, pulling his overcoat up around him.

               EXT. AMERICAN EMBASSY, VIENNA - SNOWSTORM - MAGIC HOUR - 
               EST.

               INT. OFFICE - AMERICAN EMBASSY - VIENNA - NIGHT

               Behind the desk is CARL MICKENS, the CIA Station Chief -- 
               tall, angular, cropped grey hair. He is in mid-conversation 
               with Jack Shaw who sits opposite him, his overcoat over the 
               arm of the chair in which he sits. He has obviously just 
               come from the airport.

                                     MICKENA
                         ...Twenty million dollars ransom.

                                     JACK
                         Who's asking for it?

                                     MICKENA
                         "The Arm of the Arab Revolution." 
                         Alias of the month time.
                              (shrugs)
                         Could be anybody. The point is... 
                         their leader claims to be Carlos...

                                     JACK
                         He does, does he?

                                     MICKENA
                         He wants to make sure everyone knows 
                         it's him. He wants the credit and 
                         the Austrians want a positive ID. 
                         That's when your name came up.

                                     JACK
                         Who brought my name up?

                                     MICKENA
                         The guy who says he's Carlos. The 
                         Austrians want you there to identify 
                         him.

                                     JACK
                         Where?

                                     MICKENA
                         At the airport. Tomorrow. When they 
                         provide the plane to fly him and the 
                         hostages to Libya. Carlos evidently 
                         feels very comfortable in Libya.

                                     JACK
                         They got him here in their own 
                         backyard and they're gonna let him 
                         walk away?!

                                     MICKENA
                         They've got no choice, Jack.

                                     JACK
                         Bullshit! Let 'em handle it like the 
                         Israelis would.

                                     MICKENA
                         They're not the Israelis Jack. It's 
                         not their fight.

                                     JACK
                         Then let me take him out! They want 
                         me to meet him at the airport. I can 
                         get close enough to get a clear shot 
                         at him. We can end this shit now.

                                     MICKENA
                         Jack! He's got seventy hostages.

                                     JACK
                         Fuck the hostages!

               Mickens looks at him almost in horror. Jack knows he has let 
               down too much of the mask of professionalism as it were.

                                     JACK
                              (apologetically)
                         Harold, we can handle it with a 
                         minimum loss of life.

                                     MICKENA
                         We will handle it with no loss of 
                         life. Those aren't just any hostages. 
                         They are the oil ministers of the 
                         richest countries in the world, and 
                         that twenty million bucks they're 
                         gonna have to pay isn't gonna break 
                         'em you know. It's nothing to them. 
                         They just want to pay it and... it's 
                         not our fight.

                                     JACK
                         What do you think Carlos is gonna do 
                         with that money? Put it in mutual 
                         funds? He'll use it to hit us. Let 
                         me assemble a team and we can...

                                     MICKENA
                         Jack goddamnit, there isn't any team 
                         to assemble! You're a fuckin' 
                         dinosaur. We're out of the 
                         assassination business. All of us! 
                         You got a personal hard on against 
                         this guy because he made you look 
                         like an asshole and now he's gonna 
                         rub your nose in it. I can appreciate 
                         your feelings, but it's not going 
                         down on our soil. It is not with our 
                         nationals and it is not our fight! 
                         Now I got my orders and you just got 
                         yours.

               INT. VIENNA INTERNATIONAL AIRPORT - VIENNA - NIGHT

               Carl, Jack and various other CIA functionaries walk quickly 
               down the corridor with Austrian police and intelligence 
               officers. Jack carries a briefcase as do they all.

               ANGLE ON - JACK

                                     JACK
                         I gotta hit the john.

               INT. MEN'S ROOM - VIENNA INTERNATIONAL AIRPORT - NIGHT

               Jack stands inside of a stall in the men's room. He has just 
               crossed a certain frontier in his mind and stepped in to the 
               area known as no man's land. He quickly takes off his overcoat 
               and jacket and we SEE attached to his arm a harness made up 
               of straps and springs. He opens his briefcase and attaches 
               to the harness a .32 caliber Beretta. He fumbles with the 
               adjustments, racing against time. Finally, he seems to have 
               adjusted everything just so. Then he lowers his arm to his 
               side. Then he raises the right arm as if shaking hands and 
               the harness slams the .32 caliber Beretta from his forearm 
               straight into his palm.

               He resets the gun back into the forearm position. He has a 
               look of grim determination on his face. The only question 
               is, is it the look of someone who is crazy enough to do what 
               he is contemplating.

               EXT. VIENNA INTERNATIONAL AIRPORT - BLIZZARD - NIGHT

               On the tarmac, an Austrian Airways DC9. TV cameras, lights, 
               generators are set up in front of the plane, sending beams 
               and pools of yellow light into the darkness and the snow 
               which swirls all around as a pool of REPORTERS stands ready 
               to record whatever is about to go down. Among a small group 
               of OFFICIALS is Jack Shaw. Everyone's eyes are on an 
               approaching yellow curtained bus.

               ON BUS

               As it gets closer, we can detect through its windshield a 
               white raincoat and a black beret. Carlos is standing by the 
               driver with a machine-pistol in one hand and a grenade in 
               the other.

               CLOSE - JACK

               His eyes strain to get a better look at the terrorist, his 
               arm down at his side.

               BACK TO SCENE

               As the bus parks by the DC 9, Carlos jumps out and waves to 
               the media. Not the customary V-sign, but the wave of a 
               celebrity... The hostages then, under their captors' guns, 
               file compliantly out of the bus and onto the plane. A line 
               of exhausted, bleary-eyed middle-aged men in expensive suits 
               and in need of a shave. Carlos however, is as fresh, alert 
               and energetic as the morning of the attack. And he's 
               definitely savoring the moment.

               ON JACK

               Tense, he tries to be inconspicuous as he leans towards 
               Mickens.

                                     JACK
                              (whispering)
                         I think it's him, but I can't be 
                         sure. Not with those dark glasses 
                         and the beard...

               ON CARLOS

               Everyone on board, he too climbs the mobile steps and 
               disappears into the plane. Suddenly, he reemerges and comes 
               down to where the officials and Jack stand. As Jack watches 
               him intently, he faces the MINISTER OF THE INTERIOR. In the 
               window of the plane we SEE Koj holding a grenade to the 
               pilot's head.

               ANGLE ON CARLOS

                                     CARLOS
                         Minister of the Interior, I 
                         presume...?

               The distinguished-looking man, who looks a bit like Kurt 
               Waldheim, nods.

                                     CARLOS
                         I'm sorry this had to happen in 
                         Austria. We have no quarrel with 
                         your government.

               His eye catching Jack, he stops in mid-sentence. A devilish 
               smile crosses his lips as he turns towards him. He pulls a 
               cigarette out and crosses right over to Jack, up close and 
               as they say, very personal. The snowflakes whirl 
               surrealistically around them as the two stand face to face.

                                     CARLOS
                         Pardon monsieur...

               He mimes flicking a match. He takes off his glasses and looks 
               at Jack and smiles.

                                     CARLOS
                         We were never really properly 
                         introduced Mister Shaw. My name is 
                         Carlos.

               With a cunning, mocking smile he extends his hand out to 
               shake Jack's. Jack stares at him, ever so slowly beginning 
               to raise his hand. With that move he knows the gun will come 
               slapping into his palm and he will be able to take Carlos 
               out no matter what the cost.

                                     JACK
                              (smiling)
                         Eat shit and die slow.

               His hand starts rising. In another second the gun will spring 
               into it. Just then we hear:

                                     MICKENA (O.S.)
                         Jack, no!

               Jack turns to look at Mickens. Mickens indicates the 
               photographers.

                                     MICKENA
                         You don't want your picture taken 
                         shaking his hand.

               Jack is momentarily confused. He has turned to Mickens 
               thinking perhaps he was calling out a warning and now the 
               moment for the shot has passed. He turns back to Carlos who 
               shrugs and steps over to the Austrian minister so that the 
               Minister now is between Jack and Carlos and the shot is lost.

                                     CARLOS
                              (to the minister)
                         As I was saying, I'm sorry about the 
                         loss of life. And thank you for your 
                         cooperation.

               Once again he sticks out his hand. Only this time, as the 
               cameras roll, Austria's Minister of the Interior shakes the 
               hand of the archterrorist in what will go down in history as 
               the "handshake of shame."

               ON JACK

               His eyes tell it all.

               EXT. JERUSALEM - WESTERN WALL - DAY

               We begin with an ESTABLISHING SHOT of Al Aksa Mosque and the 
               Mosque of Omar in Jerusalem. These are the two most famous 
               landmarks in Jerusalem's Old City skyline.

               OVER THIS WE SUPER:

                                    JERUSALEM - AUGUST

               CAMERA then pans and tilts down and we are above the Western 
               Wall looking down on the bobbing black hats of Hassidic Jews, 
               the knitted skullcaps of more modern Orthodox, here and there 
               the olive shirt of Army uniform with M16 or Galil assault 
               rifle that sways in prayer as well.

                                                            CROSS DISSOLVE:

               To the Jerusalem stone paving stones that make up the square 
               in front of the wall as we glide across the intersecting 
               lines of paving stones set one next to the other until a 
               glowing cigarette comes into view and then a foot which 
               crushes it out. There should be something in this sequence 
               that is reminiscent of our opening, a foreboding that just 
               as the cracks in the Parisian paving stones led us to Carlos 
               once before, perhaps these new stones will lead us once again 
               to some act of terror.

               NEW ANGLE

               to reveal a man standing in silhouette, the man who has just 
               crushed out the cigarette. We cannot see his face because he 
               has a camera to his eye.

               NEW ANGLE - POV THROUGH THE CAMERA LENS

               Through the lens of the camera just established we SEE an 
               old Rabbi praying at the wall. CLICK! The shutter captures 
               the shot.

               BACK TO SCENE

               The man in silhouette now lowers the camera and we SEE that 
               he is CARLOS! There is no mistake even though the nose, 
               perhaps is a little different and this time he is clean-
               shaven, it is still Carlos the Jackals. He smiles slightly.

               EXT. CHURCH OF THE HOLY SEPULCHRE

               Busy photographing it, Carlos doesn't seem to notice the TWO 
               ARABS who watch him surreptitiously. He walks in front of 
               soldiers who laugh and look at us POV Carlos.

               ANGLE

               Carlos reaches into his pocket. Is he perhaps going for a 
               grenade to toss at these soldiers? We build tension as he 
               pulls out instead, another roll of film and with great 
               determination, we have the CLICK of the door of the camera 
               to enhance our music beat as tension builds. Surely it can't 
               be long till Carlos does something awful.

               EXT. MOSLEM QUARTER - DAY

               Carlos walks towards the Suq, working his way through the 
               crown from the Damascus gate as we reveal more soldiers in 
               the foreground, surveilling the area.

               EXT. MOSLEM QUARTER - DAY

               From the POV of the two Arabs following him, we SEE Carlos 
               lost, or pretending to be, as he ambles along through the 
               Suq, past all sorts of vendors hawking their wares. Heads of 
               fish are cut off with the swift slash of a knife in one stall, 
               freshly skinned lambs hang by their feet in another. Carlos, 
               still looking lost, approaches a street vendor hawking rosary 
               beads. We SEE them talk but cannot hear their dialogue.

               Carlos walks on.

               EXT. MOSLEM QUARTER - DAY

               A group of children play an impromptu game of soccer.

               NEW ANGLE - SAME SCENE - POV CARLOS THROUGH CAMERA LENS

               We watch these innocent children playing. If this was a gun 
               sight they'd be dead. CLICK!

               NEW ANGLE

               It is Carlos who has taken the picture. His smile at the 
               sight of the children is no longer a subtle one. There is 
               some secret enjoyment here.

               It's then, that he notices the Two Arabs tailing him.

               CLOSE ON - CARLOS

               He frowns.

               Now what happens can be interpreted in one of two ways. Carlos 
               takes a turn down an alleyway that has at first a shop or 
               two, and then is nothing but deserted and foreboding alley. 
               He is either trying to shake the two Arabs or he has just 
               entered every tourist's nightmare: a deserted alley in a 
               foreign country with two bad guys. He quickens his pace. The 
               Arabs do too. Carlos now knows they're after him and he takes 
               off running.

               EXT. MOSLEM QUARTER - DAY - CHASE SEQUENCE ANGLE

               So do the two Arabs. Only now there are THREE MORE ARABS 
               coming after him.

               MOVING

               A tense, desperate CHASE in the Moslem Quarter's labyrinth 
               of twisted alleys and narrow streets. When his Arab pursuers 
               lose sight of him briefly, Carlos takes something out of his 
               pocket, some sort of ID and throws it in an alleyway.

               EXT. SUQ - JERUSALEM - DAY

               Carlos races through the Suq, past a group of Arabs who begin 
               heeding the call to prayer. They roll out prayer mats and 
               begin acclaiming in Arabic that there is only one God and 
               Mohammed is his prophet. Carlos grabs one of the canvas 
               awnings that shade the alleyways and this cafe. He rips it 
               off, trying to make an obstacle course between him and his 
               pursuers. He overturns trays of olives, sacks of sunflower 
               seeds, anything he can get his hands on.

               NEW ANGLE

               Carlos runs headlong into a copper serving platter that is 
               hanging on display. He is disoriented, terrified, and then 
               seemingly from out of nowhere, he is tackled, grabbed by the 
               Arabs and dragged to a dark alley between two stores. Carlos 
               is overcome and brought down to the ground. One of the Arabs 
               evidently has a deep dislike for Carlos and though Carlos is 
               subdued, he kicks the shit out of him.

                                                              CUT TO BLACK:

               INT. WINDOWLESS CELL - DAY

               This room is your worst nightmare in the Middle East. It 
               could be a cellar suite in Beirut, or an interrogation cell 
               in Damascus. There is no way of knowing. It is simply an 
               empty room with a large metal ring embedded into the floor, 
               to which Carlos is shackled. Battered and badly bruised, 
               he's obviously in great pain. The room's metal door SCREECHES 
               as it opens slowly and a new man whom we will call AMOS 
               enters. With him are two of the Arabs we've seen earlier. 
               They're bareheaded now, without their kaffiyehs.

                                     AMOS
                              (accented English)
                         How do you feel?

               He smiles.

                                     CARLOS
                              (broken English)
                         I do not speak English.
                              (in Spanish)
                         Yo soy Cubano... de Cuba... Castro... 
                         Su amigos... Amigos... Entiende?

                                     AMOS
                         You spoke English well enough to 
                         your contact... the street vendor... 
                         so please let's not play games. We're 
                         both professionals, Carlos.

                                     CARLOS
                              (with heavy Cuban 
                              accent)
                         My name... Ramirez... no Carlos.

                                     AMOS
                         Yes, I know what your name is... 
                         Illich Ramirez...

                                     CARLOS
                         No Illich.

                                     AMOS
                         Alias Carlos Sanchez, alias Carlos 
                         Martinez, alias The Jackal.

                                     CARLOS
                              (with heavy Cuban 
                              accent)
                         Jou're loco man... No Carlos... I am 
                         tourist...

               Amos swoops down and with one hand pulls Carlos by the hair 
               over across his knee with his throat up and other hand in a 
               hammer lock. Amos brings his face down to Carlos.

                                     AMOS
                         Listen to me you piece of shit. I'm 
                         trying very hard to be professional 
                         about this but you are in Israeli 
                         hands now... So don't play games 
                         with me... entiende hombre?

               Carlos whose neck is stretched back like a goose about to be 
               slaughtered can barely croak out an answer.

                                     CARLOS
                         Okay.

               Amos loosens his grasp and straightens up. Carlos winces in 
               pain from broken ribs. As he speaks it is now unaccented 
               English, just the slightest trace of Spanish background.

                                     CARLOS
                         You... You're telling me you're 
                         Israelis... not Arabs?
                              (relieved)
                         I'm in some kind of an Israeli 
                         prison... is that what you're telling 
                         me?

                                     AMOS
                         Amazing how much your English has 
                         improved in just a few seconds...

                                     CARLOS
                              (trying to be very 
                              reasonable)
                         Look, obviously there has been some 
                         kind of mistake. I don't know who 
                         you think I am, but I am a Lieutenant 
                         Commander in the United States Navy, 
                         okay? I am Lieutenant Commander 
                         Annibal Ramirez of the U.S.S. 
                         Yorktown, Sixth Fleet, docked in 
                         Haifa. I am not Carlos or Sanchez or 
                         Illich or the Jackal or whoever you 
                         think you just caught. If you call 
                         the U.S. Embassy and ask for the 
                         Sixth Fleet Liaison Officer, he'll 
                         confirm everything I've said.

               He is not pushy, just firm and decisive.

                                     AMOS
                         Remarkable... remarkable 
                         performance... the chutzpa of it is 
                         unbelievable... my hat is off to you 
                         Carlos.

               Carlos, who from now on out will be referred to by his real 
               name, RAMIREZ, has had it with the reasoned approach. He now 
               adopts the demeanor of a U.S. Naval Officer reaming an 
               enlisted man a brand new bunghole.

                                     RAMIREZ
                         Your hat's off?! I'll tear your head 
                         off! You get on the horn and you 
                         call the U.S. Embassy and you call 
                         the Sixth Fleet Liaison Office and 
                         then motherfucker you go out and 
                         find yourself a good lawyer and I'll 
                         tell you somethin' Jack, I'm gonna 
                         sue your ass so bad that your great 
                         great grandchildren will still be 
                         shovelin' shit to pay off the debt!

               Amos is doing his best to look unflappable.

                                     AMOS
                         Carlos... give me a break, huh? If 
                         you were an American officer you 
                         would have... ID papers, dog tags.

                                     RAMIREZ
                         I ditched 'em in an alley just before 
                         you guys got me. Go back there you'll 
                         find 'em.

                                     AMOS
                         You ditched them.

                                     RAMIREZ
                         Per instructions... An American 
                         officer on shore leave in the Middle 
                         East must travel in mufti, civilian 
                         clothes. A bunch of Arabs start 
                         chasing me... could be terrorism... 
                         could be kidnapping... instructions 
                         are to ditch our tags, our ID or 
                         anything else that could identify 
                         us. That's why I spoke Spanish, that's 
                         why I said I was a Cuban, not an 
                         American. And you broke my ribs here 
                         asshole. I'm gonna sue you, I'm gonna 
                         sue your government... I'm gonna sue 
                         every fuckin' Jew I can get my hands 
                         on you, understand me?!

               INT. CORRIDOR OUTSIDE RAMIREZ'S CELL - RUSSIAN COMPOUND -DAY

               Amos walks down the corridor. For the first time, he looks 
               the tiniest bit concerned.

                                     RAMIREZ
                              (shouting after him)
                         I'm gonna sue Menachem Begin, I'm 
                         gonna sue Moshe Dayan, I'm gonna sue 
                         the goddamned B'nai B'rith or whatever 
                         you call it.

               INT. AMOS' OFFICE - JERUSALEM - DAY

               Amos sits in his office looking very worried. A long-haired 
               baby-faced agent comes in. He could pass for a typical student 
               traveling on holiday. His name is YONI.

                                     YONI
                         Sir?

                                     AMOS
                         Yoni... I want you to go back to the 
                         old city... where we caught... 
                         Carlos... I want you to be very 
                         inconspicuous. Take a half dozen 
                         men... you comb every alleyway 
                         there... every garbage can... 
                         everything you can find... for what 
                         looks like a U.S. military ID if 
                         there is such a thing there.

                                     YONI
                         What's the problem?

                                     AMOS
                         Who said there was a problem? There's 
                         no problem. I just asked you to do 
                         something and you're going to do it. 
                         So there's no problem.

               EXT. ALLEY OF OLD CITY JERUSALEM - DAY

               Yoni and half a dozen plainclothed Shin Bet agents walk 
               through the alley looking around. Yoni is dressed like a 
               long-haired backpacking student; others dressed like Arabs, 
               others like tourists. As inconspicuously as possible, they 
               search alleys and trash cans like the homeless searching for 
               food.

               INT. AMOS' OFFICE - JERUSALEM

               Amos sits at his desk. Just then Yoni walks in. Amos looks 
               up.

                                     AMOS
                         Nu?

               Yoni puts a U.S. Navy ID complete with photo and a set of 
               military dog tags on Amos' desk.

               ANGLE - CLOSE ON THE ID

               It identifies its bearer as Lt. Commander Annibal Ramirez 
               U.S.N. There is a picture of Ramirez in the upper corner of 
               the ID in uniform.

               ANGLE ON AMOS

               He holds the ID and then sits back in his chair defeated and 
               lets out a very Jewish sigh.

                                     AMOS
                         Oyyyy.

                                                                    CUT TO:

               INT. CIA HEADQUARTERS - TERRORISM SITUATION ROOM - DAY

               This is a high-tech, ultra modern chrome and glass room which 
               features a map of the world etched in plexiglass with 
               terrorist hot-spots marked prominently. On the glass as well 
               is the logo of the CIA. In this Situation Room we find WINSTON

               SCOTT III, a 50-year-old pin-striped suiter who appears to 
               be amused. With him is Monroe, his Black deputy and Jack. In 
               front of Jack, spread out on the desk is a file on Ramirez. 
               We SEE it as Jack does. Notes on the interrogation, Polaroid 
               photos of Ramirez in custory and the developed pictures from 
               the roll of film which Ramirez was taking in Jerusalem. Jack 
               listens to Scott and Monroe, but as he does he is taking in 
               all the information in Ramirez's file, making no judgments, 
               just taking in information.

                                     SCOTT
                         I love it! Those cocky Israeli 
                         bastards thought they hit the jackpot. 
                         Got the Jackal right in their own 
                         backyard...

                                     MONROE
                         State Department's goin' apeshit. 
                         And the Navy... Admiral Trost was so 
                         pissed he was ready to shell the 
                         port of Haifa.

               Jack, however, isn't sniggering. He's thinking hard as he 
               looks at all the information on the desk.

                                     JACK
                         You're not gettin' it are ya?

                                     SCOTT
                         What?

                                     JACK
                         These weren't some yokels... This 
                         was the Israeli General Security 
                         Service... The Mossad. The best in 
                         the business. They have the most 
                         complete dossier there is on Carlos, 
                         the latest pictures of him... 
                         everything. I mean what's that tell 
                         you?

                                     SCOTT
                         That they really ate it this time.

                                     JACK
                         Scott... doesn't it hurt to walk 
                         around like that with your head up 
                         your ass... I mean isn't it painful?

               His eyes glance down to the pictures, especially the photos 
               of the children. Something begins to click.

               EXT. NORFOLK, VA - DAY

               SUPER: NORFOLK, VIRGINIA

               EXT. T-BALL FIELD - NORFOLK, VA - DAY

               Almost nothing is as cute as 3 foot 5 inch 6-year-olds 
               struggling to play the most elementary form of baseball, T-
               ball.

               ANGLE ON - 6 - YEAR-OLD JOEY RAMIREZ

               He is the first baseman and he is intent upon the batter who 
               stands at the T.

               ANGLE ON - THE PARENTS

               cheering their kids on. Amongst them we recognize MAURA, 
               Annibal Ramirez's wife, who is cheering for her son's team. 
               She holds a ten month old baby as she cheers.

               NEW ANGLE

               on Annibal Ramirez, resplendent in his summer whites, his 
               face still showing the faintest remnants of bruises at the 
               hands of the Israelis. He holds his sea bag in his hand. 
               There is a waiting taxi behind him as he strides over towards 
               the baseball diamond.

               ANGLE ON - JOEY

               He sees his father just as the batter hits the ball.

                                     JOEY
                         Poppi!

               The pitcher scoops the grounder up and tosses it to Joey 
               whose eyes however have lit up at the sight of his sailor 
               father home from the sea so the ball hits him in the side of 
               the head and he goes down. Ramirez wants to rush out to his 
               son, but Joey straightens himself up quickly, not wanting to 
               be embarrassed by an over-protective parent.

               ANGLE ON - MAURA AND RAMIREZ

               Maura has followed her son's gaze at Ramirez and feels no 
               embarrassment whatsoever as she runs into his arms, still 
               holding her baby. She kisses him.

                                     MAURA
                         I thought you weren't coming back 
                         till tomorrow...

                                     RAMIREZ
                         I wanted to be here for his game. 
                         Look how beautiful she is!

               He picks up the baby and kisses her.

                                     RAMIREZ
                         Just like her mother.

                                     MAURA
                         What happened to your eye?

                                     RAMIREZ
                         Nothing. Just fell. It doesn't matter. 
                         I'm home.

               EXT. RAMIREZ'S HOUSE - NORFOLK - A MONTH LATER - DAY

               It's a stucco, single-level structure in a clean, middle 
               income neighborhood. Jack Shaw pulls up, crosses out of his 
               car and knocks on the door. The door opens revealing Ramirez 
               in a T-shirt and pair of sweats. Jack looks at his face, the 
               unmistakable face of Carlos.

                                     RAMIREZ
                         Joey watch Yolanda... okay?

                                     JACK
                         Jesus...

                                     RAMIREZ
                         I beg your pardon?

                                     JACK
                         Lieutenant Commander Ramirez my name 
                         is Jack Shaw... I'm with the 
                         government... I'd like to talk to 
                         you about what happened in Israel.

                                                                    CUT TO:

               EXT. RAMIREZ HOUSE - BACKYARD - NORFOLK - DAY

               ANGLE - CLOSE ON

               the barbeque's coals which burst into flame as fluid and 
               then match are applied. OVER this we hear

                                     RAMIREZ
                         I want to sue them, okay? I want to 
                         sue the guy who broke my ribs. I 
                         want to sue their government and 
                         their Mossad... and I want to sue 
                         Golda Meir!

               NEW ANGLE - ON JACK AND RAMIREZ

               They stand at the barbeque as Joey plays shooting hoops. 
               Ramirez holds Yolanda. Ramirez and Jack speak quietly.

                                     JACK
                         Mrs. Meir is dead, Lieutenant 
                         Commander.

                                     RAMIREZ
                         Then you might want to have them dig 
                         her up because I intend to sue her.

               Jack chuckles.

                                     JACK
                         Commander Ramirez when I said I was 
                         from the government, perhaps I should 
                         have been more specific. I'm from 
                         the CIA.

               Jack reaches down, opens his briefcase and pulls out a large 
               photo album-like briefing book. He opens it up and hands it 
               to Ramirez. On the first page there is an 8�10 enlargement 
               of a photo of Carlos entering a building. It is grainy but 
               it certainly looks exactly like Ramirez.

                                     JACK
                         Does the man in that picture look 
                         familiar?

               Ramirez looks at the picture with the same look on his face 
               that Jack had when he saw Ramirez for the first time.

                                     YOLANDA
                         Poppi...

                                     RAMIREZ
                         That's not me... I mean I know it 
                         looks like me... but...

                                     JACK
                         I know it's not you.

                                     RAMIREZ
                         It's... this Carlos guy.

               Just then, Joey yells from the tree he's in. Jack 
               automatically hides the picture as if the kid were from a 
               rival intelligence agency.

                                     JOEY
                         Poppi, you don't need to watch the 
                         fire, come climb with me.

                                     RAMIREZ
                         Get out of that tree, Joey. Your 
                         mother sees that and I'm dead.

               Now when Jack speaks it is more guarded and in even quieter 
               tones.

                                     JACK
                         This is the only recent shot we have 
                         of him... telescopic lens from half 
                         a mile away taken by the Israelis. 
                         Can you blame 'em for what happened? 
                         The only difference is the eyes.

               Ramirez looks at the picture in shock at the resemblance.

                                     RAMIREZ
                         Okay I get it now, you're here to 
                         talk me out of my lawsuit. But see I 
                         identified myself but they kept me 
                         in that cell for two more days chained 
                         to that wall after I told 'em who I 
                         was so...

                                     JACK
                         Lieutenant Commander, I am not here 
                         about your lawsuit. Carlos is the 
                         single most vicious terrorist in the 
                         world. He's personally carried out 
                         or masterminded the worst terrorist 
                         attacks in modern history. Men, women, 
                         children. Children like yours... 
                         blown to bits or slaughtered in cold 
                         blood. Annibal... why did you join 
                         the Navy?

                                     RAMIREZ
                              (as if by rote)
                         To serve my country.

                                     JACK
                         To serve your country... to protect 
                         her from her enemies. Well Carlos is 
                         one of her enemies now. And he'll 
                         probably become a bigger one... 
                         terrorism... unfortunately is a growth 
                         industry.

                                     RAMIREZ
                         Why are you telling me all this?

                                     JACK
                         Lieutenant Commander, the governments 
                         of most countries in the free world 
                         have been after Carlos for ten years 
                         and we have nothing to show for it. 
                         There is exactly one person in the 
                         world who can help us get Carlos. 
                         And that person is you.

                                     RAMIREZ
                         What do you mean... to get him?

                                     JACK
                         All I can tell you is it may take as 
                         much as six months to a year of 
                         preparation. It will involve a high 
                         degree of risk. That much said, you 
                         may never as much as lay eyes on him 
                         yourself. But if we succeed Carlos 
                         won't be a threat to anyone anymore. 
                         Now I know you're going to need some 
                         time to think about it so...

                                     RAMIREZ
                         No I don't need any time. The answer's 
                         no.

                                     JACK
                         Annibal...

                                     RAMIREZ
                         Lieutenant Commander... I am a Naval 
                         Officer... that's what I was trained 
                         for... that's what I'm good at... 
                         See you came to the wrong address. 
                         You want James Bond. He lives in 
                         London and he's got an Aston Martin. 
                         You can't miss him.

               We HOLD on Ramirez's look and Jack's half-smile.

               INT. OFFICERS' CLUB - NAVAL BASE - NORFOLK - EVENING

               The Officers' Club is decked out for a reception for ADMIRAL 
               CRAWFORD. All the officers are in dress whites and all the 
               wives wear white gloves and cocktail dresses as a Navy string 
               quartet plays softly in b.g. There is a reception line and 
               the Admiral stands with his aide who introduces each of the 
               guests who pass through the line.

                                     NAVAL AIDE
                         Admiral Crawford this is Commander 
                         and Mrs. Ward Scowcroft.

                                     CRAWFORD
                         I know your family well, Commander, 
                         I was with your father at the Academy. 
                         I expect great things from you Ward... 
                         great things.

                                     SCOWCROFT
                         I won't let you down sir.

               Next up are Ramirez and his wife Maura.

                                     NAVAL AIDE
                         Admiral Crawford this is Lieutenant 
                         Commander and Mrs. Annibal Ramirez.

                                     CRAWFORD
                         Annabelle?!

                                     RAMIREZ
                              (smiling)
                         It's Annibal sir.

                                     CRAWFORD
                         Yes... of course... well ... I'm 
                         glad to see we're getting some Mexican 
                         American officers in the ranks. I'm 
                         an L.A. boy myself so I have a real 
                         soft spot for authentic Mexican 
                         food... My stomach doesn't always go 
                         along with it but...

                                     MAURA
                         We'd love to have you over to dinner 
                         Admiral but the cuisine would be 
                         Cuban not Mexican. I think your 
                         stomach would find it more 
                         agreeable... not to mention your 
                         taste buds.

                                     CRAWFORD
                         You're Cuban Americans... oh I'm 
                         sorry... you grow up in L.A. and you 
                         hear Ramirez and... anyway it was a 
                         pleasure meeting you.

               He looks uncomfortably over to his aide who gently keeps the 
               line moving. CAMERA FOLLOWS ANNIBAL AND MAURA DOWN THE 
               RECEPTION LINE. There in front of them is Jack in a white 
               linen suit.

                                     JACK
                         We do keep bumping into each other 
                         don't we. How do you do, Mrs. Ramirez? 
                         I was over at your lovely home the 
                         other day but I felt cheated because 
                         I had to leave before I had the 
                         pleasure of meeting you.

                                     MAURA
                         The pleasure is mine...

                                     JACK
                         Para servirle, Yo soy encantado de 
                         conocerte.

                                     MAURA
                         Encantada Senor...

                                     JACK
                         Shaw... Jack Shaw.

                                     MAURA
                         Senor Shaw. Mucho gusto.

                                     RAMIREZ
                         My wife speaks English Mister Shaw... 
                         so do I.

                                     JACK
                         Perdonname, I didn't think you'd be 
                         embarrassed to speak Spanish in front 
                         of the Admiral. A sus ordenes.

               ANGLE ON

               THE BAR - Ramirez stands at the bar.

                                     RAMIREZ
                              (to bartender)
                         I'll have a club soda and... uhh... 
                         a glass of white wine please...

               Jack steps up behind him. Jack holds a small wrapped package.

                                     JACK
                         Let me guess the white wine is for 
                         your wife right? Cause you're afraid 
                         to drink anything stronger than club 
                         soda around the brass. How do you 
                         stand this shit Annibal? I mean 
                         they're all so fuckin' constipated.

                                     RAMIREZ
                         My wife is waiting for her wine... 
                         if you'll excuse me.

               Jack stands in front of him blocking his way.

                                     JACK
                         Oh there's a fiery retort.

                                     RAMIREZ
                              (under his breath)
                         How about fuck you.

                                     JACK
                         I'd believe it if you said it a little 
                         louder...

               Ramirez controls his anger which is starting to show through 
               in the bulging veins.

                                     JACK
                         Look at these guys. You don't belong 
                         with them. You belong with me. What 
                         did Darth Vader say to Luke? Come 
                         over to the dark side? You have no 
                         idea of the power we have.

                                     RAMIREZ
                         Hey... I told you I didn't want 
                         anything to do with you.

                                     JACK
                         How's it going to look in your jacket? 
                         Your country came to you requesting 
                         help and you turned it down. Not 
                         exactly promotion material, know 
                         what I mean? These people don't want 
                         you in their club, Annibal. I do.

                                     RAMIREZ
                         The answer is no. That's the end of 
                         it.

               EXT. RAMIREZ HOUSE - DAY

               We open on a shot of the front door. The doorbell is rung 
               and the door opens after a beat, revealing Ramirez. We don't 
               yet see who is at the door.

                                     RAMIREZ
                         Oh Jesus... what do you want?

               NEW ANGLE

               Revealing it is Jack who is at the door.

                                     JACK
                         I want you to come with me.

                                     RAMIREZ
                         Well then get set for disappointment.

                                     JACK
                         Okay. Then you are ordered to come 
                         with me.

                                     RAMIREZ
                         You can't order me to do shit.

               Just then the cellular phone which Jack holds rings. Jack 
               smiles and holds out the phone to Ramirez.

                                     JACK
                         It's for you.

               Ramirez takes the phone, totally faked out. He presses the 
               "send" button and gingerly says...

                                     RAMIREZ
                              (into Cell phone)
                         Hello... who? Oh... yes sir... Yes 
                         sir... Yes sir... Yes sir. I will... 
                         yes sir.

               We HOLD for a beat on Ramirez's look at Jack who stands there 
               unable to keep from smiling.

                                                                    CUT TO:

               EXT. BETHESDA NAVAL HOSPITAL - DAY

               A helicopter lands in its air ambulance spot outside the 
               Emergency Room entrance of Bethesda Naval Hospital. Out step 
               Ramirez and Jack. They cross over to the hospital entrance. 
               We SEE a sign on the wall identifying this as BETHESDA NAVAL 
               HOSPITAL - EMERGENCY ROOM ENTRANCE.

               INT. BETHESDA NAVAL HOSPITAL - DOCTOR'S LOUNGE - DAY

               Jack is there with Ramirez. He hands Ramirez a white lab 
               coat and puts one on himself. Ramirez's coat has a tag he 
               doesn't even notice, which says: DR. RAMIREZ on it.

                                     RAMIREZ
                         What's this?

                                     JACK
                         Put it on.

                                     RAMIREZ
                         Why?

                                     JACK
                         Because I just told you to. You need 
                         a phone call for that, too?

               Ramirez resignedly puts the coat on.

               INT. BETHESDA NAVAL HOSPITAL - CORRIDOR - DAY

               Jack and Ramirez walk down the corridor.

                                     JACK
                         The boy was flown here from Germany. 
                         His parents are U.S. military 
                         personnel. Navy family. A bomb was 
                         planted in a grocery store that was 
                         frequented mainly by U.S. military 
                         dependents. They believe it was Carlos 
                         or one of the Cells he runs. How old 
                         is your kid?

               This last is asked almost as an afterthought.

                                     RAMIREZ
                              (quietly)
                         He's six.

                                     JACK
                         Hmmph... so is this kid.

               INT. INTENSIVE CARE - HOSPITAL - DAY

               In the hospital bed is a six-year-old swathed in bandages. 
               The child is pitiful with IVs sticking in him and tubes 
               running underneath the bandages, and a heart monitor beeping 
               weakly above him. His parents sit next to his bed. The father 
               wears the khaki uniform of a Naval Lieutenant.

               NEW ANGLE

               ON Jack and Ramirez. They watch this scene through the little 
               window in the door and then they enter the room.

               BACK TO SCENE

               The parents turn to them as they enter. The parents wear the 
               look all parents wear in their children's hospital rooms at 
               the signt of the doctor who may be able to save their child's 
               life. A look of hope. A look of desperation.

                                     FATHER
                         Hello Doctor Shaw. Is this... Is 
                         this the Specialist you told us about?

                                     JACK
                         Doctor Ramirez, Lieutenant and Mrs. 
                         Newcomb... the parents of the child 
                         who was wounded in the terrorist 
                         attack.

               Ramirez's eyes dart in panic from Jack to the Newcombs. They 
               stick out their hands. Finally, he offers his.

                                     FATHER
                         You're the one who's going to do the 
                         surgery.

                                     JACK
                         He's going to help out.

                                     FATHER
                         They told us you were the best person 
                         in the world to do this.

                                     JACK
                         He's the only one.

               Jack turns to Ramirez.

                                     JACK
                         Here's the boy's chart, Doctor. As 
                         you can see, one kidney was destroyed 
                         by the shrapnel. There's a large 
                         perforation in the left lung, the 
                         spleen, the large intestine, the 
                         stomach lining were all torn. There 
                         are over a hundred individual shrapnel 
                         fragments. It was obviously designed 
                         by Carlos to maim, not to kill.

               HOLD on Ramirez's look of helplessness which turns to anger.

               INT. HOSPITAL CORRIDOR - DAY

               Ramirez and Jack walk down the corridor. Ramirez is tearing 
               off the lab coat.

                                     RAMIREZ
                         What kind of a sadistic son of a 
                         bitch are you? You use those poor 
                         people... you use anything to get 
                         what you want.

               Jack reaches into the large pocket of his lab coat and pulls 
               out a small photo album, the kind families use to put in the 
               3�5 photos of their vacations. He puts it into Ramirez's 
               hand.

                                     JACK
                         To get what I want?

               He hands him the photo album.

                                     JACK
                         These are pictures of just some of 
                         Carlos' victims. Most of them are 
                         children. We haven't had time to get 
                         that kid's picture in yet. Up until 
                         I heard about you, all we could do 
                         about Carlos was take pictures of 
                         his victims. I wasn't lying to those 
                         people. You are the only one who can 
                         do anything about Carlos. I'm not 
                         the bad guy, Annibal. Carlos is. I'm 
                         just trying to make you see the 
                         choices.

               Ramirez is still too angry to speak.

                                     JACK
                         Who are you angry at? Me for bringing 
                         you down here or Carlos for blowing 
                         up that kid? Which of us deserves 
                         your anger?

               INT. RAMIREZ HOUSE - STUDY - NIGHT

               Ramirez sits at his desk looking at the presentation book 
               Jack gave him. The study is a reflection of the man, Navy 
               pennants, photos, ships in bottles, family photographs. He 
               is very much at home in this sanctuary.

               INTERCUT

               Photos of victims. Bloodied children, women, men, each 
               atrocity labeled with the place of the attack and number of 
               dead and wounded.

               Just then there is a knock at the door. Ramirez closes the 
               book and covers it with a newspaper as his wife Maura enters 
               wearing a very sexy teddy with a short robe over it, giving 
               off the promise of a wonderful night of conjugal bliss.

                                     MAURA
                         What are you doing?

                                     RAMIREZ
                         I was just reading some... manuals...

               She bends down and kisses his neck.

                                     MAURA
                         Read 'em on the Navy's time... this 
                         is my time...

               She sits into his lap, they kiss and the robe slips down off 
               her shoulders. He kisses her more passionately now.

               INT. CHILDREN'S ROOM - RAMIREZ HOUSE - NIGHT

               Ramirez enters. He is wearing a robe, having just gotten up 
               out of bed. It is perhaps, one in the morning. Joey is asleep, 
               holding a stuffed animal. The baby is asleep in her crib 
               looking like a little angel. Ramirez pulls the cover up on 
               the baby and pats her gently so as not to wake her and then 
               bends down and kisses his son.

               EXT. NEW LONDON, CONNECTICUT - SUBMARINE BASE - DAY

               WE SUPER THE WORDS: "NOVEMBER, 1986"

               Ramirez pulls up in a car with his wife and two children. He 
               is wearing his khaki uniform and carries a sea bag. He 
               embraces Maura.

                                     RAMIREZ
                         You'll see... it'll go by fast.

                                     MAURA
                         Not fast enough.

               Ramirez bends down to hug Joey.

                                     RAMIREZ
                         You take care of Mommy, okay?

                                     JOEY
                         But why do you have to go?

                                     RAMIREZ
                         Well they're finally giving me my 
                         chance to go into subs... that's 
                         what I've always wanted you know...

                                     JOEY
                         New color subs...

                                     RAMIREZ
                         Nuclear...

                                     JOEY
                         Is there going to be a war, Poppi?

                                     RAMIREZ
                         Not if I can help it.

                                     JOEY
                         Then why do you need to go away?

                                     RAMIREZ
                         Because sometimes countries need 
                         soldiers and sailors to be on guard 
                         so there won't be a war... So all 
                         the little children like you and 
                         baby Yolanda will be safe.

                                     JOEY
                         Why can't somebody else's Daddy go 
                         on the sub and you could stay here 
                         and go to my games?

                                     RAMIREZ
                         Because I'm the one they asked and 
                         I'm the one who knows how to do the 
                         job.

               He kisses Joey, stands up and kisses Maura and the baby she 
               holds and walks past the guard gate, showing his ID as his 
               wife and children wave.

               EXT. AERIAL SHOT - MONTREAL, CANADA - DAY

               Montreal is an island in the middle of the St. Lawrence. It 
               is a city part way up a mountain, Mount Royale. We TRACK a 
               car as it drives up out of the city, up the mountain to of 
               all places, a cemetery which sits at the foot of a deserted 
               prison that looms above it. The cemetery like the prison is 
               deserted. There can be no more desolate place than a graveyard 
               full of long-dead prisoners whose prison has long since been 
               shut down.

               WE SUPER THE FOLLOWING WORDS: TEMPORARY CIA SAFE HOUSE - 
               MONTREAL, CANADA

               EXT. ROAD LEADING TO CEMETERY - DAY

               We SEE Jack's car with him and Ramirez in it driving into 
               the cemetery. As it does, it crosses in front of a video 
               camera inconspicuously placed in a tree.

                                                                    CUT TO:

               EXT. CEMETERY TO ABANDONED PRISON - MONTREAL - DAY

               A camera mounted atop a light fixture pans with Jack's car 
               all the way up to the prison entrance. Signs on the prison 
               proclaim that it is closed and that trespassing is forbidden. 
               As Jack pulls up at the prison, a plainclothed operative 
               comes out and as Ramirez and Jack pull Ramirez's bag out of 
               the car, the operative slips into the driver's side and whisks 
               it away. The ground around the area is full of snow that has 
               not been plowed so the look of desertion is complete.

               INT. OBSERVATION ROOM - MONTREAL - DAY

               There is an observation tower in the middle of the room which 
               has become home to the pigeons who now flap noisily out of 
               it as Jack crosses with Ramirez. The place has the look of 
               an impromptu military encampment in a bombed out wreck of a 
               building. In the observation room are several nondescript 
               types. Jack shows Ramirez in.

                                     JACK
                         This is an ad hoc operation set up 
                         specifically for your mission. When 
                         that's over, not even a trace of it 
                         will remain. You don't need to know 
                         anyone's name. And from now on, your 
                         name is Miguel... Security.

                                     RAMIREZ
                         So your name really isn't Jack Shaw?

                                     JACK
                              (smiling)
                         Of course it is.

               INT. CORRIDOR - OFF OBSERVATION ROOM - DAY

               Jack walks Ramirez down the corridor. They pass the 
               Surveillance Room, the small cell with its satellite dish 
               and single computer terminal and operator established earlier 
               as Technician #1. From here, cables snake their way along 
               everywhere. The place has the look of a mobile high-tech spy 
               station that just happens to be set up in a former prison. 
               Ramirez looks around. The idea of being in a prison is 
               obviously uncomfortable for him.

                                     JACK
                         Your mother is Irish... Irish 
                         American.

                                     RAMIREZ
                         Yes.

                                     JACK
                         Something wrong, Miguel?

                                     RAMIREZ
                         ...No... not really.

                                     JACK
                         Your father was in a Cuban prison if 
                         I'm correct.

               Ramirez turns and looks at him in surprise.

                                     JACK
                         Your mother used to take you to visit 
                         him there, didn't she?

                                     RAMIREZ
                              (quietly)
                         Yes.

                                     JACK
                         I'm sure that's a disturbing memory.

               He looks Ramirez straight in the eyes.

                                     RAMIREZ
                         You didn't set this up in a prison 
                         because it was the first piece of 
                         real estate you were shown, did you, 
                         sir?

                                     JACK
                         Let's just say everything has its 
                         purpose. And Miguel... no one is to 
                         know anything about you other than 
                         that you're our student. So don't 
                         call me sir, because it's like wearing 
                         a sign on your forehead that you're 
                         military. From here on out forget 
                         the Navy.

                                     RAMIREZ
                         Yes sir... Gotcha...

               INT. COMMAND ROOM - ABANDONED PRISON - DAY

               Jack and Ramirez walk along until they come to a site which 
               could as easily be in a space station on the dark side of 
               the moon. There in the middle of a huge room looms a plastic 
               enshrouded satellite tracking system. The plastic hangs down 
               from the roof encapsulating this area to protect all of the 
               state of the art computer equipment from the dust. Inside 
               this plastic shrouded space we SEE technicians at monitors 
               which display every approach to the prison as well as monitors 
               which display the surveillance images transmitted back via 
               satellite.

                                     JACK
                         This is our surveillance and satellite 
                         tracking center. Just as we are 
                         plotting to destroy Carlos, if he 
                         knew what we're trying to do, I assure 
                         you he'd try to find a way to kill 
                         us first.

               INT. PLASTIC COVERED COMMAND CENTER - ABANDONED PRISON -DAY

               Jack pushes through the plastic shroud into a command center-
               like room. He and Ramirez enter. This place is high-tech, 
               computers and neon lighting.

                                     JACK
                         Carlos has two main safe houses. One 
                         in Libya, one in East Germany. We 
                         have satellites that pass over each 
                         one three times a day. Unfortunately, 
                         the Russians know exactly when our 
                         satellites are in position so we 
                         have to assume that Carlos knows as 
                         well.

               They cross over to the satellite tracking monitors which 
               display both the Libyan and East German safe houses. Sitting 
               in front of one of the monitors is Amos, typing controls 
               into the satellite tracking system.

                                     JACK
                         There's one person I want you to 
                         meet, though I think the two of you 
                         have already been introduced.

               Amos now turns and comes around to Ramirez.

                                     AMOS
                         Hello Miguel... My name is Amos.

               Ramirez stares at him.

                                     RAMIREZ
                         Oh yeah... I didn't recognize you 
                         without my foot chained to the floor.

                                     AMOS
                         I hope there are no hard feelings.

                                     RAMIREZ
                         There are a lot of hard feelings. 
                         And I'm still gonna sue you when 
                         this is over.

                                     JACK
                         Miguel, this is a combined Israeli-
                         American operation. Amos here knows 
                         Carlos better than anyone in the 
                         free world. He was the one who took 
                         that picture of Carlos in Libya.

                                     RAMIREZ
                         If you could get a picture of him 
                         why didn't you just kill him?

                                     AMOS
                         Don't let all this equipment fool 
                         you. Carlos still has the home court 
                         advantage. He has the best protection 
                         in the world... three layers at least 
                         at all times. Next and maybe most 
                         important... Carlos himself. The 
                         French DST came to arrest him once. 
                         He was at his apartment, drunk, 
                         playing his guitar. He actually had 
                         them convinced it was all a mistake. 
                         Then he went into his bathroom, took 
                         a shave mind you so he would look 
                         his best for the interrogation and 
                         when he came out managed to shoot 
                         each of them through the forehead. 
                         Then he got the informer who had 
                         betrayed him, put him down on his 
                         knees and killed him... Think of it. 
                         He took a shave and didn't even nick 
                         himself once.

               Amos is quiet, lets that sink in.

                                     AMOS
                         Finally, there are political 
                         realities. Whoever hits Carlos has 
                         to realize that he'll unleash against 
                         himself a fanatical wave of terrorist 
                         activity in retribution.

                                     JACK
                         That by the way, is the last question 
                         you're going to ask. From now on 
                         you'll get information when and how 
                         we want you to get it. Not before. 
                         You don't ask questions, you just do 
                         what you're told.

               EXT. CEMETERY - MONTREAL - SUNSET

               Amos, Jack and Ramirez walk amongst the tombstones. Jack and 
               Amos have warm coats. Ramirez does not. He shivers in the 
               cold, but tries not to show his discomfort.

                                     AMOS
                         This is going to be unlike any 
                         learning experience you've ever had 
                         before. For one thing, we're going 
                         to push to all your limits. Fatigue, 
                         frustration and fear. We're going to 
                         make you more terrified than you've 
                         ever been in your life just to see 
                         how you handle the fear. Any other 
                         learning experience you get things 
                         ninety- nine point nine nine nine 
                         percent right you get an "A." Here 
                         if you get things ninety-nine point 
                         nine nine nine percent right... you 
                         get...

               Jack walks right up to Ramirez and mimes a gun with his thumb 
               and index finger and puts it right up to Ramirez's temple 
               and goes...

                                     JACK
                         Dead! And I'll tell you the truth. I 
                         honestly in my heart of hearts don't 
                         care whether you live or die. Don't 
                         take that personal. I don't care 
                         whether I live or die. I do care 
                         about getting Carlos. That's all I 
                         care about.

                                     RAMIREZ
                         But nothing personal, right?

                                     AMOS
                         I'm not as cold-blooded as my American 
                         friend... it would bother me very 
                         much if you were dead... so we will 
                         teach you to stay alive... but no 
                         questions... just do. Otherwise...

               He puts the imaginary gun to Ramirez's temple.

                                     RAMIREZ
                         When do we start?

                                     JACK
                         You already have. What were the names 
                         on the last three tombstones you 
                         passed on your right?

                                     RAMIREZ
                         I... I don't know, I wasn't looking. 
                         I wasn't paying attention.

                                     JACK
                         That's what will get you killed. 
                         Carlos is always looking... always 
                         paying attention. Always.

                                     AMOS
                         Because Carlos is the master of the 
                         techniques of survival which we will 
                         teach you and because he is an 
                         efficient killer for whoever employs 
                         him, then for him there are simply 
                         no rules. Unlike you Miguel, you're 
                         a rule follower, aren't you?

               Ramirez says nothing.

                                     AMOS
                         Carlos is the opposite of that and 
                         that's what's so seductive, you know? 
                         He can kill whomever he chooses... 
                         ravish whoever he chooses... take 
                         whatever he chooses. Do... whatever 
                         he chooses. It is to be in many ways 
                         a superman, not bound by the mores 
                         or morals of humanity.

                                     JACK
                         And if you learn what we can teach 
                         you, you'll be one, too. If not, 
                         you'll be dead.

               INT. ABANDONED PRISON - CAFETERIA - THE NEXT MORNING

               It is a huge, empty room. Ramirez sits at the lone table as 
               Amos enters. Ramirez is eating a bowl of porridge. His breath 
               steams out in the cold. The room is freezing but instead of 
               a warm jacket, he wears light prison overalls.

                                     AMOS
                         Good morning. How's the porridge, 
                         you like it?

                                     RAMIREZ
                         'Morning. It's not bad.

               He finishes what's left in the bowl. Amos reaches over to a 
               side warming table. There is a huge pot of porridge there.

                                     AMOS
                         Good... finish everything in the 
                         pot.

                                     RAMIREZ
                         There's got to be like... eight 
                         helpings in there maybe...

                                     AMOS
                         No questions... Just do.

               From now on, unless otherwise indicated Ramirez is in the 
               too-tight shirt and tie and light jacket.

               Jack is in the distance, observing.

               INT. OBSERVATION ROOM - ABANDONED PRISON - DAY

               Ramirez is doing furious situps, hanging off the balcony of 
               one of the tiers, with his feet linked under one of the bars 
               so that as he does his sit-up it is over an abyss. Amos stands 
               in front of Ramirez, puffing on a cigar as he speaks, so 
               that Ramirez is gulping in breaths of cigar smoke as he 
               exercises.

                                     AMOS
                         Name and place of birth!

                                     RAMIREZ
                         Illich Ramirez. Caracas, Venezuela.

                                     AMOS
                         Your father?

                                     RAMIREZ
                         Doctor Jose Altagracia Ramirez... Do 
                         you have to smoke that cigar?

                                     AMOS
                         Yes.

               There is a silence between them. This is obviously the end 
               of that subject. Then Amos goes on.

                                     AMOS
                         Carlos' father abandoned him and his 
                         mother because he wanted to be a 
                         playboy. Your father abandoned you 
                         in effect, when he was sent to prison. 
                         Either way, it's a lonely child 
                         missing his father. I want you to 
                         take what you know of your real father 
                         and superimpose it onto this the 
                         image of Carlos' father, so when you 
                         talk of one you are talking of the 
                         other with the same emotion... the 
                         same love, the same resentment... 
                         the same sadness, the same anger.

                                                                    CUT TO:

               EXT. CEMETERY - MONTREAL - DAY

               As Jack and Ramirez walk toward the cemetery, we SEE Ramirez 
               who wears a lightweight white parka so that he shivers in 
               the cold in contrast to Jack's heavy winter gear. Ramirez 
               carries what appears to be a gun.

                                     JACK
                         You need to not only remember the 
                         names on every tombstone, but where 
                         they are so when I call out a name, 
                         you whirl and shoot.

               They walk into a scene that is completely surreal. Standing 
               behind every tombstone is one of the crew of trainers.

               Each man wears a white parka and white pants against the 
               freezing cold. In the center of their impromptu circle stands 
               Ramirez, also wearing white, but of much lighter material so 
               that he shivers in the cold. All of them including Ramirez 
               hold paint pellet guns. It is a cemetery full of living 
               targets which can shoot back. Jack stands outside the circle.

                                     RAMIREZ
                         It's kind of cold. You think I might 
                         be able to borrow a warmer jacket 
                         from someone?

                                     JACK
                         Brisson! We don't want you to be 
                         comfortable. That's just what will 
                         get you killed.

               Ramirez hesitates a moment, trying to remember where the 
               tombstone with the name "Brisson" is. The trainer who stands 
               behind the "Brisson" tombstone has no such hesitation. He 
               fires at Ramirez and an ugly black splotch of paint explodes 
               on Ramirez's white suit. Ramirez shakes his head in 
               frustration.

                                     JACK
                         DuPres! Paquet!

               Ramirez whirls, misses one, is hit again with another black 
               splotch but hits the Paquet tombstone square in the chest 
               with a black splotch of his own.

               INT. KITCHEN SET - PRISON - DAY

               In the middle of a huge room, a movie set has been erected. 
               There are flats supported by sand bags which form the "set" 
               of a kitchen. The set is perfect in every way but its position 
               inside of a huge prison hall lends a quality of the macabre, 
               since no movie is being shot here and no audience will ever 
               see these performances. Jack is there with Ramirez. He opens 
               the refrigerator and Ramirez looks inside as Jack times him 
               on his watch, then closes the refrigerator. Ramirez sneezes. 
               He has caught a cold but must ignore it.

                                     RAMIREZ
                         Top shelf... some milk, some juice, 
                         maybe some cottage cheese, a couple 
                         bottles of beer, some tomatoes... I 
                         don't know...

                                     JACK
                         What kind of milk, how many cartons, 
                         open or closed, what kind of juice, 
                         how full was the bottle, was it 
                         cottage cheese or cream cheese, how 
                         many bottles of beer, how many 
                         tomatoes? This is life and death!

               Jack opens the cupboard.

                                     JACK
                         Look here... Ten seconds, how many 
                         cups, saucers, plates, look this 
                         time!

               INT. CAFETERIA - ABANDONED PRISON - MONTREAL - DAY

               Ramirez sits practicing his Venezuelan accent in English, 
               repeating phrases he hears from a native speaker on a tape 
               recorder as he eats another of the interminable bowls of 
               porridge.

               EXT. CEMETERY - MONTREAL - DAY

               Ramirez once again stands in the center in his lightweight 
               white parka surrounded by trainers in heavy white parkas. 
               Jack is nearby.

                                     JACK
                         Here's the thing about Carlos. He 
                         doesn't fit any mold. His father is 
                         an extraordinarily wealthy playboy 
                         who's a Marxist at the same time... 
                         DuFraisne!

               Ramirez whirls and misses and is hit by the trainer. Jack 
               shakes his head and continues.

                                     JACK
                         The guy's such a fanatic he names 
                         his three sons after Lenin. And I 
                         don't mean John. The same thing is 
                         true for Carlos. He's a guerilla 
                         fighter who loves champagne and 
                         caviar... LaPierre!

               Ramirez whirls and hits the trainer in his shoulder at the 
               same time that he himself is hit. Jack's look betrays no 
               emotion.

                                     JACK
                         He doesn't want to be Che Guevara, 
                         he wants to be the James Bond of the 
                         People's Liberation Front. It's not 
                         so much radical chic as an excuse 
                         for sadism. Paquet!

               As he says this last, Ramirez whirls and shoots another 
               trainer, dead in the chest. Ramirez smiles. He is beginning 
               to enjoy playing terrorist.

               EXT. DIRT ROAD - DAY

               We are speeding down the road in a suped-up open Jeep POV 
               Ramirez, who is driving. Suddenly, we SEE Jack and Amos up 
               ahead. Amos pulls a lever and a barrier snaps up at chest 
               level across the road. We jam on the brakes and

                                                                    CUT TO:

               INT. JEEP - DAY

               Ramirez is at the wheel. Suddenly he sees the barrier plate 
               a hundred yards in front. He hits the brakes and the emergency 
               brake at the same time.

               NEW ANGLE

               The tires scream and leave black tracks, as the Jeep slides 
               sideways towards the barrier. Just before reaching it, the 
               car completes a 180-degree turn and roars back, but at the 
               last second fishtails and swerves off the road.

               ANGLE ON - RAMIREZ

               He is obviously frustrated.

               ANGLE ON - JACK

               He shakes his head in disgust.

                                     JACK
                         Dead again.

               EXT. BELVEDERE - DAY

               Ramirez and Jack walk together on the belvedere which is an 
               observation area with a railing around it, overlooking the 
               abandoned prison. In between the belvedere and the prison is 
               a field which is almost completely barren except for one 
               tree. It sits down below.

               In the distance, we SEE a snow mobile approach with its lights 
               on. Just then, Jack takes a pocket sized remote transmitter 
               and slips it into the front pocket of Ramirez's jacket, 
               turning it on as he does.

                                     RAMIREZ
                         What's that?

                                     JACK
                         It's a transmitter.

                                     RAMIREZ
                         For what?

                                     JACK
                         Target practice. You're the target.

               Jack quickly moves away from Ramirez. As Ramirez moves, he 
               notices that the snow mobile changes direction as well, and 
               continues to home in on him. And then there is a second snow 
               mobile. And then a third, all of them coming straight for 
               him. He starts to run. The snow mobiles turn and continue 
               bearing down on him, driving him closer toward the railing. 
               We SEE the snow mobiles are controlled by radio antennas, 
               evidently homing in on his transmitter.

               Jack, who has moved quite a ways off, pulls out a Beretta 
               and sets it on the rail. We SEE on the snow mobiles, a lit-
               up remote device.

                                     JACK
                         If you shoot out the receivers, 
                         they'll stop. There are ten rounds 
                         in this clip. The first two are live, 
                         the next three dummy, then three 
                         live, two dummy.

               Ramirez stands like a deer in the headlights for an instant 
               and then goes running for the gun. He cannot make it to the 
               gun before the first snow mobile barrels down upon him. He 
               is right against the rail now and goes diving into the snow. 
               The snow mobile goes directly over him and crashes through 
               the rail, falling down to the field below. Ramirez is up and 
               running, grabs the gun, fires two rounds and misses, then 
               hits three dummy rounds which click away as the second snow 
               mobile draws closer. Then he fires and hits a headlight, 
               then fires and misses, then fires and hits the remote device. 
               That snow mobile stops in its tracks. The third now barrels 
               down on Ramirez. He clicks off two dummy rounds and just 
               before the snow mobile hits him, a shot rings out. The 
               receiver shatters and we SEE Jack standing with the smoking 
               gun with which he has just saved Ramirez's life.

                                     JACK
                         Three times dead.

               INT. CAFETERIA - ABANDONED PRISON - DAY

               It is after lunch and Jack and Amos are eating ice cream 
               sundaes while Ramirez sits eating the last bit of porridge 
               from the huge bowl.

                                     AMOS
                         You finish all your porridge?

                                     RAMIREZ
                              (deadly)
                         Yeah... yeah... I finished all my 
                         porridge.

                                     AMOS
                         Good now you can have some more.

               He motions for the waiter who crosses with a fresh pot and 
               starts to ladle it out into Ramirez's bowl. Ramirez reaches 
               up and tears at his tie and rips open the top button. Ramirez 
               explodes batting the waiter's hand away and sending the bowl 
               flying.

                                     RAMIREZ
                         Enough of this porridge shit man, hi 
                         jo deputa! Fuck it man... I ain't 
                         eatin' no more of this shit! And I 
                         ain't wearin' this fuckin' shirt 
                         anymore either!

               With that he rips off the tie and rips open the shirt.

                                     AMOS
                         Why Miguel amigo, whatever is the 
                         matter?

                                     RAMIREZ
                         I'll tell you what the matter is 
                         man... I been here twelve mother 
                         fuckin' weeks an' all I've had to 
                         eat the whole time is this shit! And 
                         those dumb ass basketball games... 
                         what's that?! You damn near kill me 
                         with those fucking snowmobiles... I 
                         haven't seen my family in three months 
                         and I still don't know what any plan 
                         is or what I'm supposed to be doing!

                                     AMOS
                         Congratulations! You're acting like 
                         a child... like a spoiled brat...

                                     JACK
                         And not a Navy Lieutenant Commander, 
                         which is exactly what would get you 
                         killed.

                                     AMOS
                         Finally you're acting like a willful 
                         spoiled child which is just what 
                         Carlos was.

                                     JACK
                         We couldn't just let you study Carlos. 
                         If this thing is going to work, you 
                         have to become him.

               Ramirez looks at him in disgust.

                                     RAMIREZ
                         The two most elite intelligence 
                         services in the world and the best 
                         you can come up with is this porridge 
                         bullshit?!

                                     AMOS
                         As a child Carlos was fed that 
                         porridge that you love so much every 
                         day. He hated it. Every woman or man 
                         he's ever been close to he told about 
                         that porridge... how the very smell 
                         of it made him sick. And now it makes 
                         you sick.

                                     JACK
                         When he was in school he was a scrawny 
                         little kid. The last one to get picked 
                         for any teams. He felt as clumsy as 
                         we've made you feel...

                                     AMOS
                         His father smoked cigars... the same 
                         ones whose smell you complained about. 
                         The only cover that can save your 
                         life... is the one you believe 
                         yourself. Now... are you ready to 
                         pass the next test?

               Ramirez just looks at them, in a kind of shock.

                                     AMOS
                         I'll take that for a yes. You're 
                         about to go into your house. Your 
                         wife has told you she was away with 
                         the children for a week. She is 
                         entering the house for the first 
                         time in a week with you. The children 
                         are still at Grandma's so the two of 
                         you have a nice romantic time ahead 
                         of you. Walk through the house... 
                         through the living room and the 
                         kitchen only. You have thirty seconds. 
                         Walk casually through the house so 
                         as not to make her suspicious of 
                         anything you do and find out if she's 
                         telling you the truth or not. If you 
                         pass this test your questions will 
                         be answered. If not... you'll be 
                         sent home to Virginia and this will 
                         be the end of it.

               INT. ABANDONED PRISON - LIVING ROOM SET - MONTREAL - DAY

               Ramirez walks casually through the living room with camera 
               following. Amos and Jack walk behind him. Ramirez bends down 
               to tie his shoe near the sofa. He crosses into the kitchen 
               and camera follows. He opens the refrigerator and takes out 
               a carton of milk. He takes a drink from the carton and 
               dribbles some onto his shirt and onto the floor. He gets an 
               "I'm such a slob" look on his face. Then he replaces the 
               milk, crosses to the sink, takes the sponge off the sink and 
               a paper towel. He mops up the spill with the sponge first 
               and then with the paper towel, then tosses the paper towel 
               into the trash. As he speaks, Ramirez himself will be amazed 
               at how much he is able to deduce using the techniques he's 
               been taught.

                                     JACK
                              (looking at watch)
                         Time's up.

                                     AMOS
                         Nu? Is she telling the truth or lying?

                                     RAMIREZ
                         She's got to be lying, otherwise 
                         this would be a very short test and 
                         I don't think that's what you had in 
                         mind. She had a man over.

                                     JACK
                         How do you know?

                                     RAMIREZ
                         She hasn't been here in a week? Then 
                         why was the sponge still damp. It 
                         means she washed dishes. Take a look 
                         at the dish rack. There's water in 
                         the tray underneath it. Probably 
                         from a couple of plates. There's a 
                         bit of water in the silverware tray. 
                         The milk is still fresh... not even 
                         a hint of being sour and the date on 
                         it is a week from today... means she 
                         just bought it yesterday or the day 
                         before. The margarine's fresh-bought 
                         but it's already been opened. Same 
                         with the bread.

                                     AMOS
                         How do you know it was a man?

                                     RAMIREZ
                              (ignoring him a beat)
                         She might have met him at a bar 
                         because there's a book of matches in 
                         the garbage. She was probably careful 
                         to throw the cigarette away but 
                         there's still a bit of ash and that 
                         cigarette smell at the bottom of the 
                         liner.

                                     JACK
                         What else?

                                     RAMIREZ
                         I think they made love on the sofa 
                         because one of the cushions has been 
                         turned over and there's the 
                         indentation of a tennis shoe print 
                         in the rug over there.

               He looks down at Jack's shoes.

                                     RAMIREZ
                         Sorta like the ones you're wearing, 
                         Jack. Besides, I know it was a man 
                         because I smelled after-shave on the 
                         couch.

               He gets a quizzical look, crosses to the couch, sniffs.

                                     RAMIREZ
                         ...Cheap kind.

               He crosses to Jack and sniffs Jack as well.

                                     RAMIREZ
                         Jack... you've been fucking my wife.

               He holds index finger and thumb up to Jack's head like a 
               gun, reprising his mentor's gesture to him and making the 
               sound of a gunshot with his mouth.

                                     RAMIREZ
                         Now who's dead?

                                                                    CUT TO:

               EXT. CEMETERY - DAY

               We have four quick cuts. Bam! Bam! Bam! Bam! In each one, 
               Ramirez who stands in the center of the trainers, whirls 
               like a ballet dancer and beats each trainer to the punch, 
               hitting dead center on each one with his paint pellet gun. 
               From the side, Amos and Jack nod to each other approvingly.

               EXT. CEMETERY - DAY

               A triumphant Ramirez walks with Amos and Jack.

                                     JACK
                         The plan is to get the KGB to 
                         eliminate Carlos for us. Carlos knows 
                         every link between the KGB and every 
                         terrorist organization in the world. 
                         He's not only the smoking gun, he 
                         knows every contact there ever was. 
                         We make the KGB think that Carlos is 
                         ready to turn... ready to go over to 
                         the CIA, and they'll take him out.

                                     RAMIREZ
                         Why would they think Carlos would go 
                         over to the CIA?

                                     AMOS
                         Money... fifty million... not for 
                         the forces of world revolution this 
                         time, but for him, in his pocket 
                         with a new identity and CIA 
                         protection. They'll believe it... if 
                         we lay it out right... they'll believe 
                         it.

                                     RAMIREZ
                         When do we move?

                                     AMOS
                         Not so fast. You're far from ready. 
                         I would think another three months 
                         of training and then...

                                     RAMIREZ
                         Bullshit! I'm ready now. Give me any 
                         test you want. Christ, I already 
                         passed your tests... what more do 
                         you want?

               EXT. ABANDONED PRISON - SUNSET

               The sun is just setting. There is the silhouette of the prison 
               in the snow. A kind of dark serenity permeates the scene.

               INT. CAFETERIA - ABANDONED PRISON - SUNSET

               Ramirez sits at the table in the huge, dark and empty room. 
               The table is set with champagne and caviar. He has his Arabic 
               book and tape and earphones.

                                     RAMIREZ
                              (studying to himself 
                              in Arabic)
                         Shoo Ismak? Isme... Carlos. Isme 
                         Carlos.

               INT. NEW MONITORING ROOM - ABANDONED PRISON - EVENING

               We are in a new setting. It is a kind of dungeon, perhaps 
               once a solitary confinement cell. It is crowded here now 
               with Jack, Amos, and Technician #1 who sit in front of a new 
               bank of monitors. On one we SEE Ramirez eating in the 
               cafeteria.

                                     AMOS
                         It should be hitting him now...

               ANGLE ON MONITOR

               We PUSH IN on Ramirez on the monitor.

               INT. CAFETERIA - ABANDONED PRISON - EVENING

               Ramirez sits as before. He is eating his caviar as he looks 
               at his Arabic textbook.

               ANGLE ON - THE TEXTBOOK

               It shows a picture of a street in an Arab country, possibly 
               Libya. It is a typical street scene; a dispassionately sterile 
               photograph in which one can almost hear the BBC announcer 
               voice in your head saying, "And here is a typical scene in 
               lovely Tripoli..." There is a man in a business suit walking 
               on the sidewalk in this picture. We CUT back and forth between 
               Ramirez and then as Ramirez strains to look harder, 
               unbelievingly, we PUSH IN tighter on the picture from his 
               POV and to our amazement, the man in the picture looking 
               back up at us is Ramirez! Then suddenly the man in the picture 
               moves and his finger comes up to his lips and he looks at us 
               and says, "SHHHHH." Just then, a street vendor in the same 
               scene pulls out a gun and shoots Ramirez in the picture in 
               the head. Ramirez falls and the picture goes back to a still 
               shot of Ramirez lying face down in the black and white photo, 
               oozing black blood onto the white sidewalk of beautiful 
               downtown Tripoli.

               He looks out the window at the bluish sky as we shift focus 
               between him and his background. He looks down at the bowl of 
               porridge.

               ANGLE ON - THE CAVIAR

               It is crawling with ants.

               BACK TO SCENE

               Ramirez picks up the bowl and throws it across the room.

                                     RAMIREZ
                         Jack! Jack!!!! Amos!! You 
                         motherfuckers!

               He gets up, looks at the TV camera and walks down the corridor 
               to the observation room.

               INT. CORRIDOR - ABANDONED PRISON - MONTREAL - EVENING

               Ramirez walks down the corridor past the surveillance room. 
               The satellite dish is still there but there are no technicians 
               to be seen. He follows the cable that snakes down the corridor 
               towards the command room.

               INT. COMMAND ROOM - MORNING

               Ramirez walks along the cable until he comes to the plastic-
               enshrouded satellite tracking system. He pulls one of the 
               plastic panels to discover that the place is totally empty. 
               He bends down and picks up the cable as if it were a lifeline 
               on a strip at stormy sea. He follows it hand over hand to 
               where all the equipment was -- it's gone. He looks around 
               and through the plastic, starts to see the silhouettes of 
               people moving and talking. Abruptly, he pulls the panel aside -- 
               just some pigeons against the moonlight shafts.

               INT. OBSERVATION ROOM - EVENING

               Ramirez enters the Observation Room with its looming 
               observation tower that now has become home to the hundreds 
               of pigeons inside it. The place is completely deserted.

                                     RAMIREZ
                         Jack!!

               At the sound of his shout, hundreds of pigeons explode out 
               of the observation tower like bats in a primal cave. Ramirez 
               instinctively crouches in terror.

                                     RAMIREZ
                         Amos you piece of shit! Wen anta? 
                         Coos echtak ya sharmuta!

               ANGLE ON

               POV Ramirez. It is blurry and then there are brilliant flashes 
               that cut across our eyes, slicing across our vision, blinding 
               us.

               BACK TO SCENE

               Ramirez knows they have doped him.

                                     RAMIREZ
                         So she tried the first bowl of caviar 
                         and said, that's too hot, and she 
                         tried the second bowl and said, that's 
                         too cold and so she tried the third 
                         little itsy bitsy bowl of caviar 
                         that belonged to little Miguel and 
                         that turned into maggots and that 
                         was just right...

               INT. CORRIDOR - ABANDONED PRISON - NIGHT

               Ramirez runs down the corridor. There are cells on either 
               side of him now. They are empty. He is trying to hold onto 
               his sanity.

               NEW ANGLE - POV RAMIREZ

               The cells are now full and each of the cells contains... 
               him! He is trying to get out of all of them.

               ANGLE ON - CELL #1

               Ramirez is in Carlos' black jeans and T-shirt.

               ANGLE ON - CELL #2

               Ramirez is in his dress white Navy uniform.

               ANGLE ON - CELL #3

               Ramirez is dressed as a doctor, operating on a patient with 
               Jack assisting him. Ramirez pulls a brain out of the patient's 
               head.

                                     RAMIREZ
                         Here's the problem, Doctor. He needs 
                         a new brain.

               He tosses the brain to Jack who catches it.

                                     JACK
                         Brilliant, Doctor!

               Jack eats the brain.

                                     JACK
                         And tasty, too!

               ANGLE ON - RAMIREZ

               as he walks down the corridor.

               INT. CORRIDOR - DAY ANGLE ON - RAMIREZ'S HAND

               It morphs from his own hand to that of a child and the child's 
               hand gives birth to a woman's hand who morph's up alongside 
               of him. It is Ramirez's mother.

               NEW ANGLE

               Child Ramirez and his Mother walk down the corridor behind 
               two Cuban prison guards. The cells are full of Cuban political 
               prisoners. There are shouts and screams of agony from men 
               being tortured somewhere far off. They reach Ramirez's 
               father's cell. Child Ramirez reaches out for his father's 
               hand. A guard pushes his hand away. RAMIREZ'S FATHER speaks 
               in Spanish.

                                     RAMIREZ'S FATHER
                         Vaya mi hijo. Vaya rapido!

               INT. CORRIDOR - ABANDONED PRISON - NIGHT ANGLE ON - PIGEONS

               They come flapping their wings, dive bombing at us.

               NEW ANGLE - RAMIREZ

               He walks in his black jeans and T-shirt. The cells are empty 
               around him but up ahead he hears the sounds of someone making 
               love. Well, not making love... fucking. He approaches the 
               sounds and there in one cell is is wife Maura under Carlos, 
               humping away at her. Carlos looks up at Ramirez.

               ANGLE ON CARLOS

               in cell humping Maura.

                                     CARLOS
                              (looking at Ramirez)
                         I think she likes me better... don't 
                         you baby. She likes it rough... you 
                         never knew that? Yala... ruh mi hun.

               He motions for Ramirez to leave.

               ANGLE ON - RAMIREZ

               He is about to rush the cell when more pigeons come flapping 
               down at him. He turns and...

               INT. CORRIDOR - ABANDONED PRISON - NIGHT - SFX NEW ANGLE

               The pigeon becomes a dove gliding in a shaft of moonlight. 
               Then it leaves the moonlight and it turns into a crow.

               NEW ANGLE

               The crow turns back into a dove and then suddenly the dove 
               begins to choke, to vomit. It opens its beak and out of its 
               mouth emerges the wet, slimy head of a full grown ravenous 
               crow. It is coming straight out of the dove's mouth and 
               straight at us, to devour us. We HEAR RAMIREZ SCREAM OVER 
               THIS.

               INT. ABANDONED PRISON - CORRIDOR ENTRANCE - MORNING

               Jack and Amos walk down the corridor. They both look as if 
               they have been up all night, which indeed they have. Both 
               are in need of a shower and shave.

                                     AMOS
                         I hope we didn't go too far with 
                         this.

                                     JACK
                         I'd rather have him wind up in a 
                         mental institution fucked up on LSD 
                         than shot in some back alley in Libya. 
                         If he can't handle this, he sure as 
                         shit can't handle going operational.

               They round the corner. There, looking up at them, sitting in 
               a chair, showered, shaved, looking fresh and ready to greet 
               the day is Ramirez. He is reading his Arabic book. He looks 
               up at them.

                                     RAMIREZ
                         Okay... what's next?

               INT. KGB HEADQUARTERS - CORRIDOR - MOSCOW - NIGHT

               We begin on a shot of a huge statue of Lenin which dominates 
               this corridor. As camera swings around we SEE a HEAD KGB 
               OFFICER with his KGB AIDE. OVER this shot we SUPER:

               KGB CENTRAL COMMAND - MOSCOW

               The head KGB officer holds a report. He reads aloud in Russian 
               and we SUPER ENGLISH SUBTITLES. From now on, all dialogue in 
               Russian will be indicated by putting the dialogue in 
               parentheses. The KGB Officer is very smug about the report.

                                     HEAD KGB OFFICER
                              (glancing up from 
                              report)
                         [We're just gotten information from 
                         our resident in Zurich that the CIA 
                         head of station there has deposited 
                         letters of credit in the amount of 
                         fifty million dollars into the account 
                         of a Mister Paulo Ortega... It would 
                         appear the Americans are dangling a 
                         very impressive bait for what I can 
                         only assume is a very juicy fish. I 
                         want to know who this Paulo Ortega 
                         is and what he's going to give the 
                         CIA that is worth so very much money. 
                         And then we'll see what we can do 
                         about that.]

               He smiles with a great deal of self-satisfaction.

               EXT. COUNTRY ROAD - MAGIC HOUR - AERIAL SHOT

               Ramirez races down the road in the Jeep. The road twists and 
               turns as a light snow begins to fall.

               INT. JEEP - NIGHT

               Ramirez drives and we SEE that he has an earpiece which goes 
               to a Walkman tape recorder. We HEAR the instructions being 
               fed to him on the tape in Jack's voice:

                                     JACK (THRU TAPE)
                         You're going to hit a hairpin turn 
                         exactly three tenths of a mile from 
                         the stop sign which should be coming 
                         into view at any minute.

               NEW ANGLE - ON THE STOP SIGN UP AHEAD BACK TO SCENE

               Ramirez starts to slow down.

                                     JACK
                         Don't stop for the stop sign, don't 
                         even slow down for it. You've got to 
                         hit the hairpin exactly fifteen 
                         seconds after you pass the stop sign.

               We see that Ramirez is going 60 miles an hour down the 
               straightaway. The road is open and straight ahead. Ramirez 
               drives on with total focus. The intensity is obvious. Up 
               ahead is a hairpin turn.

                                     JACK
                         The hairpin should be right in front 
                         of you. Keep your focus. You can't 
                         let down even after you negotiate 
                         the turn. You never know what's going 
                         to be around the next corner... or 
                         whose life might depend on your 
                         reactions.

               NEW ANGLE

               ON the Jeep as it negotiates the turn.

               INT. JEEP - NIGHT

               We have a shot of the road, POV Ramirez through the 
               windshield. Suddenly as we negotiate the hairpin turn, there 
               up ahead of us sits Jacks in the middle of the road TIED TO 
               A CHAIR, looking straight at us.

               ZOOM TO JACK

               sitting straight, tied into the chair so that he could not 
               run if he wanted to. He doesn't move, just stares forward, 
               as if trying to lock eyes with Ramirez.

                                     RAMIREZ (O.S.)
                              (as his hand starts 
                              for brake)
                         You asshole!

               HIGH ANGLE

               The Jeep turns slightly to the right, then sharply to the 
               left. And as its back wheels lock, it slides and completes 
               the 180-degree turn. Just short of Jack.

               CLOSE - JACK

               His face is white, his stare frozen. He has seen death before. 
               Never that close.

               BACK TO SCENE

               Ramirez jumps out of the Jeep, coming straight at Jack.

                                     RAMIREZ
                         You crazy-assed mother fucker! I 
                         could have killed you!

                                     JACK
                         You can't let down! This isn't a 
                         game... it is life and death. You 
                         have to be ready for anything, all 
                         the time.

                                     RAMIREZ
                         Fuck you!

               Just then we HEAR the roar of the snowmobiles coming out of 
               nowhere, bearing down towards them.

                                     JACK
                              (calmly)
                         The clip in your gun has three live, 
                         two dummy, one live, three dummy, 
                         one live.

               Ramirez looks at him, pushed to the breaking point now. He 
               pulls the transmitter out of his pocket and crosses right to 
               Jack and stuffs it in Jack's pocket.

                                     RAMIREZ
                         No rules, Jack? Then you fucking 
                         deal with it.

               Ramirez waits for Jack to say something... to protest... to 
               say anything. Jack says nothing. Ramirez turns in a fury and 
               starts walking away as the snowmobiles bear down from four 
               different directions, coming straight towards Jack. Jack 
               says absolutely nothing. Ramirez turns and sees Jack is making 
               absolutely no attempt to toss the transmitter. Jack simply 
               locks eyes with Ramirez. Jack is not going to budge. Ramirez 
               turns his back and is about to continue walking away but the 
               noise of the snowmobiles bearing on the unrelenting Jack 
               grows louder. Ramirez can take it no more. He turns, pulls 
               out the gun and must run right to where Jack is in order to 
               get shots off at each snowmobile. He fires through the dummy 
               rounds until he takes out all four snowmobiles, the last of 
               which comes to rest only a few feet away from them both. 
               Ramirez is exhausted. When Jack speaks it is quietly and 
               with contempt.

                                     JACK
                         You pussy. You rule-following pussy.

               Ramirez turns, looking at Jack, unable to believe his ears.

                                     JACK
                         You know why you don't fuck around 
                         on your wife? Not because you don't 
                         want to. You're a man. You want to 
                         fuck everything. But you don't... 
                         because you're afraid it would cost 
                         you what... your wife, your family, 
                         your self respect maybe...

               As we watch Ramirez listening to Jack, we can see him going 
               over the edge.

                                     JACK
                         ...You know what Carlos would do if 
                         he was married? He'd bring whatever 
                         woman he wanted home and make his 
                         wife fuck her. That's what no rules 
                         means. That's what you're too much 
                         of a pussy to get.

               Ramirez walks straight over to Jack, pulls his hair back so 
               that Jack is staring up at him and then he puts the barrel 
               of his gun at Jack's temple. Ramirez is not bluffing now. He 
               has gone completely into the dark side for the first time.

                                     RAMIREZ
                         No rules, Jack? Okay... We're in a 
                         fucking foreign country on a secret 
                         mission... I can't be here, I'm on a 
                         submarine. The U.S. Navy's my alibi. 
                         What's the count on my ammunition, 
                         Jack? Is this one live or a dud?

               He stares down at Jack and we can see that Jack does not 
               remember the count, as Ramirez pulls the trigger. CLICK!

                                     RAMIREZ
                         What about the next one, Jack? Live 
                         or dud... who cares... no rules, 
                         right?

               He pulls the trigger. CLICK!

                                     JACK
                              (perversely proud)
                         Yes, my good son...

                                     RAMIREZ
                         Think you can be lucky three times 
                         in a row?

               He pulls the trigger. CLICK!

                                     RAMIREZ
                         How about four?

               He is about to pull the trigger once again when we HEAR:

                                     AMOS (O.S.)
                         Annibal! It's over!

               Ramirez turns to see him, as Amos walks down the embankment 
               towards him.

                                     JACK
                         Stay out of it.

                                     AMOS
                         It's over, Jack. He's it.

               Ramirez stays with the gun pointed at Jack. It is obvious he 
               is in a killing mood, perfectly ready and willing to squeeze 
               the trigger once again. Amos takes the gun from Ramirez, 
               points it up and pulls the trigger... KABOOM!

               EXT. ROAD BY DEAD SEA - AERIAL SHOT - DAY

               WE SUPER THE FOLLOWING: ISRAEL - APRIL, 1987

               We have an aerial shot over a date plantation which sits 
               incongruously in the middle of the desert beside the Dead 
               Sea, as we MOVE TO REVEAL a car driving along this barren 
               road. The CAMERA pivots around the car as we See the landscape 
               scroll behind it; the tortured rock formations, the mountains 
               reflected in the water, a desert-scape that looks like 
               something out of Dante, as Peugeot cuts its way along the 
               road.

               INT. PEUGEOT - DEAD SEA - ISRAEL

               Jack is in the car with Amos, who drives, and Ramirez. Ramirez 
               has a bandage across his nose. He has black eyes from plastic 
               surgery. Jack hands Ramirez a small bundle which he opens. 
               Inside is a black T-shirt and black jeans.

                                     RAMIREZ
                         What's this?

                                     JACK
                         What you'll wear from now on. Black 
                         T-shirt and jeans... it's the only 
                         thing Carlos ever wears whenever 
                         he's not out being a terrorist. It's 
                         the opposite of what he was forced 
                         to wear as a child... you know... 
                         the school uniforms, the white tight 
                         collared shirts... It's become like 
                         a fetish for him.

                                     AMOS
                         And to match your new wardrobe, in 
                         another two days your bandages will 
                         come off and you'll get to show your 
                         beautiful new nose to Carla.

                                     RAMIREZ
                         Who's Carla?

                                     JACK
                         She's a Venezuelan. She was Carlos' 
                         main squeeze about fifteen years 
                         ago. She'll put the finishing touches 
                         on the act.

                                     RAMIREZ
                         Why's one of Carlos' girlfriends 
                         helping us?

                                     AMOS
                         Carlos used her... like he uses a 
                         lot of women. She emigrated to Israel. 
                         Now she wants to get even.

                                     RAMIREZ
                         What do you mean used her. How?

                                     JACK
                         He put her on an airplane with a 
                         bomb in her suitcase. She would have 
                         gone up with everything else. What's 
                         that song say? There are fifty ways 
                         to leave your lover? Make that fifty-
                         one.

                                     AMOS
                         She's about thirty-seven... still 
                         attractive.

                                     JACK
                         So it's not gonna be a hardship.

                                     RAMIREZ
                         What's not gonna be a hardship?

                                     JACK
                         Making love to her.

               Ramirez looks at Jack in shock.

                                     JACK
                         Annibal... the way in is a woman... 
                         her name is Agnieska. It's part of 
                         the trap. The KGB will be watching 
                         her... we'll make sure of that... 
                         She's a more recent girlfriend of 
                         Carlos... But they've got to be 
                         convinced and so does she. Carlos, 
                         you, are going to ask her to do 
                         something. She has to believe you're 
                         him or she won't risk it.

               Ramirez just looks at him, as if cheating on his wife was 
               obviously not part of the bargain.

                                     JACK
                         What the fuck are you lookin' at? 
                         You're gonna help murder this guy, 
                         you draw the moral line at 
                         extramarital sex?

               Ramirez is quiet.

                                     JACK
                         Don't think of it as cheating. Think 
                         of it as fucking for the flag.

                                     AMOS
                         "When in doubt, close your eyes and 
                         think of England."

               EXT. SAFE HOUSE - DEAD SEA - SUNSET

               At first we should not realize we are near a building of any 
               kind. We open on a WIDE ANGLE on the Dead Sea from a stunning 
               POV. CRANE DOWN to reveal the silhouette of Ramirez smoking 
               a cigarette. We now SEE that his nose is exactly that of 
               Carlos. He has just a bit of dark circles left under his 
               eyes, just enough to make him seem moody. He tosses the 
               cigarette and turns to enter a room. Now we see that this is 
               a deserted barracks pock-marked with artillery shells and 
               machine gun bullet holes from past wars.

               EXT. BALCONY - SAFE HOUSE - DEAD SEA - SUNSET

               Ramirez turns to enter the barracks with a wide-angle of the 
               landscape overlooking the Dead Sea. He now wears a black T-
               shirt and black jeans. The Peugeot is parked near the barracks 
               that sits on the edge of the cliff in b.g.

               INT. SAFE HOUSE - DEAD SEA - SUNSET

               start TIGHT on a shot of an ashtray. It is overflowing with 
               cigarettes. A woman's hand picks up the butt that is in the 
               ashtray and with the last of its ember she lights another 
               cigarette off it. She is CARLA, mid-thirties, hard edged 
               which mars the beauty she still has. She is intense, neurotic 
               and bitter.

               She and Ramirez are alone in the living room. She sits in a 
               corner. We become aware of the room. It is a study in 
               contrasts. Light shoots in through shell holes and cracks in 
               ruined walls. And yet, the interior is somehow soft, sensuous, 
               with thick carpet, muslin drapes and a large bed that 
               resembles at one and the same time, a boxing ring and an 
               altar. She pays no attention to Ramirez. She doesn't even 
               acknowledge that he's entered the room. She is in a kind of 
               reverie.

                                     CARLA
                         The thing about Carlos is... he 
                         doesn't lose himself with a woman... 
                         not with a lover... maybe with a 
                         whore I don't know... I wasn't his 
                         whore. Lovers are different to him... 
                         he might have a use for them... so 
                         he has to seduce them properly. He 
                         has to make sure they're so crazy 
                         about him they'll do anything for 
                         him.

                                     RAMIREZ
                         When did you...?

               She holds up a hand without looking at him, commanding his 
               silence.

                                     CARLA
                         Shhh! You're not here.

               She rocks herself back and forth, comforting herself and now 
               for the first time we see the bottle of Irish whiskey she 
               holds at her side. She raises it, takes a long gulp, some of 
               the fluid dripping down the corner or her mouth. She doesn't 
               bother to wipe it away. It is there next to tearstains on 
               her cheeks.

               Slowly, her rocking back and forth, her primal comforting, 
               the act of an abused and abandoned child will turn into 
               strokes, caresses of a secret style from a phantom lover who 
               will get her in the mood for what she must do. She must get 
               herself wet. She must get herself ready. She must recapture 
               what it is to be seduced by Carlos. Her hand is her lover 
               now.

                                     CARLA
                         You don't exist until I'm ready to 
                         let you exist, and then... you do 
                         exactly what I say.

               She leans her head back and conjures Carlos up in her mind.

                                     CARLA
                         It's not pleasure for him... it's... 
                         it's... it's... this sick kind of 
                         conquest... you know this seduction... 
                         he's got to make you not just a lover 
                         but a disciple... a worshipper... He 
                         brainwashes you with his body... 
                         so... so... you'll do anything... 
                         you see because he's the perfect 
                         lover... he does it all to... not to 
                         please you... but to excite you... 
                         to... to make it dangerous for you 
                         and then, that's very sexy too, to a 
                         woman... that danger... like he could 
                         kill you in a second... but instead 
                         he makes you come... So he's almost 
                         killed you, you see? And you have 
                         this orgasm right then and it's like 
                         he's killed you and there isn't 
                         anything left of you and he makes 
                         you be born again the way he wants 
                         you to be. So there isn't a thought 
                         in your brain that he hasn't put 
                         there. Not a feeling in your body 
                         that he hasn't put there.

               She masturbates herself stopping just short of climax. Then 
               she looks up at Ramirez, acknowledges his presence and lets 
               him exist.

                                     CARLA
                         Take off your clothes.

                                     RAMIREZ
                         Just like that?

                                     CARLA
                         Look Mister...

                                     RAMIREZ
                         Miguel...

                                     CARLA
                         I don't want to know your name... I 
                         don't want to know anything about 
                         you okay. This isn't fun for me. I'm 
                         not here to play soft music and be 
                         romantic. I'm here to help you kill 
                         him... At least I hope that's what 
                         you're going to do. They promised me 
                         it was.

                                     RAMIREZ
                         Yes.

                                     CARLA
                         Take off your clothes.

               ANGLE ON RAMIREZ

               He takes off his clothes. CAMERA SHOOTS FROM THE WAIST UP.

                                     CARLA
                         You're smaller than him.

                                     RAMIREZ
                              (shaking his head)
                         Great.

               Carla slaps him suddenly without warning hard across the 
               face.

                                     CARLA
                         That's what he would have done if I 
                         would have said something like that. 
                         Without a moment's hesitation. What's 
                         wrong with you?! No eres ni hombre!

               Ramirez back hands her and she flies backwards against the 
               couch.

               ANGLE ON CARLA

               lying against the couch. Her mouth is bleeding just a little.

                                     CARLA
                         Now come to me and kiss where you 
                         hit.

               She puts her finger to her lip and sees the blood. Ramirez 
               bends down to her, the passion rising.

                                     CARLA
                         Kiss where the blood is and then 
                         smear it on my lips so I taste it.

               Ramirez bends down and kisses her and the blood smears and 
               he kisses her passionately.

                                     CARLA
                         Now go down on me... yes like that... 
                         si... si... tease me... tease... but 
                         don't let me come... control me... 
                         it's got to be when he wants it... 
                         yeah...

               Ramirez's head goes down out of frame.

                                                               DISSOLVE TO:

               NEW ANGLE

               Ramirez and Carla in bed, both naked, Ramirez is on top...

                                     CARLA
                         Ask me if I like it... he always 
                         asks... he wants to hear it.

                                     RAMIREZ
                         You like it...

                                     CARLA
                         Demand it.

                                     RAMIREZ
                              (harder)
                         You like it?!

                                     CARLA
                         Yeah...

                                     RAMIREZ
                         You like it?!

                                     CARLA
                         Make me beg.

                                     RAMIREZ
                         Beg for it...

                                     CARLA
                         Please...

                                     RAMIREZ
                         Yeah...

                                     CARLA
                         Please... Tell me you want me to 
                         come...

                                     RAMIREZ
                         I want you to come now...

                                     CARLA
                         You want to feel it all over you...

               Ramirez is too turned on now to follow instructions.

                                     RAMIREZ
                         Oh yeah baby... yeah... you make me 
                         feel so good.

                                     CARLA
                         Stop!... Stop it!

               She pushes Ramirez back. She sits up gropes for a cigarette.

                                     RAMIREZ
                         What... What'd I do...

                                     CARLA
                         He never loses control... He never 
                         tells you how he feels. He's in 
                         control. He's the one who makes you 
                         feel what he wants you to feel. He 
                         never feels anything... You stupid... 
                         stupid...

               She fumbles with a lighter... Then she throws it aside and 
               the cigarette.

                                     CARLA
                         Roll over!

                                     RAMIREZ
                         Why?

                                     CARLA
                         On your back!

               Ramirez rolls onto his back and she gets on top of him. CAMERA 
               SHOOTS FROM THE WAIST UP.

                                     CARLA
                         I'm Carlos... You're me.

               She starts humping him. Her voice goes down very low.

                                     CARLA
                         You like it...

               She humps harder. Ramirez evidently does.

                                     RAMIREZ
                         Yeah.

                                     CARLA
                         You like it?

                                     RAMIREZ
                         Oh baby...

                                     CARLA
                         Ooooo I want to make you come...

                                     RAMIREZ
                         Yeah...

                                     CARLA
                         I want to make you come... I want to 
                         feel it all over me.

                                     RAMIREZ
                         Yeah... yeahhh... Yeahhhhhh.

               Ramirez is almost at the point of orgasm and Carla reaches 
               down with her hands and starts to choke him.

                                     RAMIREZ
                              (scared)
                         What the fuck are you doin'?

                                     CARLA
                         Let me... let me do it... Put your 
                         hands down.

               She humps him harder and chokes him and he climaxes and then 
               she releases her grasp on his throat...

                                     CARLA
                         He does that... he's crazy... he 
                         chokes you... just a little.

               She gets off him and lights up a cigarette.

                                     CARLA
                         Then he goes to the refrigerator and 
                         eats... He's always hungry 
                         afterwards... always... God I feel 
                         like filth.

               She starts crying and the crying grows louder. Ramirez rolls 
               over to her to take her in his arms.

                                     RAMIREZ
                         I'm sorry... I'm sorry.

                                     CARLA
                         Get your hands off me!

                                     RAMIREZ
                         Shh... I'm not him... I'm not 
                         Carlos... I'm...

                                     CARLA
                         I don't care who you are. I don't 
                         want to know anything about you... 
                         except that you're going to kill 
                         him.

               EXT. KGB HEADQUARTERS - MOSCOW - NIGHT

               INT. KGB OFFICE - NIGHT

               A HEAD KGB OFFICER is with a KGB AIDE. He reads a report.

                                     HEAD KGB OFFICER
                         [It seems our friendly bank manager 
                         in Zurich has received instructions 
                         to put a new name on the account of 
                         our mysterious Mister Paulo Ortega... 
                         Agnieska Kozinski. Does the name 
                         sound familiar?]

                                     KGB AIDE
                         [Should it?]

                                     HEAD KGB OFFICER
                         [I ran a check on her. She's a French 
                         national... originally Polish. She 
                         was a girlfriend of Carlos.]

                                     KGB AIDE
                         [Our Carlos?]

                                     HEAD KGB OFFICER
                         [The question is... is he still our 
                         Carlos. Or is he about to become 
                         someone else's.]

               EXT. AGNIESKA'S APARTMENT - PARIS - DAY

               A beautiful young woman whom we will come to know as AGNIESKA 
               enters her apartment building.

               INT. APARTMENT BUILDING - PARIS - DAY

               Agnieska collects her mail. She stops when she comes to a 
               postcard. We cannot make out what it says, but it has a 
               profound effect on her. Dialogue is in French with English 
               Subtitles.

                                     AGNIESKA
                         My God... My God... It's him.

               EXT. - BALCONY - SAFE HOUSE - DEAD SEA - SUNSET

               Ramirez stands looking out to the horizon, smoking a cigarette 
               when Jack comes up behind him.

                                     JACK
                         Well... not the most painful way to 
                         burn your bridges behind you, huh 
                         Miguel?

                                     RAMIREZ
                         What do you mean?

                                     JACK
                         Saint Miguel the faithful husband is 
                         dead. Long live Carlos. You've cheated 
                         on your wife... now you can do 
                         anything.

                                     RAMIREZ
                         What I did in there I didn't do to 
                         cheat on my wife and you know it.

                                     JACK
                         Hey, pussy's pussy.

               Ramirez turns to look at him as if a light bulb has just 
               gone on.

                                     RAMIREZ
                         I just got it about you, Jack. You 
                         can't get it up, can you?

               The look on Jack's face for once, having been caught 
               completely off guard, betrays the fact that Ramirez is dead-
               on. Just then, we HEAR:

                                     AMOS (O.S.)
                         We've got it. Just confirmed.

                                     JACK
                         Got what confirmed?

               ANGLE ON - AMOS

               He crosses towards them, holding a decoded message.

                                     AMOS
                         The KGB has set up a surveillance on 
                         Agnieska. And Agnieska has received 
                         her summons from her long-lost love... 
                         Carlos, telling her to come and meet 
                         you. At the meeting you convince her 
                         you're Carlos. You ask her to handle 
                         some bank transactions. She will. 
                         Then the KGB knows Carlos and Ortega 
                         are the same man. Then later they'll 
                         see you meet with a CIA agent. They'll 
                         have all the pieces. They'll know 
                         Carlos has turned.

                                     RAMIREZ
                         Where do I meet with this Agnieska?

                                     AMOS
                         Libya. That's where Carlos is.

                                     RAMIREZ
                         Couldn't we wait till he takes a 
                         trip? I mean Libya... shit.

                                     AMOS
                         The waiting is more dangerous to you 
                         than going to Libya. We've laid out 
                         a trap. Now we have to be careful 
                         not to get caught in it ourselves.

               EXT. SHORE OF DEAD SEA - ISRAEL - SUNSET

               Ramirez and Amos walk along the road which runs straight 
               along the Dead Sea. Here and there are strands of barbed 
               wire and the barracks in the b.g. As they walk, they pass a 
               sign which says: THE DEAD SEA - YOU ARE NOW STANDING AT THE 
               LOWEST SPOT ON EARTH... ELEVATION: 393 METERS BELOW SEA LEVEL.

                                     AMOS
                         Jack doesn't know that we're having 
                         this talk and I don't want him to 
                         know... understand?

                                     RAMIREZ
                         Okay...

                                     AMOS
                         Nothing can make you ready for combat 
                         but combat. Jack would be against me 
                         telling you this... He would say you 
                         shouldn't have a thought in your 
                         head that we haven't put there but 
                         you're not just a box that we're 
                         going to fill up with our own ideas. 
                         You have a right to know certain 
                         things.

                                     RAMIREZ
                         I appreciate that Amos... a lot. 
                         It's funny, I started out hating 
                         you... I mean I'm still gonna sue 
                         you, don't think you're off the hook 
                         for my broken ribs, but...

                                     AMOS
                         But now you love me and we're going 
                         to run away to San Francisco and 
                         find a reformed rabbi to perform a 
                         mixed gay marriage. Listen to me... 
                         You're going to feel more alone than 
                         you've ever felt in your life. It 
                         will hit you all of a sudden and 
                         you'll think your heart's going to 
                         jump out of your chest, you'll think 
                         everyone around you can hear your 
                         heart beating, and that everyone 
                         around you is an enemy agent. I want 
                         you to be prepared for that. So you 
                         can deal with it. Understand?

               In the far distance, we are vaguely aware of a huge truck 
               barreling along, coming straight down the highway towards 
               them.

                                     RAMIREZ
                         Yes.

                                     AMOS
                         We had an agent... the best we ever 
                         had in training. We were going to 
                         infiltrate him into Beirut and then 
                         use him to penetrate the PFLP. No 
                         student ever scored higher than this 
                         man... We set up his cover for six 
                         months in Argentina. He was perfect. 
                         And then we sent him to Beirut. He 
                         got off the plane, went to his hotel, 
                         went up to his room and had a nervous 
                         breakdown.

               Suddenly it seems, the truck is right on top of them, heading 
               straight for them, like monster in a child's nightmare. It 
               passes within inches and Ramirez has to fight to keep from 
               jumping as the truck roars past them. It is not a monster, 
               just a truck. Then again, it could have killed them just the 
               same.

                                     AMOS
                         We had to mount an operation to send 
                         in a man posing as a doctor so we 
                         could drug him and get him out on a 
                         plane. Okay? Now you understand? 
                         Nothing prepares you. I want you to 
                         know that so when it hits you, you 
                         don't panic, you feel the fear and 
                         then get rid of it.

                                     RAMIREZ
                         Jesus...

                                     AMOS
                         You splash some water on your face. 
                         You take some deep breaths. You look 
                         in the mirror and when you look in 
                         that mirror, I don't want you to 
                         find Annibal Ramirez. You find Carlos. 
                         If you find Carlos, that's what 
                         everyone else will find too. And if 
                         you find Carlos and anything goes 
                         wrong, he's the one who can get you 
                         out of it. Because he's the best.

                                     RAMIREZ
                              (after a beat)
                         I got a wife I got to go back to 
                         when this is over. I got kids I got 
                         to go back to when this is over. I 
                         want to go back as Annibal Ramirez... 
                         not Carlos.

                                     AMOS
                         You will... you'll need a time of 
                         decompression and it will be hard at 
                         first, but you will. Because inside 
                         you aren't Carlos... you aren't a 
                         terrorist. But right now, in order 
                         to save your life, you've got to be. 
                         You've got to look in the mirror and 
                         find Carlos. Do you understand?

               It is almost said like the offering of a vow.

                                     RAMIREZ
                         I do.

                                     AMOS
                         You won't be able to go in with a 
                         gun... too risky... so we're going 
                         to have to get one to you once you're 
                         in place. How I don't know yet... 
                         But we'll get one to you. You'll 
                         make your way out by boat. We'll be 
                         on it. But we won't be able to help 
                         if anything goes wrong. We'll make 
                         our way down the coast to a friendly 
                         state and then fly back to London, 
                         and from there back to the U.S.

               EXT. LIBYA INTERNATIONAL AIRPORT - DAY

               As passengers come out of the plane we recognize Ramirez 
               amongst them.

               SUPER: TRIPOLI, LIBYA - MAY 1987

               INT. LIBYA INTERNATIONAL AIRPORT - DAY

               A cold, dreary, oppressive airport. Grim-looking SOLDIERS 
               and even more menacing SECURITY MEN in dark glasses. In the 
               line of arriving PASSENGERS, at the passport control booth, 
               is a limping Colombian businessman. Scanning the place from 
               behind sunglasses, his heart is POUNDING, POUNDING, POUNDING. 
               This is it. This is real enemy territory now, and he knows 
               it.

               RAMIREZ'S POV

               The foreboding paranoia that everyone is staring at him. 
               Soldiers, security men, airport employees, other passengers. 
               They all seem to know his secret. They're all just waiting 
               for the axe to fall. Ramirez heads over to the Customs booth. 
               He turns back as a guard pushes him aside to let pass a rich 
               Arabic family. A young fat girl holding some toys grimaces 
               at him as she indelicately makes her way with her family 
               through the crowd. In the b.g. we notice a Mercedes waiting 
               for them through the glass doors of the airport. Ramirez 
               continues on his way towards the Customs booth. Behind a 
               curtain, he sees a man being searched.

                                     OFFICIAL
                         El Pass'port!

               The sudden harsh voice jolts us all.

               CLOSE - OFFICIAL

               Pockmarked face with exaggerated features. Ugly and mean. 
               Ramirez hands him his Colombian passport. The POUNDING 
               quickens.

                                     OFFICIAL
                         Sheil el Nadara!

               He barks in Arabic, motioning Ramirez to remove his 
               sunglasses. Ramirez does, fighting to remain calm under the 
               man's granite gaze. The official looks at the passport and 
               back at Ramirez. The following dialogue is in Arabic with 
               English subtitles.

               Now and for every other scene in which Ramirez passes himself 
               off as Carlos, he has brown eyes.

                                     OFFICIAL
                         Ricardo Moran Vargas?

                                     RAMIREZ
                         Yes.

               CLOSE - RAMIREZ'S FACE

               Tiny beads of sweat begin to form on his forehead.

                                     OFFICIAL
                         Your business?

                                     RAMIREZ
                         Pipes. I sell pipes.

                                     OFFICIAL
                         Pipes?

               Ramirez nods, smiling apologetically, searching for the words 
               in Arabic. Ramirez struggles to appear calm. His heart's 
               POUNDING, however, intensifies.

                                     RAMIREZ
                         For the oil...

                                     OFFICIAL
                         Oil?

                                     RAMIREZ
                         Pipes for oil... Petroleum...

                                     OFFICIAL
                              (after a beat)
                         Step over behind the curtain.

               NEW ANGLE

               Ramirez's luggage is being thoroughly searched by the 
               Official. Finally the Official looks up at him.

                                     OFFICIAL
                         All right. You can go.

               Finally he stamps the passport.

               EXT. LIBYA PALACE HOTEL - DAY

               We have a shot of the cab, an old Mercedes coming towards 
               us, and then under the arch leading to the entrance of the 
               hotel. Ramirez steps out and he's assailed by a bunch of 
               kids begging and trying to grab his baggage. He looks around.

               ANGLE - POV RAMIREZ

               Across the street at a cafe soldiers with guns laugh. From a 
               shop window, the silhouette of a man seems to look right at 
               us. Across the street, kids on a balcony throw a water balloon 
               at a horse pulling a cart and the horse bolts right in front 
               of Ramirez.

               BACK TO SCENE

               As the street urchins continue to beg and grab at his luggage, 
               and the taxi driver demands impatiently to be paid, suddenly 
               out of nowhere, a bellboy appears and smacks one of the kids 
               who falls to the ground. They all disperse as the bellboy 
               takes the luggage and leads Ramirez who pays the cab driver 
               and then crosses to the hotel.

               INT. HOTEL ROOM - LIBYA - DAY

               The bellboy enters with Ramirez, sets down his bags and then 
               opens the shutters of the window. Ramirez tips him silently. 
               Once the bellboy has left, Ramirez walks to the phone and 
               checks it out. Then he crosses to the shutters. Perhaps he 
               sees a shadow looking in his direction from the dark apartment 
               across the street. He closes the shutters. Just then, there's 
               a LOUD KNOCK on the door. He jumps and automatically goes 
               for his gun. But he has no gun... and his heart begins to 
               POUND again. The LOUD KNOCK repeats itself.

                                     RAMIREZ
                              (in Spanish)
                         Who's there?

               An incomprehensible response in Arabic.

                                     RAMIREZ
                              (in accented English)
                         What do you want?

                                     VOICE
                         Room service.

                                     RAMIREZ
                              (after a pause)
                         I not order nothing.

                                     VOICE
                         Iced water.

                                     RAMIREZ
                         Iced water?

                                     VOICE
                         Yes, sir.

               The voice is young, and not too assertive. Ramirez consults 
               his watch and looks out the window again. Everything still 
               seems to be normal.

                                     VOICE
                         Sir...?

               Ramirez carefully opens the door. In walks a young, rather 
               innocent-looking WAITER with a jar of ice water. He wears a 
               fez on his head. As he places it on a table, Ramirez eyes 
               him with suspicion. Suddenly the waiter reaches underneath 
               his jacket and... pulls out a small handgun.

               ON RAMIREZ

               He is frozen with fear.

               ON WAITER

               Putting his finger to his mouth to signal silence, he shoves 
               the gun and silencer under a napkin. Then he takes off his 
               fez and from within, pulls out a small grenade and extra 
               clip of ammunition. Without any further attempt at 
               communication, he exits the room.

                                     RAMIREZ
                         Jesus.

               Ramirez walks back into the bathroom. He splashes water on 
               his face and takes three deep breaths and then slowly looks 
               up into the mirror... and finds Carlos.

               EXT. STREET IN LIBYA - DOWNTOWN TRIPOLI - DAY

               We SEE a beautiful dark haired woman of about thirty coming 
               down the street. There are several other pedestrians as well. 
               The woman is Agnieska. She carries a large bag of groceries.

               EXT. STREET - TRIPOLI, LIBYA - RESIDENTIAL AREA - DAY

               A van is parked on the street. Agnieska walks along. The van 
               starts. A man whom we will come to know as VLADIMIR adjusts 
               the mirror. His partner NIKOLAI readjusts it and in it we 
               SEE Agnieska, walking. The two KGB operatives, now both see 
               Agnieska.

                                     VLADIMIR
                         [There she comes...]

                                     NIKOLAI
                         [Do you see Misha?]

                                     VLADIMIR
                         [Not yet.]

               Behind Agnieska about fifty feet behind her we SEE several 
               pedestrians, one is an Arab and another a European. Agnieska 
               goes up into an apartment building.

                                     VLADIMIR
                         [There he is.]

               Around the corner comes another Arab businessman type. The 
               first Arab stops in front of the apartment house and bends 
               down to tie his shoe. The second Arab comes up alongside of 
               him and the first Arab gives an almost imperceptible nod. 
               The second Arab goes into the apartment house.

                                     VLADIMIR
                         [He's passing her to Leonid. For 
                         Russians, they make good Arabs.]

               The van makes a U-turn and pulls around the corner to give 
               them another vantage point of Agnieska's apartment.

               INT. VAN - LIBYA - DAY

               The two Russian operatives continue their stakeout of 
               Agnieska's apartment.

               INT. APARTMENT - LIBYA - LATE AFTERNOON

               Agnieska enters the apartment. She opens the door and slowly 
               walks in. The apartment is dark. She is about to turn on the 
               lights when suddenly a hand grabs her from behind around her 
               mouth and another hand holding a gun snaps right down next 
               to her head. She drops the groceries and screams but the 
               hand muffles it. She struggles a bit but the person who holds 
               her hisses.

                                     PERSON HOLDING HER
                              (in an Arabic accent)
                         SHHHHHHH. One sound and you're dead.

               Outside the door we hear faintly the sound of footsteps. We 
               still cannot make out who is holding her. He appears to be 
               an Arab in traditional garb completely bald with mustache 
               and glasses. He speaks in a thick Arabic accent.

                                     PERSON HOLDING HER
                         Carlos... when is he coming here?

               He loosens the grasp on her mouth.

                                     AGNIESKA
                         I don't know what you're talking 
                         about.

                                     PERSON HOLDING HER
                         Don't play games with me. We've had 
                         you followed. We know you're going 
                         to meet him. Now, when?!

                                     AGNIESKA
                         I don't know any Carlos... please 
                         I'm telling you the truth.

               The person holding her still has his gun at her head. He 
               cocks the trigger back with a loud noise. The gun has a 
               silencer on it.

                                     PERSON HOLDING HER
                         This gun has a silencer. There won't 
                         be any noise. Now talk!

                                     AGNIESKA
                         I don't know what you're talking 
                         about... I'm not from here. I just 
                         came to visit a girlfriend. This is 
                         her apartment. She'll be here 
                         tomorrow... please.

               The person who is holding her throws her to the floor. He 
               stands over her.

                                     PERSON HOLDING HER
                         You're lying...

                                     AGNIESKA
                         I swear to you... I'm telling the 
                         truth...

               The bald Arab who was holding her slowly takes his belt out 
               of its loops and puts his gun back in his pants. He holds 
               the belt as if he is going to strangle her.

                                     AGNIESKA
                         What... what are you going to do to 
                         me.

                                     PERSON WHO WAS HOLDING HER
                         First... I'm going to have some fun 
                         with you... and then...

               He reaches up to his glasses and takes them off and his 
               mustache and false nose...

                                     RAMIREZ
                         Then I'm going to have something to 
                         eat... I'm famished.

               PRODUCTION NOTE: THE BEGINNING OF THIS SCENE SHOULD BE PLAYED 
               WITH ANOTHER ACTOR SO THAT THE AUDIENCE HAS NO HINT THAT 
               THIS IS RAMIREZ. THEN ON THE CUT WHERE HE TAKES OFF HIS 
               GLASSES, IT SHOULD BE THE ACTOR PLAYING RAMIREZ, BUT HE IS 
               BALD.

                                     AGNIESKA
                         You bastard! I haven't see you for 
                         two years and this is the way you...

               Ramirez laughs.

                                     RAMIREZ
                         I had to be sure I could still trust 
                         you.

               He bends down to her and kisses her.

                                     AGNIESKA
                         I came all the way to this god-
                         forsaken country didn't I? I've been 
                         holed up in this place you arranged 
                         for me for the past twenty-four 
                         hours... I couldn't eat I couldn't 
                         sleep... nothing just sitting in 
                         here waiting for you.

               He picks her up in his arms and starts carrying her to the 
               bed.

                                     RAMIREZ
                         So why did you leave. . .?

                                     AGNIESKA
                         Whoever stocked this place with food 
                         didn't leave much of a selection... 
                         I wanted to go out and get some nice 
                         things for you. You weren't supposed 
                         to be here for another three hours. 
                         I could have made a nice dinner.

                                     RAMIREZ
                         I've got what I want to eat in my 
                         arms right now.

               He lays her down on the bed and pulls up her skirt and his 
               head goes down out of screen as Agnieska arches her back and 
               sighs.

               EXT. HARBOR - LIBYA - LATE AFTERNOON

               The silhouette of a fishing boat drifts along the coastline.

               INT. FISHING BOAT - LIBYA - LATE AFTERNOON

               We see the silhouettes of two men against the out of focus 
               backdrop of the city. They are Jack and Amos, chain smoking. 
               Both men dressed as fishermen. Jack checks his watch.

                                     JACK
                         I wonder what he's doing now.

                                     AMOS
                         Practicing safe sex, I hope.

               INT. BEDROOM - APARTMENT IN LIBYA - SUNSET

               Ramirez is in bed with Agnieska. She lays back smoking a 
               cigarette, sighing.

                                     AGNIESKA
                         My God... my God...

                                     RAMIREZ
                         Yeah... Now, let's eat.

               He gets up and throws on his pants and crosses into the little 
               kitchen. Agnieska follows, draping a blanket around her. She 
               crosses to a window and opens it.

                                     RAMIREZ
                         What are you doing?

                                     AGNIESKA
                         Just getting some air in here... 
                         Don't be so jumpy.

               He turns back to the refrigerator and opens it. Agnieska 
               crosses to the fallen sacks of groceries.

                                     AGNIESKA
                         Forget about what's in there... I 
                         found caviar and, here's some pate.

                                     RAMIREZ
                         Didn't like the food I'd left for 
                         you, huh?

               His eyes scan the refrigerator.

                                     AGNIESKA
                         Couldn't eat a bite of it.

               ANGLE ON RAMIREZ

               His eyes still scan. He pulls a cucumber out of the 
               refrigerator and takes a bite and makes a face.

                                     RAMIREZ
                         Ughhh... I don't blame you.

               He opens the lid on the garbage can and throws the cucumber 
               inside.

               ANGLE ON INSIDE OF GARBAGE CAN

               At the bottom are cigarette butts. CAMERA ZOOMS IN ON ONE - 
               IT IS FILTER-TIPPED.

               Ramirez turns around to her and comes up behind her.

                                     RAMIREZ
                         Who was here smoking a filter-tip 
                         cigarette my darling?

                                     AGNIESKA
                         What?

                                     RAMIREZ
                         You don't smoke filters.

                                     AGNIESKA
                         What are you talking about?

               He grabs her by the back of the neck and shoves her face 
               down into the garbage can.

                                     RAMIREZ
                         That's what I'm talking about! The 
                         filter-tipped cigarette. Who was 
                         here.

                                     AGNIESKA
                         You're crazy... no one... I... 
                         Illich... listen... I ran out of 
                         cigarettes and... and I was at a 
                         cafe and I bummed a cigarette... I 
                         had a cigarette and coffee and came 
                         back here... that's all.

                                     RAMIREZ
                              (loosening his grasp 
                              just a little)
                         You bummed a cigarette... that's 
                         all.

                                     AGNIESKA
                         Yes... yes... you know I can't have 
                         coffee without a cigarette.

                                     RAMIREZ
                         I believe you.

               He straightens her up and rises with her. Then all of a sudden 
               he grabs her by the throat and starts to strangle her.

                                     RAMIREZ
                         The nearest cafe is two blocks away. 
                         A cigarette wouldn't have lasted 
                         that long... so you bummed a cigarette 
                         but it wasn't in a cafe... it was 
                         very close to here... In this 
                         apartment building. Who did you meet 
                         with? That window was a signal wasn't 
                         it?! Wasn't it you puta bitch!

               He starts to strangle her and we see not Ramirez but Carlos.

                                     RAMIREZ
                         Tell me or you're dead!

               He is choking the life out of her. She croaks out an answer.

                                     AGNIESKA
                         The French... the DST... They made 
                         me... I didn't have any choice...

                                     RAMIREZ
                         You sold me out!

               He is choking the life out of her when we hear footsteps 
               racing down the hall. Ramirez throws Agnieska down, grabs 
               his gun and grenade and races to the open window and goes 
               out onto the fire escape. His feet are bare. He has no shirt 
               on.

               EXT. FIRE ESCAPE - APARTMENT BUILDING - LIBYA - SUNSET

               Ramirez comes out of the apartment onto the fire escape. 
               Bullets hit the wall next to him and below we SEE several 
               DST agents shooting up at him. A DST agent appears inside 
               the apartment and shoots at Ramirez. Ramirez moves out of 
               the way of the shattered window.

               ANGLE - POV RAMIREZ

               looking down and across the alley.

               INT. VAN - LIBYA - SUNSET

                                     VLADIMIR
                         [Gunfire?! What the hell is going 
                         on?!]

               The two Russian operatives get out of their van.

               EXT. FIRE ESCAPE - LIBYA - SUNSET

               DST agents from below are shooting up at Ramirez. Their 
               gunfire destroys everything in sight. Ramirez leaps over the 
               railing and flies across the street, landing on a terrace. 
               His momentum is so strong that he is propelled through the 
               glass doors of the terrace.

               INT. APARTMENT - NEXT LEVEL - LIBYA - SUNSET

               Ramirez goes through the window of the apartment as bullets 
               continue to fly. He cuts his feet on the broken glass.

               INT. APARTMENT - NEXT LEVEL - SUNSET

               Ramirez quickly goes through the apartment, falling into the 
               room, landing hard where a family is eating and watching TV. 
               We see now that Ramirez is wounded.

               INT. APARTMENT HALLWAY - LIBYA - SUNSET

               Ramirez comes out the door and starts toward the stairs. 
               Ramirez suddenly bangs into a DST agent. The two of them 
               look at each other in shock for a beat. Neither was expecting 
               the other to be there. The moment seems to last forever. 
               They are literally face to face. Which one will react first? 
               Ramirez takes half a step back, raises his gun and fires, 
               exploding the DST agent's forehead. Ramirez has a moment of 
               horror, splattered with the blood and brains of this man. We 
               Intercut a flash of the DST man being hit in an instant, 
               almost subliminal replay as if Ramirez's brain must register 
               the scene twice to comprehend it. Just then, a shot rings 
               out from below and Ramirez, who can't help staring in horror 
               at the dead man, flees once more for his life.

               INT. APARTMENT HOUSE - STAIRWELL - LIBYA - SUNSET

               Two more DST agents follow the trail of blood up the stairs.

               EXT. ROOF - APARTMENT HOUSE - LIBYA - SUNSET

               Ramirez arrives at the top of the stairs. Reaching the edge 
               of the roof, Ramirez looks across to the other side. The DST 
               agents arrive at the top and see Ramirez. Ramirez takes a 
               deep breath and jumps, barely making it, clinging onto a 
               pipe on the side of the building. Once again, we Intercut 
               the quick flashback of the DST man being shot. Then, as shots 
               ring out around him, Ramirez pulls himself up and gets away.

               EXT. ROOF - APARTMENT HOUSE - LIBYA - SUNSET

               Ramirez checks over the side of the building to see a DST 
               car following. One agent steps out and starts to shoot at 
               him. Ramirez fires back and shatters the windshield and then 
               jumps to the next rooftop.

               EXT. ROOF - APARTMENT HOUSE - LIBYA - MAGIC HOUR

               Ramirez's silhouette runs from roof to roof.

               EXT. ROOF - APARTMENT - MAGIC HOUR

               Ramirez trips over a piece of metal and crashes through the 
               metal roof of a shed, and then, landing, he takes off running 
               through the narrow alley below.

               EXT. ROOF - APARTMENT - MAGIC HOUR

               Ramirez runs down the dark and narrow alley.

               EXT. NARROW ALLEY - MAGIC HOUR

               Outside a Turkish cafe, a DST agent shoots at Ramirez. All 
               the diners duck for cover. Ramirez shoots out the lights, 
               the fixture sparks and flies off its hook, sending a string 
               of lights crashing down toward the DST agent, the bulbs 
               exploding around his head.

               EXT. SMALL ALLEY - NIGHT

               Ramirez arrives at a small street. In the distance we SEE 
               the lights of a bright and busy street. Suddenly, headlights 
               hit his face, gunfire rings out and Ramirez takes off followed 
               by the oncoming car.

               INT. COURTYARD - LIBYA - NIGHT

               Ramirez is running from the car dodging bullets. Ramirez 
               lobs a grenade at the car. It explodes right in front of the 
               car, not taking it out, just damaging it. Ramirez runs across 
               the street and is hit suddenly by a motorcycle which then 
               veers off and goes crashing into an oncoming car. Ramirez 
               gets up and runs into a doorway.

               INT. COURTYARD - LIBYA - NIGHT

               Ramirez, sweating and out of breath, scans his new and dark 
               surroundings. While bleeding, Ramirez suddenly turns around 
               and shoots. A DST agent falls out of the darkness, dead. 
               Ramirez hears something. Turning around, Ramirez shoots an 
               agent at the top of the building. The body falls and gets 
               tangled into the string of electrical wires. He reaches into 
               his pocket, pulls out another clip and re-loads.

               EXT. STREET - LIBYA - NIGHT

               Ramirez comes out of the doorway and waves down a taxi. 
               Ramirez jumps into the driver's seat, pushing the driver 
               aside. When the driver resists, Ramirez throws him out into 
               the street.

               A passing truck nearly hits the driver. Other Arabs start 
               approaching Ramirez but back off immediately once he raises 
               his gun. The taxi makes a U-turn and leaves, racing through 
               traffic. Ramirez checks his mirror and sees that he is picked 
               up by a DST car. They begin to shoot at Ramirez and his back 
               window shatters.

               EXT. SMALLER STREET - LIBYA - NIGHT

               Ramirez is driving full speed. The car jumps as it hits the 
               junction of the street. Ramirez continues to be followed by 
               the car of DST agents. Ramirez turns into a small alley.

               EXT. NARROW STREET - LIBYA - NIGHT

               Ramirez drives down the narrow street. The sides of the car 
               barely fit through. Sparks fly from the metal scratching 
               against the walls. The taxi's mirror pops off as the chase 
               continues.

               EXT. SMALLER STREET WITH ARCHES - LIBYA - NIGHT

               The cars continue to race through the streets. Ramirez 
               suddenly sees two kids coming out of a garage. Ramirez veers 
               out of the way and misses the kids. The car goes crashing 
               into scaffolding and paint drops down onto the windshield. 
               Once again, we Intercut the flashback of Ramirez killing the 
               first DST agent, being splattered with his blood. Ramirez 
               continues to drive away, wiping away the paint on the 
               windshield.

               EXT. SMALLER STREET WITH CAFE - LIBYA - NIGHT

               Ramirez tries to wipe away the paint. The cars continue to 
               race through the streets.

               EXT. STREET - LIBYA - NIGHT

               The two cars disappear down a hill. Ramirez's vision is 
               blurred by the paint on the windshield. A car suddenly appears 
               that forces him to veer left into a stairwell. The taxi 
               descends the stairway. Ramirez suddenly pulls the parking 
               brake and the other car hits Ramirez's car and flips over it 
               and explodes. Ramirez, watching the explosion, takes off the 
               other way.

               EXT. STREET IN LIBYA - NIGHT

               On the harbor, a police car is seen next to Ramirez's taxi. 
               The sergeant reveals some blood inside the taxi but Ramirez 
               is nowhere to be found. We SEE the KGB on the scene.

               EXT. HARBOR - LIBYA - NIGHT

               The fishing boat enters the harbor. Jack stands on the deck 
               as the boat passes under a bridge. Out of nowhere a man jumps 
               onto Jack and shoves him to the ground. Holding him by the 
               neck, Amos appears and is about to hit Ramirez but Ramirez 
               grabs Amos' arm and stares at him.

               EXT. VILLA - LIBYA - NIGHT - ESTABLISHING SHOT

               We SEE Carlos' villa through the barbed wire. The silhouette 
               of a guard is on top of the building.

               INT. VILLA BEDROOM - NIGHT

               The real Carlos is asleep in the bed with a beautiful Arabic 
               woman. A Japanese KOJ enters and taps Carlos on the shoulder. 
               Instantly he springs awake with a gun in his hand pointed at 
               KOJ.

                                     KOJ
                         Illich... you must get dressed. There 
                         was a shooting tonight... We have to 
                         talk.

                                     CARLOS
                         What shooting... who?

               EXT. FISHING BOAT AT SEA - NIGHT

               INT. FISHING BOAT - NIGHT

               Jack and Amos are with Ramirez who is furious. Amos is binding 
               Ramirez's wounds.

                                     RAMIREZ
                         What the fuck are you talking about, 
                         you didn't know she was working with 
                         the DST?

                                     JACK
                         We didn't. How the fuck should we 
                         know?

                                     RAMIREZ
                         They're our allies, for Christ's 
                         sake!

                                     JACK
                         They didn't tell us this time. Why 
                         should they it was their operation. 
                         And we sure as shit weren't gonna 
                         let them in on you being here.

                                     RAMIREZ
                         Why not?! That way they wouldn't 
                         have tried to kill me and I wouldn't 
                         have wound up killing them.

                                     AMOS
                         It would have been too dangerous.

                                     RAMIREZ
                         Too dangerous... what the fuck do 
                         you think that was back there? Safe? 
                         How the fuck more dangerous does it 
                         have to get?

                                     JACK
                         Annibal, the important thing was it 
                         worked! The Russians have to think 
                         it was Carlos now... . What did they 
                         see? They trail the girl... and then 
                         there's a shoot out. Let's make sure 
                         they know it was DST... we can make 
                         sure they get that information. If 
                         they know the DST was there then 
                         what were they doing there if it 
                         wasn't to get Carlos. She betrayed 
                         you, so tomorrow we take her name 
                         off the bank account and we set up 
                         another place for them to get their 
                         pictures. We burned Libya but okay 
                         so we'll find another place. The 
                         only thing that matters is they've 
                         got to believe it now. It's perfect!

                                     RAMIREZ
                         You fuckin' maniac! I killed four 
                         DST agents tonight! They're our allies 
                         and they were tryin' to kill me and 
                         I killed them. I killed our allies!

                                     JACK
                         Hey fuck our allies!

               Ramirez just looks at him in horror.

                                     AMOS
                         Annibal... policemen wind up shooting 
                         other policemen... it happens. I 
                         would rather have you here feeling 
                         guilty about them than to know there 
                         was a meeting in Paris tonight where 
                         they were feeling guilty about you.

                                     JACK
                         Annibal... you did what you had to 
                         do and it worked. All the training 
                         worked. Carlos couldn't have done it 
                         any better.

               He smiles.

               EXT. KGB HEADQUARTERS - MOSCOW - NIGHT

               The Head KGB Officer is there with his aide. Both look as if 
               they've been up all night.

                                     KGB AIDE
                         [Whether Carlos was actually in there 
                         with her or not we don't know... All 
                         we know is there was a gun battle... 
                         DST agents from what we've been able 
                         to find out. But whether or not it 
                         was Carlos...]

                                     HEAD KGB OFFICER
                         [If it was Carlos and he sent for 
                         the girl... and she betrayed him... 
                         Well... we should keep watch on the 
                         girl. What he does about her will 
                         tell us more than anything else.]

               INT. VILLA - LIBYA - MORNING

               Carlos sits in the closed Villa with Koj and four other 
               terrorists.

                                     CARLOS
                         So the moronic DST find an old 
                         girlfriend and send her here to bait 
                         a honey trap for me... and then they 
                         trip over their own dicks and start 
                         shooting each other... why?

                                     KOJ
                         There was a man with her... who we 
                         don't know... They must have spotted 
                         him come in... thought it was you 
                         and moved too soon... before she 
                         even made contact with you. Whoever 
                         he was... he was awfully good.

                                     CARLOS
                         Where is the girl now?

                                     KOJ
                         They've taken her to Paris.

                                     CARLOS
                         I want the bitch dead!

                                     KOJ
                         It won't be easy.

                                     CARLOS
                         If it was going to be easy I could 
                         hire a couple of junkies. I want the 
                         cunt dead! You handle it Koj. Hit 
                         her in Paris, right under their 
                         fucking noses and leave Europe through 
                         London.

                                     KOJ
                         When?

                                     CARLOS
                         Now! Leave now. Not this afternoon... 
                         not five minutes from now... Now!

               Koj gets up and leaves. Carlos turns to the others.

                                     CARLOS
                         Something else troubles me my friends. 
                         How was this woman going to make 
                         contact with me. You're the only 
                         ones who knew about this safe house. 
                         So one of you was her contact.

               They all start to protest too late as Carlos pulls out his 
               gun and shoots each of them.

               INT. STAIRWELL - AGNIESKA'S BUILDING - DAY - EST. SHOT

               SUPER OVER THE CIRCULAR STAIRWELL: PARIS - JUNE, 1987

               Agnieska comes down the stairs, passes by camera.

               EXT. AGNIESKA'S APARTMENT BUILDING - PARIS - DAY

               A French DST security man comes out of the apartment building 
               first. He looks around the street and then nods. A second 
               DST man comes out of the building and gets in a black Renault 
               after first checking underneath it to make sure there is no 
               bomb and then popping the hood and examining the engine and 
               then examining the ignition wires. Satisfied, he takes a 
               deep breath and starts the motor and then the first DST man 
               nods inside the apartment building and another DST man comes 
               out with Agnieska next to him. He opens the door for her 
               when two shots ring out, both of them hitting her in the 
               forehead. The DST agents scatter for cover when suddenly the 
               car parked in front of the Renault explodes with tremendous 
               force and the DST agents are all hit.

               INT. KGB OFFICE - MOSCOW

               The Head KGB Officer is there. The Head KGB Officer has a 
               file opened on his desk. In it are photographs of Ramirez 
               jumping out of the apartment in Libya. None of the photographs 
               show his face clearly so there's no way of telling who it 
               is. Just then the Aide comes in and hands a telex to the 
               Head KGB Officer.

                                     HEAD KGB OFFICER
                              (reading it)
                         [When?]

                                     AIDE
                         [This afternoon... the girl and two 
                         DST agents dead, one wounded.]

                                     HEAD KGB OFFICER
                         [So now we know... it was Carlos.]

               He holds up the picture of Ramirez with just the back of the 
               head showing.

                                     HEAD KGB OFFICER
                         [We still have to tie him to the 
                         CIA... if that is what's going on. I 
                         won't make a move against him until 
                         I know for sure.]

                                     AIDE
                         [Why?]

                                     HEAD KGB OFFICER
                         [Because my dear boy... four of his 
                         colleagues shot in Libya, plus the 
                         DST and now the girl. He's a very 
                         dangerous fellow. One doesn't make a 
                         move against such a man until one is 
                         sure. And then one must move very 
                         quickly and kill him... before he 
                         has a chance to kill you.]

               EXT. LONDON - HEATHROW AIRPORT - DAY

               SUPER: LONDON - HEATHROW AIRPORT

               INT. HEATHROW TERMINAL - ARRIVAL GATE - DAY

               Ramirez crosses out of the arrival gate. He looks for all 
               the world like a business traveler who is completely alone.

               INT. HEATHROW TERMINAL - CAFETERIA - DAY

               The Cafeteria is crowded and noisy. Ramirez walks with his 
               tray as if looking for a table. There is an open seat where 
               Jack and Amos sit with their backs to each other at separate 
               tables. Ramirez crosses to Jack. Ramirez is still bald but 
               his hair has grown out a bit.

                                     RAMIREZ
                              (loudly)
                         Is this seat taken?

                                     JACK
                         No, go right ahead.

               Ramirez sits down and now the conversation is in hushed tones.

                                     RAMIREZ
                         I want to go home. I want to see my 
                         family.

                                     JACK
                         This isn't the place for this 
                         conversation.

                                     RAMIREZ
                              (pissed off)
                         No rules, remember? I want to go 
                         home. You said yourself we can't 
                         move again till he leaves Libya. You 
                         don't even know when that's gonna 
                         be. He might stay there another year 
                         for Christ's sake.

                                     JACK
                         No he won't. He's gonna make a move 
                         and it'll be in Europe just to stick 
                         it up the DST's nose. I'm gonna go 
                         and find out about our connecting 
                         flight.

               ANGLE ON - RAMIREZ

               He picks up his soup spoon and turns it over and uses it to 
               scan what's going on around him.

               ANGLE ON - SPOON

               IN the spoon we SEE Koj with a flight bag walking across the 
               cafeteria toward Ramirez.

               BACK TO SCENE

               Koj crosses around in front of Ramirez to get a better look, 
               obviously surprised to see what he thinks is Carlos. Koj 
               leans in close to Ramirez.

                                     KOJ
                              (whispering)
                         Carlos... what are you doing here?

               Ramirez looks at him, shocked for a moment and then 
               recovering.

                                     RAMIREZ
                              (hissing)
                         You idiot! Don't you know better 
                         than to approach me in public!

                                     KOJ
                              (loudly)
                         Excuse me sir... I only wanted to 
                         know where I could buy a newspaper.

                                     RAMIREZ
                         Go over there by the phone booths 
                         and wait... I'll come to you.

               Ramirez gets up casually.

               ANGLE ON - AMOS

               He has heard everything that has gone down.

               ANGLE ON - KOJ

               He waits, standing a few feet away and not by the phones as 
               he was told. He watches Ramirez. Something doesn't jibe... 
               passwords were not exchanged. He crosses to Ramirez's side.

                                     KOJ
                              (loudly)
                         Excuse me sir... I asked if you knew 
                         where I could buy a newspaper.

               Ramirez stops for a moment. He knows that the line is some 
               kind of code and he has no response to give so he starts up 
               walking again. Koj is instantly behind Ramirez, his hand 
               going into his flight bag and pushing the flight bag up 
               against Ramirez's back.

                                     KOJ
                         Make the slightest move and I shoot... 
                         and I don't miss. Walk to the rest 
                         room, very carefully.

               Ramirez does as he is told.

               ANGLE ON

               Amos. He watches it all going down in the back of a chrome 
               napkin holder. He slowly gets up, looks around for Jack and 
               goes out into the corridor and sees Koj and Ramirez going 
               into the rest room. Koj sees one of those sandwich board 
               signs off to the side which says, "LAVATORY TEMPORARILY CLOSED 
               FOR CLEANING." He pulls it in front of the door.

               INT. RESTROOM - STALL - HEATHROW AIRPORT - DAY

               Koj has Ramirez's head with one hand, while he holds the gun 
               on him with the other. He forces Ramirez's head down deep 
               into the toilet bowl. He flushes. The water level sinks and 
               then rises, covering Ramirez's face. Koj holds him under 
               water long enough to almost drown him. Then, instead of 
               lifting his head out, he flushes again and the water level 
               lowers.

                                     KOJ
                         Tell me what I want to know quickly 
                         or you're dead.

               Just then Ramirez manages to kick back and overpower Koj and 
               send him flying back out through the door of the stall. 
               Ramirez is back on him in a second but Koj has his gun up 
               and pointed right at Ramirez's head. They have shifted 
               position now, so that they are not facing the stall, but the 
               door of the bathroom. Koj is about to pull the trigger when 
               we HEAR:

                                     AMOS (O.S.)
                         Down!!

               NEW ANGLE

               Ramirez ducks and rolls out of the way and Amos fires two 
               shots into Koj's chest but not before Koj can get off a round 
               right into Amos' chest. In an instant Ramirez is on the still-
               alive Koj grabbing his head in his hands and slamming it 
               down onto the edge of the sink with a thud that cracks his 
               skull. He quickly crosses to Amos who is dying.

                                     AMOS
                         Get out of here... now...

                                     RAMIREZ
                         I've got to get you to a doctor.

                                     AMOS
                         Get out now...

               Ramirez cradles him.

                                     RAMIREZ
                         I'm not going to let you die here... 
                         I've still got a lawsuit against 
                         you, remember?

               Here, Amos speaks as a doomed father would to a son who still 
               has a chance to save himself from the Holocaust.

                                     AMOS
                         My dear boy... my dear dear boy... I 
                         am dead. Please God, don't let it 
                         all be for nothing... Get out now...

               Ramirez stands as Amos literally pushes him away. Ramirez is 
               the brave and dutiful son as his father says, coaching, 
               teaching him to the last...

                                     AMOS
                         Walk slowly... no attention.

               Ramirez is ashen faced, knows Amos is right and forces himself 
               to stand up and walk almost robot-like out of the restroom.

               INT. HEATHROW AIRPORT - CORRIDOR - DAY

               On a long shot we SEE Ramirez walk down the corridor till he 
               sees Jack. He says a few words to him and then starts to 
               walk back toward the restroom. Jack grabs his arm and 
               literally walks him out of the corridor and down an escalator.

               INT. HEATHROW AIRPORT - PHONE BOOTH - DAY

               Jack and Ramirez stand next to a phone booth. Jack is on the 
               phone dialing. A voice with a cool British accent answers on 
               the other end.

                                     PHONE VOICE
                         Cousins Industrial Maintenance, may 
                         I help you?

                                     JACK
                         Mister Simon Wicks, please.

                                     PHONE VOICE
                         Ringing.

                                     WICKS (THROUGH PHONE)
                         Simon Wicks here.

                                     JACK
                         This is Jack Shaw. Could you send a 
                         clean-up crew to Heathrow. We've had 
                         a rather nasty spill.

               EXT. CAR - IN RAIN - LONDON - DAY - ESTABLISHING SHOT

               INT. CAR - IN RAIN - LONDON - DAY

               Ramirez is with Jack who is on the phone.

                                     JACK
                              (into phone)
                         Yes... I'm calling about my cousin... 
                         Oh Jesus... Oh Jesus...

               He shakes his head. Ramirez knows it means Amos is dead.

                                     RAMIREZ
                         Oh God... no...

                                     JACK
                              (into phone)
                         I understand... Yes... Good bye.

               He hangs up the phone.

                                     RAMIREZ
                         Amos?

                                     JACK
                         He's dead.

                                     RAMIREZ
                         Why?! Why didn't you let me go back 
                         to him... If we'd have gotten him 
                         help sooner instead of... instead of 
                         "we had a rather nasty spill!" Is 
                         that what it was Jack? Is that all 
                         Amos was... a rather nasty spill, 
                         mop it up, it'll be okay?! Huh?!

                                     JACK
                              (dead panned)
                         He would have been dead anyway and 
                         he knew it. That's why he told you 
                         to get out.

               Ramirez knows he's right.

                                     JACK
                              (after a beat)
                         Looks like you're going to get to 
                         see your family after all.

                                     RAMIREZ
                         What?

                                     JACK
                         You're going home... it's off... for 
                         the time being at least.

                                     RAMIREZ
                         Bullshit! I want him. I want that 
                         son of a bitch Carlos! And I want 
                         him dead!

                                     JACK
                         Tough shit what you want, Annibal. 
                         Koj had a ticket for Libya on him. 
                         Chances are he wasn't looking for 
                         you but...

                                     RAMIREZ
                         He wasn't looking for me... He thought 
                         I was Carlos!

                                     JACK
                         That's what I think too but the 
                         Director wants an operation review 
                         board... The DST shoot out... the 
                         girl winds up dead in Paris... now 
                         this... I've got to go back for the 
                         review and you've got to go home.

                                     RAMIREZ
                         No way man... it was my fault... the 
                         whole thing... I want him dead!

                                     JACK
                         What do you mean it was your fault?

                                     RAMIREZ
                         When he asked me about the paper... 
                         if I coulda just bullshitted my way...

                                     JACK
                         It was a password... you didn't know 
                         it... anything you would have tried 
                         would have backfired. I had a thing 
                         like that... Awfully warm for this 
                         time of year... the response was, 
                         yes but not as sticky as two summers 
                         ago... the guy says anything else... 
                         he even hesitates, you shoot him. I 
                         shot him... There was nothing else 
                         you could have done.

                                     RAMIREZ
                         I'm not leavin' till we get him.

                                     JACK
                         Nobody's askin' you. They're shuttin' 
                         us down. You go back home... maybe 
                         I'll see you again... maybe I won't. 
                         You'll either hear from me or you'll 
                         get new sea duty and that's the end 
                         of it.

               Ramirez just looks at him shocked.

                                     RAMIREZ
                         Just like that?

                                     JACK
                         Just like that. I ain't the Madam 
                         kid... I'm just one of the whores. 
                         And so are you.

               EXT. RAMIREZ HOME - VIRGINIA - DAY - RAIN

               A taxi pulls up in front of Ramirez's house. Ramirez steps 
               out of the taxi dressed in his Navy uniform and carrying his 
               sea bag. He does not have a hat on and we SEE his head while 
               not bald, is now in the shortest of buzz cuts, certainly 
               much shorter than the way his wife last saw him. He stands 
               outside the house looking at it like an adult who has come 
               back to his boyhood home and finds it suddenly so small. 
               Just then the door opens. There is Maura holding the baby 
               and next to her, Joey. Ramirez runs toward them and they to 
               him and we SEE them in tableaux, embracing. An idyllic family 
               reunited.

                                                                    CUT TO:

               INT. RAMIREZ HOUSE - STUDY - VIRGINIA - NIGHT

               We begin on a shot of Ramirez's chair. It rocks back and 
               forth violently as we PAN UP and SEE Ramirez, who is fucking 
               Maura. They are both fully clothed, skirt hiked up, fly 
               unzipped. This is not lovemaking. He is fucking her brains 
               out. It is passionate, rough sex. Maura hits high "C" as 
               Ramirez sweeps books off of a table, lifts her out of the 
               chair and lays her out on the table. The two of them climax 
               together. It is clear from Maura's look that this is the 
               best sex she's ever had. Ramirez slowly rolls off her. He is 
               smiling as well, and then becomes aware that Maura has begun 
               to cry.

                                     RAMIREZ
                         What's wrong?

                                     MAURA
                         You've been with another woman... 
                         haven't you.

                                     RAMIREZ
                         What are you talking about?

                                     MAURA
                         Haven't you?

                                     RAMIREZ
                         No. What... what would make you say 
                         a thing like that?

                                     MAURA
                         You're different...

                                     RAMIREZ
                         Maura... I was on a submarine... 
                         there aren't any women on 
                         submarines... There was nothin' to 
                         do but read. They had one of those... 
                         how to improve your sex life books... 
                         I must have read it about ten times. 
                         I tried out a couple of things from 
                         chapter three okay? I mean if it 
                         didn't turn you on blame Doctor Ruth 
                         okay?

                                     MAURA
                              (unconvinced)
                         Okay.

                                     RAMIREZ
                         Great. You want to check with the 
                         Navy to see if we had shore leave... 
                         I'll get you a fuckin' letter okay?

                                     MAURA
                         I don't need any letters. And I don't 
                         need you to talk to me like that 
                         either.

               Ramirez gets up and zips up his fly.

                                     MAURA
                         Where are you going?

                                     RAMIREZ
                         Get somethin' to eat... I'm starving.

               He exits.

               EXT. RAMIREZ HOME - DAY

               SUPER: JULY, 1987

               INT. RAMIREZ HOME - DAY

               Ramirez comes into the house from the garage.

                                     RAMIREZ
                         Maura... Maura!

               Maura comes out of the kitchen.

                                     MAURA
                         What?

                                     RAMIREZ
                         Where's the car? The car's not in 
                         the garage. Where's the car?

                                     MAURA
                         The fellow at the service station 
                         said it needed a tune up. I took it 
                         in this morning... You didn't say 
                         you were going to need it.

                                     RAMIREZ
                         Don't do that anymore.

                                     MAURA
                         What?

                                     RAMIREZ
                         I don't want anybody workin' on the 
                         car. Car needs something I'll do it. 
                         But I don't want anybody touchin' 
                         that car.

                                     MAURA
                         Why? What difference does it make.

                                     RAMIREZ
                         It makes a difference to me okay? So 
                         don't do it.

                                     MAURA
                         Did you check the mail?

                                     RAMIREZ
                         Yeah I checked the mail. Still nothin' 
                         from the Navy. Why, you so anxious 
                         to get rid of me?

                                     MAURA
                         I don't want you goin' back to those 
                         subs. I'll tell you that.

                                     RAMIREZ
                         Yeah well I don't have much to say 
                         about it. It's the Navy you know.

                                     MAURA
                         You can request another assignment. 
                         It's changed you Annibal. It's hurting 
                         us.

                                     RAMIREZ
                         What's hurting us?

                                     MAURA
                         Your attitude... that's what hurting 
                         us.

                                     RAMIREZ
                         My attitude. I don't have an attitude 
                         man... you got an attitude.

                                     MAURA
                         You're suspicious of everything that 
                         goes on... you snap at Joey, you 
                         snap at me. I don't like it.

                                     RAMIREZ
                         Look I just... it's hard gettin' 
                         used to... you know... it's hard... 
                         Listen... tomorrow's Joey's game. 
                         Let's just go to Joey's game. It'll 
                         be nice. It'll be like it always 
                         was. You'll see.

               He holds her to him.

                                                               DISSOLVE TO:

               EXT. PARK - NORFOLK, VA - DAY

               It is Little League Day. Adorable kids are dressed up in 
               their uniforms ready to play the next level of baseball. 
               They have graduated from T-ball to coach-pitch, in which the 
               coach pitches the ball for the kids. There are hot dogs and 
               lounge chairs, family dogs and... fathers. The mothers are 
               there as well, as are brothers and sisters, but primarily it 
               is the fathers trying to fulfill their own dreams of sports 
               glory through their kids.

               ANGLE ON - RAMIREZ AND JOEY

               Ramirez has his arm around Joey, giving him his last bit of 
               fatherly advice.

                                     RAMIREZ
                         Okay... remember, what do we do?

                                     JOEY
                         Keep my eye on the ball.

                                     RAMIREZ
                         And who's the guy who wins?

                                     JOEY
                         Whoever has fun, wins.

                                     RAMIREZ
                         Right! So you go out there and have 
                         fun.

               He gives Joey "five" and Joey runs out to join his team at 
               their dugout. Ramirez starts walking about toward Maura and 
               the baby. As he does, he crosses next to another father, 
               FRANK, who is with his son TYLER. Frank is about six foot 
               four and to say that he is competitive would be the 
               understatement of the year. He is haranguing his kid as if 
               this were the deciding game of the World Series. He is on 
               one knee so we don't see just how big he is.

                                     FRANK
                         I don't want so see you out there 
                         dickin' around today, you understand?

               Tyler looks at his shoes. He is cowed and embarrassed.

                                     TYLER
                         Yes sir.

                                     FRANK
                         You're gonna be focused and aggressive 
                         and you're gonna play to win. Got 
                         it?

               Tyler is still staring at his toes.

                                     FRANK
                         Hey, you think I'm talking just to 
                         hear myself talk? Look at me when 
                         I'm talking to you!

               Frank suddenly smacks him in the face. Annibal stops in front 
               of the two of them.

                                     RAMIREZ
                         Hey pal, lighten up, what do you 
                         say? It's just a game?

               Frank looks at Ramirez and stands to his full six foot four.

                                     FRANK
                         What did you say?

                                     RAMIREZ
                         I said lighten up. It's just a game 
                         and he's just a kid.

                                     FRANK
                         He's my kid.

                                     RAMIREZ
                         Great. So why don't we let our kids 
                         have a good time. Come on, I'll buy 
                         you a beer.

                                     FRANK
                         I don't need you to buy me a fuckin' 
                         beer, you piece of shit. And you 
                         stick your face in my business again 
                         and I'll beat the living fuck out of 
                         you. What do you say to that?

               ANGLE ON - RAMIREZ

               There isn't a trace of Ramirez here at all. It is pure Carlos.

                                     FRANK
                         What are you smilin' at, asshole?

                                     RAMIREZ
                              (very quiet)
                         A dead man...

               But before Ramirez can move, we HEAR:

                                     MAURA (O.S.)
                         Annibal... please!

               Ramirez turns. Maura is there beside him.

                                     MAURA
                         Annibal please. Let's go sit down.

                                     FRANK
                         Good idea, Annabelle. Your ol' lady 
                         just saved your ass.

                                     MAURA
                         Annibal... please... Please...

               Maura tugs at Ramirez's arm and Frank smirks. Ramirez cages 
               the monster inside and turns with Maura. As he turns, Frank 
               turns to Tyler as if he cannot believe the boy is still there.

                                     FRANK
                         What are you doin' standing here?! 
                         You're supposed to be over there 
                         with your team! Now move!

               The boy hesitates. Frank rears back his arm to hit him.

                                     FRANK
                         I said...

               But before Frank can complete the sentence and strike his 
               child, Ramirez comes flying through the air with a kick 
               planted straight to Frank's head. It is sudden and violent 
               and brutal. He comes down and with one side-kick, "knee-caps" 
               Frank, which is to say he hits the top of Frank's kneecap 
               and breaks it so that it is down around his shin. Frank starts 
               to drop but before he can, Ramirez grabs his ears and brings 
               his head down into his own swiftly rising knee. The result 
               is devastating and Frank's nose is now all across his face. 
               Blood is everywhere and Ramirez does it again. Now the object 
               is Frank's teeth, so that when his head comes off of Ramirez's 
               knee, his mouth is a mass of blood as well.

               In slow motion, Ramirez turns and sees his son who stares in 
               horror at what his father has just done. At the same time, 
               maura is up and grabbing onto Ramirez. Ramirez however is 
               not done. Frank is completely defenseless now and Ramirez 
               leans him back across his knee, pulls him by the hair exposing 
               his throat like that of a sacrificial lamb about to be 
               slaughtered. This time instead of a knife, it will be a karate 
               chop from Ramirez which will crush Frank's windpipe and kill 
               him. But before he can deliver the blow, Maura grabs his 
               arm. He turns to her, almost about to hit her or throw her 
               off and the two of them are face to face as Ramirez looks 
               from her to his son and realizes how deep into the abyss he 
               has plunged.

               EXT. STREET NEAR BALLPARK - NORFOLK, VA - DAY

               An ambulance is receiving what is left of Frank on a gurney 
               as Ramirez is led away in handcuffs to a squad car.

                                                                    CUT TO:

               INT. POLICE STATION - MARYLAND - DAY

               The cell's metal door SCRAPES as it opens. The POLICE CAPTAIN 
               motions to Ramirez to follow him.

               MOVING

               Leading Ramirez through a number of corridors, the Captain 
               stops at a closed door.

                                     CAPTAIN
                              (opening the door)
                         He's all yours.

               Remaining outside he motions Ramirez to enter.

               INT. ROOM - POLICE STATION - DAY

               Ramirez enters and sees Jack who smiles his cynical smile.

                                     JACK
                         Little League, huh? Tough game.

                                     RAMIREZ
                         What are you doing here?

                                     JACK
                         It's show time.

               EXT. POLICE STATION - MARYLAND - DAY - RAIN

               Ramirez exits with Jack and starts across the street in the 
               rain.

                                     RAMIREZ
                         I got to have time to think it over.

                                     JACK
                         There isn't any time. He's on his 
                         way to East Berlin. We have word 
                         he's planning another attack in 
                         Europe. He'll be there maybe four 
                         days at the most.

               Ramirez stops dead right in the middle of the street. The 
               traffic swirls around them.

                                     RAMIREZ
                         Hey, I don't know what to do anymore, 
                         okay? I almost killed some little 
                         kid's father today. I don't know 
                         about anything anymore.

                                     JACK
                         Hey, he was a baseball dad. He 
                         deserved it. Besides, from what I 
                         heard his kid was out, so what's the 
                         beef?

                                     RAMIREZ
                         I don't know if I could come back 
                         from it again.

                                     JACK
                         What happened to I want the son of a 
                         bitch dead? You think Carlos has had 
                         a change of heart and turned nice 
                         all of a sudden?

                                     RAMIREZ
                         Don't tell me about Carlos, Jack. I 
                         know exactly who Carlos is. I know a 
                         hell of a lot better than you do. 
                         But, maybe there's more important 
                         things to me, like keepin' from goin' 
                         crazy... like gettin' back to bein' 
                         me instead of me bein' some kind of 
                         fuckin' maniac.

                                     JACK
                         You want to get back to bein' you? 
                         Then finish it. Kill him. Kill him 
                         and he's dead and it's over with. 
                         You walk away from it now and what 
                         do you think you're gonna be like 
                         the next time you read that that son 
                         of a bitch blew up some airplane 
                         full of women and kids.

                                     RAMIREZ
                         Hey, the guy deserves to be dead. I 
                         know that.

                                     JACK
                         This isn't abstract, Annibal. You're 
                         walkin' around with his face. Sooner 
                         or later one of the bad guys is gonna 
                         see it like Koj did, and next time 
                         Amos won't be there to take the bullet 
                         for you. Carlos doesn't forget. You 
                         help me get him or you're never gonna 
                         know when he's comin' after you... 
                         Listen to me kid. I don't have any 
                         friends, no family, no nothin'. The 
                         only relationships I ever had that 
                         mattered to me were with the people 
                         I killed. But I... I fucking created 
                         you! You can't just walk away now.

                                     RAMIREZ
                         You did create me, didn't you... 
                         From the beginning... that kid in 
                         the hospital in Bethesda... when I 
                         was supposed to be the doctor... It 
                         was all bullshit, wasn't it? All an 
                         act...

               There is a long pause. Jack turns cold as ice.

                                     JACK
                         This doesn't have anything to do 
                         with you and me. It's you and Carlos. 
                         You help me kill him... or I swear 
                         to you... I'll make sure he knows 
                         about you... I'll use you for bait. 
                         You and your whole fuckin' family 
                         too.

               Ramirez grabs him and throws him against a parked car. He 
               begins choking Jack. He may well kill him. Though Ramirez 
               doesn't see it at first, Jack's gun is already out. Jack 
               nudges Ramirez in the stomach with it. Jack is choking, unable 
               to speak, but the gun is speaking for him.

                                     JACK
                         Huh? Huh?

               Ramirez looks down and see the gun and loosens his grip.

                                     JACK
                         You want to try and kill me, that 
                         doesn't solve your problem, pally. 
                         You've got a Carlos problem. That's 
                         the guy you've got to kill. That's 
                         what it's all about now... you... 
                         and your family... or him.

               INT. RAMIREZ HOME - KITCHEN - VIRGINIA - NIGHT

               Ramirez is there alone with Maura. They are in mid-argument.

                                     MAURA
                         No! I won't let you do it! You're 
                         not going back to those subs! It's 
                         changed you... You need help, Annibal. 
                         You could get some kind of stress 
                         disability or...

               Suddenly, Ramirez bellows and slams his hand down on the 
               counter.

                                     RAMIREZ
                         Enough!

               Maura is shocked by the sudden violence in him.

                                     MAURA
                         No, not enough. Whatever is going on 
                         out there with your job...

                                     RAMIREZ
                         With my job!? What do you think my 
                         job is, Maura... huh? What do you 
                         think is out there? A nice, pretty 
                         safe little world with shopping malls 
                         and little league and ballet lessons. 
                         You sit here in your little kitchen 
                         and cook your little meals...

               He looks at her almost in disgust. She sees the look and 
               slaps him. Faster than she could ever have considered, he 
               slaps her and sends her back into the wall. She holds her 
               cheek. He is an inch away from her face and now he is about 
               to show her Carlos, to become him in front of her.

                                     RAMIREZ
                         People are killing people out there! 
                         Jackals are licking up their blood 
                         waiting for the next corpse to drop... 
                         and I'm one of them. You get that? 
                         Do you get that now?!

               He speaks very quietly, pulling the curtain aside, taking 
               off the mask and letting her see the full horror.

                                     RAMIREZ
                         I've murdered people. Not safe and 
                         clean and surgical firing a missile 
                         from some ship, but close and with 
                         my hands so their blood splattered 
                         on me... so their brains splattered 
                         on me. And they weren't the enemy, 
                         Maura... they were Allies. They were 
                         on our side. It was just to keep a 
                         cover... I've betrayed everything I 
                         ever believed in. I've betrayed you... 
                         I've fucked other women... I've killed 
                         men... There was a woman I would 
                         have killed but I just ran out of 
                         time. I've let friends die... I've 
                         become a terrorist... and I've made 
                         you and the children a target. Do 
                         you understand what I'm saying to 
                         you? Do you see me now? Do you see 
                         the monster? There's another one 
                         worse than me and he is out there 
                         and he will kill you and the children 
                         if I don't kill him first... . That's 
                         my job, Maura. And if you don't mind, 
                         I'm late for work.

               EXT. WEST BERLIN - DAY - ESTABLISHING SHOT

               SUPER: WEST BERLIN - JULY, 1987

               EXT. BERLIN WALL - LOOKING INTO EAST BERLIN - DAY

               We are ON the ramparts on the top of the Berlin Wall. These 
               are platforms from which people can stand and look into East 
               Berlin, they're covered with graffiti to the East Germans, 
               LET MY PEOPLE GO, that sort of thing. They look down over 
               they dingy wall that divides the city marked with machine 
               gun nests and observation posts. Jack stands there with 
               Ramirez.

                                     JACK
                         We used a double agent to get word 
                         to the Russians that Carlos is really 
                         here to close his deal with us and 
                         not to plan a new attack in Europe. 
                         He has a new girlfriend... He's been 
                         fucking her brains out since he got 
                         here. He has her brought over every 
                         night in a limo. You'll be dropped 
                         near the mansion... as soon as she 
                         goes in, you make as if you're 
                         sneaking out... the Russians will be 
                         watching. You'll go to the meet. 
                         It's at that beer hall, there... 
                         see? You see it?

               Ramirez locates the beer hall through his binoculars.

                                     RAMIREZ
                         Got it.

                                     JACK
                         You go to the meet at the beer hall. 
                         Play it out... let 'em take your 
                         picture... then you've got to get 
                         back. They're going to have to analyze 
                         the pictures and see through your 
                         disguise before they can authorize a 
                         hit. They won't be able to do that 
                         before you're able to get back to 
                         the mansion. At twenty-one fifteen a 
                         Volga with diplomatic plates, DC-
                         four-five-nine-two will come by the 
                         northeast corner of the compound. It 
                         will slow down... you jump in. If 
                         you can't make it for any reason, 
                         there will be another run at exactly 
                         twenty-one forty-five. It's your 
                         only ticket out so don't be late.

                                     RAMIREZ
                         Who do I meet? Who's my contact?

                                     JACK
                         Me... My ass is on the line too.

                                     RAMIREZ
                         Who cares? This isn't you and me. 
                         It's me and him. If the Russians 
                         don't go for the bait for any 
                         reason...

                                     JACK
                         If the Russians don't go for the 
                         bait for any reason you will have 
                         gotten out of there at twenty-one 
                         fifteen per orders.

                                     RAMIREZ
                         If the Russians don't go for the 
                         bait for any reason, I'll go in there 
                         and kill him myself. And if I'm still 
                         alive I might just come looking for 
                         you.

               EXT. CARLOS' HIDEOUT - EAST BERLIN - LATE DAY

               SUPER: WEISSEN, EAST BERLIN

               THROUGH BINOCULARS

               Across a street with a tree-lined divider, a large mansion 
               surrounded by a ten-foot high brick wall. The mansion's front 
               windows are heavily shuttered, with little light filtering 
               through. Nearby is a small lake.

               INT. IVAN AND ANDREI'S CAR - ACROSS FROM CARLOS' HIDEOUT - 
               LATE DAY

               Ivan looks through binoculars, staking out the mansion. He 
               suddenly becomes agitated.

                                     IVAN
                         [Look!]

               Andrei picks up his camera.

               THROUGH BINOCULARS

               A man's figure emerges stealthily from the shadows of the 
               mansion's back wall.

               ZOOM

               The blonde, bearded Ramirez.

                                     ANDREI
                         [You think it's him?]

               CLICK, CLICK, CLICK... The quick sound of the camera shutters.

               Faintly we HEAR the sound of a motorbike start up. Then we 
               SEE Ramirez on the motorbike heading off. Ivan and Andrei 
               follow him at a distance.

               EXT. ROAD LEADING INTO EAST BERLIN - MAGIC HOUR

               The KGB car falls in behind another car separating it from 
               the motorbike and follows Ramirez into town. He passes by 
               giant steam pipes in the foreground as the KGB car follows.

               EXT. ROAD - EAST BERLIN - MAGIC HOUR

               A tram wipes the screen to reveal Ramirez, on his motorbike, 
               followed by the KGB car. The landscape is desolate, with 
               drab row-houses. Ramirez gets to a red light. As it turns 
               green he sees the KGB car in his mirror. He jams across the 
               street, just barely fitting in between two criss-crossing 
               streetcars. Ivan and Andre lose sight of Ramirez.

               EXT. STREET - EAST BERLIN - DUSK

               Ivan and Andre shoot forward and then slow, as they spot 
               Ramirez buying a newspaper at a newstand.

               ANGLE ON - RAMIREZ

               He holds his motorcycle helmet in his hand, and using it as 
               a mirror, he sees the KGB car in its reflection. Satisfied 
               that they have caught up with him again, he walks across the 
               street to the beer hall.

               INT. BEER HALL - DUSK

               The large bierstube is crowded, noisy and enveloped in a 
               thick cloud of cigarette smoke. Its lively, at times rowdy 
               clientele is in various stages of intoxication. As the loud, 
               oom-pah-pah-pah band plays popular German music, those who 
               are not too busy eating, talking, or emptying liter-sized 
               beer steins, sing along.

               ON RAMIREZ

               Fighting the crowd, he heads for the back of the beer hall, 
               looking for his contact.

               ON IVAN AND ANDREI

               Entering the place, they pretend to be camera-carrying Russian 
               tourists. A common sight in East Berlin.

               ON RAMIREZ

               He stops and stares.

               RAMIREZ'S POV

               Through the jam pack, the profile of a man, with a Tyrol hat 
               who sits along the back wall. Busy eating, he seems totally 
               oblivious to the hoopla around him. We can't really see his 
               face.

               ON RAMIREZ

               As he cautiously approaches what he thinks is Jack. It isn't 
               him. There is a sudden look of panic on his face and then he 
               spots Jack also in the same kind of hat. Lifting his head, 
               and turning to face Ramirez, we too recognize him. Under the 
               hat, and the new heavy eyebrows and mustache, is... Jack. He 
               smiles, takes off his hat, and motions his quest to sit down.

               ON ANDREI (THROUGH IVAN'S CAMERA)

               He's posing with a giant stein. A slight shift of focus and 
               we can see Ramirez. Jack, however, is hidden by the waiter's 
               back. Then, the Waiter moves on.

               ZOOM

               A clear, unobstructed picture of Jack and Ramirez up close.

               CLICK, CLICK, CLICK, CLICK, CLICK... The rapid CLICKING stops 
               only when the view of the two is blocked again by other 
               people.

               EXT. STREET OUTSIDE BEER HALL - DUSK

               Ramirez emerges from the beer hall. He heads back to his 
               motorbike.

               ANGLE

               Seconds later, the two KGB come out. This time, only Andrei 
               takes after Ramirez. Ivan gets into a taxi which heads in an 
               opposite direction.

                                                                    CUT TO:

               EXT. STREET OUTSIDE MANSION - NIGHT

               Reaching the mansion, Ramirez discreetly steals his way toward 
               its back wall. Then, just as slyly as he earlier had 
               materialized, he disappears.

               ON VLADIMIR AT HIS POST

               Watching Ramirez vanish into the mansion wall.

               EXT. RAMIREZ'S HIDING PLACE - NEAR MANSION - NIGHT

               He lies in the thick bushes, completely obscured from anyone's 
               view and now he removes the blond wig and the rest of his 
               disguise. Underneath his "disguise" clothes, he is wearing a 
               pair of black jeans and black T-shirt. He looks exactly like 
               Carlos now.

               PRODUCTION NOTE: IT IS IMPORTANT TO UNDERSTAND WHAT IS GOING 
               ON HERE. THE REAL CARLOS HAS NOT DYED HIS HAIR BLOND. THIS 
               WAS NOT THE REASON FOR RAMIREZ PUTTING ON A BLOND WIG. THE 
               LOGIC HERE IS THAT IF THE "REAL CARLOS" WERE IN FACT GOING 
               TO A MEET WITH A CIA AGENT, HE WOULD HAVE PUT ON SUCH A 
               DISGUISE TO MAKE SURE HE WAS NOT SPOTTED BY THE RUSSIANS.

               INT. BLACK VOLGA - EAST BERLIN - NIGHT

               Jack takes off his disguise as he drives the Volga to the 
               appointed corner of Carlos' compound. He looks at his watch. 
               reads: 9:15 as he slows the car to a crawl.

                                     JACK
                              (to himself)
                         Come on... come on...

               EXT. RAMIREZ'S HIDING PLACE - NEAR MANSION - NIGHT

               Ramirez watches as Jack cruises by.

                                     RAMIREZ
                         Not till he's dead, Jack. Not till 
                         he's dead.

               INT. BLACK VOLGA - EAST BERLIN - NIGHT

               Jack sees that Ramirez is not going to show.

                                     JACK
                         Shit.

               INT. KGB HEADQUARTERS - EAST BERLIN - NIGHT CLOSE ON MONITOR 
               SCREEN

               A head shot of Ramirez in his latest blond, bearded disguise. 
               Grainy and blurred at first, it's gradually being brought 
               into sharp focus.

               PULL BACK to reveal a GROUP OF MEN closely watching the screen 
               of an impressive, state-of-the-art computer. We recognize 
               only one of them. Andrei. At the computer's sophisticated 
               keyboard -- manipulating the images on the screen -- are TWO 
               TECHNICIANS in white overalls. Right behind them stands the 
               Head KGB Officer from Moscow and his Aide.

                                     HEAD KGB OFFICER
                              (orders the technicians)
                         [Now Carlos.]

               ON SCREEN

               It bisects, to allow a picture of the real Jackal (the 
               splitting image of Ramirez) to appear on the right half of 
               the screen.

               BACK TO SCENE

               The Head KGB Officer puts on his glasses and takes a closer 
               look at the monitor.

                                     HEAD KGB OFFICER
                         [The beard and moustache.]

               One of the two technicians toys with the keyboard.

               CLOSE - SCREEN

               The beard and moustache on Ramirez' disguised image slowly 
               disappear. The two faces look very similar.

               CLOSE - SCREEN

               A huge nose covers the entire left half of the screen.

               ZOOM

               The upper part of the nose only. And... the incriminating 
               hairline where the bogus schnoz had been superimposed on the 
               real one.

                                     TECHNICIAN (O.S.)
                         [The nose is a fake.]

                                     HEAD KGB OFFICER
                         [Match the nose. And get rid of this 
                         wig...]

               As the aquiline nose assumes the shape of the Jackal's -- 
               the hair changes both color and form to match his -- the two 
               faces on the screen become identical.

                                     HEAD KGB OFFICER
                         [Have you identified the one he was 
                         meeting with?]

                                     TECHNICIAN
                         [His name is Jack Shaw. CIA 
                         Counterterrorism.]

               The Head KGB Officer turns to his Aide.

                                     HEAD KGB OFFICER
                         [Get me the MFS on the secure phone. 
                         I want them out of the way.]

               EXT. MANSION - NIGHT ON MANSION GATE

               It opens slowly. One by one, a half dozen MFS -- including 
               the two we've seen earlier -- sneak out. Just as furtively, 
               armed KGB -- led by the Head KGB Officer and his Aide move 
               in through the still-open door.

               EXT. RAMIREZ'S HIDING PLACE - NEAR MANSION - NIGHT

               He watches the KGB men enter the compound.

                                     RAMIREZ
                              (sotto voce)
                         Don't blow it Comrades... kill him.

               INT. MANSION

               Meeting no resistance on the ground floor -- whose security 
               apparently has been the task of the MFS -- the intruders 
               climb the open, spiral staircase. They move cautiously, 
               silencer-equipped weapons in hand.

               ANGLE

               Reaching the upper floor, they hear the muffled sound of 
               RHYTHMIC MUSIC coming from the far end of the hallway to 
               their right. The Head KGB Officer motions his Aide to move 
               into the corridor to their left. He does, taking three KGB 
               with him. Four others -- including Andrei and Ivan -- follow 
               the Head KGB Officer into the hallway to their right.

               INT. HALLWAY

               It's long, with several rooms on each side. As Vladimir moves 
               gingerly into the first one, Ivan covers him from the door.

               INT. ROOM

               Illuminated only by the light which filters through the open 
               door, the room is quite dark. A faint sound of SNORING reaches 
               Andrei from the bed closest to the door. Quickly there, his 
               arm goes up. Then, for a split second, the flash of metal as 
               the knife comes down hard. The victim's last MURMUR. Followed 
               by the SOUND OF MOVEMENT at the other bed.

               ANGLE

               In the beam of Ivan's flashlight, a waking JAPANESE is 
               reaching for his gun. Pffft. Pfffft. And he too falls back 
               to sleep. Eternally.

               INT. ANOTHER ROOM - MANSION

               TWO more JAPANESE in the midst of a Go game meet the same 
               fate. A burst from Head KGB Officer's automatic finishes 
               them off.

               INT. HALLWAY AND OTHER ROOMS - MANSION

               Doing away with several more of Carlos' multinational gang, 
               the five KGB finally reach the room with the large, heavy 
               French doors at the end of hallway.

               INT. OUTSIDE CARLOS' BEDROOM

               Quietly approaching the carved-wood doors, a KGB tries the 
               knobs. The doors are locked. Suddenly, the pulsating LATIN 
               BEAT which emanated continuously from behind the doors, stops.

               ON HEAD KGB OFFICER

               He's startled by the sudden silence.

                                     HEAD KGB OFFICER
                              (whispering)
                         [Quick! Quick!]

               Not wasting any time, Andrei and Ivan kick the doors open. 
               Diving to the side, they cover the other two KGB who storm 
               in with their Kalashnikovs very much at the ready.

               INT. CARLOS' BEDROOM - MANSION ON CARLOS' BED

               The voluptuous blonde -- her body glazed with post-coitus 
               sweat -- is paralyzed with fear; covering her prized assets 
               seems the last thing on her mind. She gapes at the KGB 
               marauders with wide, blue eyes. Not so, Ramirez's look-alike. 
               Caught reaching from under the sheets to replace the tape in 
               the stereo by the bed, he instinctively tries for his gun.

               ON HEAD KGB OFFICER

               Standing at the door. His automatic no longer has a silencer.

                                     HEAD KGB OFFICER
                              (sarcastic)
                         Don't even think about it. It would 
                         deprive the KGB of the pleasure of 
                         interrogating you.

               ON CARLOS

               Surprisingly, he seems quite relieved.

                                     CARLOS
                         KGB? I thought...

               BACK TO SCENE

                                     HEAD KGB OFFICER
                         What? That we were your new friends... 
                         The CIA... Jack Shaw...

                                     CARLOS
                         Jack Shaw...?

                                     HEAD KGB OFFICER
                         Stop playing games. And it's no use 
                         looking behind me... Your associates 
                         can no longer be of assistance. Not 
                         to you, not to anyone...

                                     CARLOS
                              (angry)
                         Comrade, you'd getter have an 
                         explanation --

                                     HEAD KGB OFFICER
                         You've got it all wrong, Illich. 
                         It's you who has all the explaining 
                         to do... Now get dressed!
                              (to the blonde)
                         You too, Fraulein.

                                     CARLOS
                         My pants...

               The Head KGB Officer motions to Andrei, who throws Carlos 
               his pants -- but not before checking to make sure there's no 
               weapon in them. He then hands the blonde -- who finally hides 
               her bazooms behind a sheet -- her clothes.

                                     CARLOS
                              (continuing; getting 
                              dressed)
                         That's what was going on in Libya. 
                         The CIA... The DST... They're trying 
                         to set me up and you're falling for 
                         it, you idiot!

                                     HEAD KGB OFFICER
                         Enough. We tailed you to your meeting. 
                         We have the pictures of you with 
                         Shaw.

                                     CARLOS
                         That's impossible. I've been here 
                         all night.
                              (points to the blonde)
                         Ask her.
                              (to the blonde)
                         Tell him.

               ON BLONDE

               She's putting stockings on a pair of legs that could distract 
               even the most committed KGB.

                                     BLONDE
                              (in a voice matching 
                              her looks)
                         It's true. All night...

                                     HEAD KGB OFFICER
                              (unimpressed)
                         We know about your women... Now hurry 
                         up, both of you!

               ON IVAN AND VLADIMIR

               With Kalashnikovs still trained on Carlos, they seem unable 
               to resist stealing glances at the blonde.

                                     CARLOS
                              (to Head KGB Officer)
                         I'll prove it to you. You'll be 
                         pleading for my forgiveness. Let's 
                         just go. I want to be interrogated. 
                         I demand to be interrogated.

               He seems truly eager to leave with them now, as if confident 
               he can prove his case. Dressed, with the exception of a 
               jacket, he casually grabs one which lies on a nearby chair.

                                     HEAD KGB OFFICER
                         WAIT!

               Too late. The Scorpion machine-pistol is already out, spouting 
               deadly accurate fire. He kills the Head KGB Officer first, 
               then...

               ON KGB

               They drop like flies, their bullets hitting everything but 
               him.

               ON BLONDE

               Hysterical, she screams her healthy lungs out.

               INT. HALLWAY - MANSION

               Suddenly there's the sound of APPROACHING STEPS. The KGB are 
               down the corridor, rushing to the bedroom, led by the Aide.

               ON CARLOS

               He doesn't hesitate. Firing a few rounds at them, he sprints 
               toward the window and literally flies through its shattering 
               glass.

               EXT. MANSION - TREES - NIGHT

               Ramirez lies in some bushes about fifty yards from the house, 
               dressed in the black jeans and T-shirt. He hears the gunfire 
               from the mansion.

                                     RAMIREZ
                         What the fuck?

               EXT. MANSION COURTYARD

               It's a dark night, and only a few dim lights illuminate the 
               rather large back yard.

               ON CARLOS

               Landing in a bed of flowers, he rolls, and is quickly on his 
               feet with the machine-pistol in hand.

               ON TWO ARMED KGB

               Securing the courtyard, they rush to the spot where, 
               apparently, they'd seen him land. Carlos, however, is no 
               longer there.

               ANGLE

               Glued to the back of a tree, the Jackal cuts them down with 
               one short burst and goes for the KGBs who appear at the broken 
               window. As they take cover, he quickly confiscates a 
               Kalashnikov from the dead KGB closest to him and makes it to 
               the high wall which encircles the place.

               Carlos climbs over the wall with the Kalashnikov and drops 
               outside the compound to the grass below.

               ANGLE ON RAMIREZ IN THE GRASS

               He sees to his horror that Carlos is getting away. He is 
               ready to scream, going crazy. He has no gun, he wouldn't 
               stand a chance against Carlos, but there is no way he is 
               going to let him get away, no way. He looks around for a 
               rock... anything.

               There is nothing. Carlos turns his back. Ramirez sees his 
               chance, he gets up on one knee ready to make his move when 
               suddenly he sees two more KGB guys come running around the 
               wall of the compound.

               ANGLE ON RAMIREZ

               He mouths the words:

                                     RAMIREZ
                         Kill him... Kill him...

               ANGLE ON CARLOS

               He whirls and fires at the two KGBs who fall.

               ANGLE ON RAMIREZ

               He can't believe it. Carlos is getting away?

               ANGLE ON CARLOS

               He suddenly gets a look as if he feels someone's presence. 
               His eyes open wide and he starts to turn when Ramirez comes 
               flying out of the darkness and leaps on Carlos. The two are 
               dressed exactly alike. Carlos is hit from behind and is 
               stunned and drops the assault rifle.

               Ramirez has Carlos down and is choking him. Carlos looks up 
               at him more shocked than anything else. Finally Carlos manages 
               to break the grasp and kicks Ramirez off. Now it is a dazzling 
               display of martial arts. Then Ramirez charges Carlos and 
               tackles him and the two go rolling off into the bushes and 
               darkness. When they roll out of the bushes we have no idea 
               which one is which or who we should be rooting for. Just 
               then Jack's Volga drives up at the side.

               ANGLE ON THE TWO CARLOSES

               They roll over onto the bodies of two dead KGB. There is a 
               Kalashnikov on the ground pointed into the Carlos on the 
               bottom's side. The Carlos who is on top manages to get his 
               finger over to the trigger and pulls it sending a burst into 
               the Carlos on the bottom's body. Just then the Carlos on top 
               looks up and sees Jack standing over him with a gun pointed 
               at him ready to shoot. In b.g. we HEAR cars with sirens 
               approaching. The Carlos on top looks over to Jack who is 
               ready to shoot him.

                                     CARLOS ON TOP
                         Don't shoot. It's me you asshole!

               Jack just stares at him and then lowers his gun.

                                     JACK
                         Let's get the fuck out of here.

               He turns around and starts to get into the Volga. The Carlos 
               on top, whom we just thought was Ramirez bends down and 
               reaches for the dead KGB's pistol.

               ANGLE ON JACK

               He gets that sixth sense feeling and turns around, his gun 
               raised and pointed at the man whose hand is now on the pistol. 
               Is it Carlos or Ramirez, who is standing there with pistol 
               in hand almost turned to Jack but still at a disadvantage in 
               this Mexican stand off.

                                     JACK
                         Have you come looking for me now, 
                         Annibal?

                                     THE MAN WITH THE PISTOL
                         What the fuck are you talking about...

                                     JACK
                         Awfully warm for this time of year 
                         isn't it?

               The man with the pistol knows this is a password of some 
               kind and the look on his face betrays the fact that he doesn't 
               have an answer. Jack is just about to shoot him when a burst 
               of machine gun fire is heard from the approaching cars and 
               it rips into the tree next to Jack who dives for cover.

               That act of self-preservation gives the man we now realize 
               is the real Carlos the chance he needs. With catlike grace 
               he dives, rolls and vanishes into the shadows. He has gotten 
               away and Jack has to decide whether to go after his quarry 
               or rescue his friend. He opts for the latter, scoops up 
               Annibal and throws him into the Volga and speeds off as cars 
               approach from the other side.

               EXT. BETHESDA NAVAL HOSPITAL - DAY - ESTABLISHING

               INT. PRIVATE ROOM - BETHESDA NAVAL HOSPITAL - DAY

               Ramirez is in bed, hooked up to all the monitors and tubes 
               and IVs but he is going to make it. Jack is there with him, 
               having just entered.

                                     RAMIREZ
                         Any word?

                                     JACK
                         How you feeling?

                                     RAMIREZ
                         Did he get away?

               Jack nods his head. Ramirez almost breaks down in tears. 
               Jack crosses to him to comfort him.

                                     RAMIREZ
                         Then it was all for nothing... the 
                         whole thing.

                                     JACK
                         No it wasn't. He's finished. The KGB 
                         bought it. As far as they're 
                         concerned, he's the enemy now. He'll 
                         bounce around from one country to 
                         the next. But his paymasters have 
                         disowned him. None of their client 
                         states will risk using him. No one'll 
                         trust him again. He'll spend the 
                         rest of his life looking over his 
                         shoulder waiting to be betrayed. And 
                         it'll happen... sooner or later... 
                         when it's to some country's 
                         advantage... they'll give him up or 
                         they'll trade him. He's finished. It 
                         worked and he's finished.

                                     RAMIREZ
                         Not for me he isn't... There are 
                         still two of us...

               EXT. MILITARY HOSPITAL - DAY

               A car pulls up at the hospital and Maura gets out and enters 
               the hospital.

                                                               DISSOLVE TO:

               INT. RAMIREZ'S ROOM - DAY

               Maura is there with Ramirez. He is in mid-conversation with 
               her. We don't know how long she's been there. He opens his 
               eyes.

                                     MAURA
                         Is it over?

                                     RAMIREZ
                         No.

               She crosses to him and gently takes his hand in hers.

                                     RAMIREZ
                         You have to make a new life for 
                         yourself and the children.

                                     MAURA
                         No.

                                     RAMIREZ
                         Maura, anytime I start a car I'll 
                         wonder if this is the one that 
                         explodes. I couldn't bear the thought 
                         of you and the children being in 
                         that danger. He'll want me and 
                         everyone I've ever loved to be dead. 
                         Trust me... I know how he thinks 
                         because it's the way I think now 
                         too. I am so... sorry. I am so 
                         sorry...

               Maura looks at him imploring him with her eyes.

                                     MAURA
                         I won't leave you.

                                     RAMIREZ
                         Maura, when my father was put into 
                         prison he told my mother to take me 
                         and leave and start a new life. That's 
                         what you've got to do.

                                     MAURA
                         You're not in prison and I'm not 
                         your mother and I won't leave you. I 
                         will not let him do this to us. Not 
                         him... not the CIA... not anyone.

                                     RAMIREZ
                         He'll come after me.

                                     MAURA
                         Get me a gun and teach me to shoot 
                         and he'll have to deal with both of 
                         us. This animal will not destroy my 
                         family. Please... come home.

                                                               DISSOLVE TO:

               EXT. RAMIREZ HOME - VIRGINIA - DAY

               We hear a phone ring and it is picked up.

                                     MAURA (O.S.; THRU PHONE)
                         Hello...

               We hear the voice of a friend of hers named GRACE.

                                     GRACE (O.S.; THRU PHONE)
                         Hi... listen, do you and Annibal 
                         want to come over with the kids for 
                         a barbeque this afternoon?

                                     MAURA (O.S.; THRU PHONE)
                         Uh sure, I think... but could I call 
                         you back later? We're just about to 
                         go to church. Annibal and the kids 
                         are already in the car.

                                     GRACE (O.S.; THRU PHONE)
                         Okay, call me when you get back.

                                     MAURA (O.S.; THRU PHONE)
                         Great. Talk to you later. Bye bye.

               We hear the phone hang up. We hear the sound of a door opening 
               and closing that leads into the garage from the house. We 
               hear the sound of a car door opening. And then the key turning 
               in an ignition. And then the door is blown off the garage as 
               we see the Ramirez family car burst into an inferno and blaze 
               away inside the garage in a fiery blast which would kill one 
               and all instantly.

                                                               DISSOLVE TO:

               EXT. CEMETERY - DAY

               The cemetery is set up for a funeral. There are various Navy 
               officers and their families in the chairs. At the back of it 
               all stands Jack wearing sunglasses, his face a mask into 
               which it is impossible to read any emotion of any kind. There 
               are four graves and four coffins, two adult-sized and two 
               small ones. Admiral Crawford addresses the mourners.

                                     CRAWFORD
                         How does one even begin to comprehend 
                         a tragedy like this. A highly 
                         respected Naval officer returns from 
                         six months of hazardous duty. He has 
                         escaped the danger we all come to 
                         know in the service of our country. 
                         He is about to go to church with his 
                         beloved family and in an instant... 
                         they are no more. They are with God. 
                         Our minds cannot comprehend such 
                         tragedy... only an undying faith in 
                         the Almighty a faith that says even 
                         though we cannot see it, there is a 
                         plan. That and the knowledge that as 
                         in life, so for eternity are they 
                         together...

               ANGLE ON JACK

               He whispers to himself as he takes off his sunglasses.

                                     JACK
                         Now you're free.

                                                               DISSOLVE TO:

               EXT. ST. MARTIN - DAY

               It is a beautiful island community with clusters of villas 
               overlooking a magnificent coastline. A postal truck winds 
               its way towards one of the houses.

               The POSTMAN gets out of his truck and crosses to the door of 
               the house. He knocks on the door. The door opens... it is 
               Ramirez... or Carlos... we don't know which. He wears shorts 
               and a shirt.

                                     POSTMAN
                         Mister Mendoza?

                                     MENDOZA
                         Yes.

                                     POSTMAN
                         Special delivery letter for you sir.

               The Postman hands the man an envelope. He signs for it and 
               opens the envelope. It is a newspaper clipping...

               ANGLE ON THE NEWSPAPER CLIPPING

               The headline is: NAVAL OFFICER AND FAMILY KILLED IN FIERY 
               CRASH. There is a handwritten note attached. It says, "Rest 
               in Peace."

                                     POSTMAN
                         Not bad news I hope.

                                     MENDOZA
                         Someone... died.

                                     POSTMAN
                         I'm so sorry.

                                     MENDOZA
                         This guy's better off dead.

                                     POSTMAN
                         No one is better off dead I think.

                                     MENDOZA
                         Some people are.

               He tips the postman and closes the door.

               INT. HOUSE - ST. MARTIN - DAY

               Mendoza crosses into the house holding the newspaper clipping. 
               He takes a cigarette lighter and burns it and across his 
               face there is a hint of a smile... a very cold smile. He 
               crosses out to the veranda. Down on the beach below, we SEE 
               Maura and the baby and Joey playing.

                                     JOEY
                         Poppi... come down and play with us.

               We now know the man is Ramirez. He walks down the steps of 
               his house to the beach to his wife and his children as we:

                                                               DISSOLVE TO:

               EXT. MEDICAL BUILDING - SUDAN - DAY

               WE SUPER the following: SUDAN 1994

               Two bodyguard types wait outside the building at the entrance. 
               An old man who walks with a cane and whose face is horribly 
               disfigured by burns hobbles in to the medical building. He 
               passes a plaque on the wall that says in English and Arabic:

                              DR. WASFI MUHAMMED, M.D.; PhD.

                               Cosmetic and Plastic Surgery

               We SUPER THE FOLLOWING:

               NO FURTHER ACTS OF TERRORISM WERE EVER ATTRIBUTED TO CARLOS 
               AGAIN. HE MOVED TO YEMEN, THEN JORDAN, THEN SYRIA AND FINALLY 
               TO THE SUDAN.

               INT. REST ROOM - MEDICAL BUILDING - SUDAN - DAY

               The old man locks the door and stands in front of the mirror. 
               He pulls off the burn makeup and scalp wig and we see that 
               he is Carlos. Several years older, but unmistakable. He takes 
               off the old man's clothes and stuffs them in a trash can and 
               underneath he wears the black jeans and T-shirt. Then he 
               straightens up and exits the rest room.

               INT. CORRIDOR BETWEEN RESTROOM AND DR.'S OFFICE - MEDICAL 
               BLDG. - DAY

               Carlos walks down the corridor and enters the medical suite 
               of Doctor Wasfi Muhammed. There is a plaque on the door which 
               says, DR. WASFI MUHAMMED, M.D., PhD, Cosmetic and Plastic 
               Surgery.

               INT. DR. MUHAMMED'S OFFICE - SURGERY SUITE - DAY

               This is a surgery suite complete with gas anesthetic, a kind 
               of high-tech barber chair that reclines for full surgery, 
               gleaming scalpels, etc. DR. MOHAMMED is there with Carlos. 
               The Doctor is hastily washing his hands.

                                     DR. MUHAMMED
                         You're quite early. I wasn't expecting 
                         you for another half an hour.

                                     CARLOS
                         I like to be unannounced. It's safer 
                         that way.

                                     DR. MUHAMMED
                         Yes, yes, of course. If you'll just 
                         have a seat. I've done everything as 
                         you said. My assistant has been let 
                         go for the day. I'll administer the 
                         anesthetic myself. I assure you sir, 
                         you are completely safe here.

               He turns around to look into the barrel of Carlos' drawn and 
               cocked .38 automatic.

                                     CARLOS
                         I know.

               EXT. MEDICAL BUILDING - SUDAN - DAY

               The scene is as before. The two bodyguards stand watch. 
               Suddenly a car pulls up. Another bodyguard gets out and out 
               of this car steps Carlos. The bodyguards acknowledge him as 
               he enters the building.

               INT. DR. MUHAMMED'S OFFICE - SURGERY SUITE - DAY

               Carlos leans back in the surgery chair. There is an IV 
               attached to his arm. A Doctor in a surgical mask stands over 
               him.

                                     DOCTOR
                         Feeling drowsy now?

                                     CARLOS
                         Yes...

                                     DOCTOR
                         Would you like to see what your new 
                         face is going to look like when we're 
                         done?

                                     CARLOS
                         Yes... of course.

                                     DOCTOR
                         It's going to look just like this...

               He pulls down his surgical mask and Carlos looks up at his 
               own face. It is Ramirez. He holds Carlos, who struggles 
               against the anaesthetic. Suddenly, a second pair of hands 
               grab Carlos as well. It is Jack.

               EXT. REAR OF MEDICAL BUILDING - SUDAN - DAY

               An ambulance is pulled up at the rear entrance and two 
               attendants push a gurney out of the building with a patient 
               whose face is covered by an oxygen mask. The two attendants 
               push the gurney into the ambulance and race off.

               CARLOS WAS FINALLY ARRESTED IN THE SUDAN AND FLOWN TO FRANCE 
               TO STAND TRIAL IN AUGUST OF 1994.

               As the ambulance pulls off with its siren blaring, WE CONTINUE 
               WITH THE CRAWL:

               INTELLIGENCE SOURCES BELIEVE HE WAS TRADED TO THE FRENCH BY 
               THE SUDANESE GOVERNMENT IN A BID TO OBTAIN WESTERN AID. THERE 
               ARE RUMORS THAT TWO RETIRED CIA AGENTS PLANNED AND EXECUTED 
               HIS CAPTURE.

                                         THE END